77 Best Sights in Cairo, Egypt

With gardens, a well, and a flour mill, this massive, 16th-century merchant's house, considered Cairo's best example of domestic Islamic architecture, seems more like a self-sufficient hamlet than it does a domicile. A charming, evocative little corner of Cairo, the house and adjacent alley have been restored. The entranceway leads to a lush courtyard that is totally unexpected from the outside. On the ground floor are the salamlik (public reception rooms); the haramlik (private rooms) are upstairs.

Of all the Old and Middle Kingdom pyramids at Dahshur, the one built for Amenemhet III (1844–1797 BC) is, perhaps, the most easily recognizable. It was originally constructed out of black mud brick and encased with fine limestone that was later plundered, leaving it with the darker color that led to its modern-day name. It took an estimated 15 years to build this structure, which measures 31 square meters (344 square feet) and was originally 80 meters (265 feet) tall. Its pyramidion (a pyramid's crowning feature) was fashioned from black basalt and now resides in the Egyptian Museum.

Nearby are tombs belonging to other members of the court, unlikely to be open to the public. Like Sneferu, Amenemhet III had two pyramids; the other one is in Hawara in Fayyum.

Designed by Egyptian architect Naoum Shebib and completed in 1961, the Cairo Tower soars 610 feet (187 meters), making it the tallest structure not only in Egypt but also North Africa. Its exterior exhibits pharaonic influences, as evidenced by latticework that is reminiscent of the lotus plant, and its observation deck affords an unprecedented, 360°-view of greater Cairo. Morning visits have their appeal, but sunsets from the tower are phenomenal.

One of the largest and finest churches in Cairo was named after a young Nicodemian woman who was killed by her pagan father for converting. First built in 684, it was originally dedicated to Cyrus and John (in Arabic, Abu Qir and Yuhanna, respectively), two martyrs from the city of Damanhour who were killed for not renouncing their Christianity.

The church, which was destroyed by fire and rebuilt in both the 11th and 12th centuries, has the standard layout consisting of a narthex, a nave, side aisles, and three sanctuaries. Technically, there are two churches on the site, as a separate sanctuary was built when the relics of St. Barbara were brought here. The sanctuary screen currently in place is a 13th-century wooden piece inlaid with ivory—the original screen is in the Coptic Museum. The icons above the screen include a newly restored Child Enthroned and a rare icon of St. Barbara. To the left of the sanctuary is the chapel dedicated to Cyrus and John, a square structure with a nave, transept, two sanctuaries (one for each saint), and a baptistry. Access to Coptic Cairo's cemetery is through an iron gate to the left of the church.

What's known in Arabic as Abu Serga is considered Cairo's oldest church, originally constructed in the 5th century. Though it was destroyed and rebuilt several times, including during a major restoration venture in the Fatimid era, it is, nevertheless, a model of early Coptic church design. Dedicated to two Roman officers, Sergius and Bacchus, both martyred in Syria in 303, the church sits above a cave where the Holy Family was said to have stayed the night during their flight from King Herod. Hence, it was once a major pilgrimage destination for 19th-century European travelers. A special ceremony is still held here every June to commemorate the event.

The entrance leads to the side of the narthex, at the end of which is a baptistry. At the ceiling of the nave, 24 marble pillars that were taken from an earlier site and possibly date from the Ptolemaic era (304–30 BC), support a series of arched timbers. Most of the church furnishings are modern replicas of older pieces. The originals are in the Coptic Museum—pieces from a rosewood pulpit and the sanctuary canopy are among the museum's prized possessions. To the left of the sanctuary is the crypt in which the Holy Family is believed to have hidden.

