Monuments to visit Jordan

How to get there. The main path starts from the Basin restaurant. It takes 850 steps and 45 minutes (minimum) to reach the top. You can make the ascent by donkey for 15 DJ (to be negotiated). There is another less arduous, but longer path (which can be done via the Back Door Trail).

Visit. With its 47 m high and 48 m wide façade, the Monastery is the most imposing of all the monuments of the ancient city. Its deep resemblance with the Treasury is obvious, even if its ornamentation remains more sober. One is quickly astonished to discover the excellent state of conservation of the monument, in spite of the intense erosion at the origin of the deterioration of many of the tombs of the city. It is however not protected by any mountainside. Contrary to the long held idea, it is not a royal mausoleum, since no tomb has been found. It is rather a vast temple dedicated to the practice of ritual banquets in honor of Obodas II, a Nabataean monarch who reigned from 30 BC to 9 BC and was deified after his death. An inscription found not far from the monastery calls for "remembering Ubaydu son of Waqihel and his associates for the symposium of Obodas the God". A symposium, in ancient Greece, was a banquet given after a meal, accompanied by dancing and singing.

The monastery dates back to the middle of the first century. It takes its name from the Byzantine period when it was probably used as a monastery, and most certainly as a church, as the crosses drawn on the back wall testify. Carved in yellow sandstone, its first level is punctuated by eight pilasters finished with Nabatean capitals with horns for some, of Ionic inspiration for others. An imposing entrance as well as two windows in trompe l'oeil appear between them. The second level is surmounted by a pediment broken by an imposing tholos, a circular temple, framed on each side by two pavilions. Niches have been dug between the pilasters of these three elements. The tholos has at its top an impressive urn of approximately 9 meters in height, visible for miles around.

To the left of the building, a staircase cut in the rock climbs up to a platform where an altar was installed. The staircase continued beyond, to the top of the Monastery, but it was closed by the authorities after the accidental death of a tourist. Prefer the late afternoon light for beautiful photos, but leave in time to get back to the remote entrance of the site.

How to get there. Follow the path from the Visitor Center for 1 kilometer, through the canyon.

Visit. After walking through the Siq and admiring its betyls, its ingenious canalization system and its impressive cliffs, the Siq narrows one last time to reveal only a fragment of the jewel of Petra between the cursive lines of its walls. Hidden in a protected clearing of the Siq, the Khazneh al-Fira'un or Treasure of the Pharaohs is revealed only at the last moment. It is for many visitors the most exceptional monument of the ancient Nabatean capital, the one that motivated their trip to Jordan. The delicacy of its facade, the changing color of its sandstone, the softness of its curves refined by erosion make this building a marvel to contemplate without ever getting tired of it. But we have to be honest, the horde of tourists with tripods and selfie poles, the Bedouins, the dromedaries or the donkeys are detracting from the serenity of the experience.

Myths and legends. Despite the passion it arouses, the Treasure has not finished delivering its mysteries. To this day, archaeologists have not succeeded in finding the reasons for its construction, and the legends surrounding it are numerous. The Treasure takes its name from a Bedouin legend which tells that a pharaoh would have hidden his treasure in the urn topping the rotunda with columns at the top of the building. Researchers tried to prove this, but soon realized that the urn was not hollow and could not contain anything. It seems, however, that the Bedouins believed in it because they kept shooting at the urn with their rifles, as attested by the bullet holes, in order to extract some small booty from it. In view of the majesty of the building and the choice of the place, the specialists agree rather on the fact that it had to be a royal tomb. The wealthy classes of the Nabataean kingdom, and even more so the king himself, were aware of the architectural fashions of the Mediterranean metropolises and knew as well as anyone how to impress high-ranking visitors. Architectural elements inspired by the Ptolemaic style indicate that the Treasury would have been built during the second half of the reign of Aretas IV (9 BC to 40). But for whom? No one knows. No remains have been found inside the tomb. Important excavations carried out in the square in 2003 have brought to light more ancient tombs, one of which could be dated to around 20 B.C. These tombs are deeply buried in the ground or have been partially covered by the construction of the Treasury. Originally, the square in front of the tomb was 6 meters below the present level. It was paved and may have included a pool or fountain. A monumental staircase, 13 meters long, gave access to the ancient tombs and then to the terrace of the Treasury. Today, it allows you to descend into the tombs. The tombs, like the interior of the Treasury, are not open to the public.

