Recognizing the fact, “no building on earth corresponds to the Temple of Luxor,” Kings and Commoners at Luxor Temple is a superb contribution to the genre of examining, explicating, and highlighting many features and factors that contributed to the metaphysical re-creation achieved in this citadel of theological and spiritual symbolism, artistic and architectural magnificence, and aspirant cosmic and metaphysic realization in humanity’s search for salvation in this existence and the one beyond. In this, the author’s contention is supported beyond contributing scripts through a number of images including photographs and quoted descriptions, all seeking to explore, examine and highlight this “god” or “worship temple’s” function that boasts human and divine imagery and cosmic connections; architectural and artistic picturesque excellence; that to this day still exudes religious and spiritual exilir; demonstrates spatial coordination in choice of site, axial orientation and mathematical exactness that encourages divine forces to come and inhabit their home, a phenomenon that graces the Luxor city-skyline in its empirical beauty; even a crowning respite for cultural celebration inspired through ritual and prayer in procession while transporting barks and boats in accompaniment of instrumental and choral musical expression, contorting and celebrative dancing, slaughtering of edible animals for ritual offerings and feasts, even flowers as decoration in the ritual, grasped in adoration by processional participants, held and thrown by admiring onlookers as the joyful parade passed-by; all with and beside the ever-moving processions of priests, divine barks being towed, royal chariots being driven, soldiers and religious revelers seeming spiritually intoxicated while marching in step and dancing, swaying, enjoying every moment of this once a year, New Year’s Day, festival Kings and Commons examines, recounts and celebrates, in the following manner. 1. Capture of the festive departure from Karnak Temple; 2. Images of the Avenue of Sphinxes route, photographs and equally exhibited photographic evidence the excavation, clearance, and reconstruction of the Avenue as well as a graphic illustration of the Opet -festival procession on display; even evidence of the ancient site, temples, etc.; 3. In the Exterior Court before the Great Pylon, images of the principal builders at the Temple of Luxor with their Cartouches and other descriptions, are on display; 4. The nearly original face of the temple recently restored with four standing statues of Rameses in place beside his two seated statues and the one still standing Eastern Obelisk; 5. A multitude of features characterize the Court of Rameses II, “renamed” the “Ramessean Front;” 6. Factors that depict the stupendously magnificent Processional Colonnade and the celebratory events pictured in the Opet -festival that are on vivid display; 7. The Colonnade majesty of the Sun Court of Amenhotep and site where the “Luxor Cachette” was located, all still mesmerizes; 8 The monumentality of the Hypostyle Hall, viewed from its interior and exterior faces, within and outside the temple remain a sight of awe-inspiring boldness and immensity; 9, The Roman conversion and creation of a Sanctuary south of the Hypostyle Hall created to honor their emperors, making altogether three Sanctuaries to celebrate Luxor Temple ritual; 10. A quoted description of the mystical and magical nature of the “Miraculous Birth of King Amenhotep III and other Egyptian temples” is extraordinarily unique and tremendously revealing; 11. Inner Southern sanctuaries are manifestly designed for worship of 3 divinities, Amenemope, Amon-Ra, and Amenhotep III, the King