Basin with straight walls that flare outwards towards the wide, everted rim; raised from brass sheet; most of the upper surfaces engraved and inlaid with silver and gold (some losses) and probably a black substance (now lost); a circular sheet of brass with inlaid decoration (mostly lost) has been inserted into the basin to cover the original base, and three brass feet added; Egypt or Syria, 1250–1350.

Brass basin inlaid with silver and gold. Slightly flaring sides and wide everted rim. Rests on three rounded feet. Thuluth inscription on exterior placed against a floral arabesque and divided by six strapwork roundels. Interior features roundels alternately filled with a rider and a lunar figure. Interior base features complex inlerlacing pattern with seated ruler figures and central interlace roundels with inlaid silver.

This basin appears as pl. 4 on p. 123 of Marco Spallanzani's Metalli islamici a Firenze nel Renascimento (Florence, 2010), where it is labelled "Gia' Roma, Collezione Doria Pamphilj". He gives the evidence for the link with the Doria Pamphilj family on p. 78, referring to M. Lanci, Trattato delle simboliche rappresentanze arabiche (Paris, 1845-6), pl. XXVIII.

This is one of a group of impressively large basins with slightly flaring sides and wide everted rims produced by Ayyubid and Mamluk metalworkers. Aquired by the museum in 1898, the remarkable preservation of silver inlay with very few large pieces lost on the body, suggests that the basin was cherished and carefully handled to preserve its decoration. This basin, whose shape is typical, has an unusual decorative programme and, in conrast to other examples, rests on three feet. Varied decorative themes appear inside the rim, while a subdued design with bold inscriptions adorns the exterior. The interior features complex interlacing patterns and arabesque motifs amongst which a series of medallions feature mounted riders galloping and shooting, alternating with lunar figures. Between the medallions are groups of standing figures bearing arms and animated inscriptions with real and fantastical animals, including wild ducks, chasing one another in and out of the script. As a whole, the inscriptions are ambiguous, omitting the words "al-sultan", which is standard on imperial dedications, but include several other royal benedictions, and conclude with the phrase "to the owner", suggesting that the piece was made for an anonymous patron.

In the medallions on the rim of this basin, horse riders alternate with figures representing the moon. Between the medallions are groups of marching soldiers and animated inscriptions. The real and fantastical animals include ducks that chase one another in and out of the script. The Arabic inscriptions contain elaborate but anonymous royal titles and good wishes for the owner.

This type of secular decoration shows that this basin was a domestic object made for a palace rather than a religious building. It is an example of the distinctive dynastic style that developed during the first century of Mamluk rule in Egypt and Syria (1250–1350). This was when the sultanate was at the height of its power.

At first, scenes with human figures were common. These disappeared after 1300, and elegant inscriptions in Arabic became more prominent. The texts all name the patron or glorify the sultan.

740-1898