{"id":253602,"date":"2026-04-22T07:21:01","date_gmt":"2026-04-22T07:21:01","guid":{"rendered":"https:\/\/www.saxum.org\/?p=253602"},"modified":"2026-09-23T14:28:15","modified_gmt":"2026-09-23T14:28:15","slug":"domine-ivimus-un-grafito-en-las-entranas-del-santo-sepulcro","status":"publish","type":"post","link":"https:\/\/www.saxum.org\/es\/domine-ivimus-un-grafito-en-las-entranas-del-santo-sepulcro\/","title":{"rendered":"Domine Ivimus ! Un grafito en las entra\u00f1as del Santo Sepulcro"},"content":{"rendered":"

[et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n

Da la impresi\u00f3n que la bas\u00edlica del Santo Sepulcro est\u00e1 constantemente en obras. Hace unos diez a\u00f1os se renov\u00f3 enteramente el ed\u00edculo de la Tumba del Se\u00f1or; ahora toca rehacer el suelo\u2026 Hay que reconocer que, tanto la historia como la topograf\u00eda del sitio se prestan a este juego de construcci\u00f3n, destrucci\u00f3n y renovaci\u00f3n.<\/span><\/p>\n

El templo ha sido erigido sobre una antigua cantera ya abandonada en la \u00e9poca del Se\u00f1or y convertida, parte en el\u00a0 lugar de ejecuci\u00f3n de los condenados el G\u00f3lgota, y parte en cementerio-jard\u00edn, el Sepulcro.<\/span><\/p>\n

A principios del siglo IV, cuando Santa Elena lleg\u00f3 a Jerusal\u00e9n,\u00a0 fue en las entra\u00f1as de esta antigua cantera donde encontr\u00f3 la Cruz Verdadera, en la que fue clavado el Salvador del mundo. Nos dice la tradici\u00f3n que el lugar hab\u00eda sido transformado en un templo dedicado a J\u00fapiter Capitolino y a la diosa Venus. Los arquitectos de Constantino, cubrieron el lugar con escombros para construir encima una gran bas\u00edlica, llamada <\/span>Martyrium,<\/span><\/i> por la peregrina Egeria. <\/span><\/p>\n

[\/et_pb_text][et_pb_image src=”https:\/\/www.saxum.org\/wp-content\/uploads\/2026\/04\/1.jpg” alt=”Chapel of Saint Vartan: a group of students posing around the famous graffito Domine Ivimus. Photo: Henri Gourinard.” title_text=”Chapel of Saint Vartan: a group of students posing around the famous graffito Domine Ivimus. Photo: Henri Gourinard.” _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.27.8″ _module_preset=”default” global_colors_info=”{}”]Capilla de San Vartan: un grupo de estudiantes posando junto al famoso grafiti Domine ivimus. Foto: Henri Gourinard.<\/small>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.8″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n

    \n
  1. Fueron los cruzados en el siglo XII quienes reabrieron las entra\u00f1as del Santo Sepulcro con la creaci\u00f3n de las capillas de Santa Elena, y de la Invenci\u00f3n de la Santa Cruz. Esta \u00faltima, era el lugar m\u00e1s profundo de toda la bas\u00edlica hasta los a\u00f1os 1970.\u00a0 La Iglesia armenia quiso averiguar si el espacio al este de la capilla de Santa Elena (de San Gregorio para los armenios) estaba vac\u00edo o no. Con las excavaciones, se encontraron con la b\u00f3veda natural de la roca de la cantera antigua, unas cisternas y unos espacios abiertos entrecortados por unos muros antiguos. En uno de estos espacios se encontr\u00f3 un grafito enigm\u00e1tico. <\/span><\/li>\n<\/ol>\n

