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Abstract

This article deals with the presentation of St. Hyacinth (before 1200-1257) placed on the back seats of the stalls of the monastery churches in Poznań and Klimontów. The first known presentations of St. Hyacinth can be dated back to the fifteenth century, but certainly the canonisation of this Dominican friar (1594) gave a new impulse to creating artistic presentations and cycles. An important role in making his name more popular among Catholics was played by the graphics, which produced examples to be followed in other forms. Among the first graphics was the engraving of Raffaelo Guidi, made in 1594-1595 in Rome according to the drawing of Antonio Tempesta. One can presume that the copy of a late gothic painting from the Dominican church in Cracow served as an inspiration to produce the main scene of this print. A less elaborate engraving, taking into consideration the number of scenes depicted, was the one of Camillo Graffico, produced in Rome at this same time. In 1600 Jan Sadeler followed the concept of Guidi when he published his print in Venice. In 1601 Giacomo Lauro published in Rome a print presenting 12 scenes on the edge. This artefact inspired the Cologne publisher Peter Overadt, who printed in 1605 his engraving together with others, known as the cycle Icones et Miracula Sanctorum Poloniae. He significantly influenced Polish art in the seventeenth century. The low relief placed on the back-seats of the Poznań stalls, dating back to ca. 1620-1630, used the print of Overadt as a source for seven episodes (out of fourteen preserved). The back-seats at the church in Klimontów, produced ca. 1620-1640, include 10 scenes (out of 11) based on Overadt’s graphics. Both of these cycles were based on these same sources and were made separately, using other motifs, not always fully discovered, and indirectly some literary works were dedicated to St. Hyacinth.

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Authors and Affiliations

Paweł Grabowski

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