Rubbing - Detail of part of the continious ornamental frieze that decorates the drum of the dome just below the cornice. The drawing reproduces a detail of foliate patterns. This is the third of a series of drawings that reproduce the decorative motifs of the frieze. The drawings are numbered in pencil by the creators. The words 'Russian Ch.' are inscribed on the drawing. Further annotation in pencil survives.

Rubbing - Detail of part of the continious ornamental frieze that decorates the drum of the dome just below the cornice. The drawing reproduces a detail of foliate patterns. This is the fourth of a series of drawings that reproduce the decorative motifs of the frieze. The drawings are numbered in pencil by the creators.

Ground plan. The Drawing is entitled (in pencil): 'Athens Church of Our Lady of the Great Monastery'.

Clockwise from top left: West elevation, East elevation, Longitudinal section, Transverse section. The west elevation is particularly interesting since It depicts the west façade of the church and its decoration before the extensive restorations of 1911. The drawing is entitled (in pencil): 'Athens- Church of Our Lady of the Great Monastery'. Further annotation in pencil survives.

West elevation.

Ground plan (left), Transverse section (right). The drawing is entitled: 'Ch of the Saviour Athens' '1/4 Inch Scale'. Further annotation in ink survives.

Transverse section, Parts of architectural members (capitals, columns). This is a preliminary drawing. The words 'Athens S Saviour' are inscribed in the top right-hand corner. Further annotation in pencil survives. Various sketches in pencil (a cross section, sketches of columns) survive at the back.

North elevation. This is a preliminary drawing. The words: 'Athens St Saviour ?' are inscribed in the top right-hand corner. Further annotation in pencil survives.

Ground plan. The drawing is entitled: 'Athens - Church of the Saviour' Further annotation in pencil survives.

North elevation (left), Transverse section (right). The drawing is entitled: 'Athens - Church of the Saviour'.

Transverse section. This is a preliminary drawing.

Elevation. This is a preliminary drawing. Further annotation in pencil survives.

Ground plan. The drawing is entitled: 'The Parthenon in Christian Times'. Further annotation in pencil survives.

Ground plan. This is a preliminary drawing. Further annotation in pencil survives.

West elevation. Preliminary drawing.

North elevation. Preliminary drawing.

South elevation. The drawing depicts the bowls which were used as tympanun ornaments throughout the monument. Unfortunately, few of them are original. The erawing is entitled: 'Church of St Theodore', 'South Elevation'. Further annotation in ink survives.

East elevation. The drawing depicts the bowls which were used as tympanun ornaments throughout the monument. Unfortunately, few of them are original. The drawing is entitled: 'Church of St Theodore', 'East Elevation'. Further annotation in ink survives.

Longitudinal section (top), Ground plan (bottom). Further annotation in ink survives.

West elevation (top), Transverse section (bottom). Further annotation in ink survives.

South elevation (top), North elevation (bottom). The drawing depicts the bowls which were used as tympanun ornaments throughout the monument. Unfortunately, few of them are original. Further annotation in ink survives.

East elevation. The drawing depicts the bowls which were used as tympanun ornaments throughout the monument. Unfortunately, few of them are original. Preliminary drawing.

Rubbing - Detail of the ornamental terracotta panel-frieze (champleve process). The drawing is numbered as the first of a series. Further annotation in pencil survives.

Rubbing - Detail of the ornamental terracotta panel-frieze (champleve process). The drawing is numbered as the third of a series. Further annotation in pencil survives.

Rubbing - Detail of the ornamental terracotta panel-frieze (champleve process). The drawing is numbered as the third of a series. Further annotation in pencil survives.

Rubbing - Detail of the ornamental terracotta panel-frieze (champleve process). Further annotation in pencil survives.

Ground plan. This is a preliminary drawing.. It is entitled (in pencil): 'Agia Zoni and Agios Spyridon'. A ground plan and sketches of other churches have been imprinted on it. Furher annotation in pencil survives.

Ground plan. The words 'Hypapanti' (in Greek) iand 'Athens' are inscribed in pencil on the top of the drawing. A sketch of circular design in pencil survives at the back.

Ground plan and marble jambs. The drawing is numbered as follows: 'Attica : No 1'. It is entitled in pencil: 'Attica: Monastery - Church of Kaisariani'. Furher annotation in ink and pencil survives.

Ground plan. The drawing is entitled: 'Church at Kaesariani: Attica'.

Transverse section. The drawing is entitled: 'Church at Kaesariani' 'Transverse Section'.

Trasverse section with iconography. The drawing depicts parts of the iconographic program in the naos and the narthex. The wall-paintings in the naos follow the standard Byzantine/post-Byzantine iconographic program/scheme of church decoration. In terms of iconography, they follow well-established 16th-century Cretan School prototypes. They are rather conservative and date to the 18th century. Those of the narthex are less sophisticated with naïve/pictoresque details in the dense composistions. They date, according to a surviving inscription, to the 17th century. The drawing is numbered as follows: 'Attica No 2'. It is entitled in pencil: 'Attica Monastery Church of Kaesariani'. A caption at the bottom reads: 'Church at Kaesariane'. Further annotation in ink and pencil survives.

