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| Pietro Lorenzetti, Jesus Enters Jerusalem Italian, c. 1320 Assisi, Basilica of San Francesco, Lower Church |
“When Jesus and the disciples drew near Jerusalem
and came to Bethphage on the Mount of
Olives,
Jesus sent two disciples, saying to them,
"Go into the village opposite you,
and immediately you will find an ass
tethered,
and a colt with her.
Untie them and bring them here to me.
And if anyone should say anything to you,
reply,
'The master has need of them.'
Then he will send them at once."
This happened so that what had been spoken
through the prophet
might be fulfilled:
Say to daughter Zion,
"Behold, your king comes to you,
meek and riding on an ass,
and on a colt, the foal of a beast of
burden."
The disciples went and did as Jesus had
ordered them.
They brought the ass and the colt and laid
their cloaks over them,
and he sat upon them.
The very large crowd spread their cloaks on
the road,
while others cut branches from the trees
and strewed them on the road.
The crowds preceding him and those following
kept crying out and saying:
"Hosanna to the Son of David;
blessed is he who comes in the name of the
Lord;
hosanna in the highest."
And when he entered Jerusalem
the whole city was shaken and asked,
"Who is this?"
And the crowds replied,
"This is Jesus the prophet, from
Nazareth in Galilee.
Gospel of Matthew
21:1-11, Gospel Read at the Procession of the Palms, Palm Sunday, Year A
Each year on the Sunday before Easter, known universally as Palm Sunday, the Church reads two distinct Gospels. The first is read in an unusual position within the Mass, at the very beginning. This is the point at which palms are blessed and we recall the joyous entry of Jesus into Jerusalem during the preparation for what would be His last Passover under the Old Law.
 |
| Attributed to Sante Avanzini, Jesus Enters Jerusalem Cuttings from Missal of Innocent X Italian (Rome), c.1644 London, British Library MS Additional 18196, fol. 88 |
Very often, parishes assemble in some location outside the church building, read the Gospel and bless the palms, then recreate the entry by processing into their church, carrying the blessed palms. During this procession the mood is joyful and light hearted. The hymns sung during the procession are all about praise, like "All Glory, Laud and Honor" or are settings of "Hosanna Filio David", the cry of the Jerusalem crowds. There is a note of triumph.
 |
| Glass Roundel, Jesus Enters Jerusalem German, 15th Century New York, Metropolitan Museum of Art |
When Mass
begins inside the church, however, the tone changes abruptly. The sorrowful hymn "O Sacred Head Surrounded" may be the musical choice at Offertory. The Old Testament reading speaks of beatings
and bleeding, of buffets and spitting (Isaiah 50:4-7). The responsorial psalm refrain is “My God, My
God, why have you abandoned me?” and the Psalm itself (Psalm 22) speaks of
mocking and the piercing of hands and feet, the numbering of bones. The New Testament reading from Philippians
tells us that Jesus became “obedient to the point of death, even death on a
cross” (Philippians 2:6-11). And the
Gospel reading is The Passion of Our Lord Jesus Christ, read in its
entirety.* All the joy of the entry has been crushed by contemplation of the terrible ordeal of Calvary.
The entrance
of Jesus into Jerusalem is, therefore, a kind of hinge.
On one side there is the public ministry of Jesus, the years from the
beginning of His ministry, with its teaching, its miracles, its healings. On the other is the time of pain through
which He must pass to complete His earthly mission. This day, with its joyful procession is the
transition point. Thus, the entry itself
has significance. It is the beginning of
the end. Once He has committed to
entering Jerusalem, there is no way out.
He must go through with the final work given Him by His Father.