    [\/et_pb_text][et_pb_image src=”https:\/\/www.saxum.org\/wp-content\/uploads\/2026\/04\/2.png” alt=”The red circle marks the chapel of Vartan. Source: Source: Broshi, M. and Barkay, G., %22Excavations in the Chapel of St. Vartan in the Holy Sepulchre%22, Israel Exploration Journal 35, no. 2-3 (1985), p. 110.
    \n” title_text=”The red circle marks the chapel of Vartan. Source: Source: Broshi, M. and Barkay, G., %22Excavations in the Chapel of St. Vartan in the Holy Sepulchre%22, Israel Exploration Journal 35, no. 2-3 (1985), p. 110.” _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.27.8″ _module_preset=”default” global_colors_info=”{}”]En el c\u00edrculo rojo, la capilla de San Vartan. Fuente: Source: Broshi, M. y Barkay, G., “\u00abExcavaciones en la capilla de San Vart\u00e1n en el Santo Sepulcro\u00bb, Israel Exploration Journal 35, no. 2-3 (1985), p. 110.
    \n<\/small>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”https:\/\/www.saxum.org\/wp-content\/uploads\/2026\/04\/3.png” alt=”Plan of the excavations of the Chapel of Saint Vartan. The ship drawing (within the red circle) was found at the eastern end of Wall 1 (wall of the temenos of Hadrian\u2019s temple). Source: Broshi & Barkay (1985), p. 120.” title_text=”Plan of the excavations of the Chapel of Saint Vartan. The ship drawing (within the red circle) was found at the eastern end of Wall 1 (wall of the temenos of Hadrian\u2019s temple). Source: Broshi & Barkay (1985), p. 120.” _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.27.8″ _module_preset=”default” global_colors_info=”{}”]Plan de las excavaciones de la capilla de San Vartan. El dibujo del barco (en el c\u00edrculo rojo) se encontr\u00f3 en la extremidad este del muro 1 (muro del temenos del templo de Adriano. Fuente: Broshi & Barkay (1985), p. 120.<\/small>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.8″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n

    El grafito representa un barco con tim\u00f3n de espadilla. La proa est\u00e1 a la izquierda y la popa a la derecha. Las velas han sido arriadas y el m\u00e1stil tumbado. \u00bfHabr\u00e1 sufrido una tormenta?<\/span><\/p>\n

    Otro punto enigm\u00e1tico, es la inscripci\u00f3n en lat\u00edn: <\/span>DOMINE IVIMUS<\/span><\/i>. La forma <\/span>ivimus <\/span><\/i>no existe en lat\u00edn para el verbo <\/span>ire<\/span><\/i> (ir). Las formas m\u00e1s cercanas son <\/span>ibimus<\/span><\/i> (iremos) o <\/span>imus<\/span><\/i> (fuimos). Si su autor era cristiano, puede ser que se inspirase en el primer vers\u00edculo del salmo 121 (Vulgata). El salmo 121 pertenece al g\u00e9nero de los salmos de las subidas, cantados por los peregrinos jud\u00edos, en camino hacia el Templo de Jerusal\u00e9n. El salmista empieza con un grito de alegr\u00eda:<\/span> Laetatus sum in his quae dicta sunt mihi:\u00a0in domum Domini ibimus \u201c\u00a1Qu\u00e9 alegr\u00eda cuando me dijeron: \u00abVamos a la casa del Se\u00f1or\u00bb!\u201d. <\/span><\/i>Nos interesa la segunda parte del vers\u00edculo:<\/span> in domum Domini ibimus.<\/span><\/i><\/p>\n

    [\/et_pb_text][et_pb_image src=”https:\/\/www.saxum.org\/wp-content\/uploads\/2026\/04\/4.jpg” alt=”To preserve it better, the famous inscription has been placed under glass. The prow of the ship is on the left and the stern on the right. Note the double steering oar. If the author of the graffito respected the proportions more or less, it would be a modest merchant ship typical of the Roman Mediterranean. Photo: Henri Gourinard.” title_text=”To preserve it better, the famous inscription has been placed under glass. The prow of the ship is on the left and the stern on the right. Note the double steering oar. If the author of the graffito respected the proportions more or less, it would be a modest merchant ship typical of the Roman Mediterranean. Photo: Henri Gourinard.” _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.27.8″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

