Tomb of the Virgin Mary, is a Christian tomb in the Kidron Valley – at the foot of Mount of Olives, in Jerusalem – believed by Eastern Christians to be the burial place of Mary, the mother of Jesus.
The Sacred Tradition of Eastern Christianity teaches that the Virgin Mary died a natural death, like any human being; that her soul was received by Christ upon death; and that her body was resurrected on the third day after her repose, at which time she was taken up, soul and body, into heaven in anticipation of the general resurrection. Her tomb, according to this teaching, was found empty on the third day.
Roman Catholic teaching holds that Mary was 'assumed' into heaven in bodily form, the Assumption; the question of whether or not Mary actually underwent physical death remains open in the Catholic view.
A narrative known as the Euthymiaca Historia (written probably by Cyril of Scythopolis in the 5th century) relates how the Emperor Marcian and his wife, Pulcheria, requested the relics of the Virgin Mary from Juvenal, the Patriarch of Jerusalem, while he was attending the Council of Chalcedon (451). According to the account, Juvenal replied that, on the third day after her burial, Mary's tomb was discovered to be empty, only her shroud being preserved in the church of Gethsemane. In 452 the shroud was sent to Constantinople, where it was kept in the Church of Our Lady of Blachernae (Panagia Blacherniotissa).
In 1972, Bellarmino Bagatti, a Franciscan friar and archaeologist, excavated the site and found evidence of an ancient cemetery dating to the 1st century; his findings have not yet been subject to peer review by the wider archaeological community, and the validity of his dating has not been fully assessed.
Bagatti interpreted the remains to indicate that the cemetery's initial structure consisted of three chambers (the actual tomb being the inner chamber of the whole complex), was adjudged in accordance with the customs of that period. Later, the tomb interpreted by the local Christians to be that of Mary's was isolated from the rest of the necropolis, by cutting the surrounding rock face away from it. An edicule was built on the tomb.
A small upper church on an octagonal footing was built by Patriarch Juvenal (during Marcian's rule) over the location in the 5th century; this was destroyed in the Persian invasion of 614. During the following centuries the church was destroyed and rebuilt many times, but the crypt was left untouched, as for Muslims it is the burial place of the mother of prophet Isa (Jesus).
It was rebuilt then in 1130 by the Crusaders, who installed a walled Benedictine monastery, the Abbey of St. Mary of the Valley of Jehoshaphat; the church is sometimes mentioned as the Shrine of Our Lady of Josaphat. The monastic complex included early Gothic columns, red-on-green frescoes, and three towers for protection. The staircase and entrance were also part of the Crusaders' church. This church was destroyed by Saladin in 1187, but the crypt was still respected; all that was left was the south entrance and staircase, the masonry of the upper church being used to build the walls of Jerusalem.
In the second half of the 14th century Franciscan friars rebuilt the church once more. The Greek Orthodox clergy launched a Palm Sunday takeover of various Holy Land sites, including this one, in 1757 and expelled the Franciscans. The Ottomans supported this 'status quo' in the courts. Since then, the tomb has been owned by the Greek Orthodox Church and Armenian Apostolical Church of Jerusalem, while the grotto of Gethsemane remained in the possession of the Franciscans.
Preceded by a walled courtyard to the south, the cruciform church shielding the tomb has been excavated in an underground rock-cut cave entered by a wide descending stair dating from the 12th century. On the right side of the staircase there is the chapel of Mary's parents, Joachim and Anne, initially built to hold the tomb of Queen Melisende of Jerusalem, the daughter of Baldwin II, whose sarcophagus has been removed from there by the Greek Orthodox. On the left (towards the west) there is the chapel of Saint Joseph, Mary's husband, initially built as the tomb of two other female relatives of Baldwin II.References:
From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.
The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.
At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.
The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.
The three-level elevation with arches, triforium and galleries seems more uniform and expresses anglo-Norman influence in the thickness of the walls (Norman passageway at the gallery level) or the decorative style (heavy mouldings, decorative frieze under the triforium). This building site would have to have been overseen in one shot. Undoubtedly interrupted by the war of Succession (1341-1364) it draws to a close with the building of the lierne vaults (1410) and the fitting of stained-glass windows. Bishop Bertrand de Rosmadec and Duke Jean V, whose coat of arms would decorate these vaults, finished the chancel before starting on the building of the facade and the nave.
Isolated from its environment in the 19th century, the cathedral was – on the contrary – originally very linked to its surroundings. Its site and the orientation of the facade determined traffic flow in the town. Its positioning close to the south walls resulted in particuliarities such as the transfer of the side gates on to the north and south facades of the towers: the southern portal of Saint Catherine served the bishop’s gate and the hospital located on the left bank (the current Préfecture) and the north gate was the baptismal porch – a true parish porch with its benches and alcoves for the Apostles’ statues turned towards the town, completed by an ossuary (1514).
The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.
At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».
The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.