Things to see and do North

The temple of Artemis stands in front of you, once you have climbed the steps of the propylaeum. The Romans built it around 150, in homage to Artemis, daughter of Zeus, goddess of hunting and fertility and protective goddess of Gerasa. Much larger than the one dedicated to Zeus, the temple maintained the rivalry between the faithful. It was the center of the social and spiritual life of the city and stood at the center of a vast sacred enclosure of 3.4 hectares. Built on a platform, its beautiful columns with Corinthian capitals rise towards the sky. They present an interest which delights the tourists: they move with the wind or when one shakes them. Only 11 of the 12 columns originally erected remain. They are signed by the artist (or contractor in charge), Hygeinos. But the Temple of Artemis is unfinished, for a total of 32 columns were planned to frame the cella, the main chamber. The floor of the inner room was covered with marble slabs. The back of the temple, the adytum, was accessible only to priests. Only they could approach the thalamos, the niche that probably housed a statue of the goddess, and enter the two chambers that flanked the niche. The sacrificial altar was located at the foot of the stairs leading to the platform, some twenty meters upstream from the temple. From the 4th century onwards, pagan cults were forbidden by imperial edict and the temple of Artemis was stripped of its furnishings.

After crossing the Oval Square and taking the Cardo maximus, the alley widens, marking the entrance to the Macellum. These are the ancient halls, one of the busiest places in the city. A triple door opens onto an octagonal courtyard with a fountain in the centre. The lion heads were used as trestles for the merchants' stalls. One of them bears the engraving "211" on one side, indicating the probable time of its construction. Many agree that the market was used until the arrival of the Umayyads in the 7th century.

This 21 m high arch was built in 129, in honour of the Roman Emperor Hadrian visiting the Decapolis. The plans called for the arch to become the main gateway to the city, but it was never extended to the south. The openings probably each supported a wooden gate. The arch was reconstructed in the 1980s by Jordanian archaeologists. Note the crown of acanthus leaves carved above the bases of the pillars. Hadrian's Arch is now the entry point to the site of Gerasa.

The southern theatre is located slightly above the temple of Zeus. It can be reached by a path that starts from the forum. This small amphitheatre was built around 90, during the reign of the emperor Domitian, thanks to donations from the rich inhabitants of the city. It could hold about 5,000 spectators, compared to 3,000 today. It has been completely restored and is still used today, notably during the Jerash festival. Its exceptional acoustics delight the tourists who can regularly listen to the bagpipers of the Jordanian army practicing.

This gate was the main entrance of the four entrances to the city, before the expansion project symbolized by Hadrian's Arch. It is also the official entrance to the ancient site of Jerash. It is said to have been built in the 2nd century and has the particularity of being pierced directly into the city wall. The decorations of this monument are composed of sculptures of acanthus leaves, characteristic of this time. It inspired the construction of Hadrian's Arch. Do not miss the oil press on the left after the gate.

The present castle, made of large blocks of black basalt, was built by the Ayyubids in the 13th century. The site had previously housed Roman garrisons (between 286 and 305) and then Byzantine garrisons, as evidenced by inscriptions here and there. Built on a quadrangular plan, this fortress controlled the Wadi Sirham valley on the trade route between Arabia and Syria, where caravans loaded with goods flowed. The fortress originally had three floors but was largely destroyed by the 1927 earthquake. The fort served as the headquarters of Sherif Hussein of Mecca and Lawrence of Arabia's troops during the Great Revolt. It was from Azraq that the Sheriff undertook his final assault on the city of Damascus, which marked the defeat of the Turks and the end of the First World War in the Middle East.

The tower through which one enters the fortress has several inscriptions in Latin, Greek and Arabic. The room above the southern entrance was that of T.E. Lawrence. The west gate still has its heavy basalt leaves (over 3 tons each) which are still in use. This type of gate is a legacy from Roman times and was frequently used throughout the Byzantine period. In the centre of the fort, the 13th-century mosque, facing Mecca, was built by the Ayyubids, the dynasty founded by Saladin, on the ruins of a Byzantine church. Its fine columns are noteworthy.

