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ARTS MONUMENTS
AND ARCHIVES
VISTRIA
aut
A
PROVISIONAL TECHNICAL MANUAL
FOR
CIVIL AFFAIRS/MILITARY GOVERNMENT
REGRADED UNCLASSIFIED
ORDER SEC ARMY BY TAG PER 8x218
COMPILED, WRITTEN, EDITED, AND PUBLISHED BY
THE 308 TH MILITARY GOVERNMENT GROUP
CAMP ATTERBURY INDIANA
APRIL 1951
FOR ITS TRAINING
CONTENTS
SECTION I: INTRODUCTION
Page Paragraph
Purpose of the Manual
3
1
Scope of the Manual
4
2
Importance of the Problem
4
3
Mission
5
4
SECTION II: OPERATIONAL PROCEDURE
Functions in the Combat Phase
7
5
Functions in the Post-Combat Phase
17
12
First Aid Protection for Art Treasures
and Monuments
20
14
Care and Handling of Art Objects
25
SECTION III: CHARTS
Typical Organizational Chart of a Military
Government Group
34
BUL Library
Typical Team Organizational Chart
35
Typical Team Functional Chart
36
Team Co-ordination Chart
37
Supervision of Civilian Societies and
Institutions
38
SECTION IV: REPORTS AND FORMS
Vicinity Report
41
Status of Cultural Structures Report
42
Status of Cultural Objects Report
43
Status of Collecting Points Report
44
Monthly Consolidated Arts, Monuments and
Archives Report
45
Cultural Object Inventory Card (Property Card
Art)
46
Receipt for Cultural Objects
47
section V: CHECK LISTS
24 Hour Check List
51
30 Day Check List
52
SECTION VI: AREA STUDY
54
SECTION VII: BIBLIOGRAPHY
SECTION VIII: GLOSSARY
-2-
NOILONGOHINI
DRIGHT D. Elsenhower
BUT
I NOTIONS
7
INTRODUCTION
Purpose
1 The protection and preservation of monuments,
of the
fine arts and archives, during and after hostili-
Manual
ties, is one of the obligations with which the
United States is charged under International Law
and is defined in the Department of the Army Field Manual, 27-5,
entitled "United States Army and Navy Manual of Civil Affairs/
Military Government", October 1947, paragraph 9. Efficiently
discharging responsibilities which are assigned to the Arts,
Monuments and Archives team or cell within a military government
organization requires frequent reference to established prin-
ciples, procedures and rules. Therefore, the purpose of this
manual is to impart a knowledge of the responsibilities, opera-
tion and functions of an Arts, Monuments and Archives team to
those military government personnel who are assigned the task
of preserving, protecting and restoring structures, objects
and archives of cultural, artistic, religious and historical
importance. It is designed, then, to accomplish the following:
a. Integrate information to explain team structure, func-
tion and operation.
b. Provide instructional material to orient and train -
(1) Present personnel in assigned and subscouent duties.
(2) New personnel in preparation for assignments.
C. Establish a record in the form of an operational guide
for use in actual op ration in liberated or occupied territories.
This manual is written on the group level and is in no
way to be construed other than as a provisional technical
manual to be utilized as P guide and for training purposes.
It should serve as a valuable guide for all Civil Affairs/
Military Government personnel since it comprehends general
obligations end practices that will, undoubtedly, be consist-
ently recuired of their service. All of the material contained
horsin should be regarded as subject to being sunerseded
by subsecuent directives, policies and procedures to be issued
by higher Headquarters. However, this presentation. represents
a study of practices in the past and current policies stated in
such a way as to acquaint CA/MG personnel with the basic tenets
of the Arts, Monuments and Archives team.
-3-
EH
INTRODUCTION
Scope
2 The scope of this manual will cover operational
of the
procedure outlining team functions in the
Manual
combat phase and the post-combat phase. It
is well to point out here that there is no
marked change, insofar as the Arts, Monuments and Archives
team is concerned, in the functions when the tactical situa-
tion changes from the combet to the post-combat phase.
However, since the primary purpose of CA/MG is to assist mili-
tary operations, the functions of the teen during the combat
phase are confined, on the whole, to protection and preservation.
Close co-ordination with other terms within the military
government organization, higher and lower echelons, end with
other services and commanders of tactical troops is obviously
important and necessary. Reference. will be made from time
to time throughout the manual to co-ordination and there is
contained in this nanual a paragraph pertaining to co-ordina-
tion (see team co-ordination synopsis P 32.) and also a chart
indicating the relationship and co-ordination with other sec-
tions and teams of a military government organization. The
scope also includes reports and forms necessary for efficient
BOX
administration and operation; check lists of action to be
taken in the first twenty-four Murs and action to be taken in
the first thirty days; first aid measures for protection of
art treasures and monuments; bibliography for further refer-
ence and.reseerch; and lastly, a glossary of terms.
Importance
3 A history of civilization and liberty is
of the
written in the artistic and historic non-
Problem
unents and shrines throughout the world,
monuments and shrines which fall victim
to destruction in time of war and to the vandalism and lust
of invaders. When this record of historydisappears or is
destroyed, some essential part of our intellectual heritage
goes with it. The protection and preservation of artistic
and historic resources arises not only from a national inter-
est and our obligations under International Law but from a
superior international responsibility. Every nation, every
commender in the field, and every individual has a moral
oblig to preserve the historic and artistic monuments
which are the heritage of mankind and held in admiration
and affection by all the world. It is, therefore, imperative
that the Arts, Monuments and Archives teams embark on their
mission in the wake of battle to prevent looting and fur-
ther destruction through lack of knowledge as to the value
and importance of monuments, shrines and objects of art on
the part of tectical troops and to prevent deliberate damage.
During sieges and bombardments, commanders of tactical forces
EH
INTRODUCTION
can do much to prevent destruction by taking all necessary precau-
tions to spare, as far as possible, buildings devoted to the arts
when such buildings are not being used for military purposes.
AMA personnel have a responsibility in this connection to inform
tactical commanders in the area of operations of the location and
importance of such structures. The importance of the proper secu-
rity and protective measures as outlined in this manual under
"Operational Procedure" cannot be overstressed as the first and
primary step to the protection end preservation and eventual
restitution of monuments end archives.
Closely allied, and in some instances more important, to the
responsibility pertaining to the protection and preservation of
monuments and art treasures is that with r gard to archives.
The scope of archives, especially in modern, highly organized coun-
tries, is extensive! Tho protection And prescrvation of such,
henc, constitutes an important aspect of CA/MG operations. Every
military government activity will entail the use of enemy public
documents, business papers, files and records of every kind,
official and unofficial. Military, political, administrative
business and historical interests will be equally concerned with
them. The preservation of such records and files is of the utmost
importance in connection with disarmament, the eredication of
political institutions detrimental to our national policies, the
control of property. and generally, for the imposition cf control.
Mission 4 a. General: The general mission of the Arts,
Monum nts and Archives team concurning the
protection of shrines and works of art is contained in the
Department of the Army Field Manual 27-5, which states "Except
where military necessity makes it impossible, historical and
cultural monuments, works of art and religious shrines will be
preserved."
With gard to the protection of archives and records, the
general mission of the Arts, Monuments and Archives team as ex-
pressed in the aforementioned manual is "Since archives and records,
both current and historical, of all branches of government of
the occupied area are of immediate and continuing use to CA/MG.
it is essential to seize and protect them."
b. Specific: Expending the general mission into more spe-
cific missions, the Arts, Monuments and Archives team will have
as its objectives, the following responsibilities:
-5-
EH
INTRODUCTION
(1) To protect, preserve and centrol all cultural struc-
tures, objects, archives, books and documents and
to secure them,in so far as practicable, from
detericration and as a result of war and military
occupation.
(2) To make cultural materials of whatever ownership
available for restitution or replacement in kind
as directed by the office of CA/MG affairs.
(3) To charge civilian agencies concerned with struc-
tures and materials with their administration and
unkeep as rapidly as is consistent with the achieve-
ment of the objective of CA/MG.
OUL Library
-6-
EH
TVNOISVHNAT
of
Dwight
Library / BUT
TVNOLIVENO
II NOILOTS
OPERATIONAL PROCEDURES
COMBAT PHASE
Functions
5 General: Arts, Monuments and Archives teams
in the
will be supplied with official lists of struc-
Combat
tures, objects and archives to be protected in
Phase
the area to be occupied. These lists should
be augmented by utilization of Army Service
Forces Manuals, Baodekers, atlases and sinilar references for the
area of operation. Supplementary lists of additional nonuments
and cultural institutions and city plans showing the locations of
such buildings will be made available as needed to assist teams
in reporting on the condition of the buildings listed and in
protecting then from nilitary use or danage, so far as military
necessity permits. Standard and local guide books nay be obtain-
able and local inhabitants may be able to give valuable informa-
tion and help. Also in locating cultural naterial, teams will
request assistance from the intelligonce personnol of all units
Light
in the area and arrange with them to forward to the teams any
148.40
information or lead which might assist them in the discovery of
O
cultural materials. Priority of function is determined only
after an initial inspection of the targots and an estimate of
the situation is nade. Therefore, the order in which the func-
tions are listod does not necessarily indicate priority.
Protect
6 The function of protection and prescrvation
ion and
is the primary function of the Arts, Monu-
Preserva
monts, and Archives team during the combat
tion
phase. The functions of restoration, resti-
tution and disposition, with the exception
of emergency restoration, are confined, generally to the post-
combat phase. Listed below are specific categories of respon-
sibility with which teams will be concerned during the combat
phase.
Cultural
7 The term "cultural structures" includes
Structures
monuments and other buildings or sites of
religious, artistic, archaeological, historic
or similar cultural importance, such as: statues and other
immovable works of art; churches, palaces and similar public or
private buildings of architectural or historic importance;
museum, library and archival buildings; parks and gardens at#
tached to such buildings; and ruins of historical orarchaeolog
ical importance.
a. Security: After cultural structures have been located
in the area with the aid of official lists and other more com-
prehensive lists, the AMA team should, in co-ordination with
the Public Safety team, post notices placing cultural structures
off limits to military and civilian personnel and to post guards
utilizing military police or tactical troops around the building
or area.
-7-
EH
OPERATIONAL PROCEDURES
COMBAT PHASE
b. Emergency restoration: Teams should co-ordinate with
the Public Works and Utilities team and with other military and
civilian construction agencies in procuring critical supplies
for emergency restoration end protectfon. of cultural structures.
c. Militery Use of Cultural Structures: AMA personnel
should initiate appropriate action to avoid the use for military
purposes of all churches and buildings on official lists within
their area. When military necessity requires the use of cultural
structures, AMA teams should make arrangements to:
(1) Informthe commending officer of the unit using the
building of the necessity for protecting it and its
contents from pilfering and defacement.
(2) See that portions of the building particularly
Library 0.308
liable to pilferage and defacement are placed off
limits.
(3) See that valuable movable contents not of military
use are stored and sealed in a place inaccessible
to troops. (see paragraph 8-sub par c- page io)
(4) Arrange with the military commander in the area
that military occupants move out at the earliest
possible moment.
d. Prohibition of Demolition: Appropriate steps should
be taken, as military necessity permits, to ensure that no por-
tion of damaged churches, monuments on official. lists or such
structures as AMA personnel deem of importance, are demolished.
or the debris thereof renoved, excent under supervision. Deno-
lition by military personnel of damaged cultural structures
should be prohibited excent as a public safety measure. Debris
which must be cleared for military traffic should be collected
together within the walls of the building.
e. Civilian Personnel: Aportion of the civilian superin-
tendents, directors, custodiens and other snecialist personnel
at the local administrative level will probably remain at their
posts and be available to protect and preserve their charges.
Every effort should be made to locate them and after they have
been properly cleared by the Special Branch their services will
prove invaluable for future administrative purposes, ovaluation
and appraisal, cataloguing end inventorying, and in the protec-
tion and preservation of cultural structures.
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EH
OPERATIONAL PROCEDURES
COMBAT PHASE
f. Periodic Inspections: Inspections of cultural structures
in the area should be made periodically for the following purposes:
(1) Record the physical condition.
(2) Check security measures.
(3) Observe the progress of any repairs undertaken.
(4) Obtain photographic records showing all damage,
structural faults or facts, nothods of repair, and
the condition before and after repairs.
g. Inspection Reports: Reports of these inspections should
be rendered as outlined in this manuel under the section labeled
"Reports and Forms." Report forthwith, in writing, any cases
which may come to your notice of looting, wanton damage and neg-
ligence on the part of tactical troons or civilians, to the
appropriate Military Government authorities for action.
Culturel
8 The term "culturel objects" includes all movable
Objects
goods of importance or value oither religious,
artistic, documentary, scholarly or historic, the
disappearance of which constitutes a loss to the cultural heri-
tago of the country concerned. This definition includes recognized
works of art, as well as such objects as rare musical instru-
ments, procidus stones, books and manuscripts, scientific docu-
ments of an historic or cultural nature, and all objects usually
found in museums, collections, libraries and historic archives.
a. Security: All museums, galleries and repositories of
works of art should be closed and placed off limits and immediate
steps taken to secure by guards, in co-ordination with the Public
Safety team, all accumulations of art objects from clandestine
removal. A "freeze" of all cultural materials in the area, re-
gardless of ownership, pending decision from higher headquarters
regarding their disposition, should be initiated.
b. Collections Perpetuating Militarism and Adverse Political
Ideologies: All collections of works of art or other
cultural objects the intent and purpose of which are tho porpotar
ation of militarism or political ideologies will be closed and
their contents taken into custody for later exemination individu-
ally with a view to the possible inclusion of objects of purely
cultural or historic value in general museum collections according
to their class.
EH
OPERATIONAL PROCEDURES
COMBAT PHASE
C. Removal for Material Security: Where the preserva-
tion of movable works of art from deterioration, exposure to
weather, dampness, fire, looting, etc., nocessitatos their
removal to a now storage place, proper consideration should
be given the following whon selocting the now storage place:
(1) A storage place which can be properly socured.
(2) Woatherproofing and protection from the cle-
monts.
(3) Space, proper light and humidity-particularly
important in storing and prosorving paintings.
d. Inventory: Whon movable works of art and collections
of art treasures are removed for material security purposes
an inventory of all objects should be takon utilizing the Pro-
perty Card ,Art as set forth in the Reports and Forms soction
of this manual. Time may not permit, at the early stagos of
the combat phase, the taking of a dotailed inventory as is
possible when removing objects to Central Collecting Points
in the lator stagos of the combat phase and during the post-
combat phase, in which case a more simplified method of in-
ventory should be initiated until such time as a more de-
tailed account can be given.
0. Civilian Porsonnol: Soo paragraph 70.
f. First Aid Protoction for Art Treasuros: See para-
graph 14 page 20.
g. Care and Handling of Art Objects: See paragraph
15 page 25.
Roposito-
9. The authorities of tho country in which
ries of
the area of operation lies will have, un-
Cultural
doubtodly, maintainod air raid and other
Materials
procautions to protect monumonts and
works of art. Valuablo collections will
have been ovacuated to depots far removed from dangor and
therefore romote also from the cities, with tho result that
extromely valuable cachos of works of art may be found in rola-
tively romote parts of the country. In the event of a break-
down of administrativo control such isolated depots will be ex-
posod to thiof, fire and weathor.
-10-
EH
OPERATIONAL PROCEDURES
COMBAT PHASE
a. Discovery and Report of Repositories: Known repositories
will be listed in the Official Lists. Reports of other reposito-
ries will come to the attention of the Arts, Monuments and Are
chives teams as they are discovered by the tactical troops, other
military units and Military Government Companies in the field.
Reports may come from intelligence reports from the S-2 of the
Military Government organization, the Public Safety team, tacti-
cal unit commanders, or from the civilians themselves. AMA teams
should investigate repositories of cultural materials discovered
and reported and render reports of such investigations on Monthly
Consolidated Field Report Form (see "Reports and Forms" section).
b. Security: Where deened necessary by the AMA team, reposi-
tories containing suspected or identified loot or works of art of
great value or importance will be placed under adequate security
guard until evacuated to Central Collecting Points. Co-ordination
with the Public Safety team is necessary for the posting of off
limits signs and the posting of guards. Repositories not contain
ing such materials will be placed under the care of qualified ci -
vilians against custody receipt or if of minor importance, locked
and sealed, until released against custody receipt to responsible
officials or civilians.
c. Visitor Control: Visitors should not be admitted to any
repository without the express written permission of the respon-
sible AMA officer or of such civilians as may be designated by
proper authority.
d. Evacuation from Repositories: Cultural materials in re-
positories should be evacuated to Central Collecting Points or
to other locations as soon as possible after Central Collecting
Points have been established. Where movement is so deemed nec-
essary, cultural materials liable to damage or deterioration in
their present locations should be evacuated first; thereafter,
looted materials; and finally, other cultural materials.
e. Spot Surveys: AMA personnel should ensure. that spot sur-
veys of closed crates and of objects not crated are made of each
repository before evacuation. Such surveys should be checked
against inventory records.
f. Care and Handling of Art Objects: See paragraph 15 page 25
-11-
EH
OPERATIONAL PROCEDURES
COMBAT PHASE
Central
10 The establishment and operation of a Central
Collecting
Collecting Point, another important function
Points &
of the Arts, Monuments and Archives team,
Depots
will, in general, be a function during the
latter part of the combat phase and during
the post-combat phase. The supervision and control of the oper-
ation of a Central Collecting Point is the responsibility of AMA
personnel. Due regard should be given in the selection of build -
ings, to adequacy of space, condition of weather proofing, temper-
ature and humidity, and in providing for their custody, maintenance
and security.
a. Purpose: Central Collecting Points are established for
the purpose of receiving, surveying and preparing for directed
disposition:
(1) Looted cultural materials, i.e., cultural objects
and archives, books and miscellanoous documents,
except modern commercial archives.
(2) Cultural materials evacuated from temporary
repositories.
(3) Any other materials which the AMA officer may
designate.
b. Personnel: AMA officers in charge of Central Collecting
Points may employ and utilize properly vettod civilian personnel.
Personnel should be procured through the Labor team and.screened
by the Special Branch ofthe Military Government Organization.
c. Inventorying: All cultural materials in Collecting
Points should be inventoried utilizing the Property Card Art as
set forth in the "Reports and Forms" section of this manual.
d. Looted Cultural Materials: Unopened cases containing
cultural materials clearly identifiable by their markings as
loot from one of the United Nations need not be inventoried, but
records should be kept to identify the cases and the nature of
the contents. Cases containing cultural materials, the contents
of which cannot be identified otherwise, will be opened and their
contents checked or inventoried.
e. Photographic Records: Photographic reproductions in
appropriate size should be made of all cultural materials
-12-
EH
OPERATIONAL PROCEDURES
COMBAT PHASE
inventoried. The photographa. should be attached to the Property
Card Art. At the discretion of the AMA officer, larger size in
black and white and color photographs suitable for study and
research may be made of all important objects of which no such
record is available to be forwarded to higher headquarters. All
photographs made should be used exclusively by military govern-
ment organizations, higher headquarters or such agencies as may
be authorized.
Archives,
11 The term "cultural and historic archives"
Books and
includes all accumulations of documents,
Miscellaneous
public and private or ecclesiastical, which
Documents
relate to the functions of institutions now
inactive which are not within the province of
other military authorities. The term "modern archives" includes
143.00
all accumulations of the same nature which relate or contribute
to the functions of institutions now or recontly active which are
not within the province of other military authorities. The term
"books" includes printed or otherwise duplicated volumes and
pamphlets, except those prinarily considered to be works of art
(cultural objects). "Miscellanoous documents" includes collec-
tions of papers, photographs, ephemera, and the like which are
not, however, the ordered official records of an institution.
The chief types of archives are:
a. Public Administration by Government - through ministries
and other offices, with their various sections and departments
and their district offices.
b. State and Provincial Administration - ancient and modern;
older archives generally at the capitol of the state or province;
current archives in the state ministries. or other offices
concerned.
c. Regional Administration- ancient and modern; ancient
archives occasionally preserved in special repositories; modern
in offices concerned in chief towns in each area.
d. Legal Administration - including the supreme or high
courts and the court of appeals.
e. Police Administration - at all of the above-mentioned
administrative levels.
f. Town Administration - ancient and mòdern in every town
of importance.
