Via Dolorosa virtual tour

Jerusalem offers some basic tours, and I invite you to join a virtual journey along the Via Dolorosa (the Way of the Cross, or Via Crucis). Many tourists visiting Israel are Christians, particularly Catholics and Orthodox, seeking a specific path within the city that forms the heart of their pilgrimage. Traditionally, this is the route Jesus is believed to have carried his cross, from his judgment by Pontius Pilate, the Roman governor of Judea, to Calvary Hill (Golgotha, in Aramaic), which at the time lay outside the city walls. There, Jesus was crucified, died on the cross, and was buried nearby, then, resurrected three days later according to Christian belief. Opinions vary on the exact historical path described in the New Testament. Some argue it is based on later medieval traditions, noting that only eight of the stations are mentioned in the Bible. Most Evangelicals challenge this tradition and do not follow this specific path. In my view, the precise historical route is irrelevant. Debating the "real" location of this event, as described in a spiritual, non-historical text, seems as futile as discussing the exact spot where Moses might have crossed the Red Sea.

The Way of the Cross is a Catholic devotion that follows Jesus' journey as he endures suffering and hardship, carrying his cross to the hill where he will be crucified. It emphasizes moments of personal suffering, the mother's anguish, the physical pain, the sweat, the blood, and the body's weakness. It portrays a person confronting the cruelty of injustice on his path to a shameful and terrible death. For believers, it reflects the egregious acts committed by humanity against God himself, who came down to save it.

The Catholic Church divided the journey into fourteen Stations. At each station, Jesus experiences an emotion or confronts a difficult reality. Pilgrims focus on the sufferings of their Lord, engaging in reflection, deep examination, and testing their faith for the purification of the soul and repentance. This devotion does not require traveling to Jerusalem, as the Way of the Cross stations are marked in every Catholic church, either on the walls or as statues in the courtyard, spread throughout the city, and in renowned pilgrimage sites like Lourdes in France or Fatima in Portugal. However, it holds special significance in Jerusalem, where the events actually took place. It is a regular but varied prayer cycle, differing from community to community. Medieval pilgrims and Franciscans in Jerusalem developed this devotion to trace the path Jesus took within the city to the site of the Crucifixion.

This is the map of the Way of the Cross. We must envision Jerusalem as it was during Jesus' time, around 33 AD. The present-day walls of the Old City are indicated on this map by a black line. Antonia Castle overlooks the Temple Mount to the north. Today, the stone cliff it once stood upon remains, but a medieval Muslim building is now above it. From there, the path winds through the city, following the current street layout. Near the seventh station, there was believed to be another city wall (shown here in violet).

This wall is crucial to our narrative. Burials could not occur within Jerusalem's walls. Ancient Jewish tombs were discovered in the area of the Church of the Holy Sepulcher, supporting the belief that the crucifixion site was outside the walls and that Jesus was buried nearby. Today, the Holy Sepulcher is located within the city. There were numerous disputes among various churches regarding the site's authenticity, but today most Christians agree that the Church of the Holy Sepulcher is the place of Jesus' crucifixion and burial.

I will provide detailed descriptions of the stations through pictures. Some stations are indicated by simple markings on the street walls, while others are marked by small chapels. I would like to point out that the final five stations are located within the Church of the Holy Sepulcher. In my view, if you haven't experienced the Via Dolorosa in Jerusalem, you haven't truly seen the city.

Numerous pilgrims, hailing from all around the globe, include devout believers adorned in vibrant attire from Benin or Nigeria, enthusiastic Korean and Chinese Christians singing joyfully, and processions led by Italians and Americans or groups of worshippers from Colombia and Brazil. It's truly exhilarating.

In addition to the churches, the route is lined with countless hidden doors that lead to enchanting worlds, underground chambers, and places above the bustling streets, some not necessarily tied to the main story. A skilled guide will select which ones to reveal to tourists during the tour, based on their interests.

The journey's highlight is Jesus' tomb, located inside the Church of the Holy Sepulcher, renowned as one of the world's most fascinating structures. It is constructed over the site believed to be where Jesus was crucified, buried, and resurrected, according to Christian tradition. Numerous Christian pilgrims finish their pilgrimage at the Western Wall, reflecting on Jesus' Jewish roots and showing great interest in the lifestyle, attire, and form of Jewish prayer, which many find remarkably intriguing.

Early in the journey, the path goes beneath the "Ecce Homo" arch (Here is the Man), constructed by Hadrian a century after the crucifixion. This arch was celebratory, similar to its replica in the Jordanian city of Jerash (center). Although this location is not formally listed among the fourteen stations, it is believed to be where the Antonia Fortress, the supposed Praetorium or headquarters of Pilate, might have been situated.

