Jesus riding into Jerusalem

by Jean Hippolyte Flandrin

For Palm Sunday

by Benjamin Robert Haydon



Benjamin Robert Haydon, an English painter, born in Plymouth, Jan. 25, 1786, died by his own hand in London, June 22, 1846. Disre-; garding the wishes of his father that he should adopt his own business, that of a bookseller, he went to London at the age of 18, and became a student in the school of the royal academy. He was an enthusiast in the pursuit of what is called "high art," and prosecuted his studies in drawing and anatomy with singular earnest- ness. His first picture, "Joseph and Mary resting with our Saviour after a Day's Journey on the Road to Egypt," was exhibited in 1807, and immediately purchased by Thomas Hope, the author of "Anastasius." This was followed by "Dontatus," a work which established his reputation, but involved him in a quarrel with the academy, whose hanging committee had placed the picture in a small side room. A fondness for controversy led him to publish several attacks upon the academy, which had only the effect of estranging some of his most valuable friends, of exasperating his own temper, and of cutting him off from what was the chief ambition of his life, the honor of being an academician. From this time forward, notwithstanding the frequent production of eminent works, who had constantly to struggle with pecuniary difficulties.

In 1815 he established a school, in opposition to that of the academy, in which the Landseers and Eastlake were instructed, and about the same time became associated in the conduct of a periodical entitled "Annals of the Fine Arts." Having no tact for either pursuit, he failed in both; and in 1823, two years after his marriage, he was so involved in debt that he became an inmate of the king's bench prison, where he remained two months. Subsequently he painted here one of his most characteristic works, "The Mock Election," representing a scene which took place within the prison walls in July, 1827, and which was purchased by George IV. for 500 guineas. For his "Pharaoh and Moses," painted soon after his release, he obtained an equal sum. Notwithstanding these and similar emoluments, in 1836 he again became a prisoner for debt, but was soon after enabled to compound with his creditors. About this time he lectured on painting with considerable success. Upon the publication by government, in great part through Hay-don's own exertions, of proposals for decorating the new houses of parliament with frescoes representing scenes in the history of the nation, he sent to the exhibition in Westminster hall two cartoons, "The Curse" and "Edward the Black Prince." No notice was taken of his performances, and his hope of executing some great public work of art was crushed for ever.

To show the world how erroneous had been the decision of the judges, he commenced a series of gigantic pictures, including " Uriel and Satan," "Curtius Leaping into the Gulf," the " Burning of Rome," and the " Banishment of Aristides," the two latter of which, while on exhibition in London, attracted but 133 visitors during the time that Tom Thumb in an adjoining room received 120,000. Under the weight of this neglect and of pecuniary embarrassments his reason gave way, and while engaged on his last great picture, " Alfred and the Trial by Jury," he put an end to his life, having first written in his journal: "Stretch me no longer on this rough world." A postmortem examination discovered a long-seated disease of the brain, which may account for much of his eccentricity. His family were provided for by a public subscription. Hay-don's autobiography, edited by Tom Taylor in 1853 (2d ed., 3 vols. 8vo), lays bare the character of the man, and explains his unhappy career. His love of art was a passion rather than a principle. An impetuosity of temper, impatience of criticism, and an exaggerated estimate of his own powers and of his mission as the apostle of high art, were continually involving him in disputes.

His "Judgment of Solomon," "Christ's Entry into Jerusalem," "Christ Rejected," "Christ's Agony in the Garden," and "Raising of Lazarus," all painted previous to his first imprisonment for debt, and in the maturity of his artistic powers, are among the most favorable specimens of his style. Several of these pictures contain portraits of eminent personages, and the " Christ's Entry into Jerusalem " is now the property of the Catholic cathedral in Cincinnati. His literary efforts are confined chiefly to his "Lectures on Painting and Design" (2 vols. 8vo, 1844-'6), which are bold and clear expositions of the principles of art as he understood them. He also wrote the article on painting in the "Encyclopaedia Britannica," and induced the government to purchase the Elgin marbles.

