In a very cosmopolitan Egyptian Ottoman society, an individual is defined by his social status and profession, and then by his religious beliefs. The Coptic elite of the 18th century, following both Christian and Muslim usage, takes advantage of the province’s important economic development to redistribute the acquired wealth for the benefit of the Church and their coreligionists.Officials or administrators, they participate, in their own way, in the artistic renaissance that marks the history of devotional painting in Cairo. By sharing common tastes, they show a consciousness group in a community that is just emerging at that time. They have always taken special care to have their names on the paintings, closer to the holy images, in search of intercession to Paradise. Prolific patrons, the works follow one another and celebrate their names. By confronting this new approach of Egyptian Christians with historical narratives and textual sources, it becomes possible to rediscover this production in a new light. The icons bearing these dedications, often unpublished, become enlightening testimonies of the Coptic community’s construction.