Generators of Sacredness in the Church of the Holy Sepulchre

The Church of the Holy Sepulchre in Jerusalem is recognized as the most sacred site for Christians globally, serving as a focal point for pilgrimage and devotion [1]. Numerous scholarly works have explored its historical, cultural, religious, political, and social dimensions, including analyses of the pilgrimage practices, traditions linked to the site, its evolution across different time periods, as well as the symbolism and art present within the church, its distinct sections, and beyond.

This article draws upon various studies to introduce an alternative perspective on the Church of the Holy Sepulchre, focusing on the religious experiences elicited in some visitors. It posits that the church’s layout contains elements that act as “Sacredness generators”, facilitating a transformation in environmental perception that may lead to religious experiences. This aspect contributes to the site’s charisma and popularity. It is important to note, however, that the architectural grandeur of the building is currently partially obscured due to walls erected around the central Catholicon hall. These barriers restrict views of the church’s transept (its breadth) and conceal other features. Despite these limitations, the distinct sections of the Church continue to profoundly impact both Christian visitors and non-Christians alike.

Sacredness generators are archetypal configurations within sacred sites that initiate a unique perceptual shift, resonating with archetypal patterns embedded in our unconscious. A prime illustration of this is the perception of the environment in terms of dualities: darkness and light, sky and earth. We compartmentalize space into binaries—above and below, forward and backward—and understand reality through a dualistic process of absorbing and interpreting our perceptions. This mirrors the inherent dualities within us, such as good and evil, spirit and matter, among others.

In the research I conducted regarding sacred sites in Israel, it was demonstrated that the presence of physical or symbolic duality within a holy place enhances our awareness of duality. Specifically, when this duality is unifying—meaning the diverse elements complement rather than conflict with each other—it can facilitate the internal reconciliation of opposites. This, in turn, may lead to a religious experience characterized by a sense of unity and the Sacred, akin to what Jung termed the “self”.

Likewise, the presence of Sacredness generators in charismatic Sacred places can prompt religious experiences among some visitors. The generators I highlight in my PhD thesis include unifying duality, sublime extraordinary, connecting center, and fractal complexity, although there are additional ones as well.

Before we explore Sacredness Generators, it’s crucial to align on certain fundamental premises. First and foremost, the impact of a place on an individual cannot be overstated, indicating that not all places are identical in how they influence us, both in manner and magnitude. This realization leads to the distinction between charismatic Sacred places and those that are not; from a phenomenological standpoint, not all sacred places are inherently “sacred.” Secondly, the potential for transpersonal religious mystic experiences within individuals is well-documented across religious studies, transpersonal psychology, and the psychology of religions. This potential is viewed as a natural human faculty, comparable to the capacities for art and music. According to Eliade, humans are Homo Religious, inherently seeking a connection with the sacred, a pursuit that is fulfilled in particular places and times, thus underscoring the importance of visiting charismatic Sacred places.

Structure of the Church of the Holy Sepulchre

The Church of the Holy Sepulchre encompasses several pivotal Christian sites within its confines: the hill of Golgotha, where Jesus was crucified; the stone that was used to anoint his body and prepare it for burial; the empty tomb where he lay before his resurrection; the location of his encounter with Mary Magdalene; the site where the true cross was discovered; a central hall known as the Catholicon; an Ambulatorium (corridor) encircling the Catholicon; along with numerous other sections, some accessible to the public and others not. Surrounding the Church are monasteries and churches belonging to various denominations. While the courtyard that leads into the building may appear modest and unremarkable, stepping inside unveils a completely different realm.

The oldest section of the Church is a sizable circular hall, topped with a dome, known as the Rotunda, which houses the empty tomb at its center. This archetypal structure was constructed in the 4th century (with the church’s initial construction starting in 325 and its consecration in 335), during the reign of Constantine the Great, marking it as one of the earliest monumental Christian edifices globally. Adjacent to this, a grand basilica was erected on the eastern side to accommodate the influx of worshippers, with an open courtyard situated between these two significant structures, where the Golgotha rock was prominently displayed. Over time, the basilica succumbed to destruction, and in its stead, the Crusaders of the 12th century erected a new edifice that incorporated the courtyard.

Many components of the structure, including the Catholicon, the Ambulatorium, and the Golgotha, were constructed as part of a comprehensive design that integrated the rotunda, under the patronage of Baldwin III, the King of Jerusalem, and his mother Melisande in the 12th century. These elements represent the pinnacle of Crusader architecture. The introduction of crossed arches heralded a novel religious ideology that would later influence the development of Gothic cathedrals throughout Europe. The Crusaders adorned the edifice with intricate and refined sculptures visible on the capitals and jambs, as well as magnificent artistic mosaics, of which only a few survive today. Their incorporation of color, nuance, and complexity into architecture served to manifest the mysticism that was deeply ingrained in Christianity during that era [2].

The comprehensive layout of the complex embodies sacred proportions, numbers, and geometry, integrating elements of Sacred architecture derived from the Jewish Temple in Jerusalem and, in the case of the rotunda, from the Pantheon. Additionally, it bears some resemblance to the Dome of the Rock in certain aspects. This church stands alone in its construction, unparalleled by any other church globally, meticulously designed to reflect its significance and the historic events that occurred within it. Throughout the design process, Sacredness generators were incorporated, whether intentionally or inadvertently, imbuing the site with profound spiritual resonance.

