Ein karem Village of John the Baptist

Ein Kerem has been an agricultural settlement for over 3,000 years, dating back to the era of the judges, possibly even earlier. The name Kerem (vineyard) reflects the suitability of the Nahal Sorek area for vine cultivation. The New Testament states that John the Baptist was born in the land of Judah, though his exact birthplace is not specified. The association of Ein Kerem with his birthplace emerged in the Byzantine period and was solidified by the 9th century. By the time the Crusaders arrived in Israel, Ein Kerem’s identification as the village of John the Baptist was well established, making it a significant location for them, leading to the construction of churches and monasteries.

The primary church in the village, reconstructed by the Crusaders, is the Church of Saint John the Baptist, also known as the Monastery of St. John in the Mountains, which stands today at the village’s core. Tradition holds that Zechariah and Elisheba resided here, with John being born in their house. It’s possible that the site was originally recognized as Zechariah and Elisheba’s summer residence (village) and later came to be considered their permanent home. Regardless, the church’s large foundations are of Byzantine and Crusader origin. Engraved on the walls of the expansive church courtyard are inscriptions in multiple languages of the Benedictus prayer, which Zechariah proclaimed in gratitude during the circumcision of his son, John the Baptist. This complements the various depictions of the Magnificat prayer, uttered by Mary upon meeting Elisheba while pregnant in Ein Kerem, found in the courtyard of the Church of Visitation.

Zechariah, the father of John, served as a high priest in the temple, where he prayed for a child despite his advanced age. On one occasion, while he was in the Holy of Holies, an angel of God appeared to him, announcing that God would grant his prayer and give him a son. However, Zechariah’s doubt led to a punishment from the angel: he would be unable to speak until the child was born. True to the angel’s word, Zechariah remained mute until John’s birth. When it came time to name the child, Zechariah wrote “John” on a tablet with chalk. It was only after this act that he regained his ability to speak, and the first words he uttered were the Benedictus prayer: “Praise be to the Lord, the God of Israel, because he has come to his people and redeemed them. He has raised up a horn of salvation for us in the house of his servant David (as he said through his holy prophets of long ago), salvation from our enemies and from the hand of all who hate us— to show mercy to our ancestors and to remember his holy covenant, the oath he swore to our father Abraham: to rescue us from the hand of our enemies, and to enable us to serve him without fear in holiness and righteousness before him all our days. And you, my child, will be called a prophet of the Most High; for you will go on before the Lord to prepare the way for him, to give his people the knowledge of salvation through the forgiveness of their sins, because of the tender mercy of our God, by which the rising sun will come to us from heaven to shine on those living in darkness and in the shadow of death, to guide our feet into the path of peace.” (Luke, 1:68-79).

By the end of the 19th century, the church underwent reconstruction with the support of the Spanish Royal House, adopting a dark Spanish Baroque style. Within the church’s apse is a cave that tradition holds as the birthplace of John. Additionally, the church houses an important and impressive collection of paintings from the 17th to the 19th centuries.

John the Baptist, as a prophet, symbolized the resurgence of prophecy in Israel following its absence since the end of the First Temple period, a significant interruption that deeply affected the Jewish faith. John is regarded as the return of Elijah the prophet, who was taken up to heaven in a whirlwind over the Jordan River. After 700 years, in the very same place, John emerges and begins baptizing people, signifying the revival of prophetic presence in Israel.

The name John signifies “God forgave,” underscoring that divine forgiveness is the gateway to salvation. This act of forgiveness is manifested through the revival of prophecy in Israel and the forthcoming advent of the Messiah, who is foretold to baptize people with fire (the Holy Spirit). The narrative of John the Baptist is detailed in the Gospel of Luke, which is also referred to as the Johnaic.