    Para conservarla mejor, la famosa inscripci\u00f3n se ha colocado bajo un cristal. La proa del barco est\u00e1 a la izquierda y la popa a la derecha. Obs\u00e9rvese el doble remo de gobierno. Si el autor del grafiti respet\u00f3 m\u00e1s o menos las proporciones, se tratar\u00eda de un modesto barco mercante t\u00edpico del Mediterr\u00e1neo romano. Foto: Henri Gourinard.<\/span><\/p>\n

    El hecho de que la \u2018b\u2019 de <\/span>ibimus<\/span><\/i> se haya transcrito como \u2018v\u2019 indica, seg\u00fan algunos especialistas, el origen hisp\u00e1nico del autor del grafiti. \u00bfNo dice el dicho latino: <\/span>Beati Hispani quibus vivere bibere est \u201cBienaventurados los espa\u00f1oles, para quienes vivir es beber\u201d?<\/span><\/i><\/p>\n

    El texto de la inscripci\u00f3n puede tener otra interpretaci\u00f3n: las palabras de Pedro dirigidas a Jes\u00fas tras el discurso sobre el Pan de Vida y recogidas en el Evangelio de Juan (6,68): <\/span>Domine, ad quem ibimus<\/span><\/i>?<\/span> \u201cSe\u00f1or, \u00bfa qui\u00e9n iremos?\u201d.<\/span><\/i> Tanto el vocativo de \u201cSe\u00f1or\u201d (<\/span>Domine<\/span><\/i>) como el tiempo futuro del verbo ir (<\/span>ibimus<\/span><\/i>) coinciden con el texto del grafito, pero la omisi\u00f3n de \u201ca qui\u00e9n\u201d (<\/span>ad<\/span><\/i> quem<\/span><\/i>) hace que la lectura de la inscripci\u00f3n resulte poco s\u00f3lida, por no decir incomprensible.<\/span><\/p>\n

    Una tercera interpretaci\u00f3n nos sacar\u00eda del apuro: <\/span>Domine, imus \u201cSe\u00f1or, hemos llegado\u201d:<\/span><\/i> un simple error ortogr\u00e1fico: una \u2018v\u2019 entre las dos \u2018i\u2019 del verbo <\/span>ire<\/span><\/i> conjugado en pret\u00e9rito en primera persona del plural.
    <\/span>Con esta inscripci\u00f3n y este dibujo de un barco con las velas arriadas, el autor simplemente habr\u00eda querido manifestar su agradecimiento y el de toda una tripulaci\u00f3n hacia el \u201cSe\u00f1or\u201d <\/span>\u00bfJesucristo o J\u00fapiter Capitolino?\u00a0 <\/span><\/i>por haberlos salvado de un naufragio. Si se trata de cristianos, nos encontramos ante la primera prueba arqueol\u00f3gica de la frecuentaci\u00f3n del lugar del Santo Sepulcro por parte de peregrinos, antes de que Helena y Constantino erigieran la <\/span>gran bas\u00edlica de la <\/b>Anastasis<\/i><\/b>.<\/b><\/p>\n

    Por Henri Gourinard<\/strong><\/p>\n

    [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

    Da la impresi\u00f3n que la bas\u00edlica del Santo Sepulcro est\u00e1 constantemente en obras. Hace unos diez a\u00f1os se renov\u00f3 enteramente el ed\u00edculo de la Tumba del Se\u00f1or; ahora toca rehacer el suelo\u2026 Hay que reconocer que, tanto la historia como la topograf\u00eda del sitio se prestan a este juego de construcci\u00f3n, destrucci\u00f3n y renovaci\u00f3n. El […]<\/p>\n","protected":false},"author":8,"featured_media":253586,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"

