Tourist Attractions & Monuments Jordan

Darat Al Funun means "House of Arts" in Arabic. It is a dynamic place established in 1993 by Khalid Shoman, a prominent Palestinian who has been involved in contemporary Arab art all his life. The art gallery highlights regional artists through its permanent collection which exhibits such renowned artists as Ismail Fattah (Iraq) or Nasser al Soumiou (Palestinian). It also organizes temporary exhibitions of paintings, sculptures, photos, installations... intended to reveal preferably artists in the making. The Maison des Arts also houses a library of art books and receives painters and sculptors in residence. Finally, in addition to exhibitions, it organizes film screenings, concerts, readings and debates. The house wants to be a real place of exchange and not only a static forum.

The house. Darat Al Funun is housed in one of the oldest houses in the city. It was built in 1920 by a family of Amman notables, like all the houses in this residential area of Jebel Al Weibdeh. It dominated the small Circassian town that became the gigantic Amman a few decades later. Outside the property are the remains of one of the many Byzantine churches that existed in Philadelphia (6th century), perhaps dedicated to Saint George. The open garden at the rear of the building, decorated with sculptures, is home to a pleasant tea room

Built by King Abdullah II in memory of his father. It presents a collection of over 70 cars and motorcycles that belonged to King Hussein.

At the crossroads of the Decumanus and the Cardo maxiumus, on the left, you will notice an area of ruins corresponding to a residential area. These are Roman administrative buildings that were rehabilitated into residential houses during the Umayyad period, from 600 onwards. Their influence in Gerasa was only minor and they built only one mosque. To the west of the city, the 'House of the Blue' was a splendid house from the Byzantine-Umayyad period, the visible remains of which date mainly from the Arab period.

Located on the top of a hill (Jebel Al-Ashrafiyeh), south of the lower town, it is easily identifiable thanks to the alternating white and black bands on its walls. It was built in 1961 by the circassian community. Non-Muslims are generally not allowed to enter.

Not far away is the St-Sauveur Church. You have to climb hard to reach the top of this hill. From the lower town, on Italian Street, you can take taxis-service No 25 or 26.

Hot water rich in sulphur, potassium chloride and soda ash gushes out of the mountains of Wadi Zarqaa from a 45-metre high waterfall. These springs have been known since antiquity for their virtues, notably for their effect on rheumatism. The entrance fee gives you access to the small natural hot water pool located under the waterfall (on the right of the entrance, going down). Jordanian families come here to relax on weekends. If it is a bit expensive, the place is really magical and perfect to relax after a hike.

This mosaic that decorated the hall of a private villa of the sixth century is known since 1902. The owner of the house discovered it while digging foundations. But this discovery was partial and the entire fresco was not uncovered until 1982, when excavations were carried out in the entrance of the nearby Church of the Virgin Mary. It is unique in Jordan and refers to the tragedy of Phaedra. The fresco consists of three panels. The first panel depicts the hunt, of which Artemis was the Greek goddess. The four seasons are represented in the four corners of the panel. The second panel represents Phaedra and Hippolyta, symbolizing guilty passion. The third panel depicts the goddess Aphrodite, seated next to Adonis, wielding a spear while threatening a cherub. In the upper left-hand corner, three women, accompanied by sea monsters, symbolize three cities: Rome, Gregoria and Madaba.

The themes addressed and the characters represented are all taken from the tragedy of Euripides. Hippolytus is the son of Theseus and an Amazon. When the latter dies, Theseus marries Phaedra. Hippolyte devotes a worship to Artemis, and like her, chooses the way of chastity. Aphrodite tries to seduce Hippolyte, who despises her. To take revenge, she casts a spell on Phèdre, who will fall in love with her son-in-law. She makes advances to him, but he rejects her. In despair, she commits suicide, leaving a letter accusing Hippolyte of having tried to seduce her. Thésée banishes his son.

