Many new Latin sites were created by the Crusaders in the twelfth and thirteenth centuries. The chapels then built have been carefully planned and described by Dr. Tobler, Comte M. de Vogüé, and Herr Schick, architect to the German Emperor and the Sultan, who for so many years was an untiring student of Jerusalem. In a few cases the churches mentioned--such of those as St. Agnes and St. Giles--are not yet identified. On Sion, St. Mark, St. Thomas, St. George, and St. James the Less, with the Chapel of the Three Maries, still exist. In the centre of the town, St. Mary Latin, St. Mary Magna, and--north of the Holy Sepulchre--St. Chariton, are now known. On the north-east were St. Anne, St. Mary Magdalene, and--at the Ecce Homo Arch--the church of the “Rest” of Mary. The “Stables of Solomon” are never noticed before the twelfth century, when the “Oak of Rogel” was pointed out where a sacred tree still stands at Siloam, being supposed to be the place where Isaiah was sawn asunder. The “Gate Dolorous” was then the name of that leading from Antonia, and the “School of the Virgin” was the title given to the “Dome of the Roll,” at the south-west corner of the platform of the Dome of the Rock. The “House of Uriah” was then supposed to have been near David’s palace and tower, and the old tank near the Jaffa Gate still bears the name of “Bathsheba’s Bath”; but in the sixteenth century this house was shown at the south-west corner of the Hebrew city, and the bath was transferred to the Birket es Sulṭân. The altar of the Temple is said to have been converted into a sundial by the Saracens,[38] and a block of masonry, south of the Dome of the Rock, was still pointed out in 1874 as the place where a sundial had stood. Finally, the fig tree cursed by Christ was shown at the bend of the road near Bethany; and the place where He “descended from the ass” near Bethphage--a site said even by Bernard the Wise to be marked by a marble slab in 867 A. D.--was to be found in a small chapel, where a block of stone has been recovered, with mediæval Latin texts, and frescoes representing the raising of Lazarus, the fetching of the ass, and a third subject.[39]