This scene of Christ’s Entry into Jerusalem forms part of the same early 14th-century glazing campaign at St Ouen, Rouen, executed during the abbacy of Jean Roussel and generally dated c. 1325–1339. It belongs to the Passion cycle that complemented the Infancy narratives, continuing the church’s sophisticated narrative programme for Holy Week and Easter.

Despite the fragmentary and darkened condition of the glass, the composition remains legible. Christ, mounted on a small grey donkey, is depicted in a calm, blessing gesture, his right hand raised and his face framed by a pale halo. His cloak, originally a rich green, still retains traces of its original density of colour. A disciple walks beside him, rendered in blue and ochre, guiding the animal forward.

The architectural canopy, though damaged, is characteristic of the Rouen ateliers in the second quarter of the 14th century. Its pointed gable, fleurée cresting, and lateral arcatures in alternating red, blue, and green, framed by gilded foliate borders, reveal the transition toward a fully developed Flamboyant vocabulary. The canopy’s lively palette also helps to situate this panel securely within the same workshop tradition as the Massacre of the Innocents and other surviving scenes from the cycle.

As in other St Ouen panels of this date, the background employs a deep red field, here decorated with vine or foliate diapering faintly visible through the centuries of weathering. Originally, this rich ground served to set the figures in strong relief, a visual device typical of the Norman Gothic glass painters who favoured saturated fields and crisp leading to enhance narrative clarity.

Although the lower register and some border elements have suffered loss and later repair, the surviving medieval painting — particularly the expressive modelling of Christ’s face and the careful treatment of the donkey — preserves the refined draughtsmanship characteristic of Rouen’s glass workshops in the decades before the Black Death.

Together with other fragments of the Passion cycle, this panel stands as a testament to the extraordinary artistic ambition of St Ouen’s early 14th-century glazing programme, one of the most important in northern France.