Sacredness Generator Unifying duality in the Church of the Holy Sepulchre

One of the Sacredness generators active within the Church of the Holy Sepulchre is unifying duality, A fundamental architectural theme is the contrast between circular and linear forms, symbolizing male and female principles. This dichotomy manifests in several ways, notably through the church’s bifurcation into two principal sections: the rotunda and the catholicon. The rotunda, embodying circularity, and the catholicon, characterized by its rectangular shape and constructed along an east-west axis with straight lines, exemplify this. The Rotunda, an ancient circular edifice encasing Christ’s tomb, dates back to the Roman-Byzantine era, whereas the Catholicon, serving as the central hall, was erected during the Crusader period. Although the church’s appearance has evolved, its fundamental structure has consistently featured these dual components [3], underscoring the symbolic interplay between the circular (rotunda) and linear (basilica) elements [4].

This bifurcation into two structures, one linear and the other circular, within a single complex, mirrors a motif prevalent in the classical world [5]. It subtly echoes the design of the Jewish Temple, which predominantly featured straight lines yet harbored, within the Holy of Holies and between the two Cherubim, a portal to an alternate reality, depicted in Jewish mystical teachings as circular. Nurith Kenaan-Kedar [6] suggests that the church mirrors the heavenly Jerusalem, with the Temple acting as its earthly harbinger. Indeed, the architects of the Church of the Holy Sepulchre sought to forge a visible and concealed linkage between the two edifices, employing both straight and circular lines as one means of achieving this connection.

The heart of the Church of the Holy Sepulchre is the rotunda, a circular edifice encasing the Holy Sepulchre itself, constructed in the fourth century and modeled after the Pantheon in Rome [7]. Barrie notes that the Pantheon was designed to allow light to enter through an opening in the ceiling, animating the interior with a connection to the celestial movements of the sun and moon [8]. The light that descends from the dome’s apex resembles a beam piercing through a sphere, thus forging a symbolic link between circular and linear elements, the earthly and the divine. The Pantheon, with its perfect semicircle form, impresses particularly through its walls that respond to the incoming light, creating a dynamic interplay of light and shadow. Similarly, the rotunda of the Church of the Holy Sepulchre, following the Pantheon’s blueprint, features a top aperture that admits a beam of light. While the effect mirrors that of the Pantheon, its interpretation diverges; in the Church of the Holy Sepulchre, the light beam is seen as the embodiment of the spirit (Jesus) entering the world. This phenomenon exemplifies the Sacredness Generator of Unifying Duality.

Indeed, for numerous visitors to the Church of the Holy Sepulchre, the most captivating aesthetic feature is the influx of light through the opening of the rotunda’s dome, casting an expanding beam onto the space below. This interplay of light and shadow, observable at certain times of the day, instills a sense of the Sacred in many observers. Consequently, it is not surprising that this phenomenon ranks as the most frequently photographed aspect of the Church [9]. The sheer volume of images captured attests to the excitement it generates. This spectacle significantly contributes to the site’s popularity, despite not being widely recognized as a central attraction.

In the foundational design of the Church of the Holy Sepulchre, there existed additional poignant convergence between the straight line of a sunbeam and the circular form of the rotunda. Constructed during the reign of Roman Emperor Constantine (325-335), the church’s architecture incorporated elements from the ancient Roman solar cult into Christianity. Originally, the Church featured an eastern-facing aperture aligned with the sunrise over the Mount of Olives [10]. As the sun ascended above the mountain’s horizon, its initial rays would pierce through this opening into the rotunda, creating a symbolic linkage between the heavens (sun) and the earth (church), reminiscent of the alignments found in ancient stone circles and temples. This architectural feature mirrored the orientation of the Jewish Temple, which also faced eastward towards the Mount of Olives, further highlighting a historical continuity of sacred symbolism.

Within Christianity, the circle represents the cycle of life, death, and resurrection, and it is likewise linked with the sun and its cycles. Jesus is depicted as a solar figure, which is symbolized by the round halo surrounding his head. The association of Jesus with a solar hero who dies and is reborn dates back to the 4th century when motifs from pagan Roman religion were integrated into Christianity by the emperors. Consequently, churches constructed during and after this period were oriented to face east, reflecting these syncretic religious influences.

The sunrise over the Mount of Olives is significant, illuminating the cosmic drama of Jesus’ death and resurrection at the site where these pivotal events occurred. The sun, casting a beam of light (often symbolizing the Holy Spirit), manifests within the edifice. This tradition of acknowledging the sunrise over the Mount of Olives also finds its origins in the Jewish Temple, oriented along an east-west axis towards the mountain. Each morning, the sunrise over the Mount would brighten the temple’s entrance, signaling the start of worship. This light was further disseminated throughout the city by a golden lamp (Helena’s lamp) positioned above the temple entrance [11]. In a similar vein, Christian worship holds the Mount of Olives in high esteem as the location of Jesus’ ascension, the resurrection of the dead, and the anticipated second coming of Jesus (the Jewish Messiah) at the end times. This view of the sunrise from the Byzantine Church of the Holy Sepulchre (today the view is blocked), regarded by believers as the epicenter of both the original and the new spiritual creation initiated by Jesus’ resurrection, endowed the sunrise over the Mount of Olives with profound spiritual significance.

