In 1791, Aubin-Louis Milin, in "National Antiquities", seems to be the first to make the link between the Baptistery and Saint Louis  The same author recognizes many Western characters; he believes that the four horsemen present in the medallions outside indicate the years of conflict between the sultans and the Franks. Milin also raises the possibility of an earlier arrival in France, linked to the Embassy of Harun al-Rashid to Charlemagne at the beginning of the 10th century. The work also presents rather imprecise engravings, but which show that the object has not undergone major modification since that time, with the exception of the addition of two plates to the arms of France in 1821, a date in which the object is used to baptise the Duke of Bordeaux. On 17 January 1793, the Baptistery was sent to the deposit of Petits-Augustins before entering the museum nine days later. Replaced in 1818 at Vincennes, by order of the king, it returned to the Louvre in 1852, after a decree of Louis Napoleon Bonaparte stating that "all objects that belonged to the rulers who ruled France would be sought, gathered and placed in the Palace of the Louvre." It left the museum temporarily in 1856 to serve in Notre Dame at the baptismal ceremony of Prince Napoleon Eugene; this is the last time this basin was used as a baptismal object. The year 1866 is marked by two publications: in the "Catalog of the Museum of Sovereigns" Henry Barbet de Jouy describes the subjects of the basin and their depiction of a Saracen prince fighting, hunting, and feasting, as well as the different animals, some predators and some prey. Barbet de Jouy calls into question the dating proposed before and puts forward the hypothesis of a work reported in France around 1150. For its part, Adrien Prévost de Longpérier proposes in an article the first scientific study of the "Baptistery". He discovered the origin of the false date of Piganiol, refutes the idea that the work served at the baptism of St. Louis, and sees a work of the first half of the 13th century, because of fleur-de-lys which seem to have been added in the 13th or 14th century in Europe. In 1930, a stylistic analysis by Mehmet Aga Oglu is the first to recognize the baptistry as a work of Syrian workshop, and the date of the first quarter of the 14th century.