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EH
OPERATIONAL PROCEDURES
COMBAT PHASE
g. Political Party Administration - through head offices,
chief district offices and district hoadquartors.
h. Semi- Public Administration - that of institutions which,
though private in origin, do work of a public character; such as
universities, educational or charitable institutions, great banks
and insurance companies, public utility companies and large indus-
trial concerns. Archives normally maintained at governmental
archives centers or semi-public buildings. The protection and
preservation of public archives should not contravene or preclude
KIBTAKT
any activity in this respect by the CA/MG Specialists concerned
therewith.
1. Private Administration - whether by individuals or bodies:
archives most frequently are those of families possessing or having
once possessed large estates or castles and considerable control
of local government; generally preserved at the estates or castles.
J. Church Administration - archives preserved at seats of
dioceses, cathedral chapters, and important monasteries; also at
a few Jewish centers.
k. Other Archives - note particularly the possible importance
of those archives of smaller towns or communes and parishes which
contain the registers of birth, marriages and deaths, both civil
and ecclosiastical; the smaller local offices of food and labor
registration, or police, post offices, finance, taxation and other
divisions of government; all notaries, whose collections cover the
records of private contracts and business of all kinds and go back
in some cases to very early dates; branch offices of banks; and
any commercial or industrial organizations of considerable size.
Every military government activity in a liberated or occupied
territory will entail the use of public documents, business papers,
files and records of every kind, official and unofficial. Military,
political, administrative, business and historical interests will
be concerned with them. It is the responsibility of the AMA
team to ensure the preservation from destruction, alteration or
concealment of all records, documents, plans or archives of value
to the attainment of the objectives of Civil Affairs/Militery
Government. The AMA team should be responsible for the supervision
of the following functions:
a. Objectives: The investigation and recording of the pres-
ent location and condition of known collections and of other
414-
EH
OPERATIONAL PROCEDURES
COMBAT PHASE
collections that may be discovered; the protection of all such
collections; the organization and supervision of suitable per-
sonnel to maintain custody thereof; and the exploitation of such
collections through naintenance of a central reforence file in
the military governmont organization.
b. Security: Archives and records of interest to C&/MG
should be seized and held as outlined in official lists of an
chives or as instructed by subsequent directives from higher
headquarters. Such steps should be taken as are consistent
with nilitary necessity to ensure that no wanton damage is done
to records and archives by tactical troops or civilians. Build-
ings and other places containing records and archives of interest
to CA/MG should be placed out of bounds and off limits to troops.
Records and archives may be of greatest value in the location in
they
ey
which they were created. Therefore, unless required for nilitary
purposes or safe preservation, no attempt should be made to
AMERICA
remove them.
c. Renoval of Collections: Collections located in their
proper locations, or in temporary locations, should not be re-
moved unless such action is necessary for their security and
preservation or for reproduction, cataloguing or other exploi-
tation. When necessary for such reasons collections should be
removed to Central Collecting Points. Removal should be con-
ducted under expert supervision in such manner as to preserve
the integrity and arrangement of the collection and with ade-
quate measures to ensure preservation and security during the
process of removal. Whon a new location is necessary the
following points should be taken into consideration:
(1) Housing in dry buildings free of fire hazards
and vermin.
(2) Use of suitable sholving and/or containors.
(3) Retention in comprehensible order and adequate
labeling and cataloguing.
(4) Control of access to ropositories, by locking
entrances, posting of guards, ordinary police
neasures in co-ordination with the Public Safety
team.
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EH
OPERATIONAL PROCEDURES
COMBAT PHASE
d. Access to Records and Archives and Use by Interested
CA/MG Specialists Concerned: The interest of various sections
and teans of a nilitary government organization in records and
archives is apparent. The AMA team should facilitate in every
way possible the use of records and archives under their control
by authorized users. They should, as far as practicable, ensure
that the users are impressed with the necessity of handling the
contents of the archives with care and that they are replaced
after examination in the order in which they were found. In
many instances archives, records and files of institutions can be
turned over directly to the elements of military government
concerned for their protection and preservation as the tactical
situation permits.
the
-16-
EH
OPERATIONAL PROCEDURES
POST-COMBAT PHASE
Functions
12 General: The functions of the Arts, Monuments
in the
and Archives team during the post-combat
Post-Combat
phase are broader in scope and will permit
Phase
operations on a larger scale. It will entail,
in addition to continued protection and pres-
ervation, the functions of restoration, restitution and disposi-
tion, exchange of cultural materials, transfer of civilian owned
cultural naterials to civilian custody, and transfer of public
and privately owned cultural institutions and structures to their
proper custody. Close co-operation and co-ordination with the
Property Control team of a military government organization is
necessary in the post-combat phase in functions pertaining to
restitution and claims. Co-ordination with other elements of
military government is taken up in paragraph Team Co-ordination
Synopsis Page 32 of this manual. It should be stressed at this
point that the AMA team on the group level administers and super-
vises the operations of the above functions by lower echelons of
military government. However, in order to observe the progress
of teams or cells under the control of the group And to meet any
special problems which arise portaining to protection, preserva-
Obiery
tion and restitution, close co-operation and co-ordination with
them must be maintainod.
DATE
Restitution
13 The function of protection and preservation
and Dispo-
is a continual one throughout the combat and
sition
post- combat phase but the functions of res-
toration and disposition are additional
functions which are generally considered to be responsibilities
during the post-combat phase. However, the tactical situation
may permit commencing programs of restitution, transfer of cul-
tural materials and return of control to civil administration.
Heretoforo, the function of restoration, was one of emergency.
This function of emergency restoration will continue as AMA
personnel deem necessary but the function of restoration as such,
will be turned over to civilian administration as rapidly as the
military situation permits. Restoration, of course, is dependent
upon the availability of labor, material and supplies. In the
light of the above functions, listed below are specific catego-
ries of responsibilities with which teams will be concerned
during the post-combat phase.
a. Reconstitution of Civilian AMA Agencies: Civilian
agencies concerned with arts, monuments and archives will be
established at such time as the military situation permits with
appropriate subordinate organizations. Former orgenizations,
records and specialist personnel may be utilized, to the extent
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OPERATIONAL PROCEDURES
POST-COMBAT PHASE
available, after elimination of all adverse political factions
and otherwise unsuitable personnel.
b. Return of Administration to Civilian Agencies: Return
of administrative responsibility for cultural structures and
objects to civilian agencies should not be authorized until
the following has been accomplished:
(1) Such agencies are adequately and properly
manned to handle such responsibility.
(2) Adequate investigation and search has been made
within the area of operation to identify all
looted cultural materials and to secure the same.
agl
(3) All public and private records and collections
have been screened for information and for loot-
ed objects.
(4) All publicly and privately owned structures and
objects have been inventoried.
C. Supervision: After authorizing the return of AMA admini-
strative responsibility to civilian agencies, the AMA team should
supervise their operations to ensure that they comply with instruc-
tions from the Office of Military Government and from higher head-
quarters. To this end, AMA personnel will be required -
(1) To ensure by inspections that cultural structures
and materials in the area of operation or juris-
diction are preserved and protected from deteri-
oration and spoliation.
(2) To ensure that agencies make adequate reports of
their activities and expenditures.
(3) To supervise in person important operarions such
as the repair of major cultural structures and
the evacuation of repositories containing valuable
looted cultural materials.
d. Religious Structures and Objects: Administrative responsi-
bility and control by ecclesiastical organizations over cultural
structures and objects owned by them may be authorised, subject to
the supervision of AMA personnel and to reasonable requirements
for inventories and reports.
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OPERATIONAL PROCEDURES
POST-COMBAT PHASE
e. Preparation for Restitution of Looted Cultural Materials:
All identifiable looted cultural materials should be takon into
custody (see paragraph 8a) and should be evacuated to a Central
Collecting Point. In order to aid in identifying and locating
looted cultural materials, custodians of all collections of
cultural objects should be required to submit lists of accessions
since a particular date. Such lists should be checked against
catalogues or inventories made before that date.
1. Return of Identifiable Loot in Anticipation of Restitu-
tion: Clearly identified looted cultural objects of major impor-
Library
tance may be released on the authority of military government to
one
the authorized represents tive of the claimant nation against re-
ceipt as outlined in "Reports and Forms" section of this manual.
go Transfer of Former Enemy-Owned Cultural Objects: Cultur-
al objects clearly identified and of minor value may be released
to proper owners or agemcies against receipt.
he Report of Releases: All such releases should be report-
ed in the Monthly Status of Cultural Objects Report (see "Reports
and Forms" section of this nanual.)
1. Release of Archives, Books, and Miscellaneous Documents:
The release of collections, records and parts thereof (except
military and political Party archives) to civilian agencies and
institutions may be authorized, subject to such conditions and
such continuing supervision and control as may be determined to
be desirable.
J. Licensing of Art Dealers: Art dealers may be licensed
by such agencies as regulations from higher headquarters may
direct with the right of review and revocation retained by
Civil Affairs/Military Government.
k. Art Dealors Reports: Such reports as may be required
should be furnished on Inventory and Sale Card for Art Dealers
as set forth in "Reports and Forms" section of this manual.
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OPERATIONAL PROCEDURES
FIRST AID PROTECTION
First Aid
14 Goneral: Artistic and Historic Monuments are
Protection
of many sorts, but can be classified for
for Art
present purposee under the hoadings Churches,
Treasures &
Palaces, Monuments, and Cultural Institutions.
Monuments
Churches in European towns or cities are civic
as well as religious institutions, and often
contain the most important works of art, archives, and records.
They are almost invariably the most venerated monuments. The
Palace in Europe does not necessarily mean the dwelling of a
wealthy or princely family. It may have been converted into a
public building, and contain an art gallery, library, museum, or
archives. Monuments is a catch-all term, including archaeological
sites, structures of artistic importance, and historical remains.
Cultural Institutions include museums, galleries, libraries, and
scientific collections or collections of documents, and are often
casualties of war, not only through diroct military action but
also because of neglect during attack or invasion.
The first work of protecting and salvaging artistic and
historic monuments in Europe must be carried out in large part
by the forces in the field. The following first-aid measures
have been briefly outlined to help them in this work:
a. Local Personnel In almost every small town in Europe
some responsibility for supervision of cultural treasures has been
fixed. The responsible person may be the priest, or the school
teacher, or even a local collector. He will, however, be part
of a highly developed organization heading up in the national
government. In every case the special knowledge of these men
and women will be of assistance in locating and identifying these
works, and will be invaluable in carrying out operations which
are technical in their nature.
b. Buildings In the case of buildings designated for con-
servation, a guard, a pass system, and a system of periodic
inspections are requirements. Damaged buildings should be inspec-
ted as to their solidity. It should be remembered that demolition
of partly damaged structures is one of the gravest hazards to
which monuments are subject. For those marked as of cultural
interest, ordinary props and shoring up of walls, vaults, and
ceilings should be used so that no portion of the building be
destroyed. It is equally important that fragments of any
damaged building, often appearing merely as a heap of rubble,
should not be removed from the site, but should be carefully
protected for future examination by experts, because restoration
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OPERATIONAL PROCEDURES
FIRSTIAID MEASURES
often can be made from relatively minute fragments. Movable
contents of value may be safeguarded by removal to a better
protected place, especially if the building is in danger of
collapse.
c. Archaeological Sites In most European countries numerous
excavations for archaeological study, both ancient and modioval,
will be encountered. These are often open areas containing only
foundations and trenches, and so may appear to contain very little
of importance. But nothing on an excavated site, however small
and insignificant in appearance, is without importance to schol-
arship. Consequently it is desirable to post adequate guard
over an excavation and its headquartors (which will contain in its
Libiary
storerooms finds from the digs and in its files irreplaceable re-
and
cords); to find the local inspector and the local guards; and to
locate and keep watch over the antique dealers of the neighbor-
hood, some of whom might take the opportunity of purloining or
receiving objects from the site. Baskets or trays of pottery
fragments are especially important, being the chief means of
dating the strata in excavations, and so must not be disturbed or
deprived of their labels. Earth strata are frequently so excavated
as to expose them like successive steps. These, and mud brick
walls or rubble foundations, are often so fragile that they should
not be trodden upon. Partial restorations of columns, etc., are
often set up rather insecurely in archaeological areas, and might
collapse with danger to life and limb if roughly handled. Frescoes
in excavated tombs are especially fragile. Even a slight explosion
of a flash-bulb may dislodge them from a wall. Hence if gunfire
is still in the neighborhood, such frescoes should be protected
by shock absorbent material, blankets and sandbags placed with a
slight air space between them and the walls. Above all, men
must be cautioned against chipping off souvenirs, picking out
mosaic tesserae or pieces of fresco, or even picking up carved-
stone fragments or potsherds from the ground.
d. Paintings on Canvas and Wood With paintings as with
other movable objects, protection of those in reasonably good
condition should be undertaken before those badly damaged are
collected and salvaged. If there is possible danger from explosion
(as of artillery or mines), unharmed paintings should be placed
paint side against a blanket covered solid surface. Where paint-
ings have to be moved for safekeeping or protection, those in good
condition should be transported, in frames if possible, to a safe
place. Those already damaged should be carefully carted in a
horizontal position and stored in a safe place until the attention
of an expert can be given them.
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OPERATIONAL PROCEDURES
FIRST AID MEASURES
The following are conditions of damage likely to be encoun-
tered:
(1) Flaking or peeling paint
(2) Saturated canvasos
(3) Torn canvases
(4) Wator-saturatod panels
(5) Wrinkled or loose canvases
(6) Flaking frescoos
All those conditions roquire export attontion and should be
reported to the proper authorities.
Packing of panol paintings for transportation should aim at
avoiding extremes of tomporature and humidity, and also any
damago from shock. Soft insulating matorial should be used with
pancls, and when possible a double casing of air tight and wator-
proof material, to maintain an oven air condition; but air tight
containers cannot be used for storago. Romember that bad roads
and springless motal wagons are likoly to damage dolicate objects
in transportation, and provisions should be made for such possi-
bilitios. Undamagod canvases in transport should be kept vorti-
cal, long side to ground. Framed pictures should be transported
in their frame, with paper pastod over any glass to minimize
dangers of breakago.
O. Storage Paintings should not be kept in soaled air tight
containers excopt for briof periods of transportation. For stor-
ago they should be loft in their frames, hung on scroons if avail-
ablo, or when space is limited placed vortically in woodon racks
raised off the ground, face to back, with cardboard or pads
botwoon oach. If paintings must be removed from frames they
should be stored in the same way; but canvasos must not be allowed
to touch each other and should be separated by shoots of collo-
phane or pads. Mold can bost be provented by maintaining a con-
stant normal tomporature with rolative humidity betwoon 40 do-
groos and 60 dogrees and a froe circulation of air. Thymol vapor
is dostructivo to the varnish of paintings and must not bo used
near them as an insocticido. Direct sunlight on paintings
should be avoided in storago; but as complete darknoss, on the
contrary, darken oil or varnish, a modorato light is most
satisfactory in storago aroas.
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OPERATIONAL PROCEDURES
FIRST AID MEASURES
f. Paints, Printed Books, and Manuscripts Books, prints,
and documonts from archivos prosont the probloms arising from
damago to tho "support" papor, silk, vollum, otc., on which the
writing or printing stands. Dotorioration from storago is most-
ly duo to mold and insocts. Torn shoots should not bo promaturo-
ly mondod; the ossontial thing is to koop the fragmonts togothor
in an envolopo or box. Adhosivos should not bo used excopt by
an export. Pagos stuck togother or to somothing clso should be
loft alono. Wot pagos in damagod books should bo driod by opon-
ing tho book flat and lotting as much air circulato about thom
as possible. Loathor bindings can be kopt from decay by rubbing
in any suitablo drossings such as vasoline, lanolin, or castor oil,
after wiping with a damp cloth following a day's airing.
g. Statuary and Roliefs Sculpture offors fower difficul-
tics than painting and records, but cortain procautions boyond the
obvious ones are to be noted. Stono and motal should be kopt as
dry as possiblo, in humidity well below 72 dogroos, while wood
BUL Library
noods a cortain amount of dampnoss for safe storago. Tooden cas-
ing providos a bottor insulation against heat than motal.
Woodon struts inside cases are bad, because they transmit
shock; the packing should be done with cushioning material, such
as excelsior wrapped in papor, and this should be always dry.
Fixed wooden objects that have been damaged by blast or hits
should have thoir splintors and hanging piccos dotachod, but any
repairs or rostoration must await the attention of exports. In
all such cases the proscrvation and careful laboling of fragmonts
is important.
h. Arms and Armor Arms and armor are to be protected from
dampnoss causing rust by boing kopt in a dry place and coated
with minoral oil or whito vasolino. Thoy nover should be cleaned
with acid.
i. Toxtiles Toxtiles should be storod under the samo condi-
tions as those outlined for paintings. Storago of toxtiles should
includo a wrapping in brown papor, but not with paper of high sul-
phito contont, nor watorproof tar paper. Cloaning of toxtilos
should not be attomptod by anyone but an export; if folding is un-
avoidable, fold or roll with the lining in.
j. Sciontific Colloctions So far as possible, scientific
collections should be loft in whatover condition they are found
until an export can ro-ostablish thoir organization. Insect
posts will attack zoological spocimens when thoir cases aro bro-
kon, and this will roquire the proper uso of insocticidos. In
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OPERATIONAL PROCEDURES
FIRST AID MEASURES
these as in all other collections, no object should be separated
from its label, and if removal of an entire collection is neces-
sary in all cases the inventory or catalog should go with 1t. In
any situation at all, the military authority will always do well
to call upon the advice of any professional expert available, be
he enemy or ally.
k. Conclusion Remember that your work is to apply first
aid and not to attempt to do the work of experts.
The following "don'ts" are, with some additions, a summary
of the more important of the directions given above:
Do not demolish portions of danaged buildings.
Do not remove debris containing architectural or
sculptural fragments.
Do not move things more than is necessary.
Library
941
Do not remove any labels.
Do not store objects under or near plunbing or steam
CHURTY
pipes.
Do not storo works. of art. in nreas' that nro: bolow
dražnage lovels.
Avoid extremes of temperature and humidity and any
damage from shocks.
Do not use water, soda-acid, or foam fire extin-
guishers on works of art.
Do not expose any paintings to direct sunlight or
store for a long time in total darkness.
Do not make a "drumhead" of a painting on canvas.
Do not forcibly flatten wrinkled or loose paintings
on canvas.
Do not use glue or paste in mending torn paper, vel-
lum, silk, etc.
Do not use tar paper in storing textilos.
Consult local personnel and experts whenever possible.
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OPERATIONAL PROCEDURES
CARE AND HANDLING OF ART OBJECTS
Paintings
15 Hazards of mechanical violence to be guarded
against: abrasion, puncture, fracture, dis-
integration. Other hazards include: extreme heat, water and
dampness, sudden changes of temperature and humidity, dirt.
General Handling Rules
a. No one shall handle, move, or carry more than one paint-
ing at a time. Carry it with one hand beneath and the other at
the side of the picture, both at points where the frame is solid.
Never carry a painting by the top of the frame or by the stretch-
er.
b. Large paintings must be moved by no fewer than two men,
one of whom is experienced in correct handling of paintings.
(By"large" is mean large enough to be awkward for one man. It
does not mean that it is all right for one man to move anything
he happens to be strong enough to lift.)
c. Do not stack paintings-one leaning against the other -
unless it is absolutely unavoidable, and then only with per-
Library Department The
mission of the curator or other responsible person in charge.
d. Seperate paintings with composition sheets ( corrugated
cardboard, compo board, etc.), if stacking is absolutely neces-
sary. Stack the largest painting first, followed by smaller
ones in order, with no more than five paintings in one stack.
Each composition sheet must completely cover tholarger of the
two paintings it separates.
0. Paintings standing on the floor must rest on pads or
padded wooden strips.
f. Separate paintings on side trucks with composition
sheets. There must never be so many paintings on a truck that
the outside painting, or its frame, extends beyond the edge of
the truck. Pad the floor cf the truck to prevent damage to
frames.
g. Do not move large, heavy paintings on side trucks un-
less the trucks's supporting framowork: is high enough, that is,
at least two thirds the height of the picture. The weight must
be borne by the frame resting against the truck support: it
should never be borne by the stretcher alone.
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OPERATIONAL PROCEDURES
CARE AND HANDLING OF ART OBJECTS
ha,.. Iash paintings in place before the truck is moved. Two
men must accompany each loaded, moving truck. At least one of
them thust be an experienced men.
i. Avoid direct contact with painted surfaces at all times.
Do not attempt to remove slight scratches, rubbed spots, or dirt
marks with your hand, a cloth, or by any other means.
J. If paint flakes or frames become detached, save all the
pieces. Repairs are much easier if all the parts are available.