At this very location, according to tradition, Pontius Pilate stood and presented Jesus to the Jewish crowd with the words "Here is the man," expressing his confusion over their desire for his execution. The crowd responded: Crucify him! This may be a distressing moment for Jewish visitors, but it is crucial to understand how the deep divide between the two religions was formed, leading to the persecution of many Jewish people throughout history. Today, the Catholic Church tends to focus on the journey as a more personal experience. An opening prayer in one of the Catholic cycles reflects the Church's new spirit, which aims to downplay the role of all Jews throughout history and only hold accountable those present at the time who condemned Jesus, telling believers: "We, all of us, have condemned Jesus, each of us by his own sins." Painting by Antonio Ciseri, ca.1870.

Station I, Condemnation

The condemnation. Painting by Hungarian Mihály Munkácsy, 1881.

Station I. The Condemnation. Jesus faces trial before Pontius Pilate. During a nighttime meeting, the Sanhedrin questions Jesus, demanding he retract his claims of being the Messiah and the Son of God, accusing him of stirring rebellion against Rome. Jesus refuses. They sentence him to death, but since only the Romans could carry out executions, the priests and the Sanhedrin bring their case to the Roman governor, Pilate, accusing Jesus of inciting rebellion and claiming to be the king of Israel. Pilate interrogates Jesus, who responds evasively. The governor struggles to grasp the charges and urges the Jews to reconsider, as noted in the New Testament. Ultimately, Pilate yields to the Jewish leaders and the crowd they gathered, symbolically washing his hands of the decision. Jesus is then led to be crucified.

View of Temple Mount from the First Station of the Cross

Antonia Castle overlooked the Temple Mount and Herod's Temple, which housed the Roman garrison. It was here that Titus' forces eventually attacked the Temple during the Jewish War in 70 AD, 37 years after Jesus' crucifixion. From the north, we can see the magnificent view of the Temple Mount/al-Aqsa mosque. The first Station of the Cross is located within the Omariyah boys' school building. Its construction began in the 20th century under the Ottomans and was completed during British rule in 1923. It stands on the ruins of a 14th-century Muslim seminary and is likely where Pilate's headquarters were situated. From this point, the Franciscan Way of the Cross procession starts every Friday, leading to the Holy Sepulcher. This is probably where Jesus was sentenced by Pilate, and where the Sanhedrin's condemnation was confirmed.

Station II, Flagellation

Station II. The Flagellation and Acceptance of the Cross. According to the Bible, after Pilate's final attempt to persuade the crowd to release Jesus, he surrenders him to the Roman soldiers. This moment is depicted in the painting Jesus leaving the praetorium by Gustave Doré, 1873. The soldiers torture Jesus, binding him to a column and flogging him. They place a crown of thorns on his head, mocking the crown of Israel. This scene has been portrayed countless times by prominent classical artists. One of the most famous representations is The Flagellation by the Italian

Baroque painter Caravaggio, 1607.

Chapel of the flagellation

Station II in Jerusalem features two distinct churches: one dedicated to the Flagellation and the other to the Condemnation and Acceptance of the Cross. The Church of the Flagellation was completed in 1929, designed by Italian architect Antonio Barluzzi, and showcases a blend of Romanesque revivalism and Art-Deco style typical of that era. Above the entrance, several symbols of this scene are displayed. From left to right in the medallions above: the whip, Pilate's washing of hands, the crown of thorns, the column of flagellation with two whips, and the INRI inscription ("Iesus Nazarenus Rex Iudeorum", meaning Jesus of Nazareth King of the Jews) placed on the cross to mock him. Then, to the right of the angel: the cock crowing three times, the ladder or the cross, the scourge, the lance and instruments, and the three nails. This prompts contemplation on the suffering of humanity and our capacity to alleviate it.

Within the church of the Flagellation, there are remarkable stained-glass windows designed in the Art Deco style. The first window on the left illustrates Pilate washing his hands of the crucifixion. The central window above the altar shows Jesus bound to the column, being whipped. The third and final window on the right depicts the pardoning of Barabbas.

Station III, Jesus falls for the first time.

Jesus accepts the cross and starts the march towards his death. Painting by El Greco, Spain 1580.

Station III. Jesus falls for the first time under the weight of the cross. The chapel is inside an old Turkish bath. The statue and relief were made by a Polish artist who stayed here with a Polish contingent under the auspices of the British army during WWII. Today it belongs to the Armenian Catholic Church.

Station IV, Jesus meets his mother.

Station IV of the cross illustrates the moment when Jesus meets his mother, referred to as Our Lady of Sorrows or Our Lady of the Spasm, as she observes her innocent son on his way to a humiliating death. This statue is situated in the crypt of the Catholic Armenian church of Our Lady of Sorrows, with the Bas-relief positioned at the entrance.

Station V, Simon of Cyrene helps Jesus carry his cross.

Station V depicts Jesus once again struggling with the cross. A Roman centurion asks Simon of Cyrene, a passer-by, to help Jesus carry it. This scene is captured in a painting by the Renaissance Italian artist Il Sodoma, created in 1510. At Station V, there is a small chapel where the Vatican has recently added reliefs illustrating the event. Additionally, there is a worn stone believed to have been touched by Jesus, which many people venerate. The road now turns right and ascends the hill from the valley within the city.

Station VI, Saint Veronica wipes the face of Jesus.