The First Images of Christ Entering Jerusalem
 |
| Sarcophagus with Biblical Scenes Roman, 4th Century Vatican, Pio-Cristiano Museum |
The Church
has recognized the importance of this moment in its art for a very long time. Barely had the Church been permitted to
worship freely by the Edict of Milan (315) than Christians of means began to
order sculpted marble sarcophagi for their tombs to demonstrate their faith. And some of the earliest of these incorporate
images of the Entry into Jerusalem among the biblical images that form their
decoration.
 |
| Sarcophagus with Scenes from the Lives of Christ and St. Peter Roman, early 300s with modern reconstructions New York, Metropolitan Museum of Art |
The most famous of these is
the securely dated tomb of the high Roman official, Senator and Urban Prefect
of Rome, Junius Bassus, now in the Vatican.
 |
| Sarcophagus of the Urban Prefect Junius Bassus Roman, 359 Vatican, St. Peter's Basilica |
While some of the early sarcophagi place the Entry to Jerusalem slightly to one side of the center, the sarcophagus of Bassus places it in the center panel, just below the image of Christ, seated in majesty, giving His law to the disciples, an image known as the Traditio Legis. 1 This important location, emphasizes the importance of the event, which was already seen as part of the Passion, scenes of which are depicted in the right upper quadrant of the sarcophagus (Christ led before Pilate and Christ standing before Pilate).
 |
| Sarcophagus of the Urban Prefect Junius Bassus Detail -- Jesus Enters Jerusalem Roman, 359 Vatican, St. Peter's Basilica |
It should be mentioned here that, at this time, images of the Crucifixion were not part of Christian art. This sarcophagus was carved around 359 (the date of death of the Senator), which is barely twenty years on from the abolition of crucifixion as a punishment of the Empire by Constantine. The first images of a crucified Christ, barely recognizable as such, were still twenty years in the future.
Very
quickly, indeed with these first images, the iconography of the Entry into
Jerusalem became set. It derives partly
from images of a Roman triumph, although that portrayed a very different atmosphere. It derives also partly from adherence to the descriptions
found in the Gospels, which were, at that time, just achieving canonical status.
2
 |
| Triumph of Titus Roman, 81 Rome, Arch of Titus |
The connection to the Roman triumph is not particularly
astounding, given that these Roman Christians, who were living in the heart of what was
still the capitol of the Empire, would have turned naturally to the kinds of triumphal procession with which they were familiar. The triumph provided a model for showing the movement of someone using a horse for propulsion and for the reaction of those around him. It need hardly be mentioned that the image of the lone man seated on a donkey is very far from the image of the Emperor driving a four-horse quadriga chariot, with a crown held over his head by a figure of winged Victory.
 |
| Ivory Pyx with Scene of Jesus Entering Jerusalem Byzantine (Constantinople), 6th Century Cleveland, Museum of Art Palms have been added to the basic image. |
What is most interesting, however, is the fact that these images slightly predate the first generally accepted list of Christian narratives that named which of the many writings then in circulation were to be accepted as “canonical”. For, the creation of images such as these implies that there was already a widespread agreement about the events the Gospels describe, and what they might have looked like – before there were generally agreed canonical texts. 3 This points out the importance of the orally transmitted teachings of the Church, of Tradition, in the formation of Christian belief. People already knew what the stories were and how to depict them, before there was an officially recognized New Testament to tell them.
 |
| Ivory Book Cover (Back Cover), Scenes from the Life of Christ Byzantine, c. 550-600 Paris, Bibliotheque nationale de France MS Latin 9384, Cover The scene of Jesus Entering Jerusalem is at the far right of the very bottom register. |
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| Rabbula Gospels, Scenes from the Life of Christ Byzantine (Syria), 586 Florence, Biblioteca Mediceo Laurenziana MS Cod. Plut. 1, fol. 11v
The number of persons involved has increased and now includes children. A representation of the city of Jerusalem has also been added at the right. It is a walled city with a city gateway and some of its inhabitants are joining in the festivities from their windows. Medieval Images |
The earliest
images all include the figure of Jesus, seated on a donkey, while someone lays
a garment under the donkey’s feet, with another person shown in a tree.