Large
16 Hazards of mechanical violence to be guarded
Objects
against: abrasion, fracture, disintogration.
Other hazards include: extreme heat, water
and dampness, sudden changes of temperature and hunidity, dirt.
General Handling Rules
Library
The
a. Sculpture:
STATES
(1) Moving large sculpture is a technical problem. Do
not attompt it with too little help or without com-
petent direction. Haste in handling may result in
injury to the handlers or damage to the objects.
(2) Do not carry heavy sculpture by hand, even if you
are able to lift it. It should always be moved on
padded trucks, supported and, if necessary, tied
to prevent harmful movement while the truck is in
motion.
(3) Examination of the object before handling is partio-
ularly recommended for sculpturel material. Know-
ing the points of weekness in advance is important
to the safe movement of the piece. When there is
any doubt about whether or not it is strong enough
to withstand the strain of transit, get the advice
of the AMA officer in charge.
b. Woodwork and Furniture:
(1) Always move woodwork or furniture on trucks or
trolleys (dollies). Never slide or push such ob-
jects along the floor, for legs and bases are us-
ually in a weakened condition owing to age or
previous damage.
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OPERATIONAL PROCEDURES
CARE AND HANDLING OF ART OBJECTS
(2) Always lift chairs under the seat rail, never by
the backs or arms. Carry tables and other furniture
by the solid parts of thoir framework. not the orn-
amentation.
(3) Cover upholstered furniture in transit as delicate
fabrics are difficult to clean. Do not touch the
upholstery on the arms, seats, or backs of chairs
or sofas.
(4) Do not overload flat-bed trucks. Placing chairs,
etc., on top of tables or other objects is a
dengerous practice. Separate pieces of furniture
with pads to prevent contact, if more than one is
placed on the truck at the same time. Do not allow
Library
objects to extend beyond the edge of the truck.
BUL
Unlocked drawers and cabinet doors as well as fold-
ing table tops, movable parts, etc., must be held
in place (tied if necessary), to prevent damage in
transit.
(5) Remove marble tops for transit and transport them in
vertical position on sido trucks. Do not carry them
horizontally, as they may break of their own weight.
(6) Wood pancling is seldom as strong as it looks. Move-
ment of it should never be undertaken without suffi-
cient help and proper supervision. As moldings and
trim are lightly attached, do not try to lift or
move woodwork by projecting parts.
(7) Preserve all fragments which may become detached.
Small
Objects
17 Hazards of mechanical violence to be guarded
against: abrasion, puncture, fracture, dis-
integration. Other hazards include: extreme
heat, water, dempness, sudden changes in temperature, humidity
and dirt.
a. Ceramics, Enamels, Glass, etc:
(1) Never handle any objects unnecessarily. Work with
proper supervision.
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OPERATIONAL PROCEDURES
CARE AND HANDLING OF ART OBJECTS
(2) Move only one object at a time and carry it with
one hand underneath. Unpack trays over padded
tables so that detached parts will not be lost or
damaged.
(3) Do not lift small, fragile objects by handles, rims,
or other projections, for these parts may have been
broken and repaired. Hold the body of the piece
gently but firmly. Check each object in and out of
the tray when it is composed of more than one part.
Pack each part soparately wi thin the tray or crate.
Library
BYL
(4) Always use padded trays for moving small objects.
Do not move them by hand except for placemont in
trays. Use sufficient cotton or padding within the
AMOUNT
tray or crate to prevent contact with other objects.
Whenover possible, objects should be so placed that
they do not project above the top of the tray.
(5) Make sure that hands are clean. Use gloves or tis-
sue when handling objects with glazed, polished
metal or other highly finished surfaces. (All such
materials show finger marks, which are difficult
to remove.) Apply this rule to mat finishes and
painted decorations as well. Smooth-surfaced objects
are hard to handle with gloves or tissue; with them,
extra care is necessary.
(6) Do not move trays by hand from one part of the build-
ing to another. Use the trucks provided for the pur-
pose, if available. Speed and jarring in motion
should be strictly avoided. Take time to do the job
properly.
b. Small Sculptures: To avoid chipping and scratching in
transit, small, heavy objects should always be set on pads and
carefully supported so that the weight is evenly distributed.
c. Ivories and Wood Carvings: Ivories and small wood carv-
ings are affected by sudden changes of atmosphere. Do not leave
such pieces near open windows or doors, particularly during the
winter months.
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OPERATIONAL PROCEDURES
CARE AND HANDLING OF ART OBJECTS
d. Arms and Armor: Arms and elements of armor are subject
to damage in many ways. Such materials should not be handled by
the inexperienced except under competent direction. Always han-
dle with gloves as fingor marks cause rust. Any exposure to
dampness should be avoided.
e. Jewelry: Never place cotton in direct contact with
jewelry. It will catch on delicate parts, may loosen settings
and thus cause loss of stones. Wrap jewelry in tissue first and
then in cotton, if added protection is needed. (Ivories, enan-
els, and old glass should be treated in the same way, that is,
wrapped in tissue first, then in cotton.) Staff supervision is
necessary when working with jeweled objects.
out LIDIATE
f. Save all parts which become detached
Textiles
18
a. Tapestries and Rugs.
(1) Never lift mounted textiles so that all the weight
is borne by the fabric alone. Use the supporting
bar, roller, or stretcher for lifting and handling
textiles.
(2) Avoid stretching, tugging and pulling. Textiles
which seem to be sturdy are frequently old, worn
or repaired. They tear easily.
(3) Remove screw eyes, wires, or other projections
before rolling textiles on supporting bars. In
storage such projections wear through and injure
fabrics permanently. Roll tapestries and rugs
evenly, avoiding wrinkling and creasing. Roll
lined material face out.
(4) Rugs and tapestries on rollers should not be pick-
ed up by one men or grasped at the middle of the
bar. Use two men, one supporting each end, for
greater protection of this type of material in trans-
it.
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OPERATIONAL PROCEDURES
CARE AND HANDLING OF ART OBJECTS
(5) Do not pile rolled or folded textiles one on top
of another unless it is absolutely necessary.
This practice results in broken threads which are
virtually impossible to repair.
(6) Observe safety rules when removing rugs and tapes-
tries from exhibition. There should be a man at
the foot of each ladder in use, to steady it.
b. Costumes and small textiles:
(1) Handle mounted textiles by the stretcher or frame.
RIBIT
Even slight pressure on tightly stretched fabrics
causes serious damage.
DATE
0
(2) Avoid folding textiles, laces, costumes, etc.,
whenever possible. If it is necessary to fold them,
tissue paper should bo placed in the folds to pre-
vent creasing.
(3) Clean hands are essential in working with textiles.
Many fabrics are so fragile that cleaning is im-
possible.
(4) Cover costumed manikins in transit and in tempo-
rary storage. They should be lifted by the frame-
work when moved, to avoid soiling or tearing the
costumes.
(5) After removing textiles, costumes, etc., from ex-
hibition, be sure that all pins are removed to pro-
vent rust stains and blood stains from scratched
fingers.
Works on
19 Works in this group are among the most fragile
Paper
and easily damaged in the museum. Treat them
with the consideration they deserve. They are
not to be handled unless under proper supervision.
a. Drawings, Water Colors, Prints, Miniatures, Etc.
(1) Handle as little as possible and only with clean
hands. Never touch material of this kind with wet,
sticky, or dirty hands.
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OPERATIONAL PROCEDURES
CARE AND HANDLING OF ART OBJECTS
(2) When moving unmounted material, lift each sheet by
the upper corners so that it hangs free without
buckling. Use great care to avoid bending, crack-
ing or tearing. Support such works on clean card-
boerd when carrying them by hand.
(3) Never stack prints, drawings, etc., one on top of
another unless they are matted or are separated by
cellophane, glassine or tissue paper. Do not allow
newsprint, prints matter, or other paper of poor
quality to come into dirct contact with the objects.
Cover works, awaiting installation or transportation,
with tissue paper to exclude dust and dirt.
(4) Do not permit works on paper to be shuffled or rubbed
against each other. Difficult and expensive re-
touching is the only way in which damage in this
$181913
BUL
manner can be repaired.
2481MG
(5) Do not expose prints, drawings, water colors, and
illuminated manuscripts to direct sunlight whether
on exhibition, awaiting installation, or in storage.
b. Rare Books.
(1) Many bindings which appear to be in good condition
are extremely fragile. Leather bindings are easily
stained. Do not handle rare books unless it is
necessary for you to do so.
(2) Turn the pages from the upper, outer corners when
it is necessary to open books. Moistened fingers
are extremely harmful to paper.
(3) Books should be opened gently so as not to crack
the bindings; never try to make an open book lie
flat. Avoid stacking open books one on top of
another. Do not place open books face down, or
stand books on their front edges, whether on tables,
trucks, or shelves.
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CHARTS
O. Eisenho
her
any
1
CHARTS
III NOILOES
CHARTS
Typical MG
This chart is a typical organizational chart
Group Organi-
of a Military Government Group based on the
zational
Department of the Army T/O & E 41-500 and
Chart
indicates the flow of command responsibili-
(Page 34)
ty and the distribution of functional re-
sponsibilities. A Military Government Group
organization must be flexible in order to most effoctively
carry out the missions for which it was created, and therefore,
this chart is in no way to be construed other than as a typical
organizational chart.
Typical Arts.
The Arts, Monuments & Archives teem organi-
Monuments &
zational chart is based on type team EH as
Lidiary
BUL
Archives
provided for in the Department of the Army
Organization-
T/O & E 41-500, 3 Jun 48, and outlines the
authorized personnel, their designated MOS
THEIRO
al Chart
(Page 35)
and SSN, and authorized rank. Flexibility is
possible with the utilization, as authorized,
of type teams EI and EJ when the situation makes increased per-
sonnel necessary.
Typical Team
The functional chart outlines the areas of
Functional
rosponsibility with which the Arts, Monumonts
Chart
and Archives team will be concerned. It
(Page 36)
should be stressed again that this chart is
typical and therefore, not necessarily all
inclusive. It should not be taken other than as a suggested
outline of functional responsibility and supervision.
Team
The team co-ordination chart was designed to
Co-ordination
indicate the areas of co-ordination of the
Chart
Arts, Monuments and Archives team with other
(Page 37)
teams within the Military Government organi-
zation as envisioned in operation. The extent
to which the AMA team co-ordinates with any team is, of course,
dependent upon the situation. This chart is therefore, a sug-
gested list of co-ordination with the various elements of Mil-
itary Government and the area of co-ordination most likely to
be involved.
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EH
CHARTS
Teer/Civilien
This chart indicates the various civilian
Agencies Co-
societies and institutions within the scope
ordination
and supervision of the Arts, Monuments and
Chart
Archives team. In a highly socialized coun-
(Page 38)
try, administration and supervision of cultur-
al institutions can be controlled through gov-
ernmental agencios on all levels. The chart is, however, not
confined to such a society but indicates the possible area of
supervision and control of cultural institutions under any form
of government. Hence, such institutions can be supervised
through either governmental agencies or through private in-
stitutions or societies.
6 Library
SUL
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CHARTS
TYPICAL ORGANIZATION CHART: MILITARY GOVERNMENT GROUP
NIET LICENSE 198 ThE US DE
Commanding Officer
Executive Officer
S1 Adj &
S2
S3 Plans Tng
S4 Supply &
S5 Govt.
Admin
Intel
Operations
Procurement
Affairs
Admin
Lang
Comm
HQ Detachment
Civilian
Sec
Off
Officer
Commander
Supply
Unit Admir Sec
Personnel
Food Service
Sec
Attached
Unit Supply Sec
Supcrvisor
Units
Unit Comm Sec
Motor Officer
Unit Auto
Maint Scc
Unit Mess Sec
Unit I&E Sec
Special Service
Economics
Gov't.
Public
Special MG
Controls
Facilities
Functions
Commerce &
Industry
Pub Safety
Pub Works &
Public
Utilities
Information
Public Finance
Pub Health
Pub Common-
Displaced
Food & Agric
Pub Welfare
ications
Persons
Civ. Supply
Displaced
Pub Trans-
Arts, Monu-
Persons
portation
ments &
Price
Archives
Control &
Pub Educ
Rationing
Legal
Property
Control
Labor
-----
Dotted Line Indicatos
BASED ON T/O & E
For Training Only
41-500 3 June 48
CHARTS
ARTS, MONUMENTS & ARCHIVES TEAM ORGANIZATIONAL CHART
Arts, Monuments & Archives Officer
Lt.
0009
Chief Clerk
Sgt. 1502
Driver, light truck
Cpl.
2345
Library
na 141
Lisenne and wer
* Based on T/O & E 41-500, type team (EH).
-35-
EH
CHARTS
ARTS, MONUMENTS & ARCHIVES TEAM FUNCTIONAL CHART
Control
Administration
General Operations
Special Operations
Supervision
Protection
Location
Planning
Preservation
Seizure
Co-ordination
Restoration
Security
Liaison
Restitution
Evacuation
Inspection
Reconstitution
Licensing
Information
Disposition
Exchange
Office Admin-
Transfer
istration
Release
Reports & Forms
Supervision
Vetting
Civilian Per-
sonnel
Supervision & Co-ordination
of All Technical Operations
LIDISTA The DK 10th ght D
Cultural
Cultural
Archives, Books &
Structures
Objects
Misc. Documento
-36-
EH
CHARTS
ARTS, MONUMENTS AND ARCHIVES TEAM CO-ORDINATION CHART
Co-ordination with:
Section
Team
Area of Co-ordination
Food and Agr.
Archives and records
Civil. Supply
Archives and records
Commerce & Ind.
Archives and records
Economics
Public Finance
Archives and records
Property Contr.
Restitution, archives and records,
property requisition
Price C and R
Archives and records
Public Safety
Security measures, archives
and records
Special Branch
Clearance of civilian person-
nel
Public Health
Archives and records
Governmental
Public Wolfare
Archives and records
Controls
Education
Collections, archives and records
Labor
Procurement of labor needs,
archives and records
Legal
Rostitution, claims, archives
Library
BUL
and records
DK
Special
PI and PW
Dissemination of information,
archives and records
THE
Functions
Pub. Works & U
Procurement of supplies for
emergency restoration, archives
and records, ropair and rehabil-
Public
itation of museums
Facilities
Public Commun.
Archives and records
Public Transp.
Transportation of movable works of
art, archives and records
Intelligence reports in re caches,
S-2
repositorics, collections, inter-
preters and translators, looting,
archives and records
S-5
Administration and supervision
-37-
EH
CHARTS
ARTS, MONUMENTS AND ARCHIVES
SUPERVISION OF
CIVILIAN SOCIETIES AND INSTITUTIONS
Arts, Monuments & Archives
Cultural
Cultural
Archives, Books
Structures
Objects
Misc. Documents
Government Arts,
Monuments & Archives
Agencies
Library
The
Dn
National
State
Regional
Municipal
Local
Museums
Galleries
Libraries
Churches
Public Collec-
Public Collections
Libraries
tions
Private Collections
Cultural Insti-
Private Collec-
Governmental Archives
tutions
tions
Political Archives
Historical In-
Museums
Institutional Archives
stitutions
Churches
Industrial Archives
Ecclesiastical
Libraries
Commercial Archives
Institutions
All Institu-
All Institutions
tions con-
housed in build-
taining
ings of histori-
movable
cal or cultural
works of
importance or
art.
containing im-
movable works of
art.
-38-
EH
to 1481 no Library
341
REPORTS AND FORMS
REPORTS AND FORMS
AI NOLLOTS
REPORTS AND FORMS
Vicinity
The Vicinity Report is a report prepared by
Report
lower echelons of AMA personnel regarding con-
(Page 41)
ditions in their particular areas of operation.
This report will give an immediate estimate of
the situation and better enable the AMA team to direct its over-
all program of protection and preservation. It is an initial re-
port to be submitted in seven days. From it, more comprehensive
reports are made as required from higher headquarters. It should
be propared in triplicate, Two copies to be forwarded to the AMA
team on the group level.
Status of
This report is a more comprehensive report and
Cultural
will contain information pertaining to Cultur-
Structure
al Structures. It should be prepared by all
Report
AMA toams of lower echelons and submitted
(Page 42)
through channels to the next higher echelon of
military government, namely, the group. Those
reports in turn will be consolidated and submitted in the proper
number of copies as directed by higher commanders.
Library
sul
Status of
The Status of Cultural Objects Report pertains
MO
Cultural
to collections and repositorios in the area of
Objects
operation and should be propared and submitted
Report
upon completion of inspection and inventory or
(Page 43)
as directed by regulations from higher head-
quarters. It should be prepared by lower ech-
elons of military government and submitted through channols to
the AMA team where the information will be compiled and consol-
idated and submitted in turn to higher commanders as directed.
Status of
This report should be used after Central Col-
Collecting
lecting Points have been establishod. It
Points
contains essential information necded by the
Report
AMA team to supervise the activities and
(Page 44)
operations of a Central Collecting Point.
From this report, movements of collections to
collecting points can be regulated, progress of restitution can be
directed, and other essential information pertinent to the
mission of the team can be obtained.
-39-
EH
REPORTS AND FORMS
Arts. Monu-
This report is a statistical summary of all
ments & Ar
the above reports plus a sumary of the AMA
chives Mon-
team's co-ordinating activities. It should
thly Consol-
be submitted in the number of copies as di-
idated Report
rected by higher commanders.
(Page 45)
Cultural
This form is used for inventory purposes
Object
when novable works of art and collections
Inventory
of art treasures are moved or otherwise
Card
require such record.
(Pago 46)
Receipt for
This form is self-explanatory
Cultural
Objects
(Page 47)
Library MURSIS 198 DK
The
-40-
EH
REPORTS AND FORMS
Arts, Monuments and Archives Team
VICINITY REPORT
(Number)
(Date)
1. INSTRUCTIONS: It is requested that a report be made on
, this headquarters, containing the following
information on targets in your area:
a) Identification and description.
b) Location by province or city and grid coordinates.
c) Present condition of structures and collections.
Jorary
d) What security measures have been taken.
e) Indicate ownership, diroctors, curators if known.
f) Emergency measures necessary for preservation and
ENSURE
additional security.
g) Name or recommend reliable civilian administrator
to manago each facility.
h) Indicato percentago of oporational personnel available.
2. TARGETS:
a) Cultural structures - muscums, libraries, monuments,
ruins, and inmovable works of art of a religious, artis-
tic, historical, archaoological and cultural nature.
b) Cultural objects - movable works of art in museums or in
public or private collections of an artistic, religious,
historical or cultural nature such as paintings, sculp-
ture, precious stones, etc.
c) Archives - accumulations or collections, private or
public, of nanuscripts, books and documents of religious,
historic, and artistic importance.
3. ESTIMATE OF THE SITUATION: What, in your opinion, is the
overall situation concerning the amount of destruction to
the targets in your area, looting by troops or civilians,
and the scope of activities which will be involved?
4. ACTION TAKEN: What has boen done to locato, recover, and
secure targots in your area?
5. RECOMMENDATIONS: Your suggestions and proposals for ac-
complishing immediate objectives. *Make report as complete
as possible. Missing data and new information to be for-
warded within
days of due date.
-41-
EH
REPORTS AND FORMS
Arts, Monuments and Archives Team
Status of Cultural Structures Report
a. Administration
(1) Personnel
a. Officer, military or civilian
b. Enlisted and non-specialist civilian
c. Recommendations
(2) Field Trips
(3) Receipt of Documents
(4) Important visitors or events
(5) Transportation available
(6) Miscellaneous
(7) Recommendations
b. Cultural Monuments
(1) Name of town and grid coordinates
(2) Name of structure
(3) Date of inspection
Library The
(4) War history
(5) Condition in detail
(6) Contents
(7) Present use
(8) Name of civilian custodian
(9) Action taken
(10) Photographic record
(11) Name of inspector
C. Internal Affairs
(1) Civilian committees appointed
a. Breakdown by function
b. Names and functions of members
(2) Summary of activities of personnel appointed
-42-
EH
REPORTS AND FORMS
Arts, Monuments and Archives Team
Status of Cultural Objects Report
a. Repositories
(1) Location (town and grid coordinates)
(2) Reported (date and source)
(3) Inspected (date, name of inspector)
(4) Security
(5) Type of content
(6) Ownership of contents
(7) Custodian (name, title)
(8) Source of contents (name of public or private
collection and place of origin)
(9) State of evacuation
(10) Movements
a. Truck loads moved
b. Persons engaged
Ibieny The
b. Repositories Falsely Reported
(1) Location (town and grid coordinates)
(2) Date investigated and comments
c. Collections
(1) Location (town and grid coordinates)
(2) Type
(3) Contents remaining in building
(4) Contents evacuated
(5) Condition of building
(6) Condition of contents
(7) Civilian personnel
(8) Security
(9) Movements
-43-
EH
REPORTS AND FORMS
Arts, Monuments and Archives Team
Status of Collecting Points Report
a. Administration
(1) Location and name of each building
(2) Personnel
a. Military
b. Civilian
c. Other (specialists, liaison)
(3) Building
a. Securi ty
b. State of repair
c. Normal maintenance
e VEHICLE ANSIMO OFF LIBrary
d. Heating supplies
(4) Receipt of documents
(5) Important visitors or events
(6) Miscellaneous
(7) Recommendations
b. Summary of Operations
(1) Estimated total number of objects on hand, under the
following categories, stating the number from individ-
ual repositories or from individual collections, with
the name of the presumed owner, if known:
a. Works of art and art objects
b. Books
c. Archives (running feet)
(2) Total number of objects inventoried
(3) Number of objects inventoried during reporting period.
