Footnote 73:[ (return) ] Mitth. Athen., I, p. 114.
Footnote 74:[ (return) ] SPON, III, 2, p. 21 f.
Footnote 75:[ (return) ] SPON, II, p. 174.
In the latter part of the eighteenth and the early part of the nineteenth century, Athens was visited by many strangers from western Europe, and the hospitable convent of the Capuchins and the enclosed "Lantern," which at this time was used as a closet for books, acquired some notoriety. Late in the year 1821, however, during the occupation of Athens by the Turkish troops under Omer Vrioni, the convent was accidentally burned, and its most precious treasure was liberated, to be sure, but, as may still be seen, sadly damaged by the fire, and what was still more unfortunate, left unprotected and exposed to the destructive mischief of Athenian street-arabs and their less innocent elders.
Aside from some slight repairs and the clearing away of rubbish, the monument remained in this condition until 1867, when the French Minister at Athens, M. de Gobineau, acting on behalf of his government, into whose possession the site of the former monastery had fallen, employed the architect Boulanger to make such restorations as were necessary to save the monument from falling to pieces. [76] At the same time the last remains of the old convent were removed, and some measures taken to prevent further injury to the ruin. Repairs were again being made under the direction of the French School at Athens, when I left Greece, in April, 1892.
For the architectural study of the monument of Lysikrates little has been done since Stuart's time. In the year 1845 and in 1859, the architect Theoph. Hansen made a new series of drawings from the monument, and upon them based a restoration which differs somewhat from that of Stuart, especially in the decoration of the roof. This work is discussed in the monograph of Von Lützow. [77]
Confining our attention to the sculptures of the frieze, we will examine certain inaccuracies of detail which have hitherto prevailed in the treatment of this important landmark in the history of decorative reliefs of the fourth century. The frieze, carved in low relief upon a single block of marble, runs continuously around the entire circumference of the structure. Its height is only .012 m. (lower, rectangular moulding) + .23 m. (between mouldings) + .015 m. (upper, rounded moulding). [78] It is to be noticed that the figures rest upon the lower moulding, while they are often (in fourteen cases) carried to the top of the upper moulding.
Footnote 76:[ (return) ] VON LÜTZOW, Zeitschr für bildende Kunst, III, pp. 23, 236 f.
Footnote 77:[ (return) ] Pp. 239 ff., 264 ff. For another restoration of the roof cf. SEMPER, Der Stil, vol. II, p. 242.
Footnote 78:[ (return) ] My own measurements.