Architecture. Like all Nabataean temples and tombs carved in rock, the Treasury of Petra was cleared starting from the top. The Nabataeans used this technique to prevent the rock in the upper parts from collapsing under its own weight. They started by clearing a step across the entire width of the building to be constructed, then descended as they went along. One can still see the notches left by the stonecutters to fix their scaffolding. The interior of the tomb was also hollowed out from top to bottom. Once the exterior façade was cleared and the doorway outlined, the workers dug a gallery from the entrance, which they widened as they went along. The influence of Ptolemaic (or Greek) Egypt, and more particularly of Alexandria, is very clear. It can be found in the structure as well as in certain details. Analogies can be found with certain palaces in the north-east of Libya (at the time under the influence of Alexandria), notably in the ornamental choices of the façade or the pediment. The latter, with its lines broken by a tholos, a round temple, was perhaps inspired by a fresco in the Casa del Labirinto in Pompeii, on which a similar element can be seen. The statue of the tholos represents the Egyptian goddess Isis, who was appropriated by the Nabataeans. The two small side temples only show fragments of winged Victories. They have been damaged by erosion, but also by man. The lower level of the tomb shows classical elements of the ancient Greek style. The façade of the building is surmounted by a pediment supported by six columns with Corinthian capitals. In the center of the pediment is a sun disk surrounded by bovine horns and ears of wheat. These are the symbols of the Egyptian goddess Isis. Between the columns, on either side of the entrance, one can see colossal statues of men on horseback, partially erased. They are the Dioscuri, the brothers Castor and Pollux, in charge of guiding the souls of the dead in Greek mythology.

When to go there? Buses start pouring in around 8:00-8:30 am at the Visitor Center. To avoid the traffic jam at the exit of the Siq, leave before. By starting at the opening, you will take pictures of the Treasury without anyone on top. The façade turns pink between 9 and 11 am, depending on the season.

An emblematic monument of ancient Philadelphia, the citadel of Amman is worth a visit whether you are an archaeology enthusiast or not. It offers an extraordinary panorama of the city and its hills of beige stone buildings. The lower city and the Roman amphitheater spread out at your feet while the minarets of the mosques break with their verticality the architectural uniformity of the city. At nightfall, the muezzins sound their haunting call to prayer and the neon lights of the mosques tint the black sky with green, like an aurora borealis. If you're in a chauffeured car, ask it to arrive from the north (Salah Ad-Din al-Ayoubi St.) and enjoy incredible views of the city and the citadel, which stands majestically at the last moment. The site is very pleasant to walk around and Jordanian families go there for picnics on weekends. In summer, you should come early in the morning to avoid the hot hours of the day. It takes between 2 hours and half a day to visit.

History. The L-shaped hill was occupied long before the citadel was built. A tomb dating from 1650 B.C. was discovered here, containing pottery. An inscription on a limestone tablet was found in a very good state of preservation at the site in 1961. This text, the oldest in the Ammonite language, dates back to 800 BC. The various civilizations that have occupied the region from the Assyrians in the 8th century BC to the Umayyads in the 8th century have all left their mark on Qala'a Hill. The Greeks may have built the city of Philadelphia, whose power was known throughout the empire, but they left no visible traces on the site. It was not until the reign of the Roman emperor Marcus Aurelius (160-181) that the city changed its face and became part of the Decapolis. He used the plan of the temple of Artemis in Ephesus, one of the seven wonders of the world. The Byzantines built a church, while the Umayyads added a mosque and a palace

The low citadel. From the entrance to the site, a gently sloping path climbs to the top of the plateau of al-Qala'a hill. There are some poorly documented ruins and a cave that was once a dwelling. One can also observe the remains of the Roman fortifications.