John the Baptist led a life in the wilderness, characterized by his attire of a leather belt and camel’s hair jacket, and a diet of locusts and wild honey, embodying a figure of purity and holiness. At a certain juncture, it’s speculated that he might have associated with the Essenes, possibly at Qumran, where he would have been exposed to mystical interpretations of the Jewish Torah and the practices of baptism. However, John diverged from the Essenes’ view of baptism as merely a ritual of purification from impurities. He believed baptism should hold a primarily spiritual and symbolic significance. Consequently, he distanced himself from the Essenes, attracted his own followers, and initiated a call for repentance during a time rife with messianic anticipation. John saw the prophecy in Isaiah, “A voice calling in the wilderness” (Isaiah 40:3), as a directive to retreat to the desert himself.

When Jesus came to him for baptism, and as he was baptized, the Holy Spirit descended upon Jesus. From that moment, John transferred the mantle of spiritual leadership to Jesus, thus being dubbed the “messenger,” in contrast to Jesus, who is referred to as the “gospel.” John’s feast day falls on June 24, closely following the longest day of the year, whereas Jesus’ is celebrated on December 25, right after the shortest day. Responding to his disciples’ inquiries about why he was deferring to Jesus, John explained, “He must increase, but I must decrease.” This relationship between John and Jesus illustrates a profound duality: Jesus is the sun, whilst John is the moon. However, John transitions towards a divine or angelic state (often depicted with wings in art), representing a man becoming akin to God/angel, while Jesus embodies God taking human form. Consequently, the days begin to lengthen after Jesus’ birth, in contrast to the shortening days following John’s, reflecting their spiritual dynamics.

The significance of John the Baptist is encapsulated in Jesus’ statement about him: “among those born of women there has not risen anyone greater than John the Baptist.” This indicates John’s unparalleled status among humans, given the premise that Jesus is the Son of God, distinct from ordinary men. This perspective clarifies why, in iconography, John the Baptist is frequently depicted alongside Jesus, with Mary on the opposite side. Mary represents the pinnacle of womanhood, while John the Baptist embodies the apex of manhood among humanity, and both serve as mediators with Jesus.

Alongside the Monastery of St. John in the Mountains and the Church of John the Baptist within it, another significant site in Ein Karem is Barluzzi’s splendid Church of the Visitation. This church celebrates the encounter between Mary (Miriam) and Elizabeth (Elisheva), John the Baptist’s mother, during their pregnancies. Additional noteworthy places include the John the Baptist Orthodox Church, the Russian Gorny or “Moscobia” Convent, the Convent of the Sisters of Zion, and the Convent of the Rosary Sisters. The latter is notable as the residence of the contemporary Catholic saint Mary Alphonsine, who experienced visions of Mary.

A few kilometers from Ein Kerem, perched on the cliffs above the Nahal Sorek stream, lies the Monastery of St. John in the Wilderness. This site is notable for its picturesque water spring and pool. Before the War of Independence, Ein Kerem was a sizable Arab village. Today, it has transformed into a neighborhood in Jerusalem known for its vibrant community of artists, centered around cafes and galleries. At the heart of the village stands the old Mosque, with a relatively large water spring situated below it.

The Mystery of visitation in Ein Karem

Fruit of the mystery – love of the other

The mystery of the Annunciation signified the potential for the divine to manifest in physical form, allowing God to incarnate and embody spirit through matter. However, this process remained incomplete. What was essential was the acknowledgment and recognition of the divine presence within Mary. To facilitate this recognition, Mary journeyed to the Judean mountains to meet her cousin Elisabeth, who was pregnant with John the Baptist at the time. Elisabeth was the only person capable of recognizing the divine within Mary. This recognition was crucial as it marked the beginning of the incarnation’s influence on the world.

Therefore, the second Mystery of the rosary, the Visitation, highlights the blessings that come from encountering others. When the angel Gabriel greets Mary, he proclaims: “Hail, thou that art highly favoured, the Lord is with thee: blessed art thou among women” (Luke 1:28). Despite this divine affirmation, Mary’s reaction is not one of immediate joy. Like the goldfish unaware of its own surroundings, she fails to fully grasp the significance of what has transpired. As humans, we often struggle to perceive our own worth and essence without external validation. Thus, following the Annunciation, Mary embarks on a journey to visit her cousin Elisabeth in Ein Kerem, perhaps seeking to share the news and gain insight from her trusted relative.

