Plate 1 Herods new temple, view from the southwest.

From Model of Jerusalem

in the Second Temple Period. Publication of the Israel Museum and Holy Land
Tourism, with permission.

Plate 2 Herods temple showing the mass of the Royal Stoa on the left in relation
to the ancient sanctuary. The slender wall at the center marks the point beyond
which Gentiles, Greeks, must not pass. From Model of Jerusalem in the Second
Temple Period. Publication of the Israel Museum and Holy Land Tourism, with
permission.
Solomons Temple: Myth, Conict, and Faith, First Edition. Alan Balfour.
2012 John Wiley & Sons, Inc. Published 2012 by John Wiley & Sons, Inc.

Plate 3 The path from the Mount of Olives to the south face of Temple Mount.
Photograph: Alan Balfour.

Plate 4 Hellenistic tombs from the second century BCE that Christ and all
approaching the Temple from the Mount of Olives would have passed. Photograph:
Alan Balfour.

Plate 5 The Southern Wall on which Herods Stoa once sat. The three Hulda
gates are barely perceptible on the right; the dome of al-Aqsa Mosque is on the left.
Photograph: Alan Balfour.

Plate 6 The great stair leading to the entry into the Royal Stoa. From the diorama
in the Tower of David Museum, Jerusalem. Photograph: Alan Balfour.

Plate 7 Inside the Royal portico: from Alec Garrards model of Herods Temple.
The model in clay and wood was assembled over a period of thirty years in a shed
behind his house in Norfolk. Photograph: Geoff Robinson Photography.

Plate 8 The Destruction of Jerusalem by Titus, David Roberts. This is the largest
of the Roberts lithographs. Although the view is elevated, Roberts had gained a
precise understanding of the topography from his earlier work in the city. The view
is from the northeast with the towers anking Herods palace at the center. (The
left part of the image is still recognizable in Figure 4.) It depicts the Roman attack
on the walls of the city before the Temple is destroyed. Roberts portrays Herods
Temple in grand classical style he would assume that the rebuilding would inhabit
the Hellenistic form dominant in Herods city. The Destruction of Jerusalem in 70
AD, engraved by Louis Haghe (180685) (litho) by David Roberts (17961864)
(after) Private Collection/The Stapleton Collection/The Bridgeman Art Library.

Plate 9 Herods Temple, Morning View from the Royal Stoa during Pesach. Balogh
Balage. ( Balage Balogh/Art Resource, New York).

Plate 10 The Destruction of the Temple of Jerusalem, Francesco Hayez, (1867)

Galleria dArte Moderna, Venice. Again this work has been composed from a
close reading of Josephus, in the foreground is the altar for burnt offerings with
the vast portal to the Temple dimly seen through the smoke on the left. As with
Poussin the cloisters in the background conform in scale to Josephus. Portraying the
architecture as elemental and unadorned adds to the sense of realism. Cameraphoto
Arte Venezia/The Bridgeman Art Library.

Plate 11 The steps at the southwest corner uncovered by archeologists after

the creation of the State of Israel, showing the destruction by falling masonry.
Photograph: Alan Balfour.

Plate 12 Burnt-out shells of three of the stores that sat beneath the stair leading
to the Royal Stoa. Photograph: Alan Balfour.

Plate 13 On the platform of Temple Mount in the space once occupied by Herods
Royal Portico the Stoa, looking west to the al-Aqsa Mosque. Photograph: Alan
Balfour.

Plate 14 Looking down from the Mount of Olives to the southern end of Temple
Mount showing Herods vast Southern Wall above which sat the Stoa. Photograph:
Alan Balfour.

Plate 15 The Madaba Mosaic: Jerusalem in the last decades of the sixth century.
What at rst seems abstract and diagrammatic on closer inspection becomes precise
mapping of the major building of the city: the Cardo, the major business street,
bisects the city, as it still does. At one end stands St. Stephens Gate, with the
Church of the Anastasis (Constantines Basilica) at the center, upside down in the
convention of the mapmaker yet precise in reecting the irregularity of its site.
Copyright Studium Biblicum Franciscanum Jerusalem 2000.

Plate 16 Dome of the Rock, sectional model in the Tower of David Museum,
Jerusalem. Photograph: Alan Balfour.

