One of the six kings depicted is King Roderick of Spain, whose short reign dates the image, and possibly the building, to around 710. For a long time archaeologists believed that sitting caliph Walid I was the builder and primary user of Qusayr Amra, but recently doubts have been cast. Now it is believed more likely that one of two princes who later became caliph themselves, Walid IIor Yazid III, are more likely candidates for that role.
Both spent long periods of time away from Damascus, the Umayyad seat, before assuming the throne. Walid was known to indulge in the sort of sybaritic activities depicted on the frescoes, particularly sitting on the edge of pools listening to music or poetry. One time he was entertained by performers dressed as stars and constellations, suggesting a connection to the sky painting in the caldarium. Yazid's mother was a Persian princess, suggesting a familiarity with that culture, and he too was known for similar pleasure-seeking.
The abandoned structure was re-discovered by Alois Musil in 1898, with the frescoes made famous in drawings by an Austrian artist named Mielich for Musil's book. In the late 1970s a Spanish team restored the frescoes. The castle was made a UNESCO World Heritage Site in 1985 under criteria i), iii), and iv) ("masterpiece of human creative genius", "unique or at least exceptional testimony to a cultural tradition" and "an outstanding example of a type of building, architectural or technological ensemble or landscape which illustrates a significant stage in human history").
Qusayr Amra is most notable for the frescoes on the inside walls. The main entry vault has scenes of hunting, fruit and wine consumption, and naked women. Some of the animals shown are not abundant in the region but were more commonly found inPersia, suggesting some influence from that area. One surface depicts the construction of the building. Near the base of one wall ahaloed king is shown on a throne. An adjoining
