I Saw Tut’s Treasures: First Look Inside the Grand Egyptian Museum’s Tutankhamun Halls

By Laura Ranieri Roy

photo: Mary Anne Storey

Four days after Egypt’s grand opening celebrations — when President Abdel Fattah el-Sisi welcomed dignitaries from around the world to witness the unveiling of his country’s new crown jewel — I found myself once again inside the Grand Egyptian Museum (GEM), just a few hundred metres from the great pyramids of Giza.

It was Friday, November 7, 2025, and although this was my fourth visit to the site, everything felt different. This time, the long-awaited Tutankhamun Halls had finally opened — the culmination of more than two decades of anticipation.

I joined the surge of visitors — some 30,000 people, mostly Egyptian families — eager to see the treasures of the Boy King reunited at last: the golden mask, the shrines, and more than 5,000 artefacts brought together for the first time in a century.

In this blog, I’ll share my reflections on the experience — from the museum’s architecture and layout to the intimacy of Tutankhamun’s tomb objects — what truly shines, what’s still in progress, and a few tips for those planning to visit soon.

The build-up: a century and more of anticipation

It’s worth pausing for a moment to consider the historic weight of this opening. Exactly one hundred years ago, in October 1925, Howard Carter finally came face-to-face with the golden mask of Tutankhamun inside the inner solid gold coffin — and with the fragile mummy of the boy king himself. The tomb discovery 3 years earlier, of course, had sparked a century of Egyptomania: our enduring fascination with King Tut, his dazzling treasures, his mysterious story, and even his so-called curse.

• 
• 

  Photo by Mary Anne Storey

• 

  photo by Mary Anne Storey

Now, at last, the Grand Egyptian Museum brings all of those objects — and more — together under one roof. Artefacts once scattered between dusty glass cases in the old Cairo Museum and forgotten wooden crates from Carter’s own day have been unpacked, cleaned, and reborn. Over 5,600 pieces have been meticulously conserved in the museum’s state-of-the-art laboratories, part of the vast GEM complex itself.

For the first time, the complete collection is assembled and displayed as one, finally reunited after a century apart — and this time, it will never travel the world again.

 Entering GEM: The architecture and grand entry

photo by Francois Roy

The experience of walking into the courtyard — and then into that phenomenal atrium — is nothing short of breathtaking. The architecture plays masterfully with light, glass, and monumental scale, creating a space that feels both modern and timeless. At its heart stands the colossal statue of Ramesses II, rising from a pool of water — a pharaoh reborn, greeting every visitor who steps inside.

What strikes you first is the sheer sense of space and luminosity. It feels worthy of a civilization that spanned more than 7,000 years.

There are three staircases rising from the atrium. The first displays magnificent yet unfinished Middle Kingdom statues from the Fayoum — including Senwosret I, whose figures once graced his funerary chapel at Lisht. The central staircase now serves mainly as a quiet perch for visitors scrolling their phones (no food allowed, or it would surely become a lunch spot). But the most impressive is the Royal Staircase — a grand, processional ascent lined with about sixty statues, arranged in four ascending tiers symbolizing the Royal Image, Divine Houses, Gods and Kings, and the Journey to Eternity.

I’ve written in more depth about the atrium and the museum in a previous blog post, which you can find here.

On my visit (Friday afternoon, but still four days after the opening) the entranceway and atrium were crowded. Swarms of Egyptian families as a vast majority along with international tourists, tour groups and enthusiastic photographers filled the space. The hanging obelisk (from Tanis) appeared to be cordoned off — we assumed it was for a special event, though no signage explained it.

In terms of amenities, the retail stores are high quality, and there are many restaurant offerings from coffee shops to upscale dining. For example, the ZOOBA chain has opened a branch in the ground floor restaurant area—which is reportedly the best dining option on site.

One caveat: even though the building is completed and open, not everything is quite finished when it comes to way-finding and signage. I felt that especially inside the major galleries (more on this below) you needed a guide or at least a clear plan ahead of time to avoid feeling a little adrift.

The main galleries: 12 halls, three themes

The permanent collection is organised into 12 main halls, structured both thematically and chronologically: the three core themes are Kingship, Society, and Beliefs. Within them, the time-periods span from Pre-Dynastic & Early Dynastic, through Old Kingdom, Middle Kingdom, New Kingdom, Late Period and the Greco-Roman era.