Longitudinal section. The drawing is entitled: 'Church at Kaisariani: Attica', 'Longitudinal Section'.

Part of transverse section with iconography. The drawing depicts parts of the iconographic program in the dome and the holy bema. The wall-paintings in the naos follow the standard Byzantine/post-Byzantine iconographic program/scheme of church decoration. In terms of iconography, they follow well-established 16th-century Cretan School prototypes. In terms of style, they are rather conservative and date to the 18th century. Those of the narthex are less sophisticated with naïve/pictoresque details in the dense composistions. They date, according to a surviving inscription, to the 17th century. Further annotation in pencil survives.

Transverse section with iconography. The drawing depicts parts of the iconographic program in the naos and the narthex. The wall-paintings in the naos follow the standard Byzantine/post-Byzantine iconographic program/scheme of church decoration. In terms of iconography, they follow well-established 16th-century Cretan School prototypes.. In terms of style, they are rather conservative and date to the 18th century. Those of the narthex are less sophisticated with naïve/pictoresque details in the dense composistions. They date, according to a surviving inscription, to the 17th century. This is a preliminary drawing.

East elevation. Ornamental brickwork appears more emphatically on the east end and the north and south gables of the Kaisariani church. The drawing is entitled: 'Church at Kaesariani' 'East Elevation'.

North elevation. This side is the most elaborately decorated part of the monument. The north arm of the cross is emphasized by a single protruding arch forming a conch-headed recession. The drawing is numbered as follows: 'Attica No 7'. It is captioned: 'North Elevation' and 'Church at Kaesariani'. Further annotation in ink survives.

North elevation. This side is the most elaborately decorated part of the monument. The north arm of the cross is emphasized by a single protruding arch forming a conch-headed recession. The drawing is entitled: 'Church at Kaesariani' 'The North Elevation'.

Ground plan with placement of iconography. The plan depicts the iconographic scheme of the naos and the narthex. The drawing is numbered as follows: 'Attica No -'. It is captioned: 'Church at Kaisariane'. Further annotation in pencil survives.

Ground plan with placement of iconography. The plan depicts the iconographic scheme of the naos and the narthex. This is a preliminary drawing. The word 'Kaisariani' appears in the right-hand corner.

East elevation (detail) - The bema window. Ornamental brickwork appears more emphatically on the east end and the north and south gables of the Kaisariani church. The Drawing depicts the bema window of the church. The window is double of the so-called 'grouped-type': the whole window is embraced in a single arch within which the individual lights are arched separately. The tympanum filling is in curvilinear form: the tile-courses follow concentrically the curve of the subsidiary arches and the individual units are themselves curved. This is one of the best examples of the type. The drawing is captioned as follows: 'Church at Caesariani'. Further annotation in pencil survives.

Bema window and closure slab. The drawing depicts the bema window of the church and a marble closure slab. The window is double of the so-called 'grouped-type': the whole window is embraced in a single arch within which the individual lights are arched separately. The tympanum filling is in curvilinear form: the tile-courses follow concentrically the curve of the subsidiary arches and the individual units are themselves curved. This is one of the best examples of the type. The slab is decorated with foliate and geometrical patterns. Further annotation in pencil survives.

The Tree of Jesse. The Tree of Jesse decorates the west wall of the Kaisariani narthex. The wall-paintings in this part of the church are less sophisticated than those of the naos with naïve/pictoresque details in the dense composistions. They date, according to a surviving inscription, to the 17th century. Made for John, 3rd Marquess of Bute by Gillieron and presented to the Fund by his son (see note in: BRF Corporate Records-List of BRF materials by RWS 1948).

Ground plan. The drawing is entitled: 'Omorfh Ekklesia near Athens - 1/4 Inch Scale - Plan Drawing 1'. Further annotation in pencil surives.

Longitudinal section. The drawing is entitled: 'Omorphi Ekklesia nr Athens - Longitudinal Section - Drwg 2'.

Transverse section. The drawing is entitled: 'Omorfh Ekklesia Section Thro Narthex Looking E Drwg 3'.

Noth elevation. This is a preliminary drawing. It is entitled: 'Omorfh Ekklesia nr Athens - North Elevation - Drawing 4'. Further annotation in pencil survives.

North elevation. The drawing, according to a surviving note, is a copy of R.S. Weir's rough pencil sketch.

East elevation. The drawing according to a surviving inscription, is a copy of R.S. Weir's inked drawing. Further annotation in ink and pencil surives.

East elevation. The drawing is entitled: 'Church at Omorphi - Attica', 'East End'.