In Stanley Lane-Poole’s book about the Islamic art of Egypt, one chapter is dedicated to glass. He comments on glass vessels and lamps and dedicates several pages to stucco and glass windows (pp. 263–267). He describes the motifs and the technique of the windows in the collection of the South Kensington Museum in London (today the Victoria and Albert Museum) in detail and also publishes four photographs of windows.

Three years before Stanley Lane-Poole (1854–1931) published his book on the Islamic art of Egypt, he spent three months in Egypt acquiring more than 400 artifacts for the South Kensington Museum in London (today the Victoria and Albert Museum; see Volait, 2021, p. 62). Besides tiles and dishes, he was also able to buy eleven stucco and glass windows from the art dealer Gasparo Giuliana (see Saracenic Art, 1884, p. 3; Volait, 2021, p. 63; Victoria and Albert Archive, Nominal File Stanley Lane-Poole).
As he himself puts it in his preface, he sees his book as a succession to Émile Prisse d’Avennes’ L’Art arabe d’après les monuments du Kaire depuis le VIIe siècle jusqu’à la fin du XVIIIe of 1877, the only previous attempt to describe the art of Cairo as a whole. Lane-Poole praises its pictorial plates, but attributes only ‘slight value’ to the text. The author’s goal now was, to ‘cast aside all merely aesthetic canons and prejudices, and base the history of the arts [...] strictly upon sound historical evidence.’ (Lane-Poole, 1886, pp. vii–viii). The description of stucco and glass windows was the most detailed published to date. For the first time, the explanation of the window’s technique and motifs was directly related to specimens preserved in a European collection.
The four photographs in his book show stucco and glass windows that are preserved in the collection of the Victoria and Albert Museum to this day (MES.LOST. 27, 28, 39, ME.3-2005). Their motifs are a floral stem, a palm tree flanked by cypresses, a mosque flanked by flowers, and a bouquet of flowers in a vase.