The temple of Hercules. Built when Geminius Marcianus (162-166) was the Roman governor of the Province of Arabia, the Temple of Hercules may have been built over an ammonite temple. It measures 30 x 24 meters and a smaller sanctuary is attached to it. It is the oldest monument of the very powerful Philadelphia. The Romans worshipped their demigod Hercules, the man of 12 labors. A gigantic statue stood at the entrance of the temple, as evidenced by the fragment of a hand that now lies at its feet. Of the temple, only the high columns and a fragment of the lintel remain. The missing marble would have been used as building material for the nearby Byzantine church. However, the whole building has not been excavated and discoveries are perhaps to be made.

The archaeological museum. A visit to this old museum is a must if you are interested in the ancient history of Jordan: some incredible pieces are on display. The collections are presented chronologically from the Neolithic to the Roman occupation. Artifacts are displayed in English. Notable works include the strange anthropomorphic statues of Ain Ghazal. They are 10,000 years old and are among the oldest idols in the world. The body is rudimentary and abstract, but the details of the faces are remarkable. The mouth and nostrils are clearly visible, but especially the eyes in relief, painted in black thanks to an inlay of bitumen. The material has been modeled by hand on a network of reed branches tied together to give them their internal structure like a skeleton. The plaster of which they are composed is then baked, thus attesting to a mastery of high temperatures. The two-headed statue is the most remarkable. A total of 15 statues of the same type have been discovered at Ain Gazhal. One is on loan to the Louvre and a second to the Louvre Abu Dhabi.

To the right of the room, 7,000-year-old skulls come from the ancient city of Jericho, the oldest city in the world. They were covered with clay during a burial rite. All of the adjacent display cases showcase relics found in Jericho, including trepanning skulls.

In the "Iron Age II" section, admire the statue of Yerah "Azar, son of Zakir, son of Sanipu," carved 700-800 B.C. This Ammonite king reveals in his features and symbolism the influence of the powerful neighboring Egypt of the time, especially the lotus flower he carries in his left hand crossed over his belly, a royal symbol used by the pharaohs of the new Egyptian empire, copied by the Assyrians and Aramaeans. She also wears the clothes of Aramaic dignitaries, showing the various regional influences at the time of her creation.

The museum also houses a reproduction of the Mesha stele. Its text, written in a variant of Phoenician, tells how the Moabite god Chemosh became angry with his people for being seduced by Israel and how he came to the aid of King Mesha to free the Moabites from the yoke of the Jewish people. This stele was discovered in 1868 by a German missionary in the village of Dhiban. This discovery aroused the British, French and German appetite to own it. The French archaeologist Clermont-Ganneau managed to make an imprint of the stele before it was destroyed by the Bedouins who were angry at the pressure exerted by the Ottomans to sell the stele to the Germans. A copy of the reconstruction of the "Moab Stone" made from partial original fragments is held by the Louvre Museum.

Finally, the museum also houses superb anthropomorphic clay sarcophagi used in the Iron Age, between the 13th and 8th centuries BC.

The Byzantine church. To the north-east of the Temple of Hercules, heading towards the upper terrace, we come to the ruins of a Byzantine church of rather modest dimensions. It would date from the^5th or 6th century and would have been built with part of the stones of the temple of Hercules. A series of mosaics has been brought to light. Excavations carried out intermittently suggest that the Byzantine city extended over the entire hill. Twenty meters further on is a large round cistern 5 meters deep. It could hold 1,000^m3 of rainwater and supplied the Umayyad Palace. Just next to it are the remains of an olive press.

The Umayyad mosque. The mosque attached to the Umayyad palace was built around 730 on the highest point of the hill. Unfortunately, nothing remains of the vaulted ceilings. Only seven rows of columns arranged around a central courtyard and part of the southern wall remain.