The convergence of a straight line with a circular form, manifested when a light beam enters a circular (or predominantly rectangular) architectural space, acts as a Sacredness Generator of the Uniting Duality type, prevalent in many charismatic churches. Additionally, churches globally are aligned along an east-west axis, designed so their stained glass windows can dramatically admit light, particularly during sunrise or sunset. Consequently, the rosette windows in Gothic churches are oriented towards the west, casting enchanting colored light into the interior. In certain exceptional locations, east-facing stained glass windows capture the morning light at sunrise, as exemplified by the Church of the Transfiguration on Mount Tabor.

The convergence of a straight line and a circle symbolizes the union of masculine and feminine, the spiritual realm and the material world, where the spiritual (masculine) is represented by the straight line that impregnates the material (feminine) embodied by the circle. This interaction sanctifies the space, effectively renewing it. The tangible beam of light piercing the rotunda through the dome acts as a metaphor for a spiritual beam of light, marking the materialization of the spirit in the physical realm.

In Christian iconography, a beam of white light, emanating from the divine, is depicted as entering the forehead of the infant Jesus, serving as a pictorial representation of the Sacredness Generator Unifying Duality [12]. This imagery suggests that the sunbeam symbolizes the Holy Spirit, with the circle representing both the earthly realm in its mundane aspect and the divine in its transcendent aspect. The earth is consecrated by the purifying and sanctifying ray of light. This concept can be visualized with the rotunda, the burial site of Jesus, symbolizing his corporeal form, while the sunray entering through the ceiling’s aperture signifies the Holy Spirit imbuing it, embodying the Word becoming Flesh. Thus, a rebirth (resurrection) is facilitated. Thereby, the ancient symbolism of the union between masculine and feminine, circular and linear, as seen in the Pantheon in Rome and other classical temple structures, is assimilated into Christianity through its architecture, reflecting universal archetypes.

The interaction between the sunray and the Rotunda space transcends merely the convergence of circle and straight line; it signifies the encounter between light and matter (shadow). This archetype is also manifested in the Holy Fire ceremony during Easter, the paramount ritual in the Church of the Holy Sepulchre and across the Orthodox and broader Christian world. It symbolizes the union of the spiritual (light) with the physical realm, Jesus (or his stand-ins) with the congregation. Devotees encircle the Holy Sepulchre, holding unlit candles [13]. At the core, within the Holy Sepulchre itself, during the moment of resurrection, the holy fire—a divine manifestation of light—descends from heaven to ignite the patriarchs’ candles. This flame is then shared among the attendees, illuminating their candles, and subsequently disseminated globally. This event occurs on the night of Holy Saturday, deemed miraculous for the fire’s heavenly origin and its purportedly cool nature (as per belief). The transformation from darkness to light serves as another Sacredness Generator Unifying Duality; in an instant, the previously dark space is aglow with countless candles, as everyone commemorates the miraculous confluence of the sacred and the mundane.

The manifestation of the Sacredness Generator Unifying Duality is evident not just in the interplay between light and darkness or the sunbeam and the rotunda, but also in the architectural dialogue between the complex’s two primary structures: the rotunda and the Catholicon (central hall). Where a courtyard once lay (In the Byzantine period), the Crusaders constructed the Catholicon, complementing the since-fourth-century-standing Rotunda. The Catholicon spans a length equal to that of the rotunda, and the diameter of its dome, situated above its western section, measures half that of the Rotunda’s dome [14].

Nurit Canaan-Kedar posits that the theme of duality was intentionally woven into the cruciform architecture of the Church of the Holy Sepulchre, representing not merely simple duality but a unifying duality [15]. Canaan-Kedar suggests that this architectural duality mirrors that of the Dome of the Rock and the Al-Aqsa Mosque within the Temple Mount complex, where one structure follows a radial design and the other a linear layout. The Crusaders perceived one as a temple and the other as a palace, epitomizing the church’s dual sovereignty – terrestrial and spiritual. In this arrangement, the Catholicon served as the royal church, whereas the Rotunda was dedicated to divine worship. The architectural link between these structures is highlighted by the proportional relationship of their domes: the dome’s diameter of the Catholicon is precisely half that of the Rotunda’s, mirroring the proportional relationship between the dome of the Al-Aqsa Mosque and that of the Dome of the Rock.

The dimensions and proportions of the buildings are deliberately designed: the diameter of the Catholicon dome corresponds to the size of the Holy of Holies in the Jewish Temple (10.4 meters or 20 cubits), a measurement that is consistently applied throughout the construction. The dome of the Rotunda measures exactly twice this diameter, thereby establishing a geometric bond between the two structures and harmonizing their duality.

As a result, visitors to the Church of the Holy Sepulchre, prior to the construction of a tall dividing wall that now conceals the church’s transept around the Catholicon, were immediately struck by the architectural concord between its principal parts. This sense of unity between the Rotunda and the Catholicon is achieved not only through their proportional dimensions but also through the significant arched opening that connects them, serving as a symbol of victory, a kind of triumphal arch [16].

Furthermore, the architectural focal point of the complex is located within the Catholicon (the rectangular church), beneath the dome that represents the terrestrial heavens, at a spot deemed the world’s navel – Omphalos. Historically, this location was denoted by a circular marking on the floor, whereas presently, a stone cup marks the spot [17]. Thus, the Catholicon epitomizes the cosmos, embodying the world’s center [18]. Meanwhile, the adjacent Rotunda, echoing the Pantheon, symbolizes universality and the celestial realm. The Catholicon’s linear contours signify the temporal progression and humanity’s odyssey from downfall to salvation. Conversely, the Rotunda’s circular form embodies eternity, divinity, and the interconnection of realms. Within this interplay, the Sacredness Generator Unifying Duality is manifest.

