138 Best Sights in Egypt

The last remaining southern gate of Fatimid Cairo was built in 1092 and is named after members of the Fatimid army who hailed from a North African Berber tribe called the Zuwayla. The gate features a pair of minaret-topped semicircular towers. The lobed-arch decoration on the inner flanks of the towers in the entrance were used earlier in North African architecture and were introduced here following the Fatimid conquest of Egypt. They are seen in later Fatimid and Mamluk buildings.

The street level here has risen dramatically—what you see as you pass through the massive doorway would have been at eye level for a traveler entering the city on a camel. According to the architectural historian K.A.C. Creswell, the loggia between the two towers on the wall's exterior once housed an orchestra that announced royal comings and goings. The views from the towers themselves are some of the best in Cairo.

Bab Zuweila wasn't always such a lighthearted spot, however. Public executions once took place here. Indeed, the conquering Turks hanged the last independent Mamluk sultan, Tuman bay II, from this gate in 1517. The unlucky man's agony was prolonged because the rope broke three times. Finally, fed up, the Ottomans had him beheaded.

This monumental $190 million UNESCO-sponsored project began with an instinctively appealing idea: to resurrect the Great Library of ancient Alexandria, once one of the world's major centers of learning. Its location near the Silsileh Peninsula, on the edge of the Eastern Harbor, has tremendous symbolic resonance, having been the royal quarters in ancient times and one of several possible locations of the original library.

The modernist Norwegian-designed building is in the form of an enormous multitier cylinder tilted to face the sea, with a roof of diamond-shape windows that allow controlled light into the seven cascading interior floors. The most impressive feature, however, is the curving exterior wall covered in rough-hewn granite blocks from Aswan that have been engraved with letters from ancient languages.

With an aim to promote intellectual excellence, the library is a repository for the printed word—it holds millions of books including rare manuscripts—but is also a facility to store knowledge in all its forms, from audio tape recordings to electronic media. It is a robust academic organization with seven specialist research centers and has the Virtual Immersive Science and Technology Applications (VISTA) system, which transforms 2D data into 3D simulations so researchers can study the projected behavior of theoretical models. The library also acts as a forum for cross-cultural academic discussion and is home to more than 10 institutes. Membership allows you to explore the archive and use the Internet for research, but don't expect to be able to use the facility like an Internet café.

Once you've enjoyed the view of the vast interior from the mezzanine gallery, there's little to hold you in the main hall, but the library has several small museums and exhibitions. The Manuscripts Museum has a large collection of rare documents, parchments, and early printed books. The Impressions of Alexandria exhibition features paintings and sketches of the city dating from the 15th to the 19th centuries and photographs taken in the late 19th and early 20th centuries. The Antiquities Museum on the basement level has a collection of finds from Pharaonic, Roman, and Islamic Alexandria. Examples of monumental Roman statuary include Huge Forearm Holding a Ball (nothing else remains of the immense piece), and a finely chiseled bust of the Emperor Octavian (Augustus). Egypto-Roman artifacts include the mummy of Anhk Hor, governor of Upper Egypt, and several 2nd-century funerary masks showing the prevalent cross-styling between the classical Egyptian and Roman Egyptian styles. A planetarium and IMAX theater are the latest additions to the complex, offering a range of science- and astronomy-based activities including stargazing and constellation identification as well as interactive museum displays.

This is the most impressive of Alexandria's ancient remains, dating from the 2nd century AD. Excavation started in 1892, and the catacombs were discovered accidentally eight years later when a donkey fell through a chamber ceiling. A long spiral staircase leads to the main hall. The stairs run down the outside of a shaft, which excavators used to transport the bodies of the dead. The staircase leads to the rotunda, which, like all but the lowest chamber, is undecorated but striking for the sheer scale of the underground space, supported by giant columns carved out of the bedrock.

A few rooms branch off from the rotunda: the Triclinium was a banquet hall where relatives and friends toasted the deceased, and the Caracalla Hall has four lightly painted tombs and a case of bones. The next level down contains a labyrinth of smaller nooks for storing bodies and leads to the lowest excavated room, which is framed by columns and sculpted snakes. Casts of two statues stand here—the originals are in the Greco-Roman Museum—and three tombs are of interest for their mix of pharaonic and Greek imagery.

Opened in 1910 and home to the world's largest collection of Coptic antiquities, this museum traces Coptic history from its beginnings to its full rise, providing a link between ancient and Islamic Egypt, as most of the city's population remained Christian until the 11th century, a half millennium after the Arabs brought Islam to the country.

The insightful displays are more or less arranged by medium. The first floor has carved stone and stucco, frescoes, and woodwork. The second floor includes textiles, manuscripts, icons, and metalwork. In some cases, chronological divisions are made within each grouping to show the evolution of the art form.