When they met, few words were needed as the two women instinctively recognized the significance of each other’s experiences. As soon as they embraced, Elisabeth comprehended the divine occurrence, and even the baby in her womb, John the Baptist, responded to the presence of Jesus within Mary. Filled with the Holy Spirit, Elisabeth bestowed upon Mary a blessing: “Blessed art thou among women, and blessed is the fruit of thy womb.” This sacred encounter is recounted in the New Testament: “And it came to pass, that, when Elisabeth heard the salutation of Mary, the babe leaped in her womb; and Elisabeth was filled with the Holy Ghost: And she spake out with a loud voice, and said, Blessed art thou among women, and blessed is the fruit of thy womb. And whence is this to me, that the mother of my Lord should come to me? For, lo, as soon as the voice of thy salutation sounded in mine ears, the babe leaped in my womb for joy.  And blessed is she that believed: for there shall be a performance of those things which were told her from the Lord.” (Luke 1:41-45).

As a result of her encounter with Elisabeth, Mary is also imbued with the Holy Spirit, overflowing with joy and offering the Magnificat Prayer—a hymn of praise to God. Despite being greeted by an angel in Nazareth with the words “Hail, Mary,” it is only after her meeting with Elisabeth and receiving her blessing that Mary comprehends the magnitude of what has transpired, experiencing a profound sense of blessedness and joy. Despite her immaculate conception, Mary still seeks recognition and affirmation from others, exemplified in her need for Elisabeth’s acknowledgment to fully embrace her own divine calling and express the joy within her. Mary’s song of praise emerges from the depths of her soul’s exaltation and the jubilation of her spirit. Thus, the narrative in the New Testament unfolds: “And Mary said, My soul doth magnify the Lord, And my spirit hath rejoiced in God my Saviour. For he hath regarded the low estate of his handmaiden: for, behold, from henceforth all generations shall call me blessed. For he that is mighty hath done to me great things; and holy is his name. And his mercy is on them that fear him from generation to generation. He hath shewed strength with his arm; he hath scattered the proud in the imagination of their hearts. He hath put down the mighty from their seats, and exalted them of low degree. He hath filled the hungry with good things; and the rich he hath sent empty away. He hath helped his servant Israel, in remembrance of his mercy; As he spake to our fathers, to Abraham, and to his seed forever.” (Luke 1:46-55).

The Mystery of the Visitation teaches us that human existence is not solitary but interconnected with others. Its essence lies in fostering love for one another and recognizing our place within the collective human narrative. According to John Paul II, the voice of Mary and the presence of Jesus in her womb caused John to leap for joy within Elisabeth’s womb. Similarly, our response when encountering others should be one of joy, directed towards the divine essence within each person—a potentiality that is still in its embryonic stage, awaiting realization. We are called to acknowledge and celebrate the infinite possibilities inherent in each individual, responding to them with love and joy.

The Church of the Visitation in Ein Karem

The journey following the mysteries of the Rosary begins at the Church of the Annunciation in Nazareth, the site of the Mystery of the Annunciation. It then proceeds to the Church of the Visitation in Ein Kerem, a charming village near Jerusalem, where the Mystery of the Visitation unfolded. Maria, recently pregnant and hailing from Nazareth, encounters her cousin Elisabeth, who is in the advanced stages of pregnancy (sixth month) with John the Baptist. Their meeting likely occurred at the village’s outskirts, near the water spring, where the renowned architect and mystic Barluzzi erected one of Israel’s most magnificent churches to commemorate the event.

