Islamic Geometry Reinterpreted

The Neo-Mamluk Windows of the Morrocan House

Keywords: stained glass, World exhibition, Cairo, neo-islamic, Émile Prisse d'Avennes

Abstract

In the second half of the nineteenth century, there was a growing interest in Western countries for Islamic stucco glass windows, which were known from descriptions in books and as imported artifacts. Among the oldest publications is Émile Prisse d’Avennes’ (1807-1879) L’art arabe d’après les monuments du Kaire depuis le VIIe siècle jusqu’à la fin du XVIIIe. One year after its publication in 1877, its illustrations inspired the geometrical patterns of the windows of the Moroccan House, a neo-Moorish pavilion in the park of Linderhof Palace (Ettal, Germany). 

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Author Biography

Sarah Keller, Vitrocentre Romont

Sarah Keller is a senior researcher at Vitrocentre Romont, Switzerland, where she deals with Swiss stained glass of the Renaissance and Baroque periods. As a specialist for the glazing, she was collaborating with the research project “Mudéjarismo and Moorish Revival in Europe” from 2014 to 2019. Since 2020 she is a project partner in the Swiss National Science Foundation (SNSF)-project “Luminosity of the East. Materiality, Provenance and Reception of Islamic Coloured Glass Windows in the West”. She holds a PhD in Art History from the University of Bern. Her dissertation thesis analyzed the transfer of Islamic elements to Romanesque architecture in Northern Spain. 

Published
2022-03-07
How to Cite
Keller, S. (2022). Islamic Geometry Reinterpreted: The Neo-Mamluk Windows of the Morrocan House. Manazir Journal, 3, 30–44. https://doi.org/10.36950/manazir.2021.3.3