Sacredness Generators in charismatic churches in Israel
A charismatic Sacred place is one that was designed and built spontaneously, not following predetermined patterns. The inspiration for its construction, along with coincidences and organic development, embodies universal archetypes of holiness present in the collective human subconscious. The freedom of its design allows these archetypes to manifest. Frequently, during the design processes, the designer undergoes mystical experiences and subsequently seeks to express these experiences and feelings materially.
“Normal” churches are typically built following specific patterns, such as basilicas, crosses, or rectangles (naves). These designs may have originally been inspired charismatically, but over time, they became conventional and associated with specific types of behaviors and activities related to worship and external religion practiced collectively, rather than the transformative experiences of those who engage in internal, individualized religion. Environmental psychology studies suggest that certain environments influence the behaviors expected within them; for instance, behavior in a library, museum, or restaurant is influenced by the setting, and similarly, behavior in a church is shaped by its architectural and cultural context. Such places, being part of a cultural, social, and behavioral fabric, do not typically facilitate a departure from the everyday and routine to the eternal and Sacred. As a result, a standard church structure often guides individuals towards external worship, repetition of rituals and texts, and a specific type of behavior that may not support, and might even obstruct, an inner mystic religious experience.
However, not all churches follow conventional designs. In the case of non-congregational churches that commemorate special events, there is flexibility to plan and build them freely in a manner that expresses the event (miracle or saint) that occurred there. As such, visiting and worshiping at these churches tends to be highly personal, free, and individual. Many churches of this type are found in the Land of Israel, as this is where the events of the New Testament took place. These churches are designed to mark these events and the mysteries associated with them (their deeper meanings), to connect visitors to the experience, often highlighting ancient relics. Typically managed by an international order of monks, these churches do not belong to any specific community but serve as centers of pilgrimage and are open to all. They are commonly referred to as “visiting churches.”
Indeed, Israel is home to numerous visiting churches, among which the most notable include the Church of the Holy Sepulchre and the Church of the Nativity in Bethlehem. Beyond these, there are several large and significant churches that are typically part of extensive Christian complexes serving as centers of pilgrimage. Noteworthy examples include the Church of the Annunciation in Nazareth, the Church of the Visitation in Ein Kerem, the baptismal complex in the Jordan River area, and the churches at Mount of Beatitudes and Mount Tabor, among others.
Collins-Kreiner’s research on visiting Christian holy sites [1] reveals that a significant majority of visitors, 86% of Catholics and 89% of Protestants, are motivated by religious and spiritual reasons when visiting sites like the Church of the Holy Sepulchre and the Church of Mount Tabor. Many have long aspired to travel to Israel, driven by deep spiritual motives, and for one fifth of these pilgrims, their visit fulfils a vow. Additionally, 22% of Catholic and 15% of Protestant visitors anticipate a spiritual experience at these holy sites [2]. The pilgrimage to Israel is a journey with dual purposes: outwardly, to reach a Sacred destination that is both holy and distinct, and inwardly, to achieve spiritual growth and deeper understanding. However, my argument is that the potential for a spiritual experience varies across different sites; some are more conducive to fostering such experiences, while others are less so.
Many of the most significant charismatic churches (visitation churches) in Israel were designed and built under the inspired guidance of Antonio Barluzzi (1884-1960), who served as the architect for the Holy Vigil and the Catholic Patriarchate during the mandate period and the early years of the state of Israel. In Barluzzi’s churches, recurring motifs such as a spiritual sun (a blue circle on a golden background), stars, octagons, and interplays of light and shadow are prominent. These elements are distinctly visible and act as Sacredness Generators, enhancing the spiritual ambiance of the spaces he created.