Qusayr Amra was a fortress commissioned by Prince Walid ibn Yazid, better known as Caliph Walid II. Although his reign was short-lived, from 743 to 744, he left his mark on the Umayyad dynasty. The castle was probably built between 730 and 740 and served as a garrison as well as a palatial residence dedicated to the pleasures of the princes.

The audience hall. Built according to a plan with three naves with barrel vaults, it is reminiscent of Byzantine architecture. There is an alcove in the central nave and two rooms in the side naves which probably served as private audience rooms. The reception rooms are connected by a door to a bathhouse, a Roman legacy much appreciated by the Arabs. The interior of the first room included a checkroom under the central alcove(apodyterium) and a cold bath(frigidarium). The second room was dedicated to warm baths(tepidarium) and the third room was the hot room(caldarium). Outside the baths, you will see the hydraulic system that allowed the water to be conveyed: composed of a cistern and a very deep well of about 15 m, surrounded by a circle of more than 6 m in diameter dug into the ground. This circle must have corresponded to the route followed by the beast of burden (a camel or a donkey) attached to a wheel, which was used to bring up the water from the well.

The walls, floor and ceilings are covered with marble and frescoes, with scenes of hunting and daily life, in which more than 250 Byzantine-inspired figures appear. Many of them are isolated in black square frames as in some Roman, Byzantine and Western manuscripts of the medieval period. They represent warriors, musicians, stone cutters, dancers, architects and... naked women taking a bath. These last drawings are quite exceptional in Islamic art, which does not allow human representations, and even less so of women in Eve's clothing. It seems that Al-Walid was a true art lover and, above all, a very liberal man for his time.

The fresco of the Kings. This is the most famous fresco on the site, but it has been heavily degraded. It shows the Umayyad caliph wearing his headdress as on Iranian coins, surrounded by the other great rulers of the time. The Arabic and Greek inscriptions allow us to identify the emperor of Byzantium, the Visigoth Roderick, the Persian emperor Khosroes and the Negus of Abyssinia. The emperor of China and the Turkish khaqan are also present. The figure of Roderick, who died in 711, is an indication that allows the construction of the site to be dated. The influence of pre-Islamic Iran is both iconographic and stylistic: the representation of royal figures recalls the Sassanid custom of portraits of the royal lineage, as does the disappearance of the bodies behind the decorative mass of costumes. The kings seem to pledge their allegiance to the Muslim ruler, differentiating the fresco from other decorative ornaments; the aim here is to assert the power of the Muslim ruler over his rivals.

The other frescoes of the audience room. The prince and his throne in the central alcove of the audience hall seem to be inspired by Byzantine art and also symbolize Umayyad power. The architectural throne and the two lateral figures are comparable to the representations in Syriac manuscripts. In the apse of the audience hall, a reclining figure under a sheet is observed by a cherub and a figure of Eros. Another scene presents wrestlers in ancient style. To their left, a fight between a lion and a gazelle evokes that of Khirbat al-Mafjar in Jericho. In the same room, a primrose hunt evokes Roman mosaics but also the favorite activity of the Sassanian king Bahrâm Gûr. The large scene on the southeast side of the audience hall shows a female figure reminiscent of the Greek Aphrodite in front of a rectangular pool. Women watch her from a balcony, hidden behind an openwork fence.

The frescoes of the baths. In the hot room, naked female figures are accompanied by children. The style adopted for the figurative representations owes much to other artistic centers of the Mediterranean world. The opulent nude women with their bodies surrounded by brown are reminiscent of Coptic art. Their elaborate hairstyles are reminiscent of Palmyrene representations. The small round faces with large eyes recall Parthian, Sassanid and Coptic art.

The dome of the caldarium is also richly decorated with an astrological sky, with the signs of the zodiac from Greco-Roman mythology. They were probably copied from an ancient globe. The first known representation of the sky in Islamic art, this decoration reflects the taste of Muslim scientists for this subject, which was one of their main fields of research and led to the creation of observatories, astronomical manuscripts, astrolabes... This decoration can be compared to illustrations from the Treatise on Fixed Stars (1009). The constellations are personified, as on the ancient models. In 2017, the Italian renovation institute Istituto Superiore per la Conservazione e il Restauro took over the renovation of the castle's wall paintings.

