Mount of Olives Walking Tour (Self Guided), Jerusalem

Adjacent to the Tomb of Benei Hezir and just a few meters from the Tomb of Absalom, this imposing monument in the Kidron Valley was erected in memory of Zechariah, a minor prophet mentioned in the Old Testament who, according to the Book of Chronicles, was stoned:

"Then the Spirit of God came upon Zechariah, son of Jehoiada the priest, who stood up before the people and said to them, “This is what God says: ‘Why do you transgress the commandments of the LORD so that you cannot prosper? Because you have forsaken the LORD, He has forsaken you.’ ” But they conspired against Zechariah, and by order of the king, they stoned him in the courtyard of the house of the LORD. Thus King Joash failed to remember the kindness that Zechariah’s father Jehoiada had extended to him. Instead, Joash killed Jehoiada’s son. As he lay dying, Zechariah said, “May the LORD see this and call you to account.”"

Carved entirely from solid rock (a remarkable feat indeed!), the monolith stands out for its pyramid-shaped upper portion; however, its overall style, which includes Hellenistic details like Ionic columns, closely resembles that of the Tomb of Benei Hezir, leading scholars to believe that they are near-contemporary with one another. Funerary experts have dated the tomb to the 1st century CE. Impressively large, it is stands amidst the world's oldest and largest Jewish cemetery and can be ascended for panoramic views of the valley.

Dating back to the time of the Second Temple (2nd century BCE), this is the oldest of four monumental rock-cut tombs that stand in the Kidron Valley, bearing witness to the Hellenistic period and the era of the Hasmonean monarchy in Jewish history. Carved into the cliff, the tomb resembles a burial cave and exhibits architectural elements influenced by ancient Greece (two pillars with Doric capitals) and Nabataean culture (popular among some Judaean families for its decorative motifs), but notably lacks any Egyptian influences.

The tomb's Hebrew inscription identifies it as the burial site of a priestly family known as Benei Hezir. In the Hebrew Bible, there are two mentions of men named Hezir: one was the founder of the 17th priestly division, while the other was among the leaders who sealed the covenant with Nehemiah. Whether there is any connection between the family interred here and the biblical Hezirs remains unknown.

Tip:
You can approach the tomb complex on foot, or watch it from the roadside just outside the Old City. Walk along Maale Ha-Shalom on the valley side of the road until you are directly above the tomb. There you'll find a viewpoint equipped with a layout map and an audio device providing insightful commentary on the monuments below.

The Church of All Nations, also known as the Basilica of the Agony, holds a significant place in Christian tradition, believed to mark the site where Jesus prayed before his arrest in the Garden of Gethsemane. The original 4th-century church at this site was devastated by an earthquake in 747. Subsequently, the Crusaders erected a new structure, strategically aligned to encompass three rocky outcrops, symbolizing Christ's three prayers during that fateful night. Consecrated in 1170, it gradually fell into disrepair after 1345.

In the early 20th century, excavations led to the church's modern iteration, designed by Antonio Barluzzi and completed in 1924 through contributions from 12 nations, hence its name and the 12 golden cupola ceilings bearing national coats of arms. At the heart of the nave lies the Byzantine-era rock, encircled by a wrought-iron crown of thorns. The apse mosaic vividly portrays Christ's Agony, while adjacent scenes depict his arrest and Judas's betrayal. Traces of the Byzantine church's layout are etched in black marble on the floor, with remnants of its mosaic pavement still visible.

Outside, the striking gilded mosaic adorning the pediment also portrays the Agony, while an open-air altar nestled within the gardens serves as a place of worship for various Christian denominations, including Roman Catholic, Eastern Orthodox, Armenian Apostolic, Protestant, Lutheran, Evangelical, Anglican, and other culturally distinct branches of Christianity.