In my doctoral thesis, I identify four Sacredness Generators that are present in the design of charismatic Sacred places (and Churches) and also in our perception, which contribute to generating a sense of holiness. These are: Unifying Duality, Sublime Extraordinary, Connecting Center, and Fractal Complexity. This article will explore in detail how these Sacredness Generators function as Generators of sanctity. We will specifically focus on the Sacredness Generator of Unifying Duality as it appears in one of Israel’s most beautiful churches, the Church of the Transfiguration on Mount Tabor. Additionally, we will discuss, in a less detailed manner, the presence of the other Sacredness Generators in this church, as well as in other churches designed by Antonio Barluzzi and a few other Christian architects.
Before delving into the specific Sacredness Generators, it is essential to understand the planning process of the Church on Mount Tabor, where Antonio Barluzzi adeptly aligned with the Sacredness Generators architypes. This church is among the thoroughly researched sites, particularly its design process, which consciously incorporates elements that reflect heaven on earth. This connection between the celestial and terrestrial realms, along with other archetypes, is also evident in other charismatic Sacred sites in Israel and globally. Notably, the depiction of the sky in the church is intended not just as a representation of the earthly sky, but also embodies a spiritual dimension of the Spiritual Sun. This dual representation enriches the church’s atmosphere, Generating an experience of the Sacred.
Charismatic planning in the Church of Transfiguration on Mount Tabor
The Church of the Transfiguration on Mount Tabor is one of the most prominent charismatic Sacred sites in Israel, constructed through an inspired process. This church is a prime example of how architectural planning can be free and originate from a designer’s personal experience of the Sacred. In this case, the architect Antonio Barluzzi’s visions of sanctity, shaped through a deliberate process of intention and sanctification, influenced the development of the building’s pattern and layout. This thoughtful design process is a key reason why the church has such a profound impact on its visitors.
Antonio Barluzzi served as the architect for the Custody of the Holy Land of the Franciscan order from 1919 to 1958. In this capacity, he was the primary architect responsible on behalf of the Catholic Church for the construction of Catholic churches in the Land of Israel during most of the period of British Christian rule and the early years of the State of Israel. This era was a time of significant growth for Christianity and particularly for church construction. During this period, Barluzzi designed and built twenty-four different churches and religious buildings. A central theme in his work was the creation of churches that architecturally and artistically represented various New Testament events at the sites where they occurred. These events were chosen not just for their historical significance but for their spiritual lessons and meanings for those on a spiritual journey. Such churches, found mainly in the Land of Israel, are referred to as “visiting churches.” [3]
Barluzzi’s churches were uniquely designed and constructed based on the divine apparitions that were believed to have occurred at their specific locations, drawing from divine inspiration that Barluzzi himself received during the sanctification process he underwent prior to planning and building. His designs reflected his spiritual, allegorical, and mystical interpretations of the biblical events that took place at these sites. The intent behind constructing these churches was to provide visitors with an experience akin to what Jesus and his disciples might have encountered, highlighting the understanding that these biblical events serve as allegories for the stages of the spiritual journey that everyone undergoes in life. For instance, Human life Difficulties are symbolized by carrying one’s cross, moments of profound challenge are likened to Jesus’s ‘dark night of the soul’ in Gethsemane, and the potential for divine revelation is echoed in the disciples’ experience of the divine light on Mount Tabor.
Barluzzi viewed the various events in Jesus’s life as mysteries carrying profound life lessons, and he designed churches to uncover and express these mysteries [4]. He aimed for his architecture not only to inspire religious devotion but also to create a Sacred experience and impart spiritual lessons. Pilgrims at the churches he designed report that they are able to pray with genuine devotion and experience moments of elation and insight [5]. Barluzzi was intentional in his efforts to evoke a sense of holiness through his architectural choices.
