The Joyful Mystery of Annunciation in Nazareth

The fruit of the Mystery is Modesty

The first mystery contemplated during the recitation of the Rosary, while saying the “Ave Maria” prayer, is the mystery of the Annunciation. The relatively new Catholic Annunciation Church in Nazareth expresses this Mystery through its architecture and art.

Over 2000 years ago, the Archangel Gabriel blessed Mary, and by his words, she conceived. The Word of Jesus became flesh, as it is said in the book of John, Chapter 1, Verse 14: “And the Word was made flesh, and dwelt among us.” This event recalls the act of creation in Genesis, where the world was created by the Word of God: “And God said, let there be light: and there was light” (Genesis 1:3).

And so it is written: “And in the sixth month, the angel Gabriel was sent from God unto a city of Galilee, named Nazareth, to a virgin espoused to a man whose name was Joseph, of the house of David; and the virgin’s name was Mary. And the angel came in unto her and said, ‘Hail, thou that art highly favored, the Lord is with thee: blessed art thou among women.’ And when she saw him, she was troubled at his saying and cast in her mind what manner of salutation this should be. And the angel said unto her, ‘Fear not, Mary: for thou hast found favor with God. And, behold, thou shalt conceive in thy womb, and bring forth a son, and shalt call his name Jesus. He shall be great and shall be called the Son of the Highest: and the Lord God shall give unto him the throne of his father David: And he shall reign over the house of Jacob forever; and of his kingdom there shall be no end.'” (Luke 1:26-33).

Mariology underscores Mary’s virginity, posing a paradox: how could she, as a virgin, conceive? This enigma hints at deeper truths, akin to the abstract becoming tangible. The allegory reflects our reality: thoughts shaping existence, mirroring “You become what you think about.” In this light, the virgin birth symbolizes the birth of new ideas and emotions within us, emerging from humility and openness.

According to John Paul II, God’s plan is to unite all things through Jesus. The Father looks upon Mary with love, seeing in her the vessel through which humanity is ready to receive the gospel. It can be said that God surveyed the world until He found someone through whom the correction of the original sin and the salvation of the world could be achieved. The place where this chosen person, Mary, lived is Nazareth, partly because it was a modest town. The Son of God was not conceived, born, and lived in Rome, Alexandria, or Jerusalem, but in a small village in Galilee. God responded to the prayers and supplications of humanity by manifesting in the world in flesh and blood, thereby redeeming it and the human race. This universal Annunciation is implicit within the specific announcement to Mary that she will give birth to a son.

What is more joyful than the news of a child about to be born? What is more joyful than knowing that God has not forsaken the human race and is working towards its salvation and redemption? What is more joyful than realizing that God has not forgotten Israel and is sending the long-awaited Messiah? What is more joyful than understanding that the original sin has been remitted and that now, thanks to the appearance of the Son of God on earth, humans can attain eternal life? The joy of the Annunciation resounds through the ages and heralds the other Mysteries of Joy. It is the greatest tidings ever proclaimed to humanity.

Church of the Annunciation

The pilgrimage along the Rosary of Places begins at the Church of the Annunciation in Nazareth, where Jesus was conceived and raised. This site serves as an ideal starting point for exploring the mysteries of the rosary, Mary, and Mariological beliefs. Through its architecture and art, the church embodies these beliefs and concepts, portraying Mary as the origin from which all things emerge, essential for the divine manifestation in the world and the process of redemption.

In the late 1950s, particularly after the establishment of the State of Israel and the recovery from the aftermath of World War II, there emerged a need to replace the old, dilapidated Church of the Annunciation in Nazareth with a new one. This era witnessed a growing emphasis on feminism and spirituality, prompting the Church to underscore the significance of the feminine aspect within Christianity, embodied by Mary.

Initially, the architect Barluzzi was tasked with the design, and in 1954, the old building was demolished to make way for archaeological excavations at the construction site. This provided an opportunity to search for the house of Jesus, Mary, and Joseph, shedding light on life in the village of Nazareth during that period. However, Barluzzi’s plans were ultimately rejected by the Vatican. Subsequently, the planning was entrusted to Giovanni Mozzio, who traveled to Israel to consult with Barluzzi, survey the location, and draw inspiration for his design.

