Petra Tour

Petra The Lost City

Petra Tours

Book your tour to Petra with the best tour operator in Jordan

Driving Hours

The estimated driving hours to Petra from all around Jordan

Petra Sites

Take a look to the most famous sites in Petra before you visit it

Petra Hotels

To make it easy for our tourists we write down the most used Hotels in Petra


To make it easy for our tourists we write down the most famous Restaurants in Petra


Take a look at some interesting photos about Petra that makes you know what you are visiting

Traveling it makes you speechless and then it turns you into a story teller





Petra Tours options

Option 1:


Option 2: Petra By Kings Highway (Not Including Hotels)






Driving Hours To Petra






Hotels In Petra

Hotels In Petra                       

Mövenpick Hotel ? ⭐⭐⭐⭐⭐

Just opposite the main entrance (In Petra)  Map.


Petra Gust House ⭐⭐⭐⭐

In the Same Area of Main Entrance (In Petra) Map.


Petra Moon Hotel ⭐⭐⭐⭐

5 Min by walking ?‍♂️ (In Petra) Map.


La Maison Hotel ? ⭐⭐⭐

5 Min by walking ?‍♂️ (In Petra) Map.


Petra Palace Hotel  ?  ⭐⭐⭐             

5 Min by walking?‍♂️ (In Petra) Map.


Silk Road Hotel  ?  ⭐⭐⭐                 

10 Min by walking?‍♂️ (In Petra) Map.


Candles Hotel ?  ⭐⭐⭐                   

10 Min by walking?‍♂️ (In Petra) Map.


Sharah Mountain Hotel  ?  ⭐⭐⭐

5 Min by Car ? (In Wadi Musa) Map.


Amra Palace Hotel  ?  ⭐⭐⭐

5 Min by Car ? (In Wadi Musa) Map.


Edom Hotel ? ⭐⭐⭐

5 Min by walking?‍♂️ (In Petra) Map


Seven Wonder Hotel ?  ⭐⭐⭐

5 Min by Car ? (In Wadi Musa) Map.


Tetra Tree Hotel ?  ⭐⭐⭐⭐

5 Min by Car ? (In Wadi Musa) Map.


Petra Sella Hotel ?  ⭐⭐⭐⭐

10 Min by Car ? (In Wadi Musa) Map.


Petra bubble luxotel ? ⭐⭐⭐⭐⭐

20 Min by Car ? (In Wadi Musa) Map.


Marriott Hotel ?  ⭐⭐⭐⭐⭐

20 Min by Car ? (In Wadi Musa) Map.


Rocky Mount Hotel  ? Unrated

10 Min by Car ? (In Wadi Musa) Map. 





Petra Sites

The Siq is the main entrance to the ancient Nabatean city of Petra in southern Jordan. Also known as Siqit, the main entrance in Petra is a dim, narrow gorge winds its way approximately 1.2 kilometres and ends at Petra’s most elaborate ruin, Al Khazneh.

The entrance to the Siq contains a huge dam, reconstructed in 1963 and again in 1991, designed to bar the mouth of the Siq and reroute the waters of Wadi Musa. The dam is a fairly true reconstruction of what the Nabataeans did to control Wadi Musa between the 1st century BC and the beginning of the 1st century AD. The entrance also contains the remnants of a monumental arch,

but the two abutments and some hewn stones of the arch itself have survived. The arch collapsed in 1896 following an earthquake, but its appearance is known from the lithographs of Matthew Boulby and David Roberts.

The Siq used as the grand caravan entrance into Petra. Along both walls of the fissure are a number of votive niches containing baetyl, which suggest that the Siq sacred to the Nabatean people. In 1998, a group of statues were uncovered when digging conducted to lower the road by more than six feet. Although the upper part is greatly eroded, it is still possible to recognise the figures of two merchants, each leading two camels. The figures are almost twice lifesize.

