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By Lynn H. Nicholas

The solid of characters comprises Adolf Hitler and Hermann Goering, Gertrude Stein and Marc Chagall--not to say works through artists from da Vinci to Picasso. And the tale instructed during this fantastically researched and from time to time suspenseful booklet is that of the 3rd Reich's conflict on ecu tradition and the Allies' determined attempt to maintain it. ninety illustrations and pictures. three maps.

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The Rape of Europa: The Fate of Europe's Treasures in the Third Reich and the Second World War

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Former director J. Carter Brown at the Gallery was enthusiastic from the beginning and generously allowed me access to the wartime correspondence of his father, John Nicholas Brown. John Wilmerding gave me precious work space. Maygene Daniels guided me through the newly organized archives and Lisi Ferber shared her amazing fund of knowledge. Most wonderful were the entire staff of the library—and especially Neal Turtell, Caroline Backlund, Ariadne DuBasky, Ted Dalziel, Lamia Doumato, and Thomas McGill (who can find any book in the world).

Although not given the official orders for seizure of works until June 30, he and his committee were able to “select and secure” hundreds of works, sort them out, and produce a show by July 19—a feat any museum director would admire. The swiftness of the action gave curators little time to react. In Berlin, Ministry of Culture officials hastily telephoned museums in Prussia to warn of the coming purge. To get pictures out of their buildings, curators everywhere rushed to return those on loan from private owners or artists, such as Erich Heckel’s famous Zeltbahn Madonna, which the artist buried in his studio for the duration.

The art critic will be replaced by the art editor. , choosing objects for the opening of the Haus der Deutschen Kunst, 1937 (Photo by Heinrich Hoffmann) Ziegler was not a great artist, but as an exhibition organizer he excelled. Although not given the official orders for seizure of works until June 30, he and his committee were able to “select and secure” hundreds of works, sort them out, and produce a show by July 19—a feat any museum director would admire. The swiftness of the action gave curators little time to react.

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