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1
00:00:16,277 --> 00:00:19,454
[ gavel pounding ]
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00:00:19,497 --> 00:00:21,369
Man:
GOOD EVENING,
LADIES AND GENTLEMEN,
3
00:00:21,412 --> 00:00:24,502
AND WELCOME TO CHRISTIE'S
AND TO THIS EVENING'S SALE
4
00:00:24,546 --> 00:00:27,288
OF IMPRESSIONIST
AND MODERN ART.
5
00:00:27,331 --> 00:00:31,074
LOT 11 IS
THE 1922 PICASSO THERE,
6
00:00:31,118 --> 00:00:32,902
BUSTE DE FEMME
LA CHEMISE.
7
00:00:32,945 --> 00:00:36,949
A PICASSO PAINTING TORN FROM
A GERMAN MUSEUM WALL IN 1937
8
00:00:36,993 --> 00:00:40,344
IS JUST NOW RESURFACING
AT AUCTION IN NEW YORK CITY.
9
00:00:40,388 --> 00:00:42,694
FOUR MILLION NINE HUNDRED
THOUSAND, $5 MILLION.
10
00:00:42,738 --> 00:00:45,045
AT $5 MILLION,
$6 MILLION.
11
00:00:45,088 --> 00:00:48,874
SIX MILLION TWO HUNDRED
THOUSAND, SIX MILLION TWO.
12
00:00:48,918 --> 00:00:49,919
NO?
13
00:00:49,962 --> 00:00:51,138
ALL DONE,
AND SELLING HERE THEN.
14
00:00:51,181 --> 00:00:52,835
LAST CHANCE
AT SIX MILLION TWO.
15
00:00:52,878 --> 00:00:55,446
FOR YOU, SIR, SIX MILLION TWO,
THANK YOU.
16
00:00:55,490 --> 00:00:57,970
THE LAST TIME THIS PICASSO
WAS AT AUCTION,
17
00:00:58,014 --> 00:01:00,756
IT SOLD FOR JUST $1,800
18
00:01:00,799 --> 00:01:03,193
AS PART OF A CAMPAIGN
TO RID GERMANY
19
00:01:03,237 --> 00:01:06,849
OF ARTWORK
THE NAZIS CONDEMNED.
20
00:01:06,892 --> 00:01:10,070
ADOLF HITLER PURGED
ART HE HATED,
21
00:01:10,113 --> 00:01:12,115
AND HE STOLE
ART HE COVETED.
22
00:01:12,159 --> 00:01:14,944
Man:
THE NAZIS WERE NOT JUST THE
MOST SYSTEMATIC MASS MURDERERS
23
00:01:14,987 --> 00:01:17,425
IN HISTORY, THEY WERE
THE GREATEST THIEVES.
24
00:01:17,468 --> 00:01:19,209
THEY STOLE EVERYTHING.
25
00:01:19,253 --> 00:01:21,864
ART OF ALL KINDS WOULD BE
VULNERABLE TO HITLER'S PLAN:
26
00:01:21,907 --> 00:01:25,041
PAINTINGS,
SCULPTURE,
27
00:01:25,085 --> 00:01:29,176
FURNITURE,
RELIGIOUS OBJECTS.
28
00:01:29,219 --> 00:01:30,829
Woman:
THERE'S ALWAYS BEEN LOOTING.
29
00:01:30,873 --> 00:01:33,267
THERE WAS PLANNED LOOTING DONE
BY NAPOLEON,
30
00:01:33,310 --> 00:01:35,485
BUT THIS WAS
REALLY INDUSTRIAL.
31
00:01:35,530 --> 00:01:39,186
ALONG WITH LOOTING, THE NAZIS
UNLEASHED A MODERN WAR
32
00:01:39,229 --> 00:01:42,580
THAT DESTROYED HISTORIC
EUROPEAN ARCHITECTURE.
33
00:01:42,624 --> 00:01:44,887
IN THE STRUGGLE
TO DEFEAT HITLER,
34
00:01:44,930 --> 00:01:48,020
THE ALLIES WOULD HAVE TO CHOOSE
BETWEEN SAVING LIVES
35
00:01:48,064 --> 00:01:50,588
AND CAUSING EVEN MORE DAMAGE.
36
00:01:50,632 --> 00:01:54,114
THERE IS THE AGE-OLD ARGUMENT:
WHICH IS OF MORE VALUE,
37
00:01:54,157 --> 00:01:56,899
A WORK OF ART
OR A HUMAN LIFE?
38
00:01:56,942 --> 00:02:00,598
TODAY, EVEN AFTER
MORE THAN 60 YEARS,
39
00:02:00,642 --> 00:02:03,210
LOST ART IS
STILL BEING FOUND,
40
00:02:03,253 --> 00:02:06,126
BATTLE DAMAGE IS
STILL BEING REPAIRED,
41
00:02:06,169 --> 00:02:08,562
AND STOLEN MASTERPIECES
ARE STILL CAUGHT UP
42
00:02:08,606 --> 00:02:10,565
IN BITTER DISPUTES.
43
00:02:10,608 --> 00:02:13,785
ALL OF THIS IS
THE UNFINISHED BUSINESS
44
00:02:13,829 --> 00:02:17,224
OF THE GREATEST WAR
IN HISTORY.
45
00:02:17,267 --> 00:02:19,791
[ ♪♪♪ ]
46
00:02:33,501 --> 00:02:37,591
Man:
THIS PAINTING, IN VIENNA,
IT'S THEIR MONA LISA.
47
00:02:37,635 --> 00:02:41,857
THIS IS THEIR ICON.
48
00:02:41,900 --> 00:02:49,038
Man:
THIS IS ONE OF THE MOST
IMPORTANT IMAGES OF AUSTRIAN ART
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00:02:49,081 --> 00:02:52,563
OF THE 20th CENTURY.
50
00:02:52,607 --> 00:02:56,654
Man:
THE PAINTING WAS STOLEN
BY THE NAZIS DURING THE WAR.
51
00:03:00,092 --> 00:03:01,920
OVER 60 YEARS AGO,
52
00:03:01,964 --> 00:03:04,836
GUSTAV KLIMT'S
PORTRAIT OF ADELE BLOCH-BAUER
53
00:03:04,880 --> 00:03:06,534
BECAME PART OF
THE COLLECTION
54
00:03:06,577 --> 00:03:09,406
OF THE AUSTRIAN NATIONAL
GALLERY IN VIENNA.
55
00:03:09,450 --> 00:03:12,017
NOW WORTH MORE
THAN $100 MILLION,
56
00:03:12,061 --> 00:03:14,281
IT IS JUST ONE
OF MANY WORKS OF ART
57
00:03:14,324 --> 00:03:16,326
WHOSE OWNERSHIP
HAS BEEN CONTESTED
58
00:03:16,370 --> 00:03:18,241
SINCE THE NAZIS
WROUGHT HAVOC
59
00:03:18,285 --> 00:03:22,376
ON THE ART WORLD
OF EUROPE.
60
00:03:22,419 --> 00:03:26,597
MOST PEOPLE CALL THIS VIENNESE
ICON "THE GOLD PORTRAIT."
61
00:03:26,641 --> 00:03:29,818
FEW THINK OF IT AS A PORTRAIT
OF A VIENNESE JEW
62
00:03:29,861 --> 00:03:31,733
AND A REMINDER
OF THE JEWISH COMMUNITY
63
00:03:31,776 --> 00:03:34,301
THAT FLOURISHED HERE
BEFORE WORLD WAR II.
64
00:03:34,344 --> 00:03:37,434
WHEN THE NAZIS
OCCUPIED AUSTRIA,
65
00:03:37,478 --> 00:03:40,394
THEY STOLE THE KLIMT PORTRAIT
FROM THIS BUILDING,
66
00:03:40,437 --> 00:03:42,831
THEN THE HOME
OF FERDINAND BLOCH-BAUER,
67
00:03:42,874 --> 00:03:45,399
A PROMINENT JEWISH
ART COLLECTOR.
68
00:03:45,442 --> 00:03:49,098
THE NAZIS COMMANDEERED
THE BLOCH-BAUER HOME.
69
00:03:49,141 --> 00:03:54,016
AND THE VARIOUS REPRESENTATIVES
OF THE MUSEUMS CAME TOGETHER
70
00:03:54,059 --> 00:03:58,760
AND PICKED OUT PAINTINGS
AND PORCELAIN AND SCULPTURE
71
00:03:58,803 --> 00:04:01,763
THAT THEY WANTED
FOR THEIR COLLECTIONS.
72
00:04:01,806 --> 00:04:03,939
THIS IS THE DOCUMENT
THAT SENT
73
00:04:03,982 --> 00:04:05,984
THE PORTRAIT
OF ADELE BLOCH-BAUER
74
00:04:06,028 --> 00:04:07,812
OVER TO THE AUSTRIAN GALLERY.
75
00:04:07,856 --> 00:04:09,510
AND AT THE BOTTOM
OF THE DOCUMENT,
76
00:04:09,553 --> 00:04:13,078
IT SAYS,
"I SIGN WITH HEIL HITLER."
77
00:04:15,298 --> 00:04:17,952
FOR YEARS,
ADELE BLOCH-BAUER'S NIECE
78
00:04:17,995 --> 00:04:20,608
HAS FOUGHT A LEGAL BATTLE
WITH THE AUSTRIAN GOVERNMENT
79
00:04:20,651 --> 00:04:23,045
FOR OWNERSHIP
OF HER AUNT'S PORTRAIT
80
00:04:23,088 --> 00:04:27,789
AND FOUR OTHER KLIMT PAINTINGS
HER FAMILY ONCE OWNED.
81
00:04:27,832 --> 00:04:30,400
I GREW UP WITH THE PAINTINGS.
82
00:04:30,444 --> 00:04:34,796
SO THAT WHEN PEOPLE ASK ME,
"DO YOU REMEMBER THE PAINTINGS?"
83
00:04:34,839 --> 00:04:37,973
WELL, YEAH, EVERY SUNDAY
FOR LUNCH WE WERE THERE,
84
00:04:38,016 --> 00:04:44,327
AND THE KLIMT PAINTINGS
WERE ALL IN ADELE'S ROOM.
85
00:04:44,371 --> 00:04:47,156
MY UNCLE COMMISSIONED KLIMT
86
00:04:47,199 --> 00:04:52,074
TO PAINT THE PORTRAIT
OF MY AUNT ADELE.
87
00:04:52,117 --> 00:04:54,337
ADELE AND FERDINAND BLOCH-BAUER
88
00:04:54,381 --> 00:04:57,819
WERE MAJOR PATRONS IN VIENNA'S
VIBRANT MODERN ART SCENE
89
00:04:57,862 --> 00:04:59,342
BEFORE THE WAR.
90
00:04:59,386 --> 00:05:01,779
ARTISTS FROM ALL OVER
FLOCKED TO VIENNA
91
00:05:01,823 --> 00:05:05,130
TO TAKE PART IN
THE MODERNIST REVOLUTION.
92
00:05:07,307 --> 00:05:09,831
WHILE KLIMT WORKED
ON ADELE'S PORTRAIT,
93
00:05:09,874 --> 00:05:11,876
THREE YOUNG ARTISTS
WERE APPLYING
94
00:05:11,920 --> 00:05:14,270
TO AUSTRIA'S
TOP ART ACADEMIES.
95
00:05:14,314 --> 00:05:18,056
EGON SCHIELE
AND OSKAR KOKOSCHKA
96
00:05:18,100 --> 00:05:21,146
BOTH WENT ON TO BECOME
GREAT MODERN PAINTERS.
97
00:05:21,190 --> 00:05:27,283
THE THIRD WAS AN UNKNOWN
18-YEAR-OLD NAMED ADOLF HITLER.
98
00:05:27,327 --> 00:05:31,592
Man:
SCHIELE AND KOKOSCHKA WERE
ACCEPTED AND HITLER WAS NOT.
99
00:05:31,635 --> 00:05:34,464
AND KOKOSCHKA
ALWAYS SAID JOKINGLY,
100
00:05:34,508 --> 00:05:38,686
"IMAGINE IF HITLER
WOULD HAVE BEEN ACCEPTED
101
00:05:38,729 --> 00:05:42,037
"AND I WOULD HAVE BEEN REJECTED.
102
00:05:42,080 --> 00:05:44,605
"I WOULD HAVE RUN THE WORLD
QUITE DIFFERENTLY,
103
00:05:44,648 --> 00:05:48,173
"AND HE COULDN'T HAVE DONE
THAT HARM THAT HE DID,
104
00:05:48,217 --> 00:05:51,873
BEING A BAD PAINTER."
105
00:05:51,916 --> 00:05:54,354
IN ITS BASEMENT ARCHIVES,
106
00:05:54,397 --> 00:05:57,269
THE CENTER FOR MILITARY HISTORY
IN WASHINGTON, D.C.,
107
00:05:57,313 --> 00:06:00,447
STORES MANY NAZI PAINTINGS
TOO CONTROVERSIAL
108
00:06:00,490 --> 00:06:03,406
FOR PUBLIC EXHIBITION.
109
00:06:03,450 --> 00:06:09,717
AMONG THEM ARE EARLY
WATERCOLORS BY ADOLF HITLER.
110
00:06:09,760 --> 00:06:13,285
Man:
HE WAS A MEDIOCRE PAINTER.
111
00:06:13,329 --> 00:06:16,419
NOT TERRIBLE,
BUT CLEARLY NOT GIFTED.
112
00:06:16,463 --> 00:06:18,682
HE THOUGHT HIMSELF
GIFTED, THOUGH.
113
00:06:18,726 --> 00:06:21,729
HE CERTAINLY THOUGHT HIMSELF
ABLE ENOUGH
114
00:06:21,772 --> 00:06:24,514
TO HAVE BEEN ADMITTED TO THE
ACADEMY OF FINE ARTS IN VIENNA,
115
00:06:24,558 --> 00:06:26,429
AND HE TOOK IT
AS A REAL REJECTION.
116
00:06:26,473 --> 00:06:31,216
MANY OF THE JURORS
AT THE ACADEMY WERE JEWISH,
117
00:06:31,260 --> 00:06:35,177
AND I SUSPECT THAT THIS FUELED
HIS ANTI-SEMITISM.
118
00:06:35,220 --> 00:06:39,399
GENERALLY, HE HATED WHAT
WAS GOING ON IN MODERN ART
119
00:06:39,442 --> 00:06:42,793
AS A WOULD-BE ARTIST HIMSELF.
120
00:06:42,837 --> 00:06:46,406
THERE WERE JEWISH ARTISTS
AROUND, HEAVEN'S SAKES.
121
00:06:46,449 --> 00:06:49,844
NOT ONLY THAT, SOME OF
THOSE FIGURES LOOKED LIKE
122
00:06:49,887 --> 00:06:54,675
THEY WERE WILD BLACK NEGROES
FROM AFRICA.
123
00:06:54,718 --> 00:06:59,854
"HOW COME PEOPLE LIKE NOLDE
AND KANDINSKY CAN BE SHOWN
124
00:06:59,897 --> 00:07:02,509
"AND ALL THIS TO-DO
ABOUT THEM,
125
00:07:02,552 --> 00:07:05,686
AND THEY DON'T LET ME SHINE
AS AN ARTIST?"
126
00:07:05,729 --> 00:07:07,644
IT MUST HAVE RILED HIM.
127
00:07:07,688 --> 00:07:09,516
OVER THE NEXT 20 YEARS,
128
00:07:09,559 --> 00:07:12,693
AS HITLER CREATED THE NAZI
PARTY AND ROSE TO POWER,
129
00:07:12,736 --> 00:07:14,477
ART CONTINUED TO OBSESS HIM
130
00:07:14,521 --> 00:07:16,871
AND BECAME PART OF
HIS POLITICAL AGENDA.
131
00:07:16,914 --> 00:07:19,917
BY THE EARLY 1930s,
HE WAS IN A POSITION
132
00:07:19,961 --> 00:07:23,007
TO FORCE HIS ARTISTIC TASTES
ON GERMANY.
133
00:07:23,051 --> 00:07:25,967
Petropoulos:
HE BELIEVED THAT ARTISTS
WHO PRODUCED MODERN ART
134
00:07:26,010 --> 00:07:28,491
COULD NOT SEE COLORS
AS THEY APPEARED IN NATURE,
135
00:07:28,535 --> 00:07:30,667
THEY COULD NOT SEE FORMS
AS THEY ACTUALLY WERE,
136
00:07:30,711 --> 00:07:33,409
AND THAT THIS WAS A SIGN
OF RACIAL INFERIORITY.
137
00:07:33,453 --> 00:07:38,022
"YOU GERMANS SHOULDN'T SEE THAT,
IT WILL FOUL YOUR MIND.
138
00:07:38,066 --> 00:07:41,808
"IT WILL STAIN YOUR WHOLE LIFE
IF YOU DO THAT,
139
00:07:41,852 --> 00:07:43,506
SO WE GET RID OF IT."
140
00:07:43,550 --> 00:07:46,988
IN A 1937 SPEECH,
HITLER SHOUTED,
141
00:07:47,031 --> 00:07:48,772
"WE WILL FROM NOW ON LEAD
142
00:07:48,816 --> 00:07:51,122
"AN UNRELENTING WAR
OF PURIFICATION,
143
00:07:51,166 --> 00:07:53,647
"AN UNRELENTING WAR
OF EXTERMINATION
144
00:07:53,690 --> 00:07:58,652
AGAINST THE LAST FORCES
WHICH HAVE DISPLACED OUR ART!"
145
00:07:58,695 --> 00:08:01,655
HITLER BEGAN WITH A PURGE
OF GERMAN MUSEUMS,
146
00:08:01,698 --> 00:08:04,135
ORDERING THEM TO CLEANSE
THEIR COLLECTIONS
147
00:08:04,179 --> 00:08:06,834
OF 16,000 WORKS
BY MODERN MASTERS
148
00:08:06,877 --> 00:08:09,793
LIKE MATISSE, VAN GOGH,
AND PICASSO.
149
00:08:09,837 --> 00:08:14,232
HITLER LABELED ALL SUCH WORKS
"DEGENERATE."
150
00:08:14,276 --> 00:08:18,454
MODERN ART WAS THEN RIDICULED
AND CONDEMNED
151
00:08:18,498 --> 00:08:21,588
IN A HUGELY SUCCESSFUL
"DEGENERATE ART" EXHIBIT
152
00:08:21,631 --> 00:08:23,285
THAT TOURED GERMANY.
153
00:08:23,328 --> 00:08:25,896
AND THE BEST OF THE GERMAN
MUSEUMS' COLLECTIONS
154
00:08:25,940 --> 00:08:29,073
OF MODERN ART WERE AUCTIONED
OFF AT FIRE SALE PRICES
155
00:08:29,117 --> 00:08:31,554
TO BENEFIT THE REICH.
156
00:08:31,598 --> 00:08:35,123
THOUSANDS OF PURGED ARTWORKS
WERE SIMPLY BURNED.
157
00:08:35,165 --> 00:08:37,559
GERMANY WAS DESTROYING
ITS OWN STANDING
158
00:08:37,604 --> 00:08:40,650
AS A WORLD LEADER
IN MODERN ART.
159
00:08:40,693 --> 00:08:44,480
NEXT, HITLER COMMISSIONED
HIS FIRST PUBLIC BUILDING
160
00:08:44,524 --> 00:08:48,919
FOR NAZI GERMANY, THE HOUSE
OF GERMAN ART, IN MUNICH.
161
00:08:48,963 --> 00:08:52,270
THERE, HE WOULD DISPLAY
CONTEMPORARY PAINTINGS
162
00:08:52,314 --> 00:08:55,535
AND SCULPTURE THAT GLORIFIED
THE THIRD REICH.
163
00:08:55,578 --> 00:08:59,016
IT WOULD BE A MUSEUM
FOR THE NEW FASCIST ART,
164
00:08:59,060 --> 00:09:02,977
OVERSEEN BY HITLER HIMSELF.
165
00:09:10,680 --> 00:09:13,335
IT WAS ACTUALLY VERY UNUSUAL
FOR A HEAD OF STATE
166
00:09:13,378 --> 00:09:17,034
TO GET THIS INVOLVED
IN CULTURAL MATTERS,
167
00:09:17,078 --> 00:09:22,126
BUT IT WAS ALL PART OF
HIS REALLY RACIST IDEOLOGY
168
00:09:22,170 --> 00:09:24,041
THAT EVERYTHING
HAD TO BE PURE
169
00:09:24,085 --> 00:09:28,045
DOWN TO THE LAST DETAIL
IN GERMANY.
170
00:09:28,089 --> 00:09:30,744
HITLER WOULD GO WITH
THE CURATORS OF THIS THING
171
00:09:30,787 --> 00:09:33,094
AND CHOOSE WHAT WAS
GOING TO BE IN IT.
172
00:09:33,137 --> 00:09:36,880
YEAR AFTER YEAR IT WENT ON,
RIGHT UNTIL THE END OF THE WAR.
173
00:09:36,924 --> 00:09:38,839
AND IT WAS ALL FOR SALE,
174
00:09:38,882 --> 00:09:40,841
BUT MOST OF IT HAD TO BE BOUGHT
BY THE GOVERNMENT
175
00:09:40,884 --> 00:09:44,192
BECAUSE NOBODY
REALLY WANTED IT.
176
00:09:47,848 --> 00:09:51,503
WITH PROCEEDS FROM HIS
BEST-SELLING BOOKMEIN KAMPF,
177
00:09:51,547 --> 00:09:55,072
HITLER HAD SET HIMSELF UP
AS A COLLECTOR OF FINE ART.
178
00:09:55,116 --> 00:09:58,946
EVERY YEAR, HE PURCHASED
250 PAINTINGS FROM THE MUSEUM,
179
00:09:58,989 --> 00:10:02,123
WHICH HE ADDED TO HIS GROWING
COLLECTION OF OLD MASTERS
180
00:10:02,166 --> 00:10:04,038
AND SENTIMENTAL GERMANIC ART.
181
00:10:04,081 --> 00:10:06,997
OTHER NAZI LEADERS
FOLLOWED HIS EXAMPLE.
182
00:10:07,041 --> 00:10:09,913
ART COLLECTING BECAME
A REQUIRED PASTIME
183
00:10:09,957 --> 00:10:12,394
FOR THE NAZI PARTY ELITE.
184
00:10:12,437 --> 00:10:15,136
Petropoulos:
IT WAS NOT JUST HITLER.
185
00:10:15,179 --> 00:10:17,660
EVERY NAZI LEADER HAD
AN ART COLLECTION.
186
00:10:17,704 --> 00:10:20,794
IF ONE GOES DOWN THE LINE
THROUGH G RING AND GOEBBELS,
187
00:10:20,837 --> 00:10:22,926
HIMMLER, ALBERT SPEER,
188
00:10:22,970 --> 00:10:25,668
THE PARTY LEADERS ALL
HAD ART COLLECTIONS
189
00:10:25,712 --> 00:10:29,106
AND SPENT A GREAT DEAL OF TIME
AMASSING THESE ARTWORKS
190
00:10:29,150 --> 00:10:33,937
AND TRYING TO INFLUENCE
CULTURAL POLICY.
191
00:10:33,981 --> 00:10:38,072
[ playing military song ]
192
00:10:38,115 --> 00:10:41,292
AFTER HITLER, THE MOST
ENTHUSIASTIC NAZI ART COLLECTOR
193
00:10:41,336 --> 00:10:44,948
WAS HERMANN G RING,
HEAD OF THE LUFTWAFFE,
194
00:10:44,992 --> 00:10:47,734
THE GERMAN AIR FORCE.
195
00:10:47,777 --> 00:10:50,345
BUT G RING WAS
A DIFFERENT SORT OF COLLECTOR
196
00:10:50,388 --> 00:10:52,652
THAN THE REST
OF THE NAZI LEADERSHIP.
197
00:10:52,695 --> 00:10:55,480
HE CARED MORE ABOUT THE SIZE
AND PRESTIGE OF HIS COLLECTION
198
00:10:55,524 --> 00:10:58,788
THAN ITS IDEOLOGICAL
CORRECTNESS.
199
00:10:58,832 --> 00:11:02,400
G RING WAS A FLAMBOYANT
PERSONALITY.
200
00:11:02,444 --> 00:11:05,273
HE THOUGHT OF HIMSELF
AS ROMANTIC AND HEROIC.
201
00:11:05,316 --> 00:11:08,711
HE WAS AN ILLUSTRIOUS FIGHTER
PILOT FROM WORLD WAR I
202
00:11:08,755 --> 00:11:11,322
WITH TREMENDOUS
SOCIAL CONNECTIONS,
203
00:11:11,366 --> 00:11:15,239
AND HE LIVED
THIS OSTENTATIOUS LIFESTYLE.
204
00:11:15,283 --> 00:11:17,938
Woman:
HE WAS NOT A PARTICULARLY
WELL-EDUCATED MAN.
