After passing the main gate, we find ourselves immediately sucked in to taking pictures of this crazy sphinx-like statue and other unique objects dotting the property. Snapping away, I was so mesmerized with these sculptures that I didn't even notice Jon and Chris talking with a dour, mopey-faced and poor postured middle-aged tour guide named Mohammed. By the time I do see what is happening and run over, it's all but too late.
"If you do not like my tour my friends, I do not deserve payment."
I hesitate, unconvinced. Jon and Chris do not. "Let's do it! It'll be fun!"
"Yeah. Great." As the only one of the three with Egyptian cash, my gut feeling, the knowing smirks on Jon's and Chris' faces and their snickers all point to me inheriting the responsibility of paying for Mohammed once we are through.
At the very least though, I figured that this cartoon character of a tour guide with close resemblance to Sad-Sack could at least walk us through the museum and explain in detail what objects we were looking at when we asked. But now, months later while reflecting on this experience, I wonder if it was actually Mohammed who got more than he bargained for. How many times would he regret approaching us in the courtyard? Did he end up as stressed in dealing with us as we did in crossing that insane street? In retrospect, he likely earned every Egyptian Dinar that we paid him.
Walking in to the Museum is quite literally like a scene out of an Indiana Jones movie. The doors open. A breath of partially stale, cool air blows past us. An endless waves of three thousand year old statues in countless shapes, colors, forms and sizes designed to replicate Egyptian gods like Horus and Isis stretch as far as the eye can see. Our awestruck, speechless excitement only extends for a few minutes before a slew of questions come to mind. And that, is when we finally accept that Mohammed isn't a top shelf guide. Or even a basic guide. A guide, but that's about it. Above average English skills don't translate to above average museum history knowledge and while this building is quite literally chock-full of statues, scrolls, carvings and canopic jars from the time of the Pharoahs, we only stop at a fraction of these. Whizzing by dozens of others with no explanation, the ones we do stop at only generate extremely high level details.
I get distracted by something else next to where we are standing: "Hey Mohammed, is this an embalming table that was used to prepare mummies?"
"Yes..."
"Is this notch on the side to allow fluids to drain and a body to firm up while resting on natron?"
"Yes..." Pregnant pause followed by a funny look. Anything more? Any more details on this table that we could get? What secrets could Mohammed unlock for us and give us his knowledge into the minds-eye of Ancient Egypt life, culture and secret rituals?
"This my friends is the great sarcophagus of Tutmoses the 3rd who ruled from 2000 to 1970 BC and was found in a..."
Mohammed drones on and repeats exactly word-for-word what was clearly a memorized blurb for each highlighted item that he had remembered. After a few stops, we end up at this little side area that has a bunch of pets that were mummified.
"Yes..."
We are in the middle of receiving a rambling, memorized and fairly boring explanation of these little mummies when Chris looks over on the far wall and excitedly yells out "NO WAY!!" Jon and I spin around and burst out laughing. As we all know, Heiroglyphs are the ancient Eqyptian written language. A series of characatures and defined symbols that died out with the age of Cleopatra and weren't understood again until 1799 when the Roseatta Stone was discovered, each symbol stands for something. Largely, the symbol is cartoonish and speaks for itself based on what the image represents via an action drawing. But we wonder aloud with tears in our eyes if this particular Heiroglyph was drawn as an Ancient Egyptian sense of humor. What's that guy in the middle doing?
We soon end up at the "Royal Mummies Room"- aptly named for the great Pharoahs of old that have been yanked from their rocky tombs and are now on naked display here in casings closely controlled for special temperature and humidity settings. Some of the names are impressive- Ramses III, Queen Hatshepsut, Amenhotep IV. As we slowly meander around the room taking occasional pictures, Chris' cell rings. "Hello?" It's his wife, and he proceeds to tell her all about our day while leaning directly over, and three feet away from the face of a motionless and 2,500 year old Ramses. The two proceed to talk on and on as if he is staring at a computer screen, not the mummified face of one of the leading rulers of Ancient Egypt.
One day, a group will arrive at this buiding, having come from beyond the oceans and where the sun hides at night. Even if Ramses wants to go where they are from, he would not be able to. It would take many, many years and require machines that are beyond his knowledge and comprehension, traveling through the air at tremendous speeds. They will have magic tools, too. Created out of new, strange substances these small, hand-held tools will glow from within. They will make strange noises, and the traveller who holds it will press a button. Immediately, he will be able to talk with his wife who lives across the world and in a strange, unrecognizable language. A transparent shield will keep these travellers from touching you in the box you are stored in, but they will still be able to see every part of you. While the travellers are staring down at your body, the one with the magic tool will ask his wife about how his son is doing and the plan to board another machine the next day to travel by air only 45 minutes down to Luxor, which typically takes a week via the Nile.