The Romans called Cardo maximus the main artery of the cities oriented north-south. Gerasa's Cardo was 800 meters long and particularly beautiful. The Cardo was built in the first century. The original Ionic columns - there were nearly 200 of them - were gradually reworked into Corinthian columns from 170. The artery is punctuated by deep ruts dug by the wheels of the chariots. The holes in the roadway were used to collect rainwater.

Overlooking the forum, and right next to the southern amphitheater, is this sanctuary dedicated to the Greek god of gods, Zeus. It is built on top of an older temple and archaeological excavations have revealed that the site was already a place of worship in the Bronze Age (3300 to 1200 BC). The temple of Zeus is built on two terraces, the lower of which is heavily damaged. Not much remains of its vaulted corridor which went around the temenos, a sacred court. This closed corridor was decorated on its outside with facades of Ionic columns supporting a Doric frieze. The lower terrace dates back to 27 BC as attested by an inscription signing the work attributed to "Diodors, son of Zebedas, architect of Gerasa". In 162, the Romans decided to build a large temple to replace the old one, which was badly damaged. It was erected on a terrace overhanging the temenos, the two being connected by a monumental staircase. Corinthian columns 15 meters high framed the cella, the main chamber of the sanctuary. With the advent of Christianity, the temple was transformed into a Byzantine monastery, before being completely abandoned after the earthquake of 749. In 1982, the Institut Français du Proche-Orient (IFPO) undertook the restoration of the building in close collaboration with the Jordanian Department of Antiquities. Between 2001 and 2006, the cella, the peristyle and the temenos were restored. The work restores some of the temple's majesty.

The nymphaeum is located along the Cardo maximus, just after the cathedral. This imposing fountain dates back to 191 and contributed to supply the city with water. From 125 onwards, the need for water in the city of Gerasa intensified and a system for supplying the city was set up, notably with the construction of an aqueduct linking the city to the surrounding springs. The water is distributed in the city by a system of fountains. The nymphaeum is a monumental fountain, richly ornamented, that can be found in Greek cities. There is one in Amman, designed on the same plan. The fountain is dedicated to the nymphs, the sacred representations of nature. Of rare beauty, they lived longer than men, without being immortal. The nymphaeum has two side aisles framing a semicircular apse on two levels and was topped by a half-dome vault (now collapsed). A stone basin is embedded in the apse. It was fed by lion's head mouths pierced in the niches of the lower level of the apse. If the fountain ever overflowed, the water flowed into the sewers. The lower level of the nymphaeum was covered with marble slabs, while the upper level had painted stucco. Although the most precious and colourful elements have disappeared, the niches and some of the Corinthian columns that enriched the façade can still be admired. Its slightly chiselled decoration is characteristic of the art of the Severans, described as decadent.

The castle is a superb example of medieval Islamic architecture. It is also a breathtaking view of the region and the Jordan Valley on a clear day. It was built during the Ayyubid dynasty in 1184 by Saladin's nephew and general, Izz al-Din Usama, on the ruins of a Byzantine monastery. In addition to his uncle's work of conquest, Usama embarked on a policy of building defensive fortresses to limit the expansion of the Crusaders. The castle was also part of a chain of dovecotes that allowed messages to be transmitted from Damascus to Cairo in less than a day. Thanks to the fortress's geographical location and the quality of its defence system, Osama's armies made it a reputedly impregnable base. The Crusaders broke their teeth in 1187.

Originally, the castle had four angular towers as well as loopholes in its thickest walls and was surrounded by a wide pit 15 metres deep. It was enlarged in 1215. In 1265, the Mongols seized the castle and destroyed it completely. The next owner, the Mamluk Sultan Al-Khader Baibars, undertook to rebuild it. The castle was used mainly as a fodder store and lost its strategic importance. The Ottomans revived it in the middle of the 17th century by installing a garrison there. In 1812, the Swiss traveller Johann Ludwig Burkhart stumbled upon the fort. After the damage inflicted by the earthquakes of 1837 and 1927, the castle was restored.