205
00:11:17,981 --> 00:11:21,550
HE WAS SOMEONE WHO CARED ABOUT
MAKING HIMSELF LOOK LIKE HE WAS
206
00:11:21,593 --> 00:11:25,032
CIVILIZED AND SOPHISTICATED
AND A MAN OF CULTURE,
207
00:11:25,075 --> 00:11:28,731
AND THAT'S WHAT MEN OF CULTURE
DID, THEY COLLECTED ART.
208
00:11:28,775 --> 00:11:33,562
Petropoulos:
BECAUSE HE WAS THE SECOND MOST
POWERFUL PERSON IN NAZI GERMANY,
209
00:11:33,605 --> 00:11:37,087
THIS GAVE HIM AMPLE OPPORTUNITY
TO EMBEZZLE
210
00:11:37,131 --> 00:11:39,089
AND TO ENRICH HIMSELF.
211
00:11:39,133 --> 00:11:41,831
HE ALSO ENCOURAGED
THE GIVING OF GIFTS.
212
00:11:41,875 --> 00:11:44,138
ART WAS THE PREFERRED GIFT,
213
00:11:44,181 --> 00:11:46,749
OFTENTIMES VERY,
VERY EXPENSIVE ARTWORKS.
214
00:11:46,793 --> 00:11:50,927
Nicholas:
IT BECAME CLEAR
TO SOME JEWISH COLLECTORS
215
00:11:50,971 --> 00:11:54,017
THAT THEY COULD PLAY
ON G RING'S DESIRE
216
00:11:54,061 --> 00:11:56,672
OR THE DESIRE OF
THE NAZI LEADERS TO COLLECT
217
00:11:56,716 --> 00:12:00,371
AND USE WORKS OF ART TO SAVE
THEMSELVES AND THEIR FAMILIES.
218
00:12:00,415 --> 00:12:03,200
YOU KNOW, A PAINTING COULD BE
TRADED FOR A LIFE.
219
00:12:03,244 --> 00:12:06,290
[ crowd cheering ]
220
00:12:06,334 --> 00:12:09,380
WITH THE ANNEXATION
OF AUSTRIA IN 1938,
221
00:12:09,424 --> 00:12:12,296
ORGANIZED LOOTING
OF JEWISH PROPERTY BEGAN
222
00:12:12,340 --> 00:12:13,907
ON A MASSIVE SCALE.
223
00:12:13,950 --> 00:12:16,474
EVEN THE GERMAN PARTY LEADERS
WERE SURPRISED
224
00:12:16,518 --> 00:12:20,043
BY THE ANTI-SEMITIC FERVOR
OF AUSTRIAN NAZIS.
225
00:12:20,087 --> 00:12:26,571
Altmann:
THE AUSTRIANS, THEY TALK NOW
ABOUT BEING THE VICTIMS.
226
00:12:26,615 --> 00:12:30,053
THEY WERE NEVER VICTIMS.
227
00:12:30,097 --> 00:12:33,535
OF COURSE, THERE WERE SOME
THAT WERE AGAINST IT,
228
00:12:33,578 --> 00:12:37,017
BUT THERE OVERALL WAS
A ROYAL WELCOME.
229
00:12:37,060 --> 00:12:41,412
MARIA ALTMANN WAS A NEW BRIDE
JUST BACK FROM HER HONEYMOON
230
00:12:41,456 --> 00:12:44,633
WHEN HITLER ENTERED VIENNA.
231
00:12:44,676 --> 00:12:47,157
[ ♪♪♪ ]
232
00:12:55,731 --> 00:13:00,388
EVERYTHING CHANGED
AFTER MARCH 11.
233
00:13:00,431 --> 00:13:06,089
IT BECAME A DIFFERENT LIFE,
A DIFFERENT CITY.
234
00:13:14,054 --> 00:13:18,928
WHEN THE NAZIS CAME, THEY
THREW US OUT OF THE APARTMENT,
235
00:13:18,972 --> 00:13:25,761
AND THE GESTAPO MAN TOOK
THE APARTMENT FOR HIMSELF.
236
00:13:29,286 --> 00:13:31,549
WE LEFT VIENNA.
237
00:13:31,593 --> 00:13:33,813
AT THAT TIME,
I DIDN'T EVEN THINK ABOUT
238
00:13:33,856 --> 00:13:35,858
WHAT WE ARE LEAVING BEHIND,
239
00:13:35,902 --> 00:13:38,730
BECAUSE WE ONLY THOUGHT
OF SAVING OUR LIVES.
240
00:13:38,774 --> 00:13:42,082
THE PORTRAIT OF MARIA'S
AUNT ADELE BY GUSTAV KLIMT
241
00:13:42,125 --> 00:13:44,736
WAS JUST ONE OF HUNDREDS
OF ARTWORKS LEFT BEHIND
242
00:13:44,780 --> 00:13:48,262
WHEN THE BLOCH-BAUER FAMILY
FLED NAZI AUSTRIA.
243
00:13:48,305 --> 00:13:50,873
AFTER AGENTS
FOR HITLER, G RING,
244
00:13:50,917 --> 00:13:53,571
AND OTHER NAZI OFFICIALS
CHOSE WHAT THEY WANTED,
245
00:13:53,615 --> 00:13:56,748
THE REST OF THE COLLECTION,
INCLUDING THE KLIMT PAINTINGS,
246
00:13:56,792 --> 00:14:00,013
WAS DIVIDED UP AMONG
THE STATE MUSEUMS OF VIENNA.
247
00:14:00,056 --> 00:14:02,929
SOME WERE RETURNED
TO THE FAMILY AFTER THE WAR,
248
00:14:02,972 --> 00:14:05,105
BUT THE KLIMT PAINTINGS
REMAINED
249
00:14:05,148 --> 00:14:07,672
IN THE AUSTRIAN
NATIONAL GALLERY.
250
00:14:07,716 --> 00:14:09,979
Man:
I THINK THERE IS
A GENERAL UNDERSTANDING
251
00:14:10,023 --> 00:14:14,375
THAT THESE PAINTINGS BELONG
SIMPLY TO AUSTRIA.
252
00:14:14,418 --> 00:14:16,464
AND WE HAVE REASON FOR THIS.
253
00:14:16,507 --> 00:14:18,466
IT'S WRITTEN DOWN IN A DOCUMENT.
254
00:14:18,509 --> 00:14:21,686
IT'S WRITTEN DOWN IN THE LAST
WILL OF ADELE BLOCH-BAUER.
255
00:14:21,730 --> 00:14:26,648
Schoenberg:
MARIA'S AUNT DIED IN 1925 AND
LEFT BEHIND A HAND-WRITTEN WILL.
256
00:14:26,691 --> 00:14:32,436
IN THIS WILL SHE ASKS THAT
HER HUSBAND GIVE THE PAINTINGS
257
00:14:32,480 --> 00:14:35,091
TO THE AUSTRIAN GALLERY
UPON HIS DEATH.
258
00:14:35,135 --> 00:14:36,919
AND WHAT HAPPENED WAS,
OF COURSE,
259
00:14:36,963 --> 00:14:38,878
THAT THE PAINTINGS
WERE TAKEN FROM HIM,
260
00:14:38,921 --> 00:14:41,532
STOLEN BY THE NAZIS
BEFORE HE DIED.
261
00:14:41,576 --> 00:14:45,928
ADELE'S HUSBAND ESCAPED
TO SWITZERLAND IN 1939
262
00:14:45,972 --> 00:14:48,975
AND DIED IN EXILE
AFTER THE WAR.
263
00:14:49,018 --> 00:14:51,803
HE NEVER GOT THE KLIMTS BACK.
264
00:14:51,847 --> 00:14:55,024
AFTER THE WAR,
THE AUSTRIANS DECIDED
265
00:14:55,068 --> 00:14:57,287
NOT TO RETURN THE PAINTINGS
BASED ON THE CLAIM
266
00:14:57,331 --> 00:15:00,943
THAT UNDER ADELE BLOCH-BAUER'S
WILL OF 1923,
267
00:15:00,987 --> 00:15:03,250
THEY HAD THE RIGHT AND TITLE.
268
00:15:03,293 --> 00:15:06,906
IT'S VERY, VERY CLEAR
THAT SHE ALWAYS HAD IN MIND
269
00:15:06,949 --> 00:15:08,951
THAT THESE PAINTINGS WOULD COME
AT THE END OF THE DAY
270
00:15:08,995 --> 00:15:11,867
TO THE AUSTRIAN GALLERY.
271
00:15:11,911 --> 00:15:14,957
Altmann:
THE PAINTINGS BELONG
IN THE MUSEUMS.
272
00:15:15,001 --> 00:15:17,960
THEY HAVE TO BE SEEN
BY THE PUBLIC.
273
00:15:18,004 --> 00:15:23,966
BUT NOT IN AUSTRIA WHEN THEY
KEEP THEM THERE UNDER A LIE.
274
00:15:24,010 --> 00:15:29,189
WHAT UPSETS ME SO
IS THE TOTAL INJUSTICE
275
00:15:29,232 --> 00:15:33,149
THAT THEY DON'T ADMIT
THAT THEY ARE NOT THEIRS.
276
00:15:33,193 --> 00:15:36,936
Petropoulos:
ADELE BLOCH-BAUER'S WILL
HAS BEEN THE FOCUS
277
00:15:36,979 --> 00:15:38,633
OF MUCH OF THIS DISPUTE.
278
00:15:38,676 --> 00:15:41,592
THE AUSTRIAN AUTHORITIES
INTERPRET THE WILL
279
00:15:41,636 --> 00:15:44,508
AS A BEQUEST TO
THE AUSTRIAN NATIONAL GALLERY.
280
00:15:44,552 --> 00:15:48,643
ON THE OTHER HAND, WHEN SHE
DRAFTED HER WILL IN 1923,
281
00:15:48,686 --> 00:15:51,167
SHE HAD NO IDEA
WHAT WOULD TRANSPIRE
282
00:15:51,211 --> 00:15:55,824
AND THE KIND OF PERSECUTION
THAT WOULD TAKE PLACE IN VIENNA,
283
00:15:55,867 --> 00:15:57,521
IN HER COUNTRY.
284
00:15:57,565 --> 00:16:03,353
AND SO IT'S
A VERY COMPLICATED SITUATION.
285
00:16:07,792 --> 00:16:11,231
THE STRUGGLE OVER
ADELE BLOCH-BAUER'S PORTRAIT
286
00:16:11,274 --> 00:16:14,495
IS ONLY ONE OF MANY SUCH
DISPUTES LEFT IN THE WAKE
287
00:16:14,538 --> 00:16:18,020
OF THE NAZIS' VAST
ART-LOOTING OPERATION.
288
00:16:18,064 --> 00:16:20,980
THE NAZIS WERE SYSTEMATIC
ABOUT THEIR PLUNDERING.
289
00:16:21,023 --> 00:16:23,460
THERE WAS A PLUNDERING
BUREAUCRACY, IF YOU WILL.
290
00:16:23,504 --> 00:16:27,856
THEY EMPLOYED BUREAUCRATS,
THEY EMPLOYED ART EXPERTS.
291
00:16:27,899 --> 00:16:31,033
THERE WERE THOUSANDS
OF INDIVIDUALS
292
00:16:31,077 --> 00:16:33,993
WHO PARTICIPATED IN
THE PLUNDERING OF ARTWORKS
293
00:16:34,036 --> 00:16:35,951
DURING WORLD WAR II.
294
00:16:35,995 --> 00:16:38,954
THE BUREAUCRACY WAS AN
ADMINISTRATIVE INFRASTRUCTURE
295
00:16:38,998 --> 00:16:40,564
SET UP TO FEED
WORKS OF ART
296
00:16:40,608 --> 00:16:42,479
STRAIGHT INTO
HITLER'S COLLECTION.
297
00:16:42,523 --> 00:16:45,961
HITLER HAD BEEN COLLECTING ART
FOR QUITE SOME TIME,
298
00:16:46,005 --> 00:16:49,051
BUT HE STARTED TO THINK
ABOUT AN ART COLLECTION
299
00:16:49,095 --> 00:16:50,705
IN A MORE SYSTEMATIC WAY,
300
00:16:50,748 --> 00:16:53,664
AND THE EPIPHANY COMES
WHEN HE TRAVELS TO ITALY
301
00:16:53,708 --> 00:16:56,406
ON A STATE VISIT
TO SEE MUSSOLINI.
302
00:16:56,450 --> 00:16:59,366
Nicholas:
HITLER WAS NOT
A VERY SOPHISTICATED
303
00:16:59,409 --> 00:17:01,107
OR WELL-EDUCATED PERSON.
304
00:17:01,150 --> 00:17:02,847
HE HAD NEVER BEEN TO ITALY.
305
00:17:02,891 --> 00:17:06,502
HE HAD NEVER SEEN MOST OF
THE GREAT MONUMENTS OF EUROPE,
306
00:17:06,547 --> 00:17:10,464
SO THAT WHEN HE DID GO
AND HE WAS TAKEN
307
00:17:10,507 --> 00:17:13,858
TO SOME OF THE GREAT MUSEUMS
IN ROME AND FLORENCE,
308
00:17:13,902 --> 00:17:16,122
HE WAS ABSOLUTELY SMITTEN
BY THIS.
309
00:17:16,165 --> 00:17:20,082
HE SPENT HOURS AND INSISTED
ON SEEING ABSOLUTELY EVERYTHING.
310
00:17:20,126 --> 00:17:23,954
HE HAS THIS IDEA, IT'S REALLY
FOR HIM AN INSPIRATION,
311
00:17:23,999 --> 00:17:26,871
THAT HE IS GOING TO CREATE
A GREAT MUSEUM
312
00:17:26,915 --> 00:17:30,919
AS A MONUMENT
TO HIS RULE.
313
00:17:30,962 --> 00:17:35,358
LINZ, AUSTRIA,
HITLER'S PROVINCIAL HOMETOWN,
314
00:17:35,402 --> 00:17:39,232
WOULD BE THE SITE FOR
THE ENORMOUS F HRERMUSEUM.
315
00:17:39,275 --> 00:17:40,711
HITLER PLANNED TO TURN LINZ
316
00:17:40,755 --> 00:17:43,758
INTO THE CULTURAL CAPITAL
OF EUROPE.
317
00:17:43,801 --> 00:17:46,195
STARTING FROM SKETCHES
HE DREW IN HIS YOUTH,
318
00:17:46,239 --> 00:17:49,024
HE ORDERED HIS ARCHITECTS
TO PREPARE SECRET PLANS
319
00:17:49,068 --> 00:17:51,548
TO REMAKE THIS SMALL
INDUSTRIAL TOWN
320
00:17:51,592 --> 00:17:54,377
INTO A GRAND IMPERIAL CITY.
321
00:17:59,121 --> 00:18:01,906
IN THE TOWN OF LINZ,
322
00:18:01,950 --> 00:18:05,214
HE HAD VISUALIZED
AN AVENUE UP TO --
323
00:18:05,258 --> 00:18:08,348
FROM LEFT TO RIGHT
OF DIFFERENT BUILDINGS,
324
00:18:08,391 --> 00:18:13,004
AND I CALL IT
HITLER'S ACROPOLIS.
325
00:18:13,048 --> 00:18:17,618
Petropoulos:
THE LINZ PROJECT IS REALLY
CONNECTED TO HITLER'S LEGACY.
326
00:18:17,661 --> 00:18:20,708
THERE'S GOING TO BE
AN OPERA HOUSE,
327
00:18:20,751 --> 00:18:23,058
A SYMPHONY HALL,
A GREAT LIBRARY.
328
00:18:23,102 --> 00:18:26,714
THERE'S ALSO GOING TO BE
A MAUSOLEUM WITH HIS TOMB.
329
00:18:26,757 --> 00:18:30,152
AND AT THE CENTER
OF THE LINZ COMPLEX
330
00:18:30,196 --> 00:18:32,459
IS GOING TO BE
THE GREATEST MUSEUM,
331
00:18:32,502 --> 00:18:35,331
NOT ONLY IN EUROPE,
BUT IN THE ENTIRE WORLD,
332
00:18:35,375 --> 00:18:41,511
DOZENS OF GALLERIES THAT WOULD
HOLD THOUSANDS OF ARTWORKS.
333
00:18:41,555 --> 00:18:45,863
Faison:
THE COLLECTION WAS
FOR THE STATE.
334
00:18:45,907 --> 00:18:50,129
HITLER THOUGHT THE REICH SHOULD
HAVE A GREAT ART COLLECTION
335
00:18:50,172 --> 00:18:52,131
FOR PRESTIGE.
336
00:18:52,174 --> 00:18:55,438
THIS IS GOING TO BE
ON A VERY BIG SCALE.
337
00:18:55,482 --> 00:19:00,400
Petropoulos:
HE IS PREPARED TO PURCHASE
THE ARTWORKS, OF COURSE,
338
00:19:00,443 --> 00:19:03,838
BUT HE HAS REALLY NO COMPUNCTION
ABOUT STEALING THEM.
339
00:19:03,881 --> 00:19:06,057
THIS MUSEUM IS GOING
TO BE CREATED
340
00:19:06,101 --> 00:19:09,191
BOTH BY PURCHASE
AND BY PLUNDER.
341
00:19:09,235 --> 00:19:14,544
HITLER AND HIS MINISTERS WERE
COMMISSIONING ART HISTORIANS
342
00:19:14,588 --> 00:19:20,246
TO DRAW UP LISTS OF ARTWORKS
ABROAD THAT THE GERMANS WANTED.
343
00:19:20,289 --> 00:19:24,598
THE HIT LIST, IF YOU WILL,
PREDATED THE INVASIONS
344
00:19:24,641 --> 00:19:26,252
OF THESE COUNTRIES.
345
00:19:26,295 --> 00:19:29,211
THE PLANS TO CREATE
THE F HRERMUSEUM,
346
00:19:29,255 --> 00:19:30,908
THE PLANS TO STEAL,
347
00:19:30,952 --> 00:19:36,740
WERE INEXTRICABLY LINKED
WITH THESE PLANS TO CONQUER.
348
00:19:36,784 --> 00:19:41,180
HUNDREDS OF POLISH ARTWORKS
WERE ON HITLER'S WISH LIST.
349
00:19:41,223 --> 00:19:42,703
BUT FOR THE NAZIS,
350
00:19:42,746 --> 00:19:45,140
MOST OF POLAND'S
SLAVIC CULTURAL PATRIMONY
351
00:19:45,184 --> 00:19:47,098
WASN'T EVEN WORTH STEALING.
352
00:19:47,142 --> 00:19:50,319
BECAUSE THE NAZIS CONSIDERED
THE SLAVS, LIKE THE JEWS,
353
00:19:50,363 --> 00:19:54,236
TO BE SUBHUMAN, POLISH CULTURE
WAS DECLARED "DEGENERATE"
354
00:19:54,280 --> 00:19:56,630
AND MARKED FOR DESTRUCTION.
355
00:19:56,673 --> 00:19:58,588
IN THE CAPITAL, WARSAW,
356
00:19:58,632 --> 00:20:01,156
EVEN HISTORIC ARCHITECTURE
WAS TARGETED,
357
00:20:01,200 --> 00:20:03,854
PARTICULARLY
THE WARSAW ROYAL CASTLE,
358
00:20:03,898 --> 00:20:06,509
HOME OF THE POLISH KINGS
FOR SIX CENTURIES,
359
00:20:06,553 --> 00:20:10,992
SEAT OF THE PARLIAMENT, AND
A NATIONAL CULTURAL TREASURE.
360
00:20:15,910 --> 00:20:19,740
[ man speaking in Polish ]
361
00:20:37,584 --> 00:20:41,196
IN 1939, HITLER ORDERED
HIS FORCES TO, QUOTE,
362
00:20:41,240 --> 00:20:44,808
"KILL WITHOUT PITY OR MERCY
ALL MEN, WOMEN, AND CHILDREN
363
00:20:44,852 --> 00:20:46,897
OF POLISH DESCENT
AND LANGUAGE"
364
00:20:46,941 --> 00:20:50,640
IN THE "INVASION AND
EXTERMINATION OF POLAND."
365
00:21:01,260 --> 00:21:04,915
[ airplane engines roaring ]
366
00:21:08,876 --> 00:21:15,186
ON SEPTEMBER 1st, 1939,
NAZI GERMANY INVADED POLAND.
367
00:21:15,230 --> 00:21:17,363
AS GERMAN TROOPS ADVANCED,
368
00:21:17,406 --> 00:21:19,626
THEY DELIBERATELY TARGETED
CIVILIANS,
369
00:21:19,669 --> 00:21:23,934
TOPPLED STATUES,
AND LEVELED HISTORIC BUILDINGS.
370
00:21:23,978 --> 00:21:26,459
THE NAZIS SENT
SPECIAL "FIRE UNITS"
371
00:21:26,502 --> 00:21:31,072
TO BURN POLAND'S LIBRARIES
FLOOR BY FLOOR.
372
00:21:34,293 --> 00:21:37,208
Nicholas:
THE NAZIS PLANNED
TO TAKE POLAND
373
00:21:37,252 --> 00:21:39,776
AND CLEAR OUT
THE INDIGENOUS POPULATIONS
374
00:21:39,820 --> 00:21:44,085
AND THEN REPOPULATE THE WHOLE
AREA WITH GERMANIC PEOPLES.
375
00:21:44,128 --> 00:21:48,350
POLAND, BASICALLY, AS
A CIVILIZATION AND A COUNTRY,
376
00:21:48,394 --> 00:21:52,659
CEASED TO EXIST.
377
00:21:52,702 --> 00:21:55,923
THEY WERE NOT ONLY TO BE
ELIMINATED AS A PEOPLE,
378
00:21:55,966 --> 00:21:58,578
BUT THEIR WHOLE CULTURE
WAS TO BE ELIMINATED.
379
00:22:02,190 --> 00:22:04,235
DURING THE ATTACK
ON WARSAW,
380
00:22:04,279 --> 00:22:08,327
HITLER PERSONALLY ORDERED THE
SHELLING OF THE ROYAL CASTLE.
381
00:22:08,370 --> 00:22:10,720
HE HAD BEEN TOLD
OF A POLISH ANTHEM THAT SAID,
382
00:22:10,764 --> 00:22:13,854
"AS LONG AS
THE WARSAW CASTLE STANDS,
383
00:22:13,897 --> 00:22:16,683
POLAND IS NOT YET LOST."
384
00:22:16,726 --> 00:22:19,250
DAMAGED BY SHELLING
AND STRIPPED BARE
385
00:22:19,294 --> 00:22:21,818
OF ART AND FURNITURE
BY NAZI LOOTERS,
386
00:22:21,862 --> 00:22:26,388
THE CASTLE STILL STOOD AS
THE GERMANS TOOK OVER WARSAW.
387
00:22:28,999 --> 00:22:32,002
BUT KNOWING THE POLES'
DEEP PATRIOTIC ATTACHMENT
388
00:22:32,046 --> 00:22:35,876
TO THE CASTLE, THE NAZIS
BORED HOLES IN ITS FOUNDATION
389
00:22:35,919 --> 00:22:37,747
AND FILLED THEM
WITH EXPLOSIVES
390
00:22:37,791 --> 00:22:42,143
TO CREATE A PERMANENT THREAT
OF COMPLETE DESTRUCTION.
391
00:22:42,186 --> 00:22:45,407
[ man speaking in Polish ]
392
00:23:10,693 --> 00:23:13,740
[ machine guns firing ]
393
00:23:13,783 --> 00:23:17,221
AFTER YEARS OF OPPRESSION,
THE PEOPLE OF WARSAW ROSE UP
394
00:23:17,265 --> 00:23:20,181
TO TAKE BACK THEIR CITY
FROM THE NAZIS.
395
00:23:29,277 --> 00:23:32,411
THE GERMANS CRUSHED
THE UPRISING,
396
00:23:32,454 --> 00:23:35,718
KILLING OVER 200,000 POLES.
397
00:23:35,762 --> 00:23:38,025
AND THE NAZIS MADE GOOD
THEIR THREAT:
398
00:23:38,068 --> 00:23:41,202
THE DYNAMITE CHARGES THAT HAD
BEEN PLACED FOUR YEARS EARLIER
399
00:23:41,245 --> 00:23:46,033
WERE DETONATED, DESTROYING
THE WARSAW CASTLE COMPLETELY.
400
00:25:19,343 --> 00:25:22,738
[ blowing ]
401
00:25:29,702 --> 00:25:33,444
IN CRACOW, THE HEART
OF THE OLD CITY WAS PRESERVED,
402
00:25:33,488 --> 00:25:35,577
BECAUSE UNLIKE SLAVIC WARSAW,
403
00:25:35,621 --> 00:25:38,972
THE NAZIS CONSIDERED CRACOW
TO BE GERMANIC.
404
00:25:39,015 --> 00:25:42,018
BUT CRACOW WAS HOME
TO THE ART MASTERPIECES
405
00:25:42,062 --> 00:25:44,368
MOST COVETED BY THE NAZIS.
406
00:25:44,412 --> 00:25:47,763
AND HERE, SYSTEMATIC LOOTING
WOULD BEGIN IN EARNEST.