The collections also demonstrate how eras can beautifully overlap to produce exceptional artistry, as is evident through the slight Pharaonic, Roman, Byzantine, and Ottoman influences detected across the museum. Many carvings and paintings, for instance, help to trace the transformations of the ancient key of life, the ankh, to the cross. Depictions of the baby Jesus suckling at his mother's breast are also striking in their resemblance to pharaonic suckling representations.

You've seen Giza's iconic superstructures in books or films, but nothing prepares you for the breathtaking, in-real-life magnetism of the pyramids. The 4th-Dynasty tombs of three Old Kingdom (2687–2181 BC) rulers that dominate the skyline of the desert plateau to the southwest of Cairo simultaneously inspire humility and awe. The largest and most perfect of them is that of King Khufu (Greek name: Cheops), referred to as the Great Pyramid, followed by those of Khafre (Greek name: Chephren) and Menkaure (Greek name: Mycerinus), his son and grandson respectively.

There is more than meets the eye at the Giza Plateau: each pyramid was built within a complex consisting of causeways, temples, a subsidiary queen’s pyramid, and a smaller, more symbolic "satellite" pyramid for the king. You can also visit some of the smaller pyramids belonging to female dependents, as well as the mastabas (large trapezoidal tombs) of the kings’ lesser relatives and courtiers—just ask for details when buying your ticket.

Preparation is key to visiting the Giza Plateau. The walks are long, and the sun is strong year-round, so wear comfortable shoes, a hat, sunglasses, and sunscreen. Be prepared for numerous encounters with souvenir sellers and animal tenders, some of whom overcharge for their products and services—to them, a firm and repetitive "la shukran" ("no, thank you") will get the message across. Exploring the interior of one of the pyramids should also be part of your once-in-a-lifetime experience, but brace yourself for a bent back and for tackling some very narrow and sloped corridors.

There's a general admission ticket to the area as well as individual fees for entering the structures that are open to the public and for accessing the Great Sphinx. The evening Great Sphinx and Pyramids sound-and-light show is on the pricey side, and some say it's not worth the money. Still, seeing the monuments lit up at night would be yet another once-in-a-lifetime experience.

Carved from an outcropping of limestone bedrock on the Giza Plateau during the 4th Dynasty, this colossal statue of a recumbent Sphinx—a mythological creature generally having the body of a lion and the face of a human—wears a nemes (traditional headdress of the pharaoh). It also once had the so-called beard of divinity, as can be seen in royal statues in museums, although that has broken off, as has the Sphinx's nose. Egyptologists suggest that its facial features are those of Khafre’s disguised as Ra-Harakhty, a manifestation of the Sun God.

Between the Great Sphinx's paws is the Dream Stele erected by the New Kingdom ruler Thutmose IV. It narrates the story of a young Thutmose, who dreamed about an exchange with the Sphinx whereby, in return for the throne of Egypt, he was asked to clear the sand surrounding the statue. Thutmose happily obliged and became a successful ruler of the 18th Dynasty.

The interior of the Great Sphinx, which consists of small corridors, is off-limits to visitors. Nevertheless, it's hard to resist the opportunity to examine this enigmatic guardian of the necropolis up close—as well as to snap a selfie with it in the background. Note that although there is an evening Sphinx and Pyramids sound-and-light show, it's on the pricey side and some have reported that, for the money, it's underwhelming. Still, if you want a night-time experience at the monuments, it's something to consider.

Constructed between 1356 and 1363 by the Mamluk ruler Sultan Hassan, this is one of the world's largest Islamic religious buildings. Some historians believe it was partially built with stone from the Pyramids of Giza. Regardless, creating it nearly emptied the vast Mamluk treasury.

You enter the complex at an angle through a tall portal that is itself a work of art. The carving on both sides culminates in a series of stalactites above. A dark and relatively low-ceilinged passageway to the left of the entrance leads to the brightly lit main area—a standard cruciform-plan open court.

Unique to this mosque is a madrasa between each of the four liwans (halls), one for each of the four Sunni schools of jurisprudence, complete with its own courtyard and four stories of rooms for students and teachers. Also unique is the location of the mausoleum behind the qibla wall (wall in the direction of Mecca) which, in effect, forces people who are praying to bow before the tomb of the dead sultan—a fairly heretical idea to devout Muslims. Nevertheless, the mausoleum, which faces Salah al-Din Square, is quite beautiful, particularly in the morning when the rising sun filters through grilled windows.

Of the two tall minarets, only the one to the left of the qibla liwan is structurally sound. Have the custodian take you up to get a view of the city, including the Citadel. In fact, this roof was used by several armies, Bonaparte's expedition included, to shell the mountain fortress.

