The post-Impressionist work, parodying Jesus' triumphal entry into Jerusalem celebrated on Palm Sunday, is considered Ensor's most famous composition and a precursor to Expressionism.

It was so large that Ensor was unable to work on the whole painting at the same time, nailing part to the walls and allowing the rest to drape on the ground.

It was painted on a single piece of linen canvas, primed with lead white and with extensive underdrawing in various colours, some visible, and very few pentimenti.

Some parts may be considered a coloured drawing, with Ensor colouring up to but not over the lines of his underdrawing It depicts a crowded scene with a colourful carnival procession, ostensibly held to celebrate the arrival of Christ, but none of the surrounding figures pay any attention to the small figure of Christ – almost hidden at the centre, with yellow halo and red coat, riding on a donkey, with one hand raised in greeting or blessing – amid the grotesque clowns, a marching band, and other figures, many apparently wearing masks.

The painting is one of just three selected by Stefan Jonsson to explain the history of democracy and socialism over a period of two centuries, and how "the masses" are perceived.