407
00:25:47,807 --> 00:25:49,722
[ singing ]
408
00:26:00,167 --> 00:26:03,823
[ man speaking in Polish ]
409
00:26:43,950 --> 00:26:45,952
VEIT STOSS WAS A BAVARIAN
410
00:26:45,995 --> 00:26:51,653
WHO CAME TO CRACOW
EARLY IN THE 15th CENTURY.
411
00:26:51,697 --> 00:26:57,877
FOR THIS ALTAR, HE USED AS
MODELS HIS NEIGHBORS FROM HERE.
412
00:26:57,920 --> 00:27:01,881
SO IT WAS A SHOCK FOR CRACOVIANS
WHEN IT WAS OPENED.
413
00:27:01,924 --> 00:27:05,972
THEY SAW THE NORMAL, REGULAR
FACES OF THEIR NEIGHBORS
414
00:27:06,015 --> 00:27:09,628
BEING NOW SAINTS, APOSTLES.
415
00:27:17,157 --> 00:27:20,421
THE NAZIS BELIEVED THAT
ALL GERMANIC WORKS OF ART
416
00:27:20,464 --> 00:27:22,466
SHOULD COME BACK
TO THE FATHERLAND,
417
00:27:22,510 --> 00:27:26,209
AND AMONG THESE WAS
THE VEIT STOSS ALTARPIECE.
418
00:27:26,253 --> 00:27:28,516
NOW, IT DIDN'T MATTER
THAT IT HAD BEEN COMMISSIONED
419
00:27:28,559 --> 00:27:30,823
FOR THE CHURCH
BY THE KING OF POLAND.
420
00:27:30,866 --> 00:27:33,695
THE THING THAT WAS IMPORTANT
WAS THAT IT HAD BEEN DONE
421
00:27:33,739 --> 00:27:36,393
BY A GERMAN ARTIST AND THEREFORE
SHOULD NOT BE IN THE HANDS
422
00:27:36,437 --> 00:27:39,832
OF AN ALIEN RACE,
WHICH WAS THE SLAVS.
423
00:27:39,875 --> 00:27:43,749
THE POLES HAD DISMANTLED
THE 43-FOOT-HIGH ALTARPIECE
424
00:27:43,792 --> 00:27:45,968
AND ITS LIFE-SIZE
WOODEN FIGURES
425
00:27:46,012 --> 00:27:47,796
AND HID THEM
IN THE COUNTRYSIDE.
426
00:27:47,840 --> 00:27:50,364
BUT WITHIN WEEKS
OF THE INVASION,
427
00:27:50,407 --> 00:27:52,061
THE NAZIS TRACKED THEM DOWN,
428
00:27:52,105 --> 00:27:54,847
AND THE ALTARPIECE
WAS SHIPPED TO BERLIN.
429
00:27:54,890 --> 00:27:59,112
IT WAS A TRUE LOSS
FOR CRACOVIANS.
430
00:27:59,155 --> 00:28:03,812
THEY WERE SO ACCUSTOMED
THAT IT BELONGED TO THIS PLACE
431
00:28:03,856 --> 00:28:11,037
THAT THEY COULDN'T FIND THEIR
WAY TO THE PRAYER WITHOUT IT.
432
00:28:11,080 --> 00:28:15,476
MEANWHILE, NAZI ART PLUNDERERS
WERE BUSY LOOTING HUNDREDS
433
00:28:15,519 --> 00:28:17,608
OF POLAND'S OTHER MASTERPIECES.
434
00:28:17,652 --> 00:28:20,437
THEY WERE COMPILED
IN AN ELABORATE CATALOGUE
435
00:28:20,481 --> 00:28:23,005
MEANT ONLY FOR THE EYES
OF ADOLF HITLER.
436
00:28:23,049 --> 00:28:24,833
AT THE TOP
OF THE LIST WERE
437
00:28:24,877 --> 00:28:27,575
LEONARDO DA VINCI'S
LADY WITH AN ERMINE,
438
00:28:27,618 --> 00:28:31,013
REMBRANDT'SLANDSCAPE
WITH A GOOD SAMARITAN,
439
00:28:31,057 --> 00:28:33,886
ANDPORTRAIT OF A YOUNG MAN
BY RAPHAEL.
440
00:28:33,929 --> 00:28:36,105
THE THREE PRICELESS PAINTINGS
WERE ALL
441
00:28:36,149 --> 00:28:38,368
IN A SMALL, PRIVATE MUSEUM
IN CRACOW,
442
00:28:38,412 --> 00:28:42,677
OWNED BY A NOBLE FAMILY,
THE CZARTORYSKIS.
443
00:28:42,721 --> 00:28:45,724
[ speaking in Polish ]
444
00:29:05,831 --> 00:29:09,356
THE CZARTORYSKIS DECIDED
TO HIDE THE PAINTINGS
445
00:29:09,399 --> 00:29:13,708
AT THEIR COUNTRY ESTATE
100 MILES OUTSIDE OF CRACOW.
446
00:29:13,752 --> 00:29:16,972
THE OBJECTS WERE BROUGHT
DOWN HERE TO THIS CELLAR
447
00:29:17,016 --> 00:29:21,455
AND ONE OF THE -- ARE PLACED
IN ONE OF THE ALCOVES,
448
00:29:21,498 --> 00:29:25,415
WHICH WAS THEN WALLED UP
AND COVERED OVER WITH PLASTER.
449
00:29:25,459 --> 00:29:30,333
UNFORTUNATELY, THE COMINGS AND
GOINGS DID NOT ESCAPE ATTENTION,
450
00:29:30,377 --> 00:29:34,468
AND WHEN THE GERMANS ARRIVED,
THEY BROKE DOWN THE WALL.
451
00:29:34,511 --> 00:29:36,296
AND, OF COURSE,
BEING SOLDIERS,
452
00:29:36,339 --> 00:29:39,081
WHAT THEY TOOK WAS
ALL THE GOLD OBJECTS.
453
00:29:39,125 --> 00:29:41,823
THEY LEFT THE PICTURES
LYING AROUND ON THE FLOOR.
454
00:29:41,867 --> 00:29:45,958
THE LEONARDO ACTUALLY HAD
A BOOT MARK ON IT.
455
00:29:46,001 --> 00:29:49,570
THE THREE PAINTINGS
WERE INTENDED
456
00:29:49,613 --> 00:29:53,661
FOR HITLER'S LINZ MUSEUM, BUT
THE NEW NAZI GOVERNOR OF POLAND
457
00:29:53,704 --> 00:29:57,534
KEPT THEM IN HIS PRIVATE
APARTMENTS IN CRACOW.
458
00:29:57,578 --> 00:30:00,973
AFTER THE WAR ENDED, THE
LEONARDO AND THE REMBRANDT
459
00:30:01,016 --> 00:30:02,583
WERE RETURNED BY THE ALLIES
460
00:30:02,626 --> 00:30:06,630
TO THE CZARTORYSKI MUSEUM
IN CRACOW.
461
00:30:06,674 --> 00:30:12,027
THE RAPHAEL HAS
NEVER BEEN FOUND.
462
00:30:12,071 --> 00:30:15,509
IF THIS RAPHAEL WERE TO COME UP
FOR SALE AT AUCTION TODAY,
463
00:30:15,552 --> 00:30:18,991
IT WOULD BE $100 MILLION,
DEFINITELY.
464
00:30:19,034 --> 00:30:23,865
IT HAS A STRANGE QUALITY
OF FASCINATION,
465
00:30:23,909 --> 00:30:27,826
AND SO THAT'S WHY I SUSPECT
IT'S STILL OUT THERE SOMEWHERE.
466
00:30:27,869 --> 00:30:29,828
IT COULD HAVE BEEN
PAINTED OVER,
467
00:30:29,871 --> 00:30:32,091
WHICH PEOPLE DID
IN ORDER TO SMUGGLE THINGS,
468
00:30:32,134 --> 00:30:34,397
AND HAVE FALLEN INTO
THE HANDS OF SOMEBODY ELSE
469
00:30:34,441 --> 00:30:36,051
WHO MAY NOT KNOW
WHAT THEY'VE GOT.
470
00:30:36,095 --> 00:30:39,011
OR IT MAY HAVE GONE
INTO THE UNDERWORLD,
471
00:30:39,054 --> 00:30:40,447
THE CRIMINAL UNDERWORLD,
472
00:30:40,490 --> 00:30:45,495
WHICH DOES USE THIS KIND
OF OBJECT AS CURRENCY.
473
00:30:45,539 --> 00:30:48,977
[ Kuhnke speaking in Polish ]
474
00:30:52,720 --> 00:30:55,418
INSIDE THE POLISH
MINISTRY OF CULTURE,
475
00:30:55,462 --> 00:30:57,856
MONIKA KUHNKE
AND HER COLLEAGUES
476
00:30:57,899 --> 00:31:01,033
HAVE COMPILED A DATABASE OF
ARTWORKS STOLEN DURING THE WAR
477
00:31:01,076 --> 00:31:02,904
THAT ARE STILL MISSING.
478
00:31:02,948 --> 00:31:06,255
THE PROGRAM CONTAINS
59,000 ITEMS,
479
00:31:06,299 --> 00:31:10,303
ESTIMATED TO BE JUST A TENTH
OF POLAND'S TOTAL LOSS.
480
00:31:48,167 --> 00:31:51,126
[ ♪♪♪ ]
481
00:32:06,837 --> 00:32:10,276
[ shutters clicking ]
482
00:32:16,369 --> 00:32:19,024
PERHAPS THE MOST CELEBRATED
COLLECTION OF ART
483
00:32:19,067 --> 00:32:21,026
EVER ASSEMBLED
UNDER ONE ROOF,
484
00:32:21,069 --> 00:32:25,117
THE LOUVRE MUSEUM IN PARIS
SPANS EIGHT MILES OF GALLERIES
485
00:32:25,160 --> 00:32:29,208
AND CONTAINS ABOUT 400,000
PRICELESS WORKS OF ART,
486
00:32:29,251 --> 00:32:33,734
THE CULTURAL PATRIMONY
OF THE PEOPLE OF FRANCE.
487
00:32:33,777 --> 00:32:36,606
AFTER GERMANY
CONQUERED POLAND,
488
00:32:36,650 --> 00:32:38,652
THE FRENCH FEARED
THAT PARIS WOULD BECOME
489
00:32:38,695 --> 00:32:41,263
THE NEXT TARGET
OF LUFTWAFFE BOMBING RAIDS,
490
00:32:41,307 --> 00:32:45,572
AND SITTING AT THE HEART
OF THE CITY WAS THE LOUVRE.
491
00:32:47,443 --> 00:32:49,837
MUSEUM STAFF GATHERED AROUND
492
00:32:49,880 --> 00:32:52,013
THE WINGED VICTORY
OF SAMOTHRACE
493
00:32:52,057 --> 00:32:54,624
AS THE MUSEUM DIRECTOR
GAVE THE ORDER TO EVACUATE
494
00:32:54,668 --> 00:32:56,583
THE GREAT TREASURES
OF THE LOUVRE
495
00:32:56,626 --> 00:32:59,499
TO CASTLES OUTSIDE PARIS.
496
00:32:59,542 --> 00:33:02,197
[ speaking in French ]
497
00:33:14,427 --> 00:33:18,039
WITHIN HOURS OF THE EVACUATION
PLAN BEING ANNOUNCED,
498
00:33:18,083 --> 00:33:21,042
THE LOUVRE BECAME
AN ENORMOUS PACKING YARD.
499
00:33:21,086 --> 00:33:24,306
SINCE MANY OF THE MUSEUM STAFF
HAD BEEN CALLED TO THE FRONT,
500
00:33:24,350 --> 00:33:28,397
VOLUNTEERS WERE RECRUITED FROM
ALL OVER PARIS TO HELP PACK,
501
00:33:28,441 --> 00:33:33,054
FROM SECRETARIES TO DEPARTMENT
STORE CLERKS TO TRUCK DRIVERS.
502
00:33:33,098 --> 00:33:35,622
THE GREATEST CHALLENGE
WAS MOVING
503
00:33:35,665 --> 00:33:38,059
THE 2,000-YEAR-OLD
WINGED VICTORY,
504
00:33:38,103 --> 00:33:40,714
WHICH NOW HAD TO DESCEND
THE LONG STAIRCASE
505
00:33:40,757 --> 00:33:42,411
ON HER WAY TO SAFETY.
506
00:33:42,455 --> 00:33:45,501
[ speaking in French ]
507
00:34:15,966 --> 00:34:19,795
[ woman speaking in French ]
508
00:34:37,205 --> 00:34:39,947
AN EYEWITNESS
LATER RECALLED,
509
00:34:39,989 --> 00:34:43,733
"THE STATUE ROCKED ONTO
AN INCLINED WOODEN RAMP.
510
00:34:43,777 --> 00:34:47,389
"WE WERE ALL TERRIFIED,
AND THE SILENCE WAS TOTAL
511
00:34:47,433 --> 00:34:51,089
"AS THEVICTORY
ROLLED SLOWLY FORWARD,
512
00:34:51,132 --> 00:34:54,875
HER STONE WINGS
TREMBLING SLIGHTLY."
513
00:34:54,918 --> 00:34:59,271
THE CURATOR OF SCULPTURE
"SANK DOWN ON THE STONE STEPS,
514
00:34:59,314 --> 00:35:04,754
MURMURING, 'I WILL NOT
SEE HER RETURN.'"
515
00:35:10,456 --> 00:35:14,242
THIRTY-SEVEN CONVOYS
OF EIGHT TRUCKS EACH
516
00:35:14,286 --> 00:35:16,244
DEPARTED
FROM THE LOUVRE,
517
00:35:16,288 --> 00:35:21,206
LEAVING THE VAST MUSEUM
VIRTUALLY EMPTY.
518
00:35:44,794 --> 00:35:49,234
IN MAY 1940, THE GERMAN ARMY
SWEPT THROUGH BELGIUM,
519
00:35:49,277 --> 00:35:55,196
LUXEMBOURG, THE NETHERLANDS,
AND INTO FRANCE.
520
00:35:55,240 --> 00:35:58,591
IT WAS A SHOCK TO THE FRENCH,
WHO HAD PREPARED FOR AIR RAIDS
521
00:35:58,634 --> 00:36:02,377
BUT NOT A FULL-SCALE INVASION
OF THEIR COUNTRY.
522
00:36:07,513 --> 00:36:09,993
ALL THE WORKS OF ART
HAD TO MOVE
523
00:36:10,037 --> 00:36:12,039
IN REALLY CHAOTIC CONDITIONS,
524
00:36:12,082 --> 00:36:15,651
ALONG WITH MILLIONS OF REFUGEES
WHO WERE ON THE ROAD.
525
00:36:15,695 --> 00:36:18,393
THERE WOULD BE A TRUCK FULL
OF LOUVRE PAINTINGS,
526
00:36:18,437 --> 00:36:21,179
AND NEXT TO IT WOULD BE ANOTHER
TRUCK FROM THE FRENCH TREASURY
527
00:36:21,222 --> 00:36:22,702
FULL OF GOLD BARS,
528
00:36:22,745 --> 00:36:26,227
AND THE GOVERNMENT MINISTERS
SPEEDING BY IN LIMOUSINES.
529
00:36:26,271 --> 00:36:28,142
IT WAS JUST TOTAL CHAOS,
530
00:36:28,186 --> 00:36:31,101
AND THE MIRACLE IS THAT
THE FRENCH COLLECTIONS
531
00:36:31,145 --> 00:36:35,367
REALLY DID SURVIVE
ALMOST INTACT.
532
00:36:35,410 --> 00:36:38,326
THEMONA LISA HAD
HER OWN VEHICLE.
533
00:36:38,370 --> 00:36:41,590
SHE WAS PUT IN AN AMBULANCE
THAT WAS SPECIALLY SEALED
534
00:36:41,634 --> 00:36:44,593
TO MAINTAIN A CONSTANT LEVEL
OF HUMIDITY.
535
00:36:44,637 --> 00:36:48,206
THERE WAS A CURATOR WHO RODE
IN THE AMBULANCE WITH HER,
536
00:36:48,249 --> 00:36:51,731
AND IT WAS SO WELL SEALED UP
THAT THE CURATOR,
537
00:36:51,774 --> 00:36:54,995
WHEN THEY OPENED THE AMBULANCE,
WAS UNCONSCIOUS,
538
00:36:55,038 --> 00:36:58,085
BUT THE MONA LISA
WAS ABSOLUTELY FINE.
539
00:36:58,128 --> 00:37:00,957
THEMONA LISA AND OTHER
LOUVRE MASTERPIECES
540
00:37:01,001 --> 00:37:04,178
ARRIVED AT CASTLES AND ABBEYS
IN THE SOUTH OF FRANCE.
541
00:37:04,222 --> 00:37:07,268
THEY WOULD BE PERIODICALLY
MOVED THROUGHOUT THE WAR
542
00:37:07,312 --> 00:37:11,794
TO STAY A STEP AHEAD
OF THE GERMANS.
543
00:37:11,838 --> 00:37:14,101
THE CURATORS LIVED
IN THE CASTLES
544
00:37:14,144 --> 00:37:16,059
ALONGSIDE THE ARTWORKS.
545
00:37:16,103 --> 00:37:19,802
ONE MARRIED COUPLE BROUGHT
ALONG THEIR TEENAGE DAUGHTER.
546
00:37:19,846 --> 00:37:23,458
[ Hébrard speaking in French ]
547
00:37:58,232 --> 00:38:02,454
SIX WEEKS AFTER THE START
OF THE INVASION, FRANCE FELL.
548
00:38:02,497 --> 00:38:06,458
GERMANY NOW CONTROLLED
MOST OF THE EUROPEAN CONTINENT.
549
00:38:06,501 --> 00:38:09,548
THE DAY AFTER FRANCE
SURRENDERED,
550
00:38:09,591 --> 00:38:12,464
HITLER SECRETLY FLEW TO PARIS
BEFORE DAWN,
551
00:38:12,507 --> 00:38:15,989
ACCOMPANIED BY HIS ARCHITECT
ALBERT SPEER.
552
00:38:16,032 --> 00:38:19,340
IT WAS HIS FIRST AND ONLY VISIT
TO THE CITY.
553
00:38:19,384 --> 00:38:22,909
[ newsreel announcer
speaking in German ]
554
00:38:59,162 --> 00:39:02,296
[ ♪♪♪ ]
555
00:39:08,737 --> 00:39:11,087
HITLER REMARKED TO SPEER,
556
00:39:11,131 --> 00:39:14,395
"IT WAS THE DREAM OF MY LIFE
TO SEE PARIS.
557
00:39:14,439 --> 00:39:16,832
"I CANNOT SAY
HOW HAPPY I AM
558
00:39:16,876 --> 00:39:21,184
TO HAVE THAT DREAM FULFILLED
TODAY."
559
00:39:21,228 --> 00:39:25,058
HITLER TOLD SPEER
THAT HE HAD OFTEN CONSIDERED
560
00:39:25,101 --> 00:39:27,016
DESTROYING PARIS.
561
00:39:27,060 --> 00:39:30,193
AND WITH THAT, HE ORDERED
HIS ARCHITECT TO RESUME WORK
562
00:39:30,237 --> 00:39:33,675
ON HIS GRANDIOSE PLANS
FOR THE REBUILDING OF BERLIN.
563
00:39:33,719 --> 00:39:35,895
WHEN THEY WERE COMPLETED,
HE SAID,
564
00:39:35,938 --> 00:39:41,727
"PARIS WILL ONLY BE A SHADOW,
SO WHY SHOULD WE DESTROY IT?"
565
00:39:46,732 --> 00:39:49,299
[ upbeat music plays ]
566
00:39:49,343 --> 00:39:53,478
UNLIKE HIS HARSH TREATMENT OF
THE SLAVIC CITIES OF POLAND,
567
00:39:53,521 --> 00:39:57,220
HITLER PRESERVED PARIS
AS A SOPHISTICATED PLAYGROUND
568
00:39:57,264 --> 00:40:00,746
FOR GERMAN MILITARY OFFICERS.
569
00:40:00,789 --> 00:40:04,271
WHILE THE NAZI HIGH COMMAND
ENJOYED THE PLEASURES
570
00:40:04,314 --> 00:40:06,578
OF THE CITY,
THEY HADN'T FORGOTTEN ABOUT
571
00:40:06,621 --> 00:40:08,493
THE FRENCH
NATIONAL COLLECTIONS,
572
00:40:08,536 --> 00:40:11,757
STILL SHELTERED IN CASTLES
IN THE FRENCH COUNTRYSIDE.
573
00:40:11,800 --> 00:40:13,889
HITLER WANTED MANY
OF THE ARTWORKS
574
00:40:13,933 --> 00:40:15,717
FOR HIS MUSEUM IN LINZ,
575
00:40:15,761 --> 00:40:18,590
AND G RING WANTED OTHERS
FOR HIMSELF.
576
00:40:18,633 --> 00:40:21,549
Petropoulos:
THE NAZI AUTHORITIES KNEW
THAT THESE WORKS
577
00:40:21,593 --> 00:40:25,031
THEY WANTED ON THEIR HIT LIST
WERE IN CHATEAUS,
578
00:40:25,074 --> 00:40:28,991
BUT THEY REFRAINED FROM SEIZING
WORKS IN STATE COLLECTIONS.
579
00:40:29,035 --> 00:40:32,168
THE GERMANS DIDN'T WANT
TO ANTAGONIZE THE FRENCH
580
00:40:32,212 --> 00:40:34,475
OR TO INCITE OPEN REBELLION.
581
00:40:34,519 --> 00:40:36,477
THEY DID NOT HAVE
THE RESOURCES
582
00:40:36,521 --> 00:40:39,001
TO CONTROL EVERY CORNER
OF FRANCE AT THAT TIME,
583
00:40:39,045 --> 00:40:42,178
SO THE TAKEOVER OF FRANCE
WAS MUCH MORE GRADUAL.
584
00:40:42,222 --> 00:40:44,137
FIRST, THEY WOULD STEAL
FROM THE JEWS,
585
00:40:44,180 --> 00:40:46,400
AND THEN LATER,
THEY WOULD ACQUIRE THE WORKS
586
00:40:46,444 --> 00:40:49,621
THAT THEY WANTED FROM
FRENCH STATE COLLECTIONS.
587
00:40:49,664 --> 00:40:53,625
THERE WERE A NUMBER OF NOTABLE
JEWISH COLLECTIONS IN FRANCE.
588
00:40:53,668 --> 00:40:55,757
PARIS WAS THE CAPITAL
OF THE ART MARKET,
589
00:40:55,801 --> 00:40:58,586
AND ONE HAD THESE GREAT
ART-DEALING DYNASTIES,
590
00:40:58,630 --> 00:41:01,328
AND THEY HAD HUGE COLLECTIONS.
591
00:41:01,371 --> 00:41:03,852
A MONTH INTO
THE NAZI OCCUPATION,
592
00:41:03,896 --> 00:41:05,854
GESTAPO TEAMS
RAIDED THE GALLERIES
593
00:41:05,898 --> 00:41:10,859
OF THE 15 LEADING
JEWISH ART DEALERS.
594
00:41:10,903 --> 00:41:13,166
Woman:
THE SELIGMANN FAMILY
WAS RIGHT UP THERE
595
00:41:13,209 --> 00:41:16,517
AMONG THE TOP DEALERS
IN PARIS.
596
00:41:16,561 --> 00:41:20,521
THIS IS A PHOTO OF MY FATHER,
BEFORE THE WAR,
597
00:41:20,565 --> 00:41:23,437
WHEN HE STARTED HIS BUSINESS.
598
00:41:23,481 --> 00:41:25,744
GOODNESS.
599
00:41:30,705 --> 00:41:35,797
I WAS QUITE YOUNG
WHEN THE WAR STARTED.
600
00:41:35,841 --> 00:41:39,671
MY FATHER SPECIALIZED
IN OLD MASTERS.
601
00:41:39,714 --> 00:41:45,328
AND G RING VISITED THE GALLERY
IN 1938, BEFORE THE WAR,
602
00:41:45,372 --> 00:41:50,159
AND MY FATHER ACTUALLY THREW HIM
OUT OF THE GALLERY
603
00:41:50,203 --> 00:41:56,557
BECAUSE HE KNEW WHO G RING WAS
AND WHAT HE WAS TRYING TO DO.
604
00:41:56,601 --> 00:42:01,954
SO AS A RESULT, HE -- THAT WAS
THE FIRST GALLERY THEY LOOTED
605
00:42:01,997 --> 00:42:04,173
DURING THE WAR.
606
00:42:04,217 --> 00:42:06,567
THE AMOUNT OF ART STOLEN
FROM JEWISH COLLECTORS
607
00:42:06,611 --> 00:42:09,701
SOON GREW SO LARGE THAT
THE JEU DE PAUME MUSEUM,
608
00:42:09,744 --> 00:42:13,400
IN THE CENTER OF PARIS,
WAS REQUISITIONED FOR STORAGE.
