1 text volume, 3 volumes of illustrations. Published in Paris, by J. Savoy & Cie.
Text on stucco glass windows:
“Les moucharabyeh sont souvent surmontés de fenêtres à vitraux coloriés, représentant des bouquets de fleurs, des paons ou des arabesques capricieuses, qui diaprent les intérieurs de toutes les couleurs de l'arc-en-ciel. Ces vitrages, qui portent le nom de Qamarieh, ont de 50 à 70 centimètres de largeur sur 70 à 80 de hauteur. Ils sont composés de petits morceaux de verres de couleur, enchâssés quelquefois dans des meneaux de bois, finement découpés, mais plus fréquemment dans une arabesque de plâtre entourée d'un cadre de bois peint” (Prisse d’Avennes, 1869–1877, vol. 1, pp. 154–155).

In 1877, Émile Prisse d’Avennes published his influential book L’Art arabe d’après les monuments du Kaire depuis le VIIe siècle jusqu’à la fin du XVIIIe. The plates of the first two volumes of his seminal publication had previously appeared in 1869. The finished work was published in association with the world’s fair of 1878 in an augmented version of one text volume and three volumes of plates. In the third volume, the French archaeologist, who had spent several years in Egypt, published two windows from Cairene mosques (one reconstructed), as well as two views of the interior of a private house with stucco and glass windows (Prisse d’Avennes, 1869–1877, vol. 3, pls CXLIV, CXLV, CXXXIX, CXL). The book seems to have attracted a lot of attention at the World’s Fair (Prisse d’Avennes [son], 1896, p. 53; Volait, 2013, pp. 107–108).

Unlike older publications, such as those of Melchior de Vogüé (IG_70) and Jules Bourgoin (IG_88), Prisse d’Avennes shows windows in a detailed manner, as well as in their architectural context. As Paulina Banas points out, Prisse d’Avennes was keen to show picturesque images of Cairo’s architecture, featuring people in their built environment, while his sponsor J. Savoy and his publisher August-Jean Morel preferred illustrations of Islamic ornaments in isolation (Banas, 2018, p. 70).