Excavations carried out in 1920 in these two villages revealed an important fortress which would have been inhabited from 3200 to 1900 BC. The evidence of a sudden abandonment suggests that these were the biblical cities of Sodom and Gomorrah. The ruins are, however, unspectacular. In both cases, the interiors of the dwellings have revealed a layer of ash and walls tilted by an external force. In Numeira, the remains of a fallen tower also remain.

12 km south of the Mövenpick Hotel, a little after crossing the bridge over Wadi Zarqa, the river that feeds the springs of Hammamat Ma'in. Herod used to come here to treat his rheumatism. A small archaeological site was unearthed in 1807 including the remains of a port and Roman baths. It is possible to bathe (free of charge) in the Dead Sea by going down under the bridge that spans Wadi Zarqa and rinsing in the natural pools of the river (non-drinking water). Beware, the site is very busy on Friday and Saturday.

The site of the country's main daily newspaper, in English. Well done and very practical to know local news (politics, culture, sport).

Site of the Jordanian Ministry of Tourism in English. Site on Jordan with very nice photos and maps on sites and large cities to visit. Without forgetting the information needed to organize your trip.

Site of the Royal Society for Conservation of Nature. This company that manages all natural reserves enchanted nature lovers. RSCN is the main player in ecological tourism in Jordan. In English.

Site of Jordan's airline company. To find your next flight, the site offers you a quick search.

For all information on the country's main cultural festival. Attending an outdoor concert in an antique theatre with more than 6 000 spectators can be an unforgettable experience!

The Arab World Institute offers a panorama of Jordan. A little history and geography to immerse itself from your future destination.

For more information on Jordan, an online website to answer travellers'questions.

A very complete government site in English: statistics, institutions, politics, demography, education…

The website of the Jordanian information agency (equivalent to our AFP), in English and Arabic.

Database of sumptuous photos on the country.

The personal site of Damien and Isabelle who made a trip to Jordan. See for the many photos.

In English, a site for lovers of mountaineering. Description of climbing routes in Wadi Rum.

In English, French and Spanish, a very well-done site on supplied, this favourite Jordaniens water pipe. Its history, how to smoke, the different narghilés in the world, or buy, etc.

Round-ball enthusiasts will find among others the latest results of the local football championship.

Official site of Queen Rania of Jordan.

Everything about King Hussein, whose charisma and the size of a unifying statesman still hangs over the country.

The official site of King Abdullah II.

Local yellow pages to find all the desired phone numbers.

This professional guide organizes Jeep and camel excursions.

This art gallery located in the trendy Rainbow Street area exhibits a large number of Arab artists, some of whom are very young and very talented. It has the art of sniffing out the talents of tomorrow and offering them a pleasant exhibition space. The exhibitions, often of short duration, are open to the public. You need only push the door to discover the prolific contemporary scene in the Arab world. The gallery, like most of its counterparts, organizes workshops for adults and children to discover contemporary art.

This large private gallery actively participates in the dissemination of art in Jordan. It presents artists' exhibitions on larger surfaces than traditional galleries, which allows it to arrange exhibitions in an original way. The gallery aims to be an incubator for national artists and to show another face of Jordanian art. In addition to the painting and sculpture exhibitions, one can also appreciate the presentation of contemporary ceramists who perpetuate and reinvent the art of pottery with talent.

This art gallery, located near the Wild Jordan Center, exhibits contemporary Jordanian artists who are recognized beyond their borders, as well as uncovering new talent. It broadens its horizons (and yours) by following closely the artistic expressions of the Middle East and Maghreb, by regularly highlighting some of their artists. The amateurs of paintings will find here temporary exhibitions of quality. Moreover, the place is very welcoming, with a patio planted with trees, and it organizes drawing courses for all levels.

This beautiful art gallery located in the upscale neighborhood of Umm Uthaina usually exhibits contemporary Arab artists and exceptionally English, Italian or New Zealand artists. It opened in 1993 at the request of a private collector with a passion for contemporary art. In addition to the gallery, there is an art centre offering drawing, pottery, sculpture and graphic arts courses for children and adults. If you are in the neighbourhood, don't hesitate to come in, if only out of curiosity.