609
00:42:13,443 --> 00:42:15,402
THE OPERATION
WOULD BE OVERSEEN
610
00:42:15,445 --> 00:42:19,754
BY THE ANTI-SEMITIC TASK FORCE
KNOWN AS THE E.R.R.
611
00:42:19,798 --> 00:42:24,106
THE NAZIS MADE SURE TO KEEP UP
THE APPEARANCE OF LEGALITY.
612
00:42:24,150 --> 00:42:26,326
ACCORDING TO
THE NEW OCCUPATION LAWS,
613
00:42:26,369 --> 00:42:28,981
JEWS WHO FLED OR WERE DEPORTED
TO DEATH CAMPS
614
00:42:29,024 --> 00:42:31,331
WERE STRIPPED
OF THEIR CITIZENSHIP.
615
00:42:31,374 --> 00:42:34,421
THE NAZIS COULD THEN DECLARE
THEIR PROPERTY "OWNERLESS"
616
00:42:34,464 --> 00:42:36,945
AND AVAILABLE FOR PLUNDER.
617
00:42:45,432 --> 00:42:49,349
INSIDE THE ARCHIVES OF
THE NATIONAL MUSEUMS OF FRANCE
618
00:42:49,392 --> 00:42:52,787
IS A VOLUME OF HANDWRITTEN
NOTES WHICH TRACES THE JOURNEY
619
00:42:52,831 --> 00:42:56,574
OF THE 16,000 PAINTINGS STOLEN
FROM JEWISH PARISIANS
620
00:42:56,617 --> 00:42:58,967
DURING THE WAR.
621
00:42:59,011 --> 00:43:02,188
COMPILED IN GREAT SECRECY,
IT NOTES EACH WORK
622
00:43:02,231 --> 00:43:04,103
THAT ENTERED
THE JEU DE PAUME
623
00:43:04,146 --> 00:43:06,975
AND THE NAME OF THE FAMILY
FROM WHICH IT WAS STOLEN.
624
00:43:07,019 --> 00:43:10,631
IT IS THE WORK OF ROSE VALLAND,
A DEDICATED CURATOR
625
00:43:10,675 --> 00:43:13,547
WHO IS TODAY CONSIDERED
A HEROINE OF FRANCE
626
00:43:13,591 --> 00:43:16,898
AND CERTAINLY
ITS MOST UNLIKELY SPY.
627
00:43:16,942 --> 00:43:20,423
[ woman speaking in French ]
628
00:44:07,383 --> 00:44:11,736
NOBODY KNEW THAT EVERY NIGHT
WHEN SHE WENT HOME,
629
00:44:11,779 --> 00:44:15,783
WITH HER REMARKABLE MEMORY,
SHE KEPT A SECRET DIARY
630
00:44:15,827 --> 00:44:20,919
OF WHAT FRENCH PAINTINGS,
OWNED PUBLICALLY OR PRIVATELY,
631
00:44:20,962 --> 00:44:24,313
WERE TAKEN BY WHOM,
SENT WHERE.
632
00:44:24,357 --> 00:44:28,404
ROSE VALLAND MANAGED TO STAY
AT THE JEU DE PAUME
633
00:44:28,448 --> 00:44:32,887
DESPITE THE CONSTANT DANGER
OF DEPORTATION OR EXECUTION.
634
00:44:32,931 --> 00:44:36,412
IN NOVEMBER OF 1940,
SHE BECAME CONCERNED
635
00:44:36,456 --> 00:44:40,025
ABOUT UNUSUAL ACTIVITY
THAT SWEPT OVER THE MUSEUM.
636
00:44:40,068 --> 00:44:43,071
ROSE VALLAND NOTICED
IT WAS GREAT EXCITEMENT,
637
00:44:43,115 --> 00:44:46,727
THAT THE PICTURES WEREN'T
JUST BEING INVENTORIED,
638
00:44:46,771 --> 00:44:48,990
BUT ALL OF A SUDDEN THEY WERE
BEING HUNG UP ON THE WALLS
639
00:44:49,034 --> 00:44:51,471
AND THERE WAS CLEARLY
GOING TO BE A PARTY
640
00:44:51,514 --> 00:44:53,908
OR AN OPENING OF SOME KIND,
AND INDEED THERE WAS,
641
00:44:53,952 --> 00:44:57,825
BECAUSE G RING HIMSELF CAME
TO THE JEU DE PAUME
642
00:44:57,869 --> 00:45:00,741
TO SEE WHAT WAS AVAILABLE
643
00:45:00,785 --> 00:45:04,223
FOR HIS COLLECTIONS
AND FOR HITLER'S.
644
00:45:04,266 --> 00:45:07,617
HE, OF COURSE, WAS CLEVER ENOUGH
TO KNOW THAT MAJOR WORKS,
645
00:45:07,661 --> 00:45:09,402
SUCH AS VERMEER'S ASTRONOMER,
646
00:45:09,445 --> 00:45:11,883
WHICH HAD BEEN CONFISCATED
FROM THE ROTHSCHILDS,
647
00:45:11,926 --> 00:45:14,799
SHOULD GO TO THE F HRER
FOR THE LINZ MUSEUM,
648
00:45:14,842 --> 00:45:18,716
BUT STILL THIS OPENED UP
MANY POSSIBILITIES OF ITEMS
649
00:45:18,759 --> 00:45:21,109
THAT HE COULD THEN TAKE HIMSELF.
650
00:45:21,153 --> 00:45:22,676
OVER THE NEXT FEW YEARS,
651
00:45:22,720 --> 00:45:25,723
G RING WOULD VISIT
THE JEU DE PAUME 20 TIMES,
652
00:45:25,766 --> 00:45:29,378
TAKING OVER 700 WORKS OF ART
FOR HIMSELF.
653
00:45:29,422 --> 00:45:32,294
Petropoulos:
HERMANN G RING SPENT
A GREAT DEAL OF TIME IN PARIS.
654
00:45:32,338 --> 00:45:34,514
SOMETIMES THERE'S
A DISCONNECT.
655
00:45:34,557 --> 00:45:36,734
THE BATTLE OF BRITAIN
IS RAGING,
656
00:45:36,777 --> 00:45:38,866
AND HERMANN G RING,
OVERSEEING THE LUFTWAFFE
657
00:45:38,910 --> 00:45:42,304
IN THEIR CRITICAL MOMENT,
IS TAKING BREAKS IN PARIS,
658
00:45:42,348 --> 00:45:45,786
WHERE HE'S VISITING ART DEALERS
AND RESTAURANTS AND NIGHTCLUBS,
659
00:45:45,830 --> 00:45:49,224
DRINKING CHAMPAGNE
AND EATING OYSTERS.
660
00:45:49,268 --> 00:45:52,358
THE LOOT FROM G RING'S
PLEASURE TRIPS TO PARIS,
661
00:45:52,401 --> 00:45:56,014
THE NETHERLANDS, AND BELGIUM
WAS SHIPPED BY BOXCAR LOAD
662
00:45:56,057 --> 00:46:00,714
TO THE DOOR OF HIS PALATIAL
HUNTING LODGE, CARINHALL.
663
00:46:00,758 --> 00:46:04,152
[ playing fanfare ]
664
00:46:04,196 --> 00:46:07,155
Yeide:
CARINHALL WAS G RING'S
COUNTRY ESTATE
665
00:46:07,199 --> 00:46:09,549
WHICH WAS BUILT
OUTSIDE BERLIN.
666
00:46:09,592 --> 00:46:12,030
IT WAS ALSO
THE PRIMARY REPOSITORY
667
00:46:12,073 --> 00:46:13,727
FOR HIS ART COLLECTION.
668
00:46:13,771 --> 00:46:16,251
Petropoulos:
IT STARTED OFF AS
A RATHER WOODSY CHALET,
669
00:46:16,295 --> 00:46:18,036
AND IT WAS VERY HOMEY.
670
00:46:18,079 --> 00:46:19,733
IT HAD A BIG FIREPLACE
671
00:46:19,777 --> 00:46:21,691
AND IT HAD A LOT OF STONE
BUILT INTO IT,
672
00:46:21,735 --> 00:46:25,695
BUT GRADUALLY IT GREW IN SIZE,
AND HE REDECORATED,
673
00:46:25,739 --> 00:46:29,308
AND IT BECAME UTTERLY OPULENT
AND OSTENTATIOUS.
674
00:46:29,351 --> 00:46:32,659
Yeide:
IT WAS ADDED ONTO AND THERE
WERE MASSIVE GALLERIES:
675
00:46:32,702 --> 00:46:37,272
VAST CORRIDORS WITH MARBLE
AND TAPESTRIES AND RUGS
676
00:46:37,316 --> 00:46:39,187
AND PAINTINGS AND SCULPTURES.
677
00:46:39,231 --> 00:46:42,321
WE'RE TALKING ABOUT A COLLECTION
OF PAINTINGS ALONE
678
00:46:42,364 --> 00:46:45,498
THAT WAS PROBABLY
ABOUT 1,700 PAINTINGS.
679
00:46:45,541 --> 00:46:48,414
AS A COMPARISON,
THAT'S MORE THAN
680
00:46:48,457 --> 00:46:51,504
THE NATIONAL GALLERY OF ART'S
EUROPEAN PAINTINGS COLLECTION.
681
00:46:51,547 --> 00:46:55,334
HISTORIAN NANCY YEIDE
IS TRYING TO COMPILE
682
00:46:55,377 --> 00:46:57,118
THE FIRST COMPLETE INVENTORY
683
00:46:57,162 --> 00:46:59,381
OF HERMANN G RING'S
ART COLLECTION.
684
00:46:59,425 --> 00:47:01,906
ONE OF YEIDE'S GOALS
IS TO LOCATE PAINTINGS
685
00:47:01,949 --> 00:47:04,778
LOOTED BY G RING THAT
WENT MISSING AFTER THE WAR,
686
00:47:04,822 --> 00:47:07,476
INCLUDING A SMALL PAINTING
BY FRAN OIS BOUCHER,
687
00:47:07,520 --> 00:47:10,697
STOLEN FROM ANDR SELIGMANN
IN PARIS.
688
00:47:10,740 --> 00:47:12,612
WE WERE LOOKING
FOR THIS BOUCHER,
689
00:47:12,655 --> 00:47:14,875
AND WE WERE SURPRISED
TO FIND AN IMAGE
690
00:47:14,919 --> 00:47:17,443
ON THE UTAH MUSEUM
OF FINE ARTS WEB SITE
691
00:47:17,486 --> 00:47:20,925
THAT MATCHED THE LOST
SELIGMANN BOUCHER.
692
00:47:20,968 --> 00:47:22,883
THE UTAH MUSEUM HAD NO IDEA
693
00:47:22,927 --> 00:47:26,539
THAT THIS WAS A CONFISCATED
AND UNRESTITUTED PICTURE.
694
00:47:26,582 --> 00:47:32,110
Delibes:
WELL, I FIRST BECAME AWARE THAT
THE BOUCHER PAINTING WAS FOUND
695
00:47:32,153 --> 00:47:34,895
WHEN A WOMAN CAME TO SEE ME.
696
00:47:34,939 --> 00:47:38,551
AND SHE SAID, "WE'VE FOUND
A PAINTING OF YOURS,
697
00:47:38,594 --> 00:47:42,990
AND IT'S IN A MUSEUM, AND
THEY'RE WILLING TO COOPERATE."
698
00:47:43,034 --> 00:47:48,561
Reporter:
A PAINTING STOLEN BY NAZIS AND
RECOVERED IN UTAH IS GOING HOME.
699
00:47:48,604 --> 00:47:50,824
THE STORY, COMING UP
ON 2 NEWS.
700
00:47:50,868 --> 00:47:54,001
THE MUSEUM'S EXECUTIVE DIRECTOR
CALLS IT AN IMPORTANT DAY.
701
00:47:54,045 --> 00:47:56,830
THE ART LOSS REGISTER
PROVIDED EVIDENCE
702
00:47:56,874 --> 00:47:59,615
THAT WE DID NOT HAVE
RIGHTFUL OWNERSHIP,
703
00:47:59,659 --> 00:48:03,010
AND ON THAT BASIS,
WE INITIATED THE DECISION
704
00:48:03,054 --> 00:48:04,533
TO RETURN THE PAINTING
705
00:48:04,577 --> 00:48:09,277
TO THE RIGHTFUL HEIRS
OF ANDR SELIGMANN.
706
00:48:09,321 --> 00:48:10,975
GOOD MORNING.
707
00:48:11,018 --> 00:48:17,503
I'M THE DAUGHTER
OF ANDR SELIGMANN.
708
00:48:17,546 --> 00:48:22,551
THIS IS A VERY EMOTIONAL DAY
FOR ME.
709
00:48:24,858 --> 00:48:31,952
WE ARE VERY EXCITED TO GET
THIS PAINTING FROM THE MUSEUM,
710
00:48:31,996 --> 00:48:34,041
AND THEY HAVE BEEN REALLY --
711
00:48:34,085 --> 00:48:38,654
I CAN ONLY USE THE WORD
"ADORABLE" -- ABOUT THIS.
712
00:48:38,698 --> 00:48:39,960
ARE YOU READY?
713
00:48:40,004 --> 00:48:41,744
ONE, TWO, THREE.
714
00:48:41,788 --> 00:48:43,398
[ shutter clicks ]
715
00:48:43,442 --> 00:48:47,794
YOU KNOW, MY FATHER WOULD HAVE
WANTED ME TO HAVE THIS PAINTING,
716
00:48:47,837 --> 00:48:53,234
AND IT'S JUST A SHAME
THAT HE DIDN'T LIVE
717
00:48:53,278 --> 00:48:55,802
TO SEE ANY OF THIS GOING ON.
718
00:48:55,845 --> 00:48:59,937
Man:
I WAS A LITTLE SAD
WHEN I BEGAN
719
00:48:59,980 --> 00:49:02,243
TO THINK ABOUT RETURNING
THE PAINTING.
720
00:49:02,287 --> 00:49:06,944
IT'S BEEN AN IMPORTANT PART
OF OUR PERMANENT EXHIBITS,
721
00:49:06,987 --> 00:49:11,992
BUT I ALSO SAW THE LARGER
MORAL RESPONSIBILITY.
722
00:49:12,036 --> 00:49:15,517
WE CAN'T MAKE AMENDS
723
00:49:15,561 --> 00:49:19,913
FOR THE MILLIONS OF LIVES
THAT WERE TAKEN,
724
00:49:19,957 --> 00:49:26,093
BUT WE CAN DO SOMETHING SIMPLE:
RETURN SOMETHING STOLEN
725
00:49:26,137 --> 00:49:32,273
AND CONFER A LITTLE HUMANITY
BACK ON ALL OF US.
726
00:49:35,059 --> 00:49:39,759
IN OCCUPIED PARIS,
TRAINS PACKED WITH STOLEN ART
727
00:49:39,802 --> 00:49:42,370
CONTINUED TO LEAVE
FOR GERMANY.
728
00:49:42,414 --> 00:49:47,593
MORE THAN 22,000 ITEMS
WOULD BE SHIPPED TO THE REICH.
729
00:49:47,636 --> 00:49:51,640
BUT THE THEFT OF FINE ART
WAS JUST THE BEGINNING.
730
00:49:51,684 --> 00:49:56,602
NOW, THE E.R.R. BEGAN
A NEW, MORE RADICAL PROJECT.
731
00:49:56,645 --> 00:49:59,735
[ woman speaking in French ]
732
00:50:16,491 --> 00:50:21,757
THE UNION OF PARISIAN MOVERS
WAS FORCED TO SUPPLY 150 TRUCKS
733
00:50:21,801 --> 00:50:26,762
AND 1,200 WORKERS A DAY TO HELP
CARRY OUT THE OPERATION.
734
00:50:59,839 --> 00:51:03,625
[ speaking in French ]
735
00:51:13,635 --> 00:51:17,291
JACQUES ALTMAN,
A YOUNG PARISIAN JEW,
736
00:51:17,335 --> 00:51:20,294
WAS ABOUT TO BE DEPORTED
TO A DEATH CAMP IN POLAND
737
00:51:20,338 --> 00:51:22,340
WHEN HE WAS HELD BACK
AND TRANSFERRED
738
00:51:22,383 --> 00:51:24,255
TO A NEW SLAVE LABOR CAMP
739
00:51:24,298 --> 00:51:28,172
SET UP AT A TRAIN STATION
IN THE CENTER OF PARIS.
740
00:51:28,215 --> 00:51:32,176
AT THE CAMP, JEWISH PRISONERS
WERE FORCED TO SORT, CLEAN,
741
00:51:32,219 --> 00:51:35,483
REPAIR, AND PACK
STOLEN JEWISH BELONGINGS
742
00:51:35,527 --> 00:51:39,226
THAT WERE THEN SENT
TO FAMILIES IN GERMANY.
743
00:53:32,687 --> 00:53:35,386
TRAIN AFTER TRAIN
ROLLED EASTWARD,
744
00:53:35,429 --> 00:53:39,041
MANY CARRYING JEWS
TO CONCENTRATION CAMPS.
745
00:53:39,085 --> 00:53:42,044
OTHERS FOLLOWED,
LOADED WITH THEIR PROPERTY
746
00:53:42,088 --> 00:53:45,134
AND WORKS OF ART.
747
00:53:46,832 --> 00:53:49,226
[ ♪♪♪ ]
748
00:54:02,021 --> 00:54:06,068
FOR YEARS, THE VERY BEST PIECES
OF ART AND FURNITURE
749
00:54:06,112 --> 00:54:08,419
LOOTED FROM THE JEWS
OF FRANCE
750
00:54:08,462 --> 00:54:10,943
WERE DELIVERED TO
THE NEUSCHWANSTEIN CASTLE
751
00:54:10,986 --> 00:54:15,295
IN THE REMOTE ALPS
OF SOUTHERN GERMANY.
752
00:54:15,339 --> 00:54:18,994
[ speaking in German ]
753
00:55:02,864 --> 00:55:05,040
BY THE SUMMER OF 1941,
754
00:55:05,084 --> 00:55:08,914
HITLER HAD WESTERN EUROPE
UNDER FIRM CONTROL.
755
00:55:08,957 --> 00:55:10,568
NOW HE LOOKED TO THE EAST
756
00:55:10,611 --> 00:55:16,269
TO EXPAND THE NAZI EMPIRE
EVEN FURTHER.
757
00:55:16,313 --> 00:55:19,446
IN A SURPRISE ATTACK
ON THE SOVIET UNION,
758
00:55:19,490 --> 00:55:21,970
HITLER DIVERTED
MILLIONS OF TROOPS
759
00:55:22,014 --> 00:55:25,234
TO A NEW 2,000-MILE FRONT.
760
00:55:27,715 --> 00:55:31,371
Petropoulos:
THE SOVIET UNION WAS A TARGET
IN THE SAME WAY THAT POLAND WAS.
761
00:55:31,415 --> 00:55:33,852
IT WAS A PRIMARILY
SLAVIC NATION.
762
00:55:33,895 --> 00:55:37,203
IN FACT, IT WAS SUBJECTED
TO EVEN HARSHER TREATMENT
763
00:55:37,246 --> 00:55:40,815
BECAUSE IT WAS COMMUNIST-RUN.
764
00:55:40,859 --> 00:55:45,907
HITLER ORDERED HIS GENERALS
TO WAGE A WAR OF ANNIHILATION.
765
00:55:45,951 --> 00:55:48,040
IT WAS A SCORCHED EARTH
CAMPAIGN
766
00:55:48,083 --> 00:55:53,654
THAT STRUCK AT THE VERY HEART
OF RUSSIAN ART AND CULTURE.
767
00:56:02,924 --> 00:56:06,101
Man:
THE HERMITAGE FOR RUSSIA
IS NOT ONLY AN ART MUSEUM.
768
00:56:06,145 --> 00:56:10,410
IT'S THE SYMBOL
OF RUSSIAN STATE HISTORY.
769
00:56:10,454 --> 00:56:14,240
THE RUSSIAN EMPIRE BEGAN HERE
AND ENDED HERE.
770
00:56:28,428 --> 00:56:29,951
SO BECAUSE OF THIS,
771
00:56:29,995 --> 00:56:32,301
THE HERMITAGE IS A GREAT SYMBOL
FOR EVERY RUSSIAN.
772
00:56:32,345 --> 00:56:34,608
THERE IS A GREAT MUSEUM
WHICH BELONGS TO THEM,
773
00:56:34,652 --> 00:56:37,132
WHICH IS SOMETHING WHICH RUSSIA
IS VERY PROUD OF
774
00:56:37,176 --> 00:56:40,745
AND WHICH IS ONE OF THE ESSENCE
OF WHAT RUSSIA CULTURE IS.
775
00:56:40,788 --> 00:56:44,792
WHEN NEWS OF THE INVASION
REACHED THE HERMITAGE MUSEUM,
776
00:56:44,836 --> 00:56:47,795
OFFICIALS CLEARED THE CROWDED
GALLERIES OF VISITORS
777
00:56:47,839 --> 00:56:50,058
AND BEGAN
THE FRANTIC EVACUATION
778
00:56:50,102 --> 00:56:52,452
OF ITS IMMENSE COLLECTION.
779
00:56:52,496 --> 00:56:54,976
WE ARE KIND OF NOT ACCUSTOMED.
780
00:56:55,020 --> 00:56:56,456
YOU CAN'T BE ACCUSTOMED
TO WARS,
781
00:56:56,500 --> 00:56:58,415
BUT WE KNOW HOW
TO BEHAVE IN WARS.
782
00:56:58,458 --> 00:57:02,027
THE HERMITAGE WAS EVACUATED
DURING THE FIRST WORLD WAR.
783
00:57:02,070 --> 00:57:03,768
BY THE WAY,
IT WAS ALSO EVACUATED
784
00:57:03,811 --> 00:57:06,205
DURING THE WAR WITH THE FRENCH
IN THE 19th CENTURY.
785
00:57:06,248 --> 00:57:09,513
SO WHEN GERMANS INVADED
IN THE SECOND WORLD WAR,
786
00:57:09,556 --> 00:57:13,778
THE HERMITAGE WAS PREPARED
TO EVACUATE.
787
00:57:13,821 --> 00:57:16,128
COMPARED TO THE LOUVRE
IN PARIS,
788
00:57:16,171 --> 00:57:18,173
THE HERMITAGE HAD
OVER FOUR TIMES
789
00:57:18,217 --> 00:57:20,611
THE NUMBER OF OBJECTS
TO EVACUATE.
790
00:57:20,654 --> 00:57:23,091
THE VAST COLLECTIONS
OF THE RUSSIAN CZARS
791
00:57:23,135 --> 00:57:25,920
INCLUDED EVERYTHING FROM
PAINTINGS AND FURNITURE
792
00:57:25,964 --> 00:57:28,967
TO PORCELAINS
AND ANTIQUITIES.
793
00:57:29,010 --> 00:57:32,492
THE HERMITAGE ALSO
GOT A LATE START,
794
00:57:32,536 --> 00:57:35,016
BUT THE WHITE NIGHTS
OF LENINGRAD'S SUMMER
795
00:57:35,060 --> 00:57:36,496
HELPED TO MAKE UP TIME,
796
00:57:36,540 --> 00:57:40,282
AS PACKING COULD GO ON
AROUND THE CLOCK.
797
00:57:51,555 --> 00:57:54,514
WITHIN A MONTH OF THE INVASION,
SOVIET TRAINS HAD CARRIED
798
00:57:54,558 --> 00:57:57,386
OVER A MILLION OF
THE MOST PRIZED TREASURES
799
00:57:57,430 --> 00:58:00,912
1,100 MILES AWAY
TO SIBERIA.
800
00:58:02,914 --> 00:58:06,091
BUT HALF THE MUSEUM'S HOLDINGS
WOULD REMAIN IN PERIL
801
00:58:06,134 --> 00:58:10,965
WHEN THE NAZI FORCES ENCIRCLED
LENINGRAD JUST WEEKS LATER.
802
00:58:11,009 --> 00:58:14,447
THE ENEMY WAS NOW ONLY
EIGHT MILES FROM THE MUSEUM.
803
00:58:14,491 --> 00:58:19,147
IT WAS THE START OF
THE 900-DAY SIEGE OF LENINGRAD.
804
00:58:24,588 --> 00:58:28,200
[ man speaking in Russian ]
805
00:58:46,305 --> 00:58:48,437
IN THE FIRST TWO MONTHS
OF THE SIEGE,
806
00:58:48,481 --> 00:58:51,353
THE NAZIS FIRED
OVER 12,000 SHELLS
807
00:58:51,397 --> 00:58:55,357
AND DROPPED OVER 60,000 BOMBS
ON LENINGRAD.
808
00:58:55,401 --> 00:58:58,491
IN OCTOBER, HITLER ORDERED
HIS GENERALS
809
00:58:58,535 --> 00:59:02,190
"TO WIPE THE CITY
OFF THE FACE OF THE EARTH."