,%20c.%20850_BNF_MS%20Latin%209428,%20fol.%2043.jpg) |
| Jesus Enters Jerusalem From the Sacramentary of Drogo French (Metz), c. 850 Paris, Bibliotheque nationale de France MS Latin 9428, fol. 43r |
 |
| Ivory Plaque, Jesus Enters Jerusalem Byzantine (Constantinople), 10th Century Berlin, Skulpturensammlung und Museum für Byzantinische Kunst der Staatlichen Museen zu Berlin
This beautiful Byzantine ivory includes a wealth of detail, some of it charming, such as the man and woman welcoming Jesus at the city gate. The man holds a small child by the hand, while his wife carries another child on her shoulders, holding it by the ankle, just as people still do today! That child is the only one with a palm branch. |
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| Ivory Plaque, Jesus Enters Jerusalem Ottonian (Milan), c. 900-925 New York, Metropolitan Museum of Art Comparison of this plaque with the Byzantine plaque above offers a useful demonstration of the difference between the continuity of skill found in Byzantium and the skills being reconstructed in Western Europe during this period.
To this was added, over time, varying numbers of disciples, people waving palms, children, architectural elements, and, eventually, around the year 1000, the donkey’s foal. The inclusion of the latter is another interesting feature.
The Appearance of the Donkey Foal |
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After about the year 1000 the foal was rarely omitted.
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| Master of San Baudelio de Berlanga, Jesus Enters Jerusalem Spanish, c. 1125 Indianapolis, Museum of Art |
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| Tweede Groep, Jesus Enters Jerusalem From a Psalter Flemish (Ghent), c. 1270-1280 New York, Pierpont Morgan Library MS M 72, fol. 11v |
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| Jesus Enters Jerusalem From Psalter-Hours of Yolande of Soissons French, c, 1280-1300 New York, Pierpont Morgan Library MS M 729, fol. 310v |
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| Giotto, Jesus Enters Jerusalem Italian, 1304-1306 Padua, Scrovegni (Arena) Chapel The foal may not be immediately noticeable, but you can see his or her small head appearing between its mother and the figure of Saint Peter at the front left. |
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| Duccio, Jesus Enters Jerusalem Italian, c. 1308-1311 Siena, Museo dell'Opera del Duomo |
,%201409_Paris,%20BNF_MS%20Latin%20919,%20fol.%2061r%20(1).jpg) |
| Jacqemart and Collaborators, Jesus Enters Jerusalem From the Grandes heures de Jean de Berry French (Paris), 1409 Paris, Bibliotheque nationale de France MS Latin 919, fol. 61r |
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| Jean Colombe, Jesus Enters Jerusalem From the Hours of Anne of France French (Bourges), 1473 New York, Pierpont Morgan Library MS M 677, fol. 11v |
 |
| Master of Edward IV, Jesus Prepares to Enter Jerusalem From the Vita Christi Flemish (Bruges), c. 1487-1490 New York, Pierpont Morgan Library MS M 894, fol. 140r In this unusual treatment, Jesus, clad in brown and standing at the right, waits while two of the Disciple (John the Evangelist who holds the reins and one other) drape the back of the donkey. At the same time, her foal is on his knees having a meal. |
The iconography of the Entry into Jerusalem remained surprisingly stable through time. More and more figures were added, generally spectators with palms.
