Theft of Pictures and Various Objets d’Art
Objets d’art of every kind and pictures were several times stolen in this way both in Belgium and in France. The review Kunst und Künstler, in an article from the pen of Professor Shaeffer, who goes so far as to specify the pictures which ought to figure in German museums, proclaimed the right to take possession of such articles and bring them to Germany.
It is true that in museums the greater part of the exhibits had been put in a place of safety. Others were surprised and looted. This was the case with the Oberot Museum at Brussels. The following is the account of the incident given by Mme. Latour, wife of the Director of the Museum.
“All the keepers had gone to the battlefield, and my husband and I were alone. Seeing that they were going to beat in the door, my husband decided to open it for them. First of all he had taken the precaution to lock the door into the galleries.
“Without paying the slightest attention to him, the officers immediately went to that in which priceless enamels of the twelfth century and magnificent jewels had usually been exhibited. Not being able to get in, they condescended to ask for the key. My husband refused. They took hold of him and forcibly deprived him of the bunch which he had in his pocket.
“Once inside, when they noticed that certain articles which they doubtless coveted had disappeared, they waxed furious. This, however, did not prevent their taking whatever they liked from the glass cases, some pictures, and some porcelain specimens, which they then compelled me to pack up for them.
“Moreover, they did not attempt to conceal the fact that what they were stealing would later on adorn their own houses.
“‘That would suit very well in my drawing-room, and this in my wife’s bedroom,’ said one. ‘Martha asked me to bring her some real Brussels lace,’ replied the other, ‘but I shall bring her this exquisite miniature. She will be delighted…’
“Every day for more than a fortnight they came back like that, sometimes alone, sometimes accompanied by other officers or soldiers, and every time they brought away something from the museum. They took away not less than fifty pictures.
“My husband once managed to get into conversation with one of the secretaries of the Military Governor of Brussels, and complained bitterly of the scandalous thefts committed every day at the museum. But this German official refused to listen to the description which M. Latour gave him of the officers and their uniforms. At last he brought him to the door with these words, ‘Woe to the vanquished!’”
The Germans took the furniture of the Government offices, and also all the stage properties of the Park Royal Theatre, the stage of which was converted into a motor garage.
They took away the following articles from the château at Compiègne—
Sixteen large pieces, eight in coral and eight in lava, which belonged to Napoleon I’s chessboard; a chased and gilt bronze figure of Atalanta above a clock; a chased and gilt bronze socket, part of a candelabrum on Sèvres porcelain; a chased gold and steel case containing a poniard, knife and fork, part of a collection of arms; a poniard; a Turkish dagger; a chased silvered case, adorned with precious stones, containing a hunting dagger, knife and fork; two chased stilettoes; three poniards with hollow gilt blades, and three chased and gilt bronze candlesticks, all from the same collection.
Let us add that during the last two days of the occupation three train wagons, which contained, it was said, officers’ baggage, had been shunted into the principal courtyard of the palace. The truth is that these three wagons served merely to load and to carry away valuable articles taken by the soldiers and non-commissioned officers from the houses of Compiègne. The house of M. Orsetti, in front of the palace, was completely looted in this way.