surrounding park. Under pressure of the public opinion and the authorities, Horta had to alter his plans and close the temple with a wooden barricade, and it was left unfinished only three days after inauguration. Lambeaux never knew the temple as it currently stands. Shortly after Lambeaux's death, Horta acceded to his wishes by building the wall that would permanently hide the bas-relief with a closed front to enhance the natural light coming through the glass roof. Later years In 1967, the building was given in leasehold for 99 years by King Baudouin to King Faisal ibn Abd al-Aziz of Saudi Arabia, on an official visit to Belgium, together with the East Pavilion of the 1880 National Exhibition that would later become the Great Mosque of Brussels, to house a museum of Islamic art. The building and the relief were protected by a royal decree on 18 November 1976. Two years later, the donation to King Khaled of Saudi Arabia was made official by the royal decree of 12 September 1979. The government of Saudi Arabia eventually gave its operation back to the Royal Museums of Art and History. The pavilion remained closed to the public except on occasional open days. Since 2002, the temple is open one hour per day, except on Mondays. In recent years, this was not due to the prudishness of the public, but out of fear for vandalism. Renovation The building was left unattended for more than a century, and by the early 21st century, it required urgent renovation works. In 2008, the Belgian government officially started the process of contracting out the renovation works by publishing two government procurements in the Moniteur Belge. The restoration of the work of Jef Lambeaux should follow. Renovation works of the building began in May 2013 and were completed in 2014 for a total cost of €800,000 financed by Beliris. The renovation of the relief itself was finished in 2015. The Human Passions relief The Horta pavilion houses the monumental achievement of the sculptor Jef Lambeaux (1852–1908): The Human Passions relief. The draft on paper was presented at the Triennial Salon of Ghent in 1889, creating immediately a big commotion. The journal L'Art Moderne in 1890 described the work as: (…) a pile of naked and contorted bodies, muscled wrestlers in delirium, an absolute and incomparable childish concept. It is at once chaotic and vague, bloated and pretentious,