Description according to Anna Moraht Fromm (http://www.annamorahtfromm.info/caw2_index.php?page_id=917&lang=en): Christ is sitting sunk down behind a low polychrome stone balustrade. The crossing symbols of the passion he already suffered-a bundle of brushwood and a whip - are lying in front of him. He is cupping his head, crowned with thorns, exhaustedly in his right hand which in turn is resting on his right flexed leg. His left arm is dangling down feebly while his left hand is resting with the palm facing upwards on the balustrade in front of him. A white linen cloth is wrapped around his hips. The slight upper body of this man of sorrows is stripped to the waist, tortured, bleeding and stigmatized. His meditative gaze from wide deep-set eyes is fixed on the looker-on. The figure is surrounded by an irregular halo of ogival-shaped clouds composed of the colors red, blue and black, which may be understood as an indication of an entrance to a funeral cave as well as the stone balustrade may be understood as an indication of a sarcophagus. The background of the upper half of the picture is backed with gold leaf showing thistle tendrils entwined in fine hallmarks as well as an owl above the head of Christ which is attacked by two birds. The owl has opened her beak wide in shock, her eyes are wide with alarm, the feathers on her head are bristling. With her claws she is holding on to a branch, with her wings spread wide she is trying to repel the tormentors attacking her from both sides.

On the back: The composition appearing as an abstract painting is explained by courtesy of Dr. Thomas Schauerte as follows: In my opinion Durer imitates a precious hardstone carving. That corresponds well to the fact that especially small format panel paintings often were not hanging on the walls but were being kept in boxes or caskets. A sightly back was more relevant then.

Description according to Anna Moraht Fromm (http://www.annamorahtfromm.info/caw2_index.php?page_id=917&lang=en): Christ is sitting sunk down behind a low polychrome stone balustrade. The crossing symbols of the passion he already suffered-a bundle of brushwood and a whip - are lying in front of him. He is cupping his head, crowned with thorns, exhaustedly in his right hand which in turn is resting on his right flexed leg. His left arm is dangling down feebly while his left hand is resting with the palm facing upwards on the balustrade in front of him. A white linen cloth is wrapped around his hips. The slight upper body of this man of sorrows is stripped to the waist, tortured, bleeding and stigmatized. His meditative gaze from wide deep-set eyes is fixed on the looker-on. The figure is surrounded by an irregular halo of ogival-shaped clouds composed of the colors red, blue and black, which may be understood as an indication of an entrance to a funeral cave as well as the stone balustrade may be understood as an indication of a sarcophagus. The background of the upper half of the picture is backed with gold leaf showing thistle tendrils entwined in fine hallmarks as well as an owl above the head of Christ which is attacked by two birds. The owl has opened her beak wide in shock, her eyes are wide with alarm, the feathers on her head are bristling. With her claws she is holding on to a branch, with her wings spread wide she is trying to repel the tormentors attacking her from both sides.

On the back: The composition appearing as an abstract painting is explained by courtesy of Dr. Thomas Schauerte as follows: In my opinion Durer imitates a precious hardstone carving. That corresponds well to the fact that especially small format panel paintings often were not hanging on the walls but were being kept in boxes or caskets. A sightly back was more relevant then.