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| Jesus Enters Jerusalem From a Gospel Lectinary Austrian (Salzburg), c. 1070-1090 New York, Pierpont Morgan Library MS M 780, fol. 26r |
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| Jesus Enters Jerusalem From the Psalter of Christina of Markyate English (St. Alban's), c. 1124-1145 Hildesheim, Dombibliothek, p. 37 |
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| Mosaic, Jesus Enters Jerusalem Italian, c. 1140-1170 Palermo, Cappella Palatina |
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| Jesus Enters Jerusalem From the Huntingfield Psalter English (Oxford), c. 1212-1220 New York, Pierpont Morgan Library MS M 43, fol. 21vb |
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| Soissons Workshop. Jesus Enters Jerusalem From a Psalter French (Paris area), c. 1229-1246 New York, Pierpont Morgan Library MS M 283, fol. 14v |
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| Jesus Enters Jerusalem From the Livre d'images de Madame Marie Flemish (Hainaut), c. 1285-1290 Paris, Bibliotheque nationale de France MS Nouvelle acquisition francaise 15251, fol. 29r |
 |
| Workshop of Pacino da Bonaguida, Jesus Enters Jerusalem From Scenes from the Life of Christ and the Life of the Blessed Gerard of Villamagna Italian (Florence), c. 1315-1325 New York, Pierpont Morgan Library MS M 643, fol. 7v |
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| Silver Enameled Plaque, Jesus Enters Jerusalem French (Paris), c. 1330-1350 London, British Museum
|
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| Alabaster carving, Jesus Enters Jerusalem English, 15th Century London, Victoria and Albert Museum |
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| Wood Relief with Paint and Gilding, Jesus Enters Jerusalem German, 15th Century New York, Metropolitan Museum of Art, The Cloisters |
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| Lorenzo Ghiberti, Jesus Enters Jerusalem Italian, c. 1403-1424 Florence, Baptistry |
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| Jesus Enters Jerusalem French, c. 1423 Chambery, Musée des Beaux-Arts |
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| Master of the Thuison Altarpiece Jesus Enters Jerusalem French, c. 1450-1500 St. Petersburg, State Hermitage Museum |
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| Jesus Enters Jerusalem From Fleur des histoires by Jean Mansel French, c. 1450-1475 Paris, Bibliotheque nationale de France MS Francais 56, fol. 37 |
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| Fra Angelico, Jesus Enters Jerusalem from the Armadio degli Argenti Italian, c. 1451-1452 Florence, Museo di San Marco |
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| Jesus Enters Jerusalem Swiss, 1472 Konstanz, Church of Our Lady, Chapel of Saint Sylvester |
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| Jan van Haldern, Jesus Enters Jerusalem Dutch, 1498 Kalkar Kreis Kleve, Catholic Parish Church of Saint Nicholas |
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| Hans Holbein the Elder, Jesus Enters Jerusalem German, 1500 Frankfurt (Main), Katholische Pfarrkirche Sankt Leonhard |
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| Jesus Enters Jerusalem From Saint mistere de la glorieuse piteuse et angoisseuse passion de notre seigneur et saulveru Jhesucrist French, c. 1510-1510 London, British Library MS Royal 19 V VI, fol. 1 |
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| Simon Bening, Jesus Enters Jerusalem From the Prayer Book of Cardinal Albrecht of Brandenburg Flemish (Bruges), c. 1525-1530 Los Angeles, J. Paul Getty Museum MS Ludwig IX 19, fol. 77v |
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| Pieter Coecke van Aelst, Jesus Enters Jerusalem Flemish, c. 1530-1535 Maastricht, Bonnefantenmuseum |
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| Valerio Belli, Jesus Enters Jerusalem Rock Crystal Carving Italian (Vicenza), c. 1531-1533 New York, Metropolitan Museum of Art |
Combining the Entry with Other Scenes
Frequently also, the image of the Entry into Jerusalem was combined within the same object with images from other events from the life of Jesus, and especially of His Passion, or from the Old Testament. This was especially true in images made during the Middle Ages and early part of the Renaissance period. Over time it diminished and the Entry became a stand-alone subject. |
