The Baptistère de Saint Louis - Catalogue Entry
What is the Baptistère de Saint Louis?
The Baptistère de Saint Louis is an intricately decorated basin made of hammered brass metal with engraved decorations of silver and gold. The basin is a masterpiece in Islamic metalwork, made of a single base sheet of brass with finely engraved silver and gold leaf overlaid with incredible intricacy [1]. The exterior of the basin is made up of four roundels with figures on horseback. Directly above the figures is a narrow frieze, which is a decorative horizontal band on top of the walls of the basin, nearing the rim. The frieze contains figures of racing animals and fleurs-de-lys, a distinctly French touch [2]. The interior also contains four roundels of men engaged in battle on horseback. Two of the roundels contain figures seated on thrones, and the other two contain shields, which have been analyzed by historians to ascertain the patronage of the piece. The base of the Baptistère depicts a variety of marine animals. The basin has a diameter of 50.5 cm at the top and 39 cm at the base, with a height of 23.2 cm [3]. It currently resides in the Department of Islamic Art in the Louvre Museum in Paris, France.
When was the Baptistère made?
The metalwork techniques used in the Baptistère help historians estimate when it was made. The inlay technique seen in the basin was introduced to Egypt and Syria in the 13th century by artists trained in Mosul-style inlay techniques [4]. The Mosul-style is characterized by many of the same elements seen in the Baptistère: figural scenes, fine inscriptions, and geometric designs [4]. Overtime, figures disappeared from Mamluk objects that had the specific names of amirs or Sultans engraved in them [5]. Iconoclasm might account for why the figures in the Baptistère are not identified by name. Taking into account the Mosul-style metalwork, historian David Rice theorized that the figures on the basin were Mamluk amirs, specifically identifying one as the amir Salar [6]. Based on when Salar was in office, he theorized that the basin was created between 1290 and 1310 [7]. On the other hand, historian Rachel Ward, who has a different theory of patronage, concluded that the Baptistère had many similarities in size, shape, and detail with Mamluk basins produced after 1325 [8]. This corresponds with the Louvre’s estimated date of creation as well.
The comparable artifact titled 'basin' is housed at the British Museum. Made in roughly the same time period (1320-1341 CE) under the Mamluk Dynasty, the similarities between the Baptistère and Mamluk-style of basin are apparent [9]. Both are constructed from hammered brass with silver and gold inlays, and with dimensions of 54 cm diameter at the rim and a height of 22.7 cm, the scale of the basin is similar to the Baptistère as well. The main difference between these artifacts is that while the patron of the Baptistère is unknown, the patron of this basin is inscribed on the outside. It is attributed to Sultan al-Malik al-Nasir the wise [9].
How was it produced?
The Baptistère and other Mamluk basins required both precious metals and expert craftsmen to create something worthy of the elite. Despite having local mines that Mamluk slaves worked in, the demand for gold could only be met by importing from Egypt, West Sudan, and Venice [10]. They imported their silver from European countries such as Bosnia, Serbia, as well as from Iraq and Syria in Central Asia [10].
Information on the craftsmen is limited, as there are little to no biographical accounts of Mamluk metalworkers’ daily lives. However, there are records indicating that metalworkers had specialized roles such as founders, blacksmiths, casters, coppersmiths, hammerers, metalbeaters, tinners, and workers in lead. There were also engraving specialists who were more detail oriented [11]. While many markets were specialized, there was still room for the flexibility to master multiple different crafts. An example of this is Muhammad ibn al-Zayn [11]. While the precise methods of the production of the Baptistère are not known, it is within the realm of possibility that he crafted the work entirely on his own.
The comparable artifact titled 'Basin,' is very similar to the Baptistère and other Mamluk basin based on appearance. It is of a similar time period, mid-14th century, and is made of beaten brass inlaid with gold and silver [12]. Like the other two basins, it also contains fish and marine imagery on the bottom, which is representative of the water meant to fill the basin [12]. While the previous basin was intended for Sultan al-Malik al-Nasir, this one was intended for a high ranking official of his administration [12]. What makes this basin is unique from the other two is its inclusion of lotus flowers, which is thought to have be influenced by trade routes between the Mamluk dynasty and China [12].
