Protecting The Artworks

In 1936 the Spanish Civil War served not just as a dramatic prelude to the coming events but also illustrated the new dangers posed to cultural monuments and artworks as a result of technological developments in warfare. This lesson was forcefully presented through the damage caused by aerial bombardment, especially from incendiary bombs.

These developments convinced museum authorities in neighboring countries of the need to protect their valued objects and monuments. Although some perfunctory planning for evacuation and protection of collections had been initiated in the mid 1930s, it wasn't until 1937 that officials in Western Europe and the United Kingdom began preparing in earnest. The task local officials faced was colossal. Beginning with the formation of lists of only the most important and valued works, curators had to consider possible storage sites that would provide security for the objects that were accessible by truck or rail, then develop various evacuation routes.

The sheer volume of items, the size and weight of others, and the shortages of personnel and protective materials (brick, mortar, lumber, transportation vehicles, etc.) that had to be overcome were staggering. In the course of preparations, every conceivable method of protecting artwork was implemented.

Objects that were too large or heavy to transport, such as Michelangelo's sculpture of David, were protected first by scaffolds and supporting sandbags, and finally by brick "entombment."

Immovable objects, such as Leonardo da Vinci's fresco of The Last Supper in Milan, were braced with structural supports and faced with protective boards further weighted in place by sandbags.

Huge canvases were taken out of their frames and off their wooden stretchers, then rolled like maps.

Massive sculptures were disassembled when possible and hidden.Massive paintings were packed in crates, usually without their frames, and prepared for storage.

Entire structures, such as the fourth-century Arch of Constantine in Rome, were encased with structural supports of wood; steel, sand-bags, and brick.

For the largest cultural monuments, such as Notre Dame in Paris, only certain sections of the church were protected, such as the carved stone areas above the entry. Stained glass windows, such as those in St. Chappelle in Paris and the Cathedral in Strasbourg, were removed. Fragile sculptures and pottery were often packed in sand.

Museums and churches evacuated their most priceless works of art to hundreds of repositories of hiding places. Frequently, when war did arrive, these artworks were loaded back onto vehicles-cars, trucks, even barges-and moved yet again.

Individuals owning works of art had few options and far fewer resources. In several instances, wealthier collectors deposited their art in bank vaults or loaned them to museums for safekeeping. A few individuals were able to ship some or all of their collections to countries outside Europe. However, the great number of private collectors could only wait and wait and hope that their worst fears would not be realized.