I tell you, it would be mind-blowing. I tell Chris about this and we both laugh. Mohammed grumbles something inaudible and mopes. Time to move on.
We continue deeper into the bowels of the Egyptian Museum. Passing wing upon wing of ancient pots, jars, figurines and carvings, it's easy to go into sensory overload. Books, scrolls and other parchment are stacked like dusty cord-wood next to shelves quite literally overflowing with three thousand year old stone dieties. All of this is so abundant that after the fifth wing, it all literally blends in to the background. There appears to be little organization here, although that's undoubtedly just to the naked eye. More likely, it's due to the fact that in a concentrated area of over five thousand years of unique and accessible history, there is just so much to be shown that it has to go somewhere. Five thousand! Five thousand. It's mind blowing. And as if that's not enough, we haven't even yet gotten to the masterpiece of the museum. Quite possibly one of the most archaeologically significant finds of history. One that's announcement spread across the world with electric speed, catapaulted the finder to worldwide fame and was so unique in it's treasure and historic value, that it transformed the way anthropologists understood the Ancient Egyptians forever.
In the grand scheme of things, Tut was a minor pharoah that died early in life and in his reign. His tomb in Valley of the Kings is overshadowed by much larger and more ornate ones and seems more like a broom closet than anything- three smallish rooms hastily carved out of bedrock that quickly erased off the contemporary map and the sands of time. Despite that, it's stunning how much was packed to the gills in these three minor chambers, and it all becomes evident in this museum where much of the 5,000 items are now on display. Much like what Howard Carter and his team unearthed in 1922, the further you travel down the Tut wing here, the more elaborate and amazing the items become. Painted wood items turn to metal. Metal turns to gold. Canopic jars turn to sarcophagus boxes, erected in a way very similar to matrushka dolls where Tut's remains were sealed in no fewer than ten gold, stone and wood protective boxes.
Solid cases that ring the room house carefully displayed gold amulets, knives and figurines which glitter and sparkle. At one side, two seven foot long, solid gold sarcophagus with inlaid stone and intricately shaped designs dedicated to the pharoah himself are made visible from all sides.
"Whatcha doing?"
"Taking pictures"
"From the hip? Here give me that" and takes my point & shoot. Chris then walks right up to Tut's head mask and from a foot away, holds the camera out at arms length and takes a picture. I'm expecting some sort of security team to immediately descend on us, an alarm to go off, an intercom to scream to life. At the very least catch some sort of serious ass chewing from another museum-goer. Nothing.. just silence.
"No way, that's freaking awesome" I say. With that, all three of us spread out and embark on picture taking across the treasure room with glee. The main focus of effort, of course is the head mask.
We take pictures of each other and together as we branch out across the room. A good five minutes later Chris pulls me aside and says "hey, get a picture of me behind the head mask."
"Sure." It comes out great.
"Dang that picture looks really cool. Ok, my turn- get the same one of me" I say. While I'm handing the camera over to Chris, we hear an extremely loud, authoritative and really, really angry voice:
"HEY!!!!''
Zoinks!! We look over to the doorway and see a team of guards walking extremely fast. Like.. MOVING. One is holding a walkie talkie and pointing at me with an extended arm and a really, really pissed look on his face. Eeep! I press down on the shutter button about ten times to take pictures of my leg, the floor and some side cases. Jon, who is on the other side of the room looks on wide-eyed and steers clear of Chris and I. Mohammed disappears initially, then peeks his head in like a "Kilroy Wuz Here" cartoon drawing after the four stream by.
The guards surround us. "NO PHOTOS!" the lead guard almost yells with spit coming out, jugular bulging, eyes piercing angrily.
"Delete them now." The guard points at my camera quickly and firmly instructs.
"Ok, no problem. But this camera isn't very good, I'll show you." With that, I show him the first blurry and grainy hip-shot picture that pops onto the screen. The guard becomes much more relaxed. I delete it, and the next blurry shot of the museum floor pops onto the screen.
"Ok my friend. Do not take any pictures in this museum. It is not allowed." He softens his approach. The guards spin around on their heels and begin to walk away. We apologize again. Jon begins to laugh. We still have the pictures, and somehow are still allowed to stay in the treasure room, surrounded by all the priceless objects we have just been liberally photographing.
Mohammed is waiting for us outside the treasure room. He shakes his head and mutters something as we move on. I jam the camera deep into my pocket and don't take it out again. I want to make sure we get out with both my camera and these amazing pictures. We talk about all of the unique things we have seen in this museum and how close a call we just had.
"Hey Mohammed, do you think the inside of an Egyptian jail looks like the inside of King Tut's tomb?
"Yes.."