diff --git a/src/routes/texts/99_Chronology_of_LipperheideCostumeLibrary_en.md b/src/routes/texts/99_Chronology_of_LipperheideCostumeLibrary_en.md
index d859d661..c85218ca 100644
--- a/src/routes/texts/99_Chronology_of_LipperheideCostumeLibrary_en.md
+++ b/src/routes/texts/99_Chronology_of_LipperheideCostumeLibrary_en.md
@@ -1,5 +1,5 @@
 ---
-title: Chronology of the Lipperheide paintings collection
+title: How the Lipperheide paintings collection came to be
 color: "red"
 author: Sabine de Günther
 isPublic: true
@@ -9,15 +9,15 @@ cover: "https://uclab.fh-potsdam.de/refa-catalog/files/large/c70c26ab79548a46066
 ---
 
 # History of the collection
-The couple [Franz Freiherr von Lipperheide](item/9364) (1838-1906) and [Frieda Freifrau von Lipperheide](item/18762) (1840-1896), publishers and collectors, made use of the opportunity to make acquisitions while travelling through Europe. Their accession books provide evidence of acquisitions, travel routes and the genesis of their collection. The original documents relating to the acquisitions of the [books](https://storage.smb.museum/erwerbungsbuecher/EB_KBB-B_LIP_LZ_NC_2975-nnnn_2_%5bLZ_1888-1898%5d.pdf), the [copperplate engraving collection](https://storage.smb.museum/erwerbungsbuecher/EB_KBB-B_LIP_KKS_LZ_1880-1897_1.pdf), the [oil paintings](item/6092) and the [miniatures](item/6120) have been preserved.
+The couple [Franz Freiherr von Lipperheide](item/9364) (1838-1906) and [Frieda Freifrau von Lipperheide](item/18762) (1840-1896), publishers and collectors, made use of the opportunity to make acquisitions while travelling through Europe. Their accession books provide evidence of acquisitions, travel routes and the genesis of their collection. The original documents relating to their collection of [books](https://storage.smb.museum/erwerbungsbuecher/EB_KBB-B_LIP_LZ_NC_2975-nnnn_2_%5bLZ_1888-1898%5d.pdf), the [copperplate engraving collection](https://storage.smb.museum/erwerbungsbuecher/EB_KBB-B_LIP_KKS_LZ_1880-1897_1.pdf), the [oil paintings](item/6092) and the [miniatures](item/6120) have been preserved.
 ## The acquisition accounts for paintings and miniatures
-The records for their acquisition of paintings and miniatures begin on [31 October 1877](media/17652) and list a total of 668 acquisitions on 22 single-sided pages, mostly listed in chronological order [^minus 65 miniatures, which were crossed out and transferred to the avcquisition record for miniatures].  Arranged in six columns, the first column contains an inventory number[^If a concordance to the surviving paintings and minaitures was established, reference is made to Q7/source No. 7 or Q8/source No. 8.] - although this is usually left blank - followed by the date of purchase, a very brief description, the name of the dealer, the original price, stated in the local currency, and the price paid in Deutschmarks. 
+The records for their acquisition of paintings and miniatures begin on [31 October 1877](media/17652) and list a total of 668 acquisitions on 22 single-sided pages, mostly listed in chronological order.[^minus 65 miniatures, which were crossed out and transferred to the avcquisition record for miniatures] Arranged in six columns, the first column contains an inventory number[^If a concordance to the surviving paintings and minaitures was established, reference is made to Q7/source No. 7 or Q8/source No. 8.] - although this is usually left blank - followed by the date of purchase, a very brief description, the name of the dealer, the original price, stated in the local currency, and the price paid in Deutschmarks. 
 In most cases, the descriptions of the acquired objects are unspecific and summarised, such as "[9 portraits, 1 picture on copper](media/17653)" or "[2 copies from the Museo Rath](media/17671)". More complete designations such as "[Tintoretto, Portrait of General Antonio Leva in full figure](media/17673)" are very rare. In this first form of inventory, however, the author made some mistakes with regard to the content of the paintings, for example in the case of King Frederick V, who is to be referred to as [Christian IV](item/80).