    [et_pb_section fb_built=\"1\" admin_label=\"section\" _builder_version=\"4.16\" global_colors_info=\"{}\"][et_pb_row admin_label=\"row\" _builder_version=\"4.16\" background_size=\"initial\" background_position=\"top_left\" background_repeat=\"repeat\" global_colors_info=\"{}\"][et_pb_column type=\"4_4\" _builder_version=\"4.16\" custom_padding=\"|||\" global_colors_info=\"{}\" custom_padding__hover=\"|||\"][et_pb_text _builder_version=\"4.27.5\" _module_preset=\"default\" global_colors_info=\"{}\"]<\/p>

    It seems like the Basilica of the Holy Sepulcher is constantly under construction. About ten years ago, the Edicule of the Lord\u2019s Tomb was completely renovated; now the time has come to redo the floor.<\/span><\/p>

    One must acknowledge that both the history and the topography of the site lend themselves perfectly to this cycle of construction, destruction and renewal. The church was built over an ancient quarry that had already been abandoned in the time of the Lord and turned, in part, into a place of execution for the condemned \u2013 Golgotha \u2013 and, in part, into a garden-cemetery the Sepulcher itself. <\/span><\/p>

    Thus, when Saint Helena arrived in Jerusalem at the beginning of the fourth century, it was deep down \u2013 in the very bowels of this ancient quarry \u2013 that she found the True Cross on which the Saviour of the world was nailed. Tradition tells us that the place had previously been transformed into a temple dedicated to Jupiter Capitolinus and the goddess Venus. Constantine\u2019s architects covered the site with rubble so as to erect above it a great basilica \u2013 known as the <\/span>Martyrium<\/span><\/i>, according to the pilgrim Egeria. <\/span><\/p>

    [\/et_pb_text][et_pb_image src=\"https:\/\/www.saxum.org\/wp-content\/uploads\/2026\/04\/1.jpg\" alt=\"Chapel of Saint Vartan: a group of students posing around the famous graffito Domine Ivimus. Photo: Henri Gourinard.\" title_text=\"Chapel of Saint Vartan: a group of students posing around the famous graffito Domine Ivimus. Photo: Henri Gourinard.\" _builder_version=\"4.27.5\" _module_preset=\"default\" global_colors_info=\"{}\"][\/et_pb_image][et_pb_text _builder_version=\"4.27.5\" _module_preset=\"default\" global_colors_info=\"{}\"]Chapel of Saint Vartan: a group of students posing around the famous graffito Domine Ivimus. Photo: Henri Gourinard.<\/small>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=\"row\" _builder_version=\"4.16\" background_size=\"initial\" background_position=\"top_left\" background_repeat=\"repeat\" global_colors_info=\"{}\"][et_pb_column type=\"4_4\" _builder_version=\"4.16\" custom_padding=\"|||\" global_colors_info=\"{}\" custom_padding__hover=\"|||\"][et_pb_text _builder_version=\"4.27.5\" _module_preset=\"default\" global_colors_info=\"{}\"]<\/p>

    It was the Crusaders who, in the twelfth century, reopened the depths of the Holy Sepulcher by creating the chapels of Saint Helena and the Invention of the Holy Cross. The latter was the deepest place in the entire basilica until the 1970s, when the Armenian Church wanted to determine whether the space east of the Chapel of Saint Helena (Saint Gregory for the Armenians) was empty or not. They discovered the natural vault of the rock of the ancient quarry, some cisterns, and open spaces intersected by ancient walls. In one of these spaces an enigmatic graffito was found.<\/span><\/p>