Orient Gallery focuses on the exhibition of emerging Arab artists. It represents artists from Jordan, Lebanon, Syria, Iraq, Palestine, Kuwait, Bahrain and Qatar. Her remarkable and acclaimed work contributes to the emergence of painting in the Arab world, with a selection of artists with strong invocative powers. The gallery, which opened its doors in 1996, when art was reserved for an intelligentsia open to the world, has built up a permanent collection which is exhibited on its walls alongside temporary exhibitions.

Before passing through the entrance on the south side of the site, you can see the importance of the surrounding wall which served as a rampart against attacks from invaders. It was probably during the reign of the Roman Emperor Commodus (180-192) that the seven gates were ordered to be built. It seems that the wall was transformed and improved by his successors for military purposes.

Following the path that winds along the ruins, you can see a barracks on your left. It is believed to date from Roman times and has the distinction of having a six-storey tower (added in the Byzantine period), surrounded by housing on its sides. The tower has four rectangular openings at the top, each representing an archangel: Gabriel, Michael, Raphael and Uriel. The three-aisled chapel to the east of the barracks dates from the Byzantine period (6th century).

To the left, near the southwest gate, are the ruins of a residential area. The houses are built in all directions. Further on, on the left, you can see a temple, near a cistern. At the beginning of the excavations, archaeologists had identified this large building as being the heritage of the Nabataeans. Views have differed, and it appears to be a temple from the Roman occupation.

A few dozen meters to the north, one can distinguish a vast building with two wings: the praetorium, or Roman headquarters. Enlarged by the Byzantines, it has three entrance doors and, if you go through the one on the left, you will find a small atrium with four columns. The building also contained rooms and a terrace, which unfortunately are no longer visible.

A little further north, one of the most massive monuments in the whole city stands out: the cathedral, built in the 6th century and now in ruins. It was so named because it was much larger than the other churches in the city. Further on are the four arches of what was once a church. Beautiful Byzantine crosses are still visible.

As you go down towards the south-east, behind the cathedral, you will notice some houses, and then a fairly well-preserved reservoir, fed by an aqueduct that carried the rainwater collected in the wadi outside the city. On the other hand, not much remains of the two churches of Claudianos and Julianos (south of the reservoir). It is important to note that one of them had the oldest oratory in the city (345).

North of the village of Ruwaished, the oasis of Burqu appears like a mirage in the middle of the desert. The landscape is revealed in all its splendor at the end of a generous rainy season, when the waters of the lake come to lick the foot of the tower. It is best to hire a guide to get there, as the Iraqi border is very close and the tracks are not marked. The site is worth a visit, but you need to be very motivated: it is too far away to be included in a one-day itinerary on the Desert Castles Route. You will need to bring a tent to stay there.

The oasis is home to many migratory birds that pass through the area, and more and more birders are visiting. A reserve project has been under consideration for many years. The lake is not a natural oasis; it was formed after the Romans built a dam in the third century when they had just built yet another fortress on their eastern defense line. It served to protect the caravan route and the oasis of Burqu, where merchants and their mounts stopped. The place continued to be inhabited, especially during the Byzantine period, when a church was built and inscriptions were left. Rooms were added by the Umayyads under the Emirate of Walid I (705-715). This was one of the first castles to be remodeled by the Umayyads, of which only a part of the tower and the foundations remain visible today.

This is one of the places where, during the Exodus, the patriarch is said to have struck a stone with his staff to bring forth water. There is another Ayun Musa in Egypt, in the Sinai, and the two countries dispute the authorship of the biblical event. A very thin stream of water cascades down between the mosses of a rock face. You'll know you've found the source by the rubbish that lies on the ground. You will discover the unspectacular remains of a Roman road, tombs dug into the rock and some Byzantine buildings

This 30 km2 reserve was created in 2012 in the Yarmouk River valley, at the crossroads of the Jordanian, Syrian and Israeli borders. For the time being, no ecotourism project is under consideration. Nature, unperturbed in this area long disputed by the three nations, has regained its rights. Ecosystems have developed and the fauna and flora are intact. Besides otters and gazelles, the area is also very important for migratory birds

Fifa is a 27 km2 reserve located south of the Dead Sea on the border with Israel. It is located at the lowest point on the planet, 426 meters below sea level. This subtropical oasis is a godsend in this arid region. It provides a haven for many migratory birds and endangered endemic plant species. It also attracts animals that roam the plains of the Wadi Araba desert, including the Syrian wolf and the caracal.

