The next scene, the “Ecce Homo” (Pl. 48 (2)),[341] also takes place outside the hall of judgment, with a large Gothic building with pinnacled gables filling in the background. This building is neither German nor Italian in style, but of late Gothic French architecture, of the type of the hospital founded by the Chancellor Nicolas Rollin in Beaune, a town through which Holbein would be likely to pass on his way to Montpellier, and for this reason Dr. Ganz regards it as one of the latest of the series, done after the artist’s return to Basel in 1524. Holbein has made use of the same building in the cut of the Empress in the “Dance of Death.”[342] Pilate stands in the open doorway on the right, with Christ by his side. One hand grasps his wand of office, and the other is held up as though demanding silence from the crowd of spectators and soldiery filling the space below him, who are shouting and gesticulating, and pointing their fingers in scorn at the drooping figure by Pilate’s side. Here again the expression of suppressed anguish and pain on Christ’s face has been admirably suggested by the artist, who has also produced the effect of a large and vehemently-agitated crowd of people by means of a few figures cleverly grouped and contrasted. Behind the Saviour is seen the head of the man in the hood-like cap, possibly intended for some official of the Court, who is shown in two of the earlier designs of the set. He appears again in the “Cross-bearing” (Pl. 49(1)),[343] the last figure issuing from the gate, and here, too, Holbein, with admirable skill in composition, has produced the effect of a large body of excited people. The procession on its way to Calvary has just issued through the gateway of the town, a view of the street with its high-roofed houses being seen in the background through the archway, and on the right the outer wall with a circular tower at the angle. The general composition follows with some closeness Holbein’s earlier versions of the subject, though marked by less passionate action and less insistence on ugly facial types. Christ, a most nobly-conceived figure, in the centre of the procession, is stumbling under the weight of the great cross, though he has not actually fallen to the ground. He is urged forward by the soldiers who surround Him, some of whom raise their clenched fists, while one, clad in Roman helmet and armour, thrusts a great cudgel into his side with a brutal energy which is mirrored in his face. In front walk the two thieves, almost nude, their hands tied behind them, the one who is turning towards the spectator with a finely-drawn head full of character. Above the crowd rise the shafts and points of weapons of many shapes, together with the uplifted ladder and the reed. The framework surrounding this drawing and its fellow is exceptionally rich in its decorative treatment. The columns with their basket-work and flat stucco-like ornament are connected across the top of the sheet by an