The Unifying Duality extends beyond the interplay of the straight line and the circle, encompassing the eternal and the temporal. The Sacred permeates the worldly realm through the poignant narrative of Jesus’ suffering and death, culminating in redemption and revelation through his resurrection, thereby sanctifying the material world. The empty tomb serves as a testament to the transient nature of death, while Jesus’ resurrection stands as a beacon of the eternal, offering the promise of everlasting life. This duality of death and life finds expression in the church’s architecture through a double gate at the compound entrance, adorned with elaborate sculpted pediments, now housed in the Rockefeller Museum [19]. These carvings illustrate the enigmatic duality of the incarnation: one side portrays a complex intertwining of flora, fauna, and humanity ensnared in the temporal realm (cycles of life and death) before the incarnation, while the other side depicts scenes from Jesus’ earthly ministry, his life, and resurrection—a testament to the potential for eternal life.

According to Sheldrake, a hallmark of Christian sacred sites is the juxtaposition of external chaos and internal sanctity [21]. The church serves as an oasis of order amidst a turbulent world filled with tumultuous passions and malevolent forces. This dichotomy finds classical expression in the dual pediments flanking the entrance gate of the Church of the Holy Sepulchre. The close proximity of these contrasting depictions—representing the disparate states of the world (before and after, temporal and eternal)—and their placement between the interior and exterior of the structure suggest the potential for reconciliation between these two planes of existence. This phenomenon serves as a Sacredness Generator of the Unifying Duality type.

Sacredness Generator Sublime extraordinary in the Church of the Holy Sepulchre

One factor that can transition an individual from their ordinary state to a transcendent experience is an encounter with the extraordinary. If this extraordinariness takes on a sublime nature, it opens up the potential for religious mystical experiences. Thus, the significance of sublime extraordinary features or narratives within sacred places serves as triggers for connections to the sacred. In this regard, few things could be more extraordinary than the triumph over death—the resurrection of Jesus after three days.

This remarkable occurrence unfolded within the confines of the Church of the Holy Sepulchre, and its significance is commemorated annually through the Holy Fire ceremony. The original architects of the church sought to underscore this marvel by prominently featuring the empty tomb within a structure that symbolizes triumph over death. Drawing inspiration from classical architectural principles, they adopted the rotunda design, which in the Roman era was associated with the concept of divine creation (feminine order) [22] and the notion of life after death. Consequently, it was often employed in the construction of mausoleums, particularly in instances of apotheosis, wherein individuals were revered as deities following their demise, as evidenced by the circular tomb of Augustus.

Emperor Constantine, the builder of the Church of the Holy Sepulchre, employed this architectural motif in other locations worldwide, including the mausoleum of his mother Helena and the tomb of his daughter Constance [23]. According to Coüasnon [24], the adoption of the rotunda design was intended to symbolize the triumph of Christ the Conqueror over death. In a manner akin to the Heraion (temple of heroes) in ancient Greek cities, which commemorated their legendary founders, the rotunda serves as a commemoration of the Hero Christ, the founder of the new Jerusalem. However, he embodies a distinct kind of heroism—a compassionate, suffering hero—and his victory takes on a unique significance. The parallels merely underscore the extraordinary nature of the events that transpired at this site.

The essence of the Church of the Holy Sepulchre transcends themes of death and burial; it embodies the concept of resurrection [25]. This sacred site represents a dual creation: at its core lies the Foundation Rock (Golgotha), believed to be the starting point of the world’s creation, beneath which rests the Skull of Adam. Yet, it also symbolizes a second creation, heralded by the resurrection of Jesus—a transformation into an eternal realm. The resurrection heralds the renewal of the world, infusing it with spiritual essence. The annual Holy Fire ceremony serves as a reenactment of primordial sacred creation, mirroring the interplay of light and darkness within the sacred space.

While the mystique of darkness currently dominates the ambiance of the Church of the Holy Sepulchre, during the Byzantine and Crusades eras, when the structure was more unified and complete, light played a more prominent role. The overarching design concept revolves around the triumph over death, encapsulating both the miracle of resurrection and the sacrificial suffering that facilitated it. As noted by Sheldrake [26], Christian holy sites are intrinsically linked with miracles, a characteristic exemplified in this sacred space [27].

At the center of the rotunda lies the Holy Sepulcher, formerly nestled within a rock containing a carved tomb [28]. Presently, the tomb appears elevated from the ground, but before Constantine’s era, it resided within a rocky outcrop. During construction, surrounding rocks were excavated to unveil the tomb, while the terrain was leveled, symbolically mirroring Jesus’ resurrection. Notably, the tomb remains empty, with nearby markings indicating the spot of Jesus’ resurrection, as identified by the builders.

Additionally, dating back to the Middle Ages, the Church of the Holy Sepulchre houses miraculous artifacts such as the spear of Longinus and the Holy Grail, alongside the sword of Godfrey de Bouillon, and fragments of the true cross, among others. The sword of Godfrey de Bouillon, along with its spurs, hold particular significance for members of the Order of the Holy Sepulchre, founded by Godfrey himself, and are utilized in consecration rites, thereby bestowing divine power [29]. Certain rituals are conducted within the Church at night, fostering a unique ambiance as described by participants. Moreover, during daylight hours when the church is accessible, processions and ceremonial events, particularly on Fridays and holidays, further enhance the site’s charisma.