Mozzio had previously constructed numerous religious buildings in Italy, including the seat of the Franciscan Curia in Rome, which served as the official body overseeing the Franciscan order, under whose auspices fell the Custodia Terra Santa and the Church of the Annunciation in Israel. Construction of the new Church in Nazareth commenced in 1960 and concluded in 1969. This grand cathedral is adorned with a plethora of artworks, symbols, and motifs of sacred architecture. Its design aims to evoke religious reverence, fostering qualities such as solemnity, paternal care, moral order, and the promotion of profound intellectual contemplation on the mystery of the Annunciation, the structure of unseen realms, and the divine order of the universe.

Surrounding the Church is a striking courtyard and portico adorned with hundreds of depictions of Mary from diverse cultural perspectives. Beneath and adjacent to the Church lie the remnants of archaeological excavations, while nearby stands a monastery of the Franciscans, educational institutions, and another Church dedicated to Joseph, commemorating his carpentry. Positioned centrally within the topographical basin of Nazareth, the vast Church commands views from all corners of the city. Rising above the roof of the expansive rectangular basilica is a towering conical dome, soaring 60 meters above the structure, serving as an iconic external landmark of the Church and a dominant architectural feature of Nazareth. Atop the dome rests a lantern-like structure, akin to a Lighthouse beacon, casting its radiance across the globe, guiding humanity through the tumultuous waters of life.

From the perspective of the Franciscan order, custodians of the Church of the Annunciation, Nazareth embodies a profound opportunity to comprehend Jesus, particularly his role as the Messiah of the impoverished and marginalized. When Pope Paul VI embarked on a pilgrimage to Nazareth on January 5, 1964, he perceived the town as a fundamental educational ground, a Gospel school where individuals could initiate their understanding of Jesus. Reflecting on this, he remarked: “In Nazareth, we grasp the essence of Jesus’ identity. Here, a desire is cultivated within us to delve into the context of his earthly presence: the locales, eras, customs, language, and religious traditions—all employed by Jesus to manifest himself to humanity. Every element speaks volumes and bears significance.”

Paul VI’s historic visit to Israel occurred during the era of the Second Vatican Council, a pivotal time when Mary was officially recognized as the Mother of the Church. The council sought to underscore the significant contributions of women in Christianity. To manifest this recognition, the construction of a grand and symbolic Church dedicated to Mary was deemed imperative. With the collaborative efforts of Christian communities worldwide, the Church of the Annunciation was erected, serving as a testament to Mary’s role as mediator, queen of heaven, and mother of all. Completed in 1969, the Church’s construction reflected responses to prevailing secular, feminist, spiritual, and new age movements that were emerging in the Western world at the time.

In the Church of the Annunciation, much lies beneath the surface at first glance. Mozzio employed motifs of sacred architecture and art, transforming the space into a veritable tome etched in stone or, one might say, a sanctuary of art. In the ensuing sections, we will delve into various aspects of the structure and artworks, elucidating their significance and highlighting key elements for visitors to observe. A suggested itinerary of the Church should commence in the courtyard and traverse the outer portico adorned with images of Mary. From there, visitors can descend to the lower level, where vestiges of the past are preserved, before ascending to the upper floor dedicated to the veneration of Mary. Finally, the tour should culminate in the upper courtyard, providing access to adjacent Christian institutions and Churches within the complex and its surroundings.

The south Façade and portico enclosing wall

Upon entering the courtyard, your first stop should be the southern portico along the outer wall. Near the entrance gate stands a statue of Mary, depicted as the mediator of grace for humanity. Engraved upon it are the words of the Salve Regina prayer: “Hail Holy Queen, Mother of Mercy, our life, our sweetness, and our hope. To thee do we cry, poor banished children of Eve; to thee do we send up our sighs, mourning and weeping in this valley of tears. Turn then, most gracious advocate, thine eyes of mercy toward us, and after this our exile, show unto us the blessed fruit of thy womb, Jesus. O clement, O loving, O sweet Virgin Mary! Pray for us, O Holy Mother of God, that we may be made worthy of the promises of Christ.”

