Nowhere else rivals Africa for its untamed wildlife, vast landscapes, and timeless traditions – get ready to fall in love.
Jardin Majorelle is one of Morocco’s most beloved attractions, blending lush botanical gardens, vibrant art deco architecture, and cultural heritage. Originally created in 1924 by French artist Jacques Majorelle, the garden was later preserved and restored by fashion designer Yves Saint Laurent and his partner Pierre Bergé in 1980. Their vision kept Majorelle’s legacy alive and opened this serene escape to the public.
At the garden’s heart lies Majorelle’s iconic electric-blue art deco studio, now home to the Musée Berbère, showcasing over 600 artifacts that celebrate the traditions of Morocco’s indigenous people.
Over 300 plant species from five continents fill this vivid garden — from towering bamboo to exotic cacti and palms.
Explore the Villa Oasis Gardens, opened in 2018, with koi ponds, lily pads, and a peaceful pavilion. Though the villa itself is closed to the public, its surrounding gardens are a visual treat.
Visit the Yves Saint Laurent Memorial, a Roman column brought from Tangier, quietly commemorating the designer and his partner.
Housed in Majorelle’s old studio, this museum is a must-see. It displays traditional Amazigh (Berber) artifacts, including intricate jewelry, costumes, textiles, and tools — beautifully curated in a vibrant setting.
Opening Hours: Arrive early (by 8am) to avoid queues; peak season lines can stretch up to an hour.
Tickets: Book online for quicker access. Entry includes the garden; add Dh30 ($3.35) for the Musée Berbère — highly recommended. Tickets from Friday to Monday also include access to Villa Oasis Gardens.
Photography Tip: Late afternoon offers the best lighting for photos.
Accessibility: The entire garden is wheelchair and stroller friendly.
Café Majorelle inside the garden is perfect for tea or a light snack.
MyKawa, just outside the entrance, serves fresh salads, Moroccan breakfasts, and sandwiches with a Mediterranean touch.
Walk: Just a 10-minute walk from Bab Doukkala via Avenue Moulay Abdullah and Ave Yacoub El Mansour.
Bus: Take Bus No. 12 from Bab Doukkala.
Taxi Tip: Avoid the ones near the garden—walk to the main road to get a fair fare.
Jardin Majorelle is located in Ville Nouvelle, Marrakesh’s modern district. While hotels here offer larger pools and bars, the medina remains unmatched for atmosphere and traditional Moroccan charm.
Step into Djemaa El Fna, the beating heart of Marrakesh, where centuries of tradition unfold before your eyes. From early morning snake charmers and henna artists to the evening’s vibrant street performances and sizzling food stalls, the square is a live theatre of Moroccan life — and it’s been that way since the 11th century.
By sunset, the square transforms into a carnival of sound, scent, and color: Amazigh musicians drum out hypnotic rhythms, gnaoua troupes perform, and the aroma of tajines, brochettes, and snail soup fills the air. It’s chaos — but the kind you won’t want to miss.
Founded alongside Marrakesh in the 11th century, Djemaa El Fna likely got its name from grim origins — possibly meaning “assembly of the dead” due to past public executions. Over the years, it evolved from a mountain-traders’ food market into a legendary center for storytelling, music, and street theatre. Though some traditions like the hikayat (oral storytelling) are fading, the energy of the square still endures.
Recognized by UNESCO in 2001 as a “Masterpiece of the Oral and Intangible Heritage of Humanity,” Djemaa El Fna remains a space of cultural expression — even if modernization is slowly changing its character.
Morning: A quieter time. Vendors set up stalls, juice sellers arrive, and snake charmers begin their acts.
Evening: From 4pm, food stalls fire up and the square bursts into life. By sunset, it’s a whirlwind of performers, music, and street food until 1am. For the best views, grab a mint tea at a rooftop café and watch the spectacle unfold.
Djemaa’s open-air food market is a feast for the senses:
Try snail broth from the eastern side stalls.
Visit Stall 14 for fried fish and calamari.
Head to Stall 1, run by Aicha, for brochettes, tajines, and harira soup.
End your meal with a spiced khoudenjal (ginger tea) and cake from Stall 71 Chez Mohammed.
Pro tip: Use bread instead of cutlery, carry hand sanitizer, and drink only filtered water.
Cars banned after 2pm; watch for bikes and carriages around the edges.
