“Our Lady of the Rosary” (Italian: Madonna del Rosario) or “Our Lady of the Rosary” refers to one of the many titles of the Virgin Mary. The veneration of this title is closely associated with the activities of the Dominican Order, also known as the Order of Preachers, founded by Dominic of Guzmán. According to legend, the saint had a vision of the Blessed Virgin who entrusted him with the protection from heretics. The spread of this devotion was supported by several events, particularly the victory of the Holy League in the Battle of Lepanto on October 7, 1571, where the forces of Venice and Spain defeated the Ottomans. In 1573, Pope Gregory XIII changed the name of the feast to the Feast of the Holy Rosary, which has since been celebrated on the first Sunday of October. After the victory of Prince Eugene of Savoy over the Ottomans at the Battle of Petrovaradin on August 5, 1716, Pope Clement XI ordered the feast of the Rosary to be added to the General Roman Calendar. In 1913, Pope Pius X moved the celebration to October 7, and in 1969, Pope Paul VI made the feast of the Blessed Virgin of the Rosary obligatory.

During these periods, a significant number of sacred artworks dedicated to the Rosary emerged, representing various events associated with it. The earliest known example of sculpture depicting this iconography is related to the first recorded Brotherhood of the Rosary, founded in 1475 in Cologne. This is the sculpture “Our Lady of the Rosary” from around 1475, located in the Church of St. Andrew in Cologne. In this work, the Blessed Virgin holds the rosary and a scepter in her outstretched right hand, while Jesus blesses with his right hand and holds a globe with his left.

In contrast, the painting tradition of the Rosary is linked to the iconography of the “Merciful Madonna.” An example of this is the panel “Madonna of the Rosary with Saints Dorothea, Dominic, Peter the Martyr, and Cecilia” from around 1510 in the Church of St. Andrew in Cologne, as well as Giorgio Vasari’s “Madonna of the Rosary” from 1570 in Santa Maria Novella in Florence. In the former work, the symbolism of the Rosary is reflected in the choice of saints depicted, as well as in the presence of the rosary in the hands of the Virgin and three wreaths of flowers above her head, each containing fifteen roses, corresponding to the number of the Rosary’s mysteries: Annunciation, Visitation of Mary and Elizabeth, Nativity of Christ, Presentation in the Temple, Finding of the Child Jesus in the Temple, Baptism of Jesus, Wedding at Cana, Proclamation of the Kingdom of God, Transfiguration, Institution of the Eucharist, Agony in the Garden, Scourging of Jesus, Crowning with Thorns, The Way of the Cross, Crucifixion, Resurrection, Ascension, Descent of the Holy Spirit, Assumption of Mary, and Coronation of the Virgin Mary. In the second work, medallions above the figure of the Blessed Virgin surrounded by angels and the Lord Sabaoth depict fifteen medallions with illustrations of the mysteries, intertwining the rosary.

In later works, the image of the wreath becomes less common. Instead, the classical composition of this iconography in painting and sculpture is similar to other Marian iconographies, particularly the “Our Lady of the Belt” and “Our Lady of Mount Carmel.” Most often, this is depicted as the Virgin Mary with the Child, presenting the rosary to selected saints or donors, especially to Saint Dominic and Catherine of Siena, the latter being the author of works dedicated to the Virgin Mary. Examples of such works include Luca Giordano’s 1657 piece in the Capodimonte Museum in Naples, as well as a work from the Luca Giordano school, “The Virgin of Pompeii,” from the 17th century, located in the Sanctuary of Our Lady of the Rosary in Pompeii. Historical scenes of victories over the Ottoman Empire or miracles associated with the Rosary cult may also be depicted. Upon analyzing these works, it can be concluded that the rosary is the only constant attribute that can reliably identify the iconography of similar figures and icons.

Skop M, Sacred Sculpture in Public Spaces of Lviv, 1992-2023: Iconography and Presentation Concepts. Lviv, 2023.