The dense composition, but not suffocated, less torn than other works by Assereto, focuses on the figure of Christ (grandiose in proportions but classically elegant in the positure of the body by the soft flesh permeated with light) surrounded by brutal and brazen executioners, from which emanates, especially in the vibrant expression of pain of the face, a suffering but contained emotionality. Datable at the end of 1620, and purchased in 1966, the painting of the Genoese author appears permeated with Lombard culture, but it seems stimulated also by the lesson of Giulio Cesare Procaccini and affected by the study of works by Van Dyck present in Genoa