Here’s a rough breakdown of how the halls are grouped (and I found this helpful):

• Halls 1-3: Prehistoric, Pre-Dynastic, Early Dynastic, Old Kingdom, First Intermediate Period
• Halls 4-6: Middle Kingdom, Second Intermediate Period
• Halls 7-9: New Kingdom (where Tutankhamun sits)
• Halls 10-12: Third Intermediate Period, Late Period, Greco-Roman

Want a quick overview? Watch my short video on the 12 Halls of the Grand Egyptian Museum here.

Because the museum is immense — housing more than 100,000 artefacts, along with 19 conservation labs, a children’s museum, and extensive education and conference facilities — it’s easy to feel overwhelmed or lose your bearings. My advice: focus on one period or theme, go with a knowledgeable guide, and allow at least two full days if you truly want to take it in. Many visitors say you’d need weeks to see it properly.

Finding Tutankhamun: The “Halls of the Boy King”

And now the crown-jewel: the Tutankhamun Halls. These consist of two dedicated galleries, situated off Hall 7 (i.e., within the New Kingdom section). According to official sources, these two halls alone cover some 7,000 m² and house 5,398 objects from the burial of Tutankhamun.

Here’s how I experienced them:

First impressions & way-finding:

photo by Francois Roy

Walking in, I noticed there was no large signage announcing the “Tutankhamun Gallery.” You simply enter a darkened corridor and suddenly find yourself before towering glass cases filled with chariots, shields, and bows and arrows. The lighting in the first hall is disappointingly low — presumably for conservation — and at times you find yourself squinting to appreciate the fine craftsmanship.

Then comes the question: which way do you go? Where does it all begin? The lack of clear directional signage made me pause and ask a guard for guidance. She explained that this part of the visitor flow is still “coming” — in other words, better wayfinding is on the way.

Tut Halls: The Exhibits & layout:
The galleries are arranged so that you ascend and descend between levels, giving the sense of movement through life, death and the after-life. The journey begins with the young king’s world: domestic life objects (beds, head-rests, hope-chests, musical instruments), then weapons and chariots (suggesting his role as king), then jewelry (much of which was entwined around his tomb items) and finally the funeral/shrine objects: the four golden shrines, the three nested coffins, funerary beds with animal-heads, and the heart of the display: the golden mask.

The sheer volume of artifacts – even within one display – is staggering. One suggestion among Egyptologists that this is not just the grave-goods of a royal teenager, but also perhaps items associated with his family and famous parents —  Akhenaten and Nefertiti — and that this collection represents the worldly goods of the Amarna line – the rebels toppled from power and extinguished from memory at the end of the 18^th dynasty .

• 

  c)Francois Roy

• 

  c) Francois Roy

Photography & visitor experience:
Notably, iPhone and non-professional “cell phone” photography is allowed, which is a change from the old museum in Cairo where the mask and jewelry were heavily restricted. That was a welcome change for me, though of course it adds to crowds forming in front of the major display cases. The golden mask sits high on a pedestal, surrounded by pylons which gently guide visitors in a single loop — this keeps traffic flowing, but even so, you’ll find yourself queued to get your moment in front of the king’s face.

Interactive and Educational Displays: Bringing Tutankhamun’s World to Life

One of the most impressive aspects of the new Tutankhamun Halls is how they blend ancient artefacts with modern storytelling. Beyond the glass cases of gold and alabaster, a series of interactive and multimedia displays help visitors step inside the world of the Boy King.

Touchscreens positioned throughout the galleries allow you to zoom in on artefacts, explore high-resolution 3D reconstructions, and see how objects looked when Carter first uncovered them in 1922. Short films and animated projections bring scenes of the royal court, burial rituals, and daily life at Amarna vividly to life. Children and adults alike are drawn to the digital timelines and immersive floor projections that map the young pharaoh’s journey from palace to tomb.

• 
• 
• 

  photo by Mary Anne Storey

What is still missing:
Apart from sufficient lighting, wayfaring, enough signage and crowd control, a notable thing missing is the king himself. His mummy remains in the Valley of the Kings (KV 62) and was not transferred to GEM. His sarcophagus is present, laid on a plank with light shining down — touching to be sure, and somewhat lonely. His sarcophagus as well – its lid of yellow granite and base of red granite – remain in the tomb.

The “Solar Boat” Museum & other highlights

Another highlight of the GEM complex is the museum devoted to the solar boats of Khufu (Cheops). Khufu actually had 5 boat pits around his pyramid – some boats were expressly for the afterlife (sailing across the sky with Ra – some may have been for his life and funeral.

