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Home > Publications > Prologue Magazine > Prologue | Summer 2002 > Nazi Looted Art
Genealogy Notes
"Pieces of History" blog
Nazi Looted Art
The Holocaust Records Preservation Project
Summer 2002, Vol. 34, No. 2
By Anne Rothfeld
Artworks that were confiscated and collected for Adolf Hitler, seen here examining art in a storage facility, were designated for a proposed Führermuseum in Linz, Austria. (242-HB-32016-1)
View in National Archives Catalog
Dormant bank accounts, transfers of gold, and unclaimed insurance policies, all taken by the Nazis and hidden primarily in Swiss bank accounts during World War II, are now the subject of economic and financial research. Museums and galleries are researching the provenance of paintings, decorative arts, and sculpture in their collections in order to confirm that none of the pieces were looted during World War II. Although the Nazis were known for their thorough recordkeeping, a significant amount of artwork still is missing and unaccounted for. The Allied armies salvaged many of these German records, but do these records clearly tell the story of an art piece? And what is the story of the Allied attempts to find the owners of more than two million looted art pieces and bring German art dealers and Nazi collaborators to justice?
In recent years, renewed interest in Holocaust-era assets has prompted heirs, art historians, and curators to ask these questions concerning art provenance and claims research. Until recently, very few researchers were interested in economic and financial aspects of the Nazi regime and the war; even fewer in Holocaust-related assets.1 Now, provenance research of looted art has become an important activity for auction houses, art dealers, and art museums.2
The Holocaust Records Project
To address the dual concerns of researchers' demand for records that document the locating and restituting of confiscated art and the preservation problems associated with overuse of fragile World War II records, the National Archives and Records Administration (NARA) created the Holocaust Records Project (HRP). The project has the task of identifying, preserving, describing, and microfilming more than twenty million pages of records created by the Allies in occupied Europe regarding Nazi looted art and the restitution of national treasures. These materials include documents generated by various U.S. government civilian agencies, U.S. military branches, and the Office of Military Government, U.S. Zone (OMGUS).
The HRP emerged from a meeting in the summer of 2001 between NARA and art historians and curators to identify NARA's key and relevant holdings concerning art provenance and restitution claims research. These records tell the story of Allied programs created in mid-1943 to protect art from being damaged or stolen by the Allied military forces, to prevent art from being used as a financial asset by the Axis powers, to keep Nazi looted art from being sent to a safe haven (somewhere outside of Germany, in the neutral countries or Latin America), and to aid Allied restitution efforts.
The HRP is microfilming documents in more than fifteen different records groups, including Records of the Office of Strategic Services (RG 226), General Records in the Department of State (RG 59), Records of the Office of Alien Property (Foreign Funds) (RG 131), and the "Ardelia Hall Collection" in Records of U.S. Occupation Headquarters, World War II (RG 260). The project's progress can be monitored on NARA's art provenance web page at www.archives.gov/research/holocaust/.
Our primary goal is to aid archival research in looted cultural property records and to create specialized inventories and finding aids. Our finding aids allow researchers to narrow their search for archival records and also help to preserve the records by minimizing the amount of handling to which they are subjected. Two additional project goals are the posting of inventories and indexes on NARA's art provenance web page.
The first set of records to be microfilmed are the records of the American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas ("The Roberts Commission");3 the Einsatzstab Reichsleiter Rosenberg (ERR) inventory card files; the Monuments, Fine Arts, and Archives (MFA&A) files; the Cultural Property Claims Applications; and the records of the four temporary collecting points under U.S. Army command: Marburg, Offenbach, Wiesbaden, and Munich.4 The army occupation forces in Germany, Italy, and Austria created massive quantities of records in the process of the recovery, administration, and restitution of looted art and cultural property and treasures. The paperwork involving property claim applications made to OMGUS from individuals and institutions was routed through the collecting point to the object's country of origin. For example, if an object had been taken out of Poland by the Nazis, moved to France, and shipped to Munich, then the claim was made to the Allies by the Polish government. Each European government was to determine ownership of artworks taken from its own country. Also in these records are U.S. Army interrogations and field reports on looted art, including information on the discovery and recovery of looted art, and captured German and French documents containing packing lists and bills of sale. One section of OMGUS records relating to the location and restitution of looted art alone amounts to several million pages.
The HRP's first completed project was the preservation microfilming of selected records of the Art Looting Investigation Unit (ALIU),5 an investigative program formed in November 1944 under the auspices of the American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas ("The Roberts Commission") and the Office of Strategic Services (OSS). These detailed interrogations, also known as the ALIU reports, describe Nazi looting; locations of looted art; German and Nazi attempts to sell looted art; the transport of art into and around the Reich; descriptions and dimensions of specific pieces, with many pieces listing the selling and purchasing prices; names of purchasing agents and auction houses; names and activities of Swiss, French, German, and other European art dealers; and art collections of Nazi leaders.6
ALIU officers interrogated more than two thousand individuals involved in art looting, including such key German and Nazi figures as Heinrich Hoffman, Hitler's chief photographer and art adviser; Ernst Buchner, director of the Bavarian State Paintings Museum; Karl Haberstock, a Berlin art dealer who purchased and sold artworks for Hitler; and Walter Hofer, Hermann Göring's art agent. After gathering intelligence information from their interrogations, ALIU members wrote thirteen Detailed Interrogation Reports (DIRs), then condensed these DIRs to create three Consolidated Interrogation Reports (CIRs).
The CIRs describe in detail the activities of the ERR, the official Nazi office charged with confiscating prominent art collections in France (CIR No. 1, "Activity of the Einsatzstab Rosenberg in France"); the origins of Hermann Göring's art collection (CIR No. 2, "The Goering Collection"); and art collected for Adolf Hitler's planned museum in Linz, Austria (CIR No. 4, "Linz: Hitler's Museum and Library"). CIR No. 3, which was to be written by Jan Vlug, Royal Netherlands Army, regarding German methods of acquisitions, was still pending in 1946 and never completed. These CIRs, used as evidence at the Nuremberg Trials of Hermann Göring and Alfred Rosenberg, also trace Germany's economic and financial growth and decline and the movement of assets within the Reich. The ALIU Final Report for the Roberts Commission was published in 1946.7
Origins of Nazi Art Confiscations
The Nazi Party leadership's interest in art arose early on, and art confiscations began by 1938. The Nazis wanted to rid Germany of art created during the Weimar Republic, the period of 1924–1930, when Germany was a leading European cultural center, especially in the fields of art, cinema, and literature. Weimar decadence aroused Nazi anger, and Hitler began closing art schools in 1933.
Soon after their rise to power in 1933, the Nazis purged so-called "degenerate art" from German public institutions. Artworks deemed degenerate by the Nazis included modern French and German artists in the areas of cubism, expressionism, and impressionism. Approximately sixteen thousand pieces were removed, and by 1938 the Nazi Party declared that all German art museums were purified. State-sponsored exhibitions of this art followed the Nazi purges, clarifying to Germans which types of modern art were now unacceptable in the new German Reich. Soon after, an auction of 126 degenerate artworks took place in 1939 at the Fischer Gallerie in Lucerne, Switzerland, in order to increase revenues for the party. The auctioned paintings by modern masters, many previously purged from German public institutions, included works by van Gogh and Matisse.
Hitler called for a new art, an art that portrayed the Volk and the Volksgemeinschaft (Volk community) as "a realization not of individual talents or of the inspiration of a lone genius, but of the collective expression of the Volk, channeled through the souls of individual creators."8 Hitler wanted new cultural and artistic creativity to arise in Germany, with the "folk-related" and "race-conscious" arts of Nazi culture replacing what he called the "Jewish decadence" of the Weimar Republic.9 According to the Nazis, acceptable and desirable art included Old Flemish and Dutch masters; medieval and Renaissance German artworks; Italian Renaissance and baroque pieces; eighteenth-century French artworks; and nineteenth-century German realist painters depicting the German Volk culture.
Art looting that had begun on an ideological basis became an organized government policy. For Nazi officers seeking social status and promotion within the party, collecting and giving art confirmed one's dedication to promoting Nazi racial ideologies in the Reich. It was a way to emulate Hitler and Göring. Yet some top Nazis deviated from this model. For example, Joseph Goebbles, Reich minister for propaganda, collected artworks by German expressionists, and Foreign Minister Joachim von Ribbentrop acquired impressionist paintings by Manet.
The first official rounds of Nazi confiscations began in Austria after the 1938 Anschluss, the annexation of Austria into the German Reich. Art confiscations in Poland began in 1939. Shortly thereafter, Nazi bureaucratic agencies were established in the newly occupied territories and charged with confiscating art. For example, the collections of Vienna's prominent Jewish families were the first to be taken by the Nazis, and Jews who did not plan to leave "Greater Germany" were required to register their personal property with the local police. Artworks soon paid for exit visas and taxes.
Many who were persecuted by the Nazis or who were political opponents did attempt to flee Germany in the mid 1930s. When the Nazis banned the exportation of paper money, wealthy émigrés began to turn their investments into art. Because the Nazis lacked a useable foreign currency, artworks were often used as an alternative to money. As late as 1939, art could be taken out of Germany only as personal property. Art, thus, became cash for black marketers, Nazis and non-Nazis, and for victims of Nazism who used it as a safe, liquid asset. Almost all European art dealers who bought and sold to Germans and Nazis took advantage of their ignorant or ill-informed clients in the occupied areas, and both occupier and occupied exploited one another.