 ## Art and Antiquities dealer
-The list of the paintings and miniatures includes dealers based in France, Switzerland, Italy, Austria and Germany. Franz and Frieda von Lipperheide collected most extensively in the geographical vicinity of their second residence in Brixen, Austria (http://vocab.getty.edu/page/tgn/7005433).[^Their dealers in France were Carf & Siegal (Cannes), H. Lagache (Marseille), D. Friedel (Montreux), R. Facini (Nice), I. Stasi (Nice), Pagetti (Nice), Fiz. Conti (Nice), A. Lanne (Paris) and Levy (Strasbourg). In Germany they bought from Munk (Augsburg), Heilbronner (Augsburg), Seitz (Augsburg), S. Levy (Berlin), R. Lepke (Dresden), C.G. Thieme (Dresden), Ada Bergmann (Dresden), F.L. Seifig (Dresden), I.M. Heberle (Cologne), F.F. Jost (Leipzig), B. Helbing (Munich), A. Rupprecht (Munich), I. Drey, jr. (Munich), Steuber (Munich), Thierer (Munich), Gebr. Heilbronner (Munich), Reichl (Munich), Hildebrandt (Munich), Zisihank (?) (Munich), Glissenhof (Munich), Winterhalter (Munich), Bauer (Munich), Fr. Maurer (Munich), Rath Dr Carl Förster (Munich), Böhler (Munich), A. Pickert (Nuremberg) and Neumann (Nuremberg). The Swiss dealers were Geist (Basel), Lanitsch (Bern), Müller (Bern), Sagmeister (Bregenz), Picard (Geneva), F. Plan (Merano), I. Strasser (Merano), Poggi (Geneva), Bossard (Lucerne), A. Kündig (Zurich), Schneider & Gubler (Zurich) and Schumacher (Zurich). In Austria they visited Widmann (Hall), Reichler jr. (Hall), Steiner (Innsbruck), L. Ettel (Innsbruck), Reichler (Innsbruck), Alois Reden (Innsbruck), Franz Unterberger (Innsbruck), Jos. Werner (Innsbruck), M. Werner (Innsbruck), Prof. v. Ferdinandeu (Innsbruck), Bürgerspital (Salzburg), Pollack (Salzburg), Ratzendorfer (Vienna), Mr Cubasik (Vienna), Ph. Spira (Vienna), W.M. Steiner (Vienna), Max Blum (Vienna), S. Egger / Comp. (Vienna) and A. Hirschler & Comp. (Vienna). The following dealers are listed for Italy: Zerega (Genoa), Arrigani (Milan), Almanzi (Milan), G. Cazala (Milan), Gaet. Peps (?) (Naples, L. Fusca (Naples), Luizo Emili (Rome), G. Covola (Rome), Fratelli Scaleo (Rome), Ripessa (?) (Rome), Tarazzi (Rome), Piazza Poli (Rome), Giacomini (Rome), Marcini (Rome), Via del Giganti (Rome).]
+The list of the paintings and miniatures includes dealers based in France, Switzerland, Italy, Austria and Germany. Franz and Frieda von Lipperheide collected most extensively in the geographical vicinity of their second residence in [Brixen, Austria](http://vocab.getty.edu/page/tgn/7005433).[^Their dealers in France were Carf & Siegal (Cannes), H. Lagache (Marseille), D. Friedel (Montreux), R. Facini (Nice), I. Stasi (Nice), Pagetti (Nice), Fiz. Conti (Nice), A. Lanne (Paris) and Levy (Strasbourg). In Germany they bought from Munk (Augsburg), Heilbronner (Augsburg), Seitz (Augsburg), S. Levy (Berlin), R. Lepke (Dresden), C.G. Thieme (Dresden), Ada Bergmann (Dresden), F.L. Seifig (Dresden), I.M. Heberle (Cologne), F.F. Jost (Leipzig), B. Helbing (Munich), A. Rupprecht (Munich), I. Drey, jr. (Munich), Steuber (Munich), Thierer (Munich), Gebr. Heilbronner (Munich), Reichl (Munich), Hildebrandt (Munich), Zisihank (?) (Munich), Glissenhof (Munich), Winterhalter (Munich), Bauer (Munich), Fr. Maurer (Munich), Rath Dr Carl Förster (Munich), Böhler (Munich), A. Pickert (Nuremberg) and Neumann (Nuremberg). The Swiss dealers were Geist (Basel), Lanitsch (Bern), Müller (Bern), Sagmeister (Bregenz), Picard (Geneva), F. Plan (Merano), I. Strasser (Merano), Poggi (Geneva), Bossard (Lucerne), A. Kündig (Zurich), Schneider & Gubler (Zurich) and Schumacher (Zurich). In Austria they visited Widmann (Hall), Reichler jr. (Hall), Steiner (Innsbruck), L. Ettel (Innsbruck), Reichler (Innsbruck), Alois Reden (Innsbruck), Franz Unterberger (Innsbruck), Jos. Werner (Innsbruck), M. Werner (Innsbruck), Prof. v. Ferdinandeu (Innsbruck), Bürgerspital (Salzburg), Pollack (Salzburg), Ratzendorfer (Vienna), Mr Cubasik (Vienna), Ph. Spira (Vienna), W.M. Steiner (Vienna), Max Blum (Vienna), S. Egger / Comp. (Vienna) and A. Hirschler & Comp. (Vienna). The following dealers are listed for Italy: Zerega (Genoa), Arrigani (Milan), Almanzi (Milan), G. Cazala (Milan), Gaet. Peps (?) (Naples, L. Fusca (Naples), Luizo Emili (Rome), G. Covola (Rome), Fratelli Scaleo (Rome), Ripessa (?) (Rome), Tarazzi (Rome), Piazza Poli (Rome), Giacomini (Rome), Marcini (Rome), Via del Giganti (Rome).]
 ## High-acquisition years
 The years 1878 to 1882 were the peak period in which Franz and Frieda von Lipperheide made large-scale purchases on the art and antiques market. In these four years alone, they spent 25,148 marks on pictures, including 24,502 marks for oil paintings and 646 marks for miniatures. The years 1885 and 1886 represent a further high point with a total of 2,674 marks for 36 paintings, as does the year 1891, in which they acquired a further 13 paintings - presumably with a view to the donation - but paid a price of 1,537 marks, which was high in comparison to the earlier years. In the years 1885 to 1886, they paid an average of 74 marks. At the peak of their acquisition activity in the years between 1878 and 1882, they paid an average of 36 marks for an oil painting. In 1891, the average price for an oil painting was 118 marks. The higher sums paid by collectors reflected a competitive art market, also due to wealthy art collectors from abroad.
-## The foundation of the Lipperheidesche Kostümbibliothek (Lipperheide costume library)
+## The foundation of the Lipperheidesche Kostümbibliothek
 At the time when the couple decided to donate their extensive collection of textual and pictorial sources to the state, they could look back not only on a publishing career but also on three decades of collecting. 
 On 7 March 1890, the following letter was sent to Emperor Wilhelm II:
 > Your Excellency!
@@ -34,19 +34,19 @@ Around 300 oil paintings were arranged above the bookcases and on the [walls](it
 
 # Chronology 1867-today 
 ## Genesis, presentation and storage of the paintings and miniatures
-### **1867: The Deutsche Gewerbe-Museum zu Berlin**
-The *Deutsche Gewerbe-Museum zu Berlin* (German Crafts Museum in Berlin) was founded on **5 August 1867** on the initiative of the association of the same name. Exhibits from the Paris World Exhibition were purchased for the museum in the same year it was founded. The first collection rooms were opened on 17 April 1868 at the interim location in Georgenstraße/Stallstraße, today's Universitätsstraße, in the former *Gropius'schen Diorama*. The *school* associated with the museum opened on 12 January 1868** with 230 pupils.
-**1872** marked a turning point for the *German Crafts Museum*: under the patronage of the Crown Prince and his wife, an exhibition of arts and crafts artefacts from the collection and from royal and bourgeois lenders was shown at a high-profile venue, the Berlin Zeughaus. The former exhibition assistant **[Julius Lessing](item/18818)** was appointed director of the *German Crafts Museum*. Financial support from the government made it possible to erect a new building and thus create a permanent home for the museum. Martin Gropius and Theodor Schmieden were responsible for planning the building, the foundations were laid in 1877 and on 21 September 1881** the museum, which had been run as the *Kunstgewerbemuseum* (Museum of Arts and Crafts) since 1879, was ready to move into its new premises in the Martin-Gropius-Bau in today's Niederkirchner Straße. The architecture united the school, the library and the applied arts collections.