The Umayyad Palace. This monument would have been built around 720 by the Umayyads, under the reign of the Caliph Hisham. A true testimony of the splendor of the time, it included nine residential quarters opening onto a central courtyard. Only the courtroom survived the earthquake of 749. It is built on the foundations of an ancient Byzantine church (hence the cross shape) and covered with a wooden dome added in 1998. One can still admire the geometric patterns finely carved in the stone, inherited from Byzantine traditions. The palace was equipped with thermal baths, whose pipes date back to Roman times. Behind the hall, a courtyard leads to an alley of columns that must have been the heart of the administrative quarter. At the end of the alley is another square and the remains of the actual Umayyad palace. The distribution of the quarters shows the existing hierarchy in the city, ending with a porticoed courtyard leading to the throne room.

How to get there. There are two ways to reach the High Place of Sacrifice. The first one, arduous, crosses the Wadi Mahafir, then climbs very steeply. It starts from the street of the Facades, just after the toilets on the left and before the theater. It takes about 50 minutes. The second one starts from the Qasr al-Bint and goes around it to the right. This is one of the most beautiful hikes in Petra. The hike takes between 2 and 3 hours. There are some steep parts, but you alternate between sun and shade.

Visit. The High Place of Sacrifice is located at the top of Jebel al-Madhbah, at an altitude of over 1,000 meters. From here, the views of Jebel Haroun (Mount Aaron) and Petra are spectacular. There were several "high places" in Petra, all of them open-air, spread over the heights of the city, perhaps according to a tribal code. At the end of the path, there is a first esplanade where two tapered obelisks, each 7 meters high, stand. At first, archaeologists gave them a religious meaning, thinking that they were the two main Nabatean gods Dushara and Al-Uzza. But the inscription zibb atuf left by one of the sculptors sows doubt. Indeed, it means "the penis of Atouf". On the other hand, the path of Wadi Mahafir does not have any votive niche or divine representation. The path that leads to the High Place of Sacrifice starts from this esplanade, through the quarry and between the remains of the high walls that may have formed a monumental gateway to the sacrificial place; on the right coming from the Street of Facades or on the left coming from Qasr al-Bint. The High Place of Sacrifice occupies an esplanade 65 meters long. The cultic rites were probably dedicated to the god Dushara, the most important of the Nabataean pantheon. Banquets were held on the platform in front of the altar. The participants sat on the stone benches that mark its perimeter. You will notice in the upper left corner (back to the altar), a groove that allowed water to flow out. The altar consists of a raised platform that housed betyls, preceded by a few steps. The priest stood at the top of the steps to make the incense offerings. A walkway allows one to go around the altar. The rock to the left of the altar was probably an altar of libation. It was probably hollowed out to store water for ablutions. A hole was made in the disc on the platform and a drain allowed the liquids to flow out.

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.

How to get there. In the Rue des Façades, on the left.

Visit. Built at the very beginning of the 1st century, under the reign of Aretas IV, the theatre was directly carved in stone. Located in the heart of the necropolis, it shows that life in Petra was not limited to the worship of the gods or the dead. The hemicycle could originally accommodate 4,000 spectators. It was enlarged upwards by the Romans, who doubled its capacity. In the process, they cut out tombs, as shown by the gaping openings left on the back wall. The cavea (the tiers) faced east and was divided into three series of benches. The most important people sat in the lower part while the ordinary citizen took possession of the upper tiers. Only a few elements of the stage remain and it has been partly rebuilt. It had three entrances, one of which was in the middle and was reserved for the king (during political meetings) or the main actor (during cultural performances). The backdrop of the stage included columns (four remain), balconies and sculptures. Fragments of statues of the Greek gods Heracles, Hermes and Aphrodite were found during excavations at the site. The stage was separated from the audience by the orchestra, which sat on the terrace at the foot of the cavea. The structure is based on the elements of classical Roman theatres, but the drainage systems and masonry techniques are specific to Nabataean architecture.

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.

In addition to taking advantage of the permanent activity of the universities, you can visit some museums. The most interesting are archaeological and folklore exhibitions. The small museums of biology, medicine or anthropology are primarily intended for specialists.

Founded in 2007, the Institute of Mosaic Art and Restoration is an association run by the Jordanian government. Its mission is to become a center of excellence in the conservation, restoration and creation of mosaics. The institute trains mosaicists who, upon completion of their studies, will be responsible for preserving Jordan's cultural heritage. In addition, the Institute promotes mosaics by producing new creations.