The southern entrance door features 12 copper reliefs depicting significant events from Mary’s life, such as her sinless conception, upbringing in the Temple, marriage to Joseph, ascension to heaven, coronation, and her role as the mother of the Church. Positioned in front of the door is a foyer adorned with geometric symbols and mosaics. Above the door, a niche in the wall houses a statue of Mary, depicted with open hands and the appearance of a young local girl.

Opposite the southern and western walls of the Church lies a courtyard, surrounded by a lengthy portico spanning over 100 meters with columns. Adorning the walls of the portico are nearly 100 depictions of Mary, rendered in paintings, mosaics, and porcelain crafted by diverse Christian national communities worldwide. These representations offer varying perspectives of Mary as perceived by different cultures. They showcase different Marian apparitions from throughout history, providing visitors with a captivating journey through the stories of Mary’s appearances across the globe as they stroll along this covered portico, which spans 4 meters in width.

The diverse representations of Mary depicted in the portico reflect the unique cultural and national characteristics of different regions and eras. From the Japanese Maria resembling a Japanese woman to the Chinese Maria reflecting Chinese features, and from the socialist-era Maria of Ukraine to the dark-skinned Madonna of Bolivia, each representation offers a distinct portrayal of Mary. Other notable examples include the Madonna of Ecuador depicted standing over a snake, symbolizing her triumph over heresy, and the Madonna of Uruguay depicted through stucco and ceramic reliefs. These varied depictions underscore the Second Vatican Council’s commitment to embracing diversity and welcoming individuals from all races, languages, and nations into the clergy.

the western Facade

The main entrance of the Church, situated in the western wall along the building’s width axis, boasts a remarkable facade adorned with symbolic imagery related to the Annunciation. Atop the wall stands a bronze statue of Jesus, holding a book in his left hand and raising his right hand upward with three fingers upright. These fingers symbolize Jesus halting, questioning, and prompting, preparing individuals for the graces about to be bestowed upon them. Below the statue, reliefs depict the angel Gabriel appearing before Mary during the Annunciation. Further down, reliefs of the four evangelists—representatives of the good news—are depicted, each symbolized by one of the four creatures described in John’s vision and Ezekiel’s vision: a bull, a lion, an eagle, and a man.

The transition from top to bottom symbolizes a progression from the singular statue of Jesus to the duality of Mary and the angel, ultimately representing the unity of the Trinity. Below them, the four evangelists reflect Christian cosmology, showcasing a journey from unity to multiplicity, culminating in the substance of four. The four animals surrounding the throne of God symbolize the four elements constituting the world. Notably, the red stripes on the wall depict representations of these elements: stars for air, flames for fire, waves for water, and reliefs of plants for earth.

The west facade, designed by Professor Bianchi, bears inscriptions from Genesis (3:16) and Isaiah (7:14). The inscription from Genesis reads: “Unto the woman he said, I will greatly multiply thy sorrow and thy conception; in sorrow thou shalt bring forth children; and thy desire shall be to thy husband, and he shall rule over thee.” Opposite it, the verse from Isaiah states: “Therefore the Lord himself shall give you a sign; Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel.” This juxtaposition implies that Mary’s virgin birth corrects Eve’s punishment for the sin in the Garden of Eden.

Another sentence engraved on the western façade describes the event of the Annunciation: “And the angel answered and said unto her, The Holy Ghost shall come upon thee, and the power of the Highest shall overshadow thee: therefore also that holy thing which shall be born of thee shall be called the Son of God.” (Luke 1:35). In contrast, the last sentence engraved on the wall, and the most prominent, unveils the essence of the gospel: in a strip of reddish stone above the entrance door, adorned with flames of fire, it reads: “And the Word – VERBUM, was made – CARO, flesh – FACTUM EST, and dwelt – ET HABITAVIT, among us – IN NOBIS (John 1:14). John’s reference to the Annunciation reveals the secret of how the spirit appears in and through matter, the embodiment of spirit in Matter. This connects with all the other reliefs and sentences on the facade.