Along the Siq are some underground chambers, the function of which has not yet been clarified. The possibility that they were tombs has been excluded, and archaeologists find it difficult to believe that they were dwellings. The majority consensus is that they housed the guards that defended the main entrance to Petra.

Al-Khazneh is one of the most elaborate temples in Petra, a city of the Nabatean Kingdom inhabited by the Arabs in ancient times. As with most of the other buildings in this ancient town, including the Monastery, this structure carved out of a sandstone rock face.

Al-Khazna History.

Al-Khazneh originally built as a mausoleum and crypt at the beginning of the 1st century AD during the reign of Aretas IV Philopatris.

Its Arabic name Treasury derives from one legend that bandits or pirates hid their loot in a stone urn high on the second level. Significant damage from bullets can see it on the urn. Local lore attributes this to Bedouins, who are said to have shot at the urn in the early 20th century, in hopes of breaking it open and spilling out the “treasure”—but the decorative urn is in fact solid sandstone. Another legend is that it functioned as a treasury of the Egyptian Pharaoh at the time of Moses (Khaznet Far’oun).

Many of the building’s architectural details have eroded away during the two thousand years since it carved and sculpted from the cliff. The sculptures are thought to be those of various mythological figures associated with the afterlife. On top are figures of four eagles that would carry away the souls. The figures on the upper level are dancing Amazons with double-axes. The entrance is flanked by statues of the twins Castor and Pollux who lived partly on Olympus and partly in the underworld.

Impact of tourism :

In 1812, the city of Petra and Al-Khazneh rediscovered by Swiss explorer Johann Ludwig Burckhardt. As Western Europe continued to explore the Middle East, tourism became more common, and by the 1920s, a small hotel had opened near Petra. While Petra not as popular as larger, more central cities Likewise as Cairo, tourism started to change the economy and social structure of the Bedouin people who lived nearby.

certainly tourism the main source of income in Jordan. Hotels, souvenir shops, restaurants and horse rental services are all found within a few mile radii of Petra itself. While the economic effects have been largely positive, the site itself faces threat from the increased tourism.

Humidity from large crowds of people visiting the site can cause damage to the dry sandstone. White spots have appeared on walls and columns from stearic acid deposition due to hands resting against the walls. The Khazneh surface itself has receded by 40mm in less than ten years from touching, leaning, or rubbing on the walls of the Khazneh.

Ad Deir, also known as El Deir, is a monumental building carved out of rock in the ancient Jordanian city of Petra. Arguably one of the most iconic monuments in the Petra Archaeological Park, the Monastery is located high in the hills northwest of the Petra city centre.

The Monastery can be reached by ascending a nearly 800 step path (40 minute walking time) from the Basin. The Wadi Kharrubeh, Lion’s tomb, and small biclinia and grottos can be seen en-route to the Monastery. From the Monastery, one can view the stunning valleys of Wadi Araba and the gorges along with the semi-arid territory immediately around Petra.

Scholars believe that the flat area in front of the Monastery levelled during human action in order to make the area suitable for social gatherings or religious occasions. Near the entrance of the structure are the remains of a wall and a colonnade. The façade has a broken pediment, the two sides of which flank a central tholos-shaped element. This element has a conical roof that is topped by an urn.

The interior layout of the Monastery consists of a single square chamber with a broad niche in the back wall. Each end of this niche contains four steps, and the niche itself is framed by pillars and a segmental arch. The room is thought to have been painted and plastered, even though none of these decorations has survived into the modern-day.

Petra Theater is a first century AD Nabataean theatre situated 600 m from the centre of Petra. A substantial part of the theatre carved out of the solid rock, while the scene and exterior wall were constructed. The theatre’s auditorium consists of three horizontal sections of seats separated by passageways and seven stairways to ascend. The theatre could accommodate a number of approximately 8500 people, more than the estimated number of Amman theatre. Petra Theater follows similar architectural patterns of Roman theatres, which enhances superior acoustics.