This large square is the symbol of the city of Gerasa, the most famous image of the ancient site. And for good reason: the forum of Jerash was undoubtedly the largest in the Roman Empire when it was built at the beginning of the 2nd century. It is also the only oval-shaped forum in the whole empire. It is an essential architectural element in the city's urban planning as it provides a link between the Cardo maximus, the central artery that stretches from north to south and around which the city was organized, and the temple of Zeus. One cannot miss this agora with generous dimensions of 90 meters by 80 meters, surrounded by wide sidewalks and Ionic columns that have been straightened. The floor was only paved later, because it required a technical feat in addition to a colossal work. A natural depression of 6 to 8 meters occupied part of the square and had to be filled in and stabilized before the paving stones were laid. The Oval Square owes its name to its shape. In addition to being a public square where the inhabitants of the city met to trade, deal with politics, settle legal disputes, it served as a sacred esplanade for the temple of Zeus. A pedestal in its center is noteworthy. Today surmounted by a column (where the flame of the festival of Jerash is lit every year), it would have supported an altar or a statue in the past. The forum was at the same time a public square, an agora and a market, many shops have been found around it.

One of the most northern buildings of the site. It can be accessed from the northern Decumanus, which starts from the Tetrapyle of Julia Domna, or from the Temple of Artemis. Like many of the buildings at Jerash, the northern theatre was built over two periods. Numerous details show that it was originally a bouleuterion, a place of assembly for the city council (boulè). The amphitheatre consisted of 14 rows of seats, which were accessed through interior corridors. Inscriptions engraved on the seats indicate who could sit there. Thus, the seats in the lower rows were reserved for members of the boulè. Moving up the bays, the seats were assigned to representatives of the various tribes and families of the city. The larger the tribe, the more seats it had. The bouleuterion was probably built during the reign of Emperor Hadrian (117-138), but possibly during that of Trajan (98-117). It was later remodeled into an odeon, a theatre dedicated to concerts and poetry recitals. An inscription found in the architrave of the stage decoration states this very clearly. It is also known that the upper rows of seats were added around 165, bringing the total audience capacity to 1,600. During the enlargement, particular care was taken with the ornaments, some details of which can still be appreciated. The theatre was intended to reflect the city's capacity for influence through magnificent scenery. It was abandoned around the^5th century.

The cathedral is located on the edge of the Cardo maximus, on the left, just before the Nymphaeum. It is a Byzantine church that its proud inhabitants called the "cathedral". It was erected on the site of a Greco-Roman temple dedicated to the demigod of wine, vine and excess, Dionysus, which was itself located on the site of a Nabataean temple dedicated to the god Dushara. It was customary to replace existing places of worship with new ones that reflected the new prevailing beliefs. Christianity became the official religion of the Roman Empire from the 4th century onwards and the cathedral dates from the^5th or 6th century, as do most of the churches on the site. There is no evidence, however, that this church was any more massive than the others to bear this title. The esplanade separating the church of St Theodore and the cathedral was probably the site of a pagan festival where wine flowed freely, mixing the Greco-Roman tradition of honouring Dionysus and the Christian religion, in commemoration of the wedding in Cana where Jesus changed water into wine.

Completely ruined today, it was characterized by a rather elaborate ornamentation. Once past the portal with its Corinthian pediment, which is still in place, the rest of the building can be reached by a monumental staircase. The walls are still covered in places with Christian inscriptions honouring, among others, the archangels Gabriel (who also brought the Koran to Muhammad) and Michael. At the top of the stairs is a niche probably dedicated to the Virgin Mary.

From the ancient necropolis of the first century remain some tombs still visible, notably that of Germani (the name is engraved on it). These are dug in the ground and you have to go down some steps to reach them. They are sometimes invaded by vegetation. Of Greek inspiration, the necropolis has a triangular pediment, moldings and a characteristic Doric frieze. You will also see the tombs of Modestus, with rosettes and a heavy door always mounted on its hinges. Finally the tomb of Chaireas, which is less interesting.

