ABSTRACT
One of the icon’s most distinctive features is the general iconographic scheme. In it Christ is approaching Jerusalem from right to left, instead of the usual from left to right. The right-to-left scheme is only occasionally adopted in representations of the Entry into Jerusalem, and then mostly in monumental art6 and illuminated manuscripts. The London icon finds its exact iconographic parallel in a Cretan icon from the Ionian island of Lefkas published by Professor Panayiotis Vokotopoulos, who proposed a date in the third quarter of the fifteenth century. Most of the above mentioned icons are Cretan. That seems to indicate that Cretan painters must have played an important part in the spread of this iconographic variation of the Entry into Jerusalem. This is confirmed by the monumental examples, which are also connected with Crete.
