The Label incorporates twelve structures bound for love which, along with an organization of connecting hallways and chambers, are altogether cut or "cut" out of living stone. The convention of cutting chapels out of rock, effectively bore witness to in the past periods, is here taken to an unheard of level. The places of worship, a few of which are unattached, like Bet Giorgis (Church of St. George, picture at top of page), have more detailed and all around characterized façades. They incorporate structural components propelled by structures from the Assume Period. Besides, a few, like Bet Maryam, include stunning inner enrichment (above), which are likewise cut out of the stone, just as divider artistic creations. The insides of the chapels mix Assume components with later components of Copto-Arabic deduction. In Bet Maryam, for instance, the engineering components, for example, the cut capitals and window outlines—mirror Suite models (see underneath), while the works of art can be contrasted and those in the archaic Monastery of St. Antony at the Red Sea.