A detailed seventeenth-century engraving by Paulus Pontius, after a design by Anthony van Dyck, depicting the coronation of Saint Rosalie.

This engraving by Paulus Pontius depicts the Coronation of Saint Rosalie, a subject rooted in the religious iconography of the seventeenth-century Counter-Reformation. Pontius, a skilled engraver associated with the workshop of Peter Paul Rubens, demonstrates technical precision in his handling of line and shadow. The composition is based on a design by Anthony van Dyck, reflecting the collaborative nature of Flemish printmaking during this period.

In the centre, the Virgin Mary holds the Christ Child, who reaches out to place a crown of flowers upon the head of Saint Rosalie. The saint kneels in a posture of devotion, her gaze fixed upward. To the right, a male figure, likely Saint Paul, stands with a sword, providing a vertical anchor to the scene. The architecture behind the figures suggests a classical setting, while the presence of a skull at the base of the steps serves as a memento mori, a common motif in Baroque art intended to remind the viewer of the transient nature of life.

Pontius employs a variety of hatching techniques to define the folds of the drapery and the textures of the figures. The light source appears to emanate from the upper left, casting soft shadows that give volume to the forms. The inclusion of Latin text at the bottom provides historical context, identifying the subject and the circumstances of the saint's veneration in Palermo. This print is a fine example of the reproductive engraving tradition, where the engraver translates the painterly qualities of a master's sketch into the linear language of the copper plate. The work captures the emotional intensity and theatricality characteristic of the Baroque style, focusing on the spiritual connection between the holy figures and the saint.