This huge congregational mosque was built in 879 by Ahmad Ibn Tulun with the intention of accommodating his entire army during Friday prayers. He was sent to Egypt by the Abbasid caliph in Samarra to serve as its governor. Sensing weakness in Iraq, he declared his independence and began building a new city, al-Qata'i, northwest of al-Fustat and al-Askar. When the Abbasids conquered Egypt again in 970, they razed the entire city as a lesson to future rebels, sparing only the great Friday mosque, but leaving it to wither on the outskirts.

In 1293, emir Lajin hid out in the derelict building for several months while a fugitive from the Mamluk sultan, vowing to restore it if he survived. Three years later, after being appointed sultan himself, he kept his word, repairing the minaret and adding a fountain in the courtyard, the mihrab (prayer niche), and the beautiful minbar (pulpit). All of this background is secondary to the building itself—you can delight in this masterpiece without even the slightest knowledge of its history. Its grandeur and simplicity set it apart from any other Islamic monument in Cairo.

The mosque is separated from the streets around it with a ziyada (a walled-off space) in which the Friday market was once held and where the famous minaret is located. Inside, the mosque covers an area of more than 6 acres. Four arcaded aisles surround the vast courtyard, and the soffits of the arches are covered in beautifully carved stucco—the first time this medium was used in Cairo. The minaret, the only one of its kind in Egypt, is modeled after those in Samarra, with the ziggurat-like stairs spiraling on the outside of the tower.

Often overlooked, this is one of the finest museums in Cairo, displaying a rare and comprehensive collection of Islamic art and antiquities. You can see woodwork, stucco, intarsia, ceramics, glass, metalwork, textiles, and carpets. Items are arranged according to medium, and every era—from Umayyad to Abbasid, Fatimid, Ayyubid, and Mamluk—is represented. Highlights include one of the earliest Muslim tombstones, dating from AD 652, only 31 years after the Prophet returned to Mecca victorious; a bronze ewer that has a spout in the shape of a rooster and that dates from the time of the Abbasid caliph Marwan II; a series of Abbasid stucco panels from both Egypt and Iraq; frescoes from a Fatimid bathhouse; wooden panels from the Western Palace; carved rock crystal; and an excellent brass-plated Mamluk door, which appears, at first glance, to have standard arabesque decoration but is in fact interspersed with tiny animals and foliage.

The metalwork section contains the doors from the Mosque of al-Salih Tala'i, as well as incense burners, candlesticks, and vases—some items have Christian symbols and some are inlaid with gold and silver. The armor and arms hall is still impressive even though Selim, the conquering Ottoman sultan of 1517, had much of this type of booty carried off to Istanbul, where it is on display at Topkapi Palace. In the ceramics section, pieces from the Fatimid Era and Iran are particularly noteworthy, as are the Mamluk mosque lamps in the glassware collection.

Egypt’s first museum to focus on all its different civilizations truly takes you on a trip through history. The collections are designed to tell a story, some chronologically and others thematically. The chronological collections follow the Archaic, Pharaonic, Greco-Roman, Coptic, Medieval, Islamic, modern, and contemporary eras. Thematic collections map a route through the Dawn of Civilization, The Nile, Writing, State and Society, Material Culture, Beliefs and Thinking, and the Gallery of Royal Mummies.

There are currently around 1,600 pieces on display, with plans to display 50,000 artifacts over time, and they range from monumental to the more mundane, like one of the first-ever prosthetics—an artificial toe from the Pharaonic era that predates the Roman Capula Leg. The museum is also the new home of the royal mummies of ancient Egypt. Designed to feel like a tomb, the Gallery of Royal Mummies has the remains of 22 rulers, including 18 kings and four queens. Displays are interactive: you can scan QR codes to learn about each royal.

Built between 1900 and 1929 by Prince Mohammed Ali, King Farouk’s uncle, the interiors of this palace are influenced by Ottoman, Moorish, Persian, and European Art Nouveau and Rococo styles, all of which mark also important periods in modern Egyptian architecture. Highlights include the mosque; the sabil (fountain); the clocktower; the Throne and Gold Halls; the tile-adorned Blue Salon; and the hunting and taxidermy museum, which showcases a range of creatures, from insects to mammals. The palace is also renowned for its stunning gardens and distinctive collection of plants.

After living in Paris, the 19th-century Khedive Isma’il embarked on a mission to create a European-style district in Cairo, both as a way to modernize the city and to cement his political legitimacy. His plans included this square, originally named Ismailia Square, and it became a popular Cairo hub. Although in subsequent decades it lost favor owing to its association with colonial rule, it remained an epicenter for political demonstrations, evolving into a symbol of liberation.

