Restoring the Greek-Orthodox Icons of the Holy Sepulchre
The Church of the Holy Sepulchre stands as arguably the most sacred site in Christianity, venerated as the location of Jesus’ crucifixion, death, burial, and resurrection. The original church was constructed in 335 AD, built directly over two holy sites: the Hill of Crucifixion (Golgotha) and Jesus’ tomb. Throughout its history, this revered sanctuary has drawn millions of Christian pilgrims and tourists annually. While the church underwent various modifications over the centuries, its most substantial reconstruction occurred during the Crusader period, completed in 1149 AD. A devastating fire later ravaged much of the church’s interior, necessitating extensive repairs and renovations. In the aftermath, custody of the church was also divided among six Christian denominations.
The New Restoration Project
In 2016, Israel’s Antiquities Authority conducted an engineering survey which concluded the church must undergo a thorough maintenance repair. They even closed the building for a few hours to demonstrate the gravity of the situation. In 2016-2017 a major restoration of the Edicule (revered as Jesus’ tomb) was completed. It included removing unsightly metal reinforcements installed by the British in 1947. By 2019, another significant project began: the restoration of the entire Basilica complex’s floor.

Mr. Zarifis Zarifopoulos in his worshop inside the Holy Sepulchre
During this period of renewal, the Greek-Orthodox church enlisted the expertise of art restoration specialist, Mr. Zarifis Zarifopoulos, to restore their Byzantine-style icons. Some were over 200 years old. While these icons share the post-Byzantine Orthodox artistic tradition, they exhibit regional variations reflecting their diverse origins. Some emerged from Greek workshops, others from Cypriot craftsmen, and a number were created by artisans from Jerusalem’s Greek Orthodox community. In 2021, I had the privilege of meeting Mr. Zarifopoulos as he completed the project of restoring the icons along the church’s northern wing (“Arches of the Virgin”). He was very kind and patient with all my questions and excitement. I regret not taking any photos of the icons before the restoration, but here are some images of the beautifully restored Icons, accompanied by commentary:
The Post-Byzantine Orthodox Iconographical Style
The Byzantine iconographical influence is evident in stylized, rigid and frontal figures. The faces of the characters are elongated, and their expressions are more symbolic than naturalistic, focusing on conveying spiritual depth and emotion rather than physical realism. In addition, the halos are often made by gold leafing or gilding. The bold use of reds and browns for robes also aligns with these traditions. The composition itself is often hieratic (Sacred), showing the saint in a larger scale, and with little care for creating the illusion of three-dimensional space. If there is architecture in the background, it serves more as a symbolic reference than a realistic setting.
The Post-Byzantine style emerged after the fall of Constantinople in 1453 AD. It was popular in the Orthodox Christian region such as Greece, the Balkans, and the Middle East. The continuation of iconography was very conservative, keeping many of the stylistic elements of earlier Byzantine traditions.
Saint Theodorus “Stratelates” Fresco
Facing the icon of Saint Theodorus “Tyron” is a fresco of Saint Theodorus “Stratelates” (meaning “the Commander”). Like his namesake, Saint Theodorus lived in Asia Minor during the early 4th century and was renowned for slaying a giant winged serpent. Despite his elevated military rank, he met a martyr’s fate during Emperor Licinius’s persecutions (311-324 AD) for refusing to renounce his Christian faith. According to Christian tradition, his execution was particularly brutal: he was dragged along the ground, beaten with iron rods, pierced with sharp spikes, burned, blinded, and finally crucified. Following Christianity’s rise, he became venerated as the patron saint of soldiers.
The fresco, executed in Byzantine style, bears his name and title in Greek: Ο ΑΓΙΟΣ ΤΕΟΔΟΡΟΥ / Ο ΣΤΡΑΤΗΛΑΤΗΣ (“Holy Theodorus / the General”). Another inscription appears in the bottom left: ΕΠΙ ΣΚΕΥΟΦΥΛΑΚΟΣ / ΚΥΡΙΑΚΟΥ (“In the [days of] Skaofolakos, [the] head”). This reference to Skaofolakos, who served as Greek-Orthodox Bishop of the Holy Sepulchre from 1910 to 1945, helps date the fresco’s creation to this period.