(4) Estimated percentage of total inventoried
(5) Estimated percentage of total inventoried during
reporting period
(6) Number of inventory cards forwarded
(7) Number of photographs produced
-44-
EH
REPORTS AND FORMS
Arts, Monuments and Archives Team
Monthly Consolidated Report
a. Statistical summary, collected from the "Monthly Con-
solidated Arts, Monuments and Archives Report", "Status
of Cultural Objects Report", "Status of Collecting
Points Report", concerning:
(1) Personnel
(2) Monuments
(3) Ropositories
(4) Collections
b. Summary of military government coordinating activities,
including field trips
c. Receipt of documents
d. Important visitors and events
0. Miscellanoous
f. Recommendations
Library 18T a The
-45-
EH
REPORTS AND FORMS
FORMS
CULTURAL OBJECT INVENTORY CARD (PROPERTY CARD ART)
BUL
MG/MFAA/4/F.
o DWIEND
Classification:
PROPERTY CARD-ART
No:
Subject:
Author:
Presumed Owner:
Measurements:
Material:
.
Inv. No.
Weight.
Cat. No.
Depot Possessor:
Arrival Condition
Depot No:
Identifying Marks:
Description:
PHOTO
For office use
Claim No:
Other Photos:
Bibliography:
Neg. No:
Movements:
History and Ownership:
Condition and repair record:
Location
Copies of Card
Arrival date;
Exit dates
Forwarded
19
--46-
EH
REPORTS AND FORMS
RECEIPT FOR CULTURAL OBJECTS
ALLIED CONTROL AUTHORITY
ALL STATE
REPARATIONS, DELIVERIES AND RESTITUTION
DIRECTORATE RECEIPT FOR CULTURAL OBJECTS
The undersigned,
duly accredited by the
Government, hereby acknowledges the receipt
on behalf of the said Government, from the
Commander in Chief in
for the items described in
Schedule A attached horeto.
1. The delivery of these items is subject to the follow-
ing conditions:
a. In the event of the items coming within the ambit
of a general restitution procedure that may later
be establishod by the Allied Powers, the receiving
Government will agree to the transfer being sub-
mitted for confirmation by a restitution Commission
or other international body which may be established
to deal with this matter and will abide by its de-
cision.
b. In the event of such confirmation, the transfer will
be subject to all the conditions laid down for
restitution deliveries generally.
c. In the event of items not coming within the ambit of
such restitution procedure, the transfer shall be
dealt with in accordance with such procedure as may
be establishod for other deliveries.
2. The receiving government hereby certifies that the
items described in Schedule A attached were taken out of that
country by the enemy.
3. The receiving government undertakes to restore any
object which has been deliverod to it by mistake:
a. To the government of the allied state if the pro-
perty was removed by the enemy from the territory
of the state;
b. To the Headquarters of the Zone from which it was
shipped, if it had not been removed from the Ter-
ritory of an Allied state.
-47-
(Continued)
EH
REPORTS AND FORMS
4. The receiving government agrees that the occupying
power and all its agents and representatives shall be rendered
harmless from any claim for loss, damage or deterioration
suffered by any item from the time of its removal from the
jurisdiction or custody of the country receiving restitution
until its return thereto.
Witness
Signature
Date
Signature typed
Place
Title or Capacity of
Signer
LIBITED 184 10 The
-48-
EH
REPORTS AND FORMS
SCHEDULE A
ITEM
DESCRIPTION
(Including Statement of Condition of Object)
10 ELSEAL IDEATE SUL
-49-
EH
SECTION V
CHECK LISTS
CHECK LISTS
a LIDERO
BUL
CHECK LIST
24 Hour
The 24 hour check list is a list of func-
Check List
tions which must be accomplished in the
(Page 51)
initial phase of occupation, which may be
in the combat phase. It is used to insure
that the most essential team operations are performed by Arts,
Monuments and Archives personnel, such as location, inspection,
security, etc. of cultural structures.
30 Day
The 30 day check list constitutos periodic
Check List
inspections of targets, reports of repositories
(Page 52)
and caches, and also maintains constant secur-
ity. It provides for coordination and close
liaison with the Public Safety Team, Labor Team and Special
Branch, regarding the screening of personnel, custodi ans and
specialists to be utilized. If cultural structures are used for
military purposes, it defines responsibility for such structures.
It provides for the requisition and procurement of essential
materials and personnel, the initiation of issuance of instruc-
tions to the teams in the field, and the preperation of directives
concerning the protection and preservation of cultural structures
to all units in the area.
-50-
EH
CHECK LIST
ARTS, MONUMENTS AND ARCHIVES TEAM
24 HOUR CHECK LIST
1. Locate cultural structures, collections of art treasures,
repositories, collections of archives and records from
official lists and from intelligence reports received.
2. Make inspections of the above.
3. Render report of condition.
4. Take necessary security measures.
5. Locate superintendonts, directors, custodians and other
specialist personnel.
6. Contact tactical and service unit commenders regarding
military use of cultural structures if presently used
for such purposes.
7. Report wanton damage and looting.
8. Emergency restoration needed.
9. Make an estimate of the situation.
FALL
-51-
EH
CHECK LIST
ARTS, MONUMENTS AND ARCHIVES TEAM
30 DAY CHECK LIST
1. Continue periodic inspections of targets.
2. Investigate reports of repositories and caches as they
are received.
3. Maintain constant security
4. Co-ordination with Public Safety, Special Branch, regard-
ing screening of civilian directors, custodians and
specialists to be utilized.
IDESTS
5. If cultural structures are being used for military
purposes, have the following checks made:
a. Commanding Officer of the unit using building contracted
to be appraised of the responsibility of protection
and preservation.
b. All portions of the building liable to damage and
pilferage placed off limits.
c. Movable contents of value stored and sealed in a
place inaccessible to troops or removed to a new
storage place.
6. Prepare monthly report from information contained in
vicinity reports received from teams in the field.
7. Requisition supplies, if available at this stage of the
operations, for emergency restoration through the Public
Works and Utilities team.
8. Procure, through the Labor team, necessary labor.
9. Procure, through the Property Control team, buildings
for storing movable works of art removed form reposito-
ries, etc., when necessary.
-52-
(Continued)
EH
CHECK LIST
10. Issue instructions to teams in the field and disseminate
information to them pertaining to directives and orders
from higher headquarters.
11, Prepare directives concerning the protection and preser-
vation of cultural structures to all units in the area.
12. Require all civilian superintendents, directors, custodians,
etc., to submit records of inventory and the sale and
purchase of cultural objects.
13. "Freese" all cultural materials in the area regardless
of ownership.
14. Make proparations for the selection and procurement,
through the Property Control team, of a suitable
building to be utilized for a Central Collecting Point.
15. Arrange for necessary transportation, through the
Public Transportation team, for the moving of collec-
tions and caches to other locations for security and
preservation reasons.
-53-
EH
D.
LIDE
AONES V H H V
ACOLS VEHV
IA NOILOTS
AREA STUDY
Arts, Monu-
CA/MG units will not normally be trained for
ments and Ar-
a specific area but rather for general area
chives Area
assignments. Towards this end Arts, Monuments
Study
and Archives personnel can greatly benefit by
study of the general area. Listed below are
items of information which, if known, will better prepare the
AMA team in directing and carrying out its mission.
a. Cultural History: The history of any country or area
is reflected in and influences its art. A study of the social
customs and mores should be made because they directly affect
the history of art and enable AMA personnel to recognize what
is of value and importance to the country and the world alike.
Library
b. Religious Beliefs and Customs: Religion has dominated
241
the art of man from the very beginning. He has dedicated much
of his major works of art, which have come down to us through
Kiscahower
THE
d
the ages, to his gods and the life hereafter. A study of an
area's religious history and customs, therofore, is essential,
because a major portion of structures and objects to be preserved
and protected will be of a. religious nature or stem from reli-
gious beliefs end customs.
c. Dominent Leaders in the Field of Art: A study of the
leading personalities in the field of art, architecture, etc.,
of the country is advisable whether they be contemporary or
otherwise.
d. Mediums and Methods Used: A knowledge of the working
mediums and methods of art will aid immeasurably, in recogniz-
ing the value of any cultural object. For example, in the Far
East, jades and ivory play an important part in the art of that
area. Familiarity with these mediums then, would have a direct
bearing on the mission of the AMA team.
e. Cultural Aspects Important Only to the Country Con-
cerned: Attitudes of the people can be directly affected by
the actions of an occupying power with respect to the pro-
tection and preservation of works of art and cultural struc-
tures. A cereful study should be instituted by AMA personnel
in respect to this particular problem with the hope of pre-
venting conflict with the indigenous population involving the
local standards of art and cultures.
-54-
EH
AREA STUDY
f. Methods of Administration and Control of Cultural
Institutions: AMA personnel should know the methods of adminis-
tration and control of cultural institutions as affected by
the government and by private parties within the country to
be occupied or liberated. Important to know too, are the atti-
tudes and control of schools of thought in the field of art.
g. Location of Cultural Structures: Lastly, a study of the
location of the important cultural structures and institutions
is vital in planning any overall program of protection and
preservation and for making an estimate of the situation.
Library
The
-55-
EH
BIBLIOGRAPHY
D. EISEROWES
148
BIBLIOGRAPHY
IIA NOILORS
BIBLIOGRAPHY
U.S. ARMY MANUALS AND DEPARTMENT OF DEFENSE PUBLICATIONS
Department of the Army and Navy. FM 27-5/OPNAV P 22-1115:
United States Army and Navy Manual of Civil Affairs/
Military Government. United States Government Printing
Office. Washington, D.C. 1947.
Department of the Army. TM 28-210: Technical Manual for Arts,
Monuments and Archives. United States Government Print-
ing Office. Washington, D.C. 1947.
The Judge Advocate General. FM 27-10: Rules of Land Warfare.
Library
United States Government Printing Office. Washington,
D.C. 1949.
Risenhower but
U.S. GOVERNMENT PUBLICATIONS (Other than the Dept. of Def.)
The Department of State. International Protection of Works of
Art and Historical Monuments. Division of Publications,
Office of Public Affairs. Washington, D.C. June 1949.
General Board United States Forces, ETO. Civil Affairs and
Military Government Activities in Connection with Monu-
ments, Fine Arts. and Archives.
The Department of State. The American Commission for the
Protection and Salvage of Artistic and Historic Monuments
in Europe. State Department No. 348. Washington, D.C.
20 August 1943.
SHAEF PUBLICATIONS
SHAEF. Suggested Establishment for Public Monuments and Fine
Arts Section. Civil Affairs Planning Section of SHAEF.
19 March 44.
SHAEF. Civil Affairs Instruction No. 15. Monuments. Fine Arts
and Archives. Hq. SHAEF. Undated.
SHAEF. Annexure 5, Monuments. Fine Arts and Archives. To Direc-
tive on Civil Affairs. Belgium. AG of SHAEF. Belgium. AG
of SHAEF. Belgium. 1 Sept 44.
(Continued)
EH
BIBLIOGRAPHY
SHAEF. Annex 6 to Civil Affairs Directives for Operation
OVERLORD-FRANCE, Public Monuments and Fine Arts, AG of
SHAEF. Undated.
SHAEF. Directive for Military Government of Germany Prior to
Defeat or Surrender, Records and Archives and Monuments
and Fine Arts. AG of SHAEF. 9 November 44.
SHAEF. Instructions for the Use by Military Government Officers
of Archives Mentioned in the General List of Archives of
Western Germany. AG of SHAEF. 21 December 44.
SHALF. Civil Affairs Directives. The Netherlands. Annex 2.
Government Affairs, paragraph 6. Fine Arts, Monuments.
Library
Archives and Records. AG of SHAEF. 14 August 1945.
BUL
OMG, USFET PUBLICATIONS
Risenhower
OMG, USFET. General Order No. 68, Historical Monuments, 29 Dec 43.
OMG, USFET. Draft for the Charter and Establishment of the Monu-
ments. Fine Arts. and Archives Section under the Civil
Affairs Division, Ha. SAC. AG of OMG USFET. 18 January 44.
OMG, USFET. Staff Study. Monuments and Fine Arts. Proposal for a
General Order and Letter from SCAEF. Civil Affairs Branch
of SHAEF. 1 April 1944.
OMG, USFET. Report on Status of Monuments. Fine Arts and Ar-
chives in the European Theater of Operations. Letter by
Col. Henry C. Newton. MFAA Files, RD&R Div, OMG, USFET
Folder 751-Correspondence.
ACLS. Committee of the American Council of Learned Societies on
Protection of Cultural Treasures in War Areas. Summary of
Activities to 10 June 1944. OMG, USFET Folder 751 (US Comm)
Undated.
(Continued)
EH
BIBLIOGRAPHY
BOOKS
Howe, Thomas Carr, Jr. Salt Mines and Castles. Bobba -Merrill.
New York. 1946.
Rorimer, James J. Survival. Abelard Press, Incorporated. New
York. 1946.
Robb, David M. and Garrison, J.J. Art in the Western World.
Harper and Brothers. New York. 1948.
Gardner, Helen. Art Through the Ages. Harcourt, Brace and
Company. New York. 1936.
Tsuda, Noritake. Handbook of Japanese Art. Sanscido Company
Limited. Tokyo, Japan. 1941.
Library COMPUNITY The
EH
SECTION VIII
GLOSSARY
GLOSSARY
Library 'a COUNTY The
GLOSSARY
CULTURAL STRUCTURES Monuments, buildings or sites of religious,
artistic, archaeological, historic or similar
cultural importance, such as; statues, and other
immovable works of art; churches, palaces and
similar public or privato buildings of arch-
itectural or historic importance; museums and
libraries; parks and gardens attached to such
buildings; and ruins of historic or archaeolog-
ical importance.
CULTURAL OBJECTS All movable goods of importance or value
either religious, artistic, documentary,
scholarly or historic. This definition
includes, as well as recognized works of art,
such objects as rare musical instruments,
precious stones, and all objects found in
museums or private and public collections.
ARCHIVES
Accumulations or collections, private or pub-
lic, of manuscripts, books and documents of
religious, historic and artistic importance.
Also records and documents pertaining to in-
Librety LIBIPU THE
stitutions recently nade inactive or which
havo been inactive over a poriod of years.
MONUMENTS
Any structure, real property, or site, in-
cluding fixed objects, but exclusive of read-
ily movable objects, which, by reason of its
cultural, artistic, historic or archaeological
value, should be protected in implementation
of the policy of the army commander.
LOOTED CULTURAL OBJECTS The term includes all cultural objects
acquired directly by duress or wrongful acts
of confiscation or spoliation, whether pur-
suant to legislation, or by procedure purport-
ing to follow forms of law, or otherwise and
indirectly by purchase or other transactions
regardless of whatever consideration may have
been employed.
SPOLIATION
The act of plundering or robbing, especially
in time of war. The act of tampering with, or
injuring a document to inpair its value as
evidence.
(Continued)
EH
GLOSSARY
HYPOTHECATE
To pledge as security for a debt. To take,
as reprisal from the enemy, property or objects.
REPOSITORY
Any place used to conceal or for purposes of
protecting movable works of art from aerial or
artillery bombardment.
FRESCO
A method of wall painting in water colors on
fresh plaster. Restoration extromely diffi-
cult.
THYMOL
White crystalline substance with pleasant,
aronatic odor, chemically a phonol, obtained
from oil of thyme: used in the field of med-
icine and also as a preservative.