Why was it made and how was it used?
Historians have been able to identify the artist and general region of Baptistère’s origin. But the Baptistère’s intended purpose still remains contested. While engravings on the basin identify the artist, none of inscriptions name a patron or original owner. Thus, historians have had to analyze the imagery on the Baptistère to make speculations about the patronage and intended use of the basin.
One theory behind the patronage of the Baptistère was that it was commissioned by or for a Mamluk Sultan or high court official. Historian David Rice proposes that the figures on the basin are Mamluk amirs, and he specifically identifies the amir Salar [13]. Rice focuses in on a specific blazon that appears twice in the basin. It is a dark fesse on a three-sided shield. He points out that this specific blazon was given to the amir Salar at the beginning of his career and is representative of a badge of office [14]. The high quality craftsmanship, intricate inlay, and identification of specific Islamic figures point towards a royal Islamic patron, according to Rice.
Other theories dispute that the Baptistère was commissioned for a Mamluk sultan, and instead suggest is was commissioned for a European patron. These theories provide an explanation for how the basin made its way to France and adopted a French name. Historian Rachel Ward argues for European patronage due to various symbols added to the basin. One piece of evidence she cites is the shape of the shields in some of the interior roundels. The straight top and pointed base of the shields are more indicative of European shields in the 14th century [15]. In this period, Mamluk shields were typically a round shape. According to Ward, the basin has been adapted two times. In one instance, the shields were covered with plaques bearing the arms of France, where that had previously been left blank. The other instance was the addition of fleurs-de-lys over the original emblems in the smaller roundels [15]. Ward argues that these adaptations of the basin are the strongest evidence pointing towards European, specifically French, patronage.
Mamluk basins of various artists were primarily used for washing, signified by the fish and marine imagery commonly engraved at the bottom [12]. While the early history of the basin remains unknown, and whether or not it was intended, records of the Baptistère first appeared in France dating as far back as 1742 [2]. It was first noted to be in the treasury of the Saint-Chappelle, and was reportedly used as a baptismal font for the royal children [13]. The basin remains in France to this day.
Exterior of Baptistère (Flat)
Who made the Baptistère?
It is quite rare for an individual to be identified as the artist for a piece. The identity of the Baptistère’s creator, however, is revealed with an engraving under the rim. The inscription reads, “Work of the Master Muhammad ibn al-Zayn” [1]. Not only is the work clearly distinguished as his, but he went as far as to engrave his name on the piece in five other locations. It is clear that the artist wanted to ensure he was credited for his work and that he was proud of it. Muhammad ibn al-Zayn was a highly skilled artist who specialized in a variety of techniques with a variety of different metals. His skills were so varied that if not for his signature engraved on his different pieces, historians likely would not be able to identify his work based on appearance alone. His work differs drastically in technique, decoration, design, and material [16]. An exception to this trend in al-Zayn’s work is a piece of his that is also housed at the Louvre Museum, titled “Bol.” The bowl is very similar thematically and stylistically to the Baptistère. Like the basin, it is brass inlaid with silver, gold, and black clay [17]. This work stands out as a piece of Muhammad ibn al-Zayn's when comparing the style of the figures to that of the Baptistère.
Muhammad ibn al-Zayn produced the Baptistère and bowl in either Egypt or Syria during the Mamluk dynasty. The Mamluk Dynasty was ruled by a warrior caste of mamluks (slave soldiers) led by a Sultan. The Mamluks were known for their innovative metalwork advancement. The extravagant Mamluk basins were typically commissioned by elite Mamluks and were used to hold either food and water. Basins that held water were primarily used for washing one’s hands or body.
How does the Baptistère represent the moral implications of extravagance?