In the wall, we will find the three main open entrances leading to a narrow open space where doors to the Church are located: a central and large opening flanked by two smaller ones on both sides (symbolizing the Trinity, as in classical basilicas). The height of the central entrance compared to the height of the side entrances follows the golden ratio, as does the ratio between the height and width of the side gates. The golden ratio, represented by the ratio of 1 to 1.618, held sacred significance in ancient times, appearing in Egyptian temple entrance doors and within the Holy of Holies. This ratio reflects the way things grow in nature, as seen in spirals and the proportions of the pentagram’s arms to its body. Perceived as dynamic in our cognition and perception, the front entrances of the Church subtly influence and invite us to enter.

Behind the three openings in the wall, there is a small terrace with the main door to the Church and two side ones. The main door, usually closed, features bronze reliefs depicting events from Jesus’ life, crafted by Professor Friedrich San of Bavaria. On the left side of the door, events from biblical history, including Adam’s fall from heaven, are presented, while on the right side, biblical prophecies of salvation are depicted. Above the door is a representation of the Holy Spirit in the form of a dove. Surrounding the door are wide granite lintels engraved with figures from the New Testament on one side and the Old Testament on the other. The use of granite is significant, as it is traditionally associated with the element of fire in sacred architectural traditions. This stone, linked to the golden ratio, was often used in the holy of holies of ancient temples.

the lower Church

Through the side doors, one enters a large space that stands on its own and is separated from the Church above it, which we shall call the lower Church. When Giovanni Mozzio planned the Church, he considered what to do with the ancient remains on the site. Shall he destroy them and rebuild anew? Or build while being conditioned by them? The solution he devised was original, symbolizing the relation of the New Testament to the Old Testament. The Church was built in two parts – spaces, one on top of the other, a new Church on top of an old Church.

The lower Church preserves the old remains, while the upper Church expresses the new Covenant between God and the human race. Thus, inside the lower Church is the grotto – a basement room left over from the house of Mary and Joseph, where Mary received the Annunciation, and next to it are the remains of the ancient Byzantine and Crusader Churches that were on the place. Around the ancient remains are several chapels and altars, but for the most part, the space is empty except for the concrete pillars that support the ceiling and were left bare on purpose, to symbolize the humble place from which Jesus came (Nazareth).

In the roof of the lower Church is a big opening in the shape of an eight-pointed star that pours light inside. Above the octagon is the new Church, symbolizing the door to the future and the redemption of humanity. The number eight symbolizes miraculous occurrence, not according to the way of nature, which is represented by the number seven. In Christianity, the significance of eight is tied to the resurrection of Jesus on the eighth day of the holy week, signifying a new creation beyond the original seven days. The natural order is symbolized by the number seven, evident in phenomena such as the seven colors in the rainbow, seven notes in the musical scale, seven metals, seven planets visible in the sky, and the seven days of creation.

When God intervenes and performs a miracle that transcends the laws of nature, it is often symbolized by the number eight. Eight is associated with eternal concepts beyond the constraints of time, resembling the symbol of eternity itself. This significance is reflected in various traditions, such as the menorah used during Hanukkah, which had eight branches and burned for eight days, unlike the seven-branched candelabra in the Temple. Symbolically, the number eight also appears in the Sermon on the Mount, where there are eight blessings. Jesus resurrected on the 8th day. The octagon between the lower and upper Churches serves as a symbol of the miraculous manifestation of God in the world, the spiritual transcending the material, and the virgin birth of Jesus.

On the eastern side of the lower Church, there stands a peculiar metal cube structure with copper triangles inside. This arrangement symbolizes the presence of spirit within matter, with the triangle representing the spiritual essence enclosed within the square of material existence. The square structure is supported by four granite pillars, representing the foundational stability of the earth. However, the altar itself is supported by three pillars and accessed via three steps, signifying its heavenly origin. Suspended above the altar is a large copper cross, bearing the image of Jesus suspended between heaven and earth, serving as a bridge between the two realms. This structure lies beneath the main altar of the upper Church. Adjacent to the foundations of the apse is an organ, enhancing the acoustic resonance within the Church.