Jews owned many of the well-known art houses, and some were art dealers. In April 1938, Göring issued the "Decree Regarding the Reporting of Jewish Property," which stated that no later than June 30, 1938, every Jew in the Reich was required to assess all property owned, domestic and foreign, and to report these findings to Nazi authorities.10 Jewish business owners were forced to sell their shops and assets to non-Jews, a process called Aryanization. Jewish art dealers forced to leave Germany created opportunities for "a group of dealers, not previously considered to be in the top rank, [who] rushed to fill the gaps left by the departure of their Jewish colleagues and to take full advantage of [the fleeing Jews]."11
Confiscated artworks were often saved for private Nazi and German collections, while some pieces were sold to buyers through neutral countries like Switzerland to raise capital for purchasing additional art pieces and to purchase materials for the Nazi war machine. Additionally, Switzerland offered a large market to sell off "degenerate art." The Paris art market was the most active during the war years. The French auction houses and dealers sold artworks at extravagant, inflated prices to interested German parties. The Netherlands' art riches were the next most popular for art plundering, and the Italian market was also brimming with dealers who took advantage of Germans and Nazis by inflating prices and gouging profits at the expense of their German allies.
As the art confiscations expanded during the war, the Nazis devised a plan to ship the pieces back to Germany and Austria. They began storing the artworks in salt mines and caves for protection from Allied bombing raids. These mines and caves offered the appropriate humidity and temperature conditions for artworks.
Plundering for Göring's and Hitler's Collections
Reichsmarschall Hermann Göring helped establish the Einsatzstab Reichsleiter Rosenberg (ERR), directed by Alfred Rosenberg, the official Nazi office charged with confiscating prominent, mainly Jewish, art collections in the western Nazi-occupied territories. Housed in the Jeu de Paume Museum in Paris, the ERR operated from 1940 to 1944.12
In January 1940, Hitler gave Rosenberg his task: to loot Jewish and Masonic cultural treasures, including synagogues, libraries, and archives in western Europe. By fall 1940, Hitler ordered Rosenberg to confiscate all Jewish art collections since these materials were now deemed "ownerless" by Nazi decree. Jews in France, as in most of Europe, were now labeled "stateless" and no longer had property rights. With France part of the German-occupied territories, the ERR and Rosenberg now fell under Göring's authority and control, with the Gestapo seeking out Jewish houses, apartments, and shops in the hopes of finding valuable pieces.
The ERR was the most elaborate of the Nazi confiscating agencies, and it looted more than twenty-one thousand individual objects from over two hundred Jewish-owned collections.13 For every object delivered to the Jeu de Paume Museum, a clearinghouse to process all French confiscations, ERR staff created an inventory card containing the artist's name, medium, dimensions, and in many cases, a photograph. The ERR then organized the cards by codes based on the family's name and a number: for example "R" for the Rothschild family, "D.W." for David-Weill, and "SEL" for the Seligmann family in Paris. On many cards appears a stamp with either "AH" or "HG," indicating if the object was going to Hitler's museum in Linz or to Göring's personal collection at Carinhall (Göring's country house named in honor of his wife, Carin). Suitable materials not selected for Linz or Carinhall were set aside for German museums, and pieces deemed too decadent and modern (i.e., "degenerate") for the Nazis were sold at auction in the international art markets.14
As part of glorifying the German race, Hitler and Göring planned two large art collections: Hitler's proposed grand museum (the Führermuseum) in Linz; and the Hermann Göring Collection, which was a personal collection intended to serve as a personal monument to himself. As early as March 1938, Hitler planned to build Linz as a cultural city to rival that of Vienna.15 Göring considered confiscated property from "enemies of the state" as the main source for his collection.16
Prior to the establishment of the ERR, in June 1939, under Karl Haberstock's influence, Hitler appointed Dr. Hans Posse, the former director of the Dresden Gemäldegalerie, to direct acquisitions for the Linz museum.17 This appointment generated some discussion in party offices because Posse had been relieved as director of the Dresden gallery in 1938 for not being a Nazi Party member. Also, during his tenure as the Dresden gallery director, he had purchased "unsuitable" artworks. He remained Hitler's adviser until his death in 1942. During those three years, Posse expanded the original plans for the Führermuseum, traveled to Austria and Poland to personally recommend and select confiscated fine arts, and "maintained both purchasing agents and special purchasing accounts [for Hitler]."18
In March 1943, Hitler named Hermann Voss to succeed Posse at the Dresden painting gallery and as provisional director of the Linz museum.19 His appointment came as a surprise in the official Nazi circles. Voss "was well known for his anti-Nazi opinions before 1943, and he was never a Party member."20 He had been passed over for promotion due to his "cosmopolitan and democratic tendencies, and friendship with many Jewish colleagues."21 When interrogated by the Art Looting Investigation Unit (ALIU) in 1945 and 1946, Walter Hofer, Bruno Lohse, Karl Haberstock, and Kajetan Mühlmann all "agreed that Voss was competent, but they all [felt] it was strange that a man well known for his anti-Nazi sympathies should suddenly be pulled out of virtual retirement and placed in such an exalted position."22
Between 1943 and 1945, Voss purchased approximately twelve hundred paintings for Linz, mainly nineteenth-century German artists, and "as Posse's successor he inherited a vast store of confiscated works."23
In May 1945, with the European war over, Voss traveled to Wiesbaden, Germany, to present himself to the American troops and offer his assistance in locating and recovering looted art slated for Linz. He was taken into custody and interrogated by the ALIU in Alt Aussee, Austria, from August 15 to September 15, 1945.24 In a signed statement, Voss asserted that he wanted to provide the full account of his knowledge of art confiscations during the war.25
Walter Andreas Hofer began his career as a small Berlin art dealer, and by 1937 he became Göring's chief art adviser with the following agreement: Hofer could remain as an independent dealer while acting as Göring's agent with the right to keep an item for himself if Göring did not like the piece. This arrangement proved to be advantageous for Hofer, who now had Göring's protection and support. Hofer's new status gave him ample opportunity to travel and opened doors to art collections anywhere in the Reich and occupied territories.
Hofer was familiar with the details of Göring's account ledgers, which were separated into different funds: private, separate, and military. The private ledger contained records of Göring's personal fortune from his salaries and estates and recorded the use of the monies for himself and his family's personal expenses. The separate fund supported large receptions and business functions. The military fund covered Göring's expenses as Reichsmarschall and his special train. The Kunstfond, an art fund with an average balance of two million Reichmarks, was to be used for all of the expenses of acquiring and maintaining his personal art collection.
In 1939 Göring had acquired approximately two hundred objects; by 1945 he owned over two thousand individual pieces, including more than thirteen hundred paintings. From the beginning, confiscated property was the main source for Göring's collection. Approximately 50 percent of his collection consisted of works of art from enemies of the Reich. As the Consolidated Interrogation Report No. 2 states:
Göring's attitude towards [Nazi] confiscations was characteristic. He fought shy of crude, undisguised looting; but he wanted the works of art, and so he took them, always managing to find a way of giving at least the appearance of honesty, by a token payment or promise thereof to the confiscation authorities. Although he and his agents never had an official connection with the German confiscation organizations, they nevertheless used them to the fullest extent possible.26
Gifts from friends and other important Nazis to the Reichsmarschall were another source for Göring's acquisitions. With Hofer's assistance, Göring established a sort of art gift registry, listing fine arts that suited his tastes and fit in with the current holdings.27 Göring spent an extraordinary amount of time reviewing his plundered art, especially during the crucial years of World War II, mid-1940 to early 1942. ALIU's Consolidated Interrogation Report No. 2, entitled "The Goering Collection," documents at least a dozen visits by Göring to the Jeu de Paume Museum in 1941 and another five in 1942.28
The ALIU report on Hofer describes him as responsible for developing many of the confiscation methods used to build up the Göring collection. Hofer also used his status to promise protection to those being persecuted in exchange for artworks that he or Göring desired. Hofer kept the collection's records in a meticulous manner by recording the contract of sale for each piece, the piece's market value, and what the piece was sold or exchanged for.29
Identification and Recovery
The Roberts Commission
Master Sgt. Harold Maus of Scranton, PA, is pictured with a Dürer engraving, found among other art treasures at Merkers.
In early 1943, the Allies learned of the Nazi art confiscations, and President Franklin D. Roosevelt established the American Commission for the Protection and Salvage of Artistic and Historical Monuments in War Areas ("The Roberts Commission") to coordinate and promote the protection and recovery of art in war-ravaged Europe, with the understanding that the commission's mission would not interfere with any military operations.30 Named after its chairman, Supreme Court Justice Owen J. Roberts, the commission compiled information on war damage to European and Asian cultural properties and submitted reports to Allied agencies suggesting plans for restituting looted art. The commission was active through June 1946.
Prior to the commission's establishment, beginning in the fall 1942 and as the European war continued, two civilian groups had raised concerns regarding the protection of Europe's cultural treasures. The American Defense Harvard Group, under the direction of Paul Sachs of the Fogg Museum, created and mimeographed lists of European monuments, fine art collections, and archives needing protection. Formed in 1940, this group consisted of fine arts professionals including George Stout of the Fogg Museum and Francis Henry Taylor of the Metropolitan Museum of Art.31 At the same time, the American Council of Learned Societies (ACLS) created the Committee for the Protection of Cultural Materials in War Areas, under the direction of William B. Dinsmoor, president of the Archaeological Institute of America, and six months later Sumner Crosby became a Roberts Commission representative in London. Dinsmoor and Crosby used the Harvard lists and Baedeker travel guides to prepare maps of European cities and towns that indicated the location of monuments. These maps were later turned over to the Allied air forces to be used in conjunction with Allied strategic bombing over Europe to avoid further damage to European monuments.