Dar Al-Anda Art Gallery occupies two old houses in Old Amman. The first houses the gallery itself and has been carefully restored with original tiles dating back to the 1930s. The second houses a café with a pleasant roof terrace offering beautiful views of the city. The gallery opened in 1998 and is one of the most prominent in Jordan. With more than 200 exhibitions to its credit, presenting some of the most renowned artists of the Arab world, it has also built up a private collection over the years.

How to get there. The hiking trail starts from Qasr al-Bint, on the right, and goes around it from the back, then climbs towards the southeast.

Visit. The High-Place of Sacrifice Trail leads up Wadi Farasa to the High-Place of Sacrifice. It is punctuated by ancient tombs, in a setting as stunning as ever, alternating sun and shade. It takes between 2 hours 30 and 3 hours of visit, with some difficult passages. If you are not afraid of heights, you can return to Wadi Musa at the foot of the amphitheater. If not, you will have to count 2 hours by turning back to the treasure.

The staircase tombs of the jebel al-Madhbah. A dozen tombs of the "hegra" type with the upper attic with double stairs were carved on the northern point of the jebel al-Madhbah. This is where the original path to the High Place of Sacrifice started. Rockslides caused by the earthquake of 363 blocked the access. From here you have a beautiful view of the Royal Tombs.

The collapsed fronton. About 100 m after the path started to go along the mountain. A "hegra" type pediment lies wobbly on the left of the path. To the right, you can see a tomb without a façade in which three loculi have been built.

The Tomb with broken pediment. About 70 m after the collapsed pediment, on the left. This tomb, raised on a podium and preceded by a staircase cut into the rock, is a fine example of a broken pediment. This popular element of Ptolemaic architecture from Alexandria was adopted by the Nabataeans at the expense of the "hegra" style. The pediment rests on a cornice, but it lacks its central point. A window opened above the door, a lintel separating the two, while two vertical slits pierced between the semi-columns let in light. A burial chamber was added to the right of the main tomb.

The Renaissance Tomb. The doorway of this beautiful, slender façade is crowned by a circular pediment, a popular feature of European architecture during the Renaissance period. No entablature or tympanum is inserted in the arch. Instead, the arch is crowned with urns at its lowest and highest points. The lower entablature is traversed by two high semi-columns with Nabatean capitals. A triangular pediment caps the whole, decorated with an urn at each corner. The difference in level in front of the entrance shows that the tomb is unfinished. Fourteen tombs were uncovered during the 2003 excavations, at least twelve of which date from the Nabataean period.

The Soldier's Tomb. At the top of the stairs, after the Renaissance Tomb. This tomb belonged to an imposing complex that required the widening of the canyon by several meters. It was accessed through a hall leading to a peristyle lined with porticoes on three of its sides. This courtyard with columns allowed access to the tomb on one side and to the triclinium on the other. On the right of the tomb stood a two-story building, some of whose rooms were heated. This was the entrance hall to the complex. It was richly decorated with painted plasterwork and patterns carved into the floor. The façade is entirely carved in the rock, except for the three statues inserted in the niches. The central niche housed the representation of the deceased recipient of the tomb, the one who was honored during the celebrations taking place in the triclinium. The statue represents a man covered with a cuirass, as worn by Nabatean soldiers. Although the façade is very eroded, the triglyph-metaphor frieze and the pediment over the entrance are still clearly visible. One can also see two windows on either side of the façade, which provided light for the interior of the tomb. The soldier was probably buried in the central loculus located high up. Excavations have made it possible to date the tomb between 50 and 75. The triclinium is one of the most beautiful in Petra. Three doors allowed to enter the banqueting hall. The benches were carved into the stone, starting from the ground, away from the walls.