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.

The citadel of Kerak, which can be seen majestically from the north along the Kings' Road, extends over some 220 metres and varies in width from 125 metres on the side facing the town to 40 metres. Work began in 1140 and was completed two years later. The fortress was commissioned by Payen le Bouteiller, appointed lord of Outre-Jourdain in 1132 by King Foulque of Jerusalem. The castle was intended to form part of a strategic defensive line to secure the eastern front of Christian territory, between Aqaba and Turkey. Built on two levels, the fortress has a large number of vaulted rooms and passages that form a veritable labyrinth. Take a torch with you if you want to explore the darker parts. The northern front of the castle, facing the city, consists of a huge shield wall, built by the Crusaders from dark brown stones that were barely roughed in. Later, the Muslims replaced these stones with limestone slabs in some parts of the fortress, giving the building a more pleasing aesthetic. You will see, during your visit, that it is easy to tell the difference between the two.

The entrance to the castle is through the Ottoman gate. During the Crusader era, the entrance was through the postern to the left of the wall, opposite the present entrance. This gate was protected by a 30-metre deep moat and connected to the city by a wooden bridge that was easy to burn in case of an attack.

After the ticket office, take the path on the left that leads to two levels of vaulted galleries dating back to the Crusader era. The lower level was originally used as stables and leads to the Crusader Gate. This narrow gate was built in such a way that defenders wishing to return to its walls would expose their left side, and thus their shield, to the enemy. At the end of the gallery, a carved stone representing a bust recalls the occupation of the site by the Nabataeans in the 2nd century, well before the construction of the fort. The inhabitants of Kerak will tell you that it is a representation of Saladin. By a small staircase, you reach the north tower, now in ruins.

From the Nabatean statue, a passageway leads southward past the barracks on your left and the kitchens on your right. From here, a doorway leads to a large oven. Continue through the passage until you reach the outside, on the eastern front of the castle. This houses several towers reflecting the expansion work carried out after the Frankish period. Below is the huge Frankish glacis, which plunges down the hillside... It is from here, it seems, that Renaud de Châtillon threw his prisoners into the void.

Going up to the upper courtyard, you can see the remains of a cistern and residential buildings. From the terrace at the northern end of the castle (above the Crusaders' Gallery), the view over the valley is uninterrupted. Dominating the courtyard, the ruins of a Romanesque church are easily visible. It was large enough to accommodate the entire garrison, and services were certainly held there. Next to it is the sacristy, which can be reached by climbing down the steps.

The southern part of the site retains its Mamluk keep, built by Sultan Baybars in 1264, and rebuilt since then. It defends the most exposed part of the fortress, the slope facing the Umm al-Thallaja hill, which slightly overhangs the castle, providing an ideal artillery position.

A ditch was dug by the Crusaders at the foot of the fortress to make any attack more difficult. It is now filled in by a road. One can also see a large reservoir that collects rainwater and supplies the fort with drinking water.

The Mamluk palace is accessed by a staircase leading from the cistern. In the centre, two vaulted rooms were used as reception halls. A room to the east of the hall, accessible from the courtyard, appears to have served as a mosque: a niche is located in the southern wall, facing Mecca. To the south of the Crusader church, you can also access two corridors: the one on the left leads past seven cells, while in the one on the right you can see a rosette carved in stone at the foot of the steps. Finally, a third passageway leads north to the old market place. If you continue north, you will reach the exit.

The lower courtyard was originally built by the Crusaders before being developed by the Mamluks in the 13th century. This is where the recently renovated archaeological museum is located. It is worth stopping there for a moment. It houses some major prehistoric remains, ceramics dating back to the Nabatean period, some coins from the Mamluk period, as well as a copy of the famous Mesha stele dating back to 850 BC. What remains of the original stele is on display in the Louvre Museum in Paris.

The western wall is pierced by the monumental Mamluk entrance - now condemned - whose arch rises to a height of nearly 12 meters. From the top of the ramparts, the view of the Wadi Karak is magnificent. The lower courtyard covers two large underground galleries, which were connected to the Mamluk gate and provided an escape route in case of attack.