Barluzzi’s churches are designed to encapsulate the mystery of the event through their architecture and artwork, providing visitors with an immersive experience of the celebrated occasion. Dubbed “Visitation Churches,” these architectural marvels are unparalleled in their portrayal of the mysteries they represent. Drawing from Mariology doctrines and the history of Marian apparitions worldwide, Barluzzi, a devout Christian mystic who practiced the Rosary, imbues the Church of the Visitation with profound mystical significance. Through the visit to this sacred site, visitors are invited to delve into the mystical depths of the Visitation mystery, guided by Barluzzi’s faith, knowledge, and Mariological insights, as well as the contributions of the Franciscan order, who assisted him in this endeavor. In essence, the Church of the Visitation stands as a testament to Barluzzi’s and the Franciscans’ unwavering devotion and their profound understanding of Mary’s role in the Christian faith, expressed in the most exquisite manner.

The Visitation Church comprises two floors, with a magnificent bell tower standing adjacent to it. The first floor houses the remnants of the earlier churches that once stood on the site, including the Byzantine and Crusader churches. This floor commemorates the meeting between Mary and Elizabeth, as well as the event of John the Baptist and his mother seeking refuge from Herod’s soldiers, followed by their escape to Egypt. On the upper floor, visitors encounter depictions of some of the most significant Marian apparitions in history, along with key principles of Marian worship and Mariology in Christianity. This division between the lower floor, which preserves remnants of the past, and the upper floor, associated with divine revelation, is a characteristic feature of Barluzzi’s architectural style. It symbolizes the New Testament, represented by the upper floor, resting upon the foundation of the Old Testament, represented by the lower floor.

The hall on the lower floor is designed to evoke the ambiance of a rustic country house. Grapevines adorn the ceiling, reminiscent of a pergola, while the floor features a rustic mat patterned onto the tiles. The walls are adorned with beautiful frescoes depicting scenes such as Zechariah, John the Baptist’s father, dressed in his high priestly attire, the meeting between Mary and Elizabeth (the Visitation), and Elizabeth’s escape to Egypt with baby John, hiding from Herod’s soldiers. Behind the altar, mosaics depict plants, animals, and flowers paying homage to the cross. Extending from the lower room is an apse-shaped area leading to the cistern, adorned with mosaic depictions of fish symbolizing fertility. One of the walls showcases a large rock, believed to be the hiding place of Elisheva and baby John during Herod’s persecutions. This rock holds a special significance facilitating the miraculous disappearance of Elisheva and John from the sight of the soldiers, depicted as if swallowed by the rock.

From the courtyard on the lower floor, a path winds its way through a picturesque garden located north of the church, looping back to the church on the upper floor. This garden boasts a variety of medicinal plants and Mediterranean flora, carefully selected to enhance its beauty. Adorning the windows of the north wall of the church are intricate stone lattices featuring depictions of palm trees, vines, and other plant motifs. In ancient times, the palm tree and its fruits symbolized sacred femininity, while in Christianity, they represent Jesus’s victory over death. Vegetation, in general, was often associated with the cycles of women and fertility. The connection between the inside and outside of the church is evident through this dialogue: the garden and the pathway linking the lower and upper parts harmonize with the plant motifs depicted in the windows.

The church on the upper floor is dedicated to the apparitions of Mary throughout history and the dogmas that have developed in the church concerning her. Since the 13th century, Mary has reportedly appeared to individuals, intervening in world events and human affairs to provide guidance and advice. It’s possible that she may have appeared to Barluzzi himself, although he never explicitly mentioned it. In Ein Karem, there are two monasteries established based on directions supposedly given by Mary to individuals she appeared to. One is the Sisters of Zion Monastery, founded by Alphonse Ratisbonne, a Jewish man who converted to Christianity following apparitions of Mary. The other is the Monastery of the Sisters of the Rosary, located in the former home of Mary Alphonsine, the founder of the order. Mary Alphonsine claimed to have received apparitions and guidance from Mary throughout her life. Both of these monasteries operated in the second half of the 19th century, and there was believed to be a mystical connection between them. Mary Alphonsine’s house is situated adjacent to the Visitation church, suggesting that Barluzzi may have been aware of her reported apparitions.