The Triclinium of the Garden. After the Tomb of the Soldier, at the top of the steps on the left. The building with its columned porch rests on a stone terrace. Archaeologists thought at first that it was a tomb, then a temple. But in the absence of evidence, they now opt for a dwelling. The building consists of two adjoining rooms, and it is likely that it had a second floor that was accessed from the outside. On the right side of the building is an 8-meter high brick wall. It is one of the largest reservoirs in Petra, possibly connected with the Soldier's Tomb.

The Lion Fountain. This monumental sculpture carved in the rock overhung a basin. The erosion and the damage caused by the earthquakes hardly allow to distinguish the lion. If the body and the 4 legs are well visible, the head turned towards you is hardly noticeable. A pipe whose mouth can be seen above what was the head carried water via an aqueduct from the south of the city.

Access to it. The royal tombs overlook the circus of Wadi Musa. A staircase leads off to the right, after the amphitheater.

Visit. On the western slope of the jebel Al-Khubtha stand the most beautiful and majestic tombs of the ancient city. This is why they have been called "royal tombs". In the Nabatean period, the higher the rank, the larger and more ornate the tomb ordered. However, there is no archaeological evidence or inscription to link a tomb to a particular king. Surveying the ruins of these tombs offers as a reward, once again, splendid views of the Wadi Musa cirque and its encircling jebels. It takes about an hour and a half to walk to the tomb of Sextius Florentinus and back. The Al-Khabtha Trail hikes along the tombs before entering the mountain. For a nice photo of the alignment, you should face it at the end of the day.

The Tomb of the Urn. This tomb with its impressive 26 meter high façade is distinguished by its unique characteristics. It is easily recognizable by the urn (very eroded) that tops its pediment and the two floors of vaulted cells under its esplanade. The use of these rooms is not known. The study of the bricks that make up the structure suggests that the building was built at the same time as the façade was carved. The staircase leading to the tomb passes in front of it and opens onto a vast platform bordered by a portico. Only the columns on the left side remain, those on the right having been destroyed by an earthquake. From the esplanade, the view on the ancient city and the jebels is spectacular. The façade has characteristic elements of the Nabataean style, such as the semi-columns and pilasters breaking the entablature, a cornice (very degraded), a triangular pediment and a doorway with pilasters, a frieze with triglyphs-metopes and a triangular pediment. More unusual are the frieze of the attic made of busts in relief (perhaps of deities) or the three loculi placed high up. The window above the door is an addition of the Byzantines who had transformed this tomb into a church. This allowed light to enter. Just above the central loculus, there is a bas-relief of a reclining man whose head is missing. This is probably the dignitary who had the tomb built. The interior of the tomb houses a large room measuring 19 x 17 meters, the ceiling of which reveals sandstone volutes ranging from white to red. The three niches on the back wall were transformed into apses by the Byzantines. They were originally rectangular. Only two tombs have been discovered here: one on the right and the second in the right niche.

The Silk Tomb. Probably not the most impressive of the royal tombs, nor the best preserved, the Silk Tomb takes its name from the eroded stone that seems to adorn the facade with moire. It is the second tomb after the Tomb of the Urn. This rather simple, and perhaps unfinished, tomb has the attributes of the "hegra" tombs. The façade is covered with semi-columns and pilasters supporting a wide entablature. Above the cornice, the pediment is sculpted with a frieze of two staircases facing each other. On the other hand, the entrance has no particular ornament. It is surmounted by a loculus. The most experienced eyes will notice a tiny bas-relief carved in the slope on the left of the temple, at the height of the pediment's stairs. It depicts a deity standing on a pedestal, perhaps Dushara, the most revered god in Petra. The craftsmen would have carved it during the work on the tomb, in order to ensure divine protection.