A Tartar (Mongol) who was brought to Egypt as a slave, al-Mansur Qalawun became one of the early Mamluk rulers of Egypt. He began building this complex, noteworthy for its workmanship and diverse styles, in 1284. In its heyday, the bimaristan (hospital) that Qalawun established here was famous, with a staff that included musicians and storytellers, as well as surgeons capable of performing delicate eye surgeries. The madrasa and mausoleum showcase the complex's impressive street facade. A 194-foot (59-meter) minaret has horseshoe-shaped arched recesses and a corniced overhang, a device used since pharaonic times. The entrance's semicircular arch was the first of its kind in Egypt. Beyond the entrance is a long, tall corridor with the madrasa to the left and the tomb to the right.

The gem of the complex, however, is the mausoleum—the burial place of Qalawun and his son al-Nasir Muhammad. The chamber is dark, cool, and mammoth, and in its center is a wooden grille that encloses the tombs. There is much here to suggest that Qalawun was deeply influenced by what he saw on his exploits in Palestine. The plan of the mausoleum is similar to that of the Dome of the Rock in Jerusalem; it contains an octagon fit within a square. The stained glass and tall proportions have a Gothic quality that are reminiscent of Crusader churches that he saw in the Levant.

This church's namesake holds a special place in the hearts of Copts. The remains of this Roman legionary, who was martyred in Asia, were brought to Egypt in the 12th century. Images of St. George (Mar Girgis) abound in Egyptian Christianity (he's most commonly depicted on a steed crushing a dragon beneath him), so it’s no surprise that this district has a church, a monastery, and a convent dedicated to the dragon slayer.

Medieval historians described the complex as huge, and though it's less impressive in its present-day form, it's still worth a visit. The stairway on the left of the courtyard leads down to a structure that dates from the Fatimid era. Inside is a huge reception hall with a beautiful wooden door about 23 feet (7 meters) tall. Behind the door, a shrine contains the icon of St. George and a set of chains used for the chain-wrapping ritual said to represent the sufferings of St. George at the hands of the Romans.

When you exit Deir Anba Bishoi, turn left, and a 10-minute walk brings you to Deir al-Sourian. Even if you have a car, it is worth walking: the approach gives you a powerful sense of the desert's small dunes with the lush foliage of the monastery just peeking over the high walls that shimmer in the haze of heat off the sands.

Deir al-Sourian was founded by a breakaway faction from Deir Anba Bishoi and dedicated to Theotokos (God's Mother). A later reconciliation made the new monastery redundant, so it was taken over by monks from Syria—hence its name al-Sourian, the Syrian. There is a tamarind tree in the rear of the monastery that supposedly grew out of the walking stick of the 4th-century Syrian Saint Ephraem. Challenged by younger monks, who thought he carried the staff to look authoritative, Ephraem announced: "Were it used due to weakness, it will bud out," and he stuck his staff in the ground.

Many sections of Deir al-Sourian, including the 9th-century Roman-style keep, are not open to the public, but the main church has a number of interesting sights. The most impressive is the ebony Door of Symbols, inlaid with ivory, in the haykal (sanctuary). Its seven panels represent what were thought of locally as the seven epochs of the Christian era. An inscription shows that it was installed in the church in the 10th century, when Gabriel I was the patriarch of Alexandria. On either side of the haykal are two half domes decorated with frescoes, one showing the Annunciation to the Virgin and the other the Virgin's Dormition. Many other frescoes have been discovered throughout the church including, most recently, several 7th-century renditions of as yet unknown Coptic martyrs. The monks are inordinately proud of these discoveries.

In the rear of the church is the refectory, with a kitschy display of monastic eating habits, complete with plaster figures dressed up like monks. If you duck through a narrow passage to the left of the refectory, you can find a stone cave that was Saint Bishoi's private laura. According to legend, Saint Bishoi tied his hair to a chain (now a rope) that hung from the ceiling to prevent himself from falling asleep during his marathon prayer sessions.