On approaching from the main entrance without taking the main staircase you arrive in a courtyard and then into this building. The main fully-reconstructed boat (from the 1954 discoveries) is built of cedar of Lebanon – 1224 pieces without nails – and is tied together with lashings of grass rope; an engineering marvel in its own right.

You also encounter a second boat still under reconstruction – or so I expected. But not yet. However, all that is on display currently is the metal frame – upon which the hundreds of pieces of wood will be applied as museum visitors watch. Yet another exhibit in progress. No sign of the second boat pieces just yet…

This section is superb for those interested in ancient Egyptian engineering, ship-building, and ritual.

What works (and some constructive caveats)

What works well:

• The overall architectural impact is powerful; the museum feels worthy of the 7000 years of Egyptian civilization it seeks to represent.

• Sustainably Designed: The museum incorporates natural lighting, solar panels, and climate-controlled galleries to reduce energy use and protect artefacts. Its north-facing façade and water recycling systems make it one of Egypt’s most eco-conscious landmarks.

• The Tutankhamun galleries are a once-in-a-lifetime opportunity: to see the complete collection in one place, with world-class conservation and display.
• The thematic-chronological structure of the halls offers flexibility: you can pick one era and focus deeply rather than trying to do all 7,000 documents in one go.

Areas still in development / things to watch:

• Way-finding signage is still catching up; I frequently asked staff for direction.
• Crowds: On opening week, volumes were high – 30,000 people, which means some bottlenecks (especially around the major Tutankhamun display). By late day the crowds had thinned out – so saving the best for last may be a good tactic.
• Depth vs breadth: With over 100,000 objects, you must be selective. The display is excellent, but you won’t absorb everything in one visit — a realistic expectation helps.
• Some galleries seemed less polished than others (temporary signage, unfinished lighting ambience) — but this is understandable given how new the complex is.

How to visit GEM: Practical tips

1. Book in advance. The official tickets should be purchased in advance. Double-check you haven’t accidentally booked a national Egyptian ticket (which is cheaper but intended for residents) — I made that mistake!
2. Go with a guide or tour group. If you want to unpack complex sections (like Tutankhamun or the solar boat), a good Egyptologist guide will vastly enhance the experience.
3. Allow at least two full days. My one-day visit left me wanting more. If you have the time, schedule two days so you can go at a relaxed pace, take breaks and revisit favourite sections.
4. Start early or late. Early morning helps with lighter crowds; also on some days the museum stays open until 9 pm — visiting late afternoon may mean fewer crowds – and a different ambience.
5. Use the Grand Staircase exit. I recommend finishing your tour (if time) by descending the Royal/Staircase gallery — it offers a sort of ‘grand finale’ view of multiple large statues and a panorama toward the Pyramids. Don’t try to ascend – and see them all on the way in—or you will NEVER reach the galleries. Take the escalator… and jump into the halls
6. Pace yourself and take breaks. With the scale and richness of the collection, it’s easy to fatigue. Take coffee or lunch breaks, absorb slowly rather than rushing.
7. Photography rules: Non-commercial photography appears allowed at this stage — but always check at the entrance and avoid flash if required (especially in conservation-sensitive zones).
8. Bring comfortable shoes. The museum is vast, and the flooring materials vary (cold stone, marble, some inclined walkways).

Final reflections

Visiting the Grand Egyptian Museum four days after its opening felt like being at the start of something big. The building, the concept, the collection — all are impressive and signal a new chapter in how ancient Egyptian heritage is presented to the world.

Walking through the halls of Tutankhamun, seeing his chariots, jewellery, furniture, coffins and mask together, was a rare privilege—and one that may define Egypt-visiting for decades to come.

At the same time, I knew this is a starting point rather than a finished story. The way-finding is still evolving, some galleries are still under completion, and you need a bit of intentional planning to get the most out of your visit.

If I were to sum it up in a single thought: the Grand Egyptian Museum truly delivers on its promise of grandeur, with the Boy King’s treasures gleaming at its heart. It invites visitors to wander through 7,000 years of history, among more than 100,000 artefacts — some monumental and majestic, others small, intimate, and deeply human. Together they bridge the gulf between past and present, reminding us that the ancient world was not so distant after all. Yet this vast museum rewards only those who give it time: it asks for patience, curiosity, and the willingness to linger, rather than to simply check boxes and move on.

Ready to experience the Grand Egyptian Museum — and Egypt itself — in person?
Join one of our expert-led Ancient Egypt Alive tours, where history truly comes alive. Explore our upcoming journeys here.