Italian school; second half of the seventeenth century."Christ of sorrows".Oil on canvas. Relined.Presents repainting and Elizabethan frame, c. 1850 with damage.Measurements: 57 x 44 cm; 66 x 55 cm (frame).The invocation of the Christ of sorrows, usually represented the figure of Jesus, naked, except for the cloth of purity, located in the lower area, although in this case only the bust of Jesus is appreciated, with a blue cloak knotted to the chest. It is a compassion that arises as a result of the Calvary process suffered by Jesus. Of simple and clear composition, with the face of Christ in the foreground, the absence of narrative details deepens the expressive power and pathos, designed to move the spirit of the faithful who pray before the image, within a tremendist sense very typical of the baroque in Catholic countries. The theme of Ecce Homo belongs to the cycle of the Passion, and 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 robe symbolic of the Passion 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 the power of Christ was not such in front of that of the leaders who were judging him there.In this case the reed is not appreciated, but it is true that the work keeps a great similarity with the iconographic patterns used in the representation of the Ecce Homo. Christ is represented bust-length, with a cloak, which in this particular case is not red, as is usually the case. Dressed with the crown of thorns and with a sorrowful attitude. It is true that the work stands out for the softness of the forms, and the tonal transition of the chromatic range by using colors of a soft palette. Although it should be noted that this characteristic can only be appreciated in the representation of the Christ, since the luminosity given off by the white flesh tones creates an expressive contrast with the dark background.