In 1942 these two groups approached Harlan F. Stone, Chief Justice of the U.S. Supreme Court and a National Gallery of Art board member, to discuss protecting historical monuments and cultural treasures in Europe. Stone agreed to contact President Franklin D. Roosevelt through Secretary of State Cordell Hull. In a letter dated December 8, 1942, to President Roosevelt, Stone recommended that an American commission be created to coordinate civilian and military efforts to protect historic monuments and cultural treasures in war areas, noting that the Allied nations have a "practical concern in protecting these symbols of civilization from injury and spoiliation."32 Hull agreed with Stone on the importance of the commission. He further explained that the Department of State and the Joint Chiefs of Staff would be notified and have a say as to the function of the commission.
The following April, President Roosevelt responded to Justice Stone, explaining that he felt that any art commission created would need to work closely with the U.S. military branches and he had discussed this matter with the Joint Chiefs of Staff. In Hull's letter to the President dated June 21, 1943, he outlined the commission's functions. It was placed under the War Department so that fine arts professionals could be detailed to military units in order to locate and care for historic monuments in the Allied-occupied territories.33
The next month, July 1943, Justice Stone wrote to David Finley, director of the National Gallery of Art, stating that President Roosevelt approved the founding of the American Commission for the Protection and Salvage of Artistic and Historic Monuments in Europe. He added that the commission's wartime functions would include providing information to the General Staff of the Army regarding what types of national treasures and monuments to protect.
The letter also proposed that men already enlisted in the armed forces who were "qualified museum officials and art historians . . . could, if desired, be attached to general headquarters of armies on active combat in the European theatre of operation," and these men would "compile, through the assistance of refugee historians of art and librarians, lists of property appropriated by the Axis invading forces." Stone further stated that the American Commission "should urge that the Armistice terms include the restitution of public property appropriated by the Axis Powers [and] where it is not possible to restore such property, . . . restitution in kind should be made by the Axis Powers to the countries from which the property has been taken."34 In August 1943, President Roosevelt established the Roberts Commission under Justice Roberts's chairmanship.
Headquartered at the National Gallery of Art in Washington, D.C., the commission was directed by David Finley, director of the National Gallery of Art; Huntington Cairns, the gallery's secretary-treasurer and general counsel, served as vice chairman.35 By locating itself at the National Gallery, the commission was able to facilitate liaisons with both the Departments of War and State.36
The Roberts Commission was instrumental in creating the Monuments, Fine Arts, and Archives (MFA&A) Section of the U.S. Army. The MFA&A officers, popularly known as the "Monuments Men," were charged with protecting cultural treasures in European war zones.37 Equipped with maps, lists, and handbooks provided by the commission, the Monuments Men documented war damage and prepared lists of sites needing protection. After the war, the Roberts Commission played a major role in the U.S. Military Occupation Government (OMGUS) efforts to recover Nazi-confiscated artworks and restitute the pieces to the rightful owners.
Monuments, Fine Arts, and Archives (MFA&A) Section
The Monuments Men began their work in Europe in 1944. In March 1945, a special report from the Roberts Commission to the Monuments Men was issued outlining the primary reasons for the creation of the MFA&A. MFA&A officers were to prevent Allied forces in the field "from damaging national monuments and from damaging or looting public or private collections;" to provide aid "to damaged monuments, fine art and archives collections;" and to "only [be] concerned with measures taken for the immediate protection from further damage of monuments and collections."38 Furthermore, the report stated that the MFA&A officers were not responsible for any type of restoration to the monuments.39
Monuments Men, mainly young art professors and museum curators were recommended and hired by the Roberts Commission for their museum experience and art history education. Capt. Mason Hammond was one of the first officers in Europe. Additional Monuments Men joined Hammond in June 1944 specifically to prevent Allied forces from establishing lodging in historic buildings and to inspect and report on the conditions of monuments listed in the Roberts Commission's "Protected Monuments Lists."40 As the European war was ending and the MFA&A swelled to more than eighty officers and men, the Roberts Commission appointed Lt. Col. Geoffrey Webb as chief of MFA&A operations in Europe and adviser to SHAEF (Supreme Headquarters, Allied Expeditionary Forces).41
One of the MFA&A's greatest challenges in 1944–1945 was keeping the Allied forces from taking artworks and sending them home to friends and family. When the Monuments Men found that using "off-limits" warning signs were not working, they began using white tape, which Allied troops used to indicate the existence of unexploded mines. The MFA&A covered much territory by the beginning of 1945; after examining more than two hundred monuments, they reported that in Germany alone, over 90 percent of the monuments had been hit by Allied bombings, and 60 percent had been destroyed.42 A secondary challenge the MFA&A met was acting over a sort of "lost and found" department of European art, as civilians began to come to them to search for their stolen personal property.
In spring 1945, the Monuments Men discovered hundreds of caves and mines that stored Nazi caches.43 The first mine they investigated was a copper mine outside of Siegen in Westphalia in April 1945, where they found paintings by Rembrandt, Van Gogh, and Rubens. An original score of Beethoven's Sixth Symphony was also among the items found here.44 On April 6, 1945, came the second find: Merkers.45 The Merkers salt mine housed millions of Reichsmarks in gold bars, non-monetary victims gold, and art from more than a dozen German state museums. In May, Patton's Third Army found the salt mine at Alt Aussee in Austria, which housed more than 6,500 paintings for Hitler's museum in Linz and stolen Italian art for Göring's personal collection.46
Another large find in spring 1945 by the U.S. First Army was the salt mine at Bernterode in Germany's Thuringia Forest.47 During the war, the mine had been used as a storehouse of German munitions and military supplies. In a room behind a brick wall and locked door, however, were huge caskets adorned with Nazi regalia. At first the Americans thought they had found Hitler's tomb, but upon examination, they discovered that the caskets held the bodies of "three of Germany's most revered rulers: Field Marshal von Hindenburg, Frederick the Great, and Frederick William I."48 In addition to the caskets, the American troops found German regimental banners, the Prussian crown regalia with the jewels removed, and paintings, including some by artists such as Watteau and Cranach. And in May 1945, Allied troops found confiscations at Berchtesgaden and Neuschwanstein castle, both of which stored hundreds of ERR loot.49
Art Looting Investigation Unit
In early 1944, Justice Roberts, now the chairman of the American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas, met with Gen. William J. Donovan, director of the Office of Strategic Services (OSS), requesting that a special intelligence unit dealing with looted art be formed and administered by the OSS.50 Roberts envisioned that this unit would assist his commission and the U.S. Army's MFA&A Section officers. Donovan agreed, and in 1944 the Art Looting Investigation Unit (ALIU), was placed under the control of OSS's Counterintelligence Branch (X-2) because the OSS believed that certain Nazi agents could be using art looting and collaborative activities to conceal their roles as espionage agents.
Both Roberts and Donovan asked Francis Henry Taylor, director of the Metropolitan Museum of Art, to select as members of this new unit people from the fine arts community in whom he had personal confidence. For Donovan, Taylor, and Roberts, investigating art looting by the Nazis complemented Allied counterintelligence operations that were already compiling information on Nazis who could be a threat after Germany's defeat. Furthermore, they and their agencies were "interested in tracing and preventing the flow of assets to places of refuge where they might be used to finance the postwar survival of Nazism."51
X-2 gave ALIU the name "Project Orion" because members of the unit considered themselves "hunters" of Nazi art thieves and Nazi art collaborators. An OSS directive declared that the ALIU's primary mission was "to collect and disseminate such information bearing on the looting, confiscation and transfer by the enemy of art properties in Europe, and on the individuals or organizations involved in such operations or transactions, as well as be of direct aid to the United States agencies empowered to effect restitution of such properties and prosecute war criminals" and "to establish the pattern of looting and confiscation in its broader aspects, so as to be guided in the promulgation of plans for ultimate restitution."52 Donovan's directive also outlined ALIU's administration, its personnel, its operational procedures, and funding.
In late November 1944, the ALIU was established and staffed by art historians recommended by Taylor. ALIU members were naval officers with fine arts background and "listed as members of the armed forces, but as members of the OSS, they had more freedom of movement than others in the military."53 On June 10, 1945, the ALIU opened its interrogation center in Bad Aussee, Austria, close to the Alt Aussee salt mine.54 Fully staffed, the ALIU consisted of four commissioned officers, three enlisted men serving as administrative aides, and three civilians. The commissioned officers were responsible for the unit's field operations, reporting to the Roberts Commission, and the investigation and interrogation of Nazis and Germans involved in art confiscations.
Reparations and Restitution
The Central Collecting Points
Upon the end of the European war, in spring 1945, Germany was divided into four zones of occupation. The Office of Military Government, U.S. Zone, OMGUS, was established in October 1945 to administer the U.S. occupation zone. In addition to its other postwar duties, OMGUS took control of all looted art pieces within its German and Berlin zones and returned identifiable objects to the governments of the countries from which they had been stolen.55 There were more than fifteen hundred documented repositories throughout Germany and Austria, all storing Nazi confiscated goods. OMGUS attempted to return those pieces not identifiable to their possible country of origin, and items without any claims were turned over to Jewish successor organizations for restitution. The U.S. Allied Commission for Austria section of OMGUS (USACA) was the U.S. representative in Austria, which also restituted confiscated works.