The
EH
Page data
- Page
- 69
- Source index
- 0
- Type
- document
- Media ID
- 71716750217e249d
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"ocrText": "ARTS MONUMENTS\nAND ARCHIVES\nVISTRIA\naut\nA\nPROVISIONAL TECHNICAL MANUAL\nFOR\nCIVIL AFFAIRS/MILITARY GOVERNMENT\nREGRADED UNCLASSIFIED\nORDER SEC ARMY BY TAG PER 8x218\nCOMPILED, WRITTEN, EDITED, AND PUBLISHED BY\nTHE 308 TH MILITARY GOVERNMENT GROUP\nCAMP ATTERBURY INDIANA\nAPRIL 1951\nFOR ITS TRAINING\nCONTENTS\nSECTION I: INTRODUCTION\nPage Paragraph\nPurpose of the Manual\n3\n1\nScope of the Manual\n4\n2\nImportance of the Problem\n4\n3\nMission\n5\n4\nSECTION II: OPERATIONAL PROCEDURE\nFunctions in the Combat Phase\n7\n5\nFunctions in the Post-Combat Phase\n17\n12\nFirst Aid Protection for Art Treasures\nand Monuments\n20\n14\nCare and Handling of Art Objects\n25\nSECTION III: CHARTS\nTypical Organizational Chart of a Military\nGovernment Group\n34\nBUL Library\nTypical Team Organizational Chart\n35\nTypical Team Functional Chart\n36\nTeam Co-ordination Chart\n37\nSupervision of Civilian Societies and\nInstitutions\n38\nSECTION IV: REPORTS AND FORMS\nVicinity Report\n41\nStatus of Cultural Structures Report\n42\nStatus of Cultural Objects Report\n43\nStatus of Collecting Points Report\n44\nMonthly Consolidated Arts, Monuments and\nArchives Report\n45\nCultural Object Inventory Card (Property Card\nArt)\n46\nReceipt for Cultural Objects\n47\nsection V: CHECK LISTS\n24 Hour Check List\n51\n30 Day Check List\n52\nSECTION VI: AREA STUDY\n54\nSECTION VII: BIBLIOGRAPHY\nSECTION VIII: GLOSSARY\n-2-\nNOILONGOHINI\nDRIGHT D. Elsenhower\nBUT\nI NOTIONS\n7\nINTRODUCTION\nPurpose\n1 The protection and preservation of monuments,\nof the\nfine arts and archives, during and after hostili-\nManual\nties, is one of the obligations with which the\nUnited States is charged under International Law\nand is defined in the Department of the Army Field Manual, 27-5,\nentitled \"United States Army and Navy Manual of Civil Affairs/\nMilitary Government\", October 1947, paragraph 9. Efficiently\ndischarging responsibilities which are assigned to the Arts,\nMonuments and Archives team or cell within a military government\norganization requires frequent reference to established prin-\nciples, procedures and rules. Therefore, the purpose of this\nmanual is to impart a knowledge of the responsibilities, opera-\ntion and functions of an Arts, Monuments and Archives team to\nthose military government personnel who are assigned the task\nof preserving, protecting and restoring structures, objects\nand archives of cultural, artistic, religious and historical\nimportance. It is designed, then, to accomplish the following:\na. Integrate information to explain team structure, func-\ntion and operation.\nb. Provide instructional material to orient and train -\n(1) Present personnel in assigned and subscouent duties.\n(2) New personnel in preparation for assignments.\nC. Establish a record in the form of an operational guide\nfor use in actual op ration in liberated or occupied territories.\nThis manual is written on the group level and is in no\nway to be construed other than as a provisional technical\nmanual to be utilized as P guide and for training purposes.\nIt should serve as a valuable guide for all Civil Affairs/\nMilitary Government personnel since it comprehends general\nobligations end practices that will, undoubtedly, be consist-\nently recuired of their service. All of the material contained\nhorsin should be regarded as subject to being sunerseded\nby subsecuent directives, policies and procedures to be issued\nby higher Headquarters. However, this presentation. represents\na study of practices in the past and current policies stated in\nsuch a way as to acquaint CA/MG personnel with the basic tenets\nof the Arts, Monuments and Archives team.\n-3-\nEH\nINTRODUCTION\nScope\n2 The scope of this manual will cover operational\nof the\nprocedure outlining team functions in the\nManual\ncombat phase and the post-combat phase. It\nis well to point out here that there is no\nmarked change, insofar as the Arts, Monuments and Archives\nteam is concerned, in the functions when the tactical situa-\ntion changes from the combet to the post-combat phase.\nHowever, since the primary purpose of CA/MG is to assist mili-\ntary operations, the functions of the teen during the combat\nphase are confined, on the whole, to protection and preservation.\nClose co-ordination with other terms within the military\ngovernment organization, higher and lower echelons, end with\nother services and commanders of tactical troops is obviously\nimportant and necessary. Reference. will be made from time\nto time throughout the manual to co-ordination and there is\ncontained in this nanual a paragraph pertaining to co-ordina-\ntion (see team co-ordination synopsis P 32.) and also a chart\nindicating the relationship and co-ordination with other sec-\ntions and teams of a military government organization. The\nscope also includes reports and forms necessary for efficient\nBOX\nadministration and operation; check lists of action to be\ntaken in the first twenty-four Murs and action to be taken in\nthe first thirty days; first aid measures for protection of\nart treasures and monuments; bibliography for further refer-\nence and.reseerch; and lastly, a glossary of terms.\nImportance\n3 A history of civilization and liberty is\nof the\nwritten in the artistic and historic non-\nProblem\nunents and shrines throughout the world,\nmonuments and shrines which fall victim\nto destruction in time of war and to the vandalism and lust\nof invaders. When this record of historydisappears or is\ndestroyed, some essential part of our intellectual heritage\ngoes with it. The protection and preservation of artistic\nand historic resources arises not only from a national inter-\nest and our obligations under International Law but from a\nsuperior international responsibility. Every nation, every\ncommender in the field, and every individual has a moral\noblig to preserve the historic and artistic monuments\nwhich are the heritage of mankind and held in admiration\nand affection by all the world. It is, therefore, imperative\nthat the Arts, Monuments and Archives teams embark on their\nmission in the wake of battle to prevent looting and fur-\nther destruction through lack of knowledge as to the value\nand importance of monuments, shrines and objects of art on\nthe part of tectical troops and to prevent deliberate damage.\nDuring sieges and bombardments, commanders of tactical forces\nEH\nINTRODUCTION\ncan do much to prevent destruction by taking all necessary precau-\ntions to spare, as far as possible, buildings devoted to the arts\nwhen such buildings are not being used for military purposes.\nAMA personnel have a responsibility in this connection to inform\ntactical commanders in the area of operations of the location and\nimportance of such structures. The importance of the proper secu-\nrity and protective measures as outlined in this manual under\n\"Operational Procedure\" cannot be overstressed as the first and\nprimary step to the protection end preservation and eventual\nrestitution of monuments end archives.\nClosely allied, and in some instances more important, to the\nresponsibility pertaining to the protection and preservation of\nmonuments and art treasures is that with r gard to archives.\nThe scope of archives, especially in modern, highly organized coun-\ntries, is extensive! Tho protection And prescrvation of such,\nhenc, constitutes an important aspect of CA/MG operations. Every\nmilitary government activity will entail the use of enemy public\ndocuments, business papers, files and records of every kind,\nofficial and unofficial. Military, political, administrative\nbusiness and historical interests will be equally concerned with\nthem. The preservation of such records and files is of the utmost\nimportance in connection with disarmament, the eredication of\npolitical institutions detrimental to our national policies, the\ncontrol of property. and generally, for the imposition cf control.\nMission 4 a. General: The general mission of the Arts,\nMonum nts and Archives team concurning the\nprotection of shrines and works of art is contained in the\nDepartment of the Army Field Manual 27-5, which states \"Except\nwhere military necessity makes it impossible, historical and\ncultural monuments, works of art and religious shrines will be\npreserved.\"\nWith gard to the protection of archives and records, the\ngeneral mission of the Arts, Monuments and Archives team as ex-\npressed in the aforementioned manual is \"Since archives and records,\nboth current and historical, of all branches of government of\nthe occupied area are of immediate and continuing use to CA/MG.\nit is essential to seize and protect them.\"\nb. Specific: Expending the general mission into more spe-\ncific missions, the Arts, Monuments and Archives team will have\nas its objectives, the following responsibilities:\n-5-\nEH\nINTRODUCTION\n(1) To protect, preserve and centrol all cultural struc-\ntures, objects, archives, books and documents and\nto secure them,in so far as practicable, from\ndetericration and as a result of war and military\noccupation.\n(2) To make cultural materials of whatever ownership\navailable for restitution or replacement in kind\nas directed by the office of CA/MG affairs.\n(3) To charge civilian agencies concerned with struc-\ntures and materials with their administration and\nunkeep as rapidly as is consistent with the achieve-\nment of the objective of CA/MG.\nOUL Library\n-6-\nEH\nTVNOISVHNAT\nof\nDwight\nLibrary / BUT\nTVNOLIVENO\nII NOILOTS\nOPERATIONAL PROCEDURES\nCOMBAT PHASE\nFunctions\n5 General: Arts, Monuments and Archives teams\nin the\nwill be supplied with official lists of struc-\nCombat\ntures, objects and archives to be protected in\nPhase\nthe area to be occupied. These lists should\nbe augmented by utilization of Army Service\nForces Manuals, Baodekers, atlases and sinilar references for the\narea of operation. Supplementary lists of additional nonuments\nand cultural institutions and city plans showing the locations of\nsuch buildings will be made available as needed to assist teams\nin reporting on the condition of the buildings listed and in\nprotecting then from nilitary use or danage, so far as military\nnecessity permits. Standard and local guide books nay be obtain-\nable and local inhabitants may be able to give valuable informa-\ntion and help. Also in locating cultural naterial, teams will\nrequest assistance from the intelligonce personnol of all units\nLight\nin the area and arrange with them to forward to the teams any\n148.40\ninformation or lead which might assist them in the discovery of\nO\ncultural materials. Priority of function is determined only\nafter an initial inspection of the targots and an estimate of\nthe situation is nade. Therefore, the order in which the func-\ntions are listod does not necessarily indicate priority.\nProtect\n6 The function of protection and prescrvation\nion and\nis the primary function of the Arts, Monu-\nPreserva\nmonts, and Archives team during the combat\ntion\nphase. The functions of restoration, resti-\ntution and disposition, with the exception\nof emergency restoration, are confined, generally to the post-\ncombat phase. Listed below are specific categories of respon-\nsibility with which teams will be concerned during the combat\nphase.\nCultural\n7 The term \"cultural structures\" includes\nStructures\nmonuments and other buildings or sites of\nreligious, artistic, archaeological, historic\nor similar cultural importance, such as: statues and other\nimmovable works of art; churches, palaces and similar public or\nprivate buildings of architectural or historic importance;\nmuseum, library and archival buildings; parks and gardens at#\ntached to such buildings; and ruins of historical orarchaeolog\nical importance.\na. Security: After cultural structures have been located\nin the area with the aid of official lists and other more com-\nprehensive lists, the AMA team should, in co-ordination with\nthe Public Safety team, post notices placing cultural structures\noff limits to military and civilian personnel and to post guards\nutilizing military police or tactical troops around the building\nor area.\n-7-\nEH\nOPERATIONAL PROCEDURES\nCOMBAT PHASE\nb. Emergency restoration: Teams should co-ordinate with\nthe Public Works and Utilities team and with other military and\ncivilian construction agencies in procuring critical supplies\nfor emergency restoration end protectfon. of cultural structures.\nc. Militery Use of Cultural Structures: AMA personnel\nshould initiate appropriate action to avoid the use for military\npurposes of all churches and buildings on official lists within\ntheir area. When military necessity requires the use of cultural\nstructures, AMA teams should make arrangements to:\n(1) Informthe commending officer of the unit using the\nbuilding of the necessity for protecting it and its\ncontents from pilfering and defacement.\n(2) See that portions of the building particularly\nLibrary 0.308\nliable to pilferage and defacement are placed off\nlimits.\n(3) See that valuable movable contents not of military\nuse are stored and sealed in a place inaccessible\nto troops. (see paragraph 8-sub par c- page io)\n(4) Arrange with the military commander in the area\nthat military occupants move out at the earliest\npossible moment.\nd. Prohibition of Demolition: Appropriate steps should\nbe taken, as military necessity permits, to ensure that no por-\ntion of damaged churches, monuments on official. lists or such\nstructures as AMA personnel deem of importance, are demolished.\nor the debris thereof renoved, excent under supervision. Deno-\nlition by military personnel of damaged cultural structures\nshould be prohibited excent as a public safety measure. Debris\nwhich must be cleared for military traffic should be collected\ntogether within the walls of the building.\ne. Civilian Personnel: Aportion of the civilian superin-\ntendents, directors, custodiens and other snecialist personnel\nat the local administrative level will probably remain at their\nposts and be available to protect and preserve their charges.\nEvery effort should be made to locate them and after they have\nbeen properly cleared by the Special Branch their services will\nprove invaluable for future administrative purposes, ovaluation\nand appraisal, cataloguing end inventorying, and in the protec-\ntion and preservation of cultural structures.\n-8-\nEH\nOPERATIONAL PROCEDURES\nCOMBAT PHASE\nf. Periodic Inspections: Inspections of cultural structures\nin the area should be made periodically for the following purposes:\n(1) Record the physical condition.\n(2) Check security measures.\n(3) Observe the progress of any repairs undertaken.\n(4) Obtain photographic records showing all damage,\nstructural faults or facts, nothods of repair, and\nthe condition before and after repairs.\ng. Inspection Reports: Reports of these inspections should\nbe rendered as outlined in this manuel under the section labeled\n\"Reports and Forms.\" Report forthwith, in writing, any cases\nwhich may come to your notice of looting, wanton damage and neg-\nligence on the part of tactical troons or civilians, to the\nappropriate Military Government authorities for action.\nCulturel\n8 The term \"culturel objects\" includes all movable\nObjects\ngoods of importance or value oither religious,\nartistic, documentary, scholarly or historic, the\ndisappearance of which constitutes a loss to the cultural heri-\ntago of the country concerned. This definition includes recognized\nworks of art, as well as such objects as rare musical instru-\nments, procidus stones, books and manuscripts, scientific docu-\nments of an historic or cultural nature, and all objects usually\nfound in museums, collections, libraries and historic archives.\na. Security: All museums, galleries and repositories of\nworks of art should be closed and placed off limits and immediate\nsteps taken to secure by guards, in co-ordination with the Public\nSafety team, all accumulations of art objects from clandestine\nremoval. A \"freeze\" of all cultural materials in the area, re-\ngardless of ownership, pending decision from higher headquarters\nregarding their disposition, should be initiated.\nb. Collections Perpetuating Militarism and Adverse Political\nIdeologies: All collections of works of art or other\ncultural objects the intent and purpose of which are tho porpotar\nation of militarism or political ideologies will be closed and\ntheir contents taken into custody for later exemination individu-\nally with a view to the possible inclusion of objects of purely\ncultural or historic value in general museum collections according\nto their class.\nEH\nOPERATIONAL PROCEDURES\nCOMBAT PHASE\nC. Removal for Material Security: Where the preserva-\ntion of movable works of art from deterioration, exposure to\nweather, dampness, fire, looting, etc., nocessitatos their\nremoval to a now storage place, proper consideration should\nbe given the following whon selocting the now storage place:\n(1) A storage place which can be properly socured.\n(2) Woatherproofing and protection from the cle-\nmonts.\n(3) Space, proper light and humidity-particularly\nimportant in storing and prosorving paintings.\nd. Inventory: Whon movable works of art and collections\nof art treasures are removed for material security purposes\nan inventory of all objects should be takon utilizing the Pro-\nperty Card ,Art as set forth in the Reports and Forms soction\nof this manual. Time may not permit, at the early stagos of\nthe combat phase, the taking of a dotailed inventory as is\npossible when removing objects to Central Collecting Points\nin the lator stagos of the combat phase and during the post-\ncombat phase, in which case a more simplified method of in-\nventory should be initiated until such time as a more de-\ntailed account can be given.\n0. Civilian Porsonnol: Soo paragraph 70.\nf. First Aid Protoction for Art Treasuros: See para-\ngraph 14 page 20.\ng. Care and Handling of Art Objects: See paragraph\n15 page 25.\nRoposito-\n9. The authorities of tho country in which\nries of\nthe area of operation lies will have, un-\nCultural\ndoubtodly, maintainod air raid and other\nMaterials\nprocautions to protect monumonts and\nworks of art. Valuablo collections will\nhave been ovacuated to depots far removed from dangor and\ntherefore romote also from the cities, with tho result that\nextromely valuable cachos of works of art may be found in rola-\ntively romote parts of the country. In the event of a break-\ndown of administrativo control such isolated depots will be ex-\nposod to thiof, fire and weathor.\n-10-\nEH\nOPERATIONAL PROCEDURES\nCOMBAT PHASE\na. Discovery and Report of Repositories: Known repositories\nwill be listed in the Official Lists. Reports of other reposito-\nries will come to the attention of the Arts, Monuments and Are\nchives teams as they are discovered by the tactical troops, other\nmilitary units and Military Government Companies in the field.\nReports may come from intelligence reports from the S-2 of the\nMilitary Government organization, the Public Safety team, tacti-\ncal unit commanders, or from the civilians themselves. AMA teams\nshould investigate repositories of cultural materials discovered\nand reported and render reports of such investigations on Monthly\nConsolidated Field Report Form (see \"Reports and Forms\" section).\nb. Security: Where deened necessary by the AMA team, reposi-\ntories containing suspected or identified loot or works of art of\ngreat value or importance will be placed under adequate security\nguard until evacuated to Central Collecting Points. Co-ordination\nwith the Public Safety team is necessary for the posting of off\nlimits signs and the posting of guards. Repositories not contain\ning such materials will be placed under the care of qualified ci -\nvilians against custody receipt or if of minor importance, locked\nand sealed, until released against custody receipt to responsible\nofficials or civilians.\nc. Visitor Control: Visitors should not be admitted to any\nrepository without the express written permission of the respon-\nsible AMA officer or of such civilians as may be designated by\nproper authority.\nd. Evacuation from Repositories: Cultural materials in re-\npositories should be evacuated to Central Collecting Points or\nto other locations as soon as possible after Central Collecting\nPoints have been established. Where movement is so deemed nec-\nessary, cultural materials liable to damage or deterioration in\ntheir present locations should be evacuated first; thereafter,\nlooted materials; and finally, other cultural materials.\ne. Spot Surveys: AMA personnel should ensure. that spot sur-\nveys of closed crates and of objects not crated are made of each\nrepository before evacuation. Such surveys should be checked\nagainst inventory records.\nf. Care and Handling of Art Objects: See paragraph 15 page 25\n-11-\nEH\nOPERATIONAL PROCEDURES\nCOMBAT PHASE\nCentral\n10 The establishment and operation of a Central\nCollecting\nCollecting Point, another important function\nPoints &\nof the Arts, Monuments and Archives team,\nDepots\nwill, in general, be a function during the\nlatter part of the combat phase and during\nthe post-combat phase. The supervision and control of the oper-\nation of a Central Collecting Point is the responsibility of AMA\npersonnel. Due regard should be given in the selection of build -\nings, to adequacy of space, condition of weather proofing, temper-\nature and humidity, and in providing for their custody, maintenance\nand security.\na. Purpose: Central Collecting Points are established for\nthe purpose of receiving, surveying and preparing for directed\ndisposition:\n(1) Looted cultural materials, i.e., cultural objects\nand archives, books and miscellanoous documents,\nexcept modern commercial archives.\n(2) Cultural materials evacuated from temporary\nrepositories.\n(3) Any other materials which the AMA officer may\ndesignate.\nb. Personnel: AMA officers in charge of Central Collecting\nPoints may employ and utilize properly vettod civilian personnel.\nPersonnel should be procured through the Labor team and.screened\nby the Special Branch ofthe Military Government Organization.\nc. Inventorying: All cultural materials in Collecting\nPoints should be inventoried utilizing the Property Card Art as\nset forth in the \"Reports and Forms\" section of this manual.\nd. Looted Cultural Materials: Unopened cases containing\ncultural materials clearly identifiable by their markings as\nloot from one of the United Nations need not be inventoried, but\nrecords should be kept to identify the cases and the nature of\nthe contents. Cases containing cultural materials, the contents\nof which cannot be identified otherwise, will be opened and their\ncontents checked or inventoried.