Sacredness Generator Connecting Center in the Church of the Holy Sepulchre

According to Eliade, each sacred site possesses a central point, serving as the axis mundi, or the world’s pivot, facilitating the penetration of the sacred into the profane realm and enabling hierophany. Eliade’s theories delineate two distinct levels of human experience and existence: the mundane, characterized by everyday routine, and the eternal and sacred. Occasionally, the sacred manifests through the profane, occurring in specific locations at particular times, constituting a divine manifestation (hierophany) that sanctifies the site and imbues it with potency. Humans imbue every space they inhabit with an image of the world (Imagio Mundi), in the center of which there is a world axis (Axis Mundi) which connects the planes, the connection is between times (the primordial creation time and the now) and also between levels of the physical world (Underworld, Earth, Heaven).

The dichotomy between the Sacred and the profane isn’t an inherent ontological reality but rather two distinct modes of perception existing within us. These modes are occasionally activated through encounters with a center, symbolized by the Axis Mundi, within a charismatic Sacred place. In such instances, this center transforms into a Connecting Center, engendering Sacredness—a religious experience—within us. I term this phenomenon the Sacredness Generator Connecting Center, underscoring the center’s connective essence, both in our external surroundings and within ourselves. This emphasis on connectivity reflects the religious experience’s inherent nature of reconciling opposites and integrating diverse aspects of the self.

Yet, there’s another significant aspect at play here. The presence of a discernible center, serving as a point of orientation, allows us to utilize it as a focal point. This act of concentration, occurring internally within ourselves, triggers alternate cognitive systems and modes of thought in our brains, thereby influencing our overall perception of the Sacred place. It’s akin to the focused repetition of a mantra during meditation, a practice known to induce atypical brainwave patterns.

The Church of the Holy Sepulchre stands as a quintessential charismatic sacred place for delving into and comprehending the workings of the Sacredness Generator Connecting Center. Christian believers regard it as the epicenter of the world. Traditionally, three sites are deemed the world’s center. The first is the site of the crucifixion on the Golgotha rock, the second is the location of the empty tomb within the rotunda, and the third is the Catholicon hall—a spacious, vacant church hall situated in the heart of the complex.

The first center resides upon the Golgotha rock [30], identified as the site of Isaac’s binding for sacrifice, the origin of man from dust, and the resting place of Adam’s skull [31]. Remarkably, certain traditions associated with the Foundation Rock in the Jewish Temple were transferred to the Golgotha rock. Historically, the True Cross was exhibited nearby, symbolizing the cosmic tree of life, an archetype of Axis Mundi. The significance of Jesus’ crucifixion at this site lies in the renewal of the world and humanity; it occurs where the world was initially created and where the skull of the first Adam lies buried beneath the Golgotha rock. Thus, a connection is forged between different eras and dimensions. The ancient rock, the skull beneath it, the cross above it, and the figure of Christ on the cross collectively form a classical Axis Mundi, associated with the archetype of the cosmic mountain. It serves as a connecting center not only between planes of existence and different temporal epochs but also between sin and atonement, reconciling opposing forces.

Below the crucifixion site atop the Golgotha rock, there existed a crevice through which Jesus’ blood flowed, reaching Adam’s skull buried beneath, cleansing it, and thereby atoning for the original sin [33]. Additionally, at this locale, Jesus was elevated above the earth, suspended between heaven and earth until his passing, effectively assuming the role of an Axis Mundi himself.

Adjacent to the Golgotha rock is a space adorned with mosaics. One mosaic depicts Jesus as the ruler of the world, while another portrays Abraham’s sacrifice of his son. These mosaics imbue significance to the events that transpired. Some scholars argue that art and architecture narrate a tale, yet decoding it requires cultural insight, facilitating the connection between different planes and religious experiences within the Christian framework. However, I contend that universal archetypes are also at play.

In any case, when Christian pilgrims step foot into the Church of the Sepulchre, they seek the “site” — where Jesus was crucified and where he was laid to rest. Consequently, these locations assume a central significance within the compound for them. However, the architectural design further emphasizes these places as focal points, drawing the interest of non-Christian visitors as well. Golgotha isn’t physically situated at the center of the compound like the Rotunda and the Catholicon, but its elevated position makes it the highest point. Its significance renders it an axis mundi for believers, much like the rock and the cross. With what lies below and above this site, Golgotha becomes a world axis, further underscored by distinctive artworks, sculptures, altars, and the prominent star on the floor, all indicating it as the epicenter of the world.

The rotunda stands as the second world center within the Church of the Holy Sepulchre, serving as the architectural focal point of the structure. At its heart lies the Holy Sepulcher, which acts not only as a geometric axis within the circle but also as a spiritual one, believed to be the site where Jesus descended to the underworld and shattered the gates of hell [35].

Similar to the Pantheon in Rome, the dome of the rotunda features a small circular opening to the sky. Tradition dictates that this dome cannot be sealed, as it is the very portal through which the souls liberated by Jesus ascend to heaven from the underworld below. With the underworld beneath, the empty tomb above, and the skyward opening atop the dome, this site functions as an axis mundi, with the tomb serving as a Sacredness Generator Connecting Center.

The Church of the Holy Sepulchre encapsulates the journey from death to resurrection [36]. It marks both the inception of the world’s creation and its spiritual rebirth through the crucifixion and resurrection of Jesus, serving as a refuge from the “terror of history,” as Eliade describes it, and a return to mythical times. The terror is palpable in the crucifixion, while the mythical age is evoked through the promise of eternal life, reminiscent of humanity’s state in Eden before the fall.