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.

This castle, built in the 2nd century BC, probably during the first quarter, is the main attraction of Iraq al-Amir. It was erected in a breathtaking landscape, in the heart of a natural amphitheater, in the middle of an artificial lake that has since dried up. The structure is spread over two levels and was equipped with cisterns that stored rainwater. The impressive size of the stone blocks with which the castle is built is remarkable. Some pieces weigh more than 20 tons. The building was however strongly damaged by the earthquake of 362. A team of French archaeologists set about restoring it in the early 1980s, attempting to partially reconstruct this giant 3D puzzle.

The northern part has a portico with two columns decorated with friezes representing giant animals, mainly lions and eagles. These sculptures show the influence of Greek and Persian art in the architecture of the time. The first floor was used as a pantry and as a quarter for the guards, while the upper floor was reserved for Hyrcanus.

The opinions of the historians are rather divergent as for the role of this fortress. Many believe that it was Tyros, the private residence of Hyrcanus of Jerusalem, a powerful leader of the Tobiad dynasty and governor of the province of Ammon in the empire of Alexander the Great. The historian and military leader Flavius Josephus describes a castle that may well be this one in his Antiquities of the Jews in the late first century. "Hyrcanus] also erected a strong castle, which he had built of white stone to the roof, and large animal figures were carved on it. He also dug caves of many furlongs (...); and he made large rooms in them, some for feasts, some for sleeping, some for living."

Qasr Al-Abd means "castle of the slave". This name refers to Hyrcanus himself, who as governor was "the slave of the people". But a local legend tells a different story: this palace was built by a slave named Tobiah, who was in love with his master's daughter. While the master was away on a long journey, Tobiah built a palace and carved lions, panthers and eagles to show the master his love for his daughter. Unfortunately, the master returned to the castle before Tobiah could finish his work, and his efforts to ask for his daughter's hand in marriage were in vain. There are variations to this story.

Even if the castle is a little dilapidated, it is worth a stop to admire the view offered on the heights of the hill, on the Wadi Araba and on the abandoned Bedouin villages at the foot of the citadel. The arid, wild and isolated atmosphere of this castle exposed to the desert winds gives the place a special character. Given the absence of explanatory signs on the site, don't expect to be able to identify the various ruined buildings. And the guide (who will chase you) will only give you expeditious details if there are other visitors at the same time. Nevertheless, if you want to learn more about the castle, the only solution is to follow him. You will discover the remains of a church (recognizable by its three naves), a small chapel, torture chambers, Mamluk mud roofs, drains, baths and a well with 365 steps. The well is 67 metres deep and was, of course, used to supply the fortress with water. It is undoubtedly thanks to its inexhaustible reserves that the Crusaders were able to withstand Saladin's assaults for a year and a half. According to the guardian, it still produces clear, drinkable water. Archaeologists have also managed to uncover inscriptions left by Saladin's troops on the stones of the building. You may want to bring a flashlight to explore the darker galleries and reveal an impressive collection of cannonballs carved into the stone.

In this ancient and imposing 7th century private residence discovered in 1905, excavations revealed several portions of mosaics on the floor. The palace, located on the edge of an ancient Roman road, is believed to have burned down in the Byzantine period, possibly during the earthquake of 749, and was subsequently abandoned. Although almost no trace remains of the palace, with its vaulted halls and columns, the floors bear witness to the wealth of its owners. The mosaic in the hall depicts pastoral and hunting scenes and, at the entrance, a pair of sandals in a medallion. In the extension of the building are several rooms, all of which contain fragments of mosaic pavements that are more or less well preserved. The northern ones feature a statue of the goddess Tyche, the Greek goddess of good fortune, and a fragment of a creation representing the four seasons. In the room in the west wing, there is a succession of geometric designs forming an elegant floor carpet, with the centerpiece being a lion killing a bull.

Near the burnt-out palace, there are also the few remains of the Church of the Martyrs (Al-Khadir), dating from the 6th century. Its mosaic pavement was unfortunately heavily damaged during the height of the iconoclastic period led by the Umayyads and the following Muslim dynasties.