was a man of mean stature and
insignificant appearance. Regardless of this fact, however, the old
artists always tried to make him as grand and noble as possible, that
his outward appearance might correspond to the grandeur of his
character. There was a certain old Italian painter named Masaccio, who
set the fashion, as it were, for the ideal portrait of St. Paul.[12] A
hundred years later Raphael imitated this figure, and again a century
later, Van Dyck repeated it in the picture before us. If we compare
our illustration with a print of Raphael's picture of St. Cecilia we
shall see the resemblance.[13] Even the pose is the same in the two
cases. The grand head with the full beard reminds us of the Greeks'
conception of their god Zeus.[14]

[Footnote 12: In the fresco of the Carmine Church, Florence.]

[Footnote 13: See Chapter IX. of the volume on _Raphael_ in the
Riverside Art Series.]

[Footnote 14: See Chapter I. of the volume on _Greek Sculpture_ in the
Riverside Art Series.]

St. Rosalia is a beautiful young woman, richly dressed in a brocaded
mantle, and with wavy hair falling over her shoulders. Her attitude is
very humble, and she lifts her face to the Christ-child's with sweet
adoration. The little fellow seems delighted with his task, and leans
forward eagerly, to offer the saint the crown of roses. Is it for me?
she seems to ask, as she lays one hand upon her breast and timidly
holds out the other.

On the step beside her is a human skull, across which lies a stalk of
lilies. The flowers are an Easter emblem, and symbolize the
Resurrection. The skull is the token of death. Thus are we taught the
victory over death through the purity of the spiritual life.

The grotto of St. Rosalia has become a church which is the object of
many a pious pilgrimage. It is for this that the name of the mountain
was changed from Heirkte to Monte Pellegrino, which means the Pilgrim
Mountain.

We have already seen (Chapters II. and IV.) how much Van Dyck owed to
Titian in the rendering of sacred subjects. Here the Madonna's high
throne beside the marble pillars, and the cherubs in mid air are
striking reminiscences of Titian's Pesaro Madonna.[15]

[Footnote 15: See Chapter XIV. in the volume on _Titian_ in the
Riverside Art Series.]

IX

CHARLES, PRINCE OF WALES

(_Detail of Children of Charles I._)

The Prince Charles of our picture was the son of Charles I. and
Henrietta Maria, and bore the title of th