He was a famous painter and so remained for two centuries after his death in particular because of his sacred works (he was often called the painter of the "Immaculate Conception"), he knew how to demonstrate the religiousness of the people of Sevilla in a discreet and solemn way.
Thus the Ecce homo (which goes together with a painting of Our Lady of Sorrows at Prado as well) expresses well the intimate and deep religiousness made up of mysticism and resignation which characterized the whole of the Spanish 17th Century.
The position in which Christ is depicted makes the viewer meditate on the evil and sin which produced lots of sufferings and sorrow to the Saviour: his head is bent (as it will be whilst dead on the cross), his eyes are looking towards the ground, the red knotted mantle contrasts with the pale face disfigured by the wickedness of man.

"He was oppressed, and he was afflicted, yet he didn't open his mouth; like a lamb that is led to the slaughter, and like a sheep that before its shearers is dumb, so he didn't open his mouth" (Isaiah 53,7).