On the south wall of the upper hall, there are depictions of five historical apparitions of Mary and events that illustrate the evolution of Marian doctrine. These images underscore the belief that Mary, by virtue of her identity, intervenes in worldly affairs out of love for humanity, Christianity, and the Church. The first image depicts Mary seated between the Gospel writers Mark and John, with Christian representatives from the Council of Ephesus (431) below her. This council affirmed her title as the “Mother of God.” In the second image, Mary is portrayed as a source of grace and refuge for sinners. Mary Magdalene and Mary of Egypt kneel before her, depicted as the Madonna of grace and mercy. Mary’s cloak extends over people from all races and nations, who are sheltered beneath her veil, including a small figure representing Barluzzi himself. The third picture depicts Mary in a dual representation as the Madonna and the Star of the Sea, flanked by two angels. Below her is the wedding scene in Kfar Cana. In the fourth image, Mary is portrayed as the helper of Christians in their struggles. It shows the preparations for the Battle of Lepanto, where Italy was saved from an Ottoman invasion. Pope Paul V and a Christian general stand on either side of Mary. The fifth image shows Mary stepping on a snake, with angels on either side. Below her are important Christian theologians such as Thomas Aquinas and Duns Scotus, who delved into Marian concepts and beliefs, particularly that of the Immaculate Conception.

Among the depictions of these historical events, there are paintings of significant female figures from the Bible, such as Queen Esther or the prophetess Miriam. Meanwhile, between the windows of the opposite (northern) wall, paintings of angels can be observed. On the back wall of the hall, there is a large figure of Mary as she appeared in Fatima in 1917, set within an apocalyptic context. She stands above a sphere resembling the world or a half moon, symbolizing the sin she overcomes in some of her appearances. Mary is surrounded by flames of fire, holding the baby Jesus in her hand in a compassionate posture with her cheek pressed to his. This portrayal embodies the essence of the female divinity, the Shekinah, where the hidden holds greater significance than the visible.

In the apse of the church, one can behold Mary depicted as “Our Lady of Palestine,” a distinct representation of a woman with local appearance and attire set against a backdrop of desert landscapes, indigenous flowers, and sabre bushes. Mary wears a blue robe symbolizing the sky and a red dress symbolizing the incarnation, with a white handkerchief atop her head symbolizing her purity. However, this purity is uniquely intertwined with the landscape of the Land of Israel, particularly the desert.

The portrayal of Mary in a local guise reflects the increasing belief in her apparition and intercessory role in Israel during the 1920s and 1930s. During the mandate rule, there was a growing anticipation that she would intervene in the affairs of her homeland, leading to a burgeoning perception of Mary as the Madonna of Israel (or Palestine). This sentiment manifested in the establishment of churches in her honor, as well as in processions and celebrations dedicated to her, with the endorsement and acknowledgment of the Patriarchate of Jerusalem. The painting in Barluzzi’s Visitation Church stands as another testament to this movement. Beneath the depiction of Mary of Palestine, extending her hand, are figures of Franciscans, including the head of the order and later the Latin Patriarch of Jerusalem, Father Alberto Gori, who dedicated the edifice to her.

In conclusion, the Upper part of the Visitation Church offers a dialogue between natural motifs, notably flora depicted in mosaics and on the floor, symbolizing the earthly manifestation of God’s glory, and angelic figures adorning the walls and ceiling, singing praises to God in heaven. The window grilles featuring palms and dates create captivating interplays of light and shadow within the hall, enhancing the architectural beauty—a recurring theme in Barluzzi’s churches. Through art and architecture, the feminine principle of creation, harmony, abundance, compassion, support, and beauty is eloquently expressed. In contrast, the lower church of the Visitation and its courtyard underscore the inner significance of the Mystery of Visitation, particularly the profound encounter between the two women.