Pickpockets and inappropriate touching can occur in crowds — stay alert.
Bring small change (Dh1 coins) for tipping performers.
Want a front-row view for music or comedy? Arrive early — elders and women get preferred seats.
Avoid supporting animal acts like chained monkeys and snake shows due to ethical concerns.
Budget hotels cluster near the square, particularly on Rue Sidi Bouloukat and Rue de la Recette. For a more elegant experience, check out riads on Rue Riad Zitoun El Jedid.
Feeling adventurous? Dive into mechoui (slow-roasted lamb) or Marrakesh’s famous tanjia. For authentic flavor, visit Hadj Mustapha, known for some of the city’s best tanjia. Want a view? Head to Grand Balcon du Café Glacier for mint tea and great people-watching.
Djemaa El Fna sits on the edge of the medina. It’s:
A 15–20 minute walk from Bab Doukkala or Place des Ferblantiers.
Reachable by Bus 1 or 16 from central Gueliz.
Opened in 2017, the Musée Yves Saint Laurent in Marrakesh celebrates four decades of groundbreaking haute couture by one of fashion’s most iconic figures. Inside, visitors will find carefully curated collections of clothing, accessories, and personal memorabilia from Yves Saint Laurent’s legendary career. The museum also features a 150-seat auditorium, a research library, a bookstore, and a stylish terrace café.
Designed by Studio KO, the museum’s architecture is a standout example of modern design in Marrakesh. From the outside, its façade resembles woven fabric, crafted from terracotta bricks laid in textured patterns over a base of Moroccan marble and stone. The interior, by contrast, is smooth and elegant — much like the lining of a couture jacket.
The structure draws heavily from local inspiration. In keeping with traditional Moroccan riads, the building has no outward-facing windows. Two internal courtyards serve as central features: one circular, lined with Matisse-style stained glass; the other, a square patio adorned with zellige tiles and a rain-catching centerpiece, featuring prominent use of green — a sacred color in Amazigh and Islamic culture.
At the heart of the museum is the Yves Saint Laurent Hall, a dramatic, black-walled space displaying rotating ensembles of haute couture, fashion sketches, and accessories grouped by theme and color. The atmosphere is immersive, enhanced by videos of YSL’s runway shows and audio recordings of the designer himself.
The exhibition begins with a biographical section, featuring personal items such as a handwritten letter from a 17-year-old Yves to the editor of Vogue — a glimpse into the early ambition of a future icon.
A separate space hosts high-quality temporary exhibitions that change several times a year.
Reflecting YSL’s love for stage and cinema, the museum includes a 150-seat auditorium equipped for film screenings, live performances, and theater broadcasts. Just outside the theater, visitors can view the Costumière display — a collection of YSL’s theatrical costume sketches.
By appointment, visitors can explore the first-floor library, which holds more than 5,000 books on fashion, botany, and North African culture. Many are from the personal collections of Yves Saint Laurent and Pierre Bergé.
Yves Saint Laurent first visited Marrakesh in 1966 and quickly developed a deep connection with the city. By the end of that trip, he had purchased a home in the medina. The colors, textures, and spirit of Morocco profoundly influenced his work — from the vivid blues and desert hues to the flowing lines of traditional garments. This museum stands as a testament to the artistic inspiration he found in Marrakesh.
The Jardin Majorelle is located right next door. A combined ticket is available and highly recommended.
Purchase combined entry tickets (for Jardin Majorelle, Musée Berbère, and Musée Yves Saint Laurent) directly from the YSL museum ticket counter to avoid long queues at the garden.
All tickets are available online for added convenience.
If buying a combined ticket at the museum, you must begin your visit there.
By Bus: Take Bus No. 12 from Bab Doukkala.
By Taxi: From Djemaa El Fna, the fare should be no more than Dh20 ($2.25), though drivers often ask for more. Negotiation is expected.
The museum is located in Ville Nouvelle, Marrakesh’s modern district. While this area offers larger hotels with more amenities like pools and bars, the medina provides more charm and cultural atmosphere. Choose according to your preferences — convenience or character.
Le Studio: Located at the museum, this upscale café offers Moroccan and French cuisine in a bright, stylish setting.
Pause Gourmande: Just down the street, this cozy eatery serves traditional bastilla, tagines, and a few European favorites.
