The Victorian painter John Frederick Lewis (1804–1876) depicted stucco and glass windows in his oil painting A Lady Receiving Visitors(The Reception), which was completed in 1873 and visualizes the mandarah (room where guests are received) of a domestic interior with several women, children, and a gazelle.
Lewis recorded the architectural elements of the Egyptian interior in detail, with a square water-filled basin surrounded by three bays. The luminous space is lent character by the wooden lattices in the lower half of the bays and the coloured stucco and glass windows above. Bright daylight floods the interior, streaming in through the lattices and the multi-coloured stucco and glass windows, partially reflected on the different surfaces of the interior, and creating a play of light, shadow, and colour (Weeks, 2014, pp. 111–127). The window in the central bay with the motif of a vase of flowers is flanked by two windows that mirror each other with the motif of a stylized peacock standing next to a smaller vase of flowers. Above these three figurative windows is another narrow upper row of rectangular windows: the one in the centre bears a cartouche with a Quranic inscription in yellow, and the two on either side show motifs of vases of flowers and palm trees. The coloured stucco and glass windows in the recesses to the left and right of the central bay mirror one another and show various geometric motifs (in the lower row), and again stylized cypresses and geometric ornament (in the upper row). The complementary colours of blue and orange, as well as the red and green of the windows, are echoed in the painted wood, the marble intarsia, the textiles, and the garments of the women (Weeks, 2014, p. 110).

The Cairene house in which Lewis lived during his near ten-year sojourn in Egypt between 1841 and 1851 may have inspired the interior shown in his work A Lady Receiving Visitors, painted after his return to England in 1873 (Llewellyn, 1998, pp. 149–151, and Weeks, 2014, pp. 15 and 40–42). Lewis also dealt with the interior in his watercolour Mendurah in my House in Cairo (IG_119), painted around 1843 in Egypt, which may have served as a reference in the creation of this painting (Tromans, 2008, p. 133, and Llewellyn, 1998, p. 153). The British architect James William Wild (1814–1892) (IG_449) also depicted a section of the interior of this house in a watercolour, as is confirmed by a pencil note that the interior represents the Cairene house in which Lewis lived by himself during his sojourn in Egypt (Weeks, 2014, pp. 40–43).
Lewis made a version of this oil painting in watercolour entitled Introduction to the Harem, which is today held in a private collection (Weeks, 2013, Fig. 2). Emily Weeks notes that there are subtle differences between the two works (Weeks, 2013), but the motifs and arrangement of the windows in the oil painting and the watercolour correspond. Stucco and glass windows can also be seen in other paintings by Lewis: they can be seen, for example, partially covered, on both sides of a pillar in the background of the picture And the Prayer of Faith Shall Save the Sick (1872, oil on panel, 90.8 × 70.8cm, Yale Center for British Art, Paul Mellon Collection, B1975.1.16).