The theatre built in the cultural and political apex of the Nabataean kingdom under Aretas IV (9 BC-40 AD), where large scale civil construction projects in Petra and other important Nabataean trading cities in Hijaz and the Negev took place. It is said that the theatre-building activities of Herod the Great may have urged the Nabataean king to follow the lead. The massive theatre with its large capacity positioned to bring the greatest number of tombs within view.

Although Roman in design, being carved out opposed to being built is characteristically distinctive Nabataean style and not a Roman manner. The floral capitals of the theatre are also distinctively Nabataean artistic element. Minor alterations of the theatre were made by Aretas son Malichus II and later on the Romans who re-built the exterior wall. Reference

The Qasr al-Bint is a religious temple in the Nabataean city of Petra.  It faces the Wadi Musa and is located to the northwest of the Great Temple and to the southwest of the Temple of the Winged Lions. One of the best preserved of the ancient structures surviving in Petra today, it stands near the monumental gate and was a key focal point on the collonaded street, as well as a focus of religious worship

Name : 

The full modern Arabic name of the ruin is Qasr al-Bint Fir’aun, or “the palace of Pharaoh’s daughter.” This name derives from a local folktale according to which the virtuous daughter of a wicked Pharaoh determined to decide between her suitors by setting them the task of providing a water supply for her palace. Two suitors completed the task simultaneously by directing water to the palace from different springs in the hills surrounding it. The princess accepted the more modest of the two suitors who ascribed his success to God.

Associated Deity :

The deity to whom the Qasr al Bint dedicated has been a source of scholarly debate. The temple faces north towards a sacrificial altar that  dedicated to Dushara, the main Nabataean deity, and due to this spatial connection it has been suggested by some scholars that it  also Dushara who worshipped at the Qasr al-bint A Greek inscription in the chamber to the east of the cella suggests that Zeus Hypsistos may also have received devotions at the Qasr.

Others have suggested that the presence in the cella of a baetyl stone fragment, which originally would have been placed on a base faced with gold, indicates that it was actually Al-Uzza, equated with the Greek goddess Aphrodite, that worshipe here Healey, who is considered one of the main authorities on Nabataean religion, believes that the Qasr may be the Temple to Aphrodite that is referred to in the Babatha correspondence, a cache of documents that were hidden in a cave at the time of the Bar Kokhba Revolt .

Plans and Material :

The Qasr al-Bint sits upon a podium made of a rubble core retained by courses of ashlar masonry.  The temple itself is also constructed of ashlar blocks. Access to the temple is provided by a monumental marble staircase of 27 steps, which is divided by a landing. The plan is square and consists of a pronaos (or vestibule), a naos (or chamber), and a tripartite adyton which contains the cella, the most sacred part of the temple.

Also, The vestibule originally framed by four columns with Corinthian capitals. None of these columns remains to stand, but fragments of the capitals have been found[1]. There are additional chambers on either side of the cella[6].  These two chambers originally had upper rooms that could be accessed by staircases concealed in the building’s thick walls[1][6]. Both the interior and exterior walls were originally covered in decorative plasterwork, some of which is still extant [3]. Wooden-string courses line the lengths of the walls, and wooden wedges can still be found between some of the stones[4]. The wood used in the structure has been identified as Lebanese Cedar.

Chronology and Dating :

The chronology of the Qasr al-Bint debate for decades. so It appears that the current structure built on the remains of an earlier poorly understood monument [4]. Pottery fragments recovered from the base of the structure have been dated to 50-30/20 BCE[4]. Dates have been suggested for the current building ranging from the first century BCE to the end of the first century CE[1]. Radiocarbon dating of the remaining wood from the site, which did in 2014, indicates that the structures have a terminus post quem (earliest possible date for construction) at the beginning of the first century CE.

This date is supported by the similarities between the architectural decoration of the Khazneh, which has been firmly dated, and that of the Qasr al-Bint[4]. Stylistically, buildings of this date have intricate moldings and capitals with fine floral motifs, both of which have been found at the Qasr al-Bint [7]

Secondly phase of construction dating from 106 CE to the late third century CE is also attested based on the presence of inscriptions, coins, and pottery.[1].

