Nieznany drzeworyt kanonizacyjny św. Jacka .......... 699

AN UNKNOWN CANONISATION WOODCUT OF ST HYACINTH

This article identifies and analyses an overlooked woodcut in the British Museum (inv. no [inv. no 1925,1215.99]) that depicts the Vision of St Hyacinth surrounded by eighteen scenes from his life and miracles. A dedication by the Dominican Severinus (Seweryn Lubomlczyk) to the royal envoy Stanisław Miński places the print directly within the context of Hyacinth’s 1594 canonisation. Comparison with contemporary engravings – especially Raffaele Guidi’s copperplate after Antonio Tempesta – shows that, although the two works share the same programme and heraldic framework, the woodcut preserves a distinct and carefully constructed compositional model, particularly in its rendering of the central vision.
The study argues that this woodcut represents an alternative and hitherto unrecognised strand in the early post-canonisation iconography of St Hyacinth, separate from both the Cracow-derived tradition and the influential Bolognese formulation by Lodovico Carracci. Its unusual format, technical medium, and lack of artistic descendants explain its historical obscurity while underscoring its importance for understanding Roman print production and canonisation imagery around 1600.