Cairo, a city where history intertwines with modern life, is home to many iconic landmarks. Among these, the Qasr Al-Nil Bridge stands out, not only as a vital connection across the Nile but also for its symbolic guardians, the majestic bronze lions.

The Qasr Al-Nil Bridge was originally named after Ismail Pasha, the khedive of Egypt and Sudan from 1863 to 1879. It was renamed the Qasr Al-Nil Bridge after the 1952 Revolution, which overthrew the monarchy.  

It was Egypt’s first modern bridge made entirely of steel, symbolising the nation’s progress. However, its significance goes beyond such engineering marvels as it also embodies the spirit of Cairo through its unique decorative features.

The Qasr Al-Nil Bridge is a swing bridge that connects Tahrir Square in Downtown Cairo to Gezira Island. According to the Cairo governorate portal, the bridge is considered the seventh-longest bridge in Africa, measuring 1,932 metres in length.

At each end of the Bridge stand two pairs of imposing bronze lion statues, a testament to strength and vigilance. These lions were sculpted by the French artist Henri Alfred Jacquemart, who was renowned for his skill in crafting animal sculptures and did so in Egypt following the issuance of a royal decree in 1871.  

The lions were sculpted in France before being transported to Cairo by way of Alexandria. Jacquemart also created several other notable works in Egypt, including the Mohamed Ali statue in Alexandria in 1869, the Suleiman Pasha statue in Cairo in 1874, and the statue of Mohamed Lazoglou Bey, also in Cairo, in 1875.

The four bronze lion statues were originally intended to stand at the gates of the Giza Zoo, but their breathtaking beauty made the khedive Tawfik place them at the ends of the bridge named after his father as the “Khedive Ismail Bridge” in 1872. They have since become an enduring symbol of the bridge and an essential part of Cairo’s urban identity.

The lions are also not merely ornamental. Their detailed craftsmanship showcases Jacquemart’s expertise, capturing the animals in a regal yet naturalistic pose. Each lion stands atop a stone pedestal, their expressions exuding a sense of calm authority as they gaze over the bustling city and the serene waters of the Nile.

In 1898, the lion statues served to mark toll stations for farmers and tradesmen passing through to Tahrir Square to sell their goods. The square was then a bustling marketplace where goods and services were traded.

In her 2005 book Zamalek: The Changing Life of a Cairo Elite, author Chafika Soliman Hamamsy paints a vivid picture of this past, describing how lines would form at the base of the lion statues as people prepared to pay their crossing tolls. The tax depended on the type of goods and the means of transportation passing through. Owners of donkeys paid one and three quarter piastres while the owners of camels paid two. Those owning young camels paid only three quarters of a piastre.

When king Fouad took the throne in the early decades of the last century he ordered the renovation of the bridge. In 1933, it was reopened after reconstruction, featuring a design that allowed it to be opened twice daily to let boats pass along the Nile. Following the 1952 Revolution, the bridge was renamed the Qasr Al-Nil Bridge, and it has remained closed to river traffic ever since.

The bridge used to open at 9am each morning for boats to go up the Nile and again from 1pm to 2:30pm. Rare cinema footage of the lions was made by early filmmaker brothers Auguste and Louis Lumiére and is featured in Egyptian director Madkour Thabet’s documentary film Sihr Mafat Fi Kenouz Al-Mareyat (The Magic of Lost Visual Treasures).

The lions were intended to represent power and resilience, qualities deeply embedded in Egypt’s cultural and historical narrative. Over the decades, they have witnessed Cairo’s transformation, from a city striving for independence to a bustling metropolis.

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CONS: Beyond their aesthetic appeal, the lions hold a special place in the hearts of Cairenes.

They have become a popular meeting point and a backdrop for countless photographs, especially for young couples and tourists. The statues also serve as silent witnesses to many significant events, from political demonstrations, including the 25 January Revolution when millions of Egyptians marched over the bridge chanting for freedom, equality, and the toppling of the former Mubarak regime, to celebrations of national pride and funeral processions of prominent public figures, among them the singers Um Kolthoum and Abdel-Halim Hafez, as well as presidents and heads of state, among them late president Gamal Abdel-Nasser.

The lions have also witnessed major accidents that took place on the Bridge, among the most talked about being that of royal advisor and sometime desert explorer and first ever Egyptian Olympic gold medallist Ahmed Hassanein in 1946.

The bridge and its lions are more than infrastructure; they are woven into the fabric of Cairo’s social and cultural life. They stand as symbols of continuity, bridging the past to the present.