If only by virtue of its accessibility, Deir Anba Bishoi has become the busiest monastery in Wadi Natrun, but it remains one of the most charming. The monastery dates from the 4th century, as does its oldest church (one of five), which was built with domes and irregular stone-and-silt-mortar walls covered in smooth sand-hue plaster. The interior consists of a high triple-vaulted main hall. Tiny apertures pierce the ceiling, admitting streams of brilliant sunlight that catch the plumes of incense that fill the air. To the left, through a spectacular 14th-century door, is the haykal (sanctuary), where contemporary frescoes depict John the Baptist, Saint Mark, and the 12 apostles, along with early monastic fathers. The carved wooden door (hidden behind a velvet curtain) was donated in the 7th century by the last Byzantine pope, just before the Arab invasion marked the emergence of Islam in Egypt. The coffin is that of Saint Bishoi.

Elsewhere in the monastery, there is a workable (though unused) grain mill that looks every bit as old as the church itself. The monks live in cells known as lauras, and a cell is exactly what they are: small boxes with a single window and few comforts. Near the entrance gate is the keep, a defensive tower with a drawbridge into which the monks could retreat in the event of attack. The Coptic Pope Shenouda III maintains a residence within the monastery, but it is not open to the public.

The Babylon Fortress—which now encompasses the Coptic museum, six Coptic churches, and a convent—did not always stand at its current location. The Roman emperor Trajan had it moved here when access to a steady water supply became an issue. At that time, the Nile ran by Old Cairo; it has since changed its course northward by almost 1,300 feet (400 meters). It is also sometimes called Qasr al-Shama'e (Candles Palace) because its towers were illuminated with candles at the beginning of every month.

This medieval landmark was the last great Mamluk architectural work before the Ottomans occupied Egypt. Built by Sultan al-Ghuri, who constructed Wikalat al-Ghuri three years later, al-Ghuriya stands on either side of al-Muizz street where it crosses al-Azhar street. The surrounding area was the site of the silk bazaar visible in David Robert's famous 1839 etching Bazaar of the Silk Mercers, Cairo.

On the right side of the street (facing al-Azhar street) is the madrasa, and opposite it stands the mausoleum. Note the unusual design of the minaret—it’s a square base topped by five chimney pots. The mausoleum was rebuilt several times during al-Ghuri's reign. After spending a reported 100,000 dinars on the complex, al-Ghuri was not buried there. He died outside Aleppo, and his body was never found. The bodies of a son, a concubine (both victims of a plague), a daughter, and Tuman bay II (his successor) are interred in the vault.

Also known as Bayt al-Kiritliya (House of the Cretan Woman), the museum consists of two Ottoman houses joined together, restored, and furnished by Major Gayer-Anderson, a British member of Egypt’s civil service in the '30s and '40s. The house is adorned with lovely pieces of pharaonic, Islamic, and Central Asian art, and a few oddities here and there. The reception room features a mosaic fountain at the center of an ornate marble floor, and the courtyard of the east house has the "Well of Bats," the subject of much storytelling in the neighborhood. James Bond’s The Spy Who Loved Me was partially shot in the reception hall and on the rooftop terrace. The house also inspired Gayer-Anderson's grandson, Theo, to become an art conservationist, and he was involved in the restoration of Bab Zuweila.

Public bathhouses were popular back in the day, with more than 80 hammams operating by the end of the 19th century. Commissioned and built in 1456 during the Mamluk period, this one is the only remaining part of a complex that once consisted of a commercial center, a fountain, and two hammams. Located in the Bayn al-Qasrayn area it’s one of the few well-preserved monuments of its type.

Despite the remains of bathrooms, cooking facilities, and houses, some of which are decorated with frescoes, it's hard to believe that Karanis was once populated by thousands. This Greco-Roman town 25 km (15 miles) north of the city of Fayyum was founded by Ptolemy II's mercenaries in the 3rd century BC. Today, its main attraction is a temple dating from the 1st century BC and dedicated to two crocodile gods, Petesuchs and Pnepheros. At its east entrance, a large square depression is all that's left of the pool that would have been reserved for the sacred creatures. Inside, niches where mummified crocs would have been interred are still visible, as are some wall inscriptions.