“Touch Me Not” Icon
This icon is devoted to Mary’s encounter with Jesus after his resurrection. According to the Gospel of John after finding the empty tomb and alerting Peter, Mary stood weeping outside the tomb. Jesus then appeared to her, but at first, she mistook him for a gardener. When he revealed his true identity, Mary cried out “Rabboni” (in Aramaic – “my master”). Jesus replied – “Touch Me not, for I am not yet ascended to My Father” (John 20:17). The Icon is painted in a hybrid Byzantine, Medieval, and Renaissance style. Jesus stands in front of Mary kneeling. In the back are the empty tomb, bearing the Greek text – O ΠΑΝΑΓΙΟΣ / ΤΑΦΟΣ ( “The holiest tomb”), the Golgotha, and Jerusalem’s walls. Above Jesus’ head, the Greek initials ΙΣ ΧΣ clarify his identity (“Jesus Christ”. Above Mary, her full name appears as – ΜΑΡΙΑ Η ΜΑΓΔΑΛΗΝΗ (“Mary the Magdalene”). The biblical quote Μη ΜΟΥ Απ ΤΟΥ (“Touch me not”) crowns the compizition. The Greek letters “ΑΩΛΗ” added next to the empty tomb indicate the icon was made in 1838.
Icon of Dionysus the Areopagite
Acts 17:16-34 recounts Paul’s arrival in Athens, where he preached in the marketplace and engaged with Epicurean and Stoic philosophers. Their discourse continued at the Areopagus, Athens’ public hill. The scripture concludes noting that “Some of the people became followers of Paul and believed. Among them was Dionysius, a member of the Areopagus” (Acts 17:34). Christian tradition holds that Dionysius became Athens’ first bishop, laying the foundation of the city’s Christianization. Known as “Dionysus the Areopagite,” he later became the patron saint of judges and the judiciary.
The icon follows the traditional Byzantine style, though its lower portion has deteriorated beyond restoration. The Greek inscription behind his head reads Ο ΑΓΙΟ ΔΙΟΝΥCς / Ο ΑΡΕΟΠΑΓΙΤΗΣ (“Saint Dionysus / the Areopagite”). His attire includes an “Epigonatio,” an honorary vestment depicting Jesus as a winged angel. Above this image are the Greek initials ΙΣ ΧΣ (“Jesus Christ”), accompanied by the inscription Ο ΤΗΣ ΜΕΓΑΛΗΣ ΒΟΥΛΗΣ ΑΝΓΓΕΛΟΣ (“The Angel of the Great Counsel”) – a reference to Isaiah 9:5 that Christians interpret as referring to Jesus.
Icon of Gregory Palamas
Gregory Palamas was born to an affluent family in 1296, yet at the age of 20 he embraced monasticism. He joined a monastery on Mount Athos, Greece, a renowned center of Eastern Orthodox spirituality. His theological prowess led to his appointment as Archbishop of Thessaloniki. Gregory’s legacy continues to be honored in Thessaloniki, where the city’s main church not only commemorates him but also houses his relics.
The icon follows traditional Byzantine artistic conventions. Gregory is depicted holding a book in one hand while forming the Christian symbol ΙΣ ΧΣ with his thumb touching his ring finger. The Greek inscription behind his head reads Ο ΑΓΙΟ ΓΡΕΓΟΡΙΟΥ / Ο ΠΑΛΑΜΑΣ (“Saint Gregory of Palamas”). His vestments include an “Epigonatio,” an honorary garment depicting the merged scenes of Jesus’ crucifixion and resurrection. Around this symbol appears the Greek text Η ΑΚΡΑ / ΤΑ / ΠΕΙΝΩ / ΣΙΣ (“The Extreme Humility”). Gregory wears a brown monastic robe adorned with the initials for “Jesus Christ conqueror” (ΙΣ ΧΣ / NIKA), followed by ΕΝ ΤΟΥΤΟ ΤΩ / ΣΧΗΜΑΤΙ / ΣΩΤΗΣΕΤΑΙ / ΠΑΣ ΣΑΡΞ (“In this way all flesh is saved”), and A/Δ/Α/Μ (“Adam”).
