Consequent upon increasingly broad distribution, the Arab and Ottoman heritage markedly increased its presence and powers of attraction in the European capitals. Born in Alsace, Théodore Deck (1823−1891) learned the craft of faience production in Strasbourg before moving to Paris, where he frequently visited the Musée de Cluny and its renowned collection of Iznik ceramics. Regarding this, he wrote, “The rose, the tulip, the French marigold, the symbolic cypress, the hyacinth, the anemone and the grape are presented with real or conventional but always harmonious colours in endlessly varying arrangements, the same decoration never being repeated”. Théodore Deck made himself known at the Paris Exposition Universelle of 1867 with his bleus de Deck inspired by Turkish ceramics. He constantly reinterpreted the Islamic repertoire in an effort to enhance its spirit and renew its form. Having become a master of enamels and glazes through close study, he accomplished one feat after another, as shown by this dish of 1867 with its gleaming white ground, subtle polychromy and whirling pattern.