At some point, probably during the Palmyrene revolt of 268-272 CE, the Qasr al-Bint vandalized and burned. It  later occupied and looted for building materials during the Medieval period[1].

During the Medieval period, a ramp  constructed in front of the temple using architectural fragments and column drums from the structure itself. It is believed that the ramp  placed there in order to allow for the removal of some of the stones, which were then reused in other structures.

Seismic Resistance :

The Qasr al-Bint is one of the few ancient built-structures that remain standing in Petra. This is in spite of the fact that ashlar masonry, which  used in its construction, is vulnerable to damage by ground vibration during earthquakes. The symmetrical plan of Qasr el-Bint may have helped to reduce the moments of torsion that occurred during seismic activity at the site, however. The use of wooden string courses may also have enhanced the energy dissipation capacity of the structure. Some scholars believe that it is due to the inclusion of these wooden-string courses that the building is still standing at its full height.[6]    Reference .

This derived its name from the jar that crowns the pediment. so It  probably constructed around 70 AD. It is preceded by a deep courtyard with colonnades on two sides. High up in the facade there are 3 niches which give on to small burial chambers, but which  adapted in 446 AD to serve as a Byzantine church .

The so-called Great Temple at Petra is a grand monumental complex that lies south of the Colonnaded Street at Petra. It covers an area of ~7,560 m2.  The complex was probably completed in the early first century CE, under the rule of Nabataean king Aretas IV, as suggested by architectural and sculptural details.[1].

The “Great Temple” occupied a prime spot in ancient Petra: from its ruins, one can now see the Siq to the Southeast, the Qasr al-Bint to the West, and the Lower Market/Petra Pool Complex to the East.  It is unclear whether the complex  a religious or administrative building, and—if it  indeed religious—how exactly it function or to what deity it  dedicate.

History of research

In the 1890s, the ruins superficially explored by German archaeologists R. E. Brünnow and A. von Domaszewski[1]. Walter Bachmann then surveyed Petra as a member of the Preservation branch of the German-Turkish army, also it was the firstly scholar to identify the monument by its current name in his 1921 revision of the Petra city plan[2]Martha Sharp Joukowsky of Brown University initiated archaeological excavations in 1993 and her team’s research has informed the bulk of scholarly interpretations[3].


The “Great Temple” is a rectangular complex align on a Northeast-Southwest axis.

From the colonnaded street, one ascends about ~8m up a flight of stairs that is about 17m wide into the Propylaeum. This monumental stairway altered both immediately after the building of the Great Temple and during the construction of the Colonnaded Street in ca. 76 CE (Joukowsky 2001 p44).  The Propylaeum and street sit at ~8m under the Lower Temenos, which itself is 6m beneath the Upper Temenos and the bulk of the temple. The “temple” proper lies immediately south of the Upper Temenos.

Two exedra (semicircular recesses with benches) lie to the east and west of the monumental stairway that joins the Lower and Upper Temenos. The temple itself built with four frontal columns stuccoed in red, yellow, and white for stark contrast against the sandstone environment, and would hypothetically have stood at 20m.

similarly a height is comparable to that of the Qasr al-Bint’s current 23m, but not as grand as the Khazneh/Treasury, whose facade reaches 39m (Jarus 2012). A theater-Likewise as structure (theatron) with about 600 seats dominates the interior of the temple beyond the Upper Temenos, where traces of extensive decoration remain in gold leaf and colored stucco[4].

Water management also plays a significant role in the architecture of the “Great Temple,” as two sizable cisterns of 59m3 and 327m3 (approximately 59,000 and 327,000 liters’ capacity respectively) have been found. The cisterns feed into a subterranean canalization system, which runs the length of the temple and then joins the citywide water distribution system.

so These channels may then have led to the Qasr al Bint and Wadi Siyagh[3].