| Raising of Lazarus, Woman Washes the Feet of Jesus, Jesus Enters Jerusalem From the Orations of Gregory Nazianzus Byzantine (Constantinople), c. 879-882 Paris, Bibliotheque nationale de France MS Grec 510, fol. 196v |
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| Jesus Enters Jerusalem, Crucifixion From a Gospel Book German, c. 1015 Hildesheim, Dom-Museum Hildesheim |
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| Portion of an enamel Altar with Scenes from the Passion German, c. 1170-1179 Hildesheim, Dom-Museum Hildesheim |
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| Jesus Enters Jerusalem, Washing of Feet and Last Supper From a Picture Bible French (St. Omer, Abbey of St. Bertin), c. 1190-1200 The Hague, Koninklijk Bibliotheek MS KB 76 F 5, fol. 15v
|
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| Jesus Is Tempted Three Times and Jesus Enters Jerusalem from a Psalter French (Paris), c. 1265-1275 New York, Pierpont Morgan Library MS M 101, fol. 18v |
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| Guido da Siena, Triptych with the Transfiguration of Jesus, Jesus Entering Jerusalem and the Raising of Lazarus Italian, 1270-1280 Siena, Pinacoteca Nazionale |
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| Diptych With Scenes from the Life of Christ: Raising of Lazarus, Jesus Enters Jerusalem, Crucifixion and Entombment German, c. 1350-1375 Cleveland, Museum of Art |
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| Diptych With Scenes from the Passion of Christ: Jesus Enters Jerusalem, the Last Supper, Betrayal by Judas and Crucifixion French, c. 1350 New York, Metropolitan Museum of Art |
Very occasionally also it was combined with some images not from the Bible, but from other sources, to make specific points. For example, the image below combines the image of David bearing the head of Goliath as he precedes King Saul into Jerusalem (1 Samuel 17:54) with the entry of Jesus.
,%20c.%201430_BNF_MS%20Latin%20772,%20fol.%2063v.jpg) |
| Entry of David into Jerusalem, Jesus Entering Jerusalem From a Psalter Italian (Mantua), c. 1430 Paris, Bibliotheque nationale de France MS Latin 772, fol. 63v |
This ties together the response of the crowds to Jesus (Hosanna to the son of David) with the exploit of His ancestor. It also provides a contrast between the pomp of the kingly entrance to the city, with the king and his sons mounted on horses and the musicians who form the welcoming party, to the simpler entry of Jesus, mounted on a donkey, His followers on foot and ordinary people giving welcome.
In the image below, from a Biblia pauperum, we see the same two images combined with a third one, Melchisedech welcoming Abraham to Salem. This three-part image is typical of the typological thinking of the medieval period. All three events took place in the same location, that is the gates of Jerusalem (Salem is the original name for the city) at different times in human and salvation history. In salvation history, the earliest one, Melchizedek welcoming Abraham, which comes from the Book of Genesis (Genesis 14:18-20), takes place in the period "Before the Law", that is before the Ten Commandments were bestowed on Moses. David's entry into Jerusalem with the head of Goliath takes place "Under the Law", that is the history of the Israelites following the Exodus and the reception of the Ten Commandments. The Entry of Jesus takes place "Under Grace" the period which began with the Annunciation, when God entered human history.
In the image below, from a Biblia pauperum, we see the same two images combined with a third one, Melchisedech welcoming Abraham to Salem. This three-part image is typical of the typological thinking of the medieval period. All three events took place in the same location, that is the gates of Jerusalem (Salem is the original name for the city) at different times in human and salvation history. In salvation history, the earliest one, Melchizedek welcoming Abraham, which comes from the Book of Genesis (Genesis 14:18-20), takes place in the period "Before the Law", that is before the Ten Commandments were bestowed on Moses. David's entry into Jerusalem with the head of Goliath takes place "Under the Law", that is the history of the Israelites following the Exodus and the reception of the Ten Commandments. The Entry of Jesus takes place "Under Grace" the period which began with the Annunciation, when God entered human history.