What was once a gigantic oasis is no more. It became the main source of water supply for the country's capital and northern cities, and the level of its water tables and marshes has dropped considerably in recent years. The oasis was once home to a vast bird sanctuary with over 280 species of birds. An endemic species of fish populates the ponds: the cynobelia of Azraq. Due to this upheaval, migratory birds have changed their itinerary and many now take refuge in Lake Tiberias, further northwest, on the borders of Lebanon, Syria and Israel. In 1967, a count counted 347,000 birds. In 2000, there were only 1,200 at the same time of year. A 12 km2 reserve, managed by the RSCN, was created to protect what remains. In 1993, the oasis was replenished with water and species were reintroduced. The effects are still minimal and deep pumping continues, not to mention the wild and illegal wells dug by the inhabitants. Only 10% of the oasis has been saved. The Azraq Nature Reserve is nonetheless a pleasant and original stopover in the middle of these desert expanses. The RSCN has gone to great lengths to diversify the activities around the reserve and include the surrounding populations. In addition to hiking trails and bird watching, tours are organized in the surrounding area to meet with local people and visit some of the historical sites left out of the traditional itineraries.

The Visitor Center is open at the same hours as the Reserve. It is here that you can organize your excursions, reserve the services of a guide or pay your entrance fee to the Reserve.

Observable species. Birds from Anatolia, Siberia, Scandinavia or Africa continue to stop for a few months in the Azraq Reserve. We can observe desert sirlis, Cetti's warblers, desert bullfinches, marsh harriers, warblers, avocets, small gravelots or minute sandpipers.

Hiking. Two observation trails have been developed in the Azraq Nature Reserve allowing you to hike while admiring the local wildlife. The 30-minute Marsh Trail winds through the wet and dry areas and leads to an observation platform above the artesian wells that recharged the marshes. Continuing the loop, you pass a basalt wall from the Umayyad period and can stop at a lookout hut. The Water Buffalo Trail takes you in search of buffalo with a guide from the Reserve. It takes 3.5 kilometers and 2 hours of walking on easy terrain. Guide required.

Biking. The RSCN organizes two cycling tours from Azraq Lodge. The Mudflat Cycling Trail follows a 12 kilometer route with little difficulty and lasts 2 to 3 hours. The goal of this tour is to reach Qa'a, a dried mud lake at the gateway to the eastern desert. On the way, the guide will give you explanations about the typical environment of the oasis, its history and the local tribes. Guide required. TheAzraq Village Cycling Trail allows you to ride around the area for 22 kilometers and 4 to 5 hours. It is a continuation of the Muflat Trail and includes visits to an old Druze village, Qasr al-Shaer and Qasr al-Azraq. Guide required.

Bus. The RSCN organizes two minibus tours departing from Azraq Lodge. TheAzraq Bus Tour lasts 2 to 3 hours and is a 7 kilometer circuit. You will have to walk 2 kilometers on easy terrain. It includes a visit to Qasr al-Azraq, a Druze village and Ain es-Sil, a farm from the Umayyad period. TheUsaykhim Bus Tour covers a distance of 40 kilometers and takes 5 to 6 hours. You will have to walk 5 kilometers on easy to moderate terrain. The minibus will take you to Wadi Usaykhim, where you can admire some very old inscriptions. You will then climb to the top of the mountain to visit the fortress of Usaykhim, which marked the northernmost point of the Roman Arabian Province.

Cultural Activities. If you are staying at Azraq Lodge, the RSCN can arrange for a Druze folkloric show with traditional songs and dances. The Druze are a small community in Jordan, numbering only 1 million worldwide. They have played an important role in Levantine history and are known for their esoteric and impenetrable spirituality. Open-air cinema sessions are organized, showing films and documentaries with nature as the main theme. Other activities can be arranged with the Bedouin community in the area. You can learn the subtleties of Turkish coffee, try to bake your own "arbood" bread on the coals, try your hand at milking goats, have a traditional mansaf... The RSCN has also concocted a program allowing you to meet the Chechen community settled in the surroundings. You will be able to put on the heavy traditional costume, including the goat hair chapka, totally inappropriate in these latitudes. The meeting with the Bedouin and Chechen communities is done by bike. Guide required.

Located in the extension of the cathedral, the church of Saint Theodore was built by the Byzantines who reused older building stones. The main entrance was located on the west side and an inscription can still be deciphered indicating that the church was built "in 496 under the episcopate of Aeneas in honor of the victorious Theodore, immortal martyr". The portal opens onto a paved courtyard lined with columns, with a fountain in the center. It is likely that this courtyard served as the atrium of the cathedral.