810
00:59:11,286 --> 00:59:15,595
HERMITAGE STAFF AND THE CITY'S
ARTISTIC COMMUNITY TOOK SHELTER
811
00:59:15,639 --> 00:59:19,817
IN THE NETWORK OF CELLARS
UNDERNEATH THE MUSEUM.
812
00:59:19,860 --> 00:59:22,994
DURING THE FIRST WINTER
OF THE SIEGE,
813
00:59:23,037 --> 00:59:28,565
2,000 PEOPLE INHABITED THIS
FREEZING, SUBTERRANEAN WORLD.
814
00:59:33,874 --> 00:59:37,269
THROUGHOUT LENINGRAD, RESERVES
OF FUEL WERE RUNNING OUT
815
00:59:37,312 --> 00:59:41,273
JUST AS THE DAYS BEGAN TO GROW
SHORTER AND COLDER.
816
00:59:44,189 --> 00:59:46,365
STARVATION SET IN.
817
00:59:49,063 --> 00:59:52,850
DURING NOVEMBER AND DECEMBER
OF 1941,
818
00:59:52,893 --> 00:59:56,114
70,000 PEOPLE DIED.
819
01:00:23,010 --> 01:00:26,535
IN THE CELLARS
OF THE HERMITAGE,
820
01:00:26,579 --> 01:00:28,668
STAFF WORKERS WERE DYING,
821
01:00:28,712 --> 01:00:31,279
BUT THE SURVIVORS KEPT UP
THE EXHAUSTIVE EFFORT
822
01:00:31,323 --> 01:00:34,761
TO PROTECT THE MUSEUM
AND ITS REMAINING WORKS OF ART.
823
01:00:34,805 --> 01:00:38,809
THROUGH THE BITTER WINTER,
BLIZZARDS SENT SNOW
824
01:00:38,852 --> 01:00:41,594
THROUGH THOUSANDS
OF BOMB-SHATTERED WINDOWS,
825
01:00:41,638 --> 01:00:43,074
AND FOR THREE MONTHS,
826
01:00:43,117 --> 01:00:45,685
THE STARVING MUSEUM WORKERS
USED CROWBARS
827
01:00:45,729 --> 01:00:49,123
TO CHIP AWAY 80 TONS
OF ICE AND BROKEN GLASS
828
01:00:49,167 --> 01:00:50,995
THAT HAD FROZEN
TO THE WALLS, CEILINGS,
829
01:00:51,038 --> 01:00:54,912
AND PARQUET FLOORS
OF THE ORNATE GALLERIES.
830
01:00:54,955 --> 01:00:59,438
Piotrovsky:
WORK WAS ONE OF THE WAYS
TO PREVENT FROM DYING.
831
01:00:59,481 --> 01:01:01,658
YOU HAVE BOMBS,
YOU HAVE NO WINDOWS,
832
01:01:01,701 --> 01:01:03,834
YOU HAVE SNOW,
YOU HAVE RAIN,
833
01:01:03,877 --> 01:01:05,749
YOU HAVE PEOPLE DYING.
834
01:01:05,792 --> 01:01:10,710
SO IT WAS MUSEUM WORK
IN EXTREME SITUATION.
835
01:01:10,754 --> 01:01:14,105
WHEN THE SNOW MELTED
WITH THE FIRST SPRING,
836
01:01:14,148 --> 01:01:17,195
A BURIAL SQUAD CAME
TO THE HERMITAGE.
837
01:01:17,238 --> 01:01:20,241
FROM AN IMPROVISED MORTUARY
IN THE CELLAR,
838
01:01:20,285 --> 01:01:22,853
THEY REMOVED 46 CORPSES
THAT HAD STAYED FROZEN
839
01:01:22,896 --> 01:01:24,637
THROUGH THE WINTER.
840
01:01:24,681 --> 01:01:27,422
THE DEAD WERE TAKEN
TO A PLOT OF WASTELAND
841
01:01:27,466 --> 01:01:30,077
ON THE OUTSKIRTS OF THE CITY
THAT WOULD BECOME,
842
01:01:30,121 --> 01:01:32,950
OVER THE NEXT TWO YEARS,
THE COMMON GRAVE
843
01:01:32,993 --> 01:01:37,998
FOR A HALF MILLION
RUSSIAN VICTIMS OF THE SIEGE.
844
01:01:38,042 --> 01:01:40,348
FROM FRANCE TO RUSSIA,
845
01:01:40,392 --> 01:01:43,090
THE WHOLE OF EUROPE
WAS UNDER ATTACK,
846
01:01:43,134 --> 01:01:46,398
AND ALARMING REPORTS ABOUT
NAZI THEFT AND DESTRUCTION
847
01:01:46,441 --> 01:01:49,618
WERE REACHING ART PROFESSIONALS
AT A BRAND-NEW MUSEUM
848
01:01:49,662 --> 01:01:51,882
FAR FROM THE HERMITAGE.
849
01:01:57,714 --> 01:02:02,196
To accept this work today
is to assert the purpose
850
01:02:02,240 --> 01:02:04,677
of the people of America,
851
01:02:04,721 --> 01:02:07,636
that the freedom
of the human spirit
852
01:02:07,680 --> 01:02:10,988
which has produced
the world's great art
853
01:02:11,031 --> 01:02:14,774
shall not
be utterly destroyed.
854
01:02:14,818 --> 01:02:16,863
[ applause ]
855
01:02:16,907 --> 01:02:20,737
THE UNITED STATES WAS ABOUT
TO DECLARE WAR ON NAZI GERMANY.
856
01:02:20,780 --> 01:02:23,696
AND FROM THE NATIONAL GALLERY
OF ART IN WASHINGTON,
857
01:02:23,740 --> 01:02:26,525
A GROUP OF MUSEUM OFFICIALS
AND ACADEMICS
858
01:02:26,568 --> 01:02:28,483
KNOWN AS
THE ROBERTS COMMISSION
859
01:02:28,527 --> 01:02:31,225
WARNED PRESIDENT ROOSEVELT
OF A GRAVE PROBLEM
860
01:02:31,269 --> 01:02:35,055
FACING THE ALLIED ARMIES:
HOW TO SAVE EUROPE
861
01:02:35,099 --> 01:02:38,015
WITHOUT FURTHER DESTROYING
ITS HISTORIC BUILDINGS
862
01:02:38,058 --> 01:02:41,279
AND CULTURAL TREASURES
IN THE PROCESS.
863
01:02:41,322 --> 01:02:44,108
Nicholas:
THE PRIMARY CONCERN WAS
BUILDINGS AND MONUMENTS,
864
01:02:44,151 --> 01:02:45,762
BECAUSE THIS WAS
THE FIRST WAR
865
01:02:45,805 --> 01:02:47,981
IN WHICH BOMBING
WAS A MAJOR PROBLEM.
866
01:02:48,025 --> 01:02:50,331
EVERYBODY HAD SEEN
WHAT HAPPENED IN ENGLAND
867
01:02:50,375 --> 01:02:53,944
DURING THE BLITZ, SO THEY KNEW
THAT WHEN ARMIES INVADED
868
01:02:53,987 --> 01:02:57,338
THAT THIS WOULD BE
A MAJOR ISSUE.
869
01:02:57,382 --> 01:03:01,386
THE FIRST INVASION CAME
IN THE SUMMER OF 1943,
870
01:03:01,429 --> 01:03:03,562
WHEN AMERICA
AND ITS WESTERN ALLIES
871
01:03:03,605 --> 01:03:05,346
LAUNCHED A MASSIVE ATTACK
872
01:03:05,390 --> 01:03:09,481
AGAINST GERMAN OCCUPATION
FORCES IN SOUTHERN ITALY.
873
01:03:14,660 --> 01:03:17,184
WE HAD A TOUGH TIME.
874
01:03:17,228 --> 01:03:19,447
THE GERMANS PUT UP
A GREAT DEAL OF RESISTANCE,
875
01:03:19,491 --> 01:03:24,365
SO IN THE PROCESS,
WE PRETTY MUCH DESTROYED ITALY.
876
01:03:24,409 --> 01:03:31,329
MANY OF THE VILLAGES AND TOWNS
WERE ACTUALLY JUST LEVELED.
877
01:03:31,372 --> 01:03:34,114
FOR CIVIL AFFAIRS OFFICERS
REPORTING BACK
878
01:03:34,158 --> 01:03:36,377
TO THE ROBERTS COMMISSION
IN WASHINGTON,
879
01:03:36,421 --> 01:03:39,859
THE COLLATERAL DAMAGE
TO MONUMENTS WAS SHOCKING.
880
01:03:39,903 --> 01:03:42,601
Nicholas:
ALTHOUGH FROM THE MILITARY
POINT OF VIEW
881
01:03:42,644 --> 01:03:44,472
THE DAMAGE WASN'T
OVERWHELMING,
882
01:03:44,516 --> 01:03:48,346
FOR A PERSON WHO WAS INTERESTED
IN CLASSICAL ARCHITECTURE
883
01:03:48,389 --> 01:03:51,218
AND ART, IT WAS DEVASTATING.
884
01:03:51,262 --> 01:03:54,831
IN ITALY, AND LATER ELSEWHERE
IN WESTERN EUROPE,
885
01:03:54,874 --> 01:03:57,355
SOME BATTLE-HARDENED G.I.s
ONLY ADDED
886
01:03:57,398 --> 01:03:59,183
TO THE PROBLEM
OF DESTRUCTION.
887
01:03:59,226 --> 01:04:01,576
LOCAL OFFICIALS COMPLAINED
OF ALLIED SOLDIERS
888
01:04:01,620 --> 01:04:04,101
MAKING OFF WITH BOOKS,
COIN COLLECTIONS,
889
01:04:04,144 --> 01:04:07,539
AND EVEN STUFFED MONKEYS
FROM A NATURAL HISTORY MUSEUM.
890
01:04:07,582 --> 01:04:11,456
GENERAL EISENHOWER WORRIED
THAT THIS MISCONDUCT
891
01:04:11,499 --> 01:04:13,719
WAS BRINGING ON
BAD PUBLICITY.
892
01:04:13,762 --> 01:04:16,417
AND WORSE, HE SAW THAT HIS ARMY
THREATENED TO HARM
893
01:04:16,461 --> 01:04:19,507
THE ARTISTIC HERITAGE
OF ITALY.
894
01:04:19,551 --> 01:04:21,988
SO SIX MONTHS
INTO THE INVASION,
895
01:04:22,032 --> 01:04:24,251
HE ORDERED
ALL FIELD COMMANDERS
896
01:04:24,295 --> 01:04:28,473
TO "RESPECT MONUMENTS
SO FAR AS WAR ALLOWS."
897
01:04:31,606 --> 01:04:33,173
JUST TWO WEEKS LATER,
898
01:04:33,217 --> 01:04:36,873
EISENHOWER'S ORDER WAS PUT
TO A SEVERE TEST.
899
01:04:36,916 --> 01:04:39,005
EIGHTY MILES SOUTH OF ROME,
900
01:04:39,049 --> 01:04:43,009
THE ALLIED ADVANCE WAS BLOCKED
BY A HEAVILY DEFENDED MOUNTAIN.
901
01:04:43,053 --> 01:04:45,185
ON TOP OF THAT
STRATEGIC MOUNTAIN
902
01:04:45,229 --> 01:04:49,494
STOOD THE HISTORIC MONASTERY
OF MONTE CASSINO.
903
01:04:49,537 --> 01:04:54,325
Kim:
ITALY IS PICTURED
AS A SUNNY PLACE,
904
01:04:54,368 --> 01:04:58,895
BUT YOU GET UP IN THE MOUNTAINS,
AND IT'S COLD, WINDY, AND WET.
905
01:04:58,938 --> 01:05:01,985
AND YOU'RE OUT THERE
24 HOURS A DAY,
906
01:05:02,028 --> 01:05:04,552
IT'S REALLY DIFFICULT TO LIVE,
907
01:05:04,596 --> 01:05:08,252
LET ALONE HAVE SOMEONE SHOOTING
AT YOU AT THE SAME TIME.
908
01:05:14,127 --> 01:05:16,303
I WASN'T CONCERNED
ABOUT THE MONASTERY,
909
01:05:16,347 --> 01:05:21,047
I WAS CONCERNED ABOUT
THE PEOPLE TRYING TO KILL ME.
910
01:05:26,313 --> 01:05:29,534
ALL THE WAY UP
THIS MOUNTAIN RIDGE,
911
01:05:29,577 --> 01:05:33,059
WE HAVE GERMANS
AT DIFFERENT LEVELS
912
01:05:33,103 --> 01:05:36,933
ALL DUG IN
AND ALL SHOOTING AT US.
913
01:05:36,976 --> 01:05:41,546
THE BATTLE TO CONTROL
THE MOUNTAINS AROUND CASSINO
914
01:05:41,589 --> 01:05:43,635
BECAME A BLOODY STALEMATE.
915
01:05:43,678 --> 01:05:46,638
ALLIED FIELD COMMANDERS,
WHO FOR WEEKS HAD HELD BACK
916
01:05:46,681 --> 01:05:48,988
FROM ATTACKING
THE MONASTERY DIRECTLY,
917
01:05:49,032 --> 01:05:51,251
ARGUED OVER ITS FATE.
918
01:05:51,295 --> 01:05:53,601
AND BACK HOME IN
THE UNITED STATES AND BRITAIN,
919
01:05:53,645 --> 01:05:56,996
PARENTS PROTESTED THAT THEY
DIDN'T WANT THEIR SONS DYING
920
01:05:57,040 --> 01:05:59,129
TO SAVE A BUILDING.
921
01:06:01,783 --> 01:06:05,309
ALL I KNEW WAS THAT
WE WERE NOT PERMITTED
922
01:06:05,352 --> 01:06:08,225
TO FIRE ON THE MONASTERY.
923
01:06:08,268 --> 01:06:11,184
IN HINDSIGHT I KNOW
THAT THE ALLIED COMMAND
924
01:06:11,228 --> 01:06:12,925
WANTED TO APPEAR
LIKE GOOD GUYS
925
01:06:12,969 --> 01:06:15,101
IN THE EYES OF THE PUBLIC
AND THE WORLD.
926
01:06:15,145 --> 01:06:19,845
BUT TO YOU AS AN INFANTRYMAN
WHERE YOUR LIFE IS AT STAKE,
927
01:06:19,888 --> 01:06:23,022
NO, IT DIDN'T MAKE SENSE.
928
01:06:23,066 --> 01:06:25,851
[ ♪♪♪ ]
929
01:06:28,027 --> 01:06:31,988
[ man speaking in Italian ]
930
01:06:46,915 --> 01:06:50,571
SINCE 529, THE MONASTERY
HAD BEEN THE HOME
931
01:06:50,615 --> 01:06:53,400
TO THE BENEDICTINE ORDER
OF MONKS.
932
01:06:53,444 --> 01:06:55,315
DURING ITS 1,400 YEARS,
933
01:06:55,359 --> 01:06:58,275
IT HAD BEEN DESTROYED BY
EARTHQUAKES AND INVADERS,
934
01:06:58,318 --> 01:07:01,669
AND EACH TIME THE MASSIVE
COMPLEX HAD BEEN REBUILT
935
01:07:01,713 --> 01:07:05,021
FROM THE ASHES OF ITS RUIN.
936
01:07:05,064 --> 01:07:09,199
NOW, ALLIED COMMANDERS,
HOPING TO DRIVE THE GERMAN ARMY
937
01:07:09,242 --> 01:07:11,288
FROM THE MOUNTAIN
ONCE AND FOR ALL,
938
01:07:11,331 --> 01:07:13,681
DECIDED TO BOMB IT.
939
01:07:48,238 --> 01:07:50,457
[ speaking in Italian ]
940
01:08:03,601 --> 01:08:06,647
IT WAS THE MOST BOMBERS
THE ALLIES HAD EVER SENT
941
01:08:06,691 --> 01:08:09,694
AGAINST A SINGLE BUILDING,
942
01:08:09,737 --> 01:08:13,132
BUT NOT ONE ENEMY SOLDIER
WAS KILLED.
943
01:08:13,176 --> 01:08:16,961
THE GERMAN ARMY HAD BEEN AROUND
THE MONASTERY, NOT IN IT.
944
01:08:17,005 --> 01:08:19,746
AND AFTER THE BOMBING,
THEY TURNED THE RUINS
945
01:08:19,791 --> 01:08:24,404
INTO A DEFENSIVE FORTRESS.
946
01:08:24,448 --> 01:08:26,318
IN THE END,
947
01:08:26,362 --> 01:08:29,322
OVER 50,000 SOLDIERS
AND CIVILIANS WOULD DIE
948
01:08:29,366 --> 01:08:32,456
BEFORE THE ALLIES FINALLY
BROKE THROUGH THE GERMAN LINE
949
01:08:32,499 --> 01:08:35,502
THREE MONTHS LATER.
950
01:08:35,546 --> 01:08:40,246
Kim:
TO ME, THE MONASTERY IS
A HORRIBLE MISTAKE.
951
01:08:40,290 --> 01:08:43,596
IF YOU THINK THAT
THE ART IS SO VALUABLE,
952
01:08:43,640 --> 01:08:47,078
THEN DON'T ATTACK IT
IN THE FIRST PLACE.
953
01:08:47,122 --> 01:08:50,560
DON'T WASTE THE LIVES
OF YOUR MEN.
954
01:08:50,603 --> 01:08:54,956
IF YOU THINK THAT TAKING IT
IS SO IMPORTANT MILITARILY,
955
01:08:55,000 --> 01:08:57,437
THEN I DON'T CARE
WHAT'S IN THERE,
956
01:08:57,481 --> 01:09:01,746
IF YOU NEED TO DESTROY IT,
YOU TAKE IT AND DESTROY IT.
957
01:09:01,789 --> 01:09:05,663
[ newsreel announcer
speaking in German ]
958
01:09:20,764 --> 01:09:23,854
FROM THEN ON,
EVERY ALLIED BOMBING MISTAKE
959
01:09:23,898 --> 01:09:26,596
WAS TRUMPETED LOUDLY
IN NEWSREELS AND PAMPHLETS
960
01:09:26,639 --> 01:09:30,166
WITH TITLES LIKE
"THE WAR AGAINST ART."
961
01:09:30,209 --> 01:09:32,863
THE ITALIAN FASCIST GOVERNMENT
EVEN ISSUED
962
01:09:32,907 --> 01:09:36,649
A SET OF POSTAGE STAMPS THAT
COMMEMORATED MONTE CASSINO
963
01:09:36,693 --> 01:09:38,696
AND OTHER HISTORIC MONUMENTS
964
01:09:38,738 --> 01:09:41,524
THAT HAD BEEN DESTROYED
BY ALLIED BOMBING.
965
01:09:41,568 --> 01:09:43,701
OF COURSE, THE GERMAN
AND ITALIAN PROPAGANDA
966
01:09:43,744 --> 01:09:46,703
DID HAVE A POINT,
BECAUSE THINGS WERE DAMAGED.
967
01:09:46,746 --> 01:09:50,098
IN MILAN, THE LAST SUPPER
WAS ALMOST LOST
968
01:09:50,142 --> 01:09:53,058
BECAUSE A BOMB FELL ON
THE BUILDING WHERE IT WAS.
969
01:09:53,101 --> 01:09:57,584
AND SOME BOMBS HAD FALLEN
ON ROME, ON SAN LORENZO,
970
01:09:57,628 --> 01:10:00,892
ONE OF THE MOST FAMOUS CHURCHES
IN ITALY.
971
01:10:02,937 --> 01:10:06,811
ALTHOUGH STRAY ALLIED BOMBS
FELL ON THE OUTSKIRTS OF ROME,
972
01:10:06,853 --> 01:10:09,117
THE GROUND WAR
BYPASSED THE CITY
973
01:10:09,161 --> 01:10:13,034
WHEN THE GERMAN ARMY WITHDREW
TO THE NORTH.
974
01:10:13,077 --> 01:10:17,517
ROME'S PEOPLE AND ANCIENT
MONUMENTS WERE SPARED.
975
01:10:20,041 --> 01:10:22,392
[ bells ringing ]
976
01:10:22,434 --> 01:10:26,570
BUT AFTER ROME, PERHAPS NO CITY
HAD CAUSE FOR MORE CONCERN
977
01:10:26,612 --> 01:10:29,050
THAN FLORENCE,
WHOSE MUSEUMS HOUSED
978
01:10:29,094 --> 01:10:33,272
THE GREATEST ARTWORKS
OF THE ITALIAN RENAISSANCE.
979
01:10:33,316 --> 01:10:36,057
[ ♪♪♪ ]
980
01:10:45,806 --> 01:10:49,767
HERE, AS IN FRANCE,
CULTURAL OFFICIALS EARLY ON
981
01:10:49,809 --> 01:10:52,770
HAD TAKEN MOVEABLE WORKS OF ART
TO THE PRESUMED SAFETY
982
01:10:52,813 --> 01:10:54,989
OF COUNTRY VILLAS
AND CASTLES.
983
01:10:55,032 --> 01:10:56,904
BUT THE PRECIOUS CITY ITSELF --
984
01:10:56,948 --> 01:11:00,212
ITS BRIDGES, ITS RENAISSANCE
PALACES AND CHURCHES,
985
01:11:00,255 --> 01:11:03,128
AND ITS PUBLIC SCULPTURE --
STILL REMAINED VULNERABLE
986
01:11:03,171 --> 01:11:07,306
AS THE WAR MOVED UP
THE BOOT OF ITALY.
987
01:11:07,350 --> 01:11:11,919
EVERYBODY WAS THINKING
THAT A TOWN LIKE FLORENCE
988
01:11:11,963 --> 01:11:18,491
THAT WAS CONSIDERED
A JEWEL OF ART AND OF BEAUTY,
989
01:11:18,535 --> 01:11:23,017
THAT IT WOULD BE
A SO-CALLED OPEN TOWN,
990
01:11:23,061 --> 01:11:26,456
NOT TO BE TOUCHED
BY THE WAR.
991
01:11:26,499 --> 01:11:29,067
ART IS THE ATMOSPHERE
OF THIS TOWN.
992
01:11:29,110 --> 01:11:31,460
AS A MATTER OF FACT,
ONE GETS SO USED TO IT
993
01:11:31,504 --> 01:11:34,681
THAT IT'S PART OF YOUR SOUL.
994
01:11:34,725 --> 01:11:38,424
I NEVER THOUGHT
THEY COULD BE DESTROYED.
995
01:11:38,468 --> 01:11:41,688
BUT CITY OFFICIALS
FEARED THE WORST.
996
01:11:41,732 --> 01:11:44,212
UNSURE THAT THE NAZIS
WOULD GIVE UP FLORENCE
997
01:11:44,255 --> 01:11:47,477
WITHOUT A FIGHT, THEY MOBILIZED
WORKERS TO BUILD STRUCTURES
998
01:11:47,520 --> 01:11:51,132
AROUND THE CITY'S
MOST IMPORTANT PUBLIC ART.
999
01:11:51,175 --> 01:11:53,264
THE DELLA ROBBIA CERAMICS
THAT ADORN
1000
01:11:53,309 --> 01:11:55,353
THE FIRST ORPHANAGE
OF EUROPE
1001
01:11:55,398 --> 01:11:58,357
WERE HOUSED IN
PROTECTIVE WOODEN SHEDS,
1002
01:11:58,401 --> 01:12:01,012
THE MARBLE TOMBS
OF THE MEDICI CHAPEL
1003
01:12:01,055 --> 01:12:03,101
WERE SHIELDED WITH SANDBAGS,
1004
01:12:03,144 --> 01:12:06,191
AND MICHELANGELO'S
SIX MARBLE SLAVES
1005
01:12:06,234 --> 01:12:08,672
AND HIS 14-FOOT-HIGHDAVID
1006
01:12:08,715 --> 01:12:13,459
WERE ENTOMBED
IN MASSIVE BRICK CAPSULES.
1007
01:12:17,245 --> 01:12:20,074
Nicholas:
WHEN THE ALLIES
STARTED BOMBING ITALY,
1008
01:12:20,118 --> 01:12:22,207
FLORENCE WAS
A DIFFICULT PROBLEM
1009
01:12:22,250 --> 01:12:24,775
BECAUSE IT HAS ALL
OF ITS EXTRAORDINARY MONUMENTS
1010
01:12:24,818 --> 01:12:27,907
BUT ALSO IS A VERY IMPORTANT
RAILROAD CENTER.
1011
01:12:27,952 --> 01:12:31,172
WITH TREPIDATION,
ALLIED COMMAND DECIDED
1012
01:12:31,216 --> 01:12:33,392
TO DISRUPT
THE GERMAN SUPPLY LINES
1013
01:12:33,436 --> 01:12:36,003
BY SENDING ITS VERY BEST
AIR SQUADRON
1014
01:12:36,047 --> 01:12:39,355
TO BOMB
THE FLORENTINE RAIL YARDS.
