A Masterpiece of Ottoman Architecture
The Mohamed Ali Mosque is an essential part of any Cairo itinerary. It stands proudly within the historic Citadel of Saladin, a fortress overlooking the city. This magnificent mosque is also famously known as The Alabaster Mosque. Its immense size, exquisite details, and commanding presence make it one of Egypt’s most beautiful and significant landmarks. It’s a true masterpiece of Ottoman architecture, deliberately chosen to symbolize a break from the Mamluk past and align with the Ottoman imperial style.
History and Construction of the Alabaster Mosque
The story of the mosque begins with Muhammad Ali Pasha. He was a visionary and powerful ruler of Egypt from 1805 to 1848, and many consider him the founder of modern Egypt. In 1830, he commissioned the mosque, building it on the ruins of Mamluk-era palaces he had demolished. This act was symbolic; he intended to establish a new, modern state. The mosque served as a symbol of his power and a memorial to his son, Tusun Pasha, who had died in 1816. The Turkish architect Yusuf Bushnak meticulously carried out the work. Bushnak drew inspiration from the grand imperial mosques of Istanbul, particularly the Yeni Valide Mosque and the Sultan Ahmed Mosque. After 18 years of dedicated work, they finally completed the mosque in 1848, just before Muhammad Ali’s death. Later, they buried him in a beautiful tomb within the mosque itself.
Why the Name: Alabaster Mosque
The mosque’s design is a stunning and intentional example of the Ottoman style. It features a large central dome that soars to an impressive height of 52 meters, a height greater than its model, the Sultan Ahmed Mosque. Surrounding it are four smaller half-domes, creating a cascading, layered effect. The mosque is flanked by two slender, towering minarets, each reaching over 80 meters high. This twin-minaret design was another nod to the imperial Ottoman style.
What truly sets the mosque apart is its material. While the main structure consists of limestone, workers beautifully faced both the interior and exterior walls with alabaster panels, often up to a height of 11.5 meters. This is why people call it The Alabaster Mosque. The alabaster catches the light, giving the entire structure a luminous, ethereal glow. Muhammad Ali specifically insisted on using alabaster to promote a local industry that was in decline.
Inside, the central dome is a sight to behold. It is adorned with intricate carvings and painted motifs. The prayer hall features six large medallions with the names of Allah, Prophet Muhammad, and the four rightly guided caliphs. A massive, central chandelier hangs from the ceiling, casting a warm light over the entire hall. The spacious courtyard is equally impressive. It features a beautiful, ornate ablution fountain in the center. Here, you’ll also find the unique clock tower, a gift from King Louis-Philippe of France in 1845. In exchange, Muhammad Ali gifted him the obelisk that now stands in Paris’s Place de la Concorde.
A Breathtaking View: Beyond the Architecture
The Mohamed Ali Mosque is more than just a place of worship and a work of art. It also offers one of the most spectacular panoramic views of Cairo. From the mosque’s terrace, you can see the sprawling cityscape, the winding path of the Nile River, and even the distant Pyramids of Giza on a clear day. This breathtaking view makes the mosque a perfect spot for photography and quiet reflection, connecting you with both the past and present of the city.
A Legacy of Maintenance and Preservation
Over time, the mosque’s great size and weight began to cause structural issues, and cracks appeared in the late 19th century. From 1931 to 1939, they undertook a major restoration project. During this time, they demolished the main dome and some half-domes, then rebuilt them with reinforced concrete. This new material ensured the mosque’s long-term stability while preserving its original design. Thanks to these efforts, the Mohamed Ali Mosque continues to stand as a testament to its founder’s vision and Egypt’s rich history.