The Corinthian Tomb. This tomb located on the right of the unmistakable Palace Tomb is dated between 40 and 70. It is very obviously inspired by Al-Khazneh. The tomb was so named by Leon de Laborde because of the Corinthian style capitals that adorn the semi-columns and pilasters of the façade. Unfortunately, the wide 27-meter façade suffered greatly from erosion and the earthquake of 363. It was "cut" into three parts. The lower part has 8 semi-columns, of which the two framing the main door were crowned by a circular pediment. The middle part, very damaged, was decorated with 8 mini-pilasters sculpted in the alignment of the semi-columns and a broken triangular pediment. The upper part undoubtedly paid tribute to the Treasury, with its central tholos (circular temple) framed by two niches supported by columns with capitals. These two temples served as a base for the broken pediment. The urn topping the tholos is missing. But the most surprising thing here is the asymmetry of the façade. To the left of the main entrance (the gaping hole), three entrances have been pierced between the columns. The two small entrances on the left side of the building were decorated with a pediment, one circular and the other triangular. On the right side, however, the gap between the semi-columns is pierced by windows of different sizes. At the foot of the tomb, four basins carved in the rock can be seen, which were probably used for ablutions.

The Palace Tomb. This tomb impresses by its unusual dimensions and the abundance of its architecture, which is still perceptible despite the ravages of the climate and geological conditions. With its 49 meters wide and 46 meters high, it is one of the most imposing monuments in Petra. The façade is cut horizontally into three segments, the highest part of which is not carved in the rock, but made of bricks resting on vaulted cellars and wooden beams. The tomb included two other segments that collapsed during successive earthquakes. What remains of the facade is punctuated by a set of semi-columns, pilasters, pediments, entablatures and cornices forming a harmonious and impressive whole. The Tomb Palace takes its name from its splendid façade, but also because archaeologists assume that it is at the foot of it that the royal residence of Petra was built. The small hill at the confluence of Wadi Musa and Wadi al-Mataha reveals foundations, artificial earthworks and numerous drains. The Tomb Palace would have been attached directly to the royal quarters, as was the case in the royal cities of the Greek Empire in antiquity.

The lower segment of the Palace Tomb is punctuated by 12 semi-columns. The 4 highest ones support the upper entablature while the other 8 frame the doors surmounted by decorated entablatures and pediments. The pediments of the outer doors are circular, while those of the central doors are triangular. The doors were each preceded by a flight of steps adding majesty to the building. Each of the doors gives access to a burial chamber, the two in the center being connected by a narrow corridor. The second segment is punctuated by 18 semi-columns with capitals in the Ionic style. You will notice that the spacing between the columns is not identical, and that a wider gap has been left between the columns in the center of the façade. Six niches have been dug between some of the columns, without respecting the symmetry. They were probably intended to house memorial plaques. The leftmost opening is in fact a passage that allowed access to the cliff above the tomb and was also equipped with a clever drainage system for rainwater. The third segment also had 18 short pilasters, aligned with those of the lower segment. One can see the masonry bricks that structured the segment and those above, and supported the cut sandstone blocks of the façade. The fourth and fifth segments are only visible on the right side of the building. The fourth entablature, like the third, was not very high and was punctuated by short pilasters. The fifth segment was built backwards. If you stand on the left side of the building, you can see the return of the façade. The architectural ingenuity is revealed halfway up the second entablature (the one with the Ionic capital columns). You can clearly see the vaulted support and the bricks that were used to build the upper floors.

The Tomb of Sextius Florentinus. It is necessary to continue for 250 meters after the Palace Tomb, still following the path of Al-Khubtha which runs along the rock face and up the Wadi al-Mataha. Few tourists venture here and the Tomb of Sextius Florentinus seems quite isolated in this wild mountain area. It is in the light of the end of the day that one can best appreciate its relatively degraded façade. This tomb is the only one that can be dated with certainty and it is also the last to have been built in Petra. An inscription in Latin indicates that this tomb was erected for Titus Aninius Sextius Florentinus by his son Lucius. Sextius Florentinus was the Roman legate of the Arabian Province. He had been appointed in 127, and if the date of his death does not appear in any text, the name of his successor is mentioned from 130. The tomb therefore dates from 129 or 130. Its off-center location is explained by the fact that the Romans had forbidden burials in Petra. Consequently, discretion was the order of the day.