1015
01:12:39,398 --> 01:12:43,010
BY NOW, THE ARMY'S ART ADVISORS
AT THE ROBERTS COMMISSION
1016
01:12:43,054 --> 01:12:45,621
HAD BEGUN PROVIDING
SPECIAL AERIAL PHOTOGRAPHS
1017
01:12:45,665 --> 01:12:48,233
THAT HIGHLIGHTED
FOR PILOTS AND CREW
1018
01:12:48,276 --> 01:12:51,889
THE IMPORTANT MONUMENTS
THEY WERE NOT TO HIT.
1019
01:12:51,932 --> 01:12:55,109
Gentlemen, this morning
we have a target
1020
01:12:55,153 --> 01:12:58,286
that's going to take the best
that every one of us has.
1021
01:12:58,330 --> 01:13:00,941
We've been hitting targets
around Florence for a long time,
1022
01:13:00,985 --> 01:13:03,422
but we haven't actually hit
in the city itself
1023
01:13:03,466 --> 01:13:06,469
because approximately 10%
of the world's art treasures
1024
01:13:06,512 --> 01:13:09,166
are located right here
in Florence.
1025
01:13:14,128 --> 01:13:16,522
TO THIS SMALL GROUP
OF YOUNG AIRMEN
1026
01:13:16,566 --> 01:13:19,786
WAS ENTRUSTED THE FATE
OF HISTORIC FLORENCE.
1027
01:13:19,830 --> 01:13:22,615
WHEN THE FORMATION TURNED WIDE
OVER THE CITY,
1028
01:13:22,659 --> 01:13:26,880
THE GREAT DOME OF THE CATHEDRAL
PASSED UNDER THEIR BOMBSIGHTS.
1029
01:13:26,924 --> 01:13:30,449
THE CREWS HELD THEIR BREATHS
AS THEIR ENTIRE PAYLOAD DROPPED
1030
01:13:30,493 --> 01:13:33,059
INTO A NARROW SLIVER
OF RAIL YARDS
1031
01:13:33,103 --> 01:13:37,413
2,000 FEET LONG
BY ONLY 400 FEET WIDE...
1032
01:13:40,633 --> 01:13:43,941
MISSING THE MONUMENTS
OF FLORENCE ENTIRELY.
1033
01:13:43,984 --> 01:13:50,251
IT WAS ONE OF THE MOST PRECISE
MISSIONS OF THE WAR.
1034
01:13:50,295 --> 01:13:53,690
[ woman speaking in Italian ]
1035
01:14:22,632 --> 01:14:24,982
BY THIS TIME,
THE ROBERTS COMMISSION
1036
01:14:25,025 --> 01:14:27,505
HAD PERSUADED THE ARMY
TO TAKE ON ART EXPERTS
1037
01:14:27,550 --> 01:14:29,594
WHO WOULD SERVE
NEAR THE FRONT LINES,
1038
01:14:29,639 --> 01:14:33,032
WHERE THEY COULD SALVAGE
AND PROTECT MONUMENTS AND ART.
1039
01:14:33,077 --> 01:14:34,861
RECRUITED INTO THE RANKS
1040
01:14:34,905 --> 01:14:37,603
OF THE NEW MONUMENTS, FINE
ARTS, AND ARCHIVES TASK FORCE
1041
01:14:37,647 --> 01:14:40,954
WERE YOUNG ARTISTS,
HISTORIANS, AND CURATORS
1042
01:14:40,998 --> 01:14:44,871
WHO WOULD LATER BECOME LEADERS
OF THE POST-WAR ART WORLD.
1043
01:14:44,915 --> 01:14:47,091
MEN LIKE JAMES RORIMER,
1044
01:14:47,134 --> 01:14:50,181
WHO WOULD GO ON TO RUN
THE METROPOLITAN MUSEUM OF ART,
1045
01:14:50,224 --> 01:14:51,922
AND LINCOLN KIRSTEIN,
1046
01:14:51,965 --> 01:14:55,012
WHO WOULD FOUND AND DIRECT
THE NEW YORK CITY BALLET.
1047
01:14:55,055 --> 01:14:59,495
G.I.s CALLED THEM
"THE VENUS FIXERS."
1048
01:14:59,538 --> 01:15:04,195
LATER THEY CAME TO BE KNOWN
AS "THE MONUMENTS MEN."
1049
01:15:04,237 --> 01:15:09,679
Nicholas:
THERE WAS NO ONE UNIT THAT WAS
A MONUMENTS MEN'S UNIT.
1050
01:15:09,722 --> 01:15:11,245
THEY WERE INDIVIDUAL OFFICERS
1051
01:15:11,289 --> 01:15:13,378
WHO WERE PUT WITH
THE SEPARATE ARMIES,
1052
01:15:13,421 --> 01:15:16,380
AND THEY NEVER, NEVER HAD
ENOUGH PEOPLE ON THE GROUND
1053
01:15:16,424 --> 01:15:17,991
TO DO WHAT THEY WANTED.
1054
01:15:18,035 --> 01:15:20,907
THERE WERE LESS THAN 200
DURING THE WHOLE WAR,
1055
01:15:20,951 --> 01:15:24,302
AND AT SOME POINTS THERE WERE
ONLY 12 IN THE FRONT LINES.
1056
01:15:24,344 --> 01:15:28,827
Lindsay:
THE FEELING I HAD
ABOUT DOING SOMETHING
1057
01:15:28,871 --> 01:15:34,094
TO SALVAGE WESTERN CULTURE,
IT WAS EXHILARATING.
1058
01:15:34,138 --> 01:15:36,662
FINALLY, WE COULD DO
SOMETHING POSITIVE.
1059
01:15:36,706 --> 01:15:38,664
Man:
WE WERE CHARGED
WITH MUCH MORE
1060
01:15:38,708 --> 01:15:41,014
THAN WE COULD ENCOMPASS
IN OUR MINDS EVEN.
1061
01:15:41,058 --> 01:15:44,235
WE HAD NO TRUCKS, NO JEEPS,
NOTHING BUT OUR SHOES,
1062
01:15:44,278 --> 01:15:50,719
AND NO SUPPORT OF ANY KIND
FROM OFFICIALDOM.
1063
01:15:50,763 --> 01:15:53,374
Man:
AND HERE WERE THESE
MONUMENTS PEOPLE SAYING,
1064
01:15:53,418 --> 01:15:56,682
"WHAT ABOUT THE SAFETY
OF THIS IMPORTANT STRUCTURE?"
1065
01:15:56,726 --> 01:15:58,858
AND TO SOME OF OUR FIGHTERS,
1066
01:15:58,902 --> 01:16:03,036
PEOPLE THAT HAD SEEN THEIR --
THEIR BUDDIES KILLED, YOU KNOW,
1067
01:16:03,080 --> 01:16:06,300
WHY SHOULD THEY WORRY
ABOUT THAT?
1068
01:16:06,344 --> 01:16:10,609
CAPTAIN DEANE KELLER WAS AMONG
THE FIRST MONUMENTS MEN
1069
01:16:10,653 --> 01:16:12,045
SENT TO THE WAR.
1070
01:16:12,089 --> 01:16:13,960
A PORTRAIT AND LANDSCAPE
PAINTER,
1071
01:16:14,004 --> 01:16:17,398
KELLER HAD LIVED IN ITALY
DURING THE 1920s.
1072
01:16:17,442 --> 01:16:21,141
NOW, AT THE AGE OF 42,
HE RETURNED,
1073
01:16:21,184 --> 01:16:24,492
NOT AS A STUDIO ARTIST
THIS TIME,
1074
01:16:24,536 --> 01:16:29,496
BUT AS THE MONUMENTS CHIEF
FOR THE ADVANCING FIFTH ARMY.
1075
01:16:29,541 --> 01:16:32,630
AS A YALE PROFESSOR
IN BATTLE FATIGUES,
1076
01:16:32,675 --> 01:16:35,591
KELLER FELT AT FIRST
LIKE A FISH OUT OF WATER.
1077
01:16:35,634 --> 01:16:38,071
IN A LETTER TO HIS PARENTS,
HE JOKED,
1078
01:16:38,115 --> 01:16:39,682
"IT IS ALL SO VERY NEW.
1079
01:16:39,725 --> 01:16:42,815
"I SHAVE, BATHE, AND WASH
OUT OF MY HELMET.
1080
01:16:42,859 --> 01:16:45,165
CAN YOU IMAGINE THAT FOR ME?"
1081
01:16:45,209 --> 01:16:47,210
YOU COULD IMAGINE
WHAT IT WOULD BE LIKE
1082
01:16:47,254 --> 01:16:50,170
TO BE RESPONSIBLE FOR ALL THE
MONUMENTS OF SIENA, FLORENCE,
1083
01:16:50,214 --> 01:16:54,914
ET CETERA, OF TUSCANY, OR
OF A WHOLE SECTION OF ITALY.
1084
01:16:54,958 --> 01:16:59,615
AND IT WAS A RATHER TERRIFYING
RESPONSIBILITY.
1085
01:17:03,053 --> 01:17:04,968
ALWAYS ON THE MOVE,
1086
01:17:05,011 --> 01:17:06,883
DEANE KELLER CHECKED
HUNDREDS OF TOWNS,
1087
01:17:06,925 --> 01:17:09,014
WHERE HE SECURED
MONUMENTS AND ART
1088
01:17:09,059 --> 01:17:13,150
FROM FURTHER DAMAGE
AND LOOTING.
1089
01:17:13,193 --> 01:17:16,153
OFTEN AMONG THE FIRST TO ARRIVE
AFTER A TOWN'S CAPTURE,
1090
01:17:16,196 --> 01:17:18,416
HE STRUGGLED TO GAIN
THE COOPERATION
1091
01:17:18,459 --> 01:17:19,764
OF TRAUMATIZED LOCALS,
1092
01:17:19,809 --> 01:17:24,117
WHO RAILED AGAINST
THE DESTRUCTION.
1093
01:17:24,161 --> 01:17:27,380
ALONE AND WITH SCARCE RESOURCES
FOR HIS WORK
1094
01:17:27,425 --> 01:17:28,948
COMING FROM THE ARMY,
1095
01:17:28,992 --> 01:17:31,255
KELLER HAD TO BEG, BORROW,
AND STEAL HIS WAY
1096
01:17:31,298 --> 01:17:33,779
UP THE ITALIAN PENINSULA.
1097
01:17:33,823 --> 01:17:39,002
Man:
MY FATHER'S EXPERIENCE IN
THE WAR WAS NOT A PLEASURE TRIP.
1098
01:17:39,045 --> 01:17:43,093
THIS WAS WAR,
AND YET HE SAW THAT TIME
1099
01:17:43,136 --> 01:17:47,314
AS A VERY FULFILLING TIME
FOR HIM,
1100
01:17:47,358 --> 01:17:49,099
ARTISTICALLY, PROFESSIONALLY,
1101
01:17:49,142 --> 01:17:54,059
BUT ALSO AS AN OFFICER
OF THE UNITED STATES ARMY.
1102
01:17:56,715 --> 01:17:58,934
EVERY CITY HAD
ITS CHALLENGES,
1103
01:17:58,978 --> 01:18:01,198
BUT "THE CITY OF PISA,"
KELLER WROTE,
1104
01:18:01,241 --> 01:18:05,028
"PRESENTED IN CONCENTRATED FORM
ABOUT ALL THE DIFFICULTIES
1105
01:18:05,071 --> 01:18:08,684
THAT EVER FACED
A FINE ARTS OFFICER."
1106
01:18:08,727 --> 01:18:12,469
[ speaking in Italian ]
1107
01:18:22,959 --> 01:18:26,353
BUT TRAGICALLY,
THE PEOPLE WERE WRONG.
1108
01:18:26,397 --> 01:18:29,574
THE ALLIES BOMBED PISA
AGAIN AND AGAIN.
1109
01:18:29,617 --> 01:18:31,663
THEN, THEIR GROUND FORCES
FOUGHT THE GERMANS
1110
01:18:31,707 --> 01:18:34,318
THROUGH THE CITY
FOR 40 DAYS.
1111
01:18:34,361 --> 01:18:37,669
WITH GERMAN SHELLS
STILL FALLING,
1112
01:18:37,713 --> 01:18:39,976
CAPTAIN KELLER FOLLOWED
AMERICAN G.I.s
1113
01:18:40,019 --> 01:18:42,456
THROUGH THE BOOBY-TRAPPED RUINS
TO FIND OUT
1114
01:18:42,500 --> 01:18:45,590
IF THE CITY'S FAMOUS MONUMENTS
HAD SURVIVED.
1115
01:18:45,633 --> 01:18:49,725
THE CATHEDRAL AND LEANING TOWER
WERE DAMAGED BUT STILL INTACT.
1116
01:18:49,768 --> 01:18:52,205
NEARBY, HOWEVER, STOOD
THE BURNT-OUT SHELL
1117
01:18:52,249 --> 01:18:57,210
OF PISA'S MOST IMPORTANT
MONUMENT, THE CAMPOSANTO.
1118
01:18:57,254 --> 01:19:00,518
[ woman speaking in Italian ]
1119
01:19:20,668 --> 01:19:23,454
THE CAMPOSANTO IS
A MEDIEVAL CEMETERY
1120
01:19:23,496 --> 01:19:26,762
WITH HUGE GOTHIC GALLERIES
THAT ONCE ENCLOSED
1121
01:19:26,805 --> 01:19:29,373
ONE OF THE MOST IMPORTANT
COLLECTIONS OF FRESCOES
1122
01:19:29,416 --> 01:19:31,331
IN EUROPE.
1123
01:19:45,389 --> 01:19:48,000
WHEN DEANE KELLER ENTERED
THE CAMPOSANTO,
1124
01:19:48,044 --> 01:19:51,351
HE FOUND A FIRE-BLACKENED
SHAMBLES.
1125
01:19:51,395 --> 01:19:54,528
AMERICAN SHELLS AIMED AT GERMAN
OBSERVERS IN THE LEANING TOWER
1126
01:19:54,572 --> 01:19:56,094
HAD MISSED THEIR TARGET.
1127
01:19:56,139 --> 01:19:58,054
THE CAMPOSANTO
HAD CAUGHT FIRE,
1128
01:19:58,097 --> 01:19:59,795
MELTING THE BUILDING'S
LEAD ROOF DOWN
1129
01:19:59,838 --> 01:20:03,014
OVER THE PAINTINGS
AND MARBLE TOMBS.
1130
01:20:03,059 --> 01:20:06,671
[ man speaking in Italian ]
1131
01:20:18,901 --> 01:20:23,035
Nicholas:
WHAT DEANE KELLER FOUND IN PISA
WAS A MICROCOSM
1132
01:20:23,079 --> 01:20:26,473
OF WHAT MONUMENTS OFFICERS
WOULD FIND THROUGHOUT EUROPE,
1133
01:20:26,517 --> 01:20:29,955
THE MOST IMPORTANT OBJECTS
OF WESTERN CULTURE
1134
01:20:29,999 --> 01:20:32,697
ON THE VERGE
OF TOTALLY DISAPPEARING.
1135
01:20:32,740 --> 01:20:35,612
YOU KNOW, ONE RAINSTORM,
AND THEY WOULD ALL BE GONE.
1136
01:20:35,656 --> 01:20:38,702
AND SO THEY HAD TO INVENT WAYS
TO SAVE THEM.
1137
01:20:38,746 --> 01:20:41,532
WITHIN A MONTH, KELLER
RECRUITED ITALIAN SOLDIERS
1138
01:20:41,575 --> 01:20:44,230
TO REMOVE THE MELTED LEAD
AND TO GATHER UP
1139
01:20:44,273 --> 01:20:46,493
THE THOUSANDS OF FRESCO
AND SCULPTURE FRAGMENTS
1140
01:20:46,537 --> 01:20:48,191
THAT LITTERED THE FLOOR.
1141
01:20:48,234 --> 01:20:51,193
HE ASKED ARMY ENGINEERS
TO DESIGN A TEMPORARY ROOF
1142
01:20:51,237 --> 01:20:53,239
TO PROTECT
THE SURVIVING FRESCOES
1143
01:20:53,282 --> 01:20:55,894
AND THEN SCROUNGED
THE MATERIALS TO BUILD IT.
1144
01:20:55,938 --> 01:20:58,809
AND FROM FLORENCE AND ROME
HE BROUGHT IN EXPERTS
1145
01:20:58,853 --> 01:21:01,900
TO TAKE PROPER CARE
OF WHATEVER REMAINED.
1146
01:21:01,943 --> 01:21:05,034
THE WOUNDED FRESCOES
WERE ULTIMATELY REMOVED
1147
01:21:05,077 --> 01:21:07,384
FROM THE WALLS
OF THE CAMPOSANTO.
1148
01:21:07,427 --> 01:21:10,169
AND TO THIS DAY,
ART CONSERVATORS CARRY ON
1149
01:21:10,213 --> 01:21:15,000
THE FORMIDABLE RESTORATION
EFFORT BEGUN BY DEANE KELLER.
1150
01:21:19,048 --> 01:21:23,094
BY THE SUMMER OF 1944,
THE TIDE OF THE WAR HAD TURNED.
1151
01:21:23,139 --> 01:21:26,184
GERMAN FORCES WERE RETREATING
ALL OVER EUROPE.
1152
01:21:26,228 --> 01:21:31,582
ALONG THE WAY THEY CARRIED OUT
ACTS OF VINDICTIVE DESTRUCTION.
1153
01:21:31,625 --> 01:21:35,281
THE GERMANS WEREN'T GOOD SPORTS
ABOUT LOSING THE WAR,
1154
01:21:35,325 --> 01:21:36,674
AND TIME AND TIME AGAIN,
1155
01:21:36,717 --> 01:21:38,937
THEY WOULD TRASH THE AREAS
THEY WERE LEAVING,
1156
01:21:38,981 --> 01:21:41,940
AND FLORENCE WAS ONE OF
THE WORST EXAMPLES OF THIS.
1157
01:21:41,984 --> 01:21:45,639
AT 10:00
ON THE NIGHT OF AUGUST 3rd,
1158
01:21:45,683 --> 01:21:49,034
TWO DAYS BEFORE THE GERMAN ARMY
WITHDREW FROM FLORENCE,
1159
01:21:49,077 --> 01:21:53,125
A SERIES OF GREAT EXPLOSIONS
SHOOK THE HEART OF THE CITY.
1160
01:21:53,169 --> 01:21:55,780
THENEW YORK TIMES
WOULD LATER REPORT,
1161
01:21:55,823 --> 01:21:59,697
"FLORENCE AS THE WORLD KNEW IT
IS NO MORE."
1162
01:21:59,740 --> 01:22:02,874
ON HITLER'S ORDERS,
THE GERMAN ARMY HAD BLOWN UP
1163
01:22:02,918 --> 01:22:04,702
THE CITY'S CENTRAL BRIDGES.
1164
01:22:04,745 --> 01:22:08,793
IT TOOK THREE TRIES TO BRING
DOWN THE PONTE SANTA TRINIT ,
1165
01:22:08,835 --> 01:22:11,927
WITH ITS ARCHES DESIGNED
BY MICHELANGELO.
1166
01:22:11,969 --> 01:22:14,755
THE PONTE VECCHIO WAS SPARED,
1167
01:22:14,799 --> 01:22:17,062
BUT THOUSANDS OF YARDS
OF ANCIENT FLORENCE
1168
01:22:17,106 --> 01:22:21,023
HAD BEEN DEMOLISHED
ON EITHER SIDE.
1169
01:22:21,066 --> 01:22:25,809
[ Nirenstein speaking
in Italian ]
1170
01:22:43,262 --> 01:22:48,137
Fossi-Todorow:
IT WAS NOT ONLY THE BRIDGES,
THOSE TWO MAIN STREETS
1171
01:22:48,180 --> 01:22:51,749
THAT GO FROM THE PONTE VECCHIO
INTO THE TOWN.
1172
01:22:51,791 --> 01:22:57,581
THOSE WERE ENORMOUS, BIG,
BEAUTIFUL MEDIEVAL TOWERS
1173
01:22:57,624 --> 01:22:59,844
THAT FELL ALL DOWN.
1174
01:22:59,887 --> 01:23:02,064
I REMEMBER
MY ENGLISH GRANDMOTHER
1175
01:23:02,107 --> 01:23:04,544
LEANING OVER THE PARAPET
AT THE UFFIZI
1176
01:23:04,588 --> 01:23:06,459
AND CRYING AND CRYING
AND CRYING,
1177
01:23:06,503 --> 01:23:09,288
BECAUSE HER FLORENCE
HAD GONE.
1178
01:23:11,682 --> 01:23:15,686
NEARLY HALF OF THE BEST ART
OF FLORENCE WAS ALSO GONE.
1179
01:23:15,728 --> 01:23:19,124
WITH TOTAL DISREGARD FOR THEIR
ONE-TIME ITALIAN ALLIES,
1180
01:23:19,168 --> 01:23:22,823
THE GERMAN ARMY HAD DIVERTED A
CONVOY OF TRUCKS FROM THE FRONT
1181
01:23:22,867 --> 01:23:27,045
TO TAKE MICHELANGELOS,
BOTTICELLIS, RAPHAELS,
1182
01:23:27,089 --> 01:23:31,005
AND EVERY OTHER MASTERPIECE
THEY COULD HAUL AWAY.
1183
01:23:31,049 --> 01:23:33,834
THE GERMANS PACKED THINGS
VERY BADLY,
1184
01:23:33,878 --> 01:23:37,664
AND THEY WERE MOVED DURING
BATTLE IN OPEN TRUCKS,
1185
01:23:37,708 --> 01:23:41,799
OFTEN IN THE RAIN,
JUST COVERED UP WITH STRAW.
1186
01:23:41,842 --> 01:23:45,846
IT'S A MIRACLE THAT
THEY SURVIVED AT ALL.
1187
01:23:50,590 --> 01:23:55,246
BY NOW, THE SOVIETS HAD STOPPED
THE INVASION OF THEIR COUNTRY
1188
01:23:55,291 --> 01:23:59,904
AND BEGUN TO TAKE TERRITORY
BACK FROM THE GERMANS.
1189
01:23:59,947 --> 01:24:02,428
IN THE WAKE
OF THE NAZI RETREAT,
1190
01:24:02,472 --> 01:24:05,127
THE RED ARMY FOUND
NOTHING OF VALUE LEFT
1191
01:24:05,170 --> 01:24:09,130
IN THE MUSEUMS
OF THEIR RECAPTURED CITIES.
1192
01:24:09,174 --> 01:24:11,437
IN THE SUBURBS OF LENINGRAD,
1193
01:24:11,481 --> 01:24:14,136
THE TREASURED PALACES
OF THE RUSSIAN CZARS
1194
01:24:14,179 --> 01:24:16,964
HAD BEEN RANSACKED
AND DESTROYED.
1195
01:24:17,008 --> 01:24:18,487
FROM THE CATHERINE PALACE,
1196
01:24:18,531 --> 01:24:20,707
THE NAZIS HAD STRIPPED
EVERYTHING OF VALUE,
1197
01:24:20,751 --> 01:24:23,841
INCLUDING THE PANELS
OF THE LEGENDARY AMBER ROOM.
1198
01:24:23,884 --> 01:24:26,887
EVEN THE IMMENSE
GILDED FOUNTAINS
1199
01:24:26,931 --> 01:24:28,628
AT THE PALACE
OF PETER THE GREAT
1200
01:24:28,672 --> 01:24:31,588
HAD BEEN DISMANTLED
AND TRANSPORTED TO GERMANY
1201
01:24:31,630 --> 01:24:34,764
ALONG WITH NEARLY 5,000 PIECES
OF ANTIQUE FURNITURE
1202
01:24:34,808 --> 01:24:38,769
AND 35,000 WORKS OF ART.
1203
01:24:38,812 --> 01:24:42,380
AS IN POLAND, THE NAZIS
WENT OUT OF THEIR WAY
1204
01:24:42,425 --> 01:24:45,732
TO TRASH SLAVIC
CULTURAL FIGURES.
1205
01:24:45,776 --> 01:24:49,432
AT THE HOME OF COMPOSER
PETER TCHAIKOVSKY,
1206
01:24:49,475 --> 01:24:53,130
NAZI TROOPS TOSSED ORIGINAL
MANUSCRIPTS TO THE WIND
1207
01:24:53,175 --> 01:24:59,137
AS THEY TURNED HIS MUSEUM INTO
A MOTORCYCLE REPAIR GARAGE.
1208
01:24:59,181 --> 01:25:02,749
[ speaking in Russian ]
1209
01:25:25,684 --> 01:25:29,820
Piotrovsky:
PEOPLE SOMETIMES DON'T
UNDERSTAND HOW DEEP THIS WAR IS
1210
01:25:29,862 --> 01:25:32,388
IN THE HEARTS
OF EVERY RUSSIAN.
1211
01:25:32,431 --> 01:25:34,955
WE REMEMBER THIS WAR
VERY VIVIDLY
1212
01:25:34,999 --> 01:25:38,871
BECAUSE IT WAS A GREAT EFFORT
TO SAVE US.
