The model for Kindt’s signed and dated painting was the print by Jan I Sadeler executed after a drawing by Paul Bril. This engraving was fairly faithfully interpreted by Kindt in the painting from the National Gallery in Prague, but he himself endowed the landscape with the scene of the Christ’s entry into Jerusalem. Kindt’s composition is based on a notion of landscape as a space mirroring the world. In view of the fact that portraits prevailed among Kindt’s works, his landscape remains a singular act. The archaic-like arrangement of the painting follows a landscape type popular in the Netherlands in the 1640s and 1650s.