"1520~ / 1525~, Brussels" . . . "06.301" . . . . "The bound Christ, humiliated and all but naked, mockingly draped in an imperial purple cloak and thorny crown, is presented to the jeering crowd, as described in the Bible (John, 19:5), the inscription woven in gilded silver, \u201CECCE HOMO\u201D declaring \u2018here is the man\u2019. In a device popularized by Albrecht D\u00FCrer, the crowd is not actually represented; instead, it is as if his tormenters present Christ directly to us, the tapestry\u2019s viewers, making us complicit in his degradation and rendering this hanging ideal as a tool for devotional contemplation and meditation.This small hanging combines tapestry conventions, like the decorative border filled with beautifully observed fruit, flora and foliage, with compositional devices more typical of contemporary panel paintings, like the half-length devotional format, and the foreground ledge and slightly awkward, encroaching architectural setting. This tapestry\u2019s design reuses a prototype almost certainly created in the workshop of the successful Antwerp-based artist, Quentin Metsys, and disseminated in numerous paintings; a painted version attributed to Metsys, particularly closely related to this tapestry\u2019s design, is in the Doge\u2019s Palace, Venice. Like The Met\u2019s tapestry 32.100.389, this is one of a sizeable group of smaller-scale devotional tapestries produced by talented weavers almost certainly working in Brussels- the center of excellence of figurative tapestry weaving throughout the late fifteenth and the sixteenth centuries- and probably made on speculation for sale on the open market."@en . . . "The bound Christ, humiliated and all but naked, mockingly draped in an imperial purple cloak and thorny crown, is presented to the jeering crowd, as described in the Bible (John, 19:5), the inscription woven in gilded silver, \u201CECCE HOMO\u201D declaring \u2018here is the man\u2019. In a device popularized by Albrecht D\u00FCrer, the crowd is not actually represented; instead, it is as if his tormenters present Christ directly to us, the tapestry\u2019s viewers, making us complicit in his degradation and rendering this hanging ideal as a tool for devotional contemplation and meditation.This small hanging combines tapestry conventions, like the decorative border filled with beautifully observed fruit, flora and foliage, with compositional devices more typical of contemporary panel paintings, like the half-length devotional format, and the foreground ledge and slightly awkward, encroaching architectural setting. This tapestry\u2019s design reuses a prototype almost certainly created in the workshop of the successful Antwerp-based artist, Quentin Metsys, and disseminated in numerous paintings; a painted version attributed to Metsys, particularly closely related to this tapestry\u2019s design, is in the Doge\u2019s Palace, Venice. Like The Met\u2019s tapestry 32.100.389, this is one of a sizeable group of smaller-scale devotional tapestries produced by talented weavers almost certainly working in Brussels- the center of excellence of figurative tapestry weaving throughout the late fifteenth and the sixteenth centuries- and probably made on speculation for sale on the open market."@en . . "1520~ / 1525~, Brussels" . . "0.6758"^^ .