Probably part of a large narrative cycle of the life of Jesus, this ivory shows his triumphal entry into Jerusalem. This incident, in which the populace hailed him as king with palm branches and cloaks, launches the sequence of events that led to the Crucifixion.
Inscription: Inscribed: on background XPS and IHS.
Sir Andrew Fountaine, Norfork, England; George R. Harding(until 1906); J. Pierpont Morgan, London and New York (until 1917)
Westwood, J. O., ed. A Descriptive Catalogue of the Fictile Ivories in the South Kensington Museum, with an Account of the Continental Collection of Classical and Medieval Ivories. London: South Kensington Museum, 1876. no. 327, p. 149.
The celebrated Fountaine collection of majolica, Henri II. ware, Palissy ware, Nevers ware, Limoges enamels. London: Christie, Manson & Woods, June 16, 1884. no. 526, p. 63.
Goldschmidt, Adolph. Die Elfenbeinskulpturen aus der Zeit der Karolingischen und Sächsischen Kaiser, VIII.-XI. Jahrhundert. Vol. 1. Berlin: Bruno Cassirer, 1914. no. 151, p. 73, pl. LXIII.
Breck, Joseph. "Pre-Gothic Ivories in the Pierpont Morgan Collection." The Metropolitan Museum of Art Bulletin, o.s., 15, no. 1 (January 1920). p. 15.
Breck, Joseph, and Meyric R. Rogers. The Pierpont Morgan Wing: A Handbook. 2nd ed. New York: The Metropolitan Museum of Art, 1929. p. 48.