Significant finds

Even before systematic excavation, carved architectural fragments (debris from earthquakes)  scattered around the precinct.

Among the most spectacular finds discovered during excavation are two largely intact elephant-headed capitals, with four heads in place of an Ionic capital’s volutes. These found near the Lower Temenos in 2000, with 328 fragmented elephant-head elements found in total (Joukowsky 2001 p47).  In addition to the capitals, excavators found eight limestone relief panels depicting male and female busts, speculatively identified as in reference to Apollo/AresAphrodite/Amazon, Tyche/Fortuna, and others[5]

Other finds included lamps, coins, Roman glass, ceramic figurines and vessels, with multiple Corinthian acanthus capitals and floral friezes. These artifacts point towards the construction of the “Great Temple” as beginning in the mid-late first century BCE.[4]

also, Nabataean painted ceramics, painted and inscribed plaster, and a bronze plaque recovered in the Upper Temenos.

To the southeast of the Upper Temenos, a cultic or votive figure carved in bas relief  found, rendered as holding a sword or dagger and hidden by an ashlar perimeter wall[1].

This figure suggests that the so-called “Great Temple” may used as a place of worship.


At the center of discussion about the “Great Temple” is whether Bachmann’s postulation about the structure’s function as a temple is correct.

Joukowsky argues that due to the presence of a “theatre” as opposed to a canonical cella (the main chamber of a canonical Greek or Roman temple), also the building cannot be repurposed to serve as a religious space.[3]

Joukowsky makes the argument that the temple proper is comparable to what Arthur Segal describes so as “ritual theatres”, whose defining characteristic is a view of a notable natural or man-made feature.[1][6]

also as excavation has proven that the cavea (seating area) predates the stage and had existed for a time without it – allowing for spectators to look out at the Wadi Mousa – Segal’s definition may be applicable to the “Great Temple”.

As also happens with other religious buildings in Petra, it is unclear what deity, if any, the Nabataeans would have worshipped at the “Great Temple”. Votive figures Likewise the sword-carrying one to find in its southernmost passageway are common elsewhere in Petra, and may they left by stonemasons asking deities to bless their work, or communicating their remorse at altering natural rock formations.[4]


Aniconic baetyl makes it conceivable that the Nabataeans’ principal deity Dushara or his partner Al-‘Uzzá, but could venerated in this structure.

also, Some scholars foreground civic functions, examining the “Great Temple” with reference to standard Greco-Roman spaces Likewise the bouleuteria (council chambers) and comitium/curia (Roman political meeting place).[1][7]

The interpretation of the “Great Temple” as an administrative center is arguably supported by several references to a boule or council in the extant papyri from the late 1st to early 2nd century CE Babatha archive.[3]

Babatha was a Jewish woman whose letters have illuminated much about Nabataea and Roman Provincia Arabia, with most of the letters pertaining to transactions and legal ownership of property.

Another find that upholds the option is a Roman Imperial inscription in Latin. Likewise date back to the secondly century, it acknowledges the emperor of the time by name and titulature, and find it in a western chamber of the temple.[1]  Reference .

Back near the theater and Street of Facades, a signposted set of steps leads south up a rocky slope to the High Place of Sacrifice, a diversion off the main path, but an unmissable part of a visit.

Even if you have only one day in Petra, this is still worth the climb,

about thirty or forty minutes with safe steps at all tricky points so there’s no scrambling or mountaineering involved.

You can return the same way, but steps also lead down off the back of the mountain into Wadi Farasa, forming a long but interesting loop that delivers you (after about two and a half hours) to the Qasr al-Bint.

The breathtaking views and some of Petra’s most extraordinary rock-coloring make the hike worthwhile, quite apart from the wealth of Nabatean architecture at every turn and the dramatic High Place itself.

The path is well travel, and you’re unlikely to find yourself alone for more than a few minutes at a time.

Walking up to the High Place of Sacrifice

also the steps up are clearly mark also a souvenir stall and toilet block.

