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21 Icon Painting in the Ukrainę 25

Thus, next to the saints common in the Orthodox Church, patrons of the Roman Church were also to be seen, including Anthony of Padua and John Nepomuc. There were also frequent portraits of the first Uniate martyr, the blessed Josafat Kuncewicz, Archbishop of Polock, who was murdered in Vitebsk and beatified by Pope Urban III in 1643.⁴³ The 1802 inventoiy of the Basilian church at Werchy in Wolhynia, lists portraits of all three saints.⁴⁴

The dissemination of the image of Josafat Kuncewicz was aided by graphic works.⁴⁵ Aside from their devotional puipose these also served as a pattem collec-tion for painters. The works of the earlier mentioned Josef Goczemski are a good example of this. Josef and his brother Adam were the best known engravers work-ing for the Pochaiv monastery. They mainly illustrated printed books and devo-tional prints. Rastawiecki and other biographers have recorded about 30 engrav-. ings executed by Adam Goczemski. Josef, working in 1734-74, was also active in Kiev, and signed his works both in Polish and Latin.⁴⁶

The Uniate artistic circles brought emblematic images hitherto unknown to the Eastem Church; of these many were associated with eschatology. One example is the image of the Pieta^-, another depicts the Infant Jesus sleeping on a skuli, surrounded by the instruments of the Passion - the hammer, nails and cross. Another common theme was the pelican feeding her young with her own blood - a Medieval image, symbolizing the Eucharist, which came to the Ukrainę by way of prints and painting. Of the Eucharistic themes, the most popular, particularly in western Ukrainę, was the representation of Christ of the Vine, which often appears in the iconographic system ofthe 18th cen tury iconostasis.

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Hie above examples of graphic art as an archetype for icon paintings in the Ukrainę clearly emphasize the close artistic ties of the Orthodox and Catholic Churches, in spite of theological differences. TTianks to the role of the Pechersk and Pochayiv Monasteries inthe developmentofwood engravings, the Ukrainę experi-enced a dynamie development of icon painting in the 17th century. The 18th cen-

⁴³    Cf. A. Guepin, Saint Josaphat archeveque de Polock, martyr de l'unitę catholiąue et 1'Śglise grecąue unie en Pologne, Paris 1874.

⁴⁴    M. Giżycki, Spis klasztorów unickich bazylianów w województwie wołyńskim, Kraków 1905, p. 100.

⁴⁵    E. Rastawiecki, Słownik Rytowników poliskich tudzież obcych w Polsce osiadłych lub czasowo w niej pracujących, Poznan 1886, p. 117; Gdzie Wschód spotyka Zachód. Portret osobistości dawnej Rzeczypospolitej 1576-1763, ex. cat., Warszawa 1993, p. 429-430, nr. 503; W. Deluga, Les gravures orthodoxes et greco-catboliques de la Republiąue Polonaise des XVIIe et XV7IIe siecles, Revue des Śtudes slaves, LVI, 1994, 2, p. 11.

⁴⁶    Słownik Artystów..., p. 378.

⁴⁷    P. Zboltovskyi', Khudozhnye zhyttia na Ukraini, Kyi'v 1983, p. 36; D. Shcherbakivskyi, Symbolika v ukrains'komu mystetstvi, Zbirnik sekt sit mystetstva, Kyi'v 1921, p. 55-74; N. Kotsiubins’ka, Pelikan v ukraVns’komu mystetstvi, Zapysky istorychno-filolohichnoho viddilu Ukrains’kou Akademii Nauk, IX, 1921, p. 230-245.