After the 1952 Revolution, its name was changed to Tahrir Square (Liberation Square), and it was a focal point during both the 1977 Egyptian Bread Riots and the 2011 Egyptian Revolution. In 2021, history was made here yet again when the Parade of Mummies passed through the square, in a grand spectacle celebrating the transfer of 22 mummies from the Egyptian Museum to the National Museum of Egyptian Civilization. Today, the obelisk of Ramses II, moved from the Tanis archaeological site, stands tall here.

Dedicated to one of ancient Egypt's most important goddesses, the Temple of Isis rises majestically above the calm Nile waters on small Agilkia Island. Some stone blocks found on-site date from 690 BC, but the main part of the complex standing today is from the reign of Ptolemy II Philadelphus (285–246 BC) and the Roman emperor Diocletian (284–305 AD). The devoted worshipped Isis here until the 6th century AD, long after Christianity took hold elsewhere. This building was the final temple constructed in this style, and it's where the last hieroglyph was carved.

The striking, 18-meter (59-foot) First Pylon is one of the temple's oldest structures, built by Nectanebo I (379–361 BC) but showing reliefs from Ptolemy XII (80–58 BC). To reach it, pass the Kiosk of Nectanebo—a roofless structure with offering scenes on its walls and about half of its original Hathor-head columns intact—and go through the First Court, lined with the Roman-built West Colonnade and unfinished East Colonnade.

On the left (west) side of the Second Court is the small mammisi (chapel depicting divine birth), showing the birth of Horus, son of Isis and Osiris. The grand Second Pylon, carved with gods and Ptolemaic-era pharaohs, reveals the entrance to the temple itself. Inside, the Hypostyle Hall consists of 10 columns that are mainly the work of Ptolemy VIII. The generous offering scenes continue, showing the pharaoh by himself or accompanied by his wife giving incense, vases, and wine to the gods. Christians repurposed the temple as a church, as evidenced by the defaced figures and Coptic crosses on the walls. Beyond this area lies the sanctuary, with an altar on the right. A side door leads out to the Gateway of Hadrian, and reliefs show the Roman emperor making offerings to the Egyptian gods.

East of the temple, close to the riverbank, the Kiosk of Trajan is a small open temple with supporting columns. Despite it being unfinished, it's one of Philae's most iconic structures and was often the subject of Victorian-era painters.

Like other ancient structures in Lower Nubia, the Temple of Isis was rescued by UNESCO in the 1970s. After the completion of the Aswan Dam in 1902, water partially submerged the temple during the Nile's flood season, and archaeologists feared that the damp would soften the monument's foundations and cause its collapse. It was moved to what was then known as Agilkia Island but was renamed for the island where the Temple of Isis originally stood.

This temple is one of four ancient monuments in Egypt that has nighttime sound-and-light shows ( soundandlight.show/en,  LE310)—the others are Abu Simbel, Karnak in Luxor, and the Pyramids of Giza. Some say that the Philae show is the least cheesy of the bunch. The first part involves walking through the atmospheric, partly illuminated temple, and the second delivers a brief history. Book show tickets online in advance, checking to be sure that the show you select is narrated in English.

Seti I initiated construction of this temple complex but died before its completion, which left his son, Ramses II, to finish it. Today it remains one of the most fascinating temples in Egypt because of its exquisite reliefs, unique chapel design, and preserved paint.

To reach the temple, walk up a ramp through two mostly destroyed courtyards built by Ramses II. The temple's facade features a carved and partially painted Portico, half a modern reconstruction, with scenes of Ramses II making offerings to the gods. Inside the central door is the First Hypostyle Hall, which has 12 pairs of sandstone columns with papyrus-bud capitals. Unlike many temples, the roof is in situ, giving the space a dark, mysterious atmosphere. The column placement creates seven aisles that lead to seven sanctuaries set in the back wall of the second hypostyle hall. The walls are carved with images of Seti I making offerings to Amun-Ra, the creator god, and preparing and dedicating the temple building.

Seti I almost completed the decoration of the Second Hypostyle Hall, and the exquisite quality of these reliefs stands in stark contrast to the cruder work commissioned later by Ramses II. The Seven Sanctuaries at the back of the hall are rare features in Egyptian temples. They are dedicated to Horus, Isis, Osiris, Amun-Ra, Ra-Horakhty, Ptah, and the deified Seti I, and each is decorated with scenes of the king making offerings to the gods and the gods giving symbols of life and kingship in return. Osiris's sanctuary is the most impressive and leads to two further halls and chapels for Isis (his wife) and Horus (his son).

The relationship between Osiris and Isis is seen in more graphic detail east of the sanctuaries, where a chamber has a scene of the conception of Horus. The story goes that Isis flew around Egypt to gather all the pieces of Osiris but was missing one—we'll let you guess which. She fashioned one for Osiris, added a bit of magic, and conceived Horus.

