While in the previous lot the sudarium was presented by two angels as if they were holding a coat of arms, here a single angel is virtually pulled upwards toward heaven by the cloth, rushing ahead of the other angels who carry the instruments of torture. In this context, the emphasis is not so much on Veronica's veil as an acheiropoieta, than on the cloth as a relic of the Passion. The image of Christ is merely hinted at on this print.
Dürer had begun to experiment with the relatively new medium of etching in 1515, the year before this print was created. He has clearly understood the peculiarities and advantages of the medium, in particular the ability to draw swiftly and freely into the etching ground, rather than laboriously engraving each line. The quick lines created with the etching needle are particularly well suited to the depiction of movement and Dürer makes full use of this in depicting the angels' speedy ascent.