He is quoted as saying, “In Palestine, every holy place has a direct reference to a definite mystery in the life of Jesus. It is natural to avoid the general type of architecture that always repeats the same word, and instead to design the art so as to express the feeling called forth by that mystery. In this way, the faithful, when they enter the temple, can easily construct in their thoughts the gospel story and concentrate their meditation on thoughts appropriate to the mystery created there, instead of choosing the art first and bending all other elements to fit it. I think it is more appropriate to first establish the basic religious concepts of the holy places for which the temple was built, and adapt the architecture to them.” [6]
Barluzzi sometimes employed religious science terminology to articulate his architectural philosophy: “In order to achieve the greatest and most moving artistic effect, an effort was made to achieve maximum simplicity of line in search of universal and profound qualities that would yield maximum results with a minimum of commotion. This was almost an attempt to translate into architecture the majesty and simplicity of the Holy Scriptures. These works were conducted more with the heart than with science, seeking the soul of things.” [7]
Barluzzi would meditate for hours before starting each project, contemplating the Gospel stories, uncovering their divine secrets, and drawing inspiration for his architectural and artistic designs. He led a simple monastic life, attending mass every morning at six, working throughout the day, and dedicating two hours to prayer in the afternoon. Sometimes, he wouldn’t draw a single line for many hours, instead sitting at the table deep in thought.
The process of planning the churches led Barluzzi to unconsciously connect with the Sacredness Generators archetypes, albeit shaped by the Christian concepts he was familiar with, resulting in the presence of these Sacredness Generators in the churches he designed and built. There is a resonance between the planner’s process and the spiritual significance and impact of the sites (the Hierophany), the form of the Sacred place, its architecture, and its art. This resonance renders the site charismatic and profoundly impacts the visitor.
Sacredness Generators in the Church of Transfiguration at Mount Tabor
The church was inaugurated in 1924 and its architecture embodies the motif of light and the spiritual sky. Barluzzi himself was involved in its construction while concurrently building the Church of Gethsemane, which represents the motif of darkness [8]. In Christian tradition, this site is revered as the place of Jesus’ revelation, the high mountain where he led his disciples Peter, James, and John, and was transfigured before them: “And after six days Jesus taketh Peter, James, and John his brother, and bringeth them up into an high mountain apart, And was transfigured before them: and his face did shine as the sun, and his raiment was white as the light.” (Matthew 17:1-2).
According to Barluzzi, it was not Jesus who changed, but rather the disciples who, for the first time, perceived the spiritual world and saw Jesus as he truly is—always present, yet previously unnoticed [9]. This transformation is intended to be experienced by visitors to the site who are open to the messages consciously presented there. The light in the church encompasses not only the abundant physical light that streams through the high windows and openings on the east side (the ceiling is elevated and ascends, previously made of partially transparent alabaster stone allowing light to enter) [10], but also a spiritual light. The purpose of visiting the church is to reveal to the visitors the existence of the spiritual light and world, thereby creating an experience of the Sacred in them.
The church was constructed in the pattern of a Syrian basilica from the fourth century but includes free motifs and an unconventional design, thereby incorporating Sacredness Generators. Among these, the Sacredness Generator Unifying Duality is particularly evident. This is expressed in the emphasis on light versus darkness—not merely as a reflection of the sky, but as a means of connecting heaven and earth. Additionally, the architectural design features elements like two towers at the entrance and two stories for the apse, further reinforcing this theme of duality.
Situated atop one of the most prominent mountains in the Galilee, the church symbolically connects heaven and earth, tying into the architype of Cosmic mountain, which is one of the appearances of Sacredness Generator Connecting Center. According to Eliade, a mountain represents a template of the world axis, bridging different planes: “At the center of the world there is a holy mountain, which is the meeting place between the sky and the earth.” [11]
On a deeper theological level, ‘heaven’ in Christianity refers to the Kingdom of God—or “Kingdom of Heaven”—a realm that, as various branches of Christian mysticism suggest, can be experienced directly. This realm is analogous to Rudolf Otto’s concept of the Sacred and William James’s idea of religious experience. Within this context, the spiritual light, known as “the light of Mount Tabor” in Christianity, is an integral part of the experience. The architecture and art of the church are specifically designed to evoke and represent this spiritual domain, facilitating a connection for those who visit.
