The plate was not part of any of the early auctions or collections and is probably not anymore in existence.

Almost twenty years after his first print about the trial of Jesus before the court of Pilatus (B77) Rembrandt returns to the subject. Pilatus asks the people whether they want Christ or Barabbas to be released. Matthew 27, verses 11-26 and John chapter 19, describe how the people vote for the convicted villain, who is just visible in between the two main characters. Rembrandt pictures a large, formal building as the background for this scene, with the statues of Justitia (Justice) and Fortitudo (Strenght, power) suggesting some sort of courthouse. It may be inspired by the new City Hall in Amsterdam by Jacob van Campen that was finished at about the same time. It has been suggested that the entire plate is based on the contraversion between Justice (Jesus, the people) and Power (Pilatus, the Pharisees). In the left window, the wife of Pilatus is visible, who, according to Matthew, just informed her husband of the nightmare she had. She advises her husband to leave Jesus alone. On the left side of the podium a boy with a water can is waiting to wash Pilatus’ hands, another well-known element of this historical moment.

The plate is frequently used as an example of major differences between the early and the later states. Rembrandt had a good reason to ‘upgrade’ the plate several times. It is one of the first prints in which he only uses drypoint, which limits the number of (good) impressions that can be made. He has to rework the plate in order to make more prints. While doing so, he uses the opportunity to make changes in the scenery. Of which the most surprising is the addition of a strange person in the middle of the arches, by many authors seen as a ‘river god’.

Usually the engraving Ecce Homo (B71) made in 1510 by Lucas van Leyden (1494-1533) is mentioned as a source for this print. It also shows a tribune with people.
Münz points at an etching by Callot (Lieur 285) and an engraving by Nicolaes de Bruyn, signed NB 1618, based on the Van Leyden engraving.
For the juxtaposition of the main group NH points at a drawing in the Kupferstichkabinett in Dresden (Benesch 135).

There is an anonymous copy in reverse (Albertina, 437 x 328 mm, not traced by NH, WB).

The New Hollstein list eight states, other authors list seven or eight, all contemporary.
The 1st state (R244) is the larger plate, without the balustrade above the open window at right. The shading on the legs of the man at the far left of the platform is right-to-left only.
In the 2nd state the doorway in the left background is shaded with fine cross-hatching.
In the 3rd state (R245/H, NU 2nd state) the shading on the leg is now cross-hatching.
In the 4th state (R246/H, NU 3rd state) the plate is reduced by 25 mm at the top. A balustrade is added above the open windows at the far right.
In the 5th state (R247/H, NU 4th state) there is vertical shading added to the diagonals in the shadow of the open windows upper right. There is much extra work in the shadows of the left window, behind the woman.
In the 6th state (R248/H, NU 5th state) a major change is made by removing all figures in the front. The plate is heavily reworked, except the central part.
In the 7th state (R249/H, NU 6th state) two dark arches are added below the platform. All figures on the platform are redrawn in drypoint. A signature and date are added. In the 8th state (R251/H, NU 7th state) the bearded bust (a river god?) is shaded with strong horizontals.
In the 8th state (H/NU) the river god has been reworked and has largely disappeared.
Nowell-Usticke recognizes that there may be many more small retouches that may have escaped attention.

All 19 impressions of the first three states are on Japanese paper, except five on Chinese paper and on vellum (in the Petit Palais, the Dutuit collection, Paris). There are eight impressions of the 1^st, four of the 2^nd and seven of the 3^rd state known (HD).
An impression of the 1^st state on Japanese paper, formerly in the collections of the Counts of Plessen-Cronstern and Samuel Josefowitz (1921-2015), was sold at Christie’s London on 5 July 2018. The hammerprice of £ 2,5 million made it the most expensive print by  Rembrandt, by far.
There is a maculature of the 3^rd state, on western paper, in the Albertina (HD, not in NH).
An impression of the 5^th state, formerly in the collection of Samuel Josefowitz (1921-2015), was sold at Christie’s London on 3 December 2025, hammerprice £ 750.000.
Of the 6^th state only one impression is known, on Japanese paper, in the British Museum.
Of the 7^th only three impressions are known, all on Japanese paper, in the Rijksmuseum, the Fitzwilliam Collection and in the Lugt Collection (Paris).

H 271, BB 55-A, G 79, M 284, Mz 235, RA 244-251, Cl 80, W 80, Bl 51, Du 83, CD 240, S35-37 Broos 1985, p. 55; Tümpel 2006, p. 76-79; Tromp & Maas 1999, p. 89-103; Hoekveld-Meijer 2005, p. 173-179; Hinterding 2006, p. 266; Hinterding 2008, p. 162ff; Verdi 2014, p. 10-11; Dat kan beter! 2013, p. 44-45; Rutgers/Standring 2018, p. 129;