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Unknown English artist

David Bringing the Ark of the Covenant to Jerusalem, from Illustrated Vita Christi, c.1480–90, Illumation of tempera colours and gold leaf on parchment, 119 x 170 mm, The J. Paul Getty Museum, Los Angeles, Ms. 101 (2008.3), fol. 14r, Image courtesy of the Getty's Open Content Program

Limbourg Brothers

The Ark being carried into the Temple, from Les Très Riches Heures du Duc de Berry, Fifteenth century, Illumniation on vellum, Le musée Condé, Chantilly, France, MS 65, fol. 29, Photo: René-Gabriel Ojéda © RMN-Grand Palais / Art Resource, NY

Unknown French artist [Paris]

David's Greatest Triumph, The Ark Enshrined in Jerusalem, David Blesses Israel, from The Crusader Bible (The Morgan Picture Bible), c.1244–54, Illumination on vellum, 390 x 300 mm, The Morgan Library & Museum, New York; Purchased by J.P. Morgan (1867–1943) in 1916, MS M.638, fol. 39v, Photo: The Morgan Library & Museum, New York

A Triumphal Entry

Comparative Commentary by

In 2 Samuel 6: 1–15 and its parallels in 1 Chronicles, King David brings the Ark of the Covenant triumphantly into his city of Jerusalem.

This fundamentally important artefact had been built by the Israelites (according to the detailed instructions in Exodus 25) to hold the tablets of the law given to Moses by the Lord on Mount Sinai. These instructions included the pledge that God would dwell among his people, speaking to them ‘from between the two cherubim that are upon the ark of the testimony’ (Exodus 25:22).

Thus, the Ark was the locus, and the sign, of God’s presence. The Israelites carried the Ark with them during their wanderings in the desert, and whenever they camped it was placed in the sacred tent called the Tabernacle.

Later, after their settlement of the Promised Land, 1 Samuel 4 tells how the Israelites’ decision to bring the Ark to the battlefield resulted in its capture by the Philistines. Later still, it would be returned, but it was only when David was anointed king of Israel that it would come to its resting place in Jerusalem.

This was significant in several ways: it established the throne of David and his true kingship; it also made Jerusalem not just the political centre of Israel under David, but also the Holy City of God, the place in which the Israelites encountered the divine presence.

Thomas Aquinas, following patristic precedent, understood the tablets of the Law within the Ark as a foreshadowing of Jesus Christ, the Word incarnate, God present on earth (Summa Theologica I-II. 102.4). This explains why the Ark’s entry into Jerusalem is depicted as it is in the Très Riches Heures. The illumination does not illustrate the psalm so much as place its words within a network of typological connections. The reference to ‘the King of Glory entering in’ (Psalm 24:7) is made to recall the entry of the Ark—as the throne of God’s presence—to Jerusalem. But the Ark in turn points to Christ’s later triumphal entry into Jerusalem, which the Christian Church celebrates on Palm Sunday.

The account of the bringing of the Ark to Jerusalem is more extended in 1 Chronicles than in 2 Samuel. 1 Chronicles 13 and 15 offer an elaborate treatment of the arrangements that David makes for the Ark’s transportation. And central to these arrangements is his command that the Ark should be carried into Jerusalem to the accompaniment of exuberant music (1 Chronicles 15:16–25). In 2 Samuel 6:5 we hear about the ‘songs and lyres and harps and tambourines and castanets and cymbals’. And in 1 Chronicles 13:8, we hear that ‘David and all Israel were making merry before God with all their might, with song and lyres and harps and tambourines and cymbals and trumpets’.

David was the harpist who could calm Saul’s restless soul when he played (1 Samuel 16:14–23) and is celebrated as the composer of the Psalms, so the centrality of music in this episode should perhaps be no surprise. Joyous noise was also a demonstration of the momentousness of the occasion.

In the same way, music accompanies important moments in the liturgy of the Christian Church. It is notable that Palm Sunday was one of the feasts treated with the most elaborate ceremonial, processions, and music in the whole of the Christian liturgy.

Each of the images shown here presents the ceremonial and the procession accompanying the Ark’s entry into Jerusalem as crucially important. They all also pay visual homage to music. In the two illuminations which depict the Ark’s entry in order to illustrate the Davidic narrative directly (from the Morgan Bible and the Vita Christi), the music-making is explicitly represented within the image. And although there is no direct representation of music in the Très Riches Heures, it is implied in the link made with the psalm used for Palm Sunday.

David’s story (like that remembered on Palm Sunday) reminds the viewers of these images that the right model of kingship and authority is one that is humble. It also reminds viewers that, in the presence of God, they should be jubilant.

Next exhibition: 2 Samuel 13 Next exhibition: 1 Chronicles 15 Next exhibition: 2 Chronicles 2