Christ is shown at bust-length, bare-shouldered before a marble column. He has a rope noose about his neck and the Crown of Thorns upon his head. His long curly brown hair falls over his shoulders and his head is surrounded by a delicate patterned halo. Behind the pillar is a stone panel framed on three sides by a foliate classical moulding.

This painting was acquired as the work of Antonello da Messina, an attribution which was inscribed on the reverse of the panel in the 18th or 19th century. The names of the real artists are inscribed on the front (see below) - Francesco and Bernardino Zaganelli of Cotignola. The most important work by the brothers is the altarpiece of the same date (1499) for the Sforza Chapel in the Franciscan church at Cotignola (the painting now in the Brera).

This image of Christ appears to belong with a portrait (Scottish Private Collection), apparently depicting the condottiero, Rolando Pallavicino (1393-1457), identified on the basis of a later inscribed portrait by Francesco Zaganelli. The similar backgrounds suggests that they were pendants, or perhaps even a diptych, showing Christ venerated by Pallavicini. This portrait has the same Milanese export seal on the back. It is not clear which parts of either painting might be by Francesco and which by Bernardino. It has been suggested that the figure of Christ might be attributed to Francesco, with the background - which is perhaps incomplete - to Bernardino. John Shearman has proposed that Francesco may have been responsible for Christ and Bernardino the donor. The joint signature may have been placed on the painting of Christ to allow the portrait to be inscribed with the donor's name, though later removed.

Inscribed along the fascia of the painted moulding at the top (left of the column) '.yhs. marie. / Franciscus et bernardinus fratres' and (right of the column) 'de zaganelis / cotignolani. f. 1499' ('the brothers Francesco and Bernardino Zaganelli from Cotignola made this in 1499').