The remaining sheets of the series have each an independent architectural framework, which forms no part of the actual setting of the scene itself, but through which it is seen like a picture. In the “Crowning with Thorns” and “Pilate washing his Hands” it consists of two pillars with large diamond-shaped panels containing antique heads in medallions, and, above the elaborately-carved capitals, charmingly-drawn winged putti supporting the ends of a wreath which hangs from the centre of the frame. In the “Crowning” (Pl. 47 (2)),[339] Christ is seen from the side, an almost nude figure, seated on a high stone step in front of a building upon which Holbein has given free play to his delight in the richest Renaissance forms. In the Saviour’s downcast face is a look of intense suffering, nobly borne. Two of the soldiers press the crown of thorns upon his head by means of a long curved stick held across it, which a third man is striking violently with a stout staff, in order to force it securely down. A fourth kneels in front and thrusts the reed into the victim’s hands with a jeer. Behind them, on the left, Pilate stands, his wand of office held aloft. In the next scene (Pl. 48 (1))[340] Pilate is seated on a high throne with a canopy supported by chains fastened to the necks of two sculptured figures, and long curtains, both canopy and curtains being decorated with the lilies of France. This throne, or judgment-seat, is placed in an open court, and in the background rises a Gothic building of the type to be seen in the streets of Basel in Holbein’s day. Pilate performs the symbolic action of washing his hands with the greatest vigour and determination, one attendant holding a large flat basin in front of him while a second pours in the water. On the right Christ is being led away by a crowd of soldiers with uplifted pikes and spears. Pilate, with head turned towards the departing Saviour, is calling after him, strong excitement shown on his face. [Sidenote: THE “PASSION OF CHRIST” SERIES]