Five times a day, the melodic call to prayer echoes across Marrakesh from the Koutoubia Mosque, rising above the bustle of Djemaa El Fna. Built in the 12th century by the Almohads, its 77-meter (250-foot) minaret remains the city’s most iconic landmark — a masterpiece of Moorish design and enduring spiritual presence.
The Koutoubia minaret is a defining example of Amazigh architecture, notable for its square shape, scalloped arches, merlon crenellations, and precise proportions. This unique design inspired later landmarks such as the Giralda in Seville and Tour Hassan in Rabat.
Inside, there are no stairs — only a gentle ramp that allowed the muezzin to ascend on horseback to deliver the call to prayer. The lack of domes, typical of Middle Eastern mosques, reflects Marrakesh’s distinctive architectural identity.
Crowning the minaret are three brass orbs, said to have once been gold. According to legend, Sultan Yacoub al-Mansour’s wife melted her gold jewelry to craft these spheres as penance for breaking the Ramadan fast.
Today, the balls are filled with salt from the High Atlas Mountains, containing nitrate and magnesium to prevent tarnishing. The salt is replaced annually during Ramadan to maintain their gleam. A wooden rod beside the orbs points toward Mecca and holds flags during religious celebrations.
Another tale claims the original mosque was demolished mid-construction for misalignment with Mecca — a sign of the Almohads’ religious devotion.
Northwest of the minaret lie the ruins of the original prayer hall. Local lore and some evidence suggest it collapsed during the 1755 Lisbon earthquake, killing many worshippers. The remaining columns and arches stand as a quiet memorial to this tragedy.
Some believe this is the true origin of Djemaa El Fna’s name — not “assembly of the dead,” as often thought, but “mosque of the dead,” referencing the collapse.
The mosque’s name comes from the Arabic kutubiyyin, meaning “booksellers.” In the 19th century, around 100 booksellers worked in stalls surrounding the mosque. Before that, it was known simply as the Almohad Mosque after its founders.
Behind the mosque, the Koutoubia Gardens offer a peaceful retreat filled with palm trees, fountains, and shaded benches. It’s a favorite spot among locals for relaxing and enjoying views of the towering minaret — a perfect place to unwind after navigating the medina’s busy lanes.
Access: Non-Muslims are not permitted inside the mosque or minaret. However, you may catch a glimpse during Friday prayers when the doors briefly open.
Best Photo Spot: Stand under the stone archway to the left of the main entrance for a postcard-worthy view of the minaret framed by palms.
By Bus: Bus No. 16 from the Gueliz neighborhood stops directly opposite the mosque.
On Foot: It’s just a one-minute walk west of Djemaa El Fna, and around 25 minutes from Gueliz via Avenue Mohammed V.
Budget hotels cluster just outside the medina walls, especially along Rue Sidi Bouloukat and Rue de la Recette — ideal for access to the square and the mosque. For a more atmospheric stay, head to the medina’s Rue Riad Zitoun El Jedid, where you’ll find traditional riads offering comfort and charm.
Pâtisserie des Princes: Famous for its pastries and refreshing ice cream.
Café El Koutoubia: Across from the mosque, this classic café offers mint tea and a relaxed view of the minaret.
Saadian Sultan Ahmed Al Mansour Ed Dahbi was as extravagant in death as he was in life. After building the exquisite Badia Palace in the 16th century, the “golden king” transformed an existing necropolis into a lavish tomb complex, sparing no expense. He imported Italian Carrara marble and gilded the honeycomb muqarnas (intricate plasterwork) with pure gold. Al Mansour died in 1603 in great splendour, but decades later, Alaouite Sultan Moulay Ismail walled up the Saadian Tombs to erase his predecessors from memory. The mausoleum remained hidden until 1917, when aerial photography revealed its location.
Just to the left of the entrance, you’ll find the tomb complex’s main chamber — easy to spot by the line of visitors. Currently, it can only be viewed through an arched door, but plans are underway to build a circular viewing platform to ease the crowd.
This chamber boasts elaborate zellige (geometric tilework) and gilded honeycomb muqarnas. Its name comes from the ceiling’s cupola, which is supported by three groups of four marble pillars. Two of these columns are notably older, salvaged from the ancient Roman city of Volubilis. The Chamber of the 12 Pillars is the most luxurious part of the tomb and the final resting place of Al Mansour and his sons.