They are guard by several god-blocks,so and wind their way into the deep ravine of the beautiful Wadi al-Mahfur.

so At several points, the Nabatean engineers took their chisels to what were otherwise impassable outcrops, and slice deep-cut corridors during the rock to house the stairs. It’s a dramatic walk.

so The sign that you’re reaching the top, apart from one or two rickety café-stalls,

is the appearance on your left of two very prominent obelisks, so both over 6m high.

As in the Bab as-Siq and elsewhere, these probably represent the chief male and female Nabatean deities,

Dushara and al-Uzza, although far more extraordinary is to realize that they are solid: instead of being placed there, this entire side of the mountain-top  instead level to leave them sticking up.

The ridge on which they stand is still mark on modern maps with the bedouin name of Zibb Attuf, the Phallus of Mercy (often adapted to Amud Attuf, the Column of Mercy),

implying that the notion of these obelisks representing beneficial fertility was somehow pass down unchanged from the Nabateans to the modern age.

Opposite stand very ruined walls, the last remnants of what could a Crusader fort or a Nabatean structure. Broken steps lead beside it up to the summit.

The High Place of Sacrifice

The High Place of Sacrifice (al-Madhbah in Arabic) is one of the highest easily accessible points in Petra,

It’s just one of the dozens of High Places perched on ridges and mountain-tops around Petra, so all of which are of similar design and function.

Also, A platform about 15m long and 6m wide served as the venue for religious ceremonies, oriented towards an altar,

set up on four steps, with a basin to one side and a socket into which may have slotted a stone representation of the god.

so Within the courtyard is a small dais, on which probably stood a table of (bloodless) offerings.

What exactly took place up here – probably in honour of Dushara – can only be guessed at, but there were almost certainly libations, smoking of frankincense and animal sacrifice.

What is less sure is whether human sacrifice took place,

although boys and girls sacrifice to al-Uzza elsewhere: the second-century philosopher Porphyrius reports that a boy’s throat cut annually at the Nabatean town of Dunant, 300km from Petra.

At Hegra, a Nabatean city in the Arabian interior, an inscription states explicitly:

“Abd-Wadd, priest of Wadd, and his son Salim… consecrate the young man Salim to  immolate to Dhu Gabat. Their double happiness!”


If it Likewise sacrifices took place in Petra, the High Place would surely have seen at least some of them.

It’s also suggest that Nabatean religion incorporated ritual exposure of the dead, as practised among the Zoroastrians of Persia;

if so, the High Place would also an obvious choice as an exposure platform.

Also You can survey the vastness of Petra’s mountain terrain from here, and the tomb of Aaron atop Jabal Haroun is in clear sight in the distance The ridge extends a short distance north of the High Place, nosing out directly above the theatre,

so with the tombs of the Outer Siq minuscule below.From here, it’s easy to see that the city of Petra lay in a broad valley,

in addition to about a kilometre wide and hemmed in to east and west by mountain barriers. North, the valley extends to Beidha, south to Sabra.

It looks tempting to scramble down the front of the ridge, but there is no easily manageable path this way; it would be dangerous to try it. Reference Rough guides .






Petra Restaurants

Al Qantarah Restaurant ?

Landline :  +962 3 215 5535

Mobile : +962 79 5645707

Al wadi Restaurant ?

Mobile :   +962 79 066 5640

Red Cave Restaurant ?

Landline : +962 3 2155599 

Mobile : +962 79 5120869 , +962 777715223

Beit Al Barakah Restaurant ?

Landline : +962-3-2156800

Reem Beladi Restaurant ?

Mobile : +962 7 7731 2455

Petra Magic Restaurant ?

Landline: +962 3 2157500 

Mobile : +962 7 7082 4824

Petra Kitchen ?

Tel/fax (962) 3-215-5900 

Mobile : +962 798888388

Zawaya Restaurant ?

Sand Stone Restaurant ?

Mobile : +962 7 9088 2879



















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