Along the corridor away from the sanctuaries, the Gallery of Ancestors contains the Abydos Kings List, an important table that records the previous 76 kings of ancient Egypt being read out by the future Ramses II as he is watched over by his father Seti I. These rows of cartouches are the only source of the order and names of some Old Kingdom pharaohs, though it does rewrite history by not including rulers considered illegitimate, including Hatshepsut and Akhenaten.

An upward sloping interior corridor has a scene of a young Ramses II and his pharaoh father lassoing a bull and then offering it as a sacrifice to the gods. This corridor leads outside to the sunken Osireion, which is off-limits to visitors and can only be viewed from above, which precludes getting a good look at the reliefs. This sandstone and granite monument was thought to be the tomb of Osiris. Its architectural style is reminiscent of Old Kingdom construction, but it was actually built by Seti I.

Just northwest of Seti I's temple lies the Temple of Ramses II (1279–1213 BC). Its roof and most of the upper portions of its walls are missing, but enough of it remains to give a feeling of its layout and decoration. What's left of the decoration shows that this temple—unlike the inferior work that Ramses commissioned to complete his father's temple—is close in style and quality to the work done during the reign of Seti I, and the walls retain some vibrant reds, yellows, and greens.

The Great Temple of Ramses II is fronted by four 65-foot-tall colossi of the sitting pharaoh wearing the double crown of Upper and Lower Egypt. One of the four heads fell to the ground in antiquity and was kept in that position when the temple was moved. Around the legs of the statues stand smaller figures of Ramses II's mother, his favorite wife Nefertari, and some of his children (he allegedly fathered more than 100). A row of baboons praising the rising sun tops the temple facade. A carved figure of Ra-Horakhty stands over the door to the temple between the two pairs of statues.

Inside, the hypostyle hall is lined with eight columns of Ramses II in the crossed-arms position of Osiris, god of the afterlife. The walls are carved with reliefs showing military conquests and other events from Ramses II's reign, including his self-proclaimed victory at the Battle of Kadesh (1274 BC) in modern-day Syria. It has some fine scenes showing Ramses on a chariot, and it also depicts the besieged city, the attack, and the counting of body parts of the defeated enemies. Protective vultures with outstretched wings decorate the ceiling. Several side chambers are accessible from this hall and were probably used as storerooms for the furniture, vessels, linen, and priestly costumes.

The second hall contains four square columns and is decorated with scenes of Ramses II and Queen Nefertari making offerings to the gods, including the deified Ramses himself. This hall leads into a narrow room where the pharaoh likely made in-person offerings to the gods of the temple. Beyond lie two undecorated side chapels and the main sanctuary, which has four rock-carved statues of temple gods: Ptah, Amun-Ra, deified Ramses II, and Ra-Horakhty. Twice a year, the first rays of the rising sun pierce the dark interior of the temple and shine on three of the four statues—Ptah, connected with the realm of the dead, remains in the dark. When the temple was moved, this solar phenomenon was taken into consideration and still happens, albeit one day later, on February 22 and October 22. Thousands visit on these dates, and ticket prices more than double.

The smaller temple at Abu Simbel is the Temple of Queen Nefertari, dedicated to the goddess Hathor. Six 10-meter (33-foot) standing rock-cut statues of Queen Nefertari and Ramses II front the temple, and note that it's unusual to see the pharaoh's consort shown in the same size. 

The layout of this temple is a simplified version of the Great Temple. The doorway opens into a hypostyle hall that contains six Hathor-headed columns. The ceiling offers a dedicatory inscription from Ramses II to Queen Nefertari. The hall is decorated with scenes of the royal couple making offerings to or worshiping the gods. A narrow vestibule follows the pillared hall, and the main sanctuary leads off this vestibule. The sanctuary contains a niche with a statue of Hathor as a cow, protecting Ramses.

Local rulers had long overlooked the strategic value of the hill above the city, but, within a few years of his arrival in 1168, Salah al-Din al-Ayyub began creating defense plans with the Citadel at their center. He and his successors built an impenetrable bastion using the most advanced construction techniques of the age, and, for the next 700 years, Egypt was ruled from this hill. Nothing remains of the original complex except a part of the Ayyubid walls—33 feet (10 meters) tall and 10 feet (3 meters) thick—and the Bir Youssef (Youssef Well), which was dug 285 feet (87 meters) straight into solid rock to reach the water table and is still considered an engineering marvel.

In the 1330s, most of the Ayyubid buildings were replaced by Mamluk structures. After assuming power in 1805, Muhammad Ali had all the Mamluk buildings razed and the complex entirely rebuilt. Only the green-domed mosque and a fragment of the Qasr al-Ablaq (Striped Palace) remain.