-**1872** marked a turning point for the *German Crafts Museum*: under the patronage of the Crown Prince and his wife, an exhibition of arts and crafts artefacts from the collection and from royal and bourgeois lenders was shown at a high-profile venue, the Berlin Zeughaus. The former exhibition assistant **[Julius Lessing](item/18818)** was appointed director of the *German Crafts Museum*. Financial support from the government made it possible to erect a new building and thus create a permanent home for the museum. Martin Gropius and Theodor Schmieden were responsible for planning the building, the foundations were laid in 1877 and on **21 September 1881** the museum, which had been run as the *Kunstgewerbemuseum* since 1879, was ready to move into its new premises in the Martin-Gropius-Bau in today's Niederkirchner Straße. The architecture united the school, the library and the applied arts collections.
+### **1867: Deutsches Gewerbe-Museum zu Berlin**
+The *Deutsche Gewerbe-Museum zu Berlin* (German Crafts Museum in Berlin) was founded on **5 August 1867** by the association of the same name. Exhibits from the Paris World Exhibition were purchased for the museum in the same year it was founded. The first collection rooms were opened on **17 April 1868** at the interim location in Georgenstraße/Stallstraße, today's Universitätsstraße, in the former *Gropius'schen Diorama*. The *school* associated with the museum opened on **12 January 1868** with 230 pupils.
+**1872** marked a turning point for the *German Crafts Museum*: under the patronage of the Crown Prince and his wife, an exhibition of arts and crafts artefacts from the collection and from royal and bourgeois lenders was shown at a high-profile venue, the Berlin Zeughaus. The former exhibition assistant *[Julius Lessing](item/18818)* was appointed director of the *German Crafts Museum*. Financial support from the government made it possible to erect a new building and thus create a permanent home for the museum. Martin Gropius and Theodor Schmieden were responsible for planning the building, the foundations were laid in 1877 and on **21 September 1881** the museum, which had been run as the *Kunstgewerbemuseum* (Museum of Arts and Crafts) since 1879, was ready to move into its new premises in *Martin-Gropius-Bau* in today's Niederkirchner Straße. The architecture united the school, the library and the applied arts collections.
+**1872** marked a turning point for the *Kunstgewerbemuseum*: under the patronage of the Crown Prince and his wife, an exhibition of arts and crafts artefacts from the collection and from royal and bourgeois lenders was shown at a high-profile venue, the Berlin Zeughaus. The former exhibition assistant *[Julius Lessing](item/18818)* was appointed director of the Museum. Financial support from the government made it possible to erect a new building and thus create a permanent home for the museum. Martin Gropius and Theodor Schmieden were responsible for planning the building, the foundations were laid in 1877 and on **21 September 1881** the museum, which had been run as the *Kunstgewerbemuseum* since 1879, was ready to move into its new premises in *Martin-Gropius-Bau* in today's Niederkirchner Straße. The architecture united the school, the library and the applied arts collections.
 ### 1890–1892: Negotiations
 In a letter dated **7 March 1890** to Emperor Wilhelm II, Franz von Lipperheide formulated his intention to give to the state "675 oils and other paintings; 115 miniatures together with portraits in wax etc". Since the beginning of that year, he had been negotiating with the royal family about the modalities of donating his collection. The last record in his travel expense book for this collection is dated 22 June 1892; for the same year, the Imperial Ministry of Finance accepted the donation of Lipperheide's costume library and paintings collection by legal act. The deed of donation was signed by Franz and Frieda von Lipperheide on **19 March 1892**.
 ### 1896–1906: Temporary presentation
 An initial interim presentation of the future donations could be viewed and used from *autumn 1896* in the couple's residential and publishing house at Potsdamer Straße 38 (today Potsdamer Straße 96).
 The obligation associated with the donation to make the holdings accessible to the public prompted the *Kunstgewerbemuseum* to rent premises for the costume library at Flottwellstraße 4. The book and print collection could be viewed there from **1 October 1899**, while the paintings remained in the publishing house.
