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Mount of Olives, Jerusalem
Tel. (02) 628 4371
Bus: 99
Open: 10am- 12pm Tue, Thu, Sat
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Church
of St. Mary Magdalene in Gethsemane is a Russian Orthodox church in
East Jerusalem. Located in Gethsemane, not far from the tomb of the
Virgin, on the slope of the Mount of Olives. Built in memory of
Empress Maria Alexandrovna at the expense of the imperial family.
Consecrated in 1888 in honor of St. Mary Magdalene. Since 1921, the
relics of the Holy Martyrs Grand Duchess Elizabeth Feodorovna and
nun Barbara have been kept in the church.
The temple is the
main church of the female Gethsemane monastery and belongs to the
Russian Ecclesiastical Mission (ROCOR in communion with the ROC MP).
The Church of St. Mary Magdalene is a striking Russian Orthodox
church situated on the western slope of the Mount of Olives in
Jerusalem, overlooking the Kidron Valley and the Garden of
Gethsemane. Dedicated to Mary Magdalene, the biblical figure revered
as a disciple of Jesus and the first witness to his Resurrection (as
described in Mark 16:9 and John 20:1-18), the church serves as an
active site of worship and pilgrimage within the Eastern Orthodox
tradition. It is part of the Convent of St. Mary Magdalene and has
been under the jurisdiction of the Russian Orthodox Church Outside
Russia (ROCOR) since the 1920s, which reconciled with the Moscow
Patriarchate in 2007. The church's distinctive golden onion domes
make it one of Jerusalem's most recognizable landmarks on the Mount
of Olives skyline.
Construction and Architecture
The
church was constructed in 1888 by Tsar Alexander III of Russia,
along with contributions from his brothers, as a memorial to their
mother, Empress Maria Alexandrovna, whose patron saint was Mary
Magdalene. The project was initiated following a visit to the Holy
Land by Grand Dukes Sergei and Pavel Alexandrovich (sons of
Alexander II), who were inspired to build a Russian-style church
there. Designed by Russian architect David Grimm in the Russian
Revival style, reminiscent of 16th- and 17th-century Muscovite
architecture, the structure features a tented roof and seven gilded
onion domes topped with Orthodox crosses. The exterior façade is
crafted from white sandstone (often mistaken for marble) with
intricate sculptures, including a circular blue mosaic medallion
above the entrance depicting Mary Magdalene in white robes.
Inside, the church is relatively austere, with walls painted in
subdued brown designs. A white marble and bronze iconostasis
separates the nave from the sanctuary, adorned with icons of the
four Evangelists, the Virgin Mary, and the Archangel Gabriel.
Notable artworks include murals by Sergei Ivanov illustrating the
life of St. Mary Magdalene, commissioned by Grand Duchess Elizabeth
Feodorovna, and a large canvas by Ivanov above the iconostasis
showing a legendary scene of Mary Magdalene presenting a red egg
(symbolizing the Resurrection) to Emperor Tiberius. Icons by artist
Vasily Vereshchagin were also added under Elizabeth's direction. The
church was consecrated in October 1888, with Grand Duke Sergei
Alexandrovich and Grand Duchess Elizabeth presiding on behalf of the
Tsar. Built by the Russian Imperial Orthodox Palestine Society, it
cost approximately 100,000 rubles at the time.
Historical
Background and Key Figures
The church's establishment reflects
Russia's growing influence in the Holy Land during the late 19th
century, part of a broader effort by the Russian Empire to support
Orthodox pilgrims and assert a presence in Jerusalem. Grand Duchess
Elizabeth Feodorovna, a German princess and granddaughter of Queen
Victoria, played a pivotal role; she was married to Grand Duke
Sergei (brother of Alexander III) and took a deep interest in the
church after its construction. Following Sergei's assassination by
revolutionaries in 1905, Elizabeth sold her jewels, founded the
Convent of Martha and Mary in Moscow dedicated to nursing and
charity, and became its abbess. She and her companion, Nun Varvara
(Barbara) Yakovleva, were arrested by Bolsheviks during the Russian
Revolution and martyred in 1918 by being thrown down a mine shaft
near Alapayevsk. Their remains were recovered by the White Army,
smuggled through China, and brought to Jerusalem in 1920 by British
authorities, initially placed in a crypt beneath the church.
In
1981, ROCOR canonized Elizabeth and Varvara as new martyrs of the
communist era, moving their relics to marble sarcophagi in the
church's nave for veneration. The Moscow Patriarchate followed suit
in the 1990s, recognizing Elizabeth in 1992. Another key figure is
Princess Alice of Battenberg (later Princess Alice of Greece),
mother of Prince Philip, Duke of Edinburgh, and aunt of Elizabeth.
She visited the church in the 1930s, expressed a wish to be buried
near her aunt, and her remains were transferred from Windsor Castle
to the church's crypt in 1988 after her death in 1969. In 1998, a
statue of Elizabeth was installed among 20th-century martyrs above
Westminster Abbey's West Door, further honoring her legacy.
Relics and Notable Artifacts
The church houses significant
relics, including the remains of Saints Elizabeth and Varvara in
ornate marble sarcophagi, which draw pilgrims seeking their
intercession. A 16th-century miracle-working icon of the Virgin Mary
(Hodigitria type), believed to have healing powers, is displayed in
a hand-carved wooden case to the right of the iconostasis; it was
transferred from Lebanon in the mid-20th century after divine
visions prompted its relocation. The site also includes historical
remnants, such as a pre-Roman road and ancient caves used for prayer
by early Christians.