Surrounding the main chamber are two other rooms. The Chamber of the Three Niches houses the tombs of prominent princes, while the room to the left originally served as a prayer room before becoming a secondary tomb for favored members of the royal court. A beautifully carved pentagon-shaped mihrab (prayer niche pointing to Mecca) adorns the back wall.
In the courtyard cemetery lies a secondary mausoleum built in 1557 by an earlier sultan, predating the rest of the tomb complex. This tomb, dedicated by Al Mansour to his mother, Lalla Massouda, is carved with blessings and guarded by stray cats and the occasional tortoise. Her tomb is uniquely recessed in a niche at the back of the mausoleum, while the other tombs belong to important women of the court.
Nearby, you can still see the original main entrance to the tombs, which Moulay Ismail blocked and never reopened. For centuries, the tombs were accessible only through a small passage in the Kasbah Mosque, neglected except by storks until the French rediscovered them and constructed the alleyway in the southwestern corner — now the main visitor entrance.
If you weren’t an alpha prince during Al Mansour’s reign, your final resting place was likely in the garden plots alongside royal household members and some 170 chancellors. Rumor has it one of these tombs belongs to the sultan’s trusted Jewish adviser — see if you can spot the one that looks subtly different.
The site is busiest with tour groups from about 9:30 am to 1 pm, so either arrive right at opening to enjoy the tombs in relative peace or visit later in the afternoon.
Late afternoon is the ideal time for photography, as the marble takes on a warm, golden glow in the light.
Located in the Kasbah area of the Marrakesh medina, this neighborhood is quieter and less touristy than Mouassine or Djemaa El Fna. It offers a more peaceful stay with fewer hassles, making it a pleasant alternative for visitors.
Kasbah Café: Conveniently located just across the road from the tombs’ entrance, it’s perfect for a relaxing break during your sightseeing.
Cafe Clock: Head down Rue de la Kasbah for camel burgers, date milkshakes, and a lively, friendly atmosphere.
The tombs are accessed via Rue de la Kasbah, making it easy for taxis to drop visitors nearby. If you prefer to walk, follow the main roads west from Place des Ferblantiers until you reach the Kasbah Mosque turnoff.
The entrance is unmarked — walk to the southern end of the Kasbah Mosque (with Kasbah Café opposite), then head down the narrow alleyway to find the tombs.
La Bahia (The Beautiful) sprawls over 8,000 square meters and dazzles visitors with intricate marquetry, plasterwork, and zouak—painted wood artistry. It ranks among Marrakesh’s most spectacular sights.
Both the Petit Riad and Grand Riad feature salons adorned with exquisite marquetry and zouak ceilings. But the star of the show is the Cour d’Honneur, a grand courtyard boasting a 1,500-square-meter floor of gleaming Italian Carrara marble.
Though the palace spans eight hectares and houses 150 rooms, only a portion is open to the public. Its grand spaces occasionally host important cultural events, adding to its allure.
Built in the 1860s by Grand Vizier Si Moussa, the palace was expanded and embellished between 1894 and 1900 by his son and successor, Abu ‘Bou’ Ahmed. After becoming Grand Vizier in 1894, Bou Ahmed converted the Cour d’Honneur into a harem to accommodate his four wives and 24 concubines.
Following Bou Ahmed’s death in 1900, the palace drew the attention of warlord Pasha Glaoui in 1908, who used it to entertain French guests. Impressed by the palace, the French expelled Glaoui in 1912, installing their resident-general instead.
After Morocco gained independence in 1956, the palace served as a royal residence until King Hassan II entrusted it to the Moroccan Ministry of Culture to preserve it as a cultural icon and tourist attraction.
Petit Riad
Nearest the entrance, this single-storey riad resembles traditional medina homes but dazzles with its elaborate white plasterwork inscribed with Quranic verses. In the 19th century, artisans carved these delicate designs while the plaster was still wet—a testament to their incredible skill.
Cour d’Honneur
Between the Petit and Grand Riads lie two courtyards. The first is relatively simple, but the second—known as the Grand Cour or Cour d’Honneur—is the palace’s heart and one of Morocco’s most spectacular open spaces. Restored in 2018 to its original brilliance, it features a vast Italian Carrara marble floor surrounded by a gallery painted in bright blues and yellows.