Station VI: As Jesus ascends the steep road carrying his cross, an elderly woman emerges from her home to wipe the blood and sweat from his face. Miraculously, his image is left on the cloth. This cloth, known as Veronica's Veil, is preserved as a sacred relic in the Vatican to this day. A small column on the wall features a Latin inscription: "6th St. Pious Veronica, Christ's face with her veil hath cleansed." Painting of Saint Veronica by Mattia Preti, 1660.

Station VII, Jesus falls for the second time.

Station VII. Painting by Matthias Grünewald 1524. Jesus falls for the second time under the weight of the cross. At the end of the street it arrives at the oil market, Souq al-Zeit, and there is a marking on the wall, and a small chapel. Photo © Daniel Case

Station VIII, Jesus meets the women of Jerusalem.

Station VIII. Jesus speaks to the women of Jerusalem, “Daughters of Jerusalem, do not weep for me, but weep for yourselves and for your children. For the days are surely coming when they will say, ‘Blessed are the barren, and the wombs that never bore, and the breasts that never nursed. Then they will begin to say to the mountains, ‘Fall on us’; and to the hills, ‘Cover us.’ ’ Luke 23: 28-30. The original painting by Nikolai Koshelev, 1899, is on display in Alexander Nevsky Church, on the Via Dolorosa.

Station VIII, is just a mark on the wall. As far as we know, this section is already outside the walls of Jesus' Jerusalem.

Station IX, Jesus falls for the third time.

Station IX is merely a mark on the wall, representing Jesus falling for the third time. This is depicted in a painting by Tintoretto. The ninth station of the cross is located in Jerusalem near the Holy Sepulcher, while the remaining stations are inside the Basilica.©Berthold Werner

Golgotha/Calvary in the time of Jesus.

This is a depiction of Calvary as it was in Jesus' time, around 30 AD, recently featured in National Geographic. To the right is the city wall. Moving forward, there is an elevated rock overlooking an abandoned quarry. This is Golgotha, Calvary – the hill of the Skull. Tombs are carved into the rocky walls of the quarry. The crosses are situated on top of this hill. Today, the Church of the Holy Sepulcher stands over this site. Remnants of the quarry are still visible in the church's basements.

Station X, Jesus is stripped of his clothes.

Station X: Jesus is stripped of his garments. This painting by Edward Arthur Fellowes Prynne, created in 1920, is located at the entrance to the Basilica of the Holy Sepulcher. The façade dates back to the Middle Ages. Station X is the small domed chapel on the right, which is not open to the public.

Station XI, Jesus is nailed to the cross

a. Gerard David's "Christ is Nailed to the Cross," 1481. b. Mosaic at Station XI at Golgotha, located in the Basilica of the Holy Sepulcher, Jerusalem.

Station XII, Crucifixion. Jesus dies on the Cross

Station XII. Jesus dies on the cross. We are at Calvary, the site of Jesus' crucifixion. People kneel to touch the hollow where the cross was placed in the rock. Fragments of the rock of Golgotha are present on both sides of the Altar.

Different depictions of the event. In nearly every crucifixion painting, a skull is present. It signifies Calvary and also represents Adam, the first human, who is to be saved along with the righteous preceding Jesus.

left to right, top to bottom: Andrea Mantegna 1460, Montorfano 1497, Polenov 1898, Paolo Veronese 1582, Vredeman de Vries 1596, Nesterov 1880, Vereshchagin 1887, Koshelev 1880, Repin 1869, Vasnetsov 1896

Station XIII, Jesus is taken down from the cross.

Officially, the statue of Stabat Mater near Golgotha is recognized as Station XIII. However, many intuitively consider this location to be the 13th station. The Stone of Unction is where Jesus' body was prepared for burial in Joseph of Arimathea's tomb, ensuring the Jewish Sabbath was not violated. This moment is solemnly commemorated in Giovanni Battista Pergolesi "Stabat Mater" 1736

Michelangelo's Pietà is the most renowned artistic depiction of this moment, featuring the Lady of Sorrows with her deceased son. Rogier van der Weyden of the Flemish school illustrates Joseph of Arimathea alongside the Virgin's grief. The final depiction is by the Dutch artist Peter Paul Rubens.

Station XIV, Jesus is laid in the tomb.

The Aedicula over the tomb today marks the entrance to the tomb and serves as the final station of the liturgy. Two significant events occur here: Jesus is resurrected, and the Orthodox churches refer to this place as the Basilica of the Anastasis (Resurrection). On Sunday, the tomb is discovered to be empty. Saint Mary Magdalene arrives and encounters a gardener, who reveals himself to be the resurrected Jesus. Tradition holds that this meeting occurs in the illuminated area between the two pillars, as shown in the photo above. A small chapel commemorates this encounter, where he famously tells her: 'Noli me tangere' - Don't cling to me.

The Resurrection: a painting by Karl Bloch. Jesus appears to Mary Magdalene after the resurrection, by Alexander Ivanov, 1835/

I hope you liked this virtual tour. Looking forward to seeing you on an actual one soon.