A small >museum at the entrance to the site displays two of the famed Fayyum portraits—painted funerary masks laid over the faces of linen-covered mummies. The collection also includes statuary, relief fragments, and a few everyday objects, as well as Coptic and Islamic textiles and ceramics. Some items were unearthed here, others were found elsewhere in the Fayyum and Egypt.

Though its facade is deceptively regular, this building marks a turning point in Cairo's architectural and political history. The last descendant of Salah al-Din to rule Egypt, al-Salih Najm al-Din al-Ayyub died in 1249 defending the country against the Crusader attack led by Louis IX of France. His madrasa was used by judges to hear cases and issue judgments; punishments were carried out in the street in front of it, in the Bayn al-Qasrayn area, which was the city center for centuries. This madrasa was not only the first in Cairo to have a liwan (a vaulted area) for more than one legal school, but it was also the first to have a tomb attached—two traits that became standard features of Mamluk madrasas. Note the minaret's cap, which is shaped like a mabkhara (an incense burner), and its keel-arch recess with shell-like ornamentation.

Considered the greatest Mamluk sultan, al-Nasir ruled on three different occasions between 1293 and 1340 for a total of 42 years, and during his reign, Egypt gained control of the lucrative maritime trade routes that connected England with China. Al-Nasir built more than 30 mosques, the aqueduct from the Nile to the Citadel, and a canal from Cairo to Alexandria. Eight of his sons ruled Egypt in the 21 years following his death. Qalawun's complex has slight Gothic influences, but this, his son's madrasa (built in 1304), contains distinct, Gothic elements. In fact, the entrance was literally lifted from a crusader church in Acre. The minaret, with its delicate stucco-work, is one of the city's finest.

No visitor to Kagemni’s tomb can ever forget the endearing depiction of a calf drinking its mother’s milk or the bewildering one of an underwater battle between a crocodile and a hippopotamus. Both scenes demonstrate the ancient Egyptians’ astute observations of the animal world. They are also just two of many scenes expertly carved in the limestone tomb belonging to a chief judge and vizier under the 6th-Dynasty ruler, Teti (2345–2333 BC). Others touch upon daily activities such as fishing, dancing, husbandry, and making food offerings to the tomb owner.

This tomb adjoins the Mastaba of Mereruka to the east. Some presume that a single artist or atelier was responsible for decorating the mastabas in this area because certain scenes—the force-feeding of animals, poultry yards, the tomb owner being carried on a chair—recur. But they could also be conventional scenes used to decorate tombs at the time.>

The Teti cemetery's largest tomb, with more than 30 rooms, belonged to Mereruka, a wealthy vizier during the reign of the 6th-Dynasty (2345–2181 BC) pharaohs, Teti and Pepy I, and who was married to one of Teti’s many daughters. The tomb's significance lies in its renderings of not only its owner but also of Old Kingdom life, with scenes of jewelry-making, scribal recording, herding, and harpooning, among other activities.

In one scene, Mereruka himself can be seen fishing and fowling alongside his family. In another, almost poetic one, the dutiful official is shown as the personification of the three ancient Egyptian seasons: akhet (for the flooding), peret (for the emergence of fertile land), and shemu (for the harvest). In addition, a life-size statue depicts Mereruka stepping forward from the tomb's false door to receive his offerings.

At the end of the walkable section of the Unas Pyramid's causeway is the magnificently decorated and somewhat provocative tomb of the “Two Brothers,” namely, Niankh-khnum and Khnumhotep, who were overseers of the Great House manicurists in the 5th Dynasty (2494–2345 BC). As at other tombs, much of the iconography here depicts fishing, carpentry, agriculture, and other everyday activities. But the men’s professions are also showcased in precious snippets showing pedicurists and manicurists hard at work.

