Skip to main content

RENOVATION BEGINS IN JESUS' TOMB. YES, AS IN JESUS CHRIST.

A team of experts has begun restoring the ancient tomb in Jerusalem where Christians believe Jesus was buried in the first such works for 200 years.

The renovation in the Church of the Holy Sepulchre aims to reinforce and conserve the structure.

Rivalry between the three denominations that run the church has delayed work.

But clerics from the Greek Orthodox, Roman Catholic and Armenian churches have put aside their differences, recognising the need to begin repairs.



The work will focus on the Edicule, the ancient chamber housing Jesus's tomb which Christians say stands above the spot where Jesus's body was anointed, wrapped in cloth and buried.

The last restoration work to take place there was in 1810 after a fire.

The Greek Orthodox, Roman Catholic and Armenian authorities are responsible for running different parts of the church but share responsibility for the shrine.

'Equally decided'

Relations between them can be tense - in 2008, an argument between Greek Orthodox and Armenian monks escalated into a brawl - but they have decided to act jointly after Israel's antiquities authority last year said the church was unsafe and Israeli police briefly closed it.

"We equally decided the required renovation was necessary to be done, so we agreed upon it," said Samuel Aghoyan, the top Armenian church official there.

The scientific co-ordinator for the repairs, Antonia Moropoulou, said the tomb was stable but warped and needed attention after many years of exposure to water, humidity and candle smoke.

The structure also needed to be protected from the risk of earthquake damage, she said.

Work is expected to take between eight and 12 months and during that time pilgrims will be able to continue visiting the site, church officials said.

Each denomination is contributing funds for the $3.3m (£2.3m) project. In addition, King Abdullah of Jordan has made a personal donation.

Jordan controlled Jerusalem's Old City, where the church is located, until the 1967 Arab-Israeli war and continues to play a role in safeguarding Muslim and Christian holy sites there.

Comments

Popular posts from this blog

The Sphere

Photograph by Elena Saavedra Buckley. Once when I was about twelve I was walking down the dead-end road in Albuquerque where I grew up, around twilight with a friend. Far beyond the end of the road was a mountain range, and at that time of evening it flattened into a matte indigo wash, like a mural. While kicking down the asphalt we saw a small bright light appear at the top of the peaks, near where we knew radio towers to occasionally emit flashes of red. But this glare, blinding and colorless, grew at an alarming rate. It looked like a single floodlight and then a tight swarm beginning to leak over the edge of the summit. My friend and I became frightened, and as the light poured from the crest, our murmurs turned into screams. We stood there, clutching our heads, screaming. I knew this was the thing that was going to come and get me. It was finally going to show me the horrifying wiring that lay just behind the visible universe and that was inside of me too. And then, a couple se...

The Private Life: On James Baldwin

JAMES BALDWIN IN HYDE PARK, LONDON. PHOTOGRAPH BY ALLAN WARREN. Via Wikimedia Commons , licensed under CC BY-SA 3.0 .   In his review of James Baldwin’s third novel, Another Country , Lionel Trilling asked: “How, in the extravagant publicness in which Mr. Baldwin lives, is he to find the inwardness which we take to be the condition of truth in the writer?” But Baldwin’s sense of inwardness had been nourished as much as it had been damaged by the excitement and danger that came from what was public and urgent. Go Tell It on the Mountain and Giovanni’s Room dramatized the conflict between a longing for a private life, even a spiritual life, and the ways in which history and politics intrude most insidiously into the very rooms we try hardest to shut them out of. Baldwin had, early in his career, elements of what T. S. Eliot attributed to Henry James, “a mind so fine that it could not be penetrated by an idea.” The rest of the time, however, he did not have this luxury, as pub...

The Rejection Plot

Print from Trouble , by Bruce Charlesworth, a portfolio which appeared in The Paris Review in the magazine’s Fall 1985 issue. Rejection may be universal, but as plots go, it’s second-rate—all buildup and no closure, an inherent letdown. Stories are usually defined by progress: the development of events toward their conclusions, characters toward their fates, questions toward understanding, themes toward fulfillment. But unlike marriage, murder, and war, rejection offers no obstacles to surmount, milestones to mark, rituals to observe. If a plot point is a shift in a state of affairs—the meeting of a long-lost twin, the fateful red stain on a handkerchief—rejection offers none; what was true before is true after. Nothing happens, no one is materially harmed, and the rejected party loses nothing but the cherished prospect of something they never had to begin with. If the romance plot sets up an enticing question—Will they or won’t they? — the rejection plot spoils everything upfront:...