Just beside the olive-heavy slopes of Gethsemane, in the Valley of Jehoshaphat, you will find yourself facing one of Jerusalem’s oldest and most enduring pilgrimage sites: the Tomb of the Virgin Mary. There’s no grand façade here to announce what lies behind it. Instead of rising above ground, the sanctuary unfolds below it. The experience begins with a long descent—nearly 50 stone steps, rebuilt by the Crusaders—pulling you steadily downward, away from daylight and into a space shaped as much by belief as by rock.

Halfway down, the staircase pauses beside a series of side tombs once thought suitable for medieval royalty. One of them, on the right as you descend, carries special weight in Christian tradition: it is identified as the burial place of Mary's parents, Saints Anne and Joachim. The setting is modest, even restrained, but that understatement only sharpens the sense that this is a place meant to be entered slowly, with attention.

The origins of the sanctuary reach back to the first centuries of Christianity, though the structure you see today reflects later Byzantine design. The crypt itself is carved largely from solid stone and laid out in a cruciform plan. At its eastern end, softened by icons, lamps, and centuries of touch, stands the tomb traditionally linked to Mary. It remains a shared place of prayer for Armenian, Greek Orthodox, Coptic, and Syrian Christians—each adding their own visual language to the same small space.

The site’s pull extends beyond Christianity. In Islamic tradition, Mary is also deeply revered, and legend holds that during his Night Journey to Jerusalem, the Prophet Muhammad witnessed a radiant light emerging from this very tomb. Just outside, beside the entrance, is the Cave of Gethsemane—sometimes called the Cave of the Betrayal—where tradition places Judas’s final, infamous act preceding Jesus's arrest.

Indeed, this is not a site that overwhelms through size or ornament. Instead, it works quietly, forming a threshold between memory, devotion, and silence.

The Garden of Gethsemane, lying at the foot of the Mount of Olives, is a place heavy with meaning and surprisingly calm for a site at the center of one of Christianity’s most dramatic moments. According to all four Gospels, this is where Jesus spent the night wrestling with the knowledge of what lay ahead—his arrest, trial, and death—before soldiers arrived to take him away.

The name Gethsemane comes from Aramaic and means “oil press,” a reminder that this was once a working olive grove long before it became sacred ground. Strip away the theology for a moment, and what you have here is an urban olive orchard—quiet, enclosed, and stubbornly timeless. Eight ancient olive trees dominate the garden, their twisted trunks looking as if they have seen absolutely everything and are still not impressed.

Scientific dating suggests they are over 900 years old, making them among the oldest living olive trees known. What's more, they all descend from the same parent tree, which may itself trace its roots back to the olive trees growing here in Jesus’s time. They still bear fruit, too—though they are carefully fenced off, so unless you plan to charm the gatekeeper with extraordinary elegance, you’ll be admiring them from a respectful distance.

Just beside the garden stands the Church of All Nations, also known as the Basilica of the Agony. Inside, the lighting is intentionally subdued, drawing attention to a section of exposed bedrock believed to mark the spot where Jesus prayed before his arrest.

The atmosphere is solemn, contemplative, and very serious about the dress code. Knees, shoulders, and upper arms must be covered—that is, properly covered, not just “technically hidden by a floating scarf.” Shorts, especially for women, are a firm no, in keeping with the long-standing custom of respect.

Taken together, the garden and the church offer a pause in Jerusalem’s relentless intensity—a moment to slow down, lower your voice, and stand where fear, faith, and history once intersected under the shade of ancient olive trees.

In the 1880s, Tsar Alexander III had this Russian Orthodox church raised in memory of his mother, Empress Maria Alexandrovna, who passed away when he was just a toddler. Set amid trees, its seven gilded onion domes, each topped with a tall golden cross, are among the most striking features of the skyline seen from the Old City. These and other architectural features are in 16th- to 17th-century Muscovite style, though the church is equally worth a visit for the delightful icons and murals inside, depicting the life of Mary Magdalene, the first recorded witness of Christ's resurrection.