Hoofprint to History

Donkeys delight church audience
service adds hoofprint to history

By Alistair Beaton

Published: 06/04/2009

THE Auld Kirk of Inverurie added a new hoofprint in church history during yesterday’s Palm Sunday service as a pair of donkeys joined in a procession down the aisle.

Donkeys Jane and Jill pricked up their ears at the sound of the opening 10am hymn, but stepped quietly through the doors of St Andrew’s Church to join the Rev Graeme Longmuir in front of the surprised – but still singing – congregation.

An image of Christ on a donkey had been projected on the wall above and candles shone in the 168-year-old church, as the young donkeys flanked the minister.

The 11-month-old pair barely flicked a tail before afterwards returning through the pews to the west door, the sound of their hooves muffled by carpet rather than Biblical palms.

Mr Longmuir reflected on the meaning and message of Palm Sunday, and church members joined in Hymn 366 – “come to where the crowds will be, see a strange and gentle king, on a donkey travelling”.

Jane and Jill were rewarded outside with a feed and drink, and loaded into a trailer for their journey home.

The donkeys had made their pilgrimage to the church from Braeriach, near Echt. Owner Netta Sangster said: “I thought the music might be worrying Jane and Jill to begin with, but they were no bother.

http://www.pressandjournal.co.uk/Article.aspx/1157034?UserKey=

More from Tissot

James Jacques Joseph Tissot

Italian Palm Sunday Painting

Barna da Siena

Barna da Siena, also known as Barna di Siena, was a Sienese painter active from about 1330 to 1350, and was the painter in Siena during this period. He learned his trade from Simone Martini. Barna is believed to have paint the frescoes depicting the life of Jesus in the Collegiata di San Gimignano and is generally credited with Christ Bearing the Cross, with a Dominican Friar in the Frick Collection in New York City. He was killed in a fall from the scaffolding. Barna's figures are more dramatic and vigorous than any in previous Sienese painting.

A Joyous Palm Sunday to You All!

The Cathedral of Seville

Seville's Cathedral occupies the site of a great mosque in the late 12th century. Later, Christian architects added the extra dimension of height. Its central nave rises to an awesome 42 metres and even the side chapels seem tall enough to contain an ordinary church. The total area covers 11,520 square metres and new calculations, based on cubic measurements, have now pushed it in front of Saint Paul's in London and Saint Peter's in Rome, as the largest church in the world.

by Josephine Quintero


http://www.andalucia.com/cities/seville/cathedral.htm

Illuminated Manuscripts of Christ

(Les Très Riches Heures du duc de Berry, Folio 173v - The Entry into Jerusalem the Musée Condé, Chantilly.


The Très Riches Heures du Duc de Berry is usually referred to as "le roi des manuscrits enluminés" or "the king of the illuminated manuscripts", but it is also a pinnacle in the entire history of painting. Commissioned by Jean, Duc de Berry in 1413, it was painted by the Limbourg brothers who left it unfinished at their (and the Duc's) death in 1416. The Duc Charles I de Savoie commissioned Jean Colombe to complete the painting of the manuscript between 1485-1489. The typical medieval manuscript called a book of hours is an abbreviated form of the breviary which contained the Divine Office recited in monasteries. The books of hours were composed for the lay people who wished to incorporate elements of monasticism into their devotional life. Reciting the hours typically centered upon the recitation or singing of a number of psalms, accompanied by set prayers.

Entrance into Jerusalem Icon

Jesus triumphantly entered Jerusalem after the Rising of Lazarus. The adults greet the Messiah with green branches while the children spread garments on the ground. The Entry into Jerusalem is one of the great feasts of the church and is recorded in all four gospels.

Orthodox Icon of Christ

And now a look to the East...