Icon of Saint Nicholas
Nicholas served as a 4th-century bishop in Myra, located in modern-day Turkey. Born into wealth, he inherited his parents’ fortune yet dedicated it to aiding the poor and sick. His reputation for generosity, particularly toward children, is exemplified in the famous story of him secretly providing gold to save a poor man’s daughters from slavery. Following his death, his veneration spread throughout Europe. His tradition of gift-giving gradually evolved into the legend of Santa Claus. This image was later transformed by Coca-Cola’s advertising campaigns in the 1930s, which established the now-familiar representation of Santa Claus in American culture. Today, Nicholas remains widely venerated as the patron saint of children, sailors, and numerous other groups in both Eastern and Western Christian traditions.
The restored icon in the Holy Sepulchre follows Byzantine artistic conventions. Nicholas appears in priestly vestments, holding a bible in one hand while representing the letters ΙΣ ΧΣ (“Jesus Christ”) with the other. The Greek inscription ΙΟ ΑΓΙΟΣ ΝΙΚΟΛΑΟΣ (“Saint Nicholas”) appears behind his head, flanked by small images of Jesus and Mary holding Jesus’ burial shroud. The background features several sailboats on a vast sea, referencing his role as patron saint of sailors.
Jesus’ Resurrection Icon
This Byzantine-inspired icon depicts the Resurrection of Jesus in vivid detail. The composition shows him emerging from His tomb, His hand raised in blessing toward the women who discovered it empty. The sacred landscape unfolds behind Him, featuring Golgotha with its three crosses and Jerusalem’s distant skyline. The icon’s lower portion contains a Greek inscription of Matthew 28:9: καὶ ἰδοὺ Ἰησοῦς ὑπήντησεν αὐταῖς λέγων, Χαίρετε. αἱ δὲ προσελθοῦσαι ἐκράτησαν αὐτοῦ τοὺς πόδας καὶ προσεκύνησαν αὐτῷ (“Suddenly Jesus met them. ‘Greetings,’ he said. They came to him, clasped his feet and worshiped him.”).
Below this scripture, the artist’s signature appears in Greek: χειρ δημητριου απου χαιδουρ (“The Hand of Demetrios abu Haidur”). The Arabic name of his father suggests the Greek artist’s Turkish origins. Near the tomb, the date “1859” marks the year of the icon’s creation.
The Finding the True Cross Icon
The Finding of the True Cross appears in multiple icons throughout the Church of the Holy Sepulchre, reflecting the profound significance of this event. Queen Helena’s discovery of the cross served as crucial evidence that the church was indeed built over Jesus’ tomb. Today, the Chapel of the Finding of the Cross remains a prominent pilgrimage site, with various churches worldwide claiming to possess fragments of the sacred relic.
This icon presents the narrative in two registers. The lower register shows Queen Helena issuing a decree to uncover the cross. Behind her, workers search through rocks for the True Cross, with Jerusalem’s skyline visible in the background. The Greek inscription above reads Η ΕΥΡΕΣΙΣ ΤΟΥ ΤΙΜΙΟΥ / ΣΤΡΑΥΡΟΥ (“The discovery of the true Cross”). Helena appears again on the left, in smaller scale. She is within a burial cave, facing an empty sarcophagus marked with the Greek text Ο ΠΑΝΑΓΙ/ Ο/ Σ / ΤΑΦ / Ο / Σ (“The holiest tomb”). Three crosses appear below. While restoring this Icon, Zarifis added an inscription in the bottom right: ΑΓΙΑ ΗΕΛΕΝΑ ΦΛΑΥΙΑ ΙΟΥΛΙΑ ΑΥΓΥΣΤΑ 326 ΜΧ (“Saint Helena Fulvia Youlia Augusta, 326 AD”).
The upper register depicts Queen Helena presenting the True Cross to Makarios, Jerusalem’s Bishop, before an awestruck crowd. The scene is crowned by the Greek text: ΥΨΩΣΙΣ ΤΟΥ ΤΙΜΙΟΥ / ΣΤΡΑΥΡΟΥ (“Raising the true Cross”).
Birth of Jesus Icon
This Greco-Byzantine style icon depicts the Nativity scene with rich symbolic detail. At its center lies the infant Jesus in a crib, identified by the Greek inscription ΙΣ ΧΣ (“Jesus Christ”). Gazing at him in reverence are Mary, labeled ΜΡ ΘY (“Mother of God”), and Joseph, marked as ΙΩΣΗΦ / Ο ΜΝΗΣΤΩΡ (“Joseph the stepfather”). Two cows, designated by the inscription ΑΓΙΑ ΠΙΜΕΝΙΣ (“The Holy Stable”), observe the holy child as well. According to Christian tradition, these animals were destined for temple sacrifice.