A remarkable chapel scene of the two interlacing and facing one another has been at the heart of much speculation over the years. Many argue that the men were brothers, perhaps even twins thanks to their similar names. Others note that such intimate ancient Egyptian scenes were usually reserved for husbands and wives, indicating a possible homosexual relationship between the two men, although both had wives and children. Regardless, the two men were close: an inscription above the tomb’s entrance reads “joined in life and death.”

Ti was a supervisor of the construction of Niuserre and Nefefrikare’s pyramids in Abu Sir and was married to Neferhetepes, a priestess of goddesses, with whom he had sons. His recently restored family tomb is exquisitely decorated and painted—the boat-building scenes are particularly noteworthy—with some of its original roof in tact. A statue of Ti, albeit a reproduction, is visible in the serdab (a small room specifically for a statue of the deceased), and a large courtyard with a stairway leads to Ti’s burial chamber, where you can spot the official’s sarcophagus.

Medinet el-Fayyum, the capital and the largest city of the Fayyum Governorate, was once a place of worship for the crocodile god, Sobek, inspiring the Greeks to name the city Crocodilopolis. Today, it sits 7 meters (22 meters) above sea level, and eight canals provide it with water. Traces of ancient Mamluk and Ottoman architecture can be found in some of its downtown mosques, and the lively city center hosts bazaars and markets weekly. The city's iconic attractions, however, are its four waterwheels. They were first introduced during the Ptolemaic Dynasty (305–30 BC), and you can hear them amid the honking of horns and the rush of traffic. There are waterwheels elsewhere in the Fayyum as well.

Little is known of the town that was originally named Dja and is situated 35 km (22 miles) southwest of the city of Fayyoum. It was founded during the reign of Amenemhat III and Amenemhat IV (1855–1799 BC) and remained extant during the New Kingdom (1550–1077 BC) era, after which it was abandoned. Revived during the Ptolemaic Dynasty and renamed Narmouthis, the town grew and was occupied even after the Muslim conquest of Egypt, before being abandoned once and for all.

Because Medinet Madi, the so-called City of the Past, is somewhat is isolated it provides an unmatched intimate experience. You can wander its Middle Kingdom temples, some of them remarkably well preserved, dating from the 12th Dynasty and adorned with hieroglyphic inscriptions.

Set up like a sculpture garden, this predominately open-air museum has a scattered assortment of statuary, coffins, and architectural fragments recovered from the area of Memphis. Highlights include a large Egyptian alabaster sphinx; a sarcophagus that was, curiously, carved upside down; columns with interesting motifs; and several statues of Ramses II (aka, Ramses the Great, 1279–1213 BC), including a colossal limestone version of him inside the museum building. You can view it from ground level and from a balcony that runs above, where you can better see finely carved details like the elaborate dagger at the pharaoh's waist. Stalls selling souvenir replicas of Egyptian artifacts are set up on one side of the garden. Quality varies, but on the whole, you can find some attractive items here.

This mosque and khanqah (shrine) were built by the commander in chief of Sultan Hassan's forces. The khanqah has a central courtyard surrounded by three floors where 150 rooms once housed 700 Sufi adherents. As in the mosque, classical pillars support the ground-floor arches. Tuman bay II, the last Mamluk sultan, hid here during the Ottoman conquest, so the mosque was badly damaged by shelling. Nevertheless, its qibla liwan (hall in the direction of Mecca) still has its original marble inlay work. To the left of it are the tombs of Shaykhu and the first director of the school. Today, this is an active neighborhood mosque.

Built in 1160, one of the last Fatimid structures constructed outside the city walls is also one of Cairo's most elegant mosques. Like many others, the ground floor housed several shops, which allowed the authorities to pay for the upkeep. Today, these shops are underground because the street level has risen considerably over time.

The mosque has a standard early-Islamic rectangular courtyard plan. The main facade consists of five keel arches on Greco-Roman columns taken from an earlier building that are linked by wooden tie beams. Between each arch, a set of long panels is topped with Fatimid shell niches. The most distinctive architectural feature, however, is the porch-like area underneath the arches of the main facade that creates an open, airy interior court. Inside, the columns are also taken from elsewhere: no two of their capitals are alike.