Soon after the Allied forces discovered the mines and caves in the spring 1945, the Allies began the tedious task of moving the objects into central storage areas in order to return each object to its rightful owner. U.S. Third Army officers and troops found the Alt Aussee mine in May 1945, and it took more than two months to empty the mine and ship the contents to Munich. Having found the stolen art pieces, the Monuments Men, with the aid of Allied troops, faced two huge tasks: first, removing the art from the mines or castles and second, transporting the pieces to safe storage areas within the U.S. occupation zone.56 Due to the large number of salt caves and mines containing treasures, the U.S. Army consolidated the stolen objects into four central collecting points: Munich, Wiesbaden, Marburg, and Offenbach.
A painting by Edouard Manet, titled Wintergarden, was one of many discovered in the Merkers salt mine and removed by U.S. troops in April 1945.
At these facilities, confiscated objects were identified, described, and photographed for restitution purposes. Marburg opened first in May 1946, yet it quickly filled up. It was closed in June 1946 once Munich opened, and Marburg's contents were distributed among the other three collecting points. The remaining collecting points were assigned "specialties" in order to expedite restitution efforts: Munich contained materials needing restitution to foreign countries and to the Bavarian State Museums; Wiesbaden held German-owned materials from the former Prussian State Museum and Staedel Institute of Frankfurt; and the Offenbach Archival Depot housed Jewish manuscripts, books, and archives. At their height, Munich held more than one million individual objects; Wiesbaden held more than 700,000.
The Munich Central Collecting Point was set up in the former Nazi administrative building (the Verwaltungsbau) and Hitler's former office (the Fürherbau).57 Offenbach opened in 1945 and restituted books and Judaic objects until 1947, when it was closed and the remaining materials were shipped to Wiesbaden collecting point.58
OMGUS made great efforts to recover and to restitute looted cultural property and created a large volume of records in the process. These records were created for specific purposes: to protect art, whenever possible, from being damaged or stolen by the Allied military forces and to keep art from being used as a financial asset by the Axis. Some of these records consist of property cards, created by the collecting point as the shipments were received. Munich alone received over fifty thousand separate shipments.59 The cards were created to document pertinent information in aiding restitution efforts: classification of the object, artist and title names, dimensions, markings, and photographs of the object. One category on the cards, "presumed owner," may allow art historians to begin their respective research into specific pieces and return them to the claimant.
Despite the tireless efforts of Allied military and civilian agencies, hundreds of confiscated artworks were never recovered and returned to their rightful owners. The vast volume of documentation left behind by the Nazis and the Allied agencies, however, allows those efforts to continue. Through its microfilming and preservation program, the Holocaust Records Project is providing the historical and art communities with greater access to the records that tell the story of artworks and artifacts damaged and looted during World War II.
Anne Rothfeld was an archivist with the Holocaust Records Project at the National Archives and Records Administration.
1 In March 1996 a researcher was sent to the National Archives to look for information about Jewish dormant bank accounts in Swiss banks, and in May 1997 a report to Congress was prepared on the discovery of dormant claims and gold. Also in 1997, research into unpaid insurance policies, non-monetary gold (i.e., victims gold from the death camps), and looted art began. In March 1998 the National Archives and Records Administration published a finding aid that describes Holocaust-era assets available in the National Archives at College Park. In fall 1998 President Clinton signed the Nazi War Crimes Disclosure Act, calling for all federal agencies to recommend for declassification records relating to Holocaust-era war crimes, war criminals, Axis persecution, and looted assets, including art and cultural property. In regards to looted art, American art museums have begun the tedious task of researching the provenance of each item in their holdings.
2 If conducting art provenance research, please refer to Nancy H. Yeide, Konstantin Akinsha, and Amy L. Walsh, The AAM Guide to Provenance Research (2001), a useful guide to archival holdings worldwide.
3 Records of the American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas ("The Roberts Commission"), Record Group (RG) 239, National Archives at College Park (NACP). The Roberts Commission records contain index card boxes divided into different subjects, including art looting suspects, looted art objects, repositories and collectors suspected of receiving or storing looted art objects, and firms involved in art looting. The records also contain two large series of photographs taken by the Monuments, Fine Arts, and Archives (MFA&A) and the Signal Corps.
4 ERR's full name is der Einsatzstab Reichsleiter Rosenberg für die Besetzten Gebiete, the Reich Leader Rosenberg Task Force for Occupied Territories.
5 OSS Art Looting Investigation Unit Reports, 1945–46 (National Archives Microfilm Publication M1782), Records of the American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas, and Records of the Office of the Chief of Naval Operations, RGs 239 and 38, NACP.
6 Art Looting Investigation Unit's Detailed Interrogation Reports (DIRs), 1945–1946, entry 74, boxes 84–84A, Records of the American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas, RG 239, NACP. Arranged numerically by report numbers 1–13, with report number 8 not being used. "Investigation of Dr. Kajrtan Muehlmann, 1945–1948," a separate report by the Dutch Officer Jan Vlug, can be found in Restitution Research Records, 1933-1950, box 435, Ardelia Hall Collection, OMGUS, Records of U.S. Occupation Headquarters, World War II, RG 260, NACP.
7 Art Looting Investigation Unit's Consolidated Interrogation Reports (CIRs), 1945, entry 75, boxes 85–85A, Records of the American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas, RG 239, NACP. Arranged numerically by report numbers 1–4, with report number 3 never completed. The final report is titled Report of the American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas (1946).
8 Benjamin C. Sax and Dietar Kuntz, Inside Hitler's Germany: a Documentary History of Life in the Third Reich (1992), pp. 219–220. Also see Dietrich Orlow, The History of the Nazi Party, 1919–1933 (1969); George L. Mosse, Nazi Culture (1981); John Willett, Art and Politics in the Weimar Period: The New Sobriety, 1917–1933 (1978); and Jonathan Petropoulos, Art as Politics in the Third Reich (1996).
9 Dietrich Orlow, A History of Modern Germany, 1871 to Present (2nd ed. 1999), pp. 136–140; Shearer West, The Visual Arts in Germany, 1890–1937: Utopia and Despair (2001), pp. 159–205. See also Peter Adam, Art of the Third Reich (1992); and Stephanie Barron, "Degenerate Art": The Fate of the Avant-Garde in Nazi Germany (1991).
10 Lucy S. Dawidowicz, The War Against the Jews, 1933–1945 (1975), pp. 95–106. On June 14, 1938, the Nazis defined a Jewish business by issuing the "Third Decree to the Reich Citizenship Law": "A business enterprise is considered Jewish if its owner is a Jew." Dawidowicz, p. 96.
11 Lynn H. Nicholas, The Rape of Europa: The Fate of Europe's Treasures in the Third Reich and the Second World War (1995), p. 31.
12 See two works by Petropoulos, Art as Politics in the Third Reich and The Faustian Bargain: The Art World in Nazi Germany (2000), and also Nicholas, The Rape of Europa. These books describe in detail the Nazi methods of looting and plundering private art collections and public national cultural treasures. Elizabeth Simpson, The Spoils of War: World War II and Its Aftermath: The Loss, Reappearance, and Recovery of Cultural Property (1997), contains accounts of American civilian and military personnel involved in the recovery and restitution of stolen art works.
13 More than 5,000 pieces arrived from the various Rothschild families, 1,200 from the Alphonse Kann collection, 2,600 from David-Weill of Levy de Benzion, and 550 from Seligmann art merchants. According to ERR's paperwork, from 1940 to 1944 it confiscated approximately 10,800 paintings and other pictures, 580 sculptures, 2,400 furniture pieces, 5,800 objets d'art, and more than 1,200 Asiatic articles.
14 Following the alphabetical abbreviation indicating the collection name was the number assigned to the object (placed consecutively), i.e. R1522, the 1,522nd object in the Rothschild collection. CIR No. 1, "Activity of the Einsatzstab Rosenberg in France," attachment 10, box 85, RG 239, NACP.
15 CIR No. 4 Linz, pp. 2–4, and attachments A and B, boxes 85–85A, entry 75, RG 239, NACP.
16 CIR No. 2 Goering, chap. V, Confiscations, boxes 85–85A, entry 75, RG 239, NACP.
17 Consolidated Interrogation Report (CIR) No. 4 Linz: Hitler's Museum and Library, attachment 1, boxes 85–85A, entry 75, RG 239, NACP. See Nicholas, The Rape of Europa, and Petropoulos, Art as Politics in the Third Reich, for further discussion of Posse and Voss.
18 CIR No. 4 Linz, p. 16 and attachment 1, boxes 85–85A, entry 75, RG 239, NACP.
19 Ibid., p. 18.
21 Nicholas, The Rape of Europa, p. 171.
22 Detailed Interrogation Report No. 12 "Hermann Voss," p. 7, boxes 84–84A, entry 74, RG 239, NACP (hereinafter cited as DIR No. 12 Voss).
23 Ibid., pp. 22–23.
24 DIR No. 12 Voss, pp. 6–20, boxes 84–84A, entry 74, RG 239, NACP. Author's conversation with ALIU member S. Lane Faison, Jr., Williamstown, MA, Apr. 6–7, 2002.
25 DIR No. 12 Voss, attachment 4, entry 74, RG 239, NACP.
26 CIR No. 2 "The Goering Collection," Sept. 15, 1945, by Theodore Rousseau, boxes 85–85A, entry 75, RG 239, NACP (hereinafter cited as CIR No. 2 Goering).
27 Ibid. For additional information on Nazi gift giving, see Petropoulos, Art as Politics in the Third Reich, pp. 264–282.