At the end of the main hall of the basilica, a large apse rises prominently. In its upper part, a semi-circular mosaic depicts Jesus ascending in a white garment, with his disciples at his feet, against a backdrop of a golden sky and a blue sun. Below, a darker, hut-like structure with a cylindrical ceiling is reached by twelve steps and features paintings related to the earthly life of Jesus. At its end, a window adorned with a glass mosaic displays two large peacocks and an illuminated goblet set against a triangular background. This section also incorporates remains from the Byzantine basilica that previously stood on the mountain in the fourth and fifth centuries. The division between the upper and lower levels symbolically separates the kingdom of heaven and spiritual light (above) from the kingdom of earth and physical light (below), reflecting a dualistic theme of heavenly and earthly realms.
The predominant motif in the church is light, reflected in its spacious and luminous interiors, windows constructed from transparent alabaster stone, with walls and columns of bright white marble. The apse delineates two types of light—physical and spiritual—through its division into two distinct levels. On the upper level, a distinctive blue sun set against a golden sky symbolizes the spiritual sun and light. Jesus, dressed in white, is depicted rising (floating) in the air, representing the different laws that govern the spiritual realm. These laws often contrast with those of the physical world, exemplified by the sun’s blue color on a yellow background, which inversely mirrors the sun’s appearance in the physical sky. The spiritual light is referred to as “the light of Mount Tabor,” a key concept in the mysticism of Hesychasm (Christian meditation) that evolved on Mount Athos in the fourteenth century [12]. This light can be likened to the Hidden light of Kabbalah and is symbolized by the white color of Jesus’s garment.
In the lower part of the apse, a yellow sun on a blue background symbolizes physical light, and surrounding it are depictions of events from Jesus’s life as he historically fulfilled his divine role on earth. The floor features an opening that reveals the remains of the past, contrasting with the upper apse’s orientation towards the future. The light in this lower level is dimmer, but at sunrise, the first rays stream through the window, illuminating the peacocks on the colored glass, which represent the possibility of eternal life.
Through the architecture and art of the church, Barluzzi illustrates the dual nature of Jesus: an earthly Jesus who lived in this world two thousand years ago, and a spiritual, eternal, and Sacred Jesus. Similarly, as there are two types of light and two planes of existence, so too are there two aspects within each individual. The church’s design, by reflecting this duality, aims to facilitate a connection between these internal aspects for visitors, helping them perceive the spiritual and Sacred amidst the everyday and mundane.
The Sacredness Generator of Unifying Duality, as evidenced by the division of the apse into two levels and throughout the church, renders it charismatic, attractive, and thought-provoking. The emphasized motif, as mentioned, is physical light, which enters the building from different angles due to its design and location, manifesting in diverse forms throughout the day. The incoming light is dynamic, altering the appearance of the interior over the course of the day. The grand mosaics by Antonio Villani, for instance, appear differently at various times due to their interplay with the incoming light, impacting the experience of the visitors. However, it is not merely physical light that defines the church but also spiritual light, suggested by the use of the color white. This spiritual dimension is reinforced by the Sacredness Generator of Unifying Duality, which is present not only in the double-layered apse but also in the twin towers of the church, and the other dualistic elements within the structure
The luminous light, significant artworks, expansive space, stunning location, and towering entrance all connect to the Sacredness Generator of the Sublime Extraordinary. The central mosaic in the apse depicting Jesus in white robes ascending into the air is a quintessential example of this Sublime Extraordinary. Furthermore, the dramatic ascent to the mountain via a winding path in small cars, passing through an ancient gate and between rows of cypress trees to a parking area at the summit, embodies Rudolf Otto’s concept of the “wholly other.” [13]
The journey to the church, passing through the iron gate, traversing ancient ruins, and culminating in a dramatic entrance, marks another stage of the visitor’s experience. Upon entering, the pervasive whiteness, the prominent figure of Jesus ascending in white robes in the apse, and the abundance of light evoke feelings of wonder, exaltation, and other religious emotions. This transformative encounter heightens the spiritual significance of the visit, immersing the visitor in a profound and Sacred experience.
