Chopped firewood reveals a miraculous crucifix. 1 copy worldwide

[Miraculous Crucifix] / [Ephemera] / [Metric relic]. In dießen Format und Maas, ist anfangs Augusti Ein derleÿ Ungarisches Creutz in einer zum Verbrennen ab gehauenen aschpen in durchschnidt 3/4 Ehln dick als währ solches mit Tunckl braun zwetschken Holz eingeleget und Nahe an de[n] Kern in Zerspaltung des Holtz, durch ein Soldaten gefundten worden die Zerspaltung ist solcher Maassen getroffe[n], das in beeden Spalten ein klein messerrucke[n] dick dis Creutz geschine[n] und in dem einem Spalten von weiten quasi Christum Cruxifixu[m] mit der Lincken handt an Nagel mit der rechten herunter anzeiget, welches zu Motol in Haupt Quartir Ihro Königl: Hochheit groß Herzog von Toscana, auff behalten wirt. Anno 1742. S.l.: s.n., s.a. [likely 1742 or shortly thereafter]. [14.5 x 8.9 cm], [1] f. etching. Narrow margins, some wrinkling, minor toning, a few minor stains.
 
 
Very rare (1 copy worldwide: Vienna Volkskundemuseum) etching depicting—in its actual “format and size”—a miraculous crucifix discovered in 1742 inside a log being chopped for firewood by a soldier. This event was the subject of a handful of popular prints but soon faded into obscurity. 
 
The text here relates that the event occurred at the beginning of August (other sources say late July), that the log was from an ash tree and ¾ of an el in diameter, and that the image of the crucifix was darker than the surrounding wood, as if made of plum wood. The cross was double armed (called here a “Hungarian” cross), and one of Christ’s hands was nailed higher up than the other: This image places his hands on different cross arms, while other treatments of the subject show a subtler difference on the placement of his hands. The text concludes by noting that the miraculous fire-wood cross was being kept in “Motol” (i.e., Prague) by the Grand Duke of Tuscany. 
 
The cross as depicted in this print measures 13.0 by 7.7 cm. The engraving may be considered a “metric relic,” i.e., and object that offered the faithful a connection to Christ, saints, holy places, etc., by replicating for contemplation the precise size of a holy item, e.g., Christ’s lance wound, the Holy Nail, His height, the dimensions of the Holy Sepulchre, or even, as here, a rather minor devotional or miraculous artifact. Metric relics thus form a category of some importance to the history of art, with its emphasis on chains of orthodox copies passed down in the form of icons, iconographs, models, and the like. 
 
 
I locate 1 other copy of this print: Volkskundemuseum Wien (inv. no. AÖMV/14864).
 
*X. Barbier de Montault, “Les mesures de devotion,” Revue de l’art chrétien, vol. 32 (1881), pp. 360-419.