The Entry into Jerusalem, from Das Plenarium 1517

Curator: Let's consider this remarkable image titled "The Entry into Jerusalem, from Das Plenarium" created around 1517 by Hans Schäufelein. It's currently held in the collection of the Metropolitan Museum of Art. What strikes you most about it initially? Editor: It feels quite... theatrical. The scene has this sense of controlled chaos, like a carefully staged play. The limited palette gives it a warm, antique glow. Curator: That's astute. It's a woodcut, likely enhanced with hand-applied coloring, typical for the era, which contributes to the effect you describe. Woodcuts in printed books provided important visuals accessible to a broad public, who perhaps were unable to read the texts that accompanied them. How do you interpret the characters portrayed? Editor: I'm captivated by the figure riding the donkey—Jesus, presumably? He doesn't project the triumphal air I expect from this scene. He seems almost weary, even somber. It feels heavy, rather than joyful, as if he is riding to his death. Curator: You've tapped into something central to its reading. Schäufelein portrays Christ's entry as less about immediate glory and more about his coming sacrifice, thus deepening the emotional impact for the viewer, reflecting the political and religious climate of the early 16th century. Editor: It’s incredible how he manages to convey such complex emotion within the constraints of the medium. It seems very intimate. A story about power is here transformed to focus more on empathy. This seems to invite viewers to reflect on their role within the narratives. Curator: Indeed, the scale also plays a vital part in this interaction. Considering its modest size, it underscores its nature as something designed for close, personal contemplation, making a powerful moment in biblical history tangibly present. Thank you. Editor: Thank you, understanding that changes how I will look at the coming parade.