The Rotunda serves as a connecting center in multiple dimensions. Modeled after the Pantheon, it bridges the religious and imperial grandeur of ancient Rome with Christian Rome under Constantine [37]. It links the pagan philosophies of antiquity with Christian theology. At its core, the empty tomb acts as a nexus, uniting past, present, and future [38]. Moreover, it serves as a conduit between sacred time, epitomized by the miracle of the holy fire, and profane historical time.

The third focal point within the Church of the Holy Sepulchre, regarded as the center of the world, akin to an Omphalos or navel of the world, is the expansive hall known as the “Catholicon.” The term Catholicon, signifying universality, underscores its pivotal role within the compound, situated beneath a dome that bears its name, signifying its significance. Erected as part of the “new” Crusader church, the Catholicon held paramount importance during the Crusader reign over Jerusalem, serving as the venue for royal coronations and ceremonies.

Despite its vast emptiness, the Catholicon serves as a symbolic and spiritual connecting center. Once marked by a circle on the floor, now replaced by a stone cup symbolizing the center of the world, it retains its symbolic essence. Adorning the dome above the hall is the depiction of Jesus as the Ruler of the World (Pantokrator), while beneath it hangs a magnificent lamp gifted by the Russian Church. Functioning as an intermediary between the divine and earthly life, the center of the Catholicon occupies a pivotal position between the sites of crucifixion and death (Golgotha) and the site of burial and resurrection (the Rotunda).

As per Nurit Canaan-Kedar, the circle beneath the dome once symbolized the focal point of the world. Historically, it was believed to be the site where Jesus’ body was removed from the cross and where he later appeared to Mary Magdalene after his resurrection. Reflecting traditions associated with the foundation rock of the Temple Mount, akin to the Holy of Holies in the Second Temple Period, the center remained unoccupied—a testament to the Christian belief that its significance is spiritual rather than physical. Unlike the earthly Jerusalem, which holds centrality at the foundation rock in the Jewish temple, the center of the world in the Catholicon represents the heavenly Jerusalem [39].

Sacredness Generator Fractal Complexity in the Church of the Holy Sepulchre

The concept of the connecting center elucidates that the sacred exhibits an inherent orientation toward a fixed focal point. Once established, this point serves as the foundation around which we construct a distinct worldview, as elucidated by Eliade’s concept of “imagio Mundi”—a reality divergent from our mundane existence. Acting as the axis mundi, the connecting center catalyzes religious experiences, altering our perceptual lens and prompting a reconfiguration of our worldview. Throughout this transformative process, the Sacredness Generator Fractal Complexity becomes operative, aiding in the construction of a novel worldview consistent with the archetypes inherent within the sacred realm. This generator’s mechanism hinges on the resonance and activation of these archetypes within the sacred space.

A fractal encapsulates miniature representations of larger entities within itself. Similarly, the Pantheon in Rome serves as a microcosm, embodying the universe’s patterns and principles through geometry, numbers, colors, symbols, and spatial arrangements [40]. This concept extends to the Rotunda of the Church of the Holy Sepulchre, constructed following the Pantheon’s model [41]. Thus, comprehending the Sacredness Generator’s function necessitates an exploration of sacred geometry, numerical symbolism, color theory, and spatial organization, alongside an understanding of the principles governing the construction of charismatic sacred sites.

Let’s examine some fractal elements within the Church of the Holy Sepulchre. The rotunda features a prominent round dome [42]. While this architectural choice serves practical purposes by providing ample space, it also holds symbolic significance, representing a fractal of the celestial dome [43]. Originally, the rotunda boasted a façade adorned with eight columns facing east, reminiscent of the Pantheon’s design. This addition to the circular structure housing the empty tomb matched the façade’s width to the rotunda’s diameter, creating a fractal pattern resembling a hidden square. This connection between the square and circle archetype symbolizes the union of opposites, a concept often depicted in mandalas [44].

As per Arculf, the Frankish pilgrim who journeyed through Israel and the Levant in the latter half of the seventh century, the original rotunda featured twelve substantial columns arranged in four sets of three columns, positioned symmetrically facing the four cardinal directions [45]. These columns stood at a height of 7.15 meters with a diameter of 1.2 meters, adhering to a ratio of 1:6, a classical proportion typical of Doric style columns in Greco-Roman architecture, as described by Vitruvius [46]. This ratio is known to symbolize the proportions of the human male body. In essence, the columns represented the twelve apostles of Christ, or symbolically, the twelve manifestations of Humanity (such as the twelve tribes or astrological signs). The presence of these columns alongside the empty tomb of Jesus, who embodies “the man,” imbues the site with a fractal essence of human design, reminiscent of temples in the classical world.

The Rotunda, an integral component of the church commissioned by Constantine, adheres to the principles of classical sacred architecture, embodying sacred proportions, concealed geometric alignments, recurring modules, and more. When the Crusaders undertook the reconstruction of the Church of the Holy Sepulchre, incorporating additional elements visible today, they also applied the principles of sacred geometry, introducing various fractal elements to the structure.

Moreover, the structure of the Church of the Holy Sepulchre is intricate, comprising several interconnected parts that form a vast compound anchoring a sacred worldview. Upon entering, visitors are transported to a realm distinct from the ordinary and mundane, characterized by its dark and mystical ambiance, illuminated by beams of light penetrating through the domes. The atmosphere is rich with the scents of incense, vibrant colors, and reverberating sounds of religious prayers and hymns, amidst processions and ceremonies. Within this sacred space, there are ample areas for personal prayer and reflection, offering moments of solitude in holiness, particularly during specific times. Additionally, the presence of hidden and subterranean sections adds to the complexity of the site, contributing to its fractal arrangement.