\ne. Photographic Records: Photographic reproductions in\nappropriate size should be made of all cultural materials\n-12-\nEH\nOPERATIONAL PROCEDURES\nCOMBAT PHASE\ninventoried. The photographa. should be attached to the Property\nCard Art. At the discretion of the AMA officer, larger size in\nblack and white and color photographs suitable for study and\nresearch may be made of all important objects of which no such\nrecord is available to be forwarded to higher headquarters. All\nphotographs made should be used exclusively by military govern-\nment organizations, higher headquarters or such agencies as may\nbe authorized.\nArchives,\n11 The term \"cultural and historic archives\"\nBooks and\nincludes all accumulations of documents,\nMiscellaneous\npublic and private or ecclesiastical, which\nDocuments\nrelate to the functions of institutions now\ninactive which are not within the province of\nother military authorities. The term \"modern archives\" includes\n143.00\nall accumulations of the same nature which relate or contribute\nto the functions of institutions now or recontly active which are\nnot within the province of other military authorities. The term\n\"books\" includes printed or otherwise duplicated volumes and\npamphlets, except those prinarily considered to be works of art\n(cultural objects). \"Miscellanoous documents\" includes collec-\ntions of papers, photographs, ephemera, and the like which are\nnot, however, the ordered official records of an institution.\nThe chief types of archives are:\na. Public Administration by Government - through ministries\nand other offices, with their various sections and departments\nand their district offices.\nb. State and Provincial Administration - ancient and modern;\nolder archives generally at the capitol of the state or province;\ncurrent archives in the state ministries. or other offices\nconcerned.\nc. Regional Administration- ancient and modern; ancient\narchives occasionally preserved in special repositories; modern\nin offices concerned in chief towns in each area.\nd. Legal Administration - including the supreme or high\ncourts and the court of appeals.\ne. Police Administration - at all of the above-mentioned\nadministrative levels.\nf. Town Administration - ancient and mòdern in every town\nof importance.\n-13-\nEH\nOPERATIONAL PROCEDURES\nCOMBAT PHASE\ng. Political Party Administration - through head offices,\nchief district offices and district hoadquartors.\nh. Semi- Public Administration - that of institutions which,\nthough private in origin, do work of a public character; such as\nuniversities, educational or charitable institutions, great banks\nand insurance companies, public utility companies and large indus-\ntrial concerns. Archives normally maintained at governmental\narchives centers or semi-public buildings. The protection and\npreservation of public archives should not contravene or preclude\nKIBTAKT\nany activity in this respect by the CA/MG Specialists concerned\ntherewith.\n1. Private Administration - whether by individuals or bodies:\narchives most frequently are those of families possessing or having\nonce possessed large estates or castles and considerable control\nof local government; generally preserved at the estates or castles.\nJ. Church Administration - archives preserved at seats of\ndioceses, cathedral chapters, and important monasteries; also at\na few Jewish centers.\nk. Other Archives - note particularly the possible importance\nof those archives of smaller towns or communes and parishes which\ncontain the registers of birth, marriages and deaths, both civil\nand ecclosiastical; the smaller local offices of food and labor\nregistration, or police, post offices, finance, taxation and other\ndivisions of government; all notaries, whose collections cover the\nrecords of private contracts and business of all kinds and go back\nin some cases to very early dates; branch offices of banks; and\nany commercial or industrial organizations of considerable size.\nEvery military government activity in a liberated or occupied\nterritory will entail the use of public documents, business papers,\nfiles and records of every kind, official and unofficial. Military,\npolitical, administrative, business and historical interests will\nbe concerned with them. It is the responsibility of the AMA\nteam to ensure the preservation from destruction, alteration or\nconcealment of all records, documents, plans or archives of value\nto the attainment of the objectives of Civil Affairs/Militery\nGovernment. The AMA team should be responsible for the supervision\nof the following functions:\na. Objectives: The investigation and recording of the pres-\nent location and condition of known collections and of other\n414-\nEH\nOPERATIONAL PROCEDURES\nCOMBAT PHASE\ncollections that may be discovered; the protection of all such\ncollections; the organization and supervision of suitable per-\nsonnel to maintain custody thereof; and the exploitation of such\ncollections through naintenance of a central reforence file in\nthe military governmont organization.\nb. Security: Archives and records of interest to C&/MG\nshould be seized and held as outlined in official lists of an\nchives or as instructed by subsequent directives from higher\nheadquarters. Such steps should be taken as are consistent\nwith nilitary necessity to ensure that no wanton damage is done\nto records and archives by tactical troops or civilians. Build-\nings and other places containing records and archives of interest\nto CA/MG should be placed out of bounds and off limits to troops.\nRecords and archives may be of greatest value in the location in\nthey\ney\nwhich they were created. Therefore, unless required for nilitary\npurposes or safe preservation, no attempt should be made to\nAMERICA\nremove them.\nc. Renoval of Collections: Collections located in their\nproper locations, or in temporary locations, should not be re-\nmoved unless such action is necessary for their security and\npreservation or for reproduction, cataloguing or other exploi-\ntation. When necessary for such reasons collections should be\nremoved to Central Collecting Points. Removal should be con-\nducted under expert supervision in such manner as to preserve\nthe integrity and arrangement of the collection and with ade-\nquate measures to ensure preservation and security during the\nprocess of removal. Whon a new location is necessary the\nfollowing points should be taken into consideration:\n(1) Housing in dry buildings free of fire hazards\nand vermin.\n(2) Use of suitable sholving and/or containors.\n(3) Retention in comprehensible order and adequate\nlabeling and cataloguing.\n(4) Control of access to ropositories, by locking\nentrances, posting of guards, ordinary police\nneasures in co-ordination with the Public Safety\nteam.\n-15-\nEH\nOPERATIONAL PROCEDURES\nCOMBAT PHASE\nd. Access to Records and Archives and Use by Interested\nCA/MG Specialists Concerned: The interest of various sections\nand teans of a nilitary government organization in records and\narchives is apparent. The AMA team should facilitate in every\nway possible the use of records and archives under their control\nby authorized users. They should, as far as practicable, ensure\nthat the users are impressed with the necessity of handling the\ncontents of the archives with care and that they are replaced\nafter examination in the order in which they were found. In\nmany instances archives, records and files of institutions can be\nturned over directly to the elements of military government\nconcerned for their protection and preservation as the tactical\nsituation permits.\nthe\n-16-\nEH\nOPERATIONAL PROCEDURES\nPOST-COMBAT PHASE\nFunctions\n12 General: The functions of the Arts, Monuments\nin the\nand Archives team during the post-combat\nPost-Combat\nphase are broader in scope and will permit\nPhase\noperations on a larger scale. It will entail,\nin addition to continued protection and pres-\nervation, the functions of restoration, restitution and disposi-\ntion, exchange of cultural materials, transfer of civilian owned\ncultural naterials to civilian custody, and transfer of public\nand privately owned cultural institutions and structures to their\nproper custody. Close co-operation and co-ordination with the\nProperty Control team of a military government organization is\nnecessary in the post-combat phase in functions pertaining to\nrestitution and claims. Co-ordination with other elements of\nmilitary government is taken up in paragraph Team Co-ordination\nSynopsis Page 32 of this manual. It should be stressed at this\npoint that the AMA team on the group level administers and super-\nvises the operations of the above functions by lower echelons of\nmilitary government. However, in order to observe the progress\nof teams or cells under the control of the group And to meet any\nspecial problems which arise portaining to protection, preserva-\nObiery\ntion and restitution, close co-operation and co-ordination with\nthem must be maintainod.\nDATE\nRestitution\n13 The function of protection and preservation\nand Dispo-\nis a continual one throughout the combat and\nsition\npost- combat phase but the functions of res-\ntoration and disposition are additional\nfunctions which are generally considered to be responsibilities\nduring the post-combat phase. However, the tactical situation\nmay permit commencing programs of restitution, transfer of cul-\ntural materials and return of control to civil administration.\nHeretoforo, the function of restoration, was one of emergency.\nThis function of emergency restoration will continue as AMA\npersonnel deem necessary but the function of restoration as such,\nwill be turned over to civilian administration as rapidly as the\nmilitary situation permits. Restoration, of course, is dependent\nupon the availability of labor, material and supplies. In the\nlight of the above functions, listed below are specific catego-\nries of responsibilities with which teams will be concerned\nduring the post-combat phase.\na. Reconstitution of Civilian AMA Agencies: Civilian\nagencies concerned with arts, monuments and archives will be\nestablished at such time as the military situation permits with\nappropriate subordinate organizations. Former orgenizations,\nrecords and specialist personnel may be utilized, to the extent\n-17-\nEH\nOPERATIONAL PROCEDURES\nPOST-COMBAT PHASE\navailable, after elimination of all adverse political factions\nand otherwise unsuitable personnel.\nb. Return of Administration to Civilian Agencies: Return\nof administrative responsibility for cultural structures and\nobjects to civilian agencies should not be authorized until\nthe following has been accomplished:\n(1) Such agencies are adequately and properly\nmanned to handle such responsibility.\n(2) Adequate investigation and search has been made\nwithin the area of operation to identify all\nlooted cultural materials and to secure the same.\nagl\n(3) All public and private records and collections\nhave been screened for information and for loot-\ned objects.\n(4) All publicly and privately owned structures and\nobjects have been inventoried.\nC. Supervision: After authorizing the return of AMA admini-\nstrative responsibility to civilian agencies, the AMA team should\nsupervise their operations to ensure that they comply with instruc-\ntions from the Office of Military Government and from higher head-\nquarters. To this end, AMA personnel will be required -\n(1) To ensure by inspections that cultural structures\nand materials in the area of operation or juris-\ndiction are preserved and protected from deteri-\noration and spoliation.\n(2) To ensure that agencies make adequate reports of\ntheir activities and expenditures.\n(3) To supervise in person important operarions such\nas the repair of major cultural structures and\nthe evacuation of repositories containing valuable\nlooted cultural materials.\nd. Religious Structures and Objects: Administrative responsi-\nbility and control by ecclesiastical organizations over cultural\nstructures and objects owned by them may be authorised, subject to\nthe supervision of AMA personnel and to reasonable requirements\nfor inventories and reports.\n-18-\nEH\nOPERATIONAL PROCEDURES\nPOST-COMBAT PHASE\ne. Preparation for Restitution of Looted Cultural Materials:\nAll identifiable looted cultural materials should be takon into\ncustody (see paragraph 8a) and should be evacuated to a Central\nCollecting Point. In order to aid in identifying and locating\nlooted cultural materials, custodians of all collections of\ncultural objects should be required to submit lists of accessions\nsince a particular date. Such lists should be checked against\ncatalogues or inventories made before that date.\n1. Return of Identifiable Loot in Anticipation of Restitu-\ntion: Clearly identified looted cultural objects of major impor-\nLibrary\ntance may be released on the authority of military government to\none\nthe authorized represents tive of the claimant nation against re-\nceipt as outlined in \"Reports and Forms\" section of this manual.\ngo Transfer of Former Enemy-Owned Cultural Objects: Cultur-\nal objects clearly identified and of minor value may be released\nto proper owners or agemcies against receipt.\nhe Report of Releases: All such releases should be report-\ned in the Monthly Status of Cultural Objects Report (see \"Reports\nand Forms\" section of this nanual.)\n1. Release of Archives, Books, and Miscellaneous Documents:\nThe release of collections, records and parts thereof (except\nmilitary and political Party archives) to civilian agencies and\ninstitutions may be authorized, subject to such conditions and\nsuch continuing supervision and control as may be determined to\nbe desirable.\nJ. Licensing of Art Dealers: Art dealers may be licensed\nby such agencies as regulations from higher headquarters may\ndirect with the right of review and revocation retained by\nCivil Affairs/Military Government.\nk. Art Dealors Reports: Such reports as may be required\nshould be furnished on Inventory and Sale Card for Art Dealers\nas set forth in \"Reports and Forms\" section of this manual.\n-19-\nEH\nOPERATIONAL PROCEDURES\nFIRST AID PROTECTION\nFirst Aid\n14 Goneral: Artistic and Historic Monuments are\nProtection\nof many sorts, but can be classified for\nfor Art\npresent purposee under the hoadings Churches,\nTreasures &\nPalaces, Monuments, and Cultural Institutions.\nMonuments\nChurches in European towns or cities are civic\nas well as religious institutions, and often\ncontain the most important works of art, archives, and records.\nThey are almost invariably the most venerated monuments. The\nPalace in Europe does not necessarily mean the dwelling of a\nwealthy or princely family. It may have been converted into a\npublic building, and contain an art gallery, library, museum, or\narchives. Monuments is a catch-all term, including archaeological\nsites, structures of artistic importance, and historical remains.\nCultural Institutions include museums, galleries, libraries, and\nscientific collections or collections of documents, and are often\ncasualties of war, not only through diroct military action but\nalso because of neglect during attack or invasion.\nThe first work of protecting and salvaging artistic and\nhistoric monuments in Europe must be carried out in large part\nby the forces in the field. The following first-aid measures\nhave been briefly outlined to help them in this work:\na. Local Personnel In almost every small town in Europe\nsome responsibility for supervision of cultural treasures has been\nfixed. The responsible person may be the priest, or the school\nteacher, or even a local collector. He will, however, be part\nof a highly developed organization heading up in the national\ngovernment. In every case the special knowledge of these men\nand women will be of assistance in locating and identifying these\nworks, and will be invaluable in carrying out operations which\nare technical in their nature.\nb. Buildings In the case of buildings designated for con-\nservation, a guard, a pass system, and a system of periodic\ninspections are requirements. Damaged buildings should be inspec-\nted as to their solidity. It should be remembered that demolition\nof partly damaged structures is one of the gravest hazards to\nwhich monuments are subject. For those marked as of cultural\ninterest, ordinary props and shoring up of walls, vaults, and\nceilings should be used so that no portion of the building be\ndestroyed. It is equally important that fragments of any\ndamaged building, often appearing merely as a heap of rubble,\nshould not be removed from the site, but should be carefully\nprotected for future examination by experts, because restoration\n-20-\nEH\nOPERATIONAL PROCEDURES\nFIRSTIAID MEASURES\noften can be made from relatively minute fragments. Movable\ncontents of value may be safeguarded by removal to a better\nprotected place, especially if the building is in danger of\ncollapse.\nc. Archaeological Sites In most European countries numerous\nexcavations for archaeological study, both ancient and modioval,\nwill be encountered. These are often open areas containing only\nfoundations and trenches, and so may appear to contain very little\nof importance. But nothing on an excavated site, however small\nand insignificant in appearance, is without importance to schol-\narship. Consequently it is desirable to post adequate guard\nover an excavation and its headquartors (which will contain in its\nLibiary\nstorerooms finds from the digs and in its files irreplaceable re-\nand\ncords); to find the local inspector and the local guards; and to\nlocate and keep watch over the antique dealers of the neighbor-\nhood, some of whom might take the opportunity of purloining or\nreceiving objects from the site. Baskets or trays of pottery\nfragments are especially important, being the chief means of\ndating the strata in excavations, and so must not be disturbed or\ndeprived of their labels. Earth strata are frequently so excavated\nas to expose them like successive steps. These, and mud brick\nwalls or rubble foundations, are often so fragile that they should\nnot be trodden upon. Partial restorations of columns, etc., are\noften set up rather insecurely in archaeological areas, and might\ncollapse with danger to life and limb if roughly handled. Frescoes\nin excavated tombs are especially fragile. Even a slight explosion\nof a flash-bulb may dislodge them from a wall. Hence if gunfire\nis still in the neighborhood, such frescoes should be protected\nby shock absorbent material, blankets and sandbags placed with a\nslight air space between them and the walls. Above all, men\nmust be cautioned against chipping off souvenirs, picking out\nmosaic tesserae or pieces of fresco, or even picking up carved-\nstone fragments or potsherds from the ground.\nd. Paintings on Canvas and Wood With paintings as with\nother movable objects, protection of those in reasonably good\ncondition should be undertaken before those badly damaged are\ncollected and salvaged. If there is possible danger from explosion\n(as of artillery or mines), unharmed paintings should be placed\npaint side against a blanket covered solid surface. Where paint-\nings have to be moved for safekeeping or protection, those in good\ncondition should be transported, in frames if possible, to a safe\nplace. Those already damaged should be carefully carted in a\nhorizontal position and stored in a safe place until the attention\nof an expert can be given them.\n-21-\nEH\nOPERATIONAL PROCEDURES\nFIRST AID MEASURES\nThe following are conditions of damage likely to be encoun-\ntered:\n(1) Flaking or peeling paint\n(2) Saturated canvasos\n(3) Torn canvases\n(4) Wator-saturatod panels\n(5) Wrinkled or loose canvases\n(6) Flaking frescoos\nAll those conditions roquire export attontion and should be\nreported to the proper authorities.\nPacking of panol paintings for transportation should aim at\navoiding extremes of tomporature and humidity, and also any\ndamago from shock. Soft insulating matorial should be used with\npancls, and when possible a double casing of air tight and wator-\nproof material, to maintain an oven air condition; but air tight\ncontainers cannot be used for storago. Romember that bad roads\nand springless motal wagons are likoly to damage dolicate objects\nin transportation, and provisions should be made for such possi-\nbilitios. Undamagod canvases in transport should be kept vorti-\ncal, long side to ground. Framed pictures should be transported\nin their frame, with paper pastod over any glass to minimize\ndangers of breakago.\nO. Storage Paintings should not be kept in soaled air tight\ncontainers excopt for briof periods of transportation. For stor-\nago they should be loft in their frames, hung on scroons if avail-\nablo, or when space is limited placed vortically in woodon racks\nraised off the ground, face to back, with cardboard or pads\nbotwoon oach. If paintings must be removed from frames they\nshould be stored in the same way; but canvasos must not be allowed\nto touch each other and should be separated by shoots of collo-\nphane or pads. Mold can bost be provented by maintaining a con-\nstant normal tomporature with rolative humidity betwoon 40 do-\ngroos and 60 dogrees and a froe circulation of air. Thymol vapor\nis dostructivo to the varnish of paintings and must not bo used\nnear them as an insocticido. Direct sunlight on paintings\nshould be avoided in storago; but as complete darknoss, on the\ncontrary, darken oil or varnish, a modorato light is most\nsatisfactory in storago aroas.\n-22-\nEH\nOPERATIONAL PROCEDURES\nFIRST AID MEASURES\nf. Paints, Printed Books, and Manuscripts Books, prints,\nand documonts from archivos prosont the probloms arising from\ndamago to tho \"support\" papor, silk, vollum, otc., on which the\nwriting or printing stands. Dotorioration from storago is most-\nly duo to mold and insocts. Torn shoots should not bo promaturo-\nly mondod; the ossontial thing is to koop the fragmonts togothor\nin an envolopo or box. Adhosivos should not bo used excopt by\nan export. Pagos stuck togother or to somothing clso should be\nloft alono. Wot pagos in damagod books should bo driod by opon-\ning tho book flat and lotting as much air circulato about thom\nas possible. Loathor bindings can be kopt from decay by rubbing\nin any suitablo drossings such as vasoline, lanolin, or castor oil,\nafter wiping with a damp cloth following a day's airing.