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| Rambures Master, David Enters Jerusalem, Jesus Enters Jerusalem, Melchizedek Welcomes Abraham to Salem from a Biblia pauperum French (Hesdin or Amiens), c. 1470 The Hague, Meermano Museum MS MMW 10 A 15, fol. 26v |
The Palmesel
In the
Middle Ages and early Renaissance period in Germany there was a tradition of
conducting a Palm Sunday procession through the towns, accompanying a carved
and painted wooden image of Christ on the donkey, called a Palmesel. Though many must have been destroyed during
the Reformation, quite a few of these interesting figures remain.
 |
| Palmesel German, c. 1350-1400 Baltimore, Walters Art Museum |
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| Palmesel German (Franconia), 15th Century New York, Metropolitan Museum of Art, The Cloisters |
,%20c.%201475-1500_Paris,%20Musee%20de%20Clunym%20Musee%20National%20du%20Moyen%20Age.jpg) |
| Palmesel German (Bavarian), c. 1475-1500 Paris, Musée de Cluny, Musée National du Moyen Age |
 |
| Palmesel German (Swabia), c. 1520-1525 Paris, Musée du Louvre |
Out of the Town, Into the Country
Towards the
end of the Renaissance period and the beginning of the Baroque, the setting
moved out into the countryside, well beyond the city proper.
 |
| Jan van Scorel, Jesus Enters Jerusalem Dutch, c. 1526-1527 Utrecht, Centraal Museum |
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| Jan van Hemessen, Jesus Enters Jerusalem Flemish, c. 1551-1600 Gotha, Schlossmuseum Scholss Friedenstein, Gemäldsammlung |
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| Anthony van Dyck, Jesus Enters Jerusalem Flemish, c. 1617 Indianapolis, Museum of Art |
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| Albert Cuyp, Jesus Enters Jerusalem Dutch, c. 1640-1700 Glasgow, Glasgow Museums Resource Centre |
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| Charles LeBrun, Jesus Enters Jerusalem French, c. 1650 Saint-Etienne, Musée d'Art et d'Industrie |
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| William Blake, Jesus Enters Jerusalem English, 1800 Glasgow, Glasgow Museums, Pollok House |
Nineteenth-century
painters brought the image back into the city, with greater archaeological
correctness, thanks to ongoing excavations.
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| Benjamin Robert Haydon, Jesus Enters Jerusalem English, c. 1814-1820 Cincinnati, Mount St. Mary's Seminary |
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| Hippolyte Flandrin, Jesus Enters Jerusalem French, c. 1842-1846 Paris, Eglise Saint-Germain-des-Pres |
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| James Tissot, Jesus Enters Jerusalem, The Procession Through the Streets French, c. 1886-1894 New York, Brooklyn Museum |
Today, Palm
Sunday remains an important day in the Christian calendar. Processions still take place in many places,
most notably perhaps through St. Peter’s Square at the Vatican. Most parish churches are crowded, as they are
only on a few other days of the year: Christmas, Easter Sunday, Ash
Wednesday. The idea of welcoming Christ
to our city and into His Passion, which we call Holy Week, still stands. And, with the reading of the Passion, Holy Week begins.
©
M. Duffy, 2017
* Year A is the Passion According to Saint Matthew, Year B is the Passion According to Saint Mark, Year C is the Passion According to Saint Luke.
- See http://www.oxfordreference.com/view/10.1093/oi/authority.20110803105225451
- Mathews, Thomas F. “Reply to Peter Brown.” The Art Bulletin, vol. 78, no. 1, 1996, pp. 178–178
- For a brief description of how the New Testament came to be see: http://bibleresources.americanbible.org/resource/how-the-bible-came-to-us
Excerpts from the Lectionary
for Mass for Use in the Dioceses of the United States of America, second
typical edition © 2001, 1998, 1997, 1986, 1970 Confraternity of
Christian Doctrine, Inc., Washington, DC. Used with permission. All rights
reserved. No portion of this text may be reproduced by any means without
permission in writing from the copyright owner.
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