28 CIR No. 2 Goering, pp. 32–148, outlines the ERR's procedures for sales, exchanges, purchases, and confiscations. Boxes 85–85A, entry 75, RG 239, NACP. See also "The Plunder of Art Treasures," in Office of United States Chief of Counsel for Prosecution of Axis Criminality, Nazi Conspiracy and Aggression, vol. I ("Red series") (1946), pp. 1097–1116.
29 Hofer's correspondence shows his understanding of how Göring operated and which pieces suited Göring's art tastes. For example, in his letter to Göring dated Sept. 26, 1941, Hofer tells of nineteenth-century French paintings he selected for Göring and states that the degenerate art in the Paul Rosenberg collection would be suitable for exchanges. CIR No. 2 Goering, pp. 10–13 and attachments 1, 17, boxes 85–85A, entry 75, RG 239, NACP.
30 The Roberts Commission, RG 239, NACP. See Nicholas, The Rape of Europa, for a narrative account of the commission's contributions to recovering, protecting, and restituting looted artworks.
31 The American Defense Harvard Group had a major interest in protecting art collections and European refugee professors who had seen the confiscation and destruction of national treasures firsthand. U.S. government agencies like the Office of Strategic Services (OSS) used the group to its own advantage since these university communities had the networks to supply intelligence necessary for a successful European campaign. See Nicholas, The Rape of Europa, for a narrative of the American Defense Harvard Group contributions.
32 Chief Justice Harlan Stone to President Roosevelt, Dec. 8, 1942, p. 1, folder "American Commission-Organization," Correspondence, 1943–1946, box 12, entry 7, RG 239, NACP.
33 Cordell Hull to President Roosevelt, June 21, 1943, p. 2, folder "American Commission-Organization," Correspondence, 1943–1946, box 12, entry 7, RG 239, NACP.
34 Cordell Hull to David Finley, director, National Gallery of Art, July 16, 1943, folder "American Commission-Organization," box 12, Correspondence, 1943–1946, entry 7, RG 239, NACP.
35 Other Roberts Commission members included William B. Dinsmoor, president of the Archaeological Institute of America; former governor of New York Herbert Lehman, who resigned in 1942 in order to serve as the first director of the United Nations Relief and Rehabilitation Administration (UNRRA) (see the Simon Wiesenthal Museum of Tolerance web site, http://motlc.wiesenthal.com/text/x14/xr1426.html); Archibald MacLeish, Librarian of Congress; Paul Sachs, associate director of the Fogg Museum; Archbishop Francis J. Spellman (Spellman replaced Alfred E. Smith of New York when Smith died); Francis Henry Taylor, director of the Metropolitan Museum of Art; Charles H. Sawyer, secretary to the Roberts Commission; Sumner Crosby, Roberts Commission representative in London; and John Walker, chief curator at the National Gallery of Art and special adviser to the commission.
36 During the Roberts Commission's first meeting in August 1945, it created seven subcommittees: Committee on Definition of Works of Cultural Value and Property, chaired by Finely; Committee on Administration, chaired by Finley and Cairns; Committee on Books, Manuscripts, and Other Printed and Written material of Cultural Value, chaired by Archibald MacLeish; Committee on the Protection of Cultural Treasures in War Areas and the American Defense-Harvard Group, chaired by ACLS; Committee on Collection of Maps, Information, and Description of Art Objects, co-chaired by Dinsmoor and Sachs; Committee on Personnel, chaired by Sachs and Constable; and Committee on Art instruction in Military Government Schools, chaired by Finley. See Records of the Roberts Commission Subcommittees, entries 42–59, RG 239, NACP.
37 For additional information on the Monuments Men, see the MFA&A records in the Roberts Commission records, Field Reports, 1943–1946, entry 62, boxes 56–74, RG 239, NACP. Janet Flanner wrote a series of New Yorker articles on the MFA&A, which are reproduced in Flanner, Men and Monuments (1990).
38 "Special background guidance for handling all information concerning the American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas," dated March 1945, folder "American Commission-Organization," Correspondence, 1943–1946, box 12, entry 7, RG 239, NACP.
40 Hammond's reports are in Records Concerning MFA&A Officers (MFA&A), 1945, box 56, entry 60, RG 239, NACP. Other MFA&A members included Capt. Bancel LaFarge, Lt. George Stout, and First Lt. James Rorimer. See Gerald K. Haines, "Who Gives a Damn about Medieval Walls?" Prologue: Journal of the National Archives 8 (Summer 1976): 97–106; Nicholas, The Rape of Europa, chaps. 10 and 11; and James J. Rorimer, Survival: The Salvage and Protection of Art in War (1950).
41 Webb was the Slade Professor of Fine Arts at Cambridge University. Other Monuments Men included Lt. Lamont Moore, National Gallery of Art; Lt. Calvin Hathaway, Cooper Union Museum for the Arts of Decoration; Pfc. Lincoln Kirstein, art patron; Capt. Robert Posey, architect; Capt. Walker Hancock, Prix de Rome sculptor; and Lt. James Rorimer, Metropolitan Museum of Art.
42 MFA&A Field Reports, 1943–1946, entry 62, boxes 56–74, RG 239, NACP. See Nicholas, The Rape of Europa.
43 See MFA&A Field Reports, boxes 56–74, entry 62, RG 239, NACP.
44 Nicholas, The Rape of Europa, pp. 328–331.
45 See Greg Bradsher, "Nazi Gold: The Merkers Mine Treasure," Prologue: Quarterly of the National Archives and Records Administration 31 (Spring 1999): 7–21.
46 Nicholas, The Rape of Europa, pp. 346–350. Alt Aussee's estimated contents included 6,577 paintings, 2,300 drawings and watercolors, 1,200–1,700 cases of books, and over 250 cases of unknown objects.
48 Ibid., pp. 337–339. Paul von Hindenburg, 1847–1934, was a German general and statesman; Frederick II, the Great, 1712–1786, ruled 1740–1786; and Frederick William II, 1744–1797, ruled 1786–1797.
50 See Bradley F. Smith, The Shadow Warriors: O.S.S. and the Origins of the C.I.A. (1983). See also R. Harris Smith, OSS: the Secret History of American's First Central Intelligence Agency (1973).
52 Memorandum dated Nov. 21, 1944, from Lt. J. S. Plaut, USNR, and Lt. T. Rousseau, Jr., USNR, to James R. Murphy, Chief X-2 Branch, Subject: Fine Arts Project "ORION," pp. 1–2, X-2 Branch, folder 1747, box 532, RG 226, NACP.
54 James S. Plaut, the ALIU's director, was director of Boston's Institute for Contemporary Art. Theodore Rousseau, ALIU's Operations Officer, was a curator at the National Gallery of Art in Washington DC. S. Lane Faison Jr., an ALIU officer and later director of the Munich Central Collecting Point, was a professor of fine arts at Williams College in Massachusetts. Additional staff members included Otto Wittman, the unit's liaison officer in Washington, DC, and John Phillip, the liaison officer in the ALIU's London office.
55 See Michael Kurtz, Nazi Contraband: American Policy in the Return of European Cultural Treasures, 1945–1955 (1985), which examines the politics of restitution of the Allied organizations and describes the failed attempt to create one repatriation policy in the postwar period.
56 For further reading on the collecting points, see Craig Hugh Smyth, Repatriation of Art from the Collecting Point in Munich after World War II (1988); Walter I. Farmer, The Safekeepers: A Memoir of the Arts at the End of World War II (2000); and Thomas Carr Howe, Jr., Salt Mines and Castles: The Discovery and Restitution of Looted European Art (1946).
57 Lt. Craig Hugh Smyth directed the Munich collecting point. See Smyth's book for a first hand account of the challenges Smyth faced trying to establish the collecting point in 1945. See Munich's Administrative Records in the Records of the Munich Central Collecting Point in the Ardelia Hall Collection, boxes 263–277, OMGUS, RG 260, NACP. S. Lane Faison, Jr., former ALIU member 1944–1946, returned to Munich in 1950 to assist in closing Munich collecting point. Author's conversation with Faison, April 6–7, 2002, Williamstown, MA.
58 Col. Seymour Pomrenze directed the Offenbach Archival Depot. See Records of the Offenbach Archival Depot in the Ardelia Hall Collection, boxes 250–262, OMGUS, RG 260, NACP. Offenbach reports are located in the Monthly Consolidated Field Reports in the Records of the Wiesbaden Central Collecting Point in the Ardelia Hall Collection, boxes 136–139, OMGUS, RG 260, NACP.
59 A collecting point property card number consists of the shipment number, origin of the shipment, and the number of the specific item being shipped. For example, a painting arriving to Munich from the mine at Alt Aussee would have the shipment number 23/Aussee 9, the ninth object on the twenty-third shipment from Alt Aussee. Property cards were created for the Marburg, Munich, and Wiesbaden collecting points and are now part of the Ardelia Hall Collection, RG 260, OMGUS, NACP.
Articles published in Prologue do not necessarily represent the views of NARA or of any other agency of the United States Government.


text:
What Makes Your Church Your Church?
3 building blocks to help you tell your story.
What makes your church your church? The distinctive elements within your building that tell the story of who you are as a faith community? These are the questions that Kevin Miller, recent executive director of resource development at Christianity Today and now senior pastor at Church of the Savior in Wheaton, Illinois, explores in the video series, "Telling Your Church's Unique Story."
Miller shares insights he gleaned from leading his previous church through a major adaptive reuse building project. After winning an auction for an abandoned plastics factory, his church had to decide how to transform an industrial steel and glass structure into ministry space that would resonate with their Anglican congregation.
Miller covers the process his church underwent in determining their church's story and how they could use this new space to convey their mission, vision, and values. His church's building project helped him discern three key elements that must be considered to clearly communicate your church's unique story within its physical space.