\ng. Statuary and Roliefs Sculpture offors fower difficul-\ntics than painting and records, but cortain procautions boyond the\nobvious ones are to be noted. Stono and motal should be kopt as\ndry as possiblo, in humidity well below 72 dogroos, while wood\nBUL Library\nnoods a cortain amount of dampnoss for safe storago. Tooden cas-\ning providos a bottor insulation against heat than motal.\nWoodon struts inside cases are bad, because they transmit\nshock; the packing should be done with cushioning material, such\nas excelsior wrapped in papor, and this should be always dry.\nFixed wooden objects that have been damaged by blast or hits\nshould have thoir splintors and hanging piccos dotachod, but any\nrepairs or rostoration must await the attention of exports. In\nall such cases the proscrvation and careful laboling of fragmonts\nis important.\nh. Arms and Armor Arms and armor are to be protected from\ndampnoss causing rust by boing kopt in a dry place and coated\nwith minoral oil or whito vasolino. Thoy nover should be cleaned\nwith acid.\ni. Toxtiles Toxtiles should be storod under the samo condi-\ntions as those outlined for paintings. Storago of toxtiles should\nincludo a wrapping in brown papor, but not with paper of high sul-\nphito contont, nor watorproof tar paper. Cloaning of toxtilos\nshould not be attomptod by anyone but an export; if folding is un-\navoidable, fold or roll with the lining in.\nj. Sciontific Colloctions So far as possible, scientific\ncollections should be loft in whatover condition they are found\nuntil an export can ro-ostablish thoir organization. Insect\nposts will attack zoological spocimens when thoir cases aro bro-\nkon, and this will roquire the proper uso of insocticidos. In\n-23-\nEH\nOPERATIONAL PROCEDURES\nFIRST AID MEASURES\nthese as in all other collections, no object should be separated\nfrom its label, and if removal of an entire collection is neces-\nsary in all cases the inventory or catalog should go with 1t. In\nany situation at all, the military authority will always do well\nto call upon the advice of any professional expert available, be\nhe enemy or ally.\nk. Conclusion Remember that your work is to apply first\naid and not to attempt to do the work of experts.\nThe following \"don'ts\" are, with some additions, a summary\nof the more important of the directions given above:\nDo not demolish portions of danaged buildings.\nDo not remove debris containing architectural or\nsculptural fragments.\nDo not move things more than is necessary.\nLibrary\n941\nDo not remove any labels.\nDo not store objects under or near plunbing or steam\nCHURTY\npipes.\nDo not storo works. of art. in nreas' that nro: bolow\ndražnage lovels.\nAvoid extremes of temperature and humidity and any\ndamage from shocks.\nDo not use water, soda-acid, or foam fire extin-\nguishers on works of art.\nDo not expose any paintings to direct sunlight or\nstore for a long time in total darkness.\nDo not make a \"drumhead\" of a painting on canvas.\nDo not forcibly flatten wrinkled or loose paintings\non canvas.\nDo not use glue or paste in mending torn paper, vel-\nlum, silk, etc.\nDo not use tar paper in storing textilos.\nConsult local personnel and experts whenever possible.\n-24-\nEH\nOPERATIONAL PROCEDURES\nCARE AND HANDLING OF ART OBJECTS\nPaintings\n15 Hazards of mechanical violence to be guarded\nagainst: abrasion, puncture, fracture, dis-\nintegration. Other hazards include: extreme heat, water and\ndampness, sudden changes of temperature and humidity, dirt.\nGeneral Handling Rules\na. No one shall handle, move, or carry more than one paint-\ning at a time. Carry it with one hand beneath and the other at\nthe side of the picture, both at points where the frame is solid.\nNever carry a painting by the top of the frame or by the stretch-\ner.\nb. Large paintings must be moved by no fewer than two men,\none of whom is experienced in correct handling of paintings.\n(By\"large\" is mean large enough to be awkward for one man. It\ndoes not mean that it is all right for one man to move anything\nhe happens to be strong enough to lift.)\nc. Do not stack paintings-one leaning against the other -\nunless it is absolutely unavoidable, and then only with per-\nLibrary Department The\nmission of the curator or other responsible person in charge.\nd. Seperate paintings with composition sheets ( corrugated\ncardboard, compo board, etc.), if stacking is absolutely neces-\nsary. Stack the largest painting first, followed by smaller\nones in order, with no more than five paintings in one stack.\nEach composition sheet must completely cover tholarger of the\ntwo paintings it separates.\n0. Paintings standing on the floor must rest on pads or\npadded wooden strips.\nf. Separate paintings on side trucks with composition\nsheets. There must never be so many paintings on a truck that\nthe outside painting, or its frame, extends beyond the edge of\nthe truck. Pad the floor cf the truck to prevent damage to\nframes.\ng. Do not move large, heavy paintings on side trucks un-\nless the trucks's supporting framowork: is high enough, that is,\nat least two thirds the height of the picture. The weight must\nbe borne by the frame resting against the truck support: it\nshould never be borne by the stretcher alone.\n-25-\nEH\nOPERATIONAL PROCEDURES\nCARE AND HANDLING OF ART OBJECTS\nha,.. Iash paintings in place before the truck is moved. Two\nmen must accompany each loaded, moving truck. At least one of\nthem thust be an experienced men.\ni. Avoid direct contact with painted surfaces at all times.\nDo not attempt to remove slight scratches, rubbed spots, or dirt\nmarks with your hand, a cloth, or by any other means.\nJ. If paint flakes or frames become detached, save all the\npieces. Repairs are much easier if all the parts are available.\nLarge\n16 Hazards of mechanical violence to be guarded\nObjects\nagainst: abrasion, fracture, disintogration.\nOther hazards include: extreme heat, water\nand dampness, sudden changes of temperature and hunidity, dirt.\nGeneral Handling Rules\nLibrary\nThe\na. Sculpture:\nSTATES\n(1) Moving large sculpture is a technical problem. Do\nnot attompt it with too little help or without com-\npetent direction. Haste in handling may result in\ninjury to the handlers or damage to the objects.\n(2) Do not carry heavy sculpture by hand, even if you\nare able to lift it. It should always be moved on\npadded trucks, supported and, if necessary, tied\nto prevent harmful movement while the truck is in\nmotion.\n(3) Examination of the object before handling is partio-\nularly recommended for sculpturel material. Know-\ning the points of weekness in advance is important\nto the safe movement of the piece. When there is\nany doubt about whether or not it is strong enough\nto withstand the strain of transit, get the advice\nof the AMA officer in charge.\nb. Woodwork and Furniture:\n(1) Always move woodwork or furniture on trucks or\ntrolleys (dollies). Never slide or push such ob-\njects along the floor, for legs and bases are us-\nually in a weakened condition owing to age or\nprevious damage.\n-26-\nEH\nOPERATIONAL PROCEDURES\nCARE AND HANDLING OF ART OBJECTS\n(2) Always lift chairs under the seat rail, never by\nthe backs or arms. Carry tables and other furniture\nby the solid parts of thoir framework. not the orn-\namentation.\n(3) Cover upholstered furniture in transit as delicate\nfabrics are difficult to clean. Do not touch the\nupholstery on the arms, seats, or backs of chairs\nor sofas.\n(4) Do not overload flat-bed trucks. Placing chairs,\netc., on top of tables or other objects is a\ndengerous practice. Separate pieces of furniture\nwith pads to prevent contact, if more than one is\nplaced on the truck at the same time. Do not allow\nLibrary\nobjects to extend beyond the edge of the truck.\nBUL\nUnlocked drawers and cabinet doors as well as fold-\ning table tops, movable parts, etc., must be held\nin place (tied if necessary), to prevent damage in\ntransit.\n(5) Remove marble tops for transit and transport them in\nvertical position on sido trucks. Do not carry them\nhorizontally, as they may break of their own weight.\n(6) Wood pancling is seldom as strong as it looks. Move-\nment of it should never be undertaken without suffi-\ncient help and proper supervision. As moldings and\ntrim are lightly attached, do not try to lift or\nmove woodwork by projecting parts.\n(7) Preserve all fragments which may become detached.\nSmall\nObjects\n17 Hazards of mechanical violence to be guarded\nagainst: abrasion, puncture, fracture, dis-\nintegration. Other hazards include: extreme\nheat, water, dempness, sudden changes in temperature, humidity\nand dirt.\na. Ceramics, Enamels, Glass, etc:\n(1) Never handle any objects unnecessarily. Work with\nproper supervision.\n-27-\nEH\nOPERATIONAL PROCEDURES\nCARE AND HANDLING OF ART OBJECTS\n(2) Move only one object at a time and carry it with\none hand underneath. Unpack trays over padded\ntables so that detached parts will not be lost or\ndamaged.\n(3) Do not lift small, fragile objects by handles, rims,\nor other projections, for these parts may have been\nbroken and repaired. Hold the body of the piece\ngently but firmly. Check each object in and out of\nthe tray when it is composed of more than one part.\nPack each part soparately wi thin the tray or crate.\nLibrary\nBYL\n(4) Always use padded trays for moving small objects.\nDo not move them by hand except for placemont in\ntrays. Use sufficient cotton or padding within the\nAMOUNT\ntray or crate to prevent contact with other objects.\nWhenover possible, objects should be so placed that\nthey do not project above the top of the tray.\n(5) Make sure that hands are clean. Use gloves or tis-\nsue when handling objects with glazed, polished\nmetal or other highly finished surfaces. (All such\nmaterials show finger marks, which are difficult\nto remove.) Apply this rule to mat finishes and\npainted decorations as well. Smooth-surfaced objects\nare hard to handle with gloves or tissue; with them,\nextra care is necessary.\n(6) Do not move trays by hand from one part of the build-\ning to another. Use the trucks provided for the pur-\npose, if available. Speed and jarring in motion\nshould be strictly avoided. Take time to do the job\nproperly.\nb. Small Sculptures: To avoid chipping and scratching in\ntransit, small, heavy objects should always be set on pads and\ncarefully supported so that the weight is evenly distributed.\nc. Ivories and Wood Carvings: Ivories and small wood carv-\nings are affected by sudden changes of atmosphere. Do not leave\nsuch pieces near open windows or doors, particularly during the\nwinter months.\n-28-\nEH\nOPERATIONAL PROCEDURES\nCARE AND HANDLING OF ART OBJECTS\nd. Arms and Armor: Arms and elements of armor are subject\nto damage in many ways. Such materials should not be handled by\nthe inexperienced except under competent direction. Always han-\ndle with gloves as fingor marks cause rust. Any exposure to\ndampness should be avoided.\ne. Jewelry: Never place cotton in direct contact with\njewelry. It will catch on delicate parts, may loosen settings\nand thus cause loss of stones. Wrap jewelry in tissue first and\nthen in cotton, if added protection is needed. (Ivories, enan-\nels, and old glass should be treated in the same way, that is,\nwrapped in tissue first, then in cotton.) Staff supervision is\nnecessary when working with jeweled objects.\nout LIDIATE\nf. Save all parts which become detached\nTextiles\n18\na. Tapestries and Rugs.\n(1) Never lift mounted textiles so that all the weight\nis borne by the fabric alone. Use the supporting\nbar, roller, or stretcher for lifting and handling\ntextiles.\n(2) Avoid stretching, tugging and pulling. Textiles\nwhich seem to be sturdy are frequently old, worn\nor repaired. They tear easily.\n(3) Remove screw eyes, wires, or other projections\nbefore rolling textiles on supporting bars. In\nstorage such projections wear through and injure\nfabrics permanently. Roll tapestries and rugs\nevenly, avoiding wrinkling and creasing. Roll\nlined material face out.\n(4) Rugs and tapestries on rollers should not be pick-\ned up by one men or grasped at the middle of the\nbar. Use two men, one supporting each end, for\ngreater protection of this type of material in trans-\nit.\n-29-\nEH\nOPERATIONAL PROCEDURES\nCARE AND HANDLING OF ART OBJECTS\n(5) Do not pile rolled or folded textiles one on top\nof another unless it is absolutely necessary.\nThis practice results in broken threads which are\nvirtually impossible to repair.\n(6) Observe safety rules when removing rugs and tapes-\ntries from exhibition. There should be a man at\nthe foot of each ladder in use, to steady it.\nb. Costumes and small textiles:\n(1) Handle mounted textiles by the stretcher or frame.\nRIBIT\nEven slight pressure on tightly stretched fabrics\ncauses serious damage.\nDATE\n0\n(2) Avoid folding textiles, laces, costumes, etc.,\nwhenever possible. If it is necessary to fold them,\ntissue paper should bo placed in the folds to pre-\nvent creasing.\n(3) Clean hands are essential in working with textiles.\nMany fabrics are so fragile that cleaning is im-\npossible.\n(4) Cover costumed manikins in transit and in tempo-\nrary storage. They should be lifted by the frame-\nwork when moved, to avoid soiling or tearing the\ncostumes.\n(5) After removing textiles, costumes, etc., from ex-\nhibition, be sure that all pins are removed to pro-\nvent rust stains and blood stains from scratched\nfingers.\nWorks on\n19 Works in this group are among the most fragile\nPaper\nand easily damaged in the museum. Treat them\nwith the consideration they deserve. They are\nnot to be handled unless under proper supervision.\na. Drawings, Water Colors, Prints, Miniatures, Etc.\n(1) Handle as little as possible and only with clean\nhands. Never touch material of this kind with wet,\nsticky, or dirty hands.\n-30-\nEH\nOPERATIONAL PROCEDURES\nCARE AND HANDLING OF ART OBJECTS\n(2) When moving unmounted material, lift each sheet by\nthe upper corners so that it hangs free without\nbuckling. Use great care to avoid bending, crack-\ning or tearing. Support such works on clean card-\nboerd when carrying them by hand.\n(3) Never stack prints, drawings, etc., one on top of\nanother unless they are matted or are separated by\ncellophane, glassine or tissue paper. Do not allow\nnewsprint, prints matter, or other paper of poor\nquality to come into dirct contact with the objects.\nCover works, awaiting installation or transportation,\nwith tissue paper to exclude dust and dirt.\n(4) Do not permit works on paper to be shuffled or rubbed\nagainst each other. Difficult and expensive re-\ntouching is the only way in which damage in this\n$181913\nBUL\nmanner can be repaired.\n2481MG\n(5) Do not expose prints, drawings, water colors, and\nilluminated manuscripts to direct sunlight whether\non exhibition, awaiting installation, or in storage.\nb. Rare Books.\n(1) Many bindings which appear to be in good condition\nare extremely fragile. Leather bindings are easily\nstained. Do not handle rare books unless it is\nnecessary for you to do so.\n(2) Turn the pages from the upper, outer corners when\nit is necessary to open books. Moistened fingers\nare extremely harmful to paper.\n(3) Books should be opened gently so as not to crack\nthe bindings; never try to make an open book lie\nflat. Avoid stacking open books one on top of\nanother. Do not place open books face down, or\nstand books on their front edges, whether on tables,\ntrucks, or shelves.\n-31-\nEH\nCHARTS\nO. Eisenho\nher\nany\n1\nCHARTS\nIII NOILOES\nCHARTS\nTypical MG\nThis chart is a typical organizational chart\nGroup Organi-\nof a Military Government Group based on the\nzational\nDepartment of the Army T/O & E 41-500 and\nChart\nindicates the flow of command responsibili-\n(Page 34)\nty and the distribution of functional re-\nsponsibilities. A Military Government Group\norganization must be flexible in order to most effoctively\ncarry out the missions for which it was created, and therefore,\nthis chart is in no way to be construed other than as a typical\norganizational chart.\nTypical Arts.\nThe Arts, Monuments & Archives teem organi-\nMonuments &\nzational chart is based on type team EH as\nLidiary\nBUL\nArchives\nprovided for in the Department of the Army\nOrganization-\nT/O & E 41-500, 3 Jun 48, and outlines the\nauthorized personnel, their designated MOS\nTHEIRO\nal Chart\n(Page 35)\nand SSN, and authorized rank. Flexibility is\npossible with the utilization, as authorized,\nof type teams EI and EJ when the situation makes increased per-\nsonnel necessary.\nTypical Team\nThe functional chart outlines the areas of\nFunctional\nrosponsibility with which the Arts, Monumonts\nChart\nand Archives team will be concerned. It\n(Page 36)\nshould be stressed again that this chart is\ntypical and therefore, not necessarily all\ninclusive. It should not be taken other than as a suggested\noutline of functional responsibility and supervision.\nTeam\nThe team co-ordination chart was designed to\nCo-ordination\nindicate the areas of co-ordination of the\nChart\nArts, Monuments and Archives team with other\n(Page 37)\nteams within the Military Government organi-\nzation as envisioned in operation. The extent\nto which the AMA team co-ordinates with any team is, of course,\ndependent upon the situation. This chart is therefore, a sug-\ngested list of co-ordination with the various elements of Mil-\nitary Government and the area of co-ordination most likely to\nbe involved.\n-32-\nEH\nCHARTS\nTeer/Civilien\nThis chart indicates the various civilian\nAgencies Co-\nsocieties and institutions within the scope\nordination\nand supervision of the Arts, Monuments and\nChart\nArchives team. In a highly socialized coun-\n(Page 38)\ntry, administration and supervision of cultur-\nal institutions can be controlled through gov-\nernmental agencios on all levels. The chart is, however, not\nconfined to such a society but indicates the possible area of\nsupervision and control of cultural institutions under any form\nof government. Hence, such institutions can be supervised\nthrough either governmental agencies or through private in-\nstitutions or societies.\n6 Library\nSUL\n-33-\nEH\nCHARTS\nTYPICAL ORGANIZATION CHART: MILITARY GOVERNMENT GROUP\nNIET LICENSE 198 ThE US DE\nCommanding Officer\nExecutive Officer\nS1 Adj &\nS2\nS3 Plans Tng\nS4 Supply &\nS5 Govt.\nAdmin\nIntel\nOperations\nProcurement\nAffairs\nAdmin\nLang\nComm\nHQ Detachment\nCivilian\nSec\nOff\nOfficer\nCommander\nSupply\nUnit Admir Sec\nPersonnel\nFood Service\nSec\nAttached\nUnit Supply Sec\nSupcrvisor\nUnits\nUnit Comm Sec\nMotor Officer\nUnit Auto\nMaint Scc\nUnit Mess Sec\nUnit I&E Sec\nSpecial Service\nEconomics\nGov't.\nPublic\nSpecial MG\nControls\nFacilities\nFunctions\nCommerce &\nIndustry\nPub Safety\nPub Works &\nPublic\nUtilities\nInformation\nPublic Finance\nPub Health\nPub Common-\nDisplaced\nFood & Agric\nPub Welfare\nications\nPersons\nCiv. Supply\nDisplaced\nPub Trans-\nArts, Monu-\nPersons\nportation\nments &\nPrice\nArchives\nControl &\nPub Educ\nRationing\nLegal\nProperty\nControl\nLabor\n-----\nDotted Line Indicatos\nBASED ON T/O & E\nFor Training Only\n41-500 3 June 48\nCHARTS\nARTS, MONUMENTS & ARCHIVES TEAM ORGANIZATIONAL CHART\nArts, Monuments & Archives Officer\nLt.\n0009\nChief Clerk\nSgt. 1502\nDriver, light truck\nCpl.\n2345\nLibrary\nna 141\nLisenne and wer\n* Based on T/O & E 41-500, type team (EH).\n-35-\nEH\nCHARTS\nARTS, MONUMENTS & ARCHIVES TEAM FUNCTIONAL CHART\nControl\nAdministration\nGeneral Operations\nSpecial Operations\nSupervision\nProtection\nLocation\nPlanning\nPreservation\nSeizure\nCo-ordination\nRestoration\nSecurity\nLiaison\nRestitution\nEvacuation\nInspection\nReconstitution\nLicensing\nInformation\nDisposition\nExchange\nOffice Admin-\nTransfer\nistration\nRelease\nReports & Forms\nSupervision\nVetting\nCivilian Per-\nsonnel\nSupervision & Co-ordination\nof All Technical Operations\nLIDISTA The DK 10th ght D\nCultural\nCultural\nArchives, Books &\nStructures\nObjects\nMisc. Documento\n-36-\nEH\nCHARTS\nARTS, MONUMENTS AND ARCHIVES TEAM CO-ORDINATION CHART\nCo-ordination with:\nSection\nTeam\nArea of Co-ordination\nFood and Agr.\nArchives and records\nCivil. Supply\nArchives and records\nCommerce & Ind.\nArchives and records\nEconomics\nPublic Finance\nArchives and records\nProperty Contr.\nRestitution, archives and records,\nproperty requisition\nPrice C and R\nArchives and records\nPublic Safety\nSecurity measures, archives\nand records\nSpecial Branch\nClearance of civilian person-\nnel\nPublic Health\nArchives and records\nGovernmental\nPublic Wolfare\nArchives and records\nControls\nEducation\nCollections, archives and records\nLabor\nProcurement of labor needs,\narchives and records\nLegal\nRostitution, claims, archives\nLibrary\nBUL\nand records\nDK\nSpecial\nPI and PW\nDissemination of information,\narchives and records\nTHE\nFunctions\nPub. Works & U\nProcurement of supplies for\nemergency restoration, archives\nand records, ropair and rehabil-\nPublic\nitation of museums\nFacilities\nPublic Commun.\nArchives and records\nPublic Transp.\nTransportation of movable works of\nart, archives and records\nIntelligence reports in re caches,\nS-2\nrepositorics, collections, inter-\npreters and translators, looting,\narchives and records\nS-5\nAdministration and supervision\n-37-\nEH\nCHARTS\nARTS, MONUMENTS AND ARCHIVES\nSUPERVISION OF\nCIVILIAN SOCIETIES AND INSTITUTIONS\nArts, Monuments & Archives\nCultural\nCultural\nArchives, Books\nStructures\nObjects\nMisc. Documents\nGovernment Arts,\nMonuments & Archives\nAgencies\nLibrary\nThe\nDn\nNational\nState\nRegional\nMunicipal\nLocal\nMuseums\nGalleries\nLibraries\nChurches\nPublic Collec-\nPublic Collections\nLibraries\ntions\nPrivate Collections\nCultural Insti-\nPrivate Collec-\nGovernmental Archives\ntutions\ntions\nPolitical Archives\nHistorical In-\nMuseums\nInstitutional Archives\nstitutions\nChurches\nIndustrial Archives\nEcclesiastical\nLibraries\nCommercial Archives\nInstitutions\nAll Institu-\nAll Institutions\ntions con-\nhoused in build-\ntaining\nings of histori-\nmovable\ncal or cultural\nworks of\nimportance or\nart.\ncontaining im-\nmovable works of\nart.\n-38-\nEH\nto 1481 no Library\n341\nREPORTS AND FORMS\nREPORTS AND FORMS\nAI NOLLOTS\nREPORTS AND FORMS\nVicinity\nThe Vicinity Report is a report prepared by\nReport\nlower echelons of AMA personnel regarding con-\n(Page 41)\nditions in their particular areas of operation.\nThis report will give an immediate estimate of\nthe situation and better enable the AMA team to direct its over-\nall program of protection and preservation. It is an initial re-\nport to be submitted in seven days. From it, more comprehensive\nreports are made as required from higher headquarters. It should\nbe propared in triplicate, Two copies to be forwarded to the AMA\nteam on the group level.