James Tissot (1836-1902 French)

James Jacques Joseph Tissot
by Paul Ripley

Tissot was born Jacques Joseph Tissot in Nantes, to a middle class family. He initially studied art at Beaux-Arts in Paris. Tissot’s early paintings are mainly historical, & heavily influenced by the Dutch School. He came into contact with the Impressionists as a young man, and was leading a fairly unadventurous life. This was changed totally by the Franco-Prussian War of 1870. Following the crushing French defeat in this war, and the subsequent fall of the Paris Commune, Tissot decided to move to London, which he did in 1871. This move must have caused considerable problems in his life, and the painter needed to earn some money quickly. Tissot started, therefore, to paint accomplished highly finished pictures of London society ,and social events, including the famous ‘Too Early’ These pictures were virtually an instant success with the art viewing and buying public, but not with the critics.

Tissot’s succcess in London aroused considerable jealousy amongst his Impressionist colleagues in France, where he was regarded as a very minor figure. The critical hostility Tissot’s pictures met with, is not easy for us to understand today. The main criticisms were that the pictures were really only painted photographs, and they were vulgar. There is some truth in the first case, though the paintings show dazzling technique, and a dash of Gallic wit and sophistication, home grown English artists were quite unable to match. In the second case the basis of the adverse comment, was the class-consciousness of British society at that time. The pictures were held to show shallow nouveau-riche society at it’s worst.

In 1876 an event occurred which changed Tissot’s life. He met a young and attractive Irish divorcee called Kathleen Newton. Kathleen had married an English army officer in India. She had formed an adulterous relationship with another man, borne his child, and returned home in disgrace, beyond the pale of polite society. Kathleen Newton became Tissot’s mistress, and moved into his London home. This necessitated a radical change in his lifestyle, as the sophisticated, well-dressed, and good-looking painter had become a popular figure socially. Tissot withdrew from the social round, living quietly at his Grove End home with Kathleen. They did, however, entertain less conventional friends from the artistic community. Kathleen Newton became Tissot’s muse, and appeared in many of his pictures. She was in every sense the love of his life.

Another attraction for Tissot was the Port of London, and the river Thames. His paintings with the river as the background have an evocative atmosphere missing in his other work. One can almost smell the smoke, and hear the shouts of the dockers and watermen.

In 1882, Kathleen Newton died of consumption at the age of twenty eight. Tissot never recovered from this tragedy, and moved back to Paris within a week of her death .He was never again romantically involved with woman. His house in London, was sold to Alma-Tadema. Initially Tissot carried on painting society and genre pictures in Paris, but soon gave this up, devoting the rest of his life to painting religious scenes. He visited the Middle- East twice to find genuine backgrounds for his religious paintings. In late life Tissot became increasingly interested in Spiritualism, a vogue of the time, and of course his motivation for this interest is not a mystery.

Tissot died at Buillon on Friday the 8th August 1902.

A great artist, his beautiful fallen woman, and a tragic love story. It has everything!

In recent years Japanese and American collectors have fuelled a vast increase in the value of Tissot paintings. The critics remain hostile. Does it matter?

http://www.artrenewal.org/asp/database/art.asp?aid=12

The Legend of the Donkey's Cross

"Bring me the colt of a donkey,"

was the Master's request.

A young donkey was brought to Jesus to carry him to Jerusalem.

A week later Jesus was ordered crucified.

The little donkey so loved the Lord,

that he wanted to help carry the cross.

But alas, he was pushed away.

The sad little donkey waited to say good-bye until nearly all had left.

As he turned to leave, the shadow of the cross fell upon his shoulders.

