The author studies the visual symbolism that was used by the German composer Richard Wagner (1813-1883) in his operas Parsifal, Lohengrin, Tannhäuser and Tristan and Isolde, as well as musical peculiarities of these operas, features of libretti and the composer’s remarks to ballet, connected with the visual symbols. The paper shows that Wagner’s visual symbolism in the works considered is Christian in its essence. It either refers to the visual symbols of the Old and New Testaments, or represents a version of the composer’s re-interpreting antique and ancient Eastern symbols in a Christian context. The author finds out that Wagner forms Christian homiletics (the art of religious preaching) on linguistic (libretto) and metalinguistic (music, dance, scenography, author’s and director’s remarks in the score) levels in the four operas concerned as part of his Gesamtkunstwerk methodology. Visual symbolism is used by the composer to build a holistic Christian preaching narrative within his operas. Despite the fact that Wagner was not a church-going Christian and did not join any Christian denomination, in his operas he appears a Christian religious preacher. His sermon is non-canonical from the point of view of traditional theology, but it helped many people close to the German artistic circles in the 19th century to come to the adoption of Christianity, i.e. there is historical evidence that Wagner’s non-canonical sermon was quite a successful homiletic methodology. Based on the analysis of Wagner’s operatic visual semiotics, the author of the article concludes that visual symbolism woven into the Gesamtkunstwerk methodology is one of the main components of Wagner’s religious homiletic program.