\nStatus of\nThis report is a more comprehensive report and\nCultural\nwill contain information pertaining to Cultur-\nStructure\nal Structures. It should be prepared by all\nReport\nAMA toams of lower echelons and submitted\n(Page 42)\nthrough channels to the next higher echelon of\nmilitary government, namely, the group. Those\nreports in turn will be consolidated and submitted in the proper\nnumber of copies as directed by higher commanders.\nLibrary\nsul\nStatus of\nThe Status of Cultural Objects Report pertains\nMO\nCultural\nto collections and repositorios in the area of\nObjects\noperation and should be propared and submitted\nReport\nupon completion of inspection and inventory or\n(Page 43)\nas directed by regulations from higher head-\nquarters. It should be prepared by lower ech-\nelons of military government and submitted through channols to\nthe AMA team where the information will be compiled and consol-\nidated and submitted in turn to higher commanders as directed.\nStatus of\nThis report should be used after Central Col-\nCollecting\nlecting Points have been establishod. It\nPoints\ncontains essential information necded by the\nReport\nAMA team to supervise the activities and\n(Page 44)\noperations of a Central Collecting Point.\nFrom this report, movements of collections to\ncollecting points can be regulated, progress of restitution can be\ndirected, and other essential information pertinent to the\nmission of the team can be obtained.\n-39-\nEH\nREPORTS AND FORMS\nArts. Monu-\nThis report is a statistical summary of all\nments & Ar\nthe above reports plus a sumary of the AMA\nchives Mon-\nteam's co-ordinating activities. It should\nthly Consol-\nbe submitted in the number of copies as di-\nidated Report\nrected by higher commanders.\n(Page 45)\nCultural\nThis form is used for inventory purposes\nObject\nwhen novable works of art and collections\nInventory\nof art treasures are moved or otherwise\nCard\nrequire such record.\n(Pago 46)\nReceipt for\nThis form is self-explanatory\nCultural\nObjects\n(Page 47)\nLibrary MURSIS 198 DK\nThe\n-40-\nEH\nREPORTS AND FORMS\nArts, Monuments and Archives Team\nVICINITY REPORT\n(Number)\n(Date)\n1. INSTRUCTIONS: It is requested that a report be made on\n, this headquarters, containing the following\ninformation on targets in your area:\na) Identification and description.\nb) Location by province or city and grid coordinates.\nc) Present condition of structures and collections.\nJorary\nd) What security measures have been taken.\ne) Indicate ownership, diroctors, curators if known.\nf) Emergency measures necessary for preservation and\nENSURE\nadditional security.\ng) Name or recommend reliable civilian administrator\nto manago each facility.\nh) Indicato percentago of oporational personnel available.\n2. TARGETS:\na) Cultural structures - muscums, libraries, monuments,\nruins, and inmovable works of art of a religious, artis-\ntic, historical, archaoological and cultural nature.\nb) Cultural objects - movable works of art in museums or in\npublic or private collections of an artistic, religious,\nhistorical or cultural nature such as paintings, sculp-\nture, precious stones, etc.\nc) Archives - accumulations or collections, private or\npublic, of nanuscripts, books and documents of religious,\nhistoric, and artistic importance.\n3. ESTIMATE OF THE SITUATION: What, in your opinion, is the\noverall situation concerning the amount of destruction to\nthe targets in your area, looting by troops or civilians,\nand the scope of activities which will be involved?\n4. ACTION TAKEN: What has boen done to locato, recover, and\nsecure targots in your area?\n5. RECOMMENDATIONS: Your suggestions and proposals for ac-\ncomplishing immediate objectives. *Make report as complete\nas possible. Missing data and new information to be for-\nwarded within\ndays of due date.\n-41-\nEH\nREPORTS AND FORMS\nArts, Monuments and Archives Team\nStatus of Cultural Structures Report\na. Administration\n(1) Personnel\na. Officer, military or civilian\nb. Enlisted and non-specialist civilian\nc. Recommendations\n(2) Field Trips\n(3) Receipt of Documents\n(4) Important visitors or events\n(5) Transportation available\n(6) Miscellaneous\n(7) Recommendations\nb. Cultural Monuments\n(1) Name of town and grid coordinates\n(2) Name of structure\n(3) Date of inspection\nLibrary The\n(4) War history\n(5) Condition in detail\n(6) Contents\n(7) Present use\n(8) Name of civilian custodian\n(9) Action taken\n(10) Photographic record\n(11) Name of inspector\nC. Internal Affairs\n(1) Civilian committees appointed\na. Breakdown by function\nb. Names and functions of members\n(2) Summary of activities of personnel appointed\n-42-\nEH\nREPORTS AND FORMS\nArts, Monuments and Archives Team\nStatus of Cultural Objects Report\na. Repositories\n(1) Location (town and grid coordinates)\n(2) Reported (date and source)\n(3) Inspected (date, name of inspector)\n(4) Security\n(5) Type of content\n(6) Ownership of contents\n(7) Custodian (name, title)\n(8) Source of contents (name of public or private\ncollection and place of origin)\n(9) State of evacuation\n(10) Movements\na. Truck loads moved\nb. Persons engaged\nIbieny The\nb. Repositories Falsely Reported\n(1) Location (town and grid coordinates)\n(2) Date investigated and comments\nc. Collections\n(1) Location (town and grid coordinates)\n(2) Type\n(3) Contents remaining in building\n(4) Contents evacuated\n(5) Condition of building\n(6) Condition of contents\n(7) Civilian personnel\n(8) Security\n(9) Movements\n-43-\nEH\nREPORTS AND FORMS\nArts, Monuments and Archives Team\nStatus of Collecting Points Report\na. Administration\n(1) Location and name of each building\n(2) Personnel\na. Military\nb. Civilian\nc. Other (specialists, liaison)\n(3) Building\na. Securi ty\nb. State of repair\nc. Normal maintenance\ne VEHICLE ANSIMO OFF LIBrary\nd. Heating supplies\n(4) Receipt of documents\n(5) Important visitors or events\n(6) Miscellaneous\n(7) Recommendations\nb. Summary of Operations\n(1) Estimated total number of objects on hand, under the\nfollowing categories, stating the number from individ-\nual repositories or from individual collections, with\nthe name of the presumed owner, if known:\na. Works of art and art objects\nb. Books\nc. Archives (running feet)\n(2) Total number of objects inventoried\n(3) Number of objects inventoried during reporting period.\n(4) Estimated percentage of total inventoried\n(5) Estimated percentage of total inventoried during\nreporting period\n(6) Number of inventory cards forwarded\n(7) Number of photographs produced\n-44-\nEH\nREPORTS AND FORMS\nArts, Monuments and Archives Team\nMonthly Consolidated Report\na. Statistical summary, collected from the \"Monthly Con-\nsolidated Arts, Monuments and Archives Report\", \"Status\nof Cultural Objects Report\", \"Status of Collecting\nPoints Report\", concerning:\n(1) Personnel\n(2) Monuments\n(3) Ropositories\n(4) Collections\nb. Summary of military government coordinating activities,\nincluding field trips\nc. Receipt of documents\nd. Important visitors and events\n0. Miscellanoous\nf. Recommendations\nLibrary 18T a The\n-45-\nEH\nREPORTS AND FORMS\nFORMS\nCULTURAL OBJECT INVENTORY CARD (PROPERTY CARD ART)\nBUL\nMG/MFAA/4/F.\no DWIEND\nClassification:\nPROPERTY CARD-ART\nNo:\nSubject:\nAuthor:\nPresumed Owner:\nMeasurements:\nMaterial:\n.\nInv. No.\nWeight.\nCat. No.\nDepot Possessor:\nArrival Condition\nDepot No:\nIdentifying Marks:\nDescription:\nPHOTO\nFor office use\nClaim No:\nOther Photos:\nBibliography:\nNeg. No:\nMovements:\nHistory and Ownership:\nCondition and repair record:\nLocation\nCopies of Card\nArrival date;\nExit dates\nForwarded\n19\n--46-\nEH\nREPORTS AND FORMS\nRECEIPT FOR CULTURAL OBJECTS\nALLIED CONTROL AUTHORITY\nALL STATE\nREPARATIONS, DELIVERIES AND RESTITUTION\nDIRECTORATE RECEIPT FOR CULTURAL OBJECTS\nThe undersigned,\nduly accredited by the\nGovernment, hereby acknowledges the receipt\non behalf of the said Government, from the\nCommander in Chief in\nfor the items described in\nSchedule A attached horeto.\n1. The delivery of these items is subject to the follow-\ning conditions:\na. In the event of the items coming within the ambit\nof a general restitution procedure that may later\nbe establishod by the Allied Powers, the receiving\nGovernment will agree to the transfer being sub-\nmitted for confirmation by a restitution Commission\nor other international body which may be established\nto deal with this matter and will abide by its de-\ncision.\nb. In the event of such confirmation, the transfer will\nbe subject to all the conditions laid down for\nrestitution deliveries generally.\nc. In the event of items not coming within the ambit of\nsuch restitution procedure, the transfer shall be\ndealt with in accordance with such procedure as may\nbe establishod for other deliveries.\n2. The receiving government hereby certifies that the\nitems described in Schedule A attached were taken out of that\ncountry by the enemy.\n3. The receiving government undertakes to restore any\nobject which has been deliverod to it by mistake:\na. To the government of the allied state if the pro-\nperty was removed by the enemy from the territory\nof the state;\nb. To the Headquarters of the Zone from which it was\nshipped, if it had not been removed from the Ter-\nritory of an Allied state.\n-47-\n(Continued)\nEH\nREPORTS AND FORMS\n4. The receiving government agrees that the occupying\npower and all its agents and representatives shall be rendered\nharmless from any claim for loss, damage or deterioration\nsuffered by any item from the time of its removal from the\njurisdiction or custody of the country receiving restitution\nuntil its return thereto.\nWitness\nSignature\nDate\nSignature typed\nPlace\nTitle or Capacity of\nSigner\nLIBITED 184 10 The\n-48-\nEH\nREPORTS AND FORMS\nSCHEDULE A\nITEM\nDESCRIPTION\n(Including Statement of Condition of Object)\n10 ELSEAL IDEATE SUL\n-49-\nEH\nSECTION V\nCHECK LISTS\nCHECK LISTS\na LIDERO\nBUL\nCHECK LIST\n24 Hour\nThe 24 hour check list is a list of func-\nCheck List\ntions which must be accomplished in the\n(Page 51)\ninitial phase of occupation, which may be\nin the combat phase. It is used to insure\nthat the most essential team operations are performed by Arts,\nMonuments and Archives personnel, such as location, inspection,\nsecurity, etc. of cultural structures.\n30 Day\nThe 30 day check list constitutos periodic\nCheck List\ninspections of targets, reports of repositories\n(Page 52)\nand caches, and also maintains constant secur-\nity. It provides for coordination and close\nliaison with the Public Safety Team, Labor Team and Special\nBranch, regarding the screening of personnel, custodi ans and\nspecialists to be utilized. If cultural structures are used for\nmilitary purposes, it defines responsibility for such structures.\nIt provides for the requisition and procurement of essential\nmaterials and personnel, the initiation of issuance of instruc-\ntions to the teams in the field, and the preperation of directives\nconcerning the protection and preservation of cultural structures\nto all units in the area.\n-50-\nEH\nCHECK LIST\nARTS, MONUMENTS AND ARCHIVES TEAM\n24 HOUR CHECK LIST\n1. Locate cultural structures, collections of art treasures,\nrepositories, collections of archives and records from\nofficial lists and from intelligence reports received.\n2. Make inspections of the above.\n3. Render report of condition.\n4. Take necessary security measures.\n5. Locate superintendonts, directors, custodians and other\nspecialist personnel.\n6. Contact tactical and service unit commenders regarding\nmilitary use of cultural structures if presently used\nfor such purposes.\n7. Report wanton damage and looting.\n8. Emergency restoration needed.\n9. Make an estimate of the situation.\nFALL\n-51-\nEH\nCHECK LIST\nARTS, MONUMENTS AND ARCHIVES TEAM\n30 DAY CHECK LIST\n1. Continue periodic inspections of targets.\n2. Investigate reports of repositories and caches as they\nare received.\n3. Maintain constant security\n4. Co-ordination with Public Safety, Special Branch, regard-\ning screening of civilian directors, custodians and\nspecialists to be utilized.\nIDESTS\n5. If cultural structures are being used for military\npurposes, have the following checks made:\na. Commanding Officer of the unit using building contracted\nto be appraised of the responsibility of protection\nand preservation.\nb. All portions of the building liable to damage and\npilferage placed off limits.\nc. Movable contents of value stored and sealed in a\nplace inaccessible to troops or removed to a new\nstorage place.\n6. Prepare monthly report from information contained in\nvicinity reports received from teams in the field.\n7. Requisition supplies, if available at this stage of the\noperations, for emergency restoration through the Public\nWorks and Utilities team.\n8. Procure, through the Labor team, necessary labor.\n9. Procure, through the Property Control team, buildings\nfor storing movable works of art removed form reposito-\nries, etc., when necessary.\n-52-\n(Continued)\nEH\nCHECK LIST\n10. Issue instructions to teams in the field and disseminate\ninformation to them pertaining to directives and orders\nfrom higher headquarters.\n11, Prepare directives concerning the protection and preser-\nvation of cultural structures to all units in the area.\n12. Require all civilian superintendents, directors, custodians,\netc., to submit records of inventory and the sale and\npurchase of cultural objects.\n13. \"Freese\" all cultural materials in the area regardless\nof ownership.\n14. Make proparations for the selection and procurement,\nthrough the Property Control team, of a suitable\nbuilding to be utilized for a Central Collecting Point.\n15. Arrange for necessary transportation, through the\nPublic Transportation team, for the moving of collec-\ntions and caches to other locations for security and\npreservation reasons.\n-53-\nEH\nD.\nLIDE\nAONES V H H V\nACOLS VEHV\nIA NOILOTS\nAREA STUDY\nArts, Monu-\nCA/MG units will not normally be trained for\nments and Ar-\na specific area but rather for general area\nchives Area\nassignments. Towards this end Arts, Monuments\nStudy\nand Archives personnel can greatly benefit by\nstudy of the general area. Listed below are\nitems of information which, if known, will better prepare the\nAMA team in directing and carrying out its mission.\na. Cultural History: The history of any country or area\nis reflected in and influences its art. A study of the social\ncustoms and mores should be made because they directly affect\nthe history of art and enable AMA personnel to recognize what\nis of value and importance to the country and the world alike.\nLibrary\nb. Religious Beliefs and Customs: Religion has dominated\n241\nthe art of man from the very beginning. He has dedicated much\nof his major works of art, which have come down to us through\nKiscahower\nTHE\nd\nthe ages, to his gods and the life hereafter. A study of an\narea's religious history and customs, therofore, is essential,\nbecause a major portion of structures and objects to be preserved\nand protected will be of a. religious nature or stem from reli-\ngious beliefs end customs.\nc. Dominent Leaders in the Field of Art: A study of the\nleading personalities in the field of art, architecture, etc.,\nof the country is advisable whether they be contemporary or\notherwise.\nd. Mediums and Methods Used: A knowledge of the working\nmediums and methods of art will aid immeasurably, in recogniz-\ning the value of any cultural object. For example, in the Far\nEast, jades and ivory play an important part in the art of that\narea. Familiarity with these mediums then, would have a direct\nbearing on the mission of the AMA team.\ne. Cultural Aspects Important Only to the Country Con-\ncerned: Attitudes of the people can be directly affected by\nthe actions of an occupying power with respect to the pro-\ntection and preservation of works of art and cultural struc-\ntures. A cereful study should be instituted by AMA personnel\nin respect to this particular problem with the hope of pre-\nventing conflict with the indigenous population involving the\nlocal standards of art and cultures.\n-54-\nEH\nAREA STUDY\nf. Methods of Administration and Control of Cultural\nInstitutions: AMA personnel should know the methods of adminis-\ntration and control of cultural institutions as affected by\nthe government and by private parties within the country to\nbe occupied or liberated. Important to know too, are the atti-\ntudes and control of schools of thought in the field of art.\ng. Location of Cultural Structures: Lastly, a study of the\nlocation of the important cultural structures and institutions\nis vital in planning any overall program of protection and\npreservation and for making an estimate of the situation.\nLibrary\nThe\n-55-\nEH\nBIBLIOGRAPHY\nD. EISEROWES\n148\nBIBLIOGRAPHY\nIIA NOILORS\nBIBLIOGRAPHY\nU.S. ARMY MANUALS AND DEPARTMENT OF DEFENSE PUBLICATIONS\nDepartment of the Army and Navy. FM 27-5/OPNAV P 22-1115:\nUnited States Army and Navy Manual of Civil Affairs/\nMilitary Government. United States Government Printing\nOffice. Washington, D.C. 1947.\nDepartment of the Army. TM 28-210: Technical Manual for Arts,\nMonuments and Archives. United States Government Print-\ning Office. Washington, D.C. 1947.\nThe Judge Advocate General. FM 27-10: Rules of Land Warfare.\nLibrary\nUnited States Government Printing Office. Washington,\nD.C. 1949.\nRisenhower but\nU.S. GOVERNMENT PUBLICATIONS (Other than the Dept. of Def.)\nThe Department of State. International Protection of Works of\nArt and Historical Monuments. Division of Publications,\nOffice of Public Affairs. Washington, D.C. June 1949.\nGeneral Board United States Forces, ETO. Civil Affairs and\nMilitary Government Activities in Connection with Monu-\nments, Fine Arts. and Archives.\nThe Department of State. The American Commission for the\nProtection and Salvage of Artistic and Historic Monuments\nin Europe. State Department No. 348. Washington, D.C.\n20 August 1943.\nSHAEF PUBLICATIONS\nSHAEF. Suggested Establishment for Public Monuments and Fine\nArts Section. Civil Affairs Planning Section of SHAEF.\n19 March 44.\nSHAEF. Civil Affairs Instruction No. 15. Monuments. Fine Arts\nand Archives. Hq. SHAEF. Undated.\nSHAEF. Annexure 5, Monuments. Fine Arts and Archives. To Direc-\ntive on Civil Affairs. Belgium. AG of SHAEF. Belgium. AG\nof SHAEF. Belgium. 1 Sept 44.\n(Continued)\nEH\nBIBLIOGRAPHY\nSHAEF. Annex 6 to Civil Affairs Directives for Operation\nOVERLORD-FRANCE, Public Monuments and Fine Arts, AG of\nSHAEF. Undated.\nSHAEF. Directive for Military Government of Germany Prior to\nDefeat or Surrender, Records and Archives and Monuments\nand Fine Arts. AG of SHAEF. 9 November 44.\nSHAEF. Instructions for the Use by Military Government Officers\nof Archives Mentioned in the General List of Archives of\nWestern Germany. AG of SHAEF. 21 December 44.\nSHALF. Civil Affairs Directives. The Netherlands. Annex 2.\nGovernment Affairs, paragraph 6. Fine Arts, Monuments.\nLibrary\nArchives and Records. AG of SHAEF. 14 August 1945.\nBUL\nOMG, USFET PUBLICATIONS\nRisenhower\nOMG, USFET. General Order No. 68, Historical Monuments, 29 Dec 43.\nOMG, USFET. Draft for the Charter and Establishment of the Monu-\nments. Fine Arts. and Archives Section under the Civil\nAffairs Division, Ha. SAC. AG of OMG USFET. 18 January 44.\nOMG, USFET. Staff Study. Monuments and Fine Arts. Proposal for a\nGeneral Order and Letter from SCAEF. Civil Affairs Branch\nof SHAEF. 1 April 1944.\nOMG, USFET. Report on Status of Monuments. Fine Arts and Ar-\nchives in the European Theater of Operations. Letter by\nCol. Henry C. Newton. MFAA Files, RD&R Div, OMG, USFET\nFolder 751-Correspondence.\nACLS. Committee of the American Council of Learned Societies on\nProtection of Cultural Treasures in War Areas. Summary of\nActivities to 10 June 1944. OMG, USFET Folder 751 (US Comm)\nUndated.\n(Continued)\nEH\nBIBLIOGRAPHY\nBOOKS\nHowe, Thomas Carr, Jr. Salt Mines and Castles. Bobba -Merrill.\nNew York. 1946.\nRorimer, James J. Survival. Abelard Press, Incorporated. New\nYork. 1946.\nRobb, David M. and Garrison, J.J. Art in the Western World.\nHarper and Brothers. New York. 1948.\nGardner, Helen. Art Through the Ages. Harcourt, Brace and\nCompany. New York. 1936.\nTsuda, Noritake. Handbook of Japanese Art. Sanscido Company\nLimited. Tokyo, Japan. 1941.\nLibrary COMPUNITY The\nEH\nSECTION VIII\nGLOSSARY\nGLOSSARY\nLibrary 'a COUNTY The\nGLOSSARY\nCULTURAL STRUCTURES Monuments, buildings or sites of religious,\nartistic, archaeological, historic or similar\ncultural importance, such as; statues, and other\nimmovable works of art; churches, palaces and\nsimilar public or privato buildings of arch-\nitectural or historic importance; museums and\nlibraries; parks and gardens attached to such\nbuildings; and ruins of historic or archaeolog-\nical importance.\nCULTURAL OBJECTS All movable goods of importance or value\neither religious, artistic, documentary,\nscholarly or historic. This definition\nincludes, as well as recognized works of art,\nsuch objects as rare musical instruments,\nprecious stones, and all objects found in\nmuseums or private and public collections.\nARCHIVES\nAccumulations or collections, private or pub-\nlic, of manuscripts, books and documents of\nreligious, historic and artistic importance.\nAlso records and documents pertaining to in-\nLibrety LIBIPU THE\nstitutions recently nade inactive or which\nhavo been inactive over a poriod of years.\nMONUMENTS\nAny structure, real property, or site, in-\ncluding fixed objects, but exclusive of read-\nily movable objects, which, by reason of its\ncultural, artistic, historic or archaeological\nvalue, should be protected in implementation\nof the policy of the army commander.\nLOOTED CULTURAL OBJECTS The term includes all cultural objects\nacquired directly by duress or wrongful acts\nof confiscation or spoliation, whether pur-\nsuant to legislation, or by procedure purport-\ning to follow forms of law, or otherwise and\nindirectly by purchase or other transactions\nregardless of whatever consideration may have\nbeen employed.\nSPOLIATION\nThe act of plundering or robbing, especially\nin time of war. The act of tampering with, or\ninjuring a document to inpair its value as\nevidence.\n(Continued)\nEH\nGLOSSARY\nHYPOTHECATE\nTo pledge as security for a debt. To take,\nas reprisal from the enemy, property or objects.\nREPOSITORY\nAny place used to conceal or for purposes of\nprotecting movable works of art from aerial or\nartillery bombardment.\nFRESCO\nA method of wall painting in water colors on\nfresh plaster. Restoration extromely diffi-\ncult.\nTHYMOL\nWhite crystalline substance with pleasant,\naronatic odor, chemically a phonol, obtained\nfrom oil of thyme: used in the field of med-\nicine and also as a preservative.\nThe\nEH"
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