•F·u.N·k.I·s.T´a ღ F`l·O.r·I.s·T.a•

In 1799 a group of French engineers, mending the walls of an old fort during Napoleon's military campaign discovered the Rosetta Stone in the ancient port of al-Rashid (Rosetta). The irregularly shaped granite stone weighing 762 kilograms became the key to unlocking the secrets of ancient Egypt. Scientists realized its value immediately, as the on the stone was written in three languages: ancient hieroglyphs, demotic (a later dialect of ancient Egyptian, written in cursive form), and Greek. After two years, the British forced the French out of Egypt and the Rosetta Stone ended up in the British Museum. However, it was a Frenchman, Francois Champollion, who deciphered the Rosetta Stone. Probably he never saw the actual stone but relied on lithographic-style prints made from it and succeeded in deciphering the hieroglyphs in 1822.

Champollion had been a precocious child. By the age of 13, he had learned Arabic, Greek, Hebrew, Syriac, Chinese, and Coptic. A great scholar and admirer of the Egyptian people, he set his genius on deciphering the hieroglyphs. Following his success in deciphering hieroglyphs in 1822, the French king Louis XVIII rewarded him a gold box, after which Champollion did visit Egypt, staying for two years. He died in France at the early age of 42.

Originally a slave of Circassian origin, al-Zahir Barquq rose to become the first Sultan of the Burgi Mamluk dynasty (1382-1517). This school monastery was built in the early years of his reign and houses the mausoleum of his daughter. The octagonal minaret towers 165 feet over the building. Recently cleaned of grime, the outer walls complement the architecture of the Qalawun complex immediately to the left, a complex more than one hundred years older than Barquq's structure. Be sure to notice the massive bronze-plated doors inlaid with silver. In the central star is the name: Barquq (Arabic for plum). The plan of the interior is a traditional one, a narrow passage leading to the central courtyard are the qibla (sanctuary) liwan to the right and access to upstairs rooms used for Sufis and the students. Stepping inside the qibla, you are immediately struck by the color patterns reflected on the floor and walls from the five stucco windows inlaid with colored glass, one round window flanked by two arched ones on either side. Like the neighboring Madrasa of Qalawun, the ceiling is richly decorated and worth more than just a quick glance. Columns of porphyry support the ceiling and are possibly reused pharaonic ones. Many of Cairo's monuments utilized columns from the pharaonic period, providing an interesting transition between the ancient, medieval, and more modern times.

To the left of the qibla liwan is the entrance to the tomb chamber. The splendid domed room, filled with bands of inscription, stained glass, and decorative panels, houses the tomb of Sultan Barquq's daughter, Fatima. The Sultan and other members of his family are buried in the Northern Cemetery.

Freedom of space to paint, explore, think, and create is attainable in Cairo. On the road to Saqqara, children and adults have the opportunity to experience all this in the fresh country air. During the weekends and every day, you can organize individual or group lessons in painting, pottery, woodcrafts, iron bending, and silk painting. There is even an oven to bake bread Bedouin-style.

Fagnoon is an Arabic word meaning something that does not exist. This is creativity at its essence-imagination, discovery, creation. Fagnoon's vision is to give people space to use their imagination and create something new, and through use of different techniques discover and experiment with different art forms.

How many times have you passed this palace and wondered why it seems forgotten and desolate? Unfortunately, the Baron's palace is not open to the public, but you can stop and have a good look from outside fence. In the spring of 2005, the Ministry of Housing replanted the garden. To celebrate, summer musical evenings gave some Cairenes the opportunity to enjoy the gardens.

Baron-General Edouard Louis Joseph Empain, a Belgian- born industrialist, had the vision to construct a new city outside of Cairo, which he called Heliopolis. To promote the area, Baron Empain built his own palace in the undeveloped desert east of Matariya in 1907.

Alexandre Marcel, a French architect known for his exotic designs, was responsible for designing the Hindu-style exterior of the palace. The temples of Angkor in Cambodia particularly inspired Marcel. The grand exterior pagoda depicts Hindu gods, mythical creatures, elephants, gargoyles, goddesses playing musical instruments, and Buddha posed serenely in his lotus position. French designer Georges- Louis Claude, who had decorated the Oriental Pavilion at the Royal Palace of Laeken in Belgium with Alexandre Marcel, decorated the once sumptuous interior, now completely bar of furnishings.

One can only imagine the extravagance of the palace- massive gilded doors, elaborate ceilings, fresco murals. The garden surrounding the palace was wondrous: terraced and filled with exotic vegetation and marble statues, it greeted European royalty and Egypt's most influential rulers.