The significance of the site and its hierarchical structure are intertwined with the Sacredness Generator of Fractal Complexity. While in most churches around the world, the altar beneath the apse serves as a Connecting Center or world axis, in the church under discussion, it is the figure of Jesus ascending in the air that serves as the focal point from any vantage point within the church. This focal point, naturally draws the visitor’s attention and becomes a center of connection. Observing and focusing on this figure can instinctively transport the observer to another realm of existence and experience, eliciting a sense of holiness. In this moment, the observer may feel akin to the three figures at the feet of Jesus, gazing upward in awe at the miraculous spectacle.
Use of light and colors
Barluzzi largely continues the Gothic architectural and artistic traditions, particularly in his use of light and colors in cathedrals and churches. Rudolf Otto emphasized the impact this has on visitors in spaces where light and colors create dramatic effects, evoking feelings of sanctity [14]. I would add that light, symbolizing the spiritual realm, emerges against a backdrop of darkness, which symbolizes the physical world; thus, the church is not merely a church of light but a church of transfiguration. The Sacredness Generator lies in the contrast between light and darkness, and the disparity between the first and second levels of the apse.
The miracle of Jesus’ transfiguration and the ushering in of the kingdom of heaven, symbolized by the central body of the church, coincide with the appearance of Elijah and Moses. These figures represent the earthly realm and the Old Testament, depicted by the two towers flanking the church’s entrance and seen beside Jesus as he ascends. The church’s design and its position on the mountain peak echo Noah’s ark on Mount Ararat, symbolizing the old covenant between God and humanity externally, while internally representing the new covenant. The mountain epitomizes the first solidification of matter from the sea of chaos, consciousness emerging from the unconscious depths of the oceanic subconscious. It is a place where light infiltrates the darkness, highlighted by the sunrise and the light streaming through colored windows adorned with peacocks, a cup, and a triangle, symbolizing eternity, piercing the darkness and bringing promises of renewal and redemption.
The distinction between the lower and upper floors of the apse is accentuated by the light that enters the church during the day, reflecting off the golden mosaics in the upper part, and streaming through the windows at the transition between darkness and light (sunrise) in the lower part. This division into upper and lower sections, representing the earthly and spiritual realms, as well as the past and future, is also evident in other churches in Israel, such as the Annunciation Church in Nazareth and Barluzzi’s Visitation Church in Ein Kerem. The motif of a spiritual sun, symbolized by a blue circle on a gold background, and a physical sun, represented by a golden circle on a blue background, recurs in other works by the Italian architect, including the Church of Gethsemane in Jerusalem and the Church of the Mount of Beatitudes above Kinneret. This duality aims to convey that the laws of the physical world often contrast with those of the spiritual realm. For instance, in the physical world, giving more can mean having less, but in the spiritual world, it leads to greater abundance. The message and impact of this color reversal between the spiritual and physical suns are emphasized by the use of yellow and blue, which combine the most radiant color (yellow) with the most introspective and calming color (blue).
It is evident that a key feature of charismatic Sacred sites is their connection to light and colors [15]. A Sacred site often engages with light; it refers to light, reflects it, and utilizes it. There is typically a light phenomenon associated with it, occurring at a specific time of day or on a particular day of the year, or simply generally. The Sacredness Generator is the duality of light and darkness. This is not merely a static division between two states but a dynamic cosmic drama involving sunrise and sunset—the emergence of light from darkness, and the Sacred from the everyday, the ordinary. Engaging with this drama opens the possibility for enactment, for Hierophany, allowing the Sacredness within an individual to manifest.
The significance of light ties back to the perception of Sacred time, the sanctification of particular times of the year and day as they relate to the sun’s position, and life’s cycles as mirrored in the sun’s movements [16]. Externally, this reflects the natural world’s rhythms, while internally, from a psychological perspective, the importance of light is connected to the emotions that arise from sensory stimulation. Light and colors serve as catalysts for the awakening of feelings and emotions. Colors act as representations of mental qualities that link to mystical experiences. They characterize sanctity and function as a form of regal attire for it [17].