For more than 150 years, the Mosque of Muhammad Ali has dominated the City's skyline. Although Ottoman law prohibited anyone but the sultan from building a mosque with more than one minaret, this mosque has two, one of the first indications that Muhammad Ali wouldn't remain submissive to Istanbul. Note the spacious courtyard's gilded clock tower, which was provided by King Louis Philippe in exchange for the obelisk that stands in Paris. It’s fair to say that the French got the better end of the bargain: the clock has never worked.

Behind Muhammad Ali stands the Mosque of al-Nasir Muhammad, a Mamluk work of art with beautifully crafted masonry, elegant proportions, and a minaret featuring ornate but refined details. Ottomans took much of the original interior decoration to Istanbul, but the space is nevertheless impressive. The courtyard's supporting columns were collected from various sources; several are pharaonic.

Across from al-Nasir's entrance is the National Police Museum, worth a quick visit to see the exhibition on Egypt's political assassinations and to enjoy the spectacular view from the courtyard. The enclosure directly below, gated by Bab al-Azab, is where Muhammad Ali wrested control from the Mamluk chiefs. (He invited them to a banquet and had them ambushed by a battalion, ending their dominion in Egypt and eliminating all internal opposition in a single stroke.) To the northwest of al-Nasir, the gate known as Bab al-Qulla opens to the Qusur al-Harem (Harem Palace), now the site of the National Military Museum, with somewhat interesting displays of uniforms and weaponry.

Farther west, the Carriage Museum, the dining hall of British officers stationed at the Citadel in the early 20th century, now houses eight conveyances used by Egypt's last royal dynasty (1805–1952). In the northwest part of the Citadel is the rarely visited Sulayman Pasha Mosque built in 1528. While its plan is entirely a product of Istanbul, the sparse stone decoration shows traces of Mamluk influence.

Before leaving the Citadel, pass by the Qasr al-Gawhara (Jewel Palace), where Muhammad Ali received guests. It's now a museum displaying the royal family's extravagance and preference for early 19th-century French style.

This huge neoclassical building, a Downtown landmark on the north end of Tahrir Square, was masterfully designed by French architect Marcel Dourgnon. It opened in 1902, making it one of the oldest archaeological museums in the Middle East—and one of the largest, with a collection of ancient Egyptian artifacts so vast that it would have taken nine months to complete a tour if you spent just one minute studying each item.

Although some of the museum's treasures have been moved to the National Museum of Egyptian Civilization—and most of the Tutankhamun finds are now in Egypt's newest archaeological repository, the Grand Egyptian Museum in Giza—the breadth here is still staggering. Galleries take you through millennia, from the Predynastic Period (6000 to 3100 BC) through the Greco-Roman Era (332 BC to 313 AD). The Tanis Treasure includes gold masks, jewelry, solid-silver coffins, and other artifacts dating from between 1076 and 945 BC. Don't miss the animal mummy rooms, especially if you have kids in tow, or the Fayyum portraits: done on wood, these very lifelike paintings put you face to face with one individual Roman-era Egyptian after another.

One of the most ambitious architectural designs in the new millennium is a fitting home for the mother lode of ancient artifacts excavated in Egypt over the last 150 years. Situated less than 2 km (1 mile) west of the pyramids, the world's largest archaeological museum covers 120 acres (49 hectares) on the Giza Plateau. Although embellished with hieroglyphs, its otherwise modern facade is a clear indication that the interior is state of the art, from the large exhibition halls that welcome visitors to the storage, research, and restoration areas accessible only to scholars and staff.

At the entrance, a colossal statue of Ramses II towers over all, and a stairway punctuated with royal statuary leads to the upper halls, where some of the estimated 18,000 artifacts—transferred here from Downtown Cairo's Egyptian Museum and other repositories across the country—are on display for the very first time in history. Other highlights of the collection include the Pharaoh's Royal Solar Boat and much of the Tutankhamun collection.

Just east and in the shadow of the Great Pyramid is the tomb of Khafre’s wife and the granddaughter of Khufu, Queen Meresankh III. The powerful queen was interred in a large and elegantly decorated mastaba (an oblong or rectangular tomb with a flat roof and sloping sides), one of many such 4th and 5th Dynasty tombs in the area. The interior walls depict colorful scenes of full-size figures engaged in key Old Kingdom activities such as baking bread, sculpting, and metal smelting. One scene shows Meresankh’s body undergoing mummification on an embalming table beneath a tent. The queen is also shown with her mother, the equally eminent Queen Hetepheres II, on the eastern wall of the chapel. A second chamber contains 10 rock-cut statues of the queen, her mother, and her daughters.

The website of Egypt's Ministry of Tourism and Antiquities has a link that allows you to "visit" this matsaba virtually, but, as you don’t stumble upon the tomb of a pyramid owner’s wife every day, an in-real-life visit is best. There's a separate admission fee, though, so be sure to ask for a ticket at the entrance.