The upper register presents two additional groups of witnesses: on the left, three crowned figures on horseback, are identified as ΟΙ ΤΡΗΣ ΜΑΓΟΙ (“The three magi”), and on the right, three reclining figures wearing wide-brimmed hats, are labeled ΟΙ ΠΟΙΜΕΝΙΣ (“The Shepherds”). Behind them is a city’s skyline, H ΑΓΙΑ ΒΕΘΛΕΕΜ (“Holy Bethlehem”). Above the earthly scene, angels emerge from clouds, flanking a golden ray descending from heaven toward the infant Jesus.
Jesus Arrested Icon
The icon, executed in Byzantine style, depicts Jesus standing with chains on his hands, rendered in various golden hues. A halo encircles his head, inscribed with the Greek letters Ο/ Ω/ Ν, initials for “the one who is” – a reference to God’s self-identification to Moses in Exodus 3:14. Above Jesus is the inscription ΙΣ ΧΣ / Ο ΕΛΚΟΜΕΝΟΣ, meaning “Jesus Christ Chained.” Two small angels flank Jesus, identified by single letters: Γ for Gabriel and M for Michael. A dedication to the icon’s artist appears on both sides of Jesus’ waist. The artist’s name is also inscribed at the bottom in small letters: ΔΙΑ ΧΕΙΡ ΔΗΜΕΤΡΙ / ΤΟΥ ΙΣΑΑΚ, translating to “by the hand of Demetrios, son of Isaac.” Given that Isaac was a common name in Jerusalem’s 19th-century Greek community, the artist likely hailed from there. The dedication includes the year 1809, making this the oldest dated icon in the collection. Notably, it was created just a year after the church’s significant fire in 1808.
Second Icon of Jesus’ Resurrection Icon
The second Icon devoted to the Resurrection of Jesus depicts Jesus standing outside the tomb, bestowing a blessing upon three kneeling women. In the background is a forested and mountainous landscape, the skyline of Jerusalem, and the hill of the crucifixion, the Golgotha.
The bottom part of the icon rotted beyond repair, yet enough text was preserved to enable restoring the full inscription = ΔΑΠΑΝΗ ΙΕΡΙΟΝΤΟΥ ΘΕΟΦΑΝΟΥΣ ΜΝΧ ΑΔΑΡΟΥΜΕΝΟΥ / ΑΩΝΘ
The inscription reveals both the icon’s patron and date: “The Distinguished Monk and Translator Theophanes sponsored [this Icon] / 1859”
Burial of Jesus Icon
This icon also follows Orthodox post-Byzantine artistic conventions and is devoted to the entombment of Jesus. The central scene shows three men carefully laying Jesus’ shrouded body into a burial cave, His eyes are closed and the letters Greek Ο/ Ω/ Ν are embedded in the halo around his head. Several winged angel faces witness the sacred moment, and the year “1859” is added below. The background reveals Jerusalem’s skyline set within a mountainous, forested landscape. Nearby stands Golgotha, the hill of crucifixion, distinguished by its three crosses. Five women observe the burial from a distance below the hill.
The icon includes an inscription at its base, quoting Matthew 27:59-60 in Greek: καὶ λαβὼν τὸ σῶμα ὁ Ἰωσὴφ ἐνετύλιξεν αὐτὸ σινδόνι καθαρᾷ, καὶ ἔθηκεν αὐτὸ ἐν τῷ καινῷ αὐτοῦ μνημείῳ (“And Joseph took the body and wrapped it in a clean linen cloth and placed it in his own new tomb”) Below this, in delicate cursive Greek script, appears the artist’s signature: χειρ δημητριου απου χαιδουρ (“The Hand of Demetrios abu Haidur”). This signature confirms it was crafted by the same artist who created the previously mentioned Resurrection icon.
