Tent Work in Palestine: A Record of Discovery and Adventure

by C. R. Conder

The basilica is moreover interesting because its general plan resembles, very closely, the description given by Eusebius of Constantine’s buildings over the Holy Sepulchre at Jerusalem. On the west was an atrium or outer court, parts of the outer walls of which and shafts of its columns still remain. A narrow vestibule or narthex, entered by a door scarcely four feet high, leads into the basilica itself, which consists of a nave and four aisles, with four rows of eleven columns each, a total breadth of about thirty yards, and a length about equal.

The aisles have flat roofs, above the pillars which are nineteen feet high, but the nave has a clerestory, with walls some thirty feet high above the capitals, and a pointed roof. A wall has been built across the east end of the basilica, separating off the chancel, which has three apses, north, south and east, and which forms the Greek church. Beneath the chancel is the Grotto of the Nativity. North of the basilica is the more modern Latin chapel of St. Catherine, from which a staircase leads down to vaults communicating with the grotto.

The pillar shafts are monoliths of red and white marble, painted with figures of saints, now dim with age, and scrawled over with the crests and titles of knightly pilgrims of the Crusading ages. The capitals are of the Corinthian order, debased in style, with the cross carved on the rosettes of each. The wall above was once decorated all over with glass mosaic, fragments of which still remain, representing scenes in our Lord’s life, portraits of angels and of Scripture characters, with arabesques and Greek inscriptions. These mosaics, with those on the chancel walls, were executed by order of the Greek Emperor, Manuel Comnenos, in the middle of the twelfth century. The roof above, once painted and gilded, was put up in 1482, the fine rafters having been given by Philip of Burgundy, the lead (stripped off later by the Moslems to make bullets) by Edward IV. of England; and the work was executed in Venice, and brought on camels from Jaffa. Further restorations were made in 1478, and again in 1672 and 1842, but the majority of the work appears to belong to the original structure of the time of Constantine.

On the 24th of October, 1873, we first approached Bethlehem from the west, passing by the great tanks near Urtâs, commonly called Solomon’s Pools, but more probably of the same date with the aqueduct passing by them, which was constructed by Pontius Pilate.

The olive harvest had commenced, and picturesque groups were gathered in the groves, whilst little hammocks for the babies were slung between the trees. The Bethlehem women are famous for their beauty, for their delicate complexions and aquiline features; they are distinguished by their head-dress, a tall felt hat, in shape a truncated cone, over which a white veil is arranged, and from which heavy strings of coins are suspended. Their dresses are also remarkable from the square patches of red and yellow, which are introduced into the blue or striped fabric of which they are composed.

Bethlehem is supplied with water by cisterns, and from the great aqueduct which passes through the hill. The famous well for the waters of which David thirsted, is supposed to be represented by an ancient and extensive cistern with many mouths, on the north-west. It is not impossible that this may be the “pit,” as Josephus calls it, which was beside the gate of the city.

Two feasts are yearly held at Bethlehem, on the Greek and Latin Christmas Eve. The scene on the latter occasion is especially interesting, and may here be described, though I did not witness it until the Christmas of 1874.

Arriving at Bethlehem on that occasion, we visited the church, and descended into the sacred grotto. The floor of the chancel is raised, but the transepts are on the same level with the basilica, and from them two staircases lead down to the grotto, which is about twelve yards long, and three or four wide. It was profusely decorated, and the passages were hung with cloth of gold. The exact place of the Saviour’s birth is shown near the east, in a recess beneath an altar. The manger is on the south; both are cased in marble, but two old columns, supporting the roof, appear to be of rock. The western passage, to the Latin chapel, was decorated with paper hangings, with paintings of scenes in our Lord’s life, and, over the hangings, were some pictures so old that the tarnished gold backgrounds were covered with prismatic tints.

The Latin chapel is a long vaulted room on the north of the basilica, once painted in fresco, but now whitewashed. It was hung with red silk. On the east is a large altar, with a screen and large wax torches: behind it is the choir. The chapel is principally remarkable for its fine silver lamps.

Mass was being performed, and the music and singing were impressive, in a land where song seems almost unknown. The Latin Patriarch, in cloth-of-silver, with a mitre of gold and jewels, and a handsome silver crook, sat on his throne to the north. He was an Italian, a man of dignified mien and delicate features, but apparently of very weak health. After the service he was disrobed, and again robed in purple, with a beautiful ermine cape, the dress of a Canon of the church. In this attire, after a few prayers at a side altar, he was conducted out in procession.