The Convent and Current Status
The
Convent of St. Mary Magdalene was formally established in 1936 by
Mother Mary (Robinson), an English convert to Orthodoxy, who
gathered a sisterhood under ROCOR's jurisdiction. Today, it houses
around 30 nuns from diverse countries, including Russia, the United
States, and Australia, who maintain the church through liturgical
singing (often described as angelic), icon painting, embroidery of
vestments, crafting prayer ropes, decorating Russian eggs, and
producing incense. Administered by the Russian Ecclesiastical
Mission in Jerusalem, the church is open to visitors on limited days
(typically Tuesdays and Thursdays from 10 a.m. to noon), emphasizing
its role as a spiritual retreat rather than a major tourist site. It
continues to symbolize Russian Orthodox heritage in the Holy Land,
with no major structural changes or events reported in recent
decades beyond ongoing veneration and pilgrimages.
The Church of St. Mary Magdalene is a Russian Orthodox church located
on the western slope of the Mount of Olives in Jerusalem, directly
across the Kidron Valley from the Old City and near the Garden of
Gethsemane. Built in 1888, it was commissioned by Tsar Alexander III and
his brothers as a memorial to their mother, Empress Maria Alexandrovna,
and designed by Russian architect David Ivanovitch Grimm in the Russian
Revival style, drawing heavily from 16th- and 17th-century Muscovite
architecture. This style incorporates elements like tented roofs and
onion-shaped domes, making the church a striking and easily recognizable
landmark amid the surrounding olive trees and gardens. The structure
serves as part of the Convent of St. Mary Magdalene, home to Russian
Orthodox nuns, and is known for its restricted visiting hours, which
contribute to its status as one of Jerusalem's lesser-known yet visually
captivating sites.
Exterior Architecture
The church's exterior
is dominated by seven gilded onion domes (also called cupolas), each
topped with a tall Russian Orthodox cross. These domes, glittering in
gold, are a hallmark of Russian ecclesiastical design and create a
dramatic silhouette, particularly when illuminated at night against the
backdrop of tall trees and the hillside. The facade is constructed from
white sandstone, intricately sculpted to resemble marble, with ornate
detailing that includes arches and decorative elements typical of the
Muscovite style. Above the main entrance, a circular blue mosaic
medallion depicts St. Mary Magdalene robed in white, adding a vibrant
focal point to the otherwise pale stonework. The building is accessed
via stone staircases winding through lush gardens filled with green
bushes, blue, orange, and pink flowers, enhancing its oasis-like setting
on the mount. While specific dimensions are not widely documented, the
church's compact yet towering presence, with its multi-domed roofline,
emphasizes verticality and grandeur in a relatively modest footprint
suited to the sloping terrain.
Interior Architecture
Inside,
the church adopts a more subdued aesthetic compared to its flamboyant
exterior, with walls covered in painted designs primarily in shades of
brown, creating a warm but plain atmosphere. The central feature is the
iconostasis, a screen separating the nave from the sanctuary, crafted
from white marble and bronze. This elaborate barrier is adorned with
icons and paintings by Russian artist Vasily Vereshchagin, including
depictions of the four Evangelists, the Virgin Mary, and the Archangel
Gabriel. Above the iconostasis hangs a large canvas mural by Sergei
Ivanov, illustrating a legend where St. Mary Magdalene presents a red
egg to Roman Emperor Tiberius as a symbol of Christ's Resurrection and
eternal life, while recounting the events of the Crucifixion.
The
tops of the four main walls are decorated with additional scenes from
St. Mary Magdalene's life: her healing by Jesus, her presence at the
foot of the Cross, the risen Christ appearing to her, and her witnessing
the Resurrection to Tiberius. To the right of the iconostasis stands a
16th-century miracle-working icon of the Virgin Mary known as
'Hodigitria' (meaning "She who shows the way"), housed in a hand-carved
wooden case. This icon, originally from Lebanon, is reputed for
surviving a fire, aiding in healings during a cholera epidemic, and
being transferred to the church following visionary dreams. The interior
also features multiple chapels filled with icons, paintings, and hanging
lamps, contributing to a richly layered devotional space.
A notable
structural element is the crypt below the main church, which serves as a
burial site. In the nave itself, two marble sarcophagi flank the space,
containing the relics of Grand Duchess Elizabeth Feodorovna (a German
princess, sister-in-law to Tsar Nicholas II, who founded a convent in
Moscow and was martyred by Bolsheviks in 1918) and her companion, Nun
Varvara (Barbara) Yakovleva, both canonized as saints in 1981. The crypt
holds the remains of Princess Alice of Battenberg (mother of Prince
Philip, Duke of Edinburgh), who was Elizabeth's niece and requested
burial nearby; her remains were transferred there in 1988.
No
detailed floor plan is publicly available in standard sources, but the
layout follows traditional Orthodox basilica forms with a central nave,
iconostasis, and side areas for relics, adapted to the hillside location
with an underlying crypt. The interior's materials—white marble, bronze,
wood, and canvas—emphasize elegance and symbolism over opulence,
aligning with Russian Orthodox traditions.
Unique Elements and
Significance
What sets the church apart is its fusion of Russian
architectural traditions in the heart of the Holy Land, creating a
cultural and spiritual bridge between Eastern Orthodoxy and biblical
sites. The golden domes and white facade stand out against Jerusalem's
predominantly stone and earth-toned landscape, while the interior's
focus on St. Mary Magdalene's life story—through murals and
icons—reinforces its dedication to her as a witness to the Resurrection.
The presence of royal and saintly relics adds layers of historical
significance, linking the church to the Russian imperial family, the
Bolshevik Revolution, and even modern British royalty. Surrounding
features, such as ancient caves used for prayer (including one as a
chapel for the nuns) and remnants of a pre-Roman road, integrate the
building into the Mount of Olives' ancient biblical context. Overall,
the architecture balances visual splendor with contemplative restraint,
making it a hidden jewel that attracts pilgrims and tourists alike for
its beauty and sanctity.