1. Loves
Like every church, Church of the Resurrection loves many things: for example, the performing arts, children's ministry, and leading people back to Christ. According to Miller, though, for Church of the Resurrection, worship is probably their greatest love. During their building process, extra money went into designing a spectacular worship center while creating functional children's areas, lobby spaces, and other office and classroom areas of the church. By investing in one key space—the sanctuary—Church of the Resurrection tells the story of a worship-centric church.
Understanding the significance of a church's location is every bit as important, if not more so, then the built space itself. For example, Church of the Resurrection is an Anglican church based in the suburbs of Chicago. The church's steel and glass structure fits well within the context of Chicago architecture, but initially it felt at odds with the traditional liturgical culture of the Anglican Church.
Ultimately, Church of the Resurrection opted to embrace both realities—their church's alignment with Chicago architecture, and interior design elements, especially in the sanctuary, that help to create the liturgical, sacred feel associated with Anglican churches.
According to Miller, every church needs to determine the context in which they are located and the spiritual needs of the congregation. What worked at that church wouldn't be the right solution for another church in a different location.
3. Lessons Learned
Every church body has a history of victories and fall-outs that shape a church's story. For example, Church of the Resurrection is a thriving church today. Early in the church's history, however, there was a series of public arguments and splits.
According to Miller, the conflict wasn't handled well, and there was a lot of pain within the church body. While it's easier to sweep a history like this under the rug, Church of the Resurrection took a different approach and embraced the pain.
Rather than hiding the split from members and new staff, the church focuses church membership classes on reconciliation, conflict resolution, and healthy relationship building—lessons the church itself learned from this painful part of their story. And it displays for all to see a photo of some of the key people who had been separated and since have been reconciled.
Learning from these lessons, putting them on display, and encouraging a different future are key ways to tell your church's unique story.
What are the loves, location, and lessons learned at your church? How might you use these three building blocks to tell the story of who your church is?
Telling Your Church's Unique Story
By Kevin Miller
Video 1: Your Church Has a Unique Story
Video 2: Invest in Your Church's Loves
Video 3: Understanding Your Church's Location
Video 4: Lessons Learned
Kevin Miller serves as Senior Pastor of Church of the Savior in Wheaton, Illinois. This video was filmed at Aspen Group's Alignment Conference. You can find more resources on building a story at your church here.
Marian V. Liautaud is a former editor at Christianity Today. Based in Chicago, she continues writing and editing on a freelance basis and serves as Director of Marketing for Aspen Group.
ArtAuthenticityChristian HistoryChurch BuildingsCommunicationCreativityFellowship and CommunityHistoryInternationalMissionsMoney and BusinessTime Management
Posted:April 19, 2017
Something Wiki This Way Comes
Christianity Today's 2020 Book Awards
Our picks for the books most likely to shape evangelical life, thought, and culture.

redpajama_set_name: RedPajamaCommonCrawl


text:
University of New England (United States)
Not to be confused with New England College or University of New England (Australia).
Former names
Westbrook Seminary
College Séraphique
"Lucens et ardens"
Ardor for light
Private, non-profit
1831; 188 years ago (1831)[1]
James D. Herbert
Joshua Hamilton
275 full-time[2] 298 part time
43°27′30″N 70°23′15″W / 43.45833°N 70.38750°W / 43.45833; -70.38750Coordinates: 43°27′30″N 70°23′15″W / 43.45833°N 70.38750°W / 43.45833; -70.38750
NCAA Division III Commonwealth Coast Conference and ECAC
Nor'easters
NEASC (accreditation) [4]
Stormin' Norman[5]
une.edu
The University of New England (UNE) is a private, coeducational university based in Biddeford, Maine, USA. There are additional campuses in Portland, Maine and Tangier, Morocco. The Biddeford Campus sits on 540 acres, the Portland Campus on 41 acres, and the Tangier Campus on 3.7 acres.[6] During the 2016–2017 academic year, 13,743 students were enrolled in UNE's campus-based and online programs.[3]
UNE's institutional history dates to 1831, when Westbrook Seminary opened on what is now the UNE Portland Campus. The UNE Biddeford Campus was founded in 1939 when College Séraphique opened as a high school and junior college for boys of Quebecois descent. In 1952, that institution became a four-year liberal arts college named St. Francis College. In 1978, St. Francis College merged with the New England Foundation for Osteopathic Medicine to become the University of New England. In 1996, the University of New England merged with Westbrook College.[7]
UNE is the largest private university in the state of Maine[8] and the largest educator of healthcare professionals for Maine.[9] It is organized into six colleges that combine to offer more than 70 undergraduate, graduate, online, and professional degrees. Known predominantly for its programs in the sciences and health sciences, UNE also offers degrees in the marine sciences, data science, environmental science, mathematics, business, education, the humanities, and many other subjects. Its College of Osteopathic Medicine is the only medical school in Maine and its College of Dental Medicine is the only dental college in northern New England.
2.1 Biddeford Campus
2.2 Portland Campus
2.3 Tangier Campus
3.1 College of Arts and Sciences
3.2 Westbrook College of Health Professions
3.3 College of Osteopathic Medicine
3.4 College of Dental Medicine
3.5 College of Pharmacy
3.6 College of Graduate and Professional Studies
3.7 Centers of Excellence
3.8 Rankings
In 1939, a boys-only high school and junior college called the College Séraphique was founded in Biddeford by Father Decary and the Franciscan friar of St. Andre's parish.[1]
In 1952, the school changed its name to St. Francis College and began granting bachelor's degrees with state approval in 1953.[1] The high school program was phased out by 1961, and the college was first accredited in 1966.[1][10]
The school became co-educational for the first time in 1967, and the Franciscans withdrew from the administration of the college in 1974.[1]
To survive dropping enrollment, St. Francis College entered into an agreement with the New England Foundation for Osteopathic Medicine to establish the New England College of Osteopathic Medicine on the same campus, and in 1978 the two became the "University of New England"[1], although the merger would not be fully complete until a 1987 vote by the College of Osteopathic Medicine corporation.[11] In 1996, Westbrook College merged with the University of New England. The merger took place under the terms of the original 1831 Westbrook charter, and the combined institutions became Westbrook College before changing the name back to the University of New England.[12] The campus of the former Westbrook College is now known as the UNE Portland Campus.
In December 2010, the university received the largest gift in its history—$10 million from the Harold Alfond Foundation to build the Harold Alfond Forum on the Biddeford Campus, and to support interprofessional healthcare workforce education.
The Alfond Forum, which opened fall 2012, includes a 105,000-square-foot (9,800 m2) athletics complex featuring an ice hockey rink with 900 seats; a basketball court with 1,200 seats; classroom space; a fitness center; and multi-purpose indoor practice courts that can also be used for performances and other events, with a combined seating capacity of 3,000. This provides the largest gathering space on both the Biddeford and Portland campuses. The complex is located between UNE's new synthetic blue turf field and Sokokis Hall.
In March 2014, UNE launched its $60M "Moving Forward Campaign," the largest in UNE history.[13]
James D. Herbert, Ph.D., serves as UNE's sixth president. His tenure began on July 1, 2017, immediately following the 11-year tenure of Danielle N. Ripich. [14]
UNE offers three campuses that provide students with a range of learning environments. The university's two campuses in coastal Maine, USA, house undergraduate, graduate, and professional programs, while its Tangier Campus provides a semester-abroad opportunity in Morocco.[15]
Biddeford Campus[edit]
The Biddeford Campus covers 540 acres (220 ha), with 0.75 miles (1.21 km) of ocean frontage where the Saco River flows into the Atlantic Ocean.[6] The 26 buildings on the campus include the Harold Alfond Center for Health Sciences, the Pickus Center for Biomedical Research, and the Marine Science Center.
The Harold Alfond Center for Health Sciences houses Maine's only medical school: The University of New England College of Osteopathic Medicine.[16]
UNE's Biddeford Campus is also home to the George and Barbara Bush Center, which houses material chronicling the Bush legacy in Maine, including memorabilia on loan from the George H.W. Bush Presidential Library at Texas A & M University. The Center includes a replica of the Oval Office during Bush's term in the White House and a statue of the former president. Each year, UNE hosts an annual lecture at its Biddeford Campus that is often attended by the former president and his family.[17] In September 2017, former U.S. Senate Majority Leader George Mitchell visited UNE's Biddeford Campus to deliver the Bush Lecture.[18]
The UNE Biddeford Campus also includes the Harold Alfond Forum, which offers 105,000 square-feet (9,800 m2) of athletic and learning space, including: an NHL-size ice hockey rink with 900 seats, a basketball court with 1,200 seats, classrooms, a fitness center, and multi-purpose indoor practice courts that are also used for performances and lectures.[19] A $10 million gift from the Harold Alfond Foundation facilitated the building's construction and the development of associated programming.[20]
UNE also owns Ram Island, off the coast of the Biddeford Campus, which serves as a field station for student and faculty researchers.[21]
Portland Campus[edit]
Main article: Westbrook College Historic District
Ludcke Auditorium, Portland Campus.
The 41 acres (17 ha) Portland Campus (43°40′59″N 70°17′44″W / 43.68306°N 70.29556°W / 43.68306; -70.29556 (Westbrook College campus, UNE)) is designated a national historic district. It is located in a suburban neighborhood, just a short drive from Portland's downtown.