Grand Riad
Passing through the Cour d’Honneur, you enter the Grand Riad’s lush courtyard, filled with fountains, greenery, and birdsong. Completed in 1867 by Si Moussa, a former slave turned influential aide to Sultan Hassan I, this riad’s salon dazzles with carved wood lintels, zouak artistry, and stained-glass windows—believed to be the first in North Africa to use stained glass decoratively.
Entrance fee: Dh70 for adults, Dh30 for children.
Tip: Arrive early to avoid the large tour groups that tend to flock to the palace later in the day.
Arguably the most magnificent Roman site in Africa, Dougga’s ancient remains offer an astonishingly complete glimpse into the life of the Roman elite. A UNESCO World Heritage site since 1997, Dougga invites visitors to wander through its bathhouses, the imposing Capitole, a 3,500-seat theatre, and numerous temples. Built atop the ancient Numidian settlement of Thugga, its tangled streets reflect this layered history. The 2nd-century BC Libyco-Punic Mausoleum is Tunisia’s finest pre-Roman monument.
Perched on a scenic hillside surrounded by olive groves and overlooking golden grain fields with forested hills beyond, Dougga’s mellow yellowish-tan stone blends harmoniously with the Kalled Valley and Teboursouk Mountains.
Theatre: Nestled into the hillside, the restored Roman theatre, built in AD 168 by wealthy citizen Marcius Quadratus, boasts 19 tiers seating 3,500 spectators. The upper seats offer breathtaking views of the surrounding valleys. Today, it serves as a magnificent venue for the Dougga Festival, showcasing North African music in July or August.
Vandal Church of Victoria: North of the theatre lie the ruins of the early 5th-century church, built from stones reclaimed from nearby temples. A crypt nearby holds several large stone sarcophagi.
Temple of Saturn: Once majestic, only six short columns remain today. Built around AD 195 on a platform overlooking the Oued Kalled valley, it stood at the city’s northern entrance. It replaced an earlier temple to Baal Hammon, the chief Punic god, who was reinterpreted as Saturn by the Romans.
Numidian Wall and Sanctuary of Neptune: The ancient city’s pre-Roman defenses remain visible, including the reconstructed apse of Neptune’s sanctuary next to the Temple of Saturn. Primitive dolmen graves dot the area’s northwest edge.
Cisterns of Ain Mizeb: Follow a rough path west from the Sanctuary of Neptune to find nine well-preserved cisterns, the city’s main water source fed by a spring 200 meters away.
Temple of Minerva and Circus: Northwest of the cisterns lie the remains of the Temple of Minerva and the outline of the circus—once used for chariot races—now a wheat field nestled between two hills.
Cisterns of Ain El Hammam: South of Ain Mizeb, these large cisterns were built during Emperor Commodus’s reign (AD 177–192) to meet water demand, supplied by an aqueduct whose ruins remain among olive trees 12 km southwest.
Arch of Alexander Severus: Built between AD 222 and 235, this arch marks Dougga’s western entrance.
Temple of Juno-Caelestis: Southwest from the arch, this temple dedicated to the Roman version of the Carthaginian goddess Tanit was funded in AD 222 and later converted into a church. Its pillared portico and staircase remain impressive.
Capitole: Dougga’s most striking feature, built in AD 166, boasts 10-meter-high walls and six massive, fluted columns supporting the portico. Constructed using opus africanum—a technique of large stones reinforcing smaller ones—the temple’s inner sanctum housed statues of Jupiter, Juno, and Minerva. The carved frieze depicts Emperor Antonius Pius being carried by an eagle, dedicating the temple to these gods.
Byzantine Fortifications: Surrounding the Capitole and forum, these walls incorporate stones from local temples, including inscribed blocks from the Temple of Mercury.
Square of the Winds: Surrounded by temples, this square features a circular engraving listing the 12 winds, including Africanus, the hot southwestern desert wind.
Temples of Mercury and Augustine Piety: Remains near the square include Mercury’s temple ruins and four pillars of the 2nd-century Temple of Augustine Piety.
Residential Quarter and Baths: Below the forum, explore homes and bathhouses like the Licinian Baths with intact walls and mosaics, the Baths of the Cyclops named for a famous mosaic now in Tunis, and the Ain Doura Baths.
House of Trifolium: A vast residence with a cloverleaf-shaped roofed room, mistakenly nicknamed Dougga’s brothel due to phallic reliefs that were protective symbols.
Nymphaeum: A large, partly restored fountain thought to be fed by Ain El Hammam’s cisterns.