Featuring fine examples of virtually every decorative art in vogue during the 14th century, this mosque was built by a son-in-law of Sultan Nasir al-Muhammad who died at the tender age of 25. It was then completed under the supervision of the sultan's architect. As you enter the sanctuary behind the fine mashrabiya (projected oriel windows made of wood), you’ll notice a collection of pillars of pharaonic, Christian, and Roman origin. The mihrab (prayer niche) is made of marble inlay and mother-of-pearl, and the wooden minbar (pulpit) is also beautifully carved and inlaid. Above the mihrab are excellent original stucco carvings, unique in Cairo for their naturalistically rendered tree motif, as well as dados of inlaid marble with square Kufic script.

Outside, be sure to admire the first example of a minaret in octagonal form from bottom to top. It is shaped like a pavilion, with eight columns carrying a pear-shaped bulb crown. Note, too, that this mosque is an active community center, so it's open longer than other monuments.

Known as the first mosque on the African continent, it was built by its namesake in 642 following the conquest of Egypt and the founding of Fustat—the first Islamic capital. One of the first companions of Prophet Muhammad, Ibn al-As designated the mosque as a place for communities and troops to come together. Because the original structure probably had mud-brick walls and a palm-thatch roof, it did not survive for long. It was restored and expanded in 673 and again in 698, 710, 750, and 791. Finally, in 827, it was expanded to its current size. The structure’s architectural features naturally changed, but there was an attempt in the 1980s to restore its interior to its 827 appearance.

Sultan al-Mu'ayyad was once imprisoned at this location under Sultan Faraj, and he suffered terribly during his imprisonment from fleas and lice. He swore that, if he was ever freed, he would build a mosque there—a sanctuary for the education of scholars. He ultimately assisted in overthrowing the sultan, and became the new sultan within six months. He made good on his promise in 1420 and tore down the infamous jails that once occupied the site.

The mosque's facade is remarkable in that the ablaq (the striped wall) is black and white, less common than the usual red and white. The famous entrance of the Sultan Hassan Mosque below the Citadel inspired the high portal. The beautiful bronze-plated door was lifted from the mosque of Mu’ayyad’s better-known predecessor. The two elegant identical minarets rest against the towers of Bab Zuweila, which makes them appear to be a part of the gate and not the mosque.

The interior space is well insulated from the bustle of the surrounding district by high walls blanketed in marble panels. The wood and ivory minbar is flanked by a fine columned mihrab with marble marquetry of exceptional quality. The gilt and blue ceilings are also noteworthy.

The first of the Circassian Mamluk sultans, Barquq (whose name means "the plum") rescued the country from the ravages of the Black Death and related famine and political unrest. His complex, established between 1384–1386, includes a school where all four sects of Islam were embraced, a mosque, a Sufi khanqah (shrine), and a mausoleum where his father and a number of his wives and sons are buried. It also houses secondary school classrooms, Sufi classrooms, and sleeping quarters with various amenities for the students.

The domed minaret that adorns the entrance facade sets the complex apart. Capitals in the columns attached to the facade's wall feature a stylized ram's head. Inside, the school’s four iwans (halls), marble mihrab (niche), wooden pulpit, and Qur’an chair are all impressive. Cursive text on the walls depict Qur’an verses, the name of the founder, and the date of construction. The cruciform interior is spacious and austere, and the qibla (the direction of Mecca) wall is decorated in marble dado.

The vast holdings at this museum across from the Cairo Opera House consist of modern works by 20th- and 21st-century Egyptian painters, sculptors, calligraphers, and other artists. Highlights of the permanent collection include sculptures by Mahmoud Mukhtar and paintings by Mahmoud Said, both pioneers of the Egyptian modern art movement in the 1920s and '30s. The museum hosts temporary exhibitions as well.