However, despite their resilience, the lions have faced challenges over the years, including pollution and the effects of weathering. Recognising their cultural importance, the authorities have undertaken restoration projects to preserve these statues for future generations. These efforts ensure that the lions of Qasr Al-Nil Bridge continue to stand as proud sentinels of Cairo’s heritage.

Last week, the recent restoration efforts triggered a wave of controversy, as critics argued that the restoration methods used may be altering the statues’ historic integrity.

The lions became the centre of a heated debate as experts, locals, and government officials clashed over the restoration of the statues, sparking a public outcry and raising questions about conservation ethics and the preservation of heritage.

The Syndicate of Fine Artists expressed concerns about the maintenance work being conducted on the lion statues. In a statement, it noted that maintenance work had begun on the statues, during which it was observed that a “roller” was being used to paint the bronze figures. This method, the syndicate stated, is wrong and violates the scientific and technical standards for proper maintenance.

It said that this approach has compromised the statues’ artistic integrity, obscuring the original bronze colour of these historically and artistically significant works. It emphasised that the maintenance work should use proper techniques to gently remove dust without applying polishing materials that could damage the statues.

Social media has been inundated with public reactions to the restoration work carried out on the lion statues. These have voiced their dismay, viewing the restoration work as an unwarranted alteration of the statues’ historic character. “We have a duty to preserve, not erase, our history,” commented one Cairo resident, echoing a sentiment shared by thousands online.

“These lions have aged alongside Cairo and should reflect that history.”

Egypt’s Supreme Council of Antiquities (SCA) has denied some social media claims that the iconic lion statues have been painted black. Such claims are “false and unfounded,” the SCA said in a statement.

Gamal Mustafa, head of the Islamic, Coptic, and Jewish Antiquities Sector at the Ministry of Antiquities, said that the statues had not been painted and were undergoing routine cleaning and maintenance, asserting that while the statues hold significant artistic and cultural value, they are not officially classified as antiquities on Egypt’s Heritage List.

The maintenance work is part of a collaboration between the SCA and the Cairo governorate to enhance the appearance of statues in public squares and parks around the city. It focuses exclusively on cleaning accumulated dust and pollution from the statues’ surfaces.

Restorer Manal Ghanam, who leads the restoration work on the lions, said that the maintenance work focused solely on cleaning the statues of accumulated dust and pollution and applying a transparent protective coating to shield the lions from environmental damage, including sunlight, dust, and rain.

“No varnish, coloured, or glossy materials were used at any stage,” she said, noting that this is not the first time the statues have undergone cleaning and maintenance. Since 2016, the SCA has periodically conducted similar work, including applying protective coatings to prevent rust and decay and ensure the statues remain in good condition.

“This is not about erasing history, but about protecting it for future generations. Our priority is to preserve these monuments so they can continue to inspire pride for years to come,” she said.

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ONCERNS: During a press conference held at the cabinet in the New Administrative Capital, Minister of Tourism and Antiquities Sherif Fathi addressed public concerns surrounding the recent restoration of the Qasr Al-Nil Bridge lion statues.

Fathi explained that the restoration, part of a broader campaign to preserve public monuments in Cairo, involved a scientifically studied process. The statues were cleaned using air and light brushes, followed by a wash with a neutral soap specifically designed for their metal composition. A protective coating was then applied, which initially appeared shiny but will mellow over time due to environmental conditions.

He said that the restoration adhered to established practices and noted the statues had undergone similar maintenance in the past, with positive results, including no signs of rust during recent inspections.

Reflecting on the public response, the minister underlined certain key lessons: the importance of accuracy and thorough verification of information; the need for constructive dialogue when seeking reforms; and the significance of understanding the criteria for designating artefacts under the antiquities law.

He pointed out that anyone aiming to contribute positively to public discourse should use appropriate channels. He also clarified the difference between designated artefacts and other historical items. He explained that while some objects may not be officially classified as artefacts on Egypt’s Heritage List, this does not reduce the government’s responsibility to protect them.

“When an item is officially designated as an artefact, it falls under the specific Antiquities Protection Law 117/1982 and its amendments,” he explained, “but this does not mean we neglect them as historical pieces.”

Fathi reaffirmed the government’s commitment to preserving Egypt’s cultural heritage, describing it as a vital national duty on a par with other major projects.

The lions of Qasr Al-Nil Bridge are more than just statues; they are an integral part of Cairo’s identity. They symbolise strength, resilience, and the enduring spirit of a city that has thrived for centuries. As Cairo continues to evolve, the lions remain a steadfast reminder of its rich history and cultural legacy.

* A version of this article appears in print in the 7 November, 2024 edition of Al-Ahram Weekly.