This impressive pair of engravings depicts a panoramic view of Jerusalem at the time of Christ's triumphal entry, an event described in the New Testament, as well as Jerusalem in the middle of the 19th century. The images were painted by H.C. Selous, engraved by Charles Mottram, and printed by R. Holdgate.
In the first of the two images, the foreground is dominated by the figure of Christ riding a donkey, surrounded by a multitude of people who are laying down their garments and waving palm branches in reverence. The scene is vibrant with detailed expressions and movements of the crowd, capturing the significance and excitement of the moment. The background features the majestic architecture of ancient Jerusalem, including the Temple.
The accompanying text cites the scripture: "When he was come near, he beheld the city, and wept over it, saying, If thou hadst known, even thou, at least in this thy day, the things which belong unto thy peace! but now they are hid from thine eyes." – Luke XIX, v.41, 42.
In stark contrast, Jerusalem in Her Fall presents a more desolate view from the Mount of Olives. This perspective reflects the Western view of the 19th-century Middle East as a region in decline. At this time, Jerusalem was under Ottoman rule, often seen by Western powers as stagnant and in need of rejuvenation. The desolate and chaotic depiction aligns with the colonial narrative that the East had fallen from its ancient glory and required Western intervention.
These engravings use dramatic contrasts in light and composition to highlight the differences between the two eras. The dramatic, monumental scene of Jerusalem in Her Grandeur is juxtaposed with the subdued, scattered groups in Jerusalem in Her Fall, emphasizing the perceived decline from a once-great past to a present state of decay. This artistic representation underscores the broader Western attitudes of the time, influenced by religious idealization and colonial ambitions.