    [\/et_pb_text][et_pb_image src=\"https:\/\/www.saxum.org\/wp-content\/uploads\/2026\/04\/2.png\" alt=\"The red circle marks the chapel of Vartan. Source: Source: Broshi, M. and Barkay, G., %22Excavations in the Chapel of St. Vartan in the Holy Sepulchre%22, Israel Exploration Journal 35, no. 2-3 (1985), p. 110.
    \" title_text=\"The red circle marks the chapel of Vartan. Source: Source: Broshi, M. and Barkay, G., %22Excavations in the Chapel of St. Vartan in the Holy Sepulchre%22, Israel Exploration Journal 35, no. 2-3 (1985), p. 110.\" _builder_version=\"4.27.5\" _module_preset=\"default\" global_colors_info=\"{}\"][\/et_pb_image][et_pb_text _builder_version=\"4.27.5\" _module_preset=\"default\" hover_enabled=\"0\" global_colors_info=\"{}\" sticky_enabled=\"0\"]<\/p>

    The red circle marks the chapel of Vartan. Source: Source: Broshi, M. and Barkay, G., \"Excavations in the Chapel of St. Vartan in the Holy Sepulchre\", Israel Exploration Journal 35, no. 2-3 (1985), p. 110.
    <\/small><\/p>

    [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=\"row\" _builder_version=\"4.16\" background_size=\"initial\" background_position=\"top_left\" background_repeat=\"repeat\" global_colors_info=\"{}\"][et_pb_column type=\"4_4\" _builder_version=\"4.16\" custom_padding=\"|||\" global_colors_info=\"{}\" custom_padding__hover=\"|||\"][et_pb_image src=\"https:\/\/www.saxum.org\/wp-content\/uploads\/2026\/04\/3.png\" alt=\"Plan of the excavations of the Chapel of Saint Vartan. The ship drawing (within the red circle) was found at the eastern end of Wall 1 (wall of the temenos of Hadrian\u2019s temple). Source: Broshi & Barkay (1985), p. 120.\" title_text=\"Plan of the excavations of the Chapel of Saint Vartan. The ship drawing (within the red circle) was found at the eastern end of Wall 1 (wall of the temenos of Hadrian\u2019s temple). Source: Broshi & Barkay (1985), p. 120.\" _builder_version=\"4.27.5\" _module_preset=\"default\" global_colors_info=\"{}\"][\/et_pb_image][et_pb_text _builder_version=\"4.27.5\" _module_preset=\"default\" hover_enabled=\"0\" global_colors_info=\"{}\" sticky_enabled=\"0\"]<\/p>

    Plan of the excavations of the Chapel of Saint Vartan. The ship drawing (within the red circle) was found at the eastern end of Wall 1 (wall of the temenos of Hadrian\u2019s temple). Source: Broshi & Barkay (1985), p. 120.
    <\/small><\/p>

    [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=\"row\" _builder_version=\"4.16\" background_size=\"initial\" background_position=\"top_left\" background_repeat=\"repeat\" global_colors_info=\"{}\"][et_pb_column type=\"4_4\" _builder_version=\"4.16\" custom_padding=\"|||\" global_colors_info=\"{}\" custom_padding__hover=\"|||\"][et_pb_text _builder_version=\"4.27.5\" _module_preset=\"default\" hover_enabled=\"0\" global_colors_info=\"{}\" sticky_enabled=\"0\"]<\/p>

    The graffito depicts a ship with a quarter rudder. The prow is on the left and the stern on the right. The sails have been lowered and the mast laid down. Could it have suffered through a storm?<\/span><\/p>

    Another enigmatic point is the inscription. It reads in Latin: DOMINE IVIMUS. The form <\/span>ivimus<\/span><\/i> does not exist in Latin for the verb <\/span>ire<\/span><\/i> (to go). The closest forms are <\/span>ibimus<\/span><\/i> (we shall go) or <\/span>imus<\/span><\/i> (we went). If its author was a Christian, it is possible that he drew inspiration from the first verse of Psalm 121 (Vulgate). Psalm 121 belongs to the genre of the Songs of Ascents sung by Jewish pilgrims on their way to the Temple of Jerusalem. The psalmist begins with a cry of joy: <\/span>Laetatus sum in his quae dicta sunt mihi: in domum Domini ibimus<\/span><\/i> (\u201cI rejoiced when they said to me: \u2018We shall go to the house of the Lord\u2019\u201d). What interests us is the second part of the verse: <\/span>in domum Domini ibimus<\/span><\/i>.<\/span><\/p>

