The representation of the Ecce Homo is a perfect example to gain access to the composition keys of Berruguete's sculptures. The unreal lengthening of the proportions breaks with the classic canon. The unbalanced position of the legs and the opposite turn of the arms are the engine of a strong instability of highly expressive value, counteracted by the rigid cloak that falls on to the floor and delicately brace the figure. The taste of Mannerism for contortion, for the game between opposing movements, has in this figure its model. The expression, described by some authors as cold, enigmatic or perplexing makes reference to a more moral than physical pain, sharpened by the taunt of the coronation of thorns and the presentation of the cloak and the cane. The model of the Ecce Homo was apparently taken by Berruguete from the classic statues that he saw in Italy, were the crossed-leg posture repeats frequently as a proper stance of the character that show affliction. The paleness of the flesh contrasts with the red over gold paint of the cloak, looking for and acute color effect.