Jesus taken to the Cross Icon
The icon depicts Jesus in red and blue robes, His hands bound, being led away by soldiers. While these guards wear Roman-style military dress, their long mustaches reflect not the first century but rather Ottoman fashion of the 19th century. One soldier carries a placard bearing the Greek letters INBI. These are initials for Ἰησοῦς ὁ Ναζωραῖος ὁ βασιλεὺς τῶν Ἰουδαίων (“Jesus of Nazareth King of the Jews”), as referenced in John 19:20. Created in Orthodox Post-Byzantine style, the icon bears a Greek inscription at its top: Η ΠΡΟΣ ΤΗΝ ΣΤΑΥΡΩΣΙΝ ΑΠΑΓΩΓΗ ΤΟΥ ΚΥΡΊΟΥ (“The Abduction of the Lord to the Cross”).
Above the crowds three women with halos around their head are watching the scene from the distance. A halo crowns the head of Jesus as well, embedded with the letters Ο/ Ω/ Ν.
The bottom of the Icon bears a quote from Matthew 27:31 in Greek, a parallel quote from Mark 15:20, and a reference to the parallel passage in Luke 27:29.
The Humiliation of Jesus Icon
This icon commemorates the humiliation of Jesus following his trial and condemnation. Jesus is seated wearing a red robe, while several people are pulling his hair. At the top left corner stands a person wearing a gilded head cover with a red top. The Greek label above his head identifies him as Ο ΠΙΛΑΟΩ (“Pilatus”). The scene loosely follows the text in John 19:2: ” The soldiers twisted together a crown of thorns and put it on his head. They clothed him in a purple robe”.
In the back is a double-arched building, the Praetorium, the site of Jesus’ trial. In the beams supporting the arches the Greek text reads – Ο ΑΚΑΝΘΙΝΟΣ / ΣΤΕΦΑΝΟΣ (“Crown of thorns”). Beneath Jesus’ seat, an open scroll presents the biblical text. Next to his feet, the artist of the icon added his signature. Executed in Orthodox Post-Byzantine style, it is worth noting that the scene of the soldiers pulling Jesus’ hair is unconventional and is not recorded in the scriptures.
Jesus as High Priest Icon
Designed in Post Byzantine style, the Icon depicts Jesus as the Great High Priest. This is a significant theological representation that merges Christ’s roles as both king and priest. The icon is unique for gold leaf background, representing the divine light and heavenly glory. Jesus is seated on a throne, wearing elaborate Byzantine liturgical vestments. A staff or crozier in his left hand, symbolizing pastoral authority, and a sphere or orb in his right hand, likely representing universal dominion. The High Priest imagery draws from the Book of Hebrews, which presents Jesus as the perfect and eternal High Priest who offers himself as the ultimate sacrifice. The Greek at the top reads O MEΓAΣ APXIEPEΥΣ (“The Great High Priest”).
The Recovery of the Cross Icon
The easternmost Icon in the “Arches of the Virgin” arcade, is also the largest and is devoted to the recovery of the “True Cross” by Queen Helena. Designed in Byzantine style, the lower part shows a man excavating in search of the cross used for Jesus’ crucifixion. At the right side, Queen Helena is facing a rock-cut tomb with an empty sarcophagus. On the right she appears again, observing people excavating and a small person raises his hand in front of a big size cross.
At the top part of the icon, Queen Helena appears once again, standing in awe with her entourage in front of the Cross held by Makarios. Multitudes and Jerusalem appear in the back. Above Queen Helena and Makarios heads are the Greek legends – Ο ΑΓΙΑ ΗΕΛΕΝΑ and ΤΟ ΜΑΚΑΡΙΟΣ (“Helena” and “Makarios”). The icon is crowned by the Greek text – ΕΥΡΕΣΙΣ ΚΑΙ Η ΥΨΩΣΙΣ ΤΟΥ ΤΙΜΙΟΥ / ΚΑΙ ΖΩΟΠΟΙΟΥ ΣΤΑΥΡΟΥ (“The discovery and recovery of the True and life forming cross”). On the right side, in smaller size letters another Greek inscription reads – Κ ΕΥΡΕΣΙΣ ΤΟΥ ΠΑΝΑΓΙΟΝ ΚΑΙ ΖΩΟ/ ΔΟΧΟΥ ΤΑΦΟΥ (“The finding of the holiest and life-bearing tomb”)
This meticulous restoration project not only preserves these unique religious artifacts but also provides new insights into the artistic traditions of the Holy Sepulchre in the last two centuries. The project stands as a testament to the ongoing efforts to maintain this sacred site for future generations of pilgrims and visitors.