Arch of Septimius Severus: Built in AD 205 when Dougga gained municipal status, its remains lie near the Baths of the Cyclops.
Libyco-Punic Mausoleum: At the city’s southern edge, this 21-meter obelisk-shaped monument with a pyramid and lion atop dates from the early 2nd century BC. Dedicated to Ateban, son of Ypmatat, it was reconstructed after being dismantled in the 19th century; its inscription stone now resides in London’s British Museum.
Arrive early or late to avoid the midday heat; shade is scarce.
Allow at least three hours to explore this vast site.
A small café near the theatre car park offers snacks and drinks.
The main entrance faces Teboursouk town on the eastern side. Another, uphill entrance is at Nouvelle Dougga but involves steep climbing. Local guides offer tours for about 25 DT. Signage is available in Arabic, French, and English.
Dougga makes an excellent day trip from Tunis or Le Kef. Public transport options include buses or shared taxis (louages) to Teboursouk, then a yellow taxi to the site for about 25 DT, including two hours waiting.
Amun-Ra, originally the local god of Karnak (Luxor), rose to become the chief state deity during Egypt’s New Kingdom, when the princes of Thebes ruled. His temple grew to immense wealth and power, owning hundreds of thousands of cattle, cities, ships, vast agricultural lands, and employing tens of thousands.
Though the temple was sacked by Assyrians and Persians, the surviving ruins remain among the world’s most impressive archaeological sites.
The Quay of Amun
This was the docking area where boats carrying statues of the gods moored during festivals. Nearby stood palaces and lush gardens. A ramp leads to the processional avenue lined with ram-headed sphinxes, guiding visitors to the massive unfinished first pylon, built during Nectanebo I’s reign. The pylon still shows the enormous mud-brick ramp used to haul stone blocks.
Great Court
Beyond the first pylon lies the largest courtyard in the complex. It contains:
The Shrine of Seti II with three chapels housing sacred barques of Mut, Amun, and Khonsu.
The Temple of Ramses III, a smaller copy of his Medinat Habu temple, with a central papyrus-column and an alabaster altar — remnants of Taharka’s kiosk.
The second pylon was begun by Horemheb and continued by Ramses I and II, who placed colossal granite statues of himself here.
Great Hypostyle Hall
A monumental hall covering 5,500 sq m, filled with 134 towering papyrus-shaped stone columns symbolizing the primeval swamp from which life emerged. The hall was built by Seti I and Ramses II — note the more refined reliefs by Seti I and the cruder ones by Ramses II. The hall once flooded during Nile inundations and was originally brightly painted.
Third and Fourth Pylons and Inner Temple
The third pylon, built by Amenhotep III, features scenes of the pharaoh sailing the sacred barque during the Opet Festival.
Between the third and fourth pylons is a narrow court where four obelisks stood; only one remains standing, erected by Tuthmosis I.
The fourth pylon leads to a hypostyle hall built by Tuthmosis I and III, with the tallest surviving Egyptian obelisk — erected by Queen Hatshepsut, originally capped with electrum.
Nearby stand statues of Amun and Amunet carved during Tutankhamun’s reign.
Sanctuary of Amun
The temple’s innermost sanctuary, originally built by Tuthmosis III, was destroyed during Persian invasions and later rebuilt in granite by Philip Arrhidaeus.
Middle Kingdom Court and Wall of Records
The oldest temple area, containing foundations of Sesostris I’s shrine and a wall recording tributes to Amun from subjugated lands.
Great Festival Hall of Tuthmosis III
A tent-like stone hall decorated with reliefs of plants and animals brought back from campaigns in Syria and Palestine.
Cachette Court (between Hypostyle Hall and seventh pylon): where thousands of statues were buried by priests around 300 BC to protect them.
Eighth Pylon: oldest north–south pylon built by Hatshepsut, inscribed with a text justifying her rule.
Sacred Lake: used for ritual bathing by priests of Amun, located east of the pylons.
Temple of Khonsu: dedicated to the moon god, son of Amun and Mut, built mostly by Ramses III and expanded by Ramesside rulers; accessible through the Hypostyle Hall.
Take your time in the Hypostyle Hall to appreciate its vastness and artistry.
Look for contrasts in relief styles reflecting different pharaohs’ periods.
Notice the symbolic elements such as papyrus columns and sphinx avenues.
