With his hand on Jesus' collar, the henchman tries to grind forward the fallen Jesus. He has a counterpart in the "great cross-bearing" of Martin Schongauer. As a so-called "repoussoir figure", the viewer's eye, which is to run from left to right, is again directed back to the face of Jesus. The proximity of Jesus to the bullet-filled purse of the henchman must be an obscene counterpart to the Franciscans striving for poverty.