As pilgrims pass through the gate, they are greeted by a realm filled with myriad objects, locales, mosaics, and artworks, each holding profound significance for them. Throughout the various areas of the compound, one encounters intimate sanctuaries nested within larger sacred spaces, whether it be the tomb itself or the site of the crucifixion. Additionally, there are expansive and luminous areas, particularly in their upper reaches, where the gaze is often drawn upward to pointed arches, second-floor galleries, grand chandeliers, or the celestial motifs adorning the rotunda and its central aperture.

A prominent feature in church architecture is the underground crypt, often designated for burials. Despite the Church of the Holy Sepulchre having above-ground interments, underground spaces were unearthed beneath it shortly after its construction, including the Pit of Helena where the true cross was discovered. Descending the broad stairs to the Chapel of St. Helena and the Chapel of the Finding of the Cross evokes the archetype of venturing into the underworld, signifying a transition to an alternate realm existing within the earth. This journey symbolizes the passage between the realms of the living and the dead. Conversely, the aperture in the roof of the rotunda and the windows in the dome of the Catholicon allow sunlight to filter into the sacred space during specific times of the day. This infusion of natural light imbues the environment with the qualities of the sun and sky, creating a distinctive ambiance through the interplay of light and shadow. The effect of sunlight penetrating the dimly lit interior enhances the sacred atmosphere, evoking a sense of divine presence within the hallowed halls.

The Church of the Holy Sepulchre intricately intertwines with its surroundings, forming a fractal complexity alongside other Christian sites within the old city and the Dome of the Rock. Situated at the terminus of the Via Dolorosa, the church marks the culmination of a pilgrimage route laden with liminal passage ceremonies. Pilgrims traverse this path, bearing crosses from the site of conviction and the imposition of the cross to the location of crucifixion and resurrection. Within the Church of the Holy Sepulchre, they reenact the poignant narrative of Jesus’ death and resurrection. The figure and narrative of Jesus infuse the place with profound human significance, while the connection to death and resurrection evokes a profound sense of awe and reverence—the mysterium tremendum and the terrible majesty (deinos). It is a site where those who enter undergo a transformative experience; they confront mortality and transcendence, undergoing a symbolic journey from dust and ashes to resurrection.

Geographically situated in the heart of the Christian quarter, accessing the Church of the Holy Sepulchre entails traversing the labyrinthine streets of the old city. One must pass through one of the ancient gates in the fortified walls, navigate narrow alleys, and cross through another small gate leading to the courtyard preceding the church’s entrance. Each step in this journey contributes to a fractal complexity, embedding layers of the Sacred that serve to evoke religious experiences. Furthermore, the church maintains a symbiotic relationship with the Dome of the Rock, a connection dating back to the Crusades when the latter was reimagined as a Christian center (Temple Dominos), juxtaposing the Old Testament with the New. This reciprocal bond between the two sites was accentuated through processions, cartographic representations, and pilgrim routes, underscoring their intertwined significance within Christian tradition.

In conclusion:

The Church of the Holy Sepulchre was constructed in two phases: first, the rotunda in the 4th century, and second, additional parts during the Crusader period in the 12th century. In both instances, the architectural planning was charismatic, aiming to visually depict the events of the site and provide visitors with a profound experience of the Sacred through the medium of architecture. Furthermore, the compound was strategically designed to accommodate religious processions, activities, and ceremonies, allowing pilgrims to reenact the poignant narrative of death and resurrection, thus symbolically renewing the creation of the world.

In the process of planning the Church, numerous Sacredness generators were consciously and unconsciously integrated. These generators manifest in the spatial arrangement, dimensions, modules, shapes, numerical ratios, symbols, colors, artworks, interconnections among different sections, and the interplay of light and shadow. They also manifest in the sacred artifacts present throughout the complex. These Sacredness generators serve as catalysts for individual visitors who approach the site with openness, allowing themselves the opportunity and space to undergo a personal journey toward religious experience. Due to the archetypal nature of these generators, this potential transcends specific religious affiliations, extending its invitation to all visitors, regardless of their faith background.