Upper Church.

The upper Church, also known as the basilica, is situated above the lower Church and boasts greater elegance, height, and spaciousness. It captivates visitors with its grandeur, particularly with the conical dome that ascends above the octagonal opening in the center of the floor. This dome serves as a symbolic representation of Mary and the Mystery of the Annunciation, drawing worshippers’ gazes upward as they approach the altar and the three ornate apses on the eastern side. Externally, the dome appears black, resembling a lighthouse, but internally, it gleams white like a vast opened flower, allowing in luminous white light reminiscent of the color of the lily, a flower often associated with Mary. The dome is divided into 16 sections, each terminating in triangles arranged to form the letter M, a universally recognized symbol of Mary and motherhood

The dome stands as the embodiment of the building’s mystery, encapsulating the essence of the Annunciation and contributing to its beauty. To reach the Jesus altar, one must traverse a space dominated by the dome, symbolizing Mary. Its floor features a large octagonal opening, offering glimpses of the ancient Churches below. Embedded within the floor are symbols representing popes who championed the worship of Mary throughout history. The imposing presence of the dome is deliberate; its height mirrors that of the Temple in Jerusalem, approximately 60 meters. With a diameter close to 18 meters, its octagonal base signifies the eight divine emanations—the descent of the word through the cosmic ladder of the eight heavens. Above the base, 16 windows depict the 12 apostles, Mary’s parents Joachim and Anna, and saints St. Ephraim and St. Bernard, known for their advocacy of Marian worship, representing the stages of ascent back to the divine.

To the east of the dome lies the central apse of the basilica, flanked by two smaller apses—a layout reminiscent of other Christian basilicas. However, unlike traditional basilicas characterized by curved lines, this architectural marvel features predominantly straight lines and geometric shapes. The apses, in particular, stand out with their triangular roofs resembling house roofs, and their straight walls, deviating from the typical circular forms associated with structures honoring the feminine principle.

In the central apse, a broad and expansive Eucharist altar table faces the audience in accordance with decisions made during the Second Church Council. Behind it stands another altar, resembling the ark of the covenant, topped with a copper triangle. Surrounding the walls of the apse are mahogany wood seats designated for the choir, accommodating up to 35 people. Adorning the east wall is a magnificent mosaic, featuring a prominent trinity of figures: Jesus depicted in red, Peter in yellow, and Mary seated behind them in regal blue attire. Positioned to the left of Jesus is Peter, with Mary situated above and to his right.

To the right of Jesus, adjacent to Mary, a row of individuals symbolizing the charismatic aspect of the Church is depicted. These include visionaries, ecstatics, prophets, and saints who have emerged over the course of Christianity’s two-thousand-year history. On the left side of Jesus, aligned with Peter, another row of figures representing the institutional aspect of Christianity is portrayed. This includes various popes, cardinals, thinkers, and theologians. The mosaic serves to illustrate the dual facets of Christianity: the institutional and the prophetic charismatic. Both sides converge at the center, symbolizing their shared essence within the faith.

To the right of the central apse lies a side apse honoring St. Francis and the Franciscan order. Francis stands out as a charismatic Christian saint and serves as the patron saint of the Holy Land Custodia Terra Sancta, the Christian body responsible for preserving Catholic holy sites in Israel. On the left side of the central apse, there’s another side apse featuring an altar dedicated to the conflict between light and darkness. In the background, mosaic images of the Pope and the head of Orthodox Christianity are depicted together. This imagery symbolizes the struggle against darkness, which seeks to divide Christian denominations, while emphasizing the unity and harmony advocated by the joint representation of Catholic and Orthodox leaders.

On the back (western) wall of the basilica, four marble images depict scenes related to the theme of forgiveness: Mary Magdalene anoints Jesus with oil and wipes his body with her hair; the good shepherd caring for lost and wounded sheep; Jesus granting Peter the keys to the kingdom of heaven; and the prodigal son being welcomed back by his father. Additionally, the wall features 25 small colored windows arranged in the shape of a pyramid or the letter A, which are visible from the exterior western facade, symbolizing fulfillment.