The facade, although badly eroded, is strongly inspired by the Nabataean style, but includes many architectural elements characteristic of ancient Rome. The tomb rests on a podium interrupted by the entrance whose opening descends to the rocky plateau. The lower entablature is punctuated by semi-columns and pilasters with capitals in the Nabataean style. The entrance door is surmounted by a triangular pediment, itself topped by a short pilaster. The columns and pilasters support an attic. The upper entablature is more complex than those of the Nabatean tombs. The cornice opens into a circular pediment decorated with a tympanum, while the entablature is punctuated vertically by four pilasters with Nabataean capitals. The circular pediment is topped by an eagle with outstretched wings similar to the one found on the bas-relief of the Nabataean temple of Khirbet et-Tannur, now exhibited at the Jordan Museum in Amman. The tympanum shows a woman surrounded by vines, which may be a copy of the one in the Treasury. The third entablature supports the triangular pediment of the building, the tympanum of which is badly damaged and cannot be deciphered. It was surmounted by an urn similar to that of the Tomb of the Urn. Inside, 5 loculi were built against the back wall as well as 3 burial chambers in the right part of the tomb.

Professional and friendly, Zidane knows Wadi Rum as his pocket and perfectly understands the aspirations of Western adventurers. Walks, nights with the beautiful star, circuits by jeep or camel, with him, everything is possible. He will not hesitate to tell you some stories about the Bedouin culture, the customs and the way of life of the desert.

Organizes excursions with Rum Horses but can also arrange other types of excursions. Possibility to spend six days in excursions. For confirmed riders.

To get there. After 10 minutes of climbing, at the beginning of the stairs to Ad-Deir (the Monastery), on the left.

Visit. This discreet but elegant triclinium dates back to the middle of the first century. It is easily recognizable by its keyhole door and the two lions sculpted on the bottom of the doorframe. The lions, now very eroded, face each other with their paws raised. The doorway is characteristic of the Ptolemaic style of Alexandria with its triglyph-metaphor frieze. Women's faces are sculpted in the medallions of the metope, which are rather well preserved. They could represent the nymphs of the vine, personalities that can be found on the Treasury or the Tomb of Sextius Florentinus (in the Royal Tombs). The pediment of the door was decorated with three unes, one at each corner. Only the one in the center is still visible. On the left of the door, you will notice a small platform resembling an altar, with a betylus in relief. It was a niche, the upper part of which has collapsed, housing the symbol of the divine presence. Inside the cave, three benches were cut out of the stone to accommodate the participants in the banquets honoring the dead, as well as a niche on the back wall. The triclinium was probably attached to the two tombs on its left. The scarcely decorated façades and the simplicity of the ornaments suggest that it was a small necropolis for a tribe or clan rather than a tomb for a personality.

How to get there. At the beginning of the Rue des Colonnes, under the big tree on the right, just before the bridge that spans the Wadi Musa and allows access to the Byzantine church.

Visit. This large public fountain dates back to the beginning of the 2nd century and to the Roman period. It allowed the inhabitants to get water. There is not much left of it. Only the foundations and the base are still visible today. But you can easily imagine by its dimensions that it must have been imposing. You will have a better idea if you have visited Amman or Jerash before.

The beautiful Petra Archaeological Museum welcomes you in a brand new building inaugurated in 2019, at the entrance of the Visitors' Center. It presents 280 artifacts found on the site and particularly well displayed. The room of statues is a beautiful example. One can admire there a unique bronze of the 2nd century representing the goddess Artemis, but of which unfortunately only the body remains. In addition, the museum presents the archaeological projects in progress in the region, as well as a very well done interactive section on the Bedouins and their way of life.

How to get there. Bab As-Siq is the portion of Wadi Musa that runs from the Visitors' Center to the entrance of the Siq.

