The craftsperson responsible for this iteration added an eight-pointed star in the central rotated square to both emphasise the directionality of the pattern and to add a creative element. The pattern can be viewed as a single linear frieze that is repeated to cover a greater expanse. It is typically found as a single or double strip framing architectural elements like mihrabs or fountains, as is the case with the iteration presented here.

Unfortunately, the pattern’s versatility in scale is offset by limitations on the use of marble. This seems to be the material of preference for the execution of the pattern, despite its high cost. However, a few variations are executed in cheaper materials such as the painted intrados of Khayrbak’s mausoleum dome and the carved extrados of Qurqumas’s mausoleum dome at his khanqah. These two examples are the only instances where, due to the spherical nature of the surface, the pattern appears to repeat almost infinitely. Nevertheless, the painted variations do not live up to the magnificence of the marble.

The iteration of the design pictured in this entry originates from a fasqiyya in a traditional Cairene qa‘a, decorated with some relatively large marble panels. This was characteristic of Ottoman marble inlay, mainly reserved for the floor of the durqa‘a in domestic settings (central space in the reception hall). On the other hand, Mamluk marble inlay used smaller-sized tiles, thus allowing for more intricate designs on walls and in mihrabs. In both periods, the pattern is often framed and used as a panel within a larger composition. Here, the frame consists of a double line embedded with a simple arrangement of rotated squares. The same fasqiyya also contains another iteration of the pattern consisting of a single strip with a plain frame.