 ### Berlin Art Exhibition
-In 1901, Emil Doepler's [Portrait of a woman in a dark dress and feathered hat](item/618) from the Lipperheide collection of donations was shown at the *Grosse Berliner Kunstausstellung*, which had been held annually since 1893[^Grosse Berliner Kunstausstellung vom 4. Mai bis 29. September im Landes-Ausstell-Gebäude am Lehrter Bahnhof, Grosse Berliner Kunstausstellung 1901, p. 15, no. 242; ill. p. 152. Online: http://www.digishelf.de/objekt/71859374X-1901/27/.].
+In 1901, Emil Doepler's [Portrait of a woman in a dark dress and feathered hat](item/618) from the Lipperheide collection of donations was shown at the *Grosse Berliner Kunstausstellung*, which had been held annually since 1893.[^Grosse Berliner Kunstausstellung vom 4. Mai bis 29. September im Landes-Ausstell-Gebäude am Lehrter Bahnhof, Grosse Berliner Kunstausstellung 1901, p. 15, no. 242; ill. p. 152. Online: http://www.digishelf.de/objekt/71859374X-1901/27/.]
 ### 1905–1934: Installation in the annexe to the Kunstgewerbemuseum 
-The donation was linked to the permanent presentation of the collection, for which the *Kunstgewerbemuseum * was to provide space. The *Martin-Gropius-Bau* did not provide sufficient room for either the museum's own constantly growing library or the additional *Lipperheidesche Kostümbibliothek*. The decision was therefore taken to commission an adjoining extension, which was planned and executed by the architect *Oskar Hossfeld (1848-1915)*. In **autumn 1905**, the libraries of the *Kunstgewerbemuseum * and the *Lipperheidesche Kostümbibliothek* were moved into the [rooms](set/48551) in the completed [extension](media/48639). The director of the library was *[Peter Jessen](item/18769)*; the architect *Bruno Paul* was appointed director of the *Unterrichtsanstalt* in 1906.[^The staffing at the opening was as follows: For the library: director: Dr Jessen; assistant directors: Professor Dr Loubier, Dr. Doege (costume library); secretary: Rupp; administrators: Ziethen, Kluge, Wieynk, Wiedemann; material collection: Falkenberg. For the school: Director (acting): Prof Mohn (Director of the Royal Art School); Assistant Director: Fendler.].
+The donation was linked to the permanent presentation of the collection, for which the *Kunstgewerbemuseum * was to provide space. The *Martin-Gropius-Bau* did not provide sufficient room for either the museum's own constantly growing library or the additional *Lipperheidesche Kostümbibliothek*. The decision was therefore taken to commission an adjoining extension, which was planned and executed by the architect *Oskar Hossfeld (1848-1915)*. In **autumn 1905**, the libraries of the *Kunstgewerbemuseum * and the *Lipperheidesche Kostümbibliothek* were moved into the [rooms](set/48551) in the completed [extension](media/48639). The director of the library was *[Peter Jessen](item/18769)*; the architect *Bruno Paul* was appointed director of the *Unterrichtsanstalt* in 1906.[^The staff was as follows: for the library as director Dr Jessen, as assistant directors Professor Dr Loubier, Dr. Doege (costume library), as secretary Mr. Rupp, as administrators Mr. Ziethen, Kluge, Wieynk and Wiedemann, for the material collection Mr. Falkenberg. For the school as acting Director Prof. Mohn (Director of the Royal Art School) and as assistant Director Mr. Fendler.]
 ### 1909/1910: Bequests of Franz and Frieda von Lipperheide
 The donation from 1892 was only part of a larger collection that the couple had kept in their possession. Frieda von Lipperheide had already died in **1896**. After Franz von Lipperheide's death in **1906**, four auctions were organised from the remaining collection at the auction house [Hugo Helbing](item/18765) in Munich in the years **1909 and 1910**: [oil paintings, textiles, weapons and bronzes](item/7802).
