Wide rectangular stucco and glass window composed of three ornamental fields. The centre field consists of three pairs of eight-petalled flowers in yellow, blue, yellow. The flowers are set in square frames. The background colours of each pair of flowers are pink, dark red, and pink. Each of the two fields flanking the flowers show floral motif mirroring that opposite and consisting of a lily with nine symmetrically arranged, multi-coloured blossoms springing from a peduncle. The peduncle emerges from the lower outer corner and extends more or less horizontally across the entire field. The motif is worked out in relief against a perforated background that lies 7–10mm below the surface of the stucco panel.

Coarse-grained, partially porous (with round pores) gypsum plaster; colourless glass with a slightly greyish-green tint; coloured glass (several shades of green, three shades of blue, three shades of yellow, several shades of pink); two shades of red flashed glass, one of which is from the 2003 restoration)

The window is well preserved and was thoroughly restored in 2003. During this intervention, earlier repairs were largely removed. The restoration measures included cleaning the surface of the stucco lattice (laser cleaning, density: 1.5 J/cm2 at 1064nm), bonding cracks with acrylic resin, and filling lacunae in the stucco lattice with acrylic filler. The repairs were retouched with pigmented acrylic emulsion. In addition, fragile areas were strengthened with gauze and acrylic resin. The original wooden frame was cleaned with solvent and reinforced by adding an aluminium frame.

At the time of restoration, around 60% of the original pieces of glass were preserved. Missing pieces were replaced with new ones, which were attached with cellulose nitrate.

The floral motifs used in this stucco and glass window, i.e., the eight-petalled flowers and the flowering stem, are common in Islamic arts. There are, however, no comparable examples in which the two motifs are combined in this way. In addition, the roughly horizontal depiction of the peduncle is rather unusual. Commonly, the flowers are shown growing vertically upwards.

From a technical point of view, it can be assumed that the window was made in an Egyptian workshop. Although the rear of the window was not accessible during our examination, it can be concluded from the restoration report of 2004 that the window was made according to the traditional technique used in the manufacture of qamariyyāt in North Africa to this day (see Technique).

According to the museum records, the window dates to the 16th or 17th century. However, its relatively good state of preservation suggests that it was made in the late Ottoman period, most probably in the 19th century. If the window had been installed in a building and been exposed to outside conditions for two or three centuries, we would have expected it to be more heavily weathered before its restoration in 2003.

While part of the sheet glass may have been recycled from locally produced crown glass (purple glass), the majority of the glass used in this window may have come from European glassworks, as according to the Hungarian architect Max Herz (1856–1819), the production of sheet glass in Egypt had come to a standstill in the 19th century (Herz, 1902, p. 53). This is supported by the fact that many of the pieces of glass show structures that suggest that the glass was produced using the broad-sheet method. This technique was uncommon in the Islamic world at that time and more commonly used in Europe.

The Cairo-based, Cypriot art and antique dealer Phokion Tanos (1898–1972) donated this window – along with 12 other qamariyyāt (11049–11059, 20969, 20960, see IG_336–359) – to the Benaki Museum in Athens, probably in the 1940s.