In addition to colors, sound and smell also play crucial roles in activating higher emotions [18]. This aspect, despite its universal presence in all religions and its frequent occurrence in charismatic Sacred places—where references to sunlight, colors, interplays of light and shadow, chandeliers, candles, and the symbolism of light and fire are common—has not been studied sufficiently.
Examples of Sacredness Generators in other churches
Barluzzi constructed numerous churches across the country, where the Sacredness Generator Unifying Duality is prevalent. In the Mount of Beatitudes church, for example, there is an interplay of light and shadow, white and black, reflecting an inversion of the physical and spiritual sun. The Church of the Visitation in Ein Kerem, which was the last church he completed, is built on two levels: one representing the past and the other symbolizing the present and the future. This architectural division also signifies one level for the earthly realm and another for the divine revelations of Mary.
The Church of the Annunciation in Nazareth, built in the 1960s, also features two levels, with one preserving the remnants of the past and the other dedicated to God’s revelation in the world that brings salvation. This bifurcation mirrors the distinction between the Old Testament and the New Testament. The lower level houses the Annunciation room, where the physical event of the angel’s encounter with Mary occurred, while the upper part showcases the spiritual significance of the Annunciation through its architecture and art.
The duality is further reflected in the mosaics within the three eastern apses. In the central mosaic, Jesus and Mary are prominently featured. On one side, the mosaic depicts all the official clergy, and in the adjacent smaller apse, contemporary leaders of Christianity are represented. On the opposite side, the mosaic features all the saints and eccentrics of the church, with Francis of Assisi highlighted in the small apse on that side. This architectural and artistic layout underscores a connection between the official and the charismatic elements of the church, each contributing to a holistic portrayal of the church’s role.
In general, every church typically includes a crypt, a space where dignitaries, churchmen, and saints are buried. However, sometimes the crypt integrates with the iconography of the building, forming a complementary contrast to the upper floor. An example of this is the Dormition Church in Jerusalem, where the crypt features motifs that complement the main church space, creating a Sacredness Generator of Unifying Duality. In the lower part of the church, there is a depiction of Mary asleep and Jesus ushering her into spiritual life, while the upper part shows Mary alive, caring for the infant Jesus in earthly life.
The church is designed in a circular shape, which symbolizes the process of fulfillment and the creation of the world, as depicted in the floor mosaic. This shape also reflects the concept of life’s completion at the moment of death (or slumber), closing the circle of life. This architectural and thematic approach to Unifying Duality is just one of many examples that illustrate how this motif is prominently woven into our world in general and Charismatic Church architecture specifically.
The Sacredness Generator Connecting Center is naturally the altar or the apse of the church, but Barluzzi in many of his churches diverts the Connecting Center to the art, and sometimes also to an orientation that is outside the building. A good example of this can be found in Dominus Flevit Church in Jerusalem, located at the foot of the Mount of Olives. Unlike other churches, the altar here is on the west side, facing a very large window that opens to a view of the old city. On the window, there is a grate with an iron cross at the center, which serves as the Connecting Center of the building. If you look at the cross from within the church, you can see that one arm of it touches the dome of the Church of the Sepulchre seen through the window, and its other arm touches the dome of the Dome of the Rock. This distinction is not immediately apparent, but when noticed, the place suddenly takes on a completely different meaning, akin to an aesthetic experience where the picture suddenly reveals another layer of meaning.
The Dome of the Rock was perceived by Christians in the Middle Ages as the place of the temple, representing the Old Testament, while the Church of the Holy Sepulchre represents the New Testament. The connection between these two is a Unifying Duality, enhanced by the fact that the diameter of both domes is the same, and they are among the most significant buildings in the Old City. Observers within the church are drawn by the cross on the window to look westward, where these two pivotal buildings in the scenic and Christian context are suddenly linked, leading to an epiphany. The orientation towards the view from the window, and the focus on this view, unintentionally leads to a surprising union between the two domes and consequently to an experience of holiness. This is an architectural and artistic motif that Barluzzi consciously introduced into the building. The Sacredness Generator Connecting Center directs the gaze to the Old City, allowing the Sacredness Generator Unifying Duality to manifest.