 ### 1916: Fashion exhibition
@@ -54,29 +54,29 @@ In 1915, fashion journalist Julie Elias and Ernst Friedmann, architect and owner
 ### 1916 onwards: Use of the reading room as a military hospital during the First World War
 The library premises were converted into a military hospital during the **First World War**. On 3 January 1919, library director Peter Jessen and Privy Councillor Otto von Falke, Director of the Kunstgewerbemuseum , sent a [notification](item/18767) to the General Administration of the Royal Museums requesting that funds be made available for the restoration of the library.
 ### 1921: Separation of premises
-At the end of 1920, the museum objects of the *Kunstgewerbemuseum * were transferred to the Berlin City Palace and the unity of the library, *Kunstgewerbemuseum* and *Unterichtsanstalt* (Teaching Institute) was dissolved. The *Unterrichtsanstalt* also left its location at Prinz-Albrecht-Straße 7a in 1924/25. Only the Kunstgewerbemuseum library remained in the northern wing of the extension building[^For cost reasons,the school merged with the Academic College of Fine Arts under the new name United State Schools of Fine and Applied Arts/Vereinigte Staatsschulen für freie und angewandte Kunst.].
+At the end of 1920, the museum objects of the *Kunstgewerbemuseum * were transferred to the Berlin City Palace and the unity of the library, *Kunstgewerbemuseum* and *Unterichtsanstalt* (Teaching Institute) was dissolved. The *Unterrichtsanstalt* also left its location at Prinz-Albrecht-Straße 7a in 1924/25. Only the Kunstgewerbemuseum library remained in the northern wing of the extension building.[^For cost reasons,the school merged with the Academic College of Fine Arts under the new name United State Schools of Fine and Applied Arts/Vereinigte Staatsschulen für freie und angewandte Kunst.]
 ### 1924: Renaming
 At the instigation of Peter Jessen and in accordance with the decree of the Ministry of Culture of **27 May 1924**, the library was renamed the *Staatliche Kunstbibliothek* with the explanatory addition "formerly the Library of the Kunstgewerbemuseum ".
 ### 1933: Bequest of Elisabeth von Lipperheide
 The bequest of Elisabeth von Lipperheide, the second wife of Franz von Lipperheide, was also administered by [Hugo Helbing](item/18765) and auctioned off in the [1933 auction](https://doi.org/10.11588/diglit.5761).
 ### 1934: Occupation of the building by the Gestapo
 The *Geheime Staatspolizeiamt (Gestapo)* claimed the annex at Prinz-Albrecht-Straße 7a as its [headquarters](media/48641) in **1934**. Hermann Schmitz](item/18817)*, who had been appointed director of the Kunstbibliothek in 1933, had already adapted his acquisition policy and public relations work to the demands of the Nazi regime. Under the pretext of state defence and state security in the course of the Roehm coup, the eviction of the library building was enforced in July 1934. The [relocation](media/48643) to the Martin-Gropius-Bau took place in the night of **3 to 4 July 1934** and was completed in the morning. The book and print collections as well as the Lipperheide [painting collection](media/48642) were relocated to the atrium of the Martin-Gropius-Bau. 
-### Security measures at the beginning of the war
-As early as **1934**, the museum and library directors were asked to draw up priority lists for their holdings, organised according to two value groups, and to record the items to be salvaged in the event of an air raid. The list compiled by *[Carl Koch](item/18788)* mentions no paintings from the Lipperheidesche Kostümbibliothek, but 854 sources of texts on traditional costumes and ceremonies in the first value group and a further 668 volumes in the second category;[^These were: "Lipp 845 vols. (general costume works up to the 18th century, criers, China, Japan, carving books, bite books, festivities)" and "Lipp 668 vols. (genealogical books, France 16th-18th century), caricatures". In: SMB-ZA, Goldmann 4.1.2, KB, p. 1. History of the relocation of the holdings of the former Staatl. Kunstbibliothek and the former Zentralbibliothek, Berlin.] a group which, however, he removed from the priority list after a request to reduce its size. As the Lipperheide paintings, with one exception, are not noted in the evacuation, salvage or restitution files, it can be assumed that they remained in Berlin during the war - with a few exceptions - or had already been relocated to the Museum Island by this time.