The UNE Portland Campus houses the university's Westbrook College of Health Professions, the College of Pharmacy, and the College of Dental Medicine. The College of Dental Medicine, which is housed in the $14.5 million Oral Health Center, graduated its first class in 2017.[22] It is Maine's only dental college.[23]
Other features of the UNE Portland Campus include the Art Gallery, the Maine Women Writers Collection, Alumni Hall, and the Center for Global Humanities. Alumni Hall is the oldest building on campus, dating to an original opening in 1834; its most recent renovation was completed in 2016.[24] The Center for Global Humanities hosts scholars from around the globe for public lectures. Past lectures have featured Noam Chomsky,[25] Sherwin Nuland,[26] and Bill McKibben[27] as speakers.
Tangier Campus[edit]
In January 2014, UNE opened a campus in Tangier, Morocco, within the campus of the American School of Tangier. The UNE campus consists of two buildings—one for academic programming and the other for student and staff housing. It also includes an outdoor court colored UNE blue.[28] Undergraduates take courses delivered in English in the sciences, humanities, and languages.
While studying in Morocco, UNE students take excursions to Casablanca, Fez, Marrakesh, and a UNE satellite program in Seville, Spain.[29]
The UNE Tangier Campus also hosts the Tangier Global Forum, a public lecture series designed to facilitate discussion of issues facing the global community. On May 12, 2017, former U.S. Senate Majority Leader George J. Mitchell visited the UNE Tangier Campus to present a lecture titled "Is Peace Possible in the Middle East?"[30]
UNE offers more than 70 undergraduate, graduate, and professional degree programs.[31] The university also has Maine's only medical school and dental school.[32]
College of Arts and Sciences[edit]
The UNE College of Arts and Sciences offers more than 40 undergraduate and graduate degree programs. Popular majors include biology, business, data science, education, environmental science, marine science, marine entrepreneurship, mathematics, and psychology.
Westbrook College of Health Professions[edit]
The UNE Westbrook College of Health Professions prepares students for careers in the healthcare fields offering graduate and doctoral degrees. Students participate in clinical simulations, inter-professional learning experiences, service learning, and other experiences that enable them to transition smoothly into the workforce upon graduation. Programs included are Physician Assistant, Physical Therapy, Social Work, Occupational Therapy, and Nurse Anesthesia[33]
College of Osteopathic Medicine[edit]
The University of New England College of Osteopathic Medicine is the only medical school in the state of Maine. Its graduates constitute 25 percent of primary care physicians practicing in rural parts of Maine, and 10 percent of practicing physicians in the state.[16][34] Founded in 1978, it is accredited by the Commission on Osteopathic College Accreditation (COCA) and the Commission on Institutions of Higher Education of the New England Association of Schools and Colleges.[35]
College of Dental Medicine[edit]
The UNE College of Dental Medicine is the only dental school in northern New England.[36] Accredited by the American Dental Association Commission on Dental Accreditation, it offers opportunities for students to treat patients in UNE's Oral Health Center during their first three years and at clinical sites throughout New England in their fourth years.
College of Pharmacy[edit]
The UNE College of Pharmacy is housed in the only facility in Maine devoted exclusively to academic study and research in the field of pharmacy.[37] The building provides 48,000 square feet of learning space on four floors, including a drug information center, three teaching laboratories, and lecture halls and classrooms equipped with the latest technologies. The college is accredited by the Accreditation Council for Pharmacy Education (ACPE).
College of Graduate and Professional Studies[edit]
The UNE College of Graduate and Professional Studies offers online degrees and certificate programs. In 2015, the college enrolled students from all 50 U.S. states and 27 countries.[38] Its programs include degree and certificate courses in applied nutrition, education, social work, public health, health informatics, and medical education leadership.[39]
Centers of Excellence[edit]
The University of New England has several centers of excellence for research and scholarship.[40] These universitywide centers build on existing programs in marine science and neuroscience, humanities, and interprofessional education.
The centers are designed to provide opportunities for collaborative research and scholarship programs for interdisciplinary, multi-investigator, and multi-institutional awards. The centers are also designed to expand undergraduate research at UNE and explore opportunities for future doctoral programs. The centers include:
The Interprofessional Education Collaborative
Center for Excellence in Health Innovation
Center for Excellence in the Neurosciences
Center for Global Humanities
UNE North: The Institute for North Atlantic Studies
Center for Enrichment of Teaching & Learning
Center of Biomedical Research Excellence for the study of Pain and Sensory Function
Center for Excellence in Aging and Health
Rankings[edit]
UNE's programs have received national and international recognition in recent years:
The Brookings Institution ranks UNE second among all Maine universities and colleges for its ability to increase students' career earnings.[41]
Forbes ranks UNE #545 in it's list of "America's Top Colleges for 2015."[42]
UNE received the New England Board of Higher Education's 2015 Maine Merit Award for excellence in innovation.[43]
PayScale.com ranks UNE 532nd out of 1002 colleges with high salary potential for graduates.[44]
In 2017, The Wall Street Journal/Times Higher Education Ranked UNE 325th among U.S. Colleges and Universities.[45]
University of New England teams participate as members of the National Collegiate Athletic Association's Division III.[46] The Nor'easters are a member of the Commonwealth Coast Conference (CCC) for thirteen of the school's current varsity sports; for women's ice hockey, the Nor'easters belong to the New England Hockey Conference.[46] Men's sports include basketball, cross country, golf, ice hockey, lacrosse, and soccer. Women's sports include basketball, cross country, field hockey, ice hockey, lacrosse, rugby, soccer, softball, swimming, and volleyball. In 2017, UNE fielded a sub-varsity football team in preparation for 2018 when it became a varsity football member of the CCC's football-only arm of Commonwealth Coast Football.[47]
^ a b c d e f "UNE Connect - Alumni & Friends Home".
^ "Office of Institutional Research and Assessment - University of New England in Maine, Tangier and Online". www.une.edu. Retrieved 11 April 2018.
^ a b "Tewnds in headcount" (PDF). www.une.edu. 2017. Retrieved 2019-06-20.
^ "Welcome to the University of New England's NEASC Re-Accreditation website", University of New England website
^ "Stormin' Norman voted Maine's No. 1 mascot -". athletics.une.edu. Retrieved 11 April 2018.
^ a b "Campuses - About UNE - University of New England in Maine, Tangier and Online". www.une.edu. Retrieved 11 April 2018.
^ Press, The Associated. "Trustees approve college merger UNE, Westbrook to share enrollment". The Bangor Daily News. Retrieved 2016-02-12.
^ "CMCC partners with UNE to expand students' access to science degrees | Twin City Times". www.twincitytimes.com. Retrieved 2016-02-12.
^ "University of New England – GPACU". gpacu.org. Retrieved 2016-02-12.
^ "University of New England". Colleges & Universities (CIHE) / Commission on Institutions of Higher Education. 2016-04-22. Retrieved 2016-04-28.
^ http://dune.une.edu/cgi/viewcontent.cgi?article=1000&context=shapingafuture
^ "UNE Connect - Alumni & Friends Home".
^ "Give to UNE | University of New England in Maine, Tangier and Online". www.une.edu. Retrieved 2016-04-28.
^ "University of New England announces James Herbert of Drexel University as next UNE president - News - University of New England in Maine, Tangier and Online". www.une.edu.
^ "UNE Tangier, Morocco - University of New England in Maine, Tangier and Online".
^ a b "College of Osteopathic Medicine | University of New England in Maine, Tangier and Online". www.une.edu. Retrieved 2016-04-28.
^ "George H.W., Barbara Bush attend lecture – on presidents: Photo - The Portland Press Herald / Maine Sunday Telegram". 24 September 2015.
^ "Former Sen. Mitchell outlines some ways to fix a broken political system". pressherald.com. 12 September 2017. Retrieved 11 April 2018.
^ "University of New England - Harold Alfond Forum".
^ "The Harold Alfond Foundation commits $10 million to UNE".
^ "University of New England says donated island will become 'living laboratory' - The Portland Press Herald / Maine Sunday Telegram". 30 November 2015.
^ "UNE graduates its first class of dentists". mainebiz.biz. Retrieved 11 April 2018.
^ Koenig, Seth; Staff, B. D. N. "University of New England appoints new dean for Maine's only dental college".
^ "University of New England celebrates reopening of renovated 182 year-old iconic Alumni Hall on Portland Campus - News - University of New England in Maine, Tangier and Online". www.une.edu. Retrieved 11 April 2018.
^ "Chomsky urges change in U.S. policy on Middle East - The Portland Press Herald / Maine Sunday Telegram". 13 December 2011.
^ UNE Center for Global Humanities (5 November 2013). "Sherwin Nuland, M.D.: How We Die" – via YouTube.
^ Olmstead, Kathryn; BDN, Special to the. "Global warming forum moves some participants to action".
^ Tingis Redux (25 February 2016). "UNE dedicates first blue court in Tangier" – via YouTube.
^ "UNE Tangier, Morocco | University of New England in Maine, Tangier and Online". www.une.edu. Retrieved 2016-04-28.
^ "George Mitchell shares views on Middle East peace prospects during age of Trump". bangordailynews.com. Retrieved 11 April 2018.
^ https://www.une.edu/sites/default/files/IA_UNE-QuickFacts_Booklet_Approved_WEB_Spreads_021916.pdf
^ "About UNE | University of New England in Maine, Tangier and Online". www.une.edu. Retrieved 2016-04-28.
^ "Westbrook College of Health Professions - University of New England in Maine, Tangier and Online".
^ "National Center for the Analysis of Healthcare Data: Customized Maps and Data". ncahd.org. Retrieved 2016-04-28.