And there it has remained,

a tribute to the loyalty and love

of the humblest of God's Creatures.
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Second Version

The Sunday before Easter, known as Palm Sunday. Jesus arrived in Jerusalem for the Jewish festival of Passover. Great crowds of people lined the streets waving palm branches to welcome Him. The people were very excited and they spread branches on the road. Some even laid down their robes. They shouted 'Hosanna!' Jesus rode into the city on the back of an colt ass, a young donkey. He did this to fulfill the scriptures. The legend has been handed down that the donkey before this time was a solid color but after Christ died on the cross on Good Friday all donkey's recieved the mark of the cross on their back as a reminder of the service of that donkey to our Lord on Palm Sunday.

Triumphal Entry Carving from Notre Dame Cathedral

Carving of The Triumphal Entry, Notre Dame External Choir Walls

Chelmsford Cathedral

Chelmsford Cathedral

Chelmsford, Essex
England

Chartres Cathedral Stained Glass

Life of Christ Window (c.1150): Triumphal Entry
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Hosanna to the Son of David.
Blessed is he who comes in the name of the Lord.
Behold your king comes to you, O Zion,
meek and lowly, sitting upon an ass.
Ride on in the cause of truth
and for the sake of justice.
Your throne is the throne of God, it endures for ever;
and the sceptre of, your kingdom is a righteous sceptre.
You have loved righteousness and hated evil:
therefore God, your God, has anointed you
with the oil of gladness above your fellows.
Hosanna to the Son of David.
Blessed is he who comes in the name of the Lord.

The Ass in Stained Glass

From the Lincoln Cathedral
England

Repeat from Last Year...

The Sunday before Easter, known as Palm Sunday. Jesus arrived in Jerusalem for the Jewish festival of Passover. Great crowds of people lined the streets waving palm branches to welcome Him. The people were very excited and they spread branches on the road.  Some even laid down their robes. They shouted 'Hosanna!'  Jesus rode into the city on the back of an colt ass,  a young donkey. He did this to fulfill the scriptures. The legend has been handed down that the donkey before this time was a solid color but after Christ died on the cross on Good Friday all donkey's recieved the mark of the cross on their back as a reminder of the service of that donkey to our Lord on Palm Sunday.



Matthew 21.1-11 NEB

Jesus and his disciples were nearing Jerusalem; and when they reached Bethphage at the Mount of Olives, Jesus sent two of them with these instructions: 'Go into the village opposite, where you will at once find a donkey tethered with her foal beside her; untie them, and bring them to me. If anyone speaks to you, say, "Our Master needs them"; and he will let you take them at once.' This was to fulfil the prophecy, which says, 'Tell the daughter of Zion, "Here is your king, who comes to you in gentleness, riding on an ass, riding on the foal of a beast of burden."'

The disciples went and did as Jesus had directed, and brought the donkey and her foal; they laid their cloaks on them and Jesus mounted. Crowds of people carpeted the road with their cloaks, and some cut branches from the trees to spread in his path. Then the crowd that went ahead and the others that came behind raised the shout: 'Hosanna to the Son of David! Blessings on him who comes in the name of the Lord! Hosanna in the heavens!'

When he entered Jerusalem the whole city went wild with excitement. 'Who is this?' people asked, and the crowd replied, 'This is the prophet Jesus, from Nazareth in Galilee.'

Palm Sunday Figures in Spain

New Cathedral, Salamanca, Spain

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In Elx, Spain, the location of the largest palm grove in Europe, there is a tradition of tying and covering palm leaves to whiten them away from sunlight and then drying and braiding them in elaborate shapes. The first documented evidence concerning Diumenge de Rams, Palm Sunday, dates from 1371, when the Consell de la Vila, or Town Council, took part in the celebrations, distributing alms.

Trade in blanched palm leaves was documented in an entry in the Town Hall records from 1492 and it has continued to the present day. For centuries blanched palm leaves from Elche have been exported to the entire Catholic world.

A Spanish rhyming proverb states: Domingo de Ramos, quien no estrena algo, se le caen las manos ("On Palm Sunday, the hands drop off of those who fail to use something new"). Palm Sunday was traditionally a day to wear new clothes or shoes.

Still another German Christ Carving