Plate 17 Crusader map of Jerusalem and Palestine. Golgotha, the site of Calvary
and the Church of the Holy Sepulcher dominate the lower left quadrant, and in
the upper right, above the claustrum salomonis, is the templu salomonis above a
simple image of the Dome of the Rock. Anonymous, twelfth century, Koninklijka
Bibliotech, National Library of the Netherlands.

Plate 18 Christ Driving the Money Changers from the Temple, 1570. Domenikos
Theotokopoulos (El Greco, 15411614). The architecture is once more based on
a close reading of Josephus. Minneapolis Institute of Art; The William Hood
Dunwoody Fund.

Plate 19 Van Adrichems map of Jerusalem. Jervsalem et suburbia eius, sicut

tempore Christi oruit, Christiaan van Adrichem (15331585). From: Jerusalem
. . . et suburbanorum . . . brevis description, Koln 1590. The National Library of
Israel, Eran Laor Cartographic Collection, Shapell Family Digitization Project and
The Hebrew University of Jerusalem, Department of Geography Historic Cities
Research Project.

Plate 20 The Ascension of Muhammad, from the Khamsa of Elyas Nezami

(11401209), 1504 (vellum) by Islamic School (sixteenth century). At right is al
Kaba wrapped in the Kiswa; the small ochre pavilion sitting on a raised platform
at left is the Dome of the Rock. Private Collection/Giraudon/The Bridgeman Art
Library.

Plate 21 Jerusalem, Holy City (Hierosolyma, urbs sancta) Georg Braun and Frans
Hogenberg, 1575. The ruined center of the town appears above the Dome. The
National Library of Israel, Eran Laor Cartographic Collection, Shapell Family
Digitization Project and The Hebrew University of Jerusalem, Department of
Geography Historic Cities Research Project.

Plate 22 Ierusalem 1698, Cornelius De Bruyn 16521726. From: Reizen van

. . . door Klein Asia . . . en Palestina. The National Library of Israel, Eran Laor
Cartographic Collection, Shapell Family Digitization Project and The Hebrew
University of Jerusalem, Department of Geography Historic Cities Research
Project.

Plate 23 Mosque of Omar showing the site of the Temple, David Roberts, 1839.
Again looking north from the Mount of Olives to Herods great Southern Wall. In
1838 and 1839, Roberts spent eleven months traveling and sketching throughout
the Middle East. The Belgian engraver Louis Haghe produced lithographs from the
Roberts drawings. This is The Holy Land, Syria, Idumea, Arabia, Egypt and Nubia,
published between 1842 and 1846. Authors collection.

Plate 24 Inside the Dome of the Rock, watercolor, Carl Werner, 1863. Photo
Victoria and Albert Museum, London.

Plate 25 The Herodian vestibule behind the now-blocked Huldah Gate, that led
to the stair that rose to Temple Mount. On the painting is written: The Gate of
Allah the Prophet. W. Simpson, 1871. From the archives of the Palestine Exploration
Fund (PEF).

Plate 26 Foundation of the Southeast Corner of the Haram Wall . . . Jerusalem,

William Crimea Simpson. From the archives of the Palestine Exploration Fund
(PEF).

Plate 27 Passage to the Fountain of the Virgin W Warren 1864, William Crimea
Simpson. These were newspaper illustrations and the titles may be more journalistic
than factual: there is no mention of this passage in Wilsons text. From the archives
of the Palestine Exploration Fund (PEF).

Plate 28 The Steps of Abraham, William Crimea Simpson. These are the rockcut steps that lead to the platform from the largest of the many cisterns, the Great
Sea, that lie within Temple Mount. From the archives of the Palestine Exploration
Fund (PEF).

Plate 29 Wilsons Arch, William Crimea Simpson. Presumed to have been a

part of a bridge that connected the Temple Mount to the city to the west. (Now
engaged in the religious activity around the Western Wall.) From the archives of
the Palestine Exploration Fund (PEF).

Plate 30 The Great Sea, William Crimea Simpson. This cavernous water tank,
cistern No 8 on Warrens map (Fig. 8.12), lies beneath the platform at the northeast
corner of al-Aqsa mosque. From the archives of the Palestine Exploration Fund
(PEF).

Plate 31 Approaching the Dome from the south. Photograph: Alan Balfour.

Plate 32 Haram al Sharif looking west from the Mount of Olives. From the view
the imagination is able to recreate the great mass of Herods Stoa on the left and
to see the memory of the Temple in the presence of the Dome. Photograph: Alan
Balfour.