From the southern end of the plaza in front of Jerusalem's Western Wall, a temporary wooden bridge ascends eastward to the Mughrabi Gate, the only one of the 11 gates into the Temple Mount area that is accessible to non-Muslims.
In the early 1990s, construction began on Modi'in, Israel's new "City of the Future." Designed by renowned architect Moshe Safdie and located mid-way between Jerusalem and Tel Aviv, Modi'in is in many ways typical of modern planned communities.
In the basement of a converted theater on West 44th Street, tucked between the legendary Sardi's restaurant and a bowling alley, a block from Times Square and across the street from the musical Memphis, is Discovery Times Square.
David Roberts (1796–1864) was a Scottish painter who in the late 1830's traveled extensively in the Levant and Egypt documenting "Orientalist" sites in drawings and watercolors. Among Roberts's paintings was a massive 1849 work, The Destruction of Jerusalem.
On the way to work from his home in south London, Dr. Irving Finkel often finds himself sitting on a bus reading the Hebrew Bible while surrounded by black church ladies studying their Bibles. "If they only knew what I was thinking," he muses.
Unlike his fellow passengers, what the Assistant Keeper of Ancient Mesopotamian Inscriptions at the British Museum is thinking is that the Bible is not the literal word of God, but that it was crystallized during the sixth-century B.C.E. Babylonian exile by a displaced people from Judea who had lost their country, whose deity was invisible, abstract, and unforgiving, and whose monotheism had gone wobbly. Their decision to create "scripture," something that had never before been attempted, saved the refugees' civilization and enshrined their religious identity. The result was Judaism.
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