Completely in harmony with the entourage, Saint Mary Magdalene's is a striking contrast to others in Jerusalem and is worth looking out for when scanning the Mount of Olives. To this day it is the final resting place for Grand Duchess Elizabeth Feodorovna of Russia who was martyred during the Bolshevik Revolution in 1917, alongside her fellow nun, Varvara Yakovleva. Also buried here is Princess Alice of Greece, Queen Elizabeth’s mother-in-law, who sheltered Jews during the Nazi occupation of Greece. A museum in the convent preserves a beautiful 5th-century mosaic dedicated to "Susannah mother of Artavan".

A large cemetery occupies the western and southern slopes of the Mount of Olives – the oldest continually used Jewish cemetery in the world. Since ancient times, people of Jewish religion have desired to be buried in this very place in the Holy Land since, according to the Bible, it is precisely where the resurrection of the dead will begin when the Messiah returns to Earth. Many characters from the past, some of whom are also mentioned in psalms and verses of ancient sacred texts, rest here.

Among the oldest tombs, at the foot of the Mount in the Kidron Valley, are those of Absalom, the son of David, and Zechariah, the priest of the First Temple, while other tombs have inscriptions bearing the name of families that lived 2,000 years ago. Burials have occurred continuously throughout history, with only a brief interruption during the period between the Arab-Israeli War and the Six-Day War (1948-1967). In Jewish tradition, visitors to the cemetery often place stones on the cenotaphs or gravestones instead of using flowers, as stones are symbolic of permanence and continuity. This gesture serves as a way to show that the deceased are not forgotten.

From the summit of the Mount of Olives, one can enjoy the most evocative panorama of the Holy City, with prominent landmarks such as the Dome of the Rock visible in the distance – an absolute must for first-timers to Jerusalem!

The name Dominus Flevit Church translates from Latin simply as “The Lord Wept,” and it wastes no time explaining the mood. This small Franciscan chapel marks the Gospel moment when Jesus, riding toward Jerusalem on the first Palm Sunday, pauses to look at the city and breaks down—lamenting the fate of Jerusalem, its people, and the Second Temple long before its destruction. No thunder, no miracles here. Just a quiet and somewhat disturbing pause in the story.

The building itself leans fully into that emotion. Designed in the 1950s by Italian architect Antonio Barluzzi, the chapel is shaped like a teardrop, because subtlety was clearly not the goal. It stands on the remains of a 7th-century chapel, with part of the original apse still visible—a reminder that sorrow, just like pilgrimage, tends to return to the same places. The modern structure may be modest in size, but it is heavy with symbolism, both architectural and spiritual.

Then there’s the view, which does most of the talking. Framed perfectly by the altar window, the Dome of the Rock and the Old City spread out below in one of Jerusalem’s most photographed panoramas. From the surrounding gardens, the perspective barely improves—because it already feels complete. For many visitors, this alone would justify the stop.

But Dominus Flevit has a few quieter details waiting just beyond the first glance. Near the entrance, a group of carved stone ossuaries, dating from roughly 100 BC to 300 AD, sits on display, grounding the site firmly in the long arc of burial practices and belief. To the side of the church door, preserved outdoors, is a delicate early Christian mosaic from a 5th-century monastery, still in place where it was found. It’s easy to miss—but then again, this is a site devoted to noticing what others might overlook.

Short, reflective, and unexpectedly sharp, Dominus Flevit doesn’t ask for much time. It just asks you to stop, look, and sit with the moment.

Named after Rehavam Ze'evi, an Israeli general and politician, this observation point offers visitors an unparalleled view of Jerusalem's beauty and history. Day or night, the sights are spectacular, providing a window into the diverse cultures, religions, and historical layers that define Jerusalem. Tourists and locals alike frequent this promenade, drawn to its ambiance, ideal for introspection and appreciation.

The iconic domes and towers of the Old City dominate the view, providing a quintessential, picture-perfect panorama. The majestic gold Dome of the Rock and the neighboring black-domed al-Aqsa Mosque prominently feature in the skyline. Behind them, the gray dome of the Holy Sepulchre and the white dome of the Hurva Synagogue in the Jewish Quarter add to the tapestry of faiths and nations that have left their mark on Jerusalem. Further to the left, the cone-roofed Dormition Abbey and its adjacent clock tower grace Mount Zion.