In the 1980s, the discovery of the workers' town and cemetery in the southeastern area of the Giza Plateau confirmed that construction of the pyramids was very much an earthly endeavor—requiring the labor of thousands of human beings—and not, as some conspiracy theorists maintain, the result of intervention by otherworldly aliens.

The site consists of the Lower Cemetery of the Workers, containing the remains of laborers, bakers, brewers, draftsmen, and the like; the Upper Cemetery, where high-ranking supervisors and their families were interred; and the so-called Lost City of the Pyramid Builders (Heit el-Ghurab).

Findings in both the cemeteries and the city—an organized grid of streets with dwellings, storage facilities, and administrative structures—have revealed much about the builders. For instance, archaeologists have determined that although skeletal remains show signs of a life of hard labor, injuries like bone breaks had healed properly, indicating that workers received good medical care. Other findings suggest that workers also had access to both cattle and fish, important sources of protein, and that bread was manufactured on an industrial scale in several large bakeries.

Designed by French architect Léon Rousseau, this massive palace was commissioned by Khedive Isma’il to serve as the official government headquarters in place of the Citadel. Construction began in 1863, and the palace was officially inaugurated in 1874, with a new wing added in 1891. The gardens, however, were not added in until 1921, by Sultan Fuad I before he became king. Much of the palace is closed to the public, but it's worth stopping by to take in the architecture, the well-maintained garden dotted with old-growth trees, and the small museum. The latter occupies just a handful of the massive palace's 500 ornate rooms and has displays of weaponry, silverware once used by the royal family, and other items.

This attractive mosque was built during World War II over the tomb of a 13th-century holy man, who is the patron saint of the city's fishermen. The area surrounding it has been turned into Egypt's largest and most bizarre religious/retail complex, with a cluster of mosques sharing a terrace that hides an underground shopping center. Intruding on the space is a horrific modernism-on-the-cheap office building (with yet more shops) that is as pointed and angular as the mosques are smooth and curved. If you are dressed modestly and the mosque is open, you should be able to get inside. If so, remove your shoes and refrain from taking photos.

This was the first fortified settlement in the oasis, built on the site of the ancient Oracle of Amun, which lies ruined within its walls. While archaeologists disagree on the original date of the oracle's construction, it is clear that by the 26th Dynasty (664–525 BC) it was known throughout the ancient world.

In 524 BC the Persian king Cambyses dispatched an army of 50,000 men to destroy the oracle after he heard that it had been badmouthing his occupation of Egypt, but according to the Greek historian Herodotus, the soldiers marched into the desert never to be seen again. The oracle's anti-Persian tendencies may be what prompted Alexander the Great to consult it in 331 BC before marching against the Persian Empire.

A staircase ascends to the covered entrance of the ruined fortress, which sits atop a limestone outcropping. Portions of the original structure have been restored, including the sanctum that housed the oracle. There are stunning views of the palm groves and dunes beyond from several vantage points.

Nearby are the remains of the Temple of Amun, a 30th-Dynasty shrine that was blasted to pieces in the late 19th century by an overzealous treasure hunter.

Beside the Nile near 26th of July Street, Aisha Fahmy Palace is an embodiment of early 20th-century architectural splendor. Designed by Italian architect Antonio Lasciac, it was built in 1907 for Egyptian aristocrat Ali Fahmy, King Farouk's army chief. He left the estate to his daughter, Aisha, and she lived there with her husband, prominent actor and director Youssef Wahbi.

The two-story palace underwent a restoration that lasted more than a decade, and now, in addition to housing the Japanese embassy on the second floor, it serves as a cultural center, with art exhibitions throughout the year. Visitors are welcome to stop by for a look at its Rococo-style interior, featuring silk-clad walls, frescoes, and stained glass; just call ahead to be sure the palace is open. The gardens are also quite serene despite the bustle of neighboring 26th of July Street.

The name of the mosque means "the moonlit" and refers to the way the stone catches the moon's reflection at night. Built in 1125, it’s one of a few Fatimid buildings that have escaped major alterations. The shell-like recesses in the stone facade, later to become a common decorative element, were used here for the first time. This little mosque was also the first in Cairo to have an ornamented stone facade, and it was the first to alter its plan according to the existing urban structure, as the street existed before the mosque.

The site features a late-Roman basilica, the only surviving large building of its kind in Egypt, as well as a giant statue (one of a pair) of the god Thoth in the guise of a baboon. A large New Kingdom temple to Thoth, god of Ashmunayn, used to stand at the site but is pretty much invisible today.

Built in AD 970 by Fatimid caliph al-Mu'izz, al-Azhar is the oldest university in the world. Although the Fatimids were Shi'ite, the Sunni Mamluks who ousted them recognized its importance and replaced the Shi'ite doctrine with Sunni orthodoxy. Today, the university has faculties of medicine, engineering, and religion. It also has auxiliary campuses across the city.