1213
01:25:38,916 --> 01:25:43,442
BETWEEN 20 AND 30 MILLION
SOVIET SOLDIERS AND CIVILIANS
1214
01:25:43,486 --> 01:25:45,487
DIED IN THE WAR.
1215
01:25:45,531 --> 01:25:47,532
THOUSANDS OF CITIES
AND VILLAGES
1216
01:25:47,577 --> 01:25:49,405
WERE COMPLETELY DESTROYED.
1217
01:25:49,448 --> 01:25:52,538
AS THE RED ARMY PUSHED THE
INVADERS BACK INTO GERMANY,
1218
01:25:52,582 --> 01:25:54,975
SOVIET LEADERS RALLIED
THEIR FORCES
1219
01:25:55,019 --> 01:25:58,675
WITH A CALL FOR VENGEANCE.
1220
01:25:58,718 --> 01:26:03,201
Petropoulos:
AS THE RED ARMY FOUGHT ITS WAY
WESTWARD AND INVADED GERMANY,
1221
01:26:03,245 --> 01:26:05,986
THEY SEIZED EVERYTHING
THAT THEY COULD,
1222
01:26:06,030 --> 01:26:09,555
FROM INDUSTRIAL INFRASTRUCTURE
DOWN TO TOILET SEATS,
1223
01:26:09,599 --> 01:26:13,907
BUT THEY ALSO SEIZED MILLIONS
OF CULTURAL OBJECTS.
1224
01:26:13,951 --> 01:26:18,564
STALIN PUT TRAINED ART EXPERTS
INTO SO-CALLED TROPHY BRIGADES
1225
01:26:18,608 --> 01:26:21,611
TO TRACK DOWN RUSSIAN ART
STOLEN BY THE NAZIS.
1226
01:26:21,654 --> 01:26:24,004
BUT SOON THEY WERE TAKING
TRAINLOADS OF GERMAN ART
1227
01:26:24,048 --> 01:26:29,358
AND SHIPPING IT EASTWARD,
BACK TO THE SOVIET UNION.
1228
01:26:29,401 --> 01:26:31,969
WHILE THE SOVIET
TROPHY BRIGADES
1229
01:26:32,012 --> 01:26:34,362
REMOVED WORKS OF ART
FROM EASTERN GERMANY,
1230
01:26:34,406 --> 01:26:37,975
THE ALLIED MONUMENTS OFFICERS
WERE CLOSING IN ON GERMANY
1231
01:26:38,018 --> 01:26:39,672
FROM THE WEST.
1232
01:26:39,716 --> 01:26:42,066
Nicholas:
ONCE THE MONUMENTS MEN
GOT TO GERMANY,
1233
01:26:42,109 --> 01:26:43,937
THEIR MISSION CHANGED ENTIRELY.
1234
01:26:43,981 --> 01:26:46,766
THERE WAS VERY LITTLE THEY COULD
DO ABOUT BUILDINGS IN GERMANY
1235
01:26:46,809 --> 01:26:49,987
BECAUSE THEY WERE JUST
BASICALLY ALL GONE.
1236
01:26:54,861 --> 01:26:57,995
FOR MONTHS, ALLIED BOMBERS
HAD BEEN ATTACKING
1237
01:26:58,038 --> 01:27:01,259
THE INDUSTRIAL AND URBAN
CENTERS OF GERMANY.
1238
01:27:01,303 --> 01:27:04,130
THE BRITISH
ROYAL AIR FORCE ALONE
1239
01:27:04,175 --> 01:27:09,267
DROPPED A MILLION TONS OF BOMBS
ON ENEMY TERRITORY.
1240
01:27:09,311 --> 01:27:12,791
THE DEVASTATION WAS ENORMOUS.
1241
01:27:12,835 --> 01:27:17,318
OUR BLANKET BOMBING
KNOCKED OUT BLOCK AFTER BLOCK
1242
01:27:17,362 --> 01:27:19,886
AFTER BLOCK OF DOMESTIC HOMES.
1243
01:27:31,724 --> 01:27:34,510
Taper:
WALKING AROUND AMONG
THOSE RUINED CITIES
1244
01:27:34,553 --> 01:27:40,516
WAS VERY DISTRESSING.
1245
01:27:40,559 --> 01:27:45,521
NO MATTER HOW GUILTY
THEIR GOVERNMENT WAS,
1246
01:27:45,564 --> 01:27:52,441
TO THINK THAT WE HAD SMASHED
THOSE CITIES WITH OUR AIRPLANES.
1247
01:27:52,484 --> 01:27:55,487
BUT IN THE MONUMENTS
AND FINE ARTS SECTION,
1248
01:27:55,531 --> 01:28:02,929
WE WERE TRYING TO RESTORE
SOMETHING THAT WAS WORTH SAVING.
1249
01:28:02,973 --> 01:28:06,498
THEY SHIFTED THEIR WORK
TO THE PROTECTION
1250
01:28:06,541 --> 01:28:08,544
OF MOVABLE WORKS OF ART,
WHICH THEY FOUND
1251
01:28:08,587 --> 01:28:11,460
IN INNUMERABLE HIDING PLACES
ALL OVER GERMANY.
1252
01:28:11,503 --> 01:28:15,550
Parkhurst:
THERE WAS LOTS
OF GERMAN ART HIDDEN
1253
01:28:15,594 --> 01:28:18,728
WHERE THEY THOUGHT IT WOULD
BE SAFE DURING THE FIGHTING.
1254
01:28:18,771 --> 01:28:24,559
AND IT WAS OUR DUTY
TO SEARCH AND FIND AND SAVE.
1255
01:28:24,603 --> 01:28:28,172
A HUNDRED MILES INSIDE
THE GERMAN BORDER,
1256
01:28:28,215 --> 01:28:30,914
STORED AMONG REFUGEES
LIVING IN SQUALOR,
1257
01:28:30,957 --> 01:28:33,482
MONUMENTS OFFICERS
FOUND THEIR FIRST
1258
01:28:33,525 --> 01:28:36,528
OF THE HIDDEN
GERMAN MUSEUM COLLECTIONS.
1259
01:28:36,572 --> 01:28:39,575
FURTHER EAST, BRITISH OFFICERS
DISCOVERED A CACHE
1260
01:28:39,618 --> 01:28:42,969
THAT HAD ALREADY BEEN RIFLED
THROUGH BY COMMON THIEVES.
1261
01:28:43,013 --> 01:28:45,798
AND IN A SALT MINE
IN CENTRAL GERMANY,
1262
01:28:45,842 --> 01:28:49,280
GENERALS EISENHOWER, PATTON,
AND BRADLEY WERE CALLED IN
1263
01:28:49,324 --> 01:28:51,413
TO TOUR THE BIGGEST FIND YET.
1264
01:28:51,456 --> 01:28:54,023
STORED ALONG WITH
THE ENTIRE GOLD RESERVES
1265
01:28:54,067 --> 01:28:57,288
OF THE THIRD REICH
WERE 400 TONS OF ART
1266
01:28:57,332 --> 01:29:00,117
FROM THE GREAT MUSEUMS
OF BERLIN.
1267
01:29:00,160 --> 01:29:03,555
DAILY, THE MONUMENTS MEN
WERE RESCUING THOUSANDS
1268
01:29:03,599 --> 01:29:05,383
OF VULNERABLE ARTWORKS
1269
01:29:05,427 --> 01:29:09,213
THAT GERMAN MUSEUM AUTHORITIES
HAD SENT AWAY FOR SAFETY.
1270
01:29:09,255 --> 01:29:13,739
BUT THEIR DISCOVERY OF THE NAZI
PLUNDER WAS STILL TO COME.
1271
01:29:17,743 --> 01:29:21,050
Newsreel announcer:
The Castle Neuschwanstein
housed a great part
1272
01:29:21,094 --> 01:29:23,532
of the art treasures
stolen by the Nazis.
1273
01:29:23,575 --> 01:29:25,795
Not content with robbing people
of their freedom
1274
01:29:25,838 --> 01:29:28,406
and their lives,
the Nazis tried to make off
1275
01:29:28,450 --> 01:29:31,017
with their symbols
of culture.
1276
01:29:31,061 --> 01:29:34,064
HERE, FAR FROM
THE RUINED CITIES,
1277
01:29:34,107 --> 01:29:36,675
THE ALLIES FINALLY REACHED
THE FIRST OF THREE
1278
01:29:36,719 --> 01:29:39,330
STAGGERING HORDES
OF STOLEN ART.
1279
01:29:39,374 --> 01:29:41,767
THEY FOUND
NEUSCHWANSTEIN CASTLE PACKED
1280
01:29:41,811 --> 01:29:43,813
WITH PROPERTY TAKEN
FROM THE ROTHSCHILDS
1281
01:29:43,856 --> 01:29:46,772
AND OTHER PROMINENT JEWS
OF PARIS.
1282
01:29:46,816 --> 01:29:53,431
Man:
IT WAS JUST ONE ROOM
AFTER ANOTHER OF PAINTINGS,
1283
01:29:53,475 --> 01:29:57,522
HOUSEHOLD ITEMS, CHINA,
SILVERWARE.
1284
01:29:57,566 --> 01:30:04,398
THE NUMBER OF OBJECTS THAT HAD
BEEN TAKEN FROM THE VICTIMS
1285
01:30:04,442 --> 01:30:08,620
IN FRANCE WERE MEASURED
INTO THE THOUSANDS.
1286
01:30:08,664 --> 01:30:10,709
THIS WAS ALL E.R.R. STUFF
1287
01:30:10,753 --> 01:30:15,366
THAT ROSE VALLAND
HAD NOTIFIED PEOPLE OF.
1288
01:30:15,410 --> 01:30:17,324
SHE EVEN HAD, IN SOME CASES,
1289
01:30:17,368 --> 01:30:20,066
RECEIPTS FROM THE LOCAL SHIPPING
COMPANY THAT SHIPPED IT.
1290
01:30:20,110 --> 01:30:23,068
IT TOOK US A YEAR
TO EMPTY THAT CASTLE,
1291
01:30:23,112 --> 01:30:25,245
49 TRAIN CAR LOADS.
1292
01:30:25,289 --> 01:30:28,248
THAT'S A LOT,
ALL PACKED TIGHTLY.
1293
01:30:28,291 --> 01:30:36,518
Ettlinger:
MY KNOWLEDGE OF THE HOLOCAUST
STARTED IN NEUSCHWANSTEIN.
1294
01:30:36,561 --> 01:30:41,653
THE TAKING OF LIVES,
I LEARNED MUCH LATER.
1295
01:30:41,697 --> 01:30:46,832
BUT NEUSCHWANSTEIN,
AS I LOOK BACK,
1296
01:30:46,876 --> 01:30:52,184
WAS THE START OF REALLY
OPENING UP THAT --
1297
01:30:52,228 --> 01:30:57,974
THAT PART OF HISTORY
THAT SHOULD NEVER BE FORGOTTEN.
1298
01:31:01,151 --> 01:31:03,588
NOT FAR FROM
NEUSCHWANSTEIN CASTLE,
1299
01:31:03,632 --> 01:31:06,460
AMERICAN TROOPS RECOVERED
HERMANN G RING'S
1300
01:31:06,504 --> 01:31:09,376
ART COLLECTION, WHICH HE
HAD EVACUATED FROM BERLIN
1301
01:31:09,420 --> 01:31:11,291
TO HIS MOUNTAIN RETREAT.
1302
01:31:11,335 --> 01:31:13,728
MONUMENTS OFFICERS DISCOVERED
THE TRAIN CARRYING
1303
01:31:13,772 --> 01:31:17,384
HIS LAST SHIPMENT ABANDONED
ON A RAILROAD SIDING.
1304
01:31:17,428 --> 01:31:20,648
BUT OTHERS HAD GOTTEN THERE
FIRST.
1305
01:31:20,692 --> 01:31:23,869
THE WORD HAD GOT AROUND
AMONG THE PEASANTRY
1306
01:31:23,913 --> 01:31:25,871
THAT THE G RING TRAIN
WAS THERE,
1307
01:31:25,915 --> 01:31:28,004
AND IT HAD SCHNAPPS ON IT.
1308
01:31:28,047 --> 01:31:32,094
AND SO PEOPLE CAME RUNNING
AND STARTED --
1309
01:31:32,138 --> 01:31:34,010
WENT IN THERE,
INTO THE TRAIN,
1310
01:31:34,053 --> 01:31:36,534
AND STARTED TAKING
WHATEVER THEY COULD GET.
1311
01:31:36,577 --> 01:31:38,841
SO THE FIRST ONES DID --
GOT SCHNAPPS,
1312
01:31:38,884 --> 01:31:42,018
AND THE ONES THAT FOLLOWED
HAD TO BE SATISFIED
1313
01:31:42,061 --> 01:31:44,847
WITH WHATEVER ELSE THEY COULD
PUT THEIR HANDS ON,
1314
01:31:44,889 --> 01:31:48,459
LIKE 15th-CENTURY PAINTINGS.
1315
01:31:48,503 --> 01:31:51,331
WHAT REMAINED AFTER
THE LOCALS LOOTED
1316
01:31:51,375 --> 01:31:54,987
G RING'S MASSIVE COLLECTION
WAS A LOGISTICAL NIGHTMARE.
1317
01:31:55,031 --> 01:31:57,599
HUNDREDS OF PAINTINGS AND
SCULPTURES WERE SCATTERED
1318
01:31:57,642 --> 01:31:59,992
IN AT LEAST SIX
DIFFERENT STRUCTURES.
1319
01:32:00,036 --> 01:32:02,386
HORDES OF PRESS ARRIVED
AT THE SCENE.
1320
01:32:02,429 --> 01:32:05,911
Nicholas:
G RING'S CURATOR, HOFER,
WAS MAKING THE MOST OF THIS,
1321
01:32:05,955 --> 01:32:08,827
AND LIFEMAGAZINE WAS THERE
TAKING HIS PICTURE.
1322
01:32:08,871 --> 01:32:11,221
AND HE WAS SAYING, "OH, THIS
IS A WONDERFUL COLLECTION
1323
01:32:11,264 --> 01:32:15,138
WE'VE PUT TOGETHER
COMPLETELY LEGALLY."
1324
01:32:15,181 --> 01:32:17,793
BY THE TIME HERMANN G RING
WAS ARRESTED,
1325
01:32:17,835 --> 01:32:21,187
HE HAD AMASSED OVER 2,000
PAINTINGS, SCULPTURES,
1326
01:32:21,231 --> 01:32:24,407
TAPESTRIES, RUGS,
AND OTHER WORKS OF ART.
1327
01:32:24,451 --> 01:32:27,367
HIS COLLECTION HAD GROWN
BY MORE THAN TEN TIMES
1328
01:32:27,411 --> 01:32:29,544
SINCE THE START OF THE WAR.
1329
01:32:29,587 --> 01:32:32,023
NOW, MOST OF IT
WAS IN THE HANDS
1330
01:32:32,068 --> 01:32:35,375
OF THE 101st AIRBORNE DIVISION.
1331
01:32:41,773 --> 01:32:46,430
BY LATE APRIL 1945, THE SOVIET
RED ARMY WAS FIGHTING ITS WAY
1332
01:32:46,473 --> 01:32:49,564
THROUGH THE STREETS
OF BERLIN ITSELF.
1333
01:32:52,436 --> 01:32:55,352
IN THE FINAL WEEKS
OF THE THIRD REICH,
1334
01:32:55,395 --> 01:32:57,572
SEALED IN
AN UNDERGROUND BUNKER,
1335
01:32:57,615 --> 01:32:59,965
HITLER SPENT TIME
EVERY DAY OBSESSING
1336
01:33:00,009 --> 01:33:03,665
OVER HIS ARCHITECTURAL MODEL
FOR THE LINZ PROJECT.
1337
01:33:03,708 --> 01:33:07,103
OFTEN, HE WOULD INVITE
HIS FEW REMAINING GENERALS IN
1338
01:33:07,146 --> 01:33:11,150
TO SEE THE MODEL AND HEAR ABOUT
HIS PLANS FOR THE TOWN.
1339
01:33:11,193 --> 01:33:14,284
BEFORE SHOOTING HIMSELF
ON APRIL 30th,
1340
01:33:14,327 --> 01:33:16,634
HITLER DICTATED
HIS LAST WILL,
1341
01:33:16,678 --> 01:33:20,898
EXPRESSING HIS WISH THAT THE
F HRERMUSEUM STILL BE BUILT
1342
01:33:20,943 --> 01:33:24,860
TO DISPLAY HIS ART COLLECTION
AFTER HIS DEATH.
1343
01:33:30,692 --> 01:33:34,782
ON THE DAY THE ALLIES
DECLARED VICTORY IN EUROPE,
1344
01:33:34,826 --> 01:33:37,568
THE AMERICAN THIRD ARMY
REACHED A SMALL TOWN
1345
01:33:37,612 --> 01:33:40,657
HIGH IN THE ALPS
OF AUSTRIA.
1346
01:33:40,702 --> 01:33:45,663
THERE, HIDDEN DEEP
IN AN ANCIENT SALT MINE,
1347
01:33:45,707 --> 01:33:48,273
HITLER'S ART HOARD
WAS WAITING IN VAIN
1348
01:33:48,318 --> 01:33:51,277
FOR ITS FINAL DELIVERY
TO LINZ.
1349
01:33:54,846 --> 01:33:57,240
Man:
MY TRIP INTO THAT MINE
1350
01:33:57,282 --> 01:34:01,592
REMINDED ME OF ALICE
FOLLOWING THE RABBIT
1351
01:34:01,636 --> 01:34:05,901
DOWN THE RABBIT HOLE
INTO WONDERLAND.
1352
01:34:05,943 --> 01:34:10,645
WE HEADED DOWN THIS DARK PASSAGE
ILLUMINATED ONLY
1353
01:34:10,688 --> 01:34:14,431
AT GREAT INTERVALS
BY A SINGLE BULB.
1354
01:34:18,609 --> 01:34:22,612
WHEN WE FINALLY REACHED
THE END OF OUR JOURNEY,
1355
01:34:22,657 --> 01:34:27,443
I FOUND MYSELF GAZING
INTO THE VAST --
1356
01:34:27,487 --> 01:34:31,621
THE VASTNESS OF A CAVERN
1357
01:34:31,666 --> 01:34:37,410
WITH WORKS OF ART
TWO OR THREE BALCONIES HIGH.
1358
01:34:37,454 --> 01:34:40,936
WE WERE A QUARTER OF A MILE
UNDERGROUND
1359
01:34:40,978 --> 01:34:44,374
IN THE COMPANY OF ALL
OF EUROPE'S GREAT ART.
1360
01:34:44,416 --> 01:34:47,333
Man:
IT WAS COLD AS COLD CAN BE,
1361
01:34:47,377 --> 01:34:53,557
AND HERE'S A G.I. ON HIS KNEE
LOOKING AT --
1362
01:34:53,600 --> 01:34:57,692
HOLD YOUR BREATH -- THE GHENT
ALTARPIECE FROM BELGIUM.
1363
01:34:57,735 --> 01:35:00,956
IT'S BEEN CALLED
THE GREAT-GRANDFATHER
1364
01:35:00,999 --> 01:35:03,741
OF ALL FLEMISH PAINTING.
1365
01:35:03,785 --> 01:35:06,570
IT WAS A MOUNTAIN FULL OF ART.
1366
01:35:06,612 --> 01:35:09,355
AMONG THE ARTWORKS THAT
THE MONUMENTS MEN RECOVERED
1367
01:35:09,398 --> 01:35:11,923
AND INVENTORIED WERE
VERMEER'SASTRONOMER
1368
01:35:11,967 --> 01:35:14,665
FROM THE ROTHSCHILDS COLLECTION
IN PARIS,
1369
01:35:14,709 --> 01:35:16,972
PAINTINGS HEISTED BY
THE HERMANN G RING DIVISION
1370
01:35:17,014 --> 01:35:20,062
FROM ITALY, AND ART TAKEN
FROM JEWS IN VIENNA
1371
01:35:20,105 --> 01:35:22,978
AND OTHER CITIES
ALL OVER EUROPE.
1372
01:35:23,021 --> 01:35:26,198
THE MINE HAD BEEN FITTED
WITH WOOD-LINED OFFICES,
1373
01:35:26,242 --> 01:35:29,375
RESTORERS' STUDIOS,
AND ENDLESS RACKS OF ART
1374
01:35:29,419 --> 01:35:31,508
IN CHAMBER AFTER CHAMBER:
1375
01:35:31,550 --> 01:35:36,339
6,500 PAINTINGS,
OVER 3,000 DRAWINGS AND PRINTS,
1376
01:35:36,382 --> 01:35:40,169
100 SCULPTURES,
AND COUNTLESS MORE TAPESTRIES,
1377
01:35:40,212 --> 01:35:43,128
FURNITURE, AND BOOKS.
1378
01:35:43,172 --> 01:35:48,830
Malamut:
ALL OF THIS ACCUMULATED BEAUTY
HAD BEEN STOLEN
1379
01:35:48,873 --> 01:35:51,571
BY THE MOST MURDEROUS THIEVES
1380
01:35:51,615 --> 01:35:54,923
THAT EVER EXISTED ON
THE SURFACE OF THE EARTH.
1381
01:35:54,966 --> 01:36:00,276
HOW THEY COULD RETAIN
THE NICETY
1382
01:36:00,318 --> 01:36:03,192
AND HAVE APPRECIATION
OF GREAT ART
1383
01:36:03,235 --> 01:36:07,152
AND BE EXTERMINATING
MILLIONS OF PEOPLE NEARBY
1384
01:36:07,196 --> 01:36:11,330
IN CONCENTRATION CAMPS,
I COULDN'T UNDERSTAND THEN,
1385
01:36:11,374 --> 01:36:14,943
AND I CAN'T UNDERSTAND IT
TODAY.
1386
01:36:14,986 --> 01:36:17,641
[ crowd cheering ]
1387
01:36:17,684 --> 01:36:20,383
AT LAST, THE WAR WAS OVER.
1388
01:36:20,425 --> 01:36:23,255
AFTER SIX LONG YEARS
AND 50 MILLION DEAD,
1389
01:36:23,299 --> 01:36:26,344
SOMEHOW, IN CITIES
ALL OVER EUROPE,
1390
01:36:26,389 --> 01:36:30,175
THE WEARY SURVIVORS FOUND
THE ENERGY TO CELEBRATE.
1391
01:36:30,219 --> 01:36:33,788
AND IN ITALY, DEANE KELLER GAVE
THE PEOPLE OF FLORENCE
1392
01:36:33,831 --> 01:36:35,920
EVEN MORE TO CHEER ABOUT.
1393
01:36:35,964 --> 01:36:37,704
HIGH IN THE ITALIAN ALPS,
1394
01:36:37,748 --> 01:36:40,664
KELLER FOUND THE STOLEN
ART TREASURES OF FLORENCE
1395
01:36:40,707 --> 01:36:44,276
INSIDE AN ABANDONED
SMALL-TOWN JAIL.
1396
01:36:44,320 --> 01:36:46,670
IT APPEARED TO KELLER THAT THE
COLLECTIONS WERE ON THEIR WAY
1397
01:36:46,713 --> 01:36:48,977
TO JOIN THE REST
OF HITLER'S PLUNDER.
1398
01:36:49,020 --> 01:36:51,675
AND WITH RELIEF, HE REPORTED
BACK TO HIS SUPERIORS
1399
01:36:51,718 --> 01:36:56,201
THAT WHILE SOME OF THE ART WAS
DAMAGED, IT WAS NOW ALL SAFE.
1400
01:36:56,245 --> 01:36:59,465
KELLER ESCORTED THE TRAIN
THAT BROUGHT THE RAPHAELS,
1401
01:36:59,509 --> 01:37:04,340
BOTTICELLIS AND MICHELANGELOS
BACK TO FLORENCE.
1402
01:37:04,383 --> 01:37:08,257
THE WAYBILL VALUED THE SHIPMENT
AT $500 MILLION
1403
01:37:08,300 --> 01:37:12,478
AND LISTED THE CONTENTS
SIMPLY AS "ART TREASURES."
1404
01:37:14,523 --> 01:37:19,921
[ playing fanfare ]
1405
01:37:19,964 --> 01:37:23,315
[ Nirenstein speaking
in Italian ]
1406
01:38:01,092 --> 01:38:04,008
IN A LETTER TO HIS FAMILY
BACK IN CONNECTICUT,
1407
01:38:04,052 --> 01:38:06,880
DEANE KELLER WROTE,
"WE WENT THROUGH THE STREETS,
1408
01:38:06,924 --> 01:38:10,710
"PEOPLE CLAPPING AND WEEPING,
BELLS OF SAN MICHELE RINGING,
1409
01:38:10,754 --> 01:38:14,148
"FLORENTINE TRUMPETERS,
THEN A BANQUET AT NOON.
1410
01:38:14,192 --> 01:38:16,151
"I HAD THREE MARTINIS.
1411
01:38:16,193 --> 01:38:20,242
"THE STUFF IS ALL IN UFFIZI,
PITTI, AND BARGELLO NOW,
1412
01:38:20,285 --> 01:38:23,114
AND THE MISSION
IS ACCOMPLISHED."
