This altarpiece shows scenes from the life of Christ. At the left at the top: ' Agony in the Garden'; At the left at the bottom: the ' Way to Calvary'. In the centre: ' Christ on the Cross with the Virgin & two Holy Women, Saints John & Francis'. At the right at the top: ' The Resurrection'; at the right at the bottom, ' Mourning over the Dead Christ'. The central pediment has a relief of 'yhs' (a monogram for Christ) within a sun, under a crown. The altarpiece was probably painted for the Franciscan convent of S. Chiara, Aquila. ...

In the New Testament, ' Ecce Homo' (Behold the Man) were the words used by Pilate when he presented Christ to the people before the Crucifixion (John 19: 2-5). The inclusion of the Virgin Mary swooning in the foreground is not mentioned in the Gospels & is not usually represented in this scene. The turbaned Pilate seems to derive from the print of the same subject in Dürer's engraved ' Passion'. X-ray photographs show many changes made during the execution of this painting, particularly around the Virgin's face. ...

This is an old copy of the original ' Ecce Homo' by Correggio, also in the Collection. ' Ecce Homo' (Behold the Man) were Pilate's words to the people when he presented Christ to them before the Crucifixion (John 19: 2-5). ...

In this popular subject of the Ecce Homo, the figures of Christ & Pilate (who stands holding a reed behind Christ) are taken from an engraving by Schongauer. In the background, the Flagellation & Christ Mocked correspond, with slight variations, to those scenes in a painting by Memling (in the Galleria Sabauda, Turin). The picture may have been painted about 1510 or a little earlier. ...

The central panel shows the Crucifixion, with background scenes relating to the Passion. Left wing: Christ led from the Praetorium. Right wing: Descent from the Cross. The donor in the central panel has been thought to belong to a Charterhouse, St Barthol ...

Saint John stands behind Christ, while the Virgin is supported by a figure probably representing one of the Three Maries. The subject, which does not figure in any of the Gospels, is rare in Italian Renaissance painting, though common at this time in Germ ...

The Magdalen is shown with her attribute, the pot of ointment with which she anointed Christ. This is one of many versions of the composition by Benson. The design may ultimately derive from a figure such as that in ' The Magdalen Reading' by Rogier van der ...

The subject of Christ taking leave of his mother derives from devotional, not biblical sources. It relates to the moment when Christ leaves for Jerusalem & anticipates his coming death. The Virgin is shown prostrate with grief, attended by four holy women: Mary Cleophas, Mary Salome, Mary Jacobi & Mary Magdalene. The Virgin's companions also make an emotional appeal to Christ not to leave. Christ is accompanied by Saint Peter & Saint John the Evangelist. The minuscule family of donors at the bottom right have not been identified, although it is probable that they commissioned this picture. In this, as in other works by Altdorfer, the figures are elongated & their hands & feet enlarged. These distortions emphasise the language of gesture & stance, which Altdorfer uses so effectively. Much of the composition is taken up with landscape, particularly the tall fir trees which Altdorfer often depicted. On the left, through the arch, the sky is red, suggesting sunset &, perhaps, the death to come. ...

Jesus used Andrew & Peter's boat to preach to the crowds, & then led the fishermen to a miraculous catch of fish. New Testament (Luke 5: 1-10). After this he called on them to be fishers of men. The subject refers to the contemporary theological debat ...

Painted, probably in the 1560s, for the Chapel of the Sacrament in the Venetian Church of S. Trovaso (SS. Gervasio e Protasio) together with a ' Last Supper'. Before the Last Supper Christ washed his disciples' feet using a basin of water & wiping them 'with the towel wherewith he was girded', thus preparing them for priesthood. Peter protested, but Christ observed, ' If I wash thee not, thou hast no part with me'. Peter then said, ' Lord, not my feet only, but also my hands & my head' (John 13: 1-9). Parts of the painting, the figure with a torch in the foreground to the left especially, are badly worn. ...