Al-Azhar's primary significance remains as a school of religious learning. All Egyptian clerics must be certified from it—a process that can take up to 15 years. Young men from all over the world study here in the traditional Socratic method; students sit with a tutor until both agree that the student is ready to go on. The Grand Imam of al-Azhar is not just the director of the university, but also the nation's supreme religious authority. The beauty of al-Azhar, unlike many other monuments, stems in part from the fact that it is alive and very much in use.

Built in pieces throughout the ages, al-Azhar is a mixture of architectural styles, and the enclosure now measures just under 3 acres. After you enter through the Gates of the Barbers, a 1752 Ottoman addition, remove your shoes and turn left to the Madrasa and Tomb of Amir Aqbugha. Note the organic-shaped mosaic pattern rare to Islamic ornamentation near the top of the recess in the qibla wall (wall in the direction of Mecca).

Back at the entrance, the Gates of Sultan Qaitbay, built in 1483, can be seen. The quality of ornamentation verifies this Mamluk leader's patronage of architecture. The finely carved minaret placed off-center is noteworthy. To the right is the Madrasa al-Taybarsiyya completed in 1309, and once ranked among the most spectacular madrasas in Mamluk Cairo. Only its qibla wall remains, and it’s said that the ceiling was once gold-plated.

Qaitbay’s gateway opens to a spacious courtyard, quite typical of early Islamic design. Through the keel arches is the entrance to the main sanctuary, which was traditionally a place to pray, learn, and sleep. It's part Fatimid, part Ottoman. The Ottoman extension is distinguished by a set of steps that divides it from the original. The two qibla walls, the painted wooden roof, the old metal gates that used to open for prayer, and the ornate stucco work of the Fatimid section are all noteworthy.

To the right of the Ottoman qibla wall is the Tomb of Abd al-Rahman Katkhuda, the man most responsible for the post-Mamluk extension of al-Azhar. To the extreme left along the Fatimid qibla wall is the Madrasa and Mausoleum of the Eunuch Gawhar al-Qanaqba’i, treasurer to Sultan Barsbay. It's small, but its intricately inlaid wooden doors, the stained-glass windows, and dome with an interlacing floral pattern are exceptional.

Return to the courtyard. To the right of the Minaret of Qaitbay is the Minaret of al-Ghuri, the tallest in the complex. Built in 1510, it’s divided into three sections like its predecessor but is tiled rather than carved. The first two are octagonal, and the final section, consisting of two pierced rectangular blocks, is unusual, and not at all like Qaitbay's plain cylinder.

Built outside Cairo's original walls (those standing now were constructed in 1087), this mosque saw varied usage during its lifetime. During the Crusades it held European prisoners of war who built a chapel inside it. Salah al-Din (1137–1193) tore the chapel down when he used the structure as a stable. In the 19th century, Napoléon's troops used it as a storehouse and fortress; Muhammad Ali closed part of it off for use as a zawya (small Sufi school); and, until the establishment of the Museum of Islamic Arts in 1896, it served as a repository for Islamic treasures.

Originally built in 1010 by the Fatimid caliph al-Hakim bi-Amr Allah, this gigantic mosque was restored under the aegis of the Aga Khan, spiritual leader of the Isma'ili Shi’a sect. Al-Hakim was an eccentric character. Some of the strangest edicts were declared during his caliphate, including one ban on mulokhia, a favorite Egyptian dish (he didn't care for it) and another on women's shoes (to prevent them from going out in public). He liked riding around town on his donkey to ensure that his orders were being obeyed, but one night, he rode off into the Mokattam hills, never to be seen again. The Druze claim that he has vanished only temporarily and will return to lead them to victory.

Architecturally, the mosque’s most significant elements are its minarets, which were restored and reinforced by Baybars II in 1303, giving them that impressive trapezoidal base. Nevertheless, its scale and history are important, and its courtyard is large and breezy, making it a comfortable place to rest or meditate.

While the two vividly painted Roman-era tombs that made this windswept necropolis famous have been closed for many years, it is still an interesting place to explore. For a little baksheesh, the caretaker will direct you to a collection of mummies recovered from the tomb-riddled knoll.

Although it appears neo-Mamluk in style, this mosque was not commissioned until 1869 by the mother of Khedive Isma'il, Princess Hoshiyar. It was completed in 1912 but, from the outside, seems more timeworn and less modern than the 14th-century Mosque of Sultan Hassan beside it. True to the extravagant khedivial tastes, the inside is markedly different from that of its neighboring mosque as well. While the latter is relatively unadorned, al-Rifa'i is lavishly decorated. The mausoleum here contains the bodies of Sufi holy men of the Rifa'i order (hence the establishment's name), as well as the remains of many royals.