On the side walls of the basilica, large mosaic and ceramic representations (and sometimes sculptures) depict Mary as envisioned, seen, and perceived in various parts of the world (similar to those in the courtyard but on a larger scale). Among them is a portrayal of a Japanese Mary, with a mosaic incorporating gold leaves. In the southwest corner, one can find Presentations of the apparition of Mary in Fatima, Portugal, at the beginning of the 20th century, which holds significant importance for the Catholic world and leadership to this day.

The ratio between the height and width of the hall, as well as the length and width, is approximately the square root of five (2.2361…). In Christianity, the number five symbolizes the spirit’s return to God after experiencing the material world and undergoing transformation. The spirit, represented by the number three, incarnates in the material realm, symbolized by the number four. After a period of refinement and learning, the spirit returns to its origin. In mystical allegory, Jesus on the cross represents the spirit trapped in the material world, seeking liberation. This liberation is achieved through Jesus’ love and sacrifice, symbolized by the five wounds on his body—four in the limbs and one in the heart. The Franciscan order adopts this symbolism with its emblem of five crosses, with one larger cross representing the wound in the heart directed towards the love of Jesus. Saint Francis, the founder of the Franciscan order, experienced the miracle of the stigmata, where the wounds of Jesus appeared on his body due to his deep love for Jesus.

The number five is also significant in the symbol of the pentagram, representing the dynamic liberation from matter, as well as in the golden ratio found in nature’s growth patterns. This dynamic process contrasts with the harmonious ratio of two thirds and one third, symbolizing the spirit in its pure state before entering the material world. However, both ways complement each other in spiritual growth and understanding. Jesus is often symbolized by the red rose with five petals, a symbol adopted by secret orders in Christianity like the Order of the Rose. On the other hand, Mary’s symbol is the white lily with three petals, depicted in the Fleur-de-lis symbol on the basilica’s west wall windows.

The three symbolizes spirituality in its purest form, representing what came before. In contrast, the five represents spirituality after experiencing and being transformed by the material world. The journey involves passing through the four, the realm of matter, where the spirit is metaphorically crucified. This process leads to rebirth into the five, which signifies existence at a higher level, enriched by life experiences, truth, and love. Our thoughts (spirit) may feel imprisoned or crucified in the material world, but embracing acceptance and love for the situation allows us to transcend and learn from it, embodying the essence of the five.

The prominence of the number five in the Church is most evident in the altar within the central apse, resembling the ark of the covenant. Firstly, the original Ark of the Covenant itself was constructed in accordance with the proportions of the golden ratio, a representation of the five. This contrasts with the rest of the Jerusalem temple, which adhered to proportions of two thirds and one third. Secondly, the altar is approached by five steps, symbolizing the transformative essence of the Eucharist where bread and wine become the body and blood of Jesus. Indeed, the entire basilica reflects the significance of the number five in its dimensions, constructed according to the root of five, unlike conventional Christian basilicas typically adhering to proportions of two thirds and one third.

Orthodox Annunciation Church

In Nazareth, there exists a quaint spring known as “Mary’s Well,” emerging gracefully from a splendid sabil (drinking facility) in the square along the main road. However, the water is actually piped from a source located a few hundred meters away, within the Greek Orthodox Church of the Annunciation, also referred to as the Church of “Saint Gabriel.” According to the “Gospel of James,” it was at this village water spring where the angel Gabriel initially encountered the Virgin Mary, revealing to her the forthcoming birth of her son. This narrative resonates with the historical significance of water springs, serving as vital hubs in ancient village life where women would convene to draw water. Embracing this narrative, the Greek Orthodox Church constructed their edifice atop the ancient water spring of Nazareth. The juxtaposition of the spring, situated at the terminus of one of the Church’s extensions, with the exquisitely adorned Church structure, renders it one of the country’s most picturesque sites. The presence of flowing water infuses vitality into the building. Pilgrims frequent this site to collect holy water, drawn from its sacred depths.