The significance of art lies beyond just its aesthetic appeal. Art carries the influence of the culture and values of a civilization. The Baptistère was created under an Islamic dynasty and is imbued with the style of artists at the time. The expert craftsmanship of the Mamluk metalworkers is admirable to an artist of any background or medium, to be sure. However, the contested issue of patronage vs. appropriation suggests that the Baptistère could possibly have been stolen. Therefore, the implications of a European nation using an Islamic-made artifact in Christian rituals must be explored.
Evidence suggests the possibility that there was an Islamic patron of the Baptistère. If this were to be the case, that would mean that when they came into possession of the basin, the French physically altered it by overlaying fleurs-de-lys on the Blazons and the French symbol of arms over shields. This would be a direct act of imbuing French identity into an Islamic artifact. By altering an artifact and using it in French monarchical rituals, the style and culture of the civilization responsible for the piece is being stripped away.
It is important to acknowledge that as a European power, France has had a role in the genocide of Indigenous peoples, the slave trade, and slavery [18]. As France takes accountability in the form of reparations for past crimes, would it not also be fitting to return the Baptistère to the culture is which it was possibly stolen from?
How does it connect to the theme of extravagance?
The Baptistère is a perfect example of extravagance. This and other Mamluk basins were specifically intended for Sultans, kings, or highly ranked political officials. The creation of something so lavish for a mundane activity such as washing one’s hand or body is indicative of the kind of lifestyle elites had during this time period. The basins are made with precious metals like gold and silver, and are intricately designed and crafted by artisans who spent years perfecting their technique. The Baptistère was extravagant to another level, however. It would not be incorporated into the lavish rituals of French royalty if it were anything other than magnificent. After all, French monarchs are not known for living a particularly humble lifestyle. The Baptistère’s existence shows that extravagance for the elite was more than just a must; it was a way of being.
Endnotes
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Rice, 367.
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Ward, “Baptistère,” 113.
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Louvre Museum, “Baptistère.”
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Ward, “Mamluk Egypt,” 59.
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Ward, “Mamluk Egypt,” 61.
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Rice, 377.
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Rice, 379.
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Ward, “Baptistère,” 119.
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The British Museum, “basin.”
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Mols, 148-149.
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Mols, 149-150.
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Saint Louis Art Museum, “Basin.”
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Ward, “Baptistère,” 114.
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Rice, 377.
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Ward, “Baptistère,” 116.
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Mols, 152.
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Louvre Museum, “Bol.”
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Klosowska, 3.
Works Cited
"Basin," Saint Louis Art Museum, accessed April 26, 2023, https://www.slam.org/collection/objects/32633/
"basin," The British Museum, accessed April 25, 2023, https://www.britishmuseum.org/collection/object/W_1851-0104-1
“Bassin dit ‘Baptistere de Saint Louis’,” Louvre Museum, accessed April 27, 2023, https://collections.louvre.fr/ark:/53355/cl010318774
“Bol,” Louvre Museum, accessed April 29, 2023, https://collections.louvre.fr/en/ark:/53355/cl010320012
Klosowska, Anna. “Muhammad ibn al-Zain's basin (baptistère de Saint Louis)." Literature Compass 16 (2019): 9-10. https://doi.org/10.1111/lic3.12546.
Rice, David Storm. “The Blazons of the ‘Baptistère de Saint Louis.” Bulletin of the School of Oriental and African Studies, University of London 13, no. 2 (1950): 367–80.
Mols, Luitgard Eva Marie. (2006, October 24). Mamluk metalwork fittings in their artistic and architectural context. Leiden: UFB/Grafisch/CPM Leiden University, 2006. https://hdl.handle.net/1887/4954
Ward, Rachel. “Brass, Gold and Silver from Mamluk Egypt: Metal Vessels Made for Sultan Al-Nāṣir Muḥammad. A Memorial Lecture for Mark Zebrowski.” Journal of the Royal Asiatic Society 14, no. 1 (2004): 59–73.
Ward, Rachel. "The 'Baptistere De Saint Louis' - A Mamluk Basin Made for Export to Europe," Islam and the Italian Renaissance, edited by Charles Burnett and Anna Contadini, 113-132. Location: Warburg Institute, London, 1999.
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