Since there are faint traces of polychromy in the folds of the cloak—which is held in place by the raised arm angled to the right—among which even fainter traces of an “original” polyment can be identified, it can be assumed with certainty that this sculpture must have been painted in its original state, a conclusion that can be drawn a priori not least from the “porous” surface texture. Since this sculpture has been sculpturally worked “on all sides,” it can be reliably assumed that its original “location” was, at most, within a canopy without a back wall, or—more likely—as a completely “free-standing” “acroterion” figure, such as those mounted on slender pylons either atop “Saint-Sépulchre” (= Holy Sepulcher of Christ) monuments (see the polygonal structure from around 1260 in the cloister of Constance Cathedral, or – the openwork spire base of the “Maria Straßengel” pilgrimage church near Graz, completed in 1366) as quasi-“arbitrary” examples; or—not least due to the attribute of the turribel (=incense burner)—it is also conceivable in the context of a tabernacle-shaped altar canopy (=ciborium).

The extremely “vertically” elongated, steeply curved “axis” of the body is perhaps most clearly revealed in its distinctive, “style-defining” posture when viewed from the back in this sculpture, with the tubular folds—which “fall downward” from the “smooth” shoulder area—which “fall downward” and gain volume as they approach the base—are countered on either side by two oppositely directed (i.e., upward-striving), flap-shaped hollows, and a long, downward-pointing “hollow” positioned centrally in relation to them, creating a lively dynamism within the genuinely “long-striped” drapery ensemble. Corresponding to this seemingly “initiated” dynamic, on the left flank of this statue, the opposing “thrusts” within the cascading folds—in the formally increasing individualization of the cascading folds of the cloak’s drapery—create increasingly “angular” breaks against the base. In this context, the section of the cloak covering the left, angled arm defines a cavity around the left forearm that is quite “cavity-like” and appears almost stereometric; this cavity—due to the arrangement of the cloak’s drapery —is genetically motivated by the haptic character thus created by the garment enveloping the figure’s body. In contrast—not least due to the already described “pinching” gathering of the cloak drapery caused by the upward-angled right arm —the right side of this sculpture below the right elbow is characterized by successively more acutely angled, yet gently softened at the “knees” of the garment folds, whose ascending tubular folds, on the one hand, converge toward the right forearm and, on the other hand, form strikingly curvilinear hem lines (the corresponding French term “curviligne” authentically expresses this style-defining phenomenon through onomatopoeia).