Visit. The temptation is great to go down the Bab As-Siq to reach the Siq and the Treasury as quickly as possible. This wide sandy canyon slopes gently down to the ancient city of Petra, forming a natural bed for an ephemeral river during the rainy season. Its beige sandstone walls have some interesting relics that start with the Djinn Blocks. We recommend that you make stops at the beginning of your visit, as you will be exhausted on your return and much less receptive.

The Snake Tomb. Shortly after the Djinns' Blocks, on the left. Few visitors step over the horse track and dry river bed to see this small tomb. It is hidden inside a large boulder that you can see from the recent staircase built to access the tomb. On the wall of the gallery leading to the entrance, you will notice two nephashot engraved in the stone. They symbolize the spirit of the dead. The tomb is remarkable for its two bas-reliefs. Be careful not to fall into one of the mortuary cavities to admire them on the right wall. The first one represents two snakes attacking a quadruped. They are the guardians of the tombs, charged with repelling evil spirits. The second bas-relief, at the end of the wall, represents a horse carrying a betyl on its back, inspired by the religious processions that took place in the Nabatean period.

The Tomb of the Obelisks. After the Tomb of the Snakes, on the left side of Wadi Musa. Easily recognizable by its "obelisks," this burial complex is unique in Petra. It includes a triclinium on the first floor and a tomb on the upper level. Although very different in style, the two buildings were built in the same period, during the reign of Malichos II (40 - 70), by a certain Abdmanku. As mentioned on the inscription engraved on the rock opposite, the tomb was intended to accommodate the burials of Abdmanku and his descendants until the end of time. The triclinium was a banquet hall, very common in antiquity, with three benches where participants sat. It was used to prepare feasts to honor the dead. The façade of the triclinium has been largely damaged by natural events. Nevertheless, some elements of classical Nabataean architecture can be seen, such as the pilasters and semi-columns topped with horned capitals or the pediments over the entrance and the building. Inside, the room includes the three raised benches that were accessed by steps cut into the corners. The back wall was fitted with two loculi intended to receive the bodies of the deceased. Two tombs were also built outside the triclinium, on the sides. The main tomb, located above the triclinium, is topped by four nephashot, obelisks representing the spirits of the dead. A cartouche inserted between two nephashot seems to represent Abdmanku. The interior of the tomb comprises four tombs, the main one of which is installed under a vast arch cut into the back wall. A circular bench has been carved in the esplanade to the right of the tomb, allowing visitors to perform rituals in honor of the deceased. The basin below is a later addition, perhaps to collect rainwater. A larger cistern was dug to the left of the triclinium, halfway up the hill to the tomb.

Tricliniums of Aslah. On the right bank of Wadi Musa, climb to the plateau just before the bridge that marks the entrance to the Siq. The triclinium complex at Aslah attracts few visitors, as it is hardly visible from the main path. It is, however, the oldest Nabatean work in Petra, dated to 96 BC. A group of rocks was hollowed out to be transformed into tricliniums, the rooms used for banquets to honor the dead. The triclinium of Aslah is the largest of them, located in the center of the small plateau. It is distinguished from the others by its series of 18 votive niches dug into its façade. The rock on the left was the site of a tomb built almost a century later. It probably dates from the end of the first century BC. Inside, each of the walls was provided with a niche. The largest and most elaborate one is on the back wall. At its feet was dug the main tomb. This is preceded by another tomb, which was probably added later. In total, this tomb has 10 graves. They were closed by heavy stone slabs. Excavations carried out between 2010 and 2012 revealed the presence of an ancient brick building erected just in front of the tomb entrance. A few meager pieces of wall can be seen as well as the holes dug for the foundation. The notches in the façade (these are not votive niches) were intended to receive the vaulted arches of the building. Climbing to the top of the rocks of the tricliniums of Aslah, one can see about fifty tombs dug into the ground. It is very likely that these tombs were attached to the triclinium below and were intended to house all the members of the principal's clan. However, none of the tombs stand out from the others and it is not clear which one was intended for the patron.