^ "College of Osteopathic Medicine - University of New England in Maine, Tangier and Online".
^ Keithley, Jim. "UNE dental school opens Wednesday".
^ "Facilities - College of Pharmacy - University of New England in Maine, Tangier and Online".
^ "Info" (PDF). www.une.edu. Retrieved 2019-06-20.
^ "Online Graduate Degrees and Certificates offered at UNE". une.edu. Retrieved 11 April 2018.
^ "Centers and Institutes | Research | University of New England in Maine, Tangier and Online". www.une.edu. Retrieved 2016-04-28.
^ "Using earnings data to rank colleges: A value-added approach updated with College Scorecard data". Brookings Institution. 29 October 2015.
^ Peterson-Withorn, Chase. "The Full List Of Forbes' Top Colleges 2015".
^ "University of New England Salary on Payscale".
^ "Times Higher Education College Rankings for 2017 –". timeshighereducation.com/The Wall Street Journal.
^ a b "About UNE Athletics". University of New England Athletics. Retrieved 8 October 2015.
^ "Football becomes a reality for UNE". pressherald.com. 11 August 2017. Retrieved 11 April 2018.
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Yeah we are. I can do this with my Windows Media Center based HTPC.
(c) why cant i buy a pc tablet that will mount into my car so i can have all the power of the radio, nav, cell phone, and other apps all in one place?
What's stopping you from doing this now? It's not a lack of technology.
And be able to take it with me into the office preventing the car from starting?
You could have this done, if you wanted to. All it would take is a bluetooth device attached to the car and having a custom app written for the tablet. Something like this may already exist. Have you looked?
They have - they're called fences. But fencing both sides of the entire length of a highway to keep an occasional animal from trying to cross isn't cost effective.
Life isn't safe. If you're concerned about being shot, be prepared to shoot back.
Still waiting for my flying car. And a replicator would be nice, too.
I want a transporter to deliver me across town without having my entrails scrambled.
"Beam me, Scotty. All of me, just how I am."
I can do this with my FIOS DVR easily, and have been able to do so for a few years now. I go into an app, I can see my guide, I select the show I want to record and boom, done.
How about a remote control or phone ap with a "Fire the advertiser" feature? Whenever an obnoxious advertisement comes up, you press a switch and it gets removed from your ever having to see it again. If there are sufficient "YOU'RE FIRED" clicks, the ad gets removed from whatever media it is on for everyone. If the same advertiser makes three ads that get removed within a year, they get sent to prison for a year and made to watch "Barney the Dinosaur" 12 hours a day.
Electromagnetic engine cars....such a simple technology and I'm not sure why it wouldn't work.
A good way to go anywhere in the world and make it home for dinner.
Train cars....Personal cars for train tracks? Trans continental train bridges?
For starters I feel safer in an airplane than I do in my car driving to work, everything I wanted to automate in my home is finished and haven't had one issue with Internet streaming... My condolences you haven't partaken in modern technological tools and feel air travel is less safe than driving to work..
All I still want in 2014 is for the government to give me (with no strings attached) a 1963 split window Corvette 327 fuelie with free maintenance and fuel for life.
I would simply like Apple to continue to support my 2007 MacBook.
The mobile experience is still awful, yet that's the direction a lot of Web sites are now developing for. And by mobile, I mean that I, personally, only count a mobile device as a smartphone or smartphone equivalent. It cheapens the browsing experience, it's slower, and there is a lack of area coverage depending on where you are located. On the same connection speed, my computer runs much faster, no touch-button lag, faster load times, etc. I'm not sure if they do, but sometimes I think when these sites/companies collect traffic data, they count larger devices such as the iPad and tablets as mobile devices, but due to the larger screens size, I wouldn't classify that as a true mobile device. I would like to see high-speed Internet satellite with universal location coverage in the palm of my hand. The mobile infrastructure still has a long way to go.
No we don't. I want cheaper public transport, not safer. I can deal with menacing gum under the seats spreading the plague. I can't use the home appliances that I've got, because I don't understand the touchpad commands.
Give me back my microwave with a ticking rotary pointer showing how long to run.
I want technology in banking. I want to transfer funds, on my keyboard, to any other bank account. Or, at least, something simpler than mailing a personal check, or cheaper than paying $25 for a wire transfer, or Western Union's 10% commission. Or faster than waiting several days for my funds to be deposited in my PayPal account.
Last edited by jtur88; 02-20-2014 at 04:53 PM..


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Guy Ritchie's new Fitzrovia pub The Lore of the Land serves beer and venison from his country estate
Film director Guy Ritchie's pub empire is expanding. This Fitzrovia pub serves his beer in the pub downstairs and features an upstairs dining room where venison from his Wiltshire estate is on the menu.
Mikkeller and Rick Astley are opening the Mikkeller Brewpub in Exmouth Market
Cult Danish brewer Mikkeller have teamed up with Rick Astley once more, but their second London bar will also feature a brewery and a restaurant.
Four Legs at the Compton Arms launch their Sunday roast menu
They've already secured a place in the London burger hall of fame, so it'll be interesting to see what Four Legs - the residency at Islington's Compton Arms - do with Sunday Roasts.
Kicking off this weekend, the mains will be:
Roast beef with potatoes and Yorkshire pudding
Whole/half
The Duke of York in Haggerston is reopening - and this time it's all about the booze
Updated 17/10/19 with menu and images
If you've been wondering what's going on at the Duke of York on Downham Street (where the old Beef & Brew was) then let us enlighten you.
It's expected to reopen today under new management. Running the show now is Barworks - the folk behind Mare Street Market, The Well & Bucket and more. Hot Dinners spoke to the company's co-owner Marc Francis-Baum who told us that while in previous
Brewdog team up with Biff's Jack Shack to make BrewDog Dalston their first vegan bar
If beer and burgers are a match made in heaven, then vegan beer and vegan burgers must be the equivalent of nirvana for East London. That's presumably the thought process behind a new collaboration between BrewDog and Biff's Jack Shack.
The two companies have teamed up to make the brewer's Dalston location the group's first wholly vegan bar. So they'll be serving up vegan jackfruit based 'junk' food along with an exclusively
Anju is the new Korean food residency at The Gun in Hackney
In Islington's Compton Arms, they have the very popular Four Legs residency (which we Test Drove recently). Now the Compton Arms' sister pub The Gun in Hackney has brought in a long term food residency Anju - which they're hoping will be a similar success.
Anju - which already has a residency at Blend in Green Lanes -
Max's Sandwich Shop is having a Sandwich Fest at The Red Lion and Sun
Updated with new date
When one of our favourite pubs teams up with one of our favourite food folk, you'd better expect us to sit up and take notice. Next week sees a mashup between Highgate's Red Lion and Sun pub and everyone's favourite sandwich maestro Max Halley from Max's Sandwich Shop.
Max will be taking over the food for one night only at the recently refurbed North London pub, serving up an evening menu of two epic-sounding
The Hunter's Moon is a brand new pub for South Kensington
This new pub is the first for a new pub group. They've also brought in a Glasshouse/Chez Bruce vet to look after the menus in all their pubs and there's an ex The Coach chef in the kitchen.
Test Driving Four Legs at The Compton Arms and its gold-standard cheeseburger
It isn't that often that a new London burger blows us away - but this Islington pub has a major contender for the city's best cheeseburger.
Three London pubs make it into AA's The Pub Guide 2020
The AA's The Pub Guide 2020 has just come out and this morning they released the details of the new pubs that have made the grade for the first time. Chosen for "their atmosphere, good beer and great food", three London establishments have entered the 2019 guide. They're all in central London and here's what you need to know about them.
The Carpenters Arms
Legendary pub The KPH is back with food from Henry Harris and Ruairidh Summers
The KPH (Kensington Park Hotel) has been pretty legendary in Ladbroke Grove for a while, with a big music following and the place of Tom Jones first London gig. Now it's being revived with Henry Harris and ex-St John chef Ruairidh Summers in charge of the food.
The Green Vic in Shoreditch is aiming to be the World's Most Ethical Pub
What makes a pub, the world's most ethical pub? Well according to The Green Vic, which is opening in Shoreditch and billing itself as just that, it's "where everything you buy and use has a positive environmental and social impact."
The pub is popping up for three months at Iron Bloom on Great Eastern Street. On their drinks list you'll find libations that, between them, support over 40 individual non-profit charities. So you can sup a pint of Brewgooder craft
Get a spicy Sichuan fix at the Liu Xiaomian popup at the Jackalope in Marylebone
Spicy. Numbing. Addictive. If you're into your spicy food and you love your noodles then those three adjectives tell you all you need to know about Liu Xiaomian.
This street food stall was started by Charlene Liu and her flatmate Liu Qian - who are both from Chongqing, a city in South West China famous for its Sichuan food. When they couldn't get the spicy noodles they loved so much at home, they started doing street food in 2017 at Brick Lane Market where
Four Legs take over the menu at Islington's Compton Arms
One of Islington's longest running (and recently refurbed) pubs is getting a new crew in the kitchen. This time it's the turn of Four Legs, made up of Jamie Allan (formerly Hill & Szrok) and Ed McIlroy (formerly Bao Fitzrovia and who also oversees the menu at sister pub The Gun). They're bringing a menu of
The Depot will be Kidbrooke Village's all day dining pub
Huge new Greenwich housing development, Kidbrooke Village is about to get its first pub. Young's are opening The Depot this week and it's what they're describing as an "all-day dining community pub". This is the second time the pub company have teamed up with developers Berkley Homes. They opened The Naturalist at Woodberry Down up at Manor House


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