The Nabataeans were adventurous architects, inspired by other cultures but always creating a distinctive look. The multiple crowstep can be seen as a design of the first settlers, whereas complex Nabataean Classical buildings reflect a later, cosmopolitan Petra. However, the dating of façades is very difficult, as many examples of the simple “early” style appear to have been built during the Classical period or even later.

First in the sequence of Royal Tombs is the towering Urn Tomb, reached by a stairway. Its name refers to a relatively tiny urn on top. Further along is the badly eroded Corinthian Tomb, which seems to be modelled largely on the Treasury, and beyond that the Palace Tomb, thought to be based on Nero’s Golden House in Rome.

Just beyond the Qasr el-Bint a path crosses the Wadi Musa. It leads past the Forum Restaurant to the start of an arduous but thoroughly worthwhile climb to one of Petra’s most awe-inspiring and best-preserved monuments – the Monastery. The path, which cuts through the wadi, is paved in parts and features more than 800 rock-cut steps. The afternoon, when the sun is not directly in front, is the best time to do this walk.

A short detour off the main route, indicated by a Department of Antiquities signpost, leads to the Lion Triclinium . This monument, with the peculiar keyhole effect in the façade, caused by erosion, has blurred leonine representations of the goddess al-Uzza guarding its entrance. Its largely Classical façade has unusually ornate Nabataean features, such as “horned” capitals with floral scrollwork. After this, the path to the Monastery rises steeply. There are occasional flights of steps through the winding and narrowing gorge, and several interesting carved monuments along the way. Finally, the path slips between two boulders, and drops on to a wide, once-colonnaded, rock-cut terrace. Immediately to the right is the Monastery , Petra’s most colossal temple, dedicated to the deified king, Obodas 1, who died in 86 BC. Although it resembles the Treasury, it was never as ornate, even when statues adorned its niches. Its simple, powerful architecture, thought to date from the 1st century AD, is seen by many as the quintessential Nabataean Classical design. The interior has one large chamber with an arch-topped niche where the altar stood. It came to be known as the Monastery because of the many Christian crosses carved on its walls.

Midway between the Treasury and the Theatre, a rock-cut stairway, marked at the start by several djinn blocks, leads to the top of Jebel Attuf mountain. It is here, at 1,035 m (3,000 ft), that one of the best preserved of Petra’s many places of sacrifice is located. The ascent, while gradual, requires stamina and a good head for heights, and is best attempted in the early morning. The first part of the summit is a large terrace with two 6-m (20-ft) stone obelisks, possibly fertility symbols. The second, reached by a northwards scramble past the ruins of a small Nabataean building, is another plateau. Here, just beyond a rock-cut cistern, is the High Place of Sacrifice . In the centre of a large courtyard is a low offering table. Steps at the far end lead up to the main altar, which has a rectangular indentation in the top. The adjacent round altar has a basin with a carved channel, quite possibly for draining the blood of animal and human sacrifices. The nearby cisterns may have been used for ritual ablutions.

The path winding down the other side of Jebel Attuf into the Wadi Farasa valley is a spectacular stepped descent, sometimes with sheer drops. The first thing you see, carved into the rock face, is the Lion Monument , representing the goddess al-Uzza. It was originally a fountain, perhaps for pilgrims to the High Place, with water pouring from the lion’s mouth. Water channels and the shape of the lion’s head and legs can still be seen.

Thereafter, the path becomes a series of steps leading to the delightfully secluded Garden Triclinium . The tomb takes its name from the surrounding greenery. On top of the tomb is a large cistern. Further along, to the left, is the Tomb of the Roman Soldier , so called because of the remains in one of the façade niches of a figure wearing the uniform of a high-ranking Roman officer. Although Classical, the façade has Nabataean “horned” capitals on top of the pillars. Opposite is the façadeless Triclinium , thought have been part of the Roman Soldier Tomb complex. It has the only carved interior in Petra and its niches, fluted half columns and cornice are spectacularly enhanced by the amazing bands of colour running through the walls and ceiling.

Further down the track is the relatively plain Broken Pediment Tomb , named after its most striking feature. Nearby is the elegant Renaissance Tomb , with the three urns above its arched entrance. Similar in style to the Tomb of Sextius Florentinus, it may date from the same period. Past this point the Wadi Farasa widens and the descent ends in the main valley, not far from the Qasr el-Bint.

This site is venerated by Muslims, Christians and Jews as the place where Moses’s brother Aaron was buried. The white dome of the shrine can be seen from the High Place of Sacrifice, which may be a close enough viewing for most people. The journey there involves a three-hour ride on horseback and a hard three-hour climb to the top of Petra’s highest peak – Jebel Haroun. For those determined to go, a guide and adequate supplies are essential.

Beyond the Palace Tomb, along a track skirting the cliff, stands the Tomb of Sextius Florentinus . Despite its badly eroded north-facing façade, the beautiful and unusual details of its design are clearly visible. Above its entrance is a Latin inscription listing the positions held by Florentinus up to his last post as Governor of Arabia in AD 127. Further north is the Carmine Façade  with its vivid striations of red, blue and grey. Continuing alongside the Wadi Mataha brings you to a rock-cut complex known as the House of Dorotheos  because of two Greek inscriptions found here. On the other side of the wadi is a cluster of homes and tombs known as Mughar el-Nasara , including the fine Tomb with Armour . Local Christians were probably responsible for the many crosses etched into the walls.

This northern suburb of Petra, Siq el-Berid, has come to be known as Little Petra because it is like a miniature version of the main city. Situated 8 km (5 miles) north of Wadi Musa town, it is most easily reached by taxi. The journey on foot, north along the Wadi Abu Ullayqa, which starts just past the Qasr el-Bint, is hard, but rewarding. A guide is essential.

Little Petra seems to have been a largely residential settlement, as relatively few tombs have been discovered here. It may well have been where Petra’s wealthy merchants had their homes. Just outside its Siq-like entrance, which was once controlled by a gate, are a large cistern and a Classical temple. The gorge, shorter than the one leading into Petra, contains a simple temple. As you emerge from the quiet of the gorge into the town, the incredible profusion of façades is overwhelming, with houses, temples and cisterns carved into every exposed rock face. Flights of steps shoot off in all directions, evoking images of a bustling urban centre. One of Little Petra’s main attractions is the Painted House  with its plaster ceiling and walls delightfully decorated with flowers, vines, bunches of grapes, Eros with his bow and Pan playing his pipes.