| |
 |
A polychrome painted Palmesel,
Sculpted in Germany,
15th Century,
Limewood with polychrome paint
© Metropolitan Museum of Art, New York |
When they had come near Jerusalem and had reached Bethphage, at the Mount of Olives, Jesus sent two disciples, saying to them, ‘Go into the village ahead of you, and immediately you will find a donkey tied, and a colt with her; untie them and bring them to me. If anyone says anything to you, just say this, “The Lord needs them.” And he will send them immediately.’ This took place to fulfil what had been spoken through the prophet, saying,
‘Tell the daughter of Zion,
Look, your king is coming to you, humble, and mounted on a donkey, and on a colt, the foal of a donkey.’
The disciples went and did as Jesus had directed them; they brought the donkey and the colt, and put their cloaks on them, and he sat on them. A very large crowd spread their cloaks on the road, and others cut branches from the trees and spread them on the road. The crowds that went ahead of him and that followed were shouting,
‘Hosanna to the Son of David! Blessed is the one who comes in the name of the Lord! Hosanna in the highest heaven!’
When he entered Jerusalem, the whole city was in turmoil, asking, ‘Who is this?’ The crowds were saying, ‘This is the prophet Jesus from Nazareth in Galilee.’ |
|
|
| | Reflection on the Medieval Palmesel
Today’s work of art is a 15th-century German ‘Palmesel’. The German word Palmesel (palm donkey) refers to the statue of Jesus on a donkey. Our sculpture is mounted on a wheeled platform, which was part of Palm Sunday processions in many German-speaking regions until the Reformation. These processions took place on the main streets of cities and villages, reenacting Christ’s entry into Jerusalem on Palm Sunday. They were lively pageants in which hymns were sung, palms waved and clothes spread on the ground before the Palmesel. The figure of Christ would originally have held reins in his left hand, made of leather, and the donkey would have had a bridle, enhancing the naturalistic effect.
The popularity of Palmesel sculptures is evident from the number that still survive, and it is easy to see how this type of image played a big role in medieval popular piety, which encouraged participation in religious events. I think this was indeed a lovely tradition. Within a few decades after our sculpture was carved, these ‘empathetic’ images became the subject of anti-Catholic criticism by German Protestant reformers. So the tradition stopped after the Reformation.
Who would think that the crowds which welcomed Jesus with such enthusiasm when he entered Jerusalem, would turn against him so quickly within days and demand his crucifixion? Their welcome for Jesus was superficial. Yes, it is often easier to be part of a crowd, rather than stand your own ground. It was easy to join in a crowd that welcomed Jesus and it was easy join a crowd that condemned Him to death. It is easy to join the crowd when a funeral or wedding take place, but how many of that crowd come to meet Jesus during Mass every Sunday? Who are we in the crowd?
Looking back at our sculpture, the donkey is key to the Palm Sunday reading. The donkey was not swayed that day by the joyful acclamations, nor later by the screaming words of hate. It did a particular job, which was to bear a particular burden. The donkey did this, humbly, not expecting praise or reward. There it was, front and centre, carrying Christ... unnoticed,... invisible...
by Patrick van der Vorst
|  | |
|
|
|
No comments:
Post a Comment