Below the observation point lies the expansive Jewish cemetery, reputedly the world's oldest continuously used burial ground. For over two millennia, Jews have been laid to rest here, awaiting the Messiah's arrival and the promised resurrection. The raised structures marking the graves serve as tomb markers rather than crypts, with burial taking place underground.

Beyond a hush of ancient olive trees, an enclosed garden opens onto the church, built above a rocky grotto traditionally associated with Jesus’s teaching on the final struggle between good and evil and the coming end of the world. Medieval tradition also placed here the moment when Jesus taught his disciples the Lord’s Prayer. It was this belief that led the Crusaders to give this church its enduring name, the Pater Noster, meaning “Our Father”, from the opening words of the prayer in Latin.

The history of the site reaches back to the early Christian period. In 326 AD, Emperor Constantine ordered the construction of the Eleona Basilica, known as the “Basilica of Olives,” under the supervision of his mother, Saint Helena. This early sanctuary became an important place of pilgrimage, closely linked to the Mount of Olives and its Gospel associations.

In the early 7th century, during the Persian invasion of Jerusalem, the basilica was destroyed, leaving behind ruins that still mark the outlines of the original structure. Portions of these remains have been partially restored and remain visible today.

The present church dates from the late 19th century and reflects a renewed Christian presence on the Mount of Olives. Its construction was overseen by a community of contemplative Carmelite nuns, who preserved the spiritual character of the site while shaping the modest building and garden seen today. The open courtyard and surrounding cloisters invite quiet reflection, echoing the long tradition of prayer associated with this place.

From the southern side of the courtyard, a short flight of steps descends to the tomb of the Princess of the Auvergne Tower, who acquired the property in 1868. Her legacy is especially visible in the tiled panels that line the entrance and cloister, each bearing the Lord’s Prayer in a different language. Originally displayed in 62 languages, the collection has since expanded to include many more translations and regional dialects, turning the walls themselves into a visual testament to the prayer’s global reach.

Indeed, this is a place where theology meets typography, and where visitors often pause—not to debate doctrine, but to search for a familiar line of text. If your language proves hard to find, the small on-site shop keeps a map of the panels. After all, when a prayer has traveled this far, it helps to know exactly where it landed...

The Chapel of the Ascension marks the site whose history reflects Jerusalem’s long cycles of faith and change. Over the centuries, it has been a Christian church, a monastery, and later an Islamic mosque. According to Christian tradition, this is the place where Jesus was taken up into heaven 40 days after the Resurrection. Inside the small octagonal shrine, a footprint impressed in the rock—the last physical mark left at the moment of the Ascension—has been venerated ever since, drawing curious eyes and reverent glances.

Before Christianity received imperial support, early believers gathered nearby in a cave on the Mount of Olives to commemorate this event. Such sheltered spaces offered a degree of safety during periods of persecution and became early centers of worship. Around the year 390, a formal chapel was erected here by Poimenia, a wealthy Roman woman known for her patronage of Christian holy sites. The structure visible today, however, dates mainly to the Crusader period.

After Jerusalem was retaken by Muslims in 1187, the building was converted into a mosque under the Kurdish commander Salah ad-Din, and a mihrab indicating the direction of Mecca was added to the south wall. This shared use is less unusual than it may seem, as Islam also honors Jesus as a prophet.

Just next door, a tiny burial crypt adds another layer to the site’s reputation shared by followers of all three Abrahamic religions. Jews say it belongs to the prophetess Huldah from the 7th century BC. Christians link it to Saint Pelagia, a 5th-century figure known for a dramatic turn from worldly life to repentance. Muslims, meanwhile, associate it with Rabiʿa al-Adawiyya, an 8th-century Sufi mystic.

Different names, different centuries—but the same small space. What we do know is that the Christian tradition of Saint Pelagia is the oldest, quietly underscoring the deep and overlapping layers of devotion that define this place...