In other Barluzzi churches, the Connecting Center is located in the ceiling above the altar, as seen in the Church of the Condemnation on the Via Dolorosa. Here, the large and expansive dome above the altar features a crown of thorns with star-shaped openings to the sky, including a prominent star at the center that allows light to enter. This design draws the visitor’s gaze upward to the relatively low dome, focusing attention on the crown and the central star, which serve as a conduit to other realms, admitting spiritual light and revealing holiness.
The flat dome is a characteristic found in churches on Mount Athos, which adhere to the tradition of Hesychasm, connecting to the spiritual light of Mount Tabor. This connection is also symbolized by the number eight, which is featured in the stars. Barluzzi’s design links architecture to historical traditions. The facade of the chapel is a replica of the front of Miriam’s tomb in the Jehoshaphat Valley, forging a connection with the mythical past.
The church is composed of two complete square spaces, similar to the holy of holies in the temple: one contains the altar at the center, representing the Sacred place, and the other is equipped with benches for the congregation. The square design aids in concentration and reflects the fractal structure of the world. In this instance, it represents an ungrateful and harsh reality.
It is possible to provide numerous examples of appearance and effect of Sacredness Generators in charismatic churches throughout Israel, and it is my hope that a comprehensive study on this topic will one day be conducted. However, I will confine this discussion to the few examples already presented. Additional details regarding the operation of these Generators, the sense of holiness in a person, and the relationship between a person and a place can be found in other articles that are part of the doctoral thesis.
Comments
1 Noga Collins-Kreiner et al. (eds.), Christian Tourism to the Holy Land: Pilgrimage during Security Crisis, Aldershot, Hampshire, England: Ashgate, 2006.
2 Ibid, p. 67
3 Peter C. Nicholson, The Churches of Antonio Barluzzi, London: McCabe Educational Trust, 2000
4 הלוי, ההקמה המחודשת של המקומות הקדושים לכנסייה הקתולית במרחב הארץ־ישראלי על ידי אנטוניו ברלוצ’י, עמ’ 195-193.
5 Nicholson, The Churches of Antonio Barluzzi, p. 13
6 Ibid, P. 16.
7 Ibid, P. 18
8 הלוי, ההקמה המחודשת של המקומות הקדושים לכנסייה הקתולית במרחב הארץ־ישראלי על ידי אנטוניו ברלוצ’י, עמ’ 156, 161.
9 This is the light of Mount Tabor as it appears in the hesychastic tradition of Gregory Palamas (died in 1359), Gregory of Sinai (died in 1346), and the tradition of Mount Athos that began in the thirteenth century and incorporated even older sources. For example, see Solrunn Nes, The Uncreated Light: An Iconographical Study of the Transfiguration in the Eastern Church, translated by Arlyne Moi, published in Grand Rapids, MI and Cambridge by William B. Eerdmans Publishing. 2007, p. 97
10 Gerard Bushell, Churches of the Holy Land, photos by Anna Riwkin-Brick, New York: Sabra Books, Funk & Wagnalls, 1969, p. 23
11 אליאדה, תבניות בדת השוואתית, עמ’ 227.
12 אליאדה, תולדות האמונות והרעיונות הדתיים, כרך 2, עמ’ 188.
13 אוטו, הקדוּשה, עמ’ 31.
14 שם, עמ’ 17.
15 בן אריה, מאפייני קדושה במקומות קדושים בישראל, עמ’ 23.
16 אליאדה, תבניות בדת השוואתית, עמ’ 236.
17 שם, עמ’ 85.
18 James, The Varieties of Religious Experience, p. 46
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