Toledo school; circa 1620."Ecce Homo.Oil on canvas. Relined.Presents faults and repainting.Measurements: 96 x 77 cm; 114 x 94 cm (frame).Devotional scene in which the religious theme allusive to the Ecce Homo is represented. It is a work that abandons the traditional representation of this theme, since it avoids the pictorial sobriety and the conception of Christ, portrayed half-length. In this painting the figure of Jesus can be appreciated in the center, inscribed in a break of glory that stands out for its bright and golden tonality. Standing and in a predominant place of the composition, Jesus shows the faithful his suffering, wearing the crown of thorns and keeping the rope with which the Roman soldiers have tied him. However, he is not alone in his suffering, at his side is a whole procession of angels. Two on each side of Jesus, holding his cloak. This composition, open to the viewer and concave, is a characteristic of the Toledo school. The theme of Ecce Homo belongs to the cycle of the Passion, and immediately precedes the episode of the Crucifixion. Following this iconography, Jesus is presented at the moment when the soldiers mock him, after crowning him with thorns, dressing him in a purple tunic and placing a reed in his hand, kneeling and exclaiming "Hail, King of the Jews!". The words "Ecce Homo" are those pronounced by Pilate when presenting Christ before the crowd; their translation is "behold the man", a phrase by which he mocks Jesus and implies that Christ's power was not such in comparison with that of the leaders who were judging him there.The Toledan school is characterized by the use of calm and sober compositions, conceived with great clarity as in this case, also as is typical of the Spanish Baroque school, the scene is worked with great attention to detail, having the painter treated with precision and thoroughness the anecdotal elements that provide narrative to the scene. During the sixteenth and seventeenth centuries in Toledo converged different artistic currents that crystallized throughout the seventeenth century. One of them was the one introduced by the Italian painters who worked in the Escorial. In addition, a pictorial school with its own identity was created in Toledo.