    [\/et_pb_text][et_pb_image src=\"https:\/\/www.saxum.org\/wp-content\/uploads\/2026\/04\/4.jpg\" alt=\"To preserve it better, the famous inscription has been placed under glass. The prow of the ship is on the left and the stern on the right. Note the double steering oar. If the author of the graffito respected the proportions more or less, it would be a modest merchant ship typical of the Roman Mediterranean. Photo: Henri Gourinard.\" title_text=\"To preserve it better, the famous inscription has been placed under glass. The prow of the ship is on the left and the stern on the right. Note the double steering oar. If the author of the graffito respected the proportions more or less, it would be a modest merchant ship typical of the Roman Mediterranean. Photo: Henri Gourinard.\" _builder_version=\"4.27.5\" _module_preset=\"default\" global_colors_info=\"{}\"][\/et_pb_image][et_pb_text _builder_version=\"4.27.5\" _module_preset=\"default\" hover_enabled=\"0\" global_colors_info=\"{}\" sticky_enabled=\"0\"]<\/p>

    The fact that the \u2018b\u2019 of <\/span>ibimus<\/span><\/i> has been transcribed as \u2018v\u2019 indicates, according to some specialists, the Hispanic origin of the author of the graffito. Does not the Latin saying go: <\/span>Beati Hispani quibus vivere bibere est<\/span><\/i> (\u201cBlessed are the Spaniards, for whom to live is to drink\u201d)?<\/span><\/p>

    The text of the inscription may have another inspiration: the words of Peter addressed to Jesus after the discourse on the Bread of Life, recorded in the Gospel of John (6:68): <\/span>Domine, ad quem ibimus<\/span><\/i>? (\u201cLord, to whom shall we go?\u201d). Both the vocative case of \u201cLord\u201d (<\/span>Domine<\/span><\/i>) and the future tense of the verb \u201cto go\u201d (<\/span>ibimus<\/span><\/i>) coincide with the text of the graffito, but the omission of \u201cto whom\u201d (<\/span>ad quem<\/span><\/i>) makes the reading of the inscription rather weak, not to say incomprehensible.<\/span><\/p>

    A third interpretation would get us out of the difficulty: <\/span>Domine<\/span><\/i>, <\/span>imus<\/span><\/i> (\u201cLord, we have arrived\u201d): a simple spelling error \u2013 a \u2018v\u2019 inserted between the two \u2018i\u2019s of the verb <\/span>ire<\/span><\/i> conjugated in the first person plural past tense.<\/span><\/p>

    With this inscription and this drawing of a ship with its sails lowered, the author simply wished to express his gratitude, and that of the entire crew, to the \u201cLord\u201d (Jesus Christ or Jupiter Capitolinus?) for having saved them from shipwreck. If they were Christians, we are faced with the first archaeological evidence of pilgrims visiting the site of the Holy Sepulcher before Helena and Constantine erected the great basilica of the <\/strong><\/span>Anastasis<\/i>.<\/strong><\/p>

    By Henri Gourinard<\/span><\/p>

    [\/et_pb_text][et_pb_text admin_label=\"Text\" _builder_version=\"4.27.5\" _module_preset=\"default\" hover_enabled=\"0\" global_colors_info=\"{}\" sticky_enabled=\"0\"]<\/p>

    To preserve it better, the famous inscription has been placed under glass. The prow of the ship is on the left and the stern on the right. Note the double steering oar. If the author of the graffito respected the proportions more or less, it would be a modest merchant ship typical of the Roman Mediterranean. Photo: Henri Gourinard.
    <\/small><\/p>

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