A short tour of the visitor centre is required to learn more about the history of the site (panels in French!) and to take a look at the few archaeological vertigoes displayed here. We will also go there to get the site map (free) and search for information.

Tickets. You can buy your tickets at the entrance of the ancient city. Tickets cost 10 DJs (free with the Jordan Pass). Do not try to enter without paying, tickets are usually checked further away, at the actual entrance to the site, near the South Gate.

Guides. You will find guides offering their services on site. Count 30 DJs for a group of 5 people.

Visit. It takes about 2 to 3 hours for a conscientious visit. In summer, it is best to visit the site early in the morning or late in the afternoon; you will avoid the heat and crowds. In any case, don't forget to bring water and a hat or cap.

Souvenirs have been set up at the entrance to the site.

The site is set in a beautiful setting of green hills in spring. Two hours are enough to walk around it. It is best to hire a guide to help you decipher the not always well-presented remains.

Before entering the site , coming from Al-Mashari'a, you will see the remains of a church, marked by three columns. It is thought to date from the^5th or early 6th century. It is one of the largest Byzantine churches found in the Near East, although not much remains today.

At the entrance, on the right, are the few remains of a Roman gate. A little further on, you will see the remains of an Umayyad village and a Mamluk mosque (14th century) (Arab occupation), as well as a Canaanite temple probably dating from the 13th century BC, carved into the hillside.

At the top of the terrace, a group of two-storey Byzantine-Umayyad houses was discovered during excavations. Their walls are made of mud-brick laid on stone foundations. The upper floor was reserved for living quarters, and the ground floor for animals. Skeletons of men and animals trapped during the 749 earthquake were found on site.

Center. Another Byzantine church from the^5th century was built here. Virtually nothing remains of the portico, but it is easily recognizable by its columns that rise to the sky. These columns supported a roof that covered a large room that served as an atrium. The building is located between the remains of a small odeon whose hemicycle seats can still be guessed and a Roman nymphaeum (further east).

To theeast, on the slopes of Jebel Abu al-Qas, stands the third Byzantine church of the same period. Few details remain, but it was connected to the Wadi Malawi by a beautiful staircase and had three naves. A fountain was fed by a huge cistern. On the other side of the Wadi stands Tell Husn, on top of which are the remains of a 6th century Byzantine fortress.

To the north, finally, was the necropolis. Numerous tombs from the Roman and Byzantine periods have been uncovered.

In the vicinity. Ask at the Visitor Centre for directions to a Greek temple built on the hill, from where a panoramic view of the Jordan Valley, and even Jerusalem on a clear day, awaits you. It's a 2-hour walk there and back. To get there by car, ask for the small road to Ajloun, which passes through some very pretty landscapes.

If the 'castles of the desert' have their origin in the Roman-Byzantine architecture, fortified or rural, as it existed in Syria before Islam, Qasr Kharranah is singled out by its specificities inherited from Sassanid Iran. It is thought to be one of the earliest known Umayyad monuments, built between 661 and 684, although an inscription above a doorway gives the date 710. Its imposing silhouette stands out in the middle of the desolate plain that surrounds it, quite different from the small Qasr that were built around Azraq. It is thought to have been more of a meeting place for the Bedouins, with no military purpose, as shown by its archways, which were only used for ventilation and ornamentation.

It is square and measures 35 m on each side. Its plan is typical of the Sassanids: a courtyard, surrounded on two levels by rooms arranged in living units. While Syrian castles are often larger, there are a number of buildings in Iraq that are close in scale to the Qasr Kharranah. Once through the entrance gate, one discovers, on either side of the courtyard, stables designed to accommodate camels. A small basin that was used to collect rainwater is located in the middle of the courtyard. Note the beautiful vaulted rooms at the top of the entrance gate and on the second floor, decorated with stucco mouldings and the saw-tooth pattern of the arches, which are found on many utilitarian potteries, both European and Islamic. The 'fleurs de lys' of some of the roundels in the rooms seem more unusual.