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[1] The Church is held by six Christian denominations, three holding large parts of it – the Armenians, the Greek Orthodox and the Catholics (Franciscans), and three in small parts – the Syrians, the Copts and the Ethiopians.
[3] At the time of construction, during the reign of Constantine in the fourth century, a large basilica was first built, and at the same time the Holy Sepulchre was exposed in a circular space. A short time later, the rotunda structure was erected around the tomb.
[4] Similar to the buildings of the Dome of the Rock and the Al-Aqsa Mosque on the Temple Mount
[6] Nurith Kenaan-Kedar, “Symbolic Meaning in Crusader Architecture: The Twelfth-Century Dome of the Holy Sepulcher Church in Jerusalem”, Cahiers archéologiques 34 (1986), p. 113
[7] Charles Coüasnon, The Church of the Holy Sepulchre in Jerusalem, tr. J.-P. B. and Claude Ross, London: Oxford University Press, 1974, p. 28
[8] Barrie, The Sacred In-Between, p. 172
[9] in Google search engine it appears in ten of the first forty-five images,
[12] Leonid Ouspensky and Vladimir Lossky, The Meaning of Icons, tr. G. E. H. Palmer and E. Kadloubovsky, Boston, Mass.: Boston Book & Art Shop, 1969, p. 159
[14] Ibid P. 110
[15] Kenaan-Kedar, “Symbolic Meaning in Crusader Architecture”, p. 110
[16] Ibid P. 112
[17] Ibid P. 111
[18] Similar to the Church of the Holy Sepulchre, the Hagia Sophia in Istanbul is a combination of a cube and a dome, which complement each other geometrically. The circle of the dome fits inside the square of the building and equals it in circumference. Also, it has different levels that symbolize the world of angels, and in the middle stands Omphalos (???????, navel in Greek), which symbolizes the center of the world, and where the Byzantine emperors were crowned. See Barrie, The Sacred In-Between, p. 176
[19] Kenaan-Kedar, “Symbolic Meaning in Crusader Architecture”, p. 110
[21] Philip Sheldrake, Spaces for the Sacred: Place, Memory, and Identity, London: SCM Press, 2001, p. 111
[22] Ibid
[23] The Rotunda in the Church of the Sepulcher was built in the form of the great Roman mausoleums, such as that of Helena in Rome. It differs from them, however, in the delicate stonework. Its ceiling was initially made of wood, so thick walls were not required for its construction. Also, the supports of the building are light and the passageways are open, and this creates free movement in a semi-circular space in most of the complex.
Charles Coüasnon, The Church of the Holy Sepulchre in Jerusalem, tr. by J.-P. B. and Claude Ross, London: Oxford University Press, 1974, p. 35
[24] Ibid P. 34
[25] It is possible that the development of the resurrection motif in the Church of the Sepulcher is related to its centrality in different periods of history. Whenever it was at the center of Christian culture, the motif of resurrection and creation became stronger. On the other hand, whenever it was under Muslim control, then the motifs of death and transition, of the edge and the border, became more dominant. This is a subject that calls for examination.
[26] Sheldrake, Spaces for the Sacred, p. 43
[27] Similar to the tomb of Rabbi Meir Baal Hans or the tomb of Rabbi Shimon bar Yochai.
[28] In 1009, the Fatimid caliph al-Hachem ordered the destruction of the Byzantine structure and it was completely dismantled. The rock around the tomb was also dismantled but parts of the rotunda, a rather massive structure, remained intact
Coüasnon, The Church of the Holy Sepulchre in Jerusalem, p. 34
[29] George Jeffery, A Brief Description of the Holy Sepulchre, Jerusalem, and Other Christian Churches in the Holy City: with some account of the Mediaeval copies of the Holy Sepulchre surviving in Europe, Cambridge: Cambridge University Press, 2010, p. 109
[30] According to Coüasnon, the place of the crucifixion was most likely a protruding rock, an isolated vertical block at the edge of the ancient quarry, about ten meters high, with possibly a cavity underneath, which may have been a tomb. It is possible that the block was a nefesh (tombstone) of a Hellenistic tomb, like those in Nahal Kidron. In the time of Jesus, the soul was covered up to its head in dirt and construction debris, but the stone stood out from the surface of the ground.
[31] Coüasnon, The Church of the Holy Sepulchre in Jerusalem, p. 40
[36] It is possible that the development of the resurrection motif in the Church of the Sepulcher is related to its centrality in different periods of history. Whenever it was at the center of Christian culture, the motif of resurrection and creation became stronger. Conversely, whenever it was under Muslim control, then the motifs of death and transition, of the edge and the border, became more dominant. But this is a topic that calls for a deeper examination.
[37] Ibid
[38] Glenn Bowman, “Christian ideology and the image of a holy land: the place of Jerusalem pilgrimage in the various Christianities”, in John Eade and Michael J. Sallnow (eds.), Contesting the Sacred: The Anthropology of Christian Pilgrimage, London: Routledge, 1991, p. 113
[39] Kenaan-Kedar, “Symbolic Meaning in Crusader Architecture”, p. 115
[40] Ibid P. 133
[41] Coüasnon, The Church of the Holy Sepulchre in Jerusalem, p. 28
[42] The structure is very reminiscent of the Pantheon in Rome in several ways, but the Pantheon is larger: forty-three meters high and wide, while the diameter of the rotunda – like the width of the pasada – is twenty-three meters.
[43] Kenaan-Kedar, “Symbolic Meaning in Crusader Architecture”, p. 112
[44] according to Jung, this motif appears in the design of the Dome of the Rock as well.
[45] today there are twelve columns around the first floor of the rotunda as well (in addition to narrow arches), but they are not the original ones and are not arranged in perfect symmetry
[47] Coüasnon, The Church of the Holy Sepulchre in Jerusalem, p. 48
[48] The circumference of the dome of rock is similar to the circumference and diameter of the dome above the rotunda. According to al-Maqdisi, when the Muslims built the Dome of the Rock, they apparently referred to the structure of the Church of the Sepulcher (see Eli Schiller, The Dome of the Rock and the Drinking Stone, Jerusalem: Ariel, 1976, p. 10) according to the magical principle of like attracts or cancels like. In the same way, when the dome was built over the Catholicon, the Crusaders chose to build it with the same diameter and circumference as the dome of Al-Aqsa Mosque.
[49] On medieval maps, Jerusalem is seen in the shape of a circle with two small circles, like eyes, indicating the Dome of the Rock and the Church of the Resurrection, as it was then called.