Frauenkirche, Munich, Germany
After having him tortured, Pilate shows a bound and weakened Jesus to the crowd. As usual, the two stand on a raised platform above the crowd, Jesus with his crown of thorns, purple robe, and "sceptre" and Pilate in a white turban.
Late medieval and Renaissance paintings set in the East often picture turbans on the men, even if the episode pictured predates Islam. Here we see turbans on a man in the foreground and several in the background.
Judging from the style, one might date this painting to the 17th century.
See below for comments on the predella.
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The Frauenkirche Ecce Homo: Detail, the predella
First on the left is St. Bernard, for once not wearing his usual white Cistercian habit. As in some other images, he holds a crucifix in one hand. The other holds the crozier that betokens his status an an abbot.
Next is St. Dionysius, remembered as the first bishop of Paris, where he was beheaded for the faith. He is often pictured as here, holding his own head. He wears a mitre and holds a crozier, emblems of his status as a bishop.
St. Giles is next. His attribute is the doe that brought milk to his hermitage each day. The doe's neck has been pierced by the arrow shot by hunters. Later in his life Giles became an abbot, so he has a crozier like St. Bernard's. The cloth hanging from each of the croziers is a sudarium. It protects the shaft of the crozier from sweat.
Right of St. Giles, St. Afra holds a column with a flame at its base.
See above for the entire painting.
Read more about St. Afra, St. Bernard, St. Dionysus, St. Giles, and St. Anastasia.
Photographed at the Frauenkirche by Richard Stracke, shared under Attribution-NonCommercial-ShareAlike license.