1413
01:38:26,552 --> 01:38:28,511
BUT IN POST-WAR GERMANY,
1414
01:38:28,554 --> 01:38:30,600
THE MONUMENTS MEN
WERE STILL RESPONSIBLE
1415
01:38:30,643 --> 01:38:34,691
FOR THE LEGACY OF CENTURIES
OF WESTERN CIVILIZATION.
1416
01:38:34,734 --> 01:38:38,695
THEIR FIRST TASK WAS
TO BRING IT ALL TOGETHER
1417
01:38:38,737 --> 01:38:42,003
AT CENTRAL COLLECTING POINTS.
1418
01:38:42,046 --> 01:38:43,612
WHEN I GOT TO MUNICH,
1419
01:38:43,656 --> 01:38:47,008
THE MAIN PART OF THE CITY
HAD REALLY LOST ITS ROOFS,
1420
01:38:47,050 --> 01:38:53,492
AND IT WAS JAGGED BUILDINGS
EVERYWHERE.
1421
01:38:53,536 --> 01:38:58,933
BUT ODDLY ENOUGH, THE PLACE
THAT SHOULD HAVE BEEN BOMBED
1422
01:38:58,976 --> 01:39:03,675
WAS STILL THERE,
THE NAZI PARTY HEADQUARTERS.
1423
01:39:03,719 --> 01:39:07,289
THAT'S WHAT TURNED OUT TO BE
THE COLLECTING POINT.
1424
01:39:07,332 --> 01:39:13,121
I HAD TO GET IT READY TO RECEIVE
WORKS OF ART IN 14 DAYS.
1425
01:39:13,164 --> 01:39:17,559
AND THE IDEA THAT
THE GHENT ALTARPIECE
1426
01:39:17,603 --> 01:39:21,520
WAS GOING TO BE COMING AND
THE MICHELANGELO BRUGES MADONNA,
1427
01:39:21,564 --> 01:39:24,567
THAT DID LEAVE
A VERY STRONG IMPRESSION.
1428
01:39:24,610 --> 01:39:27,744
YOU HAD TO BE SURE YOU WERE
READY TO RECEIVE THEM.
1429
01:39:27,787 --> 01:39:30,834
NORTH OF MUNICH,
IN THE CITY OF WIESBADEN,
1430
01:39:30,877 --> 01:39:33,402
MONUMENTS MEN SET UP
ANOTHER COLLECTING POINT
1431
01:39:33,445 --> 01:39:37,145
JUST IN TIME TO RECEIVE
THEIR FIRST BIG SHIPMENT.
1432
01:39:37,188 --> 01:39:41,584
THEY WERE 56 TRUCKS THAT CAME
OVER A PERIOD OF FOUR DAYS,
1433
01:39:41,627 --> 01:39:48,199
ALL PROTECTED BY MACHINE GUNS ON
WEAPONS CARRIERS AND THE LIKE.
1434
01:39:48,243 --> 01:39:51,855
EACH OBJECT HAD TO BE
INSPECTED, CATALOGUED,
1435
01:39:51,898 --> 01:39:55,163
PHOTOGRAPHED,
AND IN MANY CASES RESTORED.
1436
01:39:55,206 --> 01:39:58,035
ARRIVING AT MUNICH AND
WIESBADEN WERE THE COLLECTIONS
1437
01:39:58,079 --> 01:40:00,690
OF ADOLF HITLER,
HERMANN G RING,
1438
01:40:00,733 --> 01:40:03,344
THE NATIONAL MUSEUMS
OF GERMANY AND AUSTRIA,
1439
01:40:03,388 --> 01:40:06,565
AND ART LOOTED
FROM ACROSS EUROPE.
1440
01:40:06,609 --> 01:40:09,655
THE TWO COLLECTING POINTS
PROBABLY AT THAT TIME,
1441
01:40:09,699 --> 01:40:11,483
WITH ALL THE STUFF
THEY HAD IN THEM,
1442
01:40:11,527 --> 01:40:13,877
MAY HAVE BEEN THE GREATEST
MUSEUMS IN THE WORLD.
1443
01:40:13,920 --> 01:40:17,098
THERE WERE 27 REMBRANDTS
IN THAT COLLECTION --
1444
01:40:17,141 --> 01:40:20,057
27 REMBRANDTS --
1445
01:40:20,101 --> 01:40:22,016
A NUMBER OF RUBENS' PAINTINGS,
1446
01:40:22,059 --> 01:40:24,540
BOTTICELLI, MASACCIO,
1447
01:40:24,583 --> 01:40:26,455
AND THEN GO RIGHT
DOWN THE LIST.
1448
01:40:26,498 --> 01:40:28,239
OH, CORREGGIO'S LEDA.
1449
01:40:28,282 --> 01:40:29,936
OH, THAT WAS A BEAUTY.
1450
01:40:29,980 --> 01:40:31,808
Taper:
IN THAT OFFICE
ON THE FRONT WALL,
1451
01:40:31,851 --> 01:40:33,505
THERE WAS A WONDERFUL DEGAS
1452
01:40:33,549 --> 01:40:36,508
THAT HAS BECOME
MY FAVORITE DEGAS OF ALL.
1453
01:40:36,552 --> 01:40:40,208
JUST THAT OFFICE ALONE WAS WORTH
THE PRICE OF ADMISSION
1454
01:40:40,251 --> 01:40:42,645
TO WORLD WAR II.
1455
01:40:42,688 --> 01:40:48,129
THERE WAS SO MUCH TO DO THAT
YOU DIDN'T HAVE TIME TO REJOICE.
1456
01:40:48,172 --> 01:40:53,438
THE RESPONSIBILITY OF HAVING
THESE ITEMS UNDER US
1457
01:40:53,482 --> 01:40:56,441
REALLY GAVE YOU CAUSE
TO THINK.
1458
01:40:56,485 --> 01:41:00,358
MAYBE A LITTLE SHAKY AT TIMES,
BUT WE HAD TO DO IT.
1459
01:41:00,402 --> 01:41:01,751
THERE WAS NO OTHER WAY.
1460
01:41:01,794 --> 01:41:05,450
THERE WAS NOTHING ELSE TO DO
BUT JUST DO OUR JOB.
1461
01:41:05,494 --> 01:41:09,672
THE ARMY WANTED OUT OF THE ART
BUSINESS AS SOON AS POSSIBLE
1462
01:41:09,715 --> 01:41:11,543
AND ORDERED
THE COLLECTING POINTS
1463
01:41:11,587 --> 01:41:14,242
TO TURN OVER RESPONSIBILITY
FOR THE TONS OF ART
1464
01:41:14,285 --> 01:41:16,374
TO GOVERNMENT AUTHORITIES
IN COUNTRIES
1465
01:41:16,418 --> 01:41:18,028
FROM WHICH THEY WERE TAKEN:
1466
01:41:18,072 --> 01:41:20,117
SHIPMENTS IN BULK
WERE MADE
1467
01:41:20,161 --> 01:41:22,902
FROM THE NEUSCHWANSTEIN
CASTLE BACK TO FRANCE,
1468
01:41:22,946 --> 01:41:25,731
PAINTINGS LOOTED FROM ITALY
RETURNED HOME,
1469
01:41:25,775 --> 01:41:28,430
AND LEONARDO DA VINCI'S
LADY WITH AN ERMINE
1470
01:41:28,473 --> 01:41:32,389
MADE ITS WAY BACK TO CRACOW
WITH THE VEIT STOSS ALTARPIECE
1471
01:41:32,434 --> 01:41:36,133
AND 27 TRAIN CARS FULL
OF OTHER POLISH TREASURES.
1472
01:41:36,177 --> 01:41:39,136
IT WAS SORT OF LIKE RUNNING
A MOVIE BACKWARDS.
1473
01:41:39,180 --> 01:41:42,139
ALL THE TRAINLOADS THAT HAD GONE
TO GERMANY AND TO THE MINES
1474
01:41:42,183 --> 01:41:44,620
AND WHATNOT NOW STARTED
COMING BACK.
1475
01:41:44,663 --> 01:41:47,884
BUT AT THE COLLECTING POINTS
THERE STILL REMAINED
1476
01:41:47,927 --> 01:41:51,844
MORE OBJECTS FOR WHICH THERE
WERE FEW SURVIVING CLAIMANTS:
1477
01:41:51,888 --> 01:41:57,067
ORNATE MENORAHS, SILVER
SACRAMENTAL CUPS, TORAH CROWNS,
1478
01:41:57,111 --> 01:41:58,808
AND OTHER PRECIOUS OBJECTS
1479
01:41:58,851 --> 01:42:02,202
STOLEN FROM DECIMATED
JEWISH COMMUNITIES.
1480
01:42:02,246 --> 01:42:08,383
Lindsay:
WE HAD ONE WHOLE ROOM
FILLED WITH TORAHS,
1481
01:42:08,425 --> 01:42:12,255
ONE ON TOP OF ANOTHER
LIKE A MOUNTAIN.
1482
01:42:12,300 --> 01:42:15,520
BY THIS TIME,
THE FULL RECOGNITION
1483
01:42:15,564 --> 01:42:18,697
OF WHAT HAD HAPPENED
IN THE CAMPS HAD COME OUT.
1484
01:42:18,741 --> 01:42:20,221
WE KNEW IT.
1485
01:42:20,264 --> 01:42:23,485
AND YOU COULDN'T PASS THAT ROOM
WITHOUT ALMOST SHUDDERING,
1486
01:42:23,528 --> 01:42:29,055
THINKING OF ALL THE PEOPLE
THAT DIED IN THE ROUTE
1487
01:42:29,099 --> 01:42:33,016
THAT THAT TORAH TOOK
TO FINALLY GET TO OUR PLACE.
1488
01:42:33,059 --> 01:42:36,715
EVENTUALLY, THE TORAHS
AND RELIGIOUS ART OBJECTS
1489
01:42:36,759 --> 01:42:39,327
WERE ENTRUSTED TO JEWISH
MUSEUMS AND LIBRARIES
1490
01:42:39,370 --> 01:42:41,807
AROUND THE WORLD.
1491
01:42:41,851 --> 01:42:46,508
BY THE TIME THE COLLECTING
POINTS CLOSED DOWN IN 1951,
1492
01:42:46,550 --> 01:42:49,641
THE MONUMENTS MEN HAD PROCESSED
MILLIONS OF ITEMS
1493
01:42:49,684 --> 01:42:51,773
AND RESTORED MUCH
OF WHAT REMAINED
1494
01:42:51,817 --> 01:42:54,864
OF EUROPE'S ARTISTIC HERITAGE.
1495
01:42:54,907 --> 01:42:57,214
BUT DESPITE THOSE
ACCOMPLISHMENTS,
1496
01:42:57,258 --> 01:42:59,477
TODAY, MORE THAN HALF
A CENTURY LATER,
1497
01:42:59,521 --> 01:43:02,393
UNFINISHED BUSINESS STILL
REMAINS IN THE AFTERMATH
1498
01:43:02,437 --> 01:43:06,353
OF THE CULTURAL UPHEAVAL
OF WORLD WAR II.
1499
01:43:06,397 --> 01:43:10,227
NEAR NUREMBERG, GERMANY,
1500
01:43:10,271 --> 01:43:14,231
HISTORIAN RALF ROSSMEISSL IS
WORKING TO HONOR AND RESTORE
1501
01:43:14,275 --> 01:43:16,842
WHAT HAS SURVIVED OF
THE FORGOTTEN JEWISH CULTURE
1502
01:43:16,886 --> 01:43:21,325
THAT ONCE THRIVED
IN THE AREA.
1503
01:43:21,369 --> 01:43:24,633
[ speaking in German ]
1504
01:43:31,553 --> 01:43:35,296
AT ABANDONED SYNAGOGUES LIKE
THIS ONE IN CRONHEIM,
1505
01:43:35,339 --> 01:43:37,166
ROSSMEISSL LOOKS
FOR EVIDENCE
1506
01:43:37,210 --> 01:43:40,823
OF WHAT JEWISH LIFE
WAS ONCE LIKE HERE.
1507
01:44:13,725 --> 01:44:15,858
ROSSMEISSL
RECENTLY ACQUIRED
1508
01:44:15,901 --> 01:44:17,816
A COLLECTION
OF SILVER TORAH CROWNS
1509
01:44:17,860 --> 01:44:20,514
THAT HAD PASSED SECRETLY
THROUGH SEVERAL HANDS
1510
01:44:20,558 --> 01:44:22,778
SINCE THE WAR.
1511
01:44:37,139 --> 01:44:40,230
ROSSMEISSL IS TRYING TO
TRACK DOWN SURVIVING FAMILIES
1512
01:44:40,273 --> 01:44:42,710
OF THE ORIGINAL OWNERS.
1513
01:44:42,754 --> 01:44:45,540
THE TORAH CROWNS THEMSELVES
CAN OFFER CLUES
1514
01:44:45,583 --> 01:44:47,193
TO THEIR HISTORIES.
1515
01:44:47,237 --> 01:44:49,021
CENSUS AND HOLOCAUST RECORDS
1516
01:44:49,065 --> 01:44:53,548
AND EVEN OLD JEWISH CEMETERIES
OFTEN FILL IN THE BLANKS.
1517
01:45:53,129 --> 01:45:56,001
WHILE ROSSMEISSL WORKS
TO RETURN OBJECTS
1518
01:45:56,045 --> 01:45:58,134
STOLEN FROM JEWS IN GERMANY,
1519
01:45:58,177 --> 01:46:00,963
IN PISA, WORK CONTINUES
TO RESTORE LIFE
1520
01:46:01,005 --> 01:46:04,358
TO THE BATTLE-SCARRED FRESCOES
OF THE CAMPOSANTO.
1521
01:46:04,401 --> 01:46:06,795
FOR NOW, ONLY
A THREE-DIMENSIONAL
1522
01:46:06,838 --> 01:46:08,666
COMPUTER MODEL
CAN OFFER A GLIMPSE
1523
01:46:08,710 --> 01:46:11,190
OF HOW THE VAST COLLECTION
OF MEDIEVAL PAINTINGS
1524
01:46:11,234 --> 01:46:13,105
ONCE APPEARED.
1525
01:46:13,148 --> 01:46:17,109
FOR 25 YEARS,
DR. CLARA BARACCHINI HAS LED
1526
01:46:17,153 --> 01:46:20,243
THE TEAM OF CONSERVATORS
WORKING TO RESTORE THE FRESCOES
1527
01:46:20,286 --> 01:46:23,377
TO THE WALLS
OF THE CAMPOSANTO.
1528
01:46:35,476 --> 01:46:38,348
[ Baracchini speaking
in Italian ]
1529
01:47:10,641 --> 01:47:13,165
DECADES AFTER
THE CAMPOSANTO BURNED,
1530
01:47:13,209 --> 01:47:16,299
CONSERVATORS ARE FINALLY
RESTORING FRAGMENTS
1531
01:47:16,342 --> 01:47:17,779
OF THE SALVAGED FRESCOES
1532
01:47:17,822 --> 01:47:20,564
TO THE WALLS
OF ITS IMMENSE GALLERIES.
1533
01:47:20,608 --> 01:47:22,914
MONUMENTS OFFICER
DEANE KELLER
1534
01:47:22,958 --> 01:47:25,351
DID NOT LIVE
TO SEE THE RESTORATION,
1535
01:47:25,395 --> 01:47:27,615
BUT AFTER HIS DEATH
IN 1992,
1536
01:47:27,657 --> 01:47:30,356
HE WAS HONORED WITH
A FINAL RESTING PLACE
1537
01:47:30,400 --> 01:47:34,796
AMONG PISA'S HISTORIC LEADERS
BURIED IN THE CAMPOSANTO.
1538
01:47:34,839 --> 01:47:37,059
THE TRAGEDY THAT KELLER
CONFRONTED HERE
1539
01:47:37,102 --> 01:47:40,541
HALF A CENTURY AGO
NOW MOVES TOWARD CLOSURE.
1540
01:47:40,584 --> 01:47:43,065
BUT IN THE FORMER
SOVIET UNION,
1541
01:47:43,108 --> 01:47:47,199
A DIFFERENT SORT OF
CULTURAL WOUND STILL FESTERS.
1542
01:47:47,243 --> 01:47:49,593
Reporter:
IN ST. PETERSBURG THIS MORNING,
1543
01:47:49,637 --> 01:47:51,508
ONE OF THE MORE EXCITING
DEVELOPMENTS
1544
01:47:51,552 --> 01:47:53,118
OF RECENT ART HISTORY:
1545
01:47:53,162 --> 01:47:55,860
PICTURES UNVEILED THAT NO ONE
BARRING A HANDFUL OF BUREAUCRATS
1546
01:47:55,904 --> 01:47:57,906
HAS SEEN IN HALF A CENTURY.
1547
01:47:57,949 --> 01:48:00,822
FOR 50 YEARS, NO ONE WAS SURE
THE PAINTINGS EVEN EXISTED.
1548
01:48:00,865 --> 01:48:04,041
THAT DOUBT HAS NOW HAPPILY
BEEN LAID TO REST.
1549
01:48:04,085 --> 01:48:07,916
HUGH SCHOFIELD, BBC NEWS,
ST. PETERSBURG.
1550
01:48:07,959 --> 01:48:12,355
IN 1995, THE HERMITAGE MUSEUM
REVEALED FOR THE FIRST TIME
1551
01:48:12,398 --> 01:48:15,967
THAT 74 IMPORTANT PAINTINGS
TAKEN FROM GERMANY
1552
01:48:16,011 --> 01:48:19,884
BY THE RED ARMY TROPHY BRIGADES
WERE IN ITS POSSESSION.
1553
01:48:19,928 --> 01:48:22,583
IT WAS THE LATEST IN A SERIES
OF REVELATIONS BY RUSSIA
1554
01:48:22,626 --> 01:48:25,063
THAT HAD STUNNED
THE ART WORLD.
1555
01:48:25,107 --> 01:48:27,065
Petropoulos:
WHILE THERE WAS
GREAT EXCITEMENT
1556
01:48:27,109 --> 01:48:29,503
ABOUT THE REVELATIONS CONCERNING
THE TROPHY ART,
1557
01:48:29,546 --> 01:48:31,679
THERE WAS ALSO
AN ELEMENT OF ACCUSATION
1558
01:48:31,722 --> 01:48:33,898
CONCERNING THE SOVIETS
AND THE RUSSIANS,
1559
01:48:33,942 --> 01:48:37,335
WHAT THEY HAD DONE
WITH THESE CULTURAL OBJECTS.
1560
01:48:37,380 --> 01:48:40,949
BEGINNING IN 1949,
SOVIET AUTHORITIES RETURNED
1561
01:48:40,992 --> 01:48:43,386
OVER A MILLION AND A HALF
WORKS OF ART,
1562
01:48:43,429 --> 01:48:45,257
MOSTLY TO
EASTERN BLOC COUNTRIES
1563
01:48:45,300 --> 01:48:47,433
LIKE POLAND
AND EAST GERMANY,
1564
01:48:47,477 --> 01:48:50,741
BUT THE RETURNS HAD STOPPED
IN THE EARLY 1960s.
1565
01:48:50,785 --> 01:48:54,092
WITH THE FALL OF
THE SOVIET UNION IN 1991
1566
01:48:54,136 --> 01:48:57,226
CAME THE FIRST REPORTS
ABOUT SECRET STORAGE ROOMS
1567
01:48:57,269 --> 01:49:00,272
WHERE TEN OF THOUSANDS
OF TROPHY ARTWORKS REMAINED
1568
01:49:00,316 --> 01:49:02,273
OUT OF PUBLIC VIEW.
1569
01:49:02,318 --> 01:49:04,407
CRITICS IN GERMANY
AND ELSEWHERE
1570
01:49:04,450 --> 01:49:07,105
CALLED FOR THE RETURN
OF THE ART.
1571
01:49:07,148 --> 01:49:11,066
KEEPING THE TROPHY ART
IS VERY POPULAR IN RUSSIA.
1572
01:49:11,109 --> 01:49:15,418
THE POPULATION REALLY SUPPORTS
THE RETENTION OF THIS ART,
1573
01:49:15,460 --> 01:49:18,594
BUT THERE IS NO BASIS IN
INTERNATIONAL LAW FOR DOING SO.
1574
01:49:18,639 --> 01:49:21,119
RUSSIAN HARDLINERS
DEFIANTLY PASSED A LAW
1575
01:49:21,163 --> 01:49:25,036
DECLARING THE ART TO BE RUSSIAN
PROPERTY, ONCE AND FOR ALL.
1576
01:49:25,080 --> 01:49:27,561
BUT A FIERCE DEBATE GOES ON
TO THIS DAY
1577
01:49:27,603 --> 01:49:30,128
BETWEEN COMMUNISTS
AND REFORMERS.
1578
01:49:30,172 --> 01:49:33,915
[ Gubenko speaking in Russian ]
1579
01:49:53,151 --> 01:49:56,154
[ speaking in Russian ]
1580
01:51:26,549 --> 01:51:29,334
[ speaking in German ]
1581
01:51:52,749 --> 01:51:57,318
[ man singing in Hebrew ]
1582
01:52:03,673 --> 01:52:05,980
[ Rossmeissl speaking
in German ]
1583
01:52:21,343 --> 01:52:25,521
[ singing in Hebrew
and clapping ]
1584
01:52:49,284 --> 01:52:51,547
Piotrovsky:
ART BELONGS TO HUMANITY.
1585
01:52:51,590 --> 01:52:53,418
WITHOUT THIS,
WE ARE ANIMALS:
1586
01:52:53,462 --> 01:52:56,465
WE JUST FIGHT,
WE LIVE, WE EAT.
1587
01:52:56,508 --> 01:53:01,687
ART IS -- IT'S
WHAT MAKES US HUMAN.
1588
01:53:01,731 --> 01:53:05,300
LIKE REFUGEES FROM BATTLE,
MOST OF EUROPE'S ART
1589
01:53:05,343 --> 01:53:08,216
FOUND ITS WAY HOME
AFTER THE WAR.
1590
01:53:08,259 --> 01:53:11,741
AND LIKE EVERY SOLDIER AND
CIVILIAN WHO LIVED OR DIED,
1591
01:53:11,785 --> 01:53:15,484
EVERY WORK OF ART
HAS A STORY TO TELL.
1592
01:53:18,922 --> 01:53:23,535
NEVER BEFORE HAD ART BEEN
MOVED, HIDDEN, AND PLUNDERED
1593
01:53:23,579 --> 01:53:27,017
ON SUCH A VAST SCALE.
1594
01:53:27,061 --> 01:53:30,847
THOUSANDS OF ARTWORKS
REMAIN UNACCOUNTED FOR.
1595
01:53:30,891 --> 01:53:33,807
MANY, THE INNOCENT
VICTIMS OF WAR,
1596
01:53:33,850 --> 01:53:35,809
WILL NEVER BE SEEN AGAIN.
1597
01:53:35,852 --> 01:53:40,901
OTHERS ARE SURE TO RESURFACE
IN YEARS TO COME.
1598
01:53:40,943 --> 01:53:44,121
[ ♪♪♪ ]
1599
01:54:03,139 --> 01:54:05,577
[ ♪♪♪ ]
1600
01:54:17,938 --> 01:54:21,855
Captions by LNS Captioning
Portland, Oregon
www.LNScaptioning.com
1601
01:54:37,000 --> 01:54:40,786
VISIT pbs.org TO LEARN MORE
ABOUT THE FATE OF ART
1602
01:54:40,830 --> 01:54:44,398
IN THE THIRD REICH
AND WORLD WAR II.
1603
01:54:46,096 --> 01:54:48,882
THE RAPE OF EUROPA
IS AVAILABLE ON DVD.
1604
01:54:48,925 --> 01:54:50,971
THE SOUNDTRACK CD
AND THE COMPANION BOOK,
1605
01:54:51,014 --> 01:54:53,190
RESCUING DA VINCI,
ARE ALSO AVAILABLE.
1606
01:54:53,234 --> 01:54:57,237
TO ORDER, CALL PBS HOME VIDEO
AT 1-800-PLAY-PBS.
1607
01:54:57,281 --> 01:55:01,068
OR VISIT US ONLINE AT
shopPBS.org.
1608
01:55:19,216 --> 01:55:21,697
THE RAPE OF EUROPA
HAS BEEN MADE POSSIBLE
1609
01:55:21,740 --> 01:55:23,786
IN PART BY A MAJOR GRANT
1610
01:55:23,829 --> 01:55:27,485
FROM THE NATIONAL ENDOWMENT
FOR THE HUMANITIES.
1611
01:55:30,139 --> 01:55:32,621
ADDITIONAL FUNDING
PROVIDED BY...
1612
01:55:44,285 --> 01:55:47,114
AND BY THE FOLLOWING...
1613
01:55:55,513 --> 01:55:58,168
WE ARE PBS.
1614
01:56:00,344 --> 01:56:03,652
[ ♪♪♪ ]
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