Many of these came during the years of 1566-1567 as part of the painter's commission to decorate various parts of the Sala dell'Albergo in Venice. This particular piece is over five metres tall and is considered by many to be the best example of his work in this building. Tintoretto was a Venetian Mannerist and as a group they were known to have taken direction from various members of the Northern Renaissance, such as Durer and Cranach. We can see direct evidence of this connection in this painting, with specific comparisons being drawn with a number of Durer woodcuts.

The mannerists continued the dominance of religious themes within art, with tales of Christ's life being amongst the most frequently used. See the bronze door designs of Lorenzo Ghiberti, for example. Many artworks from this period were installed directly into the venue themselves, making them unsuitable for loaning elsewhere. This has helped Italian cities to keep hold of these prime possessions and retain their attraction to tourists from all across Europe.

Tintoretto's setting for this painting is atmospheric and powerful, but typical of his and his studio’s signature approach. Most other interpretations were much less dramatic than this, which is perhaps why it was pinpointed amongst all of the work that he produced here. If we take a closer look into the composition we can also find much more from the original story, such as the crowd baying for Christ’s demise. Pilate is dressed in red robes and is the sitting judge, presiding over this important decision.