Pieta ze Skrzatusza na tle plastyki gotyckiej w pierwszej połowie XV w.
Pieta of Skrzatusz against the background of Gothic plastic art in the first half of the 15th century

Summary/Abstract: The Pieta of Skrzatusz is believed to be a sculpture created in the early 15th century, most likely in one of the Pomeranian workshops. It is known that it came to Skrzatusz in the 16th century from Mielecin (Mielęcin), where it was destroyed during the profanation of the church by Lutherans. Due to the provincial nature of the church in Mielecin (Mielęcin) and historical premises, it is possible to assume that Pieta found its way there secondarily from the parish church in Tuczno – the center of the possessions of the mighty Wedel family. Thus, the state of the sculpture recorded in modern iconography reflects its condition after repairs from the end of the 16th century. Given the completely secondary arrangement of Christ’s restored limbs, it is possible to believe that the original composition of the sculpture looked different. The Savior’s left hand, now raised high by Mary, originally rested rather on his hip, while the right hand most likely hung upright obliquely towards the base of the sculpture showing the top of the nail-pierced hand – as in many Pieta from the first half of the 15th century. Mary was most likely resting her left hand against her chest. The damage to the throne on Mary’s left side allows us to believe that here, too, the composition of the sculpture originally reached further, creating the possibility of resting the Savior’s feet on the ground. The sculpture’s stylistic features – the draping of the mantle with tubular folds below the knees, the elaboration of the perisonium and the facial expression of the slightly smiling Mary seem to indicate the sculpture’s late metric within the first half of the 15th century. It was probably created in the 1540s, perhaps around mid-century, probably in one of the woodcarvers’ workshops not far from Skrzatusz.

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