The painting of the Lady of Sącz prepared for the canonisation was created in the studio of the painter Piotr Moskal (Academy of Fine Arts, Kraków). Taking on the task of creating a devotional image, besides the central figure of the newly canonised saint he included in his composition a whole series of additional details, combining the craft of an artist with that of a historian.
The painting shows the Saint in the habit of a Poor Clare as she steps across the threshold of the monastery, holding a model of the church, the attribute of a founder. This is clearly a reference to the oldest devotional image of the Saint, the wooden sculpture of 1470 placed in the altar of the chapel of St. Kinga.
The landscape in the background shows, from the furthest plane: the Tatra Mountains, the Pieniny with the Three Crowns and the Dunajec gorge, and the castle in Nowy Korczyn. The rivers woven into the landscape are the Poprad, the Dunajec and the Vistula.
In the nearest plane of the landscape, on the right, we recognise Wawel, the residence she left behind, while on the left a mine shaft recalls the gift of salt she left to the people in Bochnia and Wieliczka.
At the bottom of the composition the artist has shown the discarded ducal cloak and insignia. Next to the cloak, an open casket of coins speaks of the dowry Kinga gave for the good of our country, and the ring in a block of salt refers to the legend of the discovery of salt in Bochnia and Wieliczka. The Saint herself turns towards the light, which shows her the way through the cross. A footprint pressed into the threshold of the monastery gate with the date 1289 commemorates the year of St. Kinga’s religious profession, and the date 1999 with the inscription “Sancta Kinga” commemorates her canonisation. A lily laid on the step symbolises the virginity she preserved.