+### Safety measures at the beginning of the war
+As early as **1934**, the museum and library directors were asked to draw up priority lists for their holdings, organised according to two value groups, and to record the items to be salvaged in the event of an air raid. The list compiled by *[Carl Koch](item/18788)* mentions no paintings from the Lipperheidesche Kostümbibliothek, but 854 sources of texts on traditional costumes and ceremonies in the first value group and a further 668 volumes in the second category[^These were: "Lipp 845 vols. (general costume works up to the 18th century, criers, China, Japan, carving books, bite books, festivities)" and "Lipp 668 vols. (genealogical books, France 16th-18th century), caricatures". In: SMB-ZA, Goldmann 4.1.2, KB, p. 1. History of the relocation of the holdings of the former Staatl. Kunstbibliothek and the former Zentralbibliothek, Berlin.]; a group which, however, he removed from the priority list after a request to reduce its size. As the Lipperheide paintings, with one exception, are not noted in the evacuation, salvage or restitution files, it can be assumed that they remained in Berlin during the war - with a few exceptions - or had already been relocated to the Museum Island by this time.
 From a letter from the painting restorer *[Dr Johann Hell](item/18820)* dated **27 September 1935** it can be seen that the condition of the Lipperheide paintings had been examined. The indication that these paintings had to be immediately and carefully transferred to the workshop of the assistant restorer Teichler at the *[Kaiser-Friedrich-Museum](item/18781)*, today's *Bode-Museum*, suggests that the paintings were already stored on the Museum Island in 1935.  In a [reply letter dated 2 October 1935](item/18816), signed by *[Hermann Schmitz](item/18817)*, the library director thanks the restorer Johann Hell and commissions the proposed measures. As early as October 8 of the same year, assistant restorer Teichler confirms the [receipt of the oil paintings to be restored](item/18824): "Four altarpieces with Saints Andrew, John etc.; gilded wood carving on the front, painted on the back (Passion scenes etc.)" and "An oil painting, Brueghel school (peasant dance)."
 ### Library use during the Second World War
 From **January 1936**, the *Kunstbibliothek* and with it the *Lipperheidesche Kostümbibliothek* were once again open on weekdays from 09:00 to 21:00 and made their collections available in the atrium of the Martin-Gropius-Bau. However, due to bomb damage and fighting during the capture of Berlin, it was impossible to continue operating the library as of **May 1944**.
 ### 1939ff: Removals and relocations during the Second World War
 Directly at the beginning of the Second World War on **1 September 1939**, the museums closed to the public. The preventive and rescue measures for around 40 museums in Berlin were resumed in 1939, under the responsibility of the directors of the individual museums. From **September 1939**, outstanding holdings of the Kunstbibliothek were packed into 160 crates and secured in the basement of the neighbouring Martin-Gropius-Bau. At the beginning of 1940, the holdings of the Kupferstichkabinett (Museum of Prints and Drawings), the Kunstgewerbemuseum  (in the City Palace), the Kunstbibliothek and the Zeughaus were moved to the new Coin Office. The Lipperheide painting collection was left out, as it was not categorised as part of the so-called high-quality holdings. 
-**In 1941**, the atrium of the Kunstgewerbemuseum  was also cleared of the holdings of the Art and Costume Library. On 19 November 1942, the Kunstbibliothek reported that a quarter of Lipperheide's book collection and some of the other books had been salvaged[^Cf. de Günther 2020, p. 191.] No document has survived of the salvage of Lipperheide's painting collection outside Berlin. It is difficult to reconstruct the exact locations of individual objects in the collection during the war years[^Klaus Goldmann, who together with Beate Wild researched the salvage and repatriation history of the museums in 1986 and 1987, locates the Lipperheide paintings in three different storage locations in his overview. Some of the paintings were taken to the Pergamonmuseum, but this was not specified, while other paintings remained in the basement of the Martin-Gropius-Bau at Prinz-Albrecht-Straße 7. He locates the miniatures at a site which he describes with the abbreviation "SPf", but which he does not resolve.]. After the division of Germany, the paintings remained in the East on the Museum Island. There, Lipperheide's paintings were stored on shelves numbered from 1 to 15 and reaching up to the ceiling. As can be seen from various [location lists of the time](set/48645), the smaller paintings were stored in baskets.
-A letter by Paul Ortwin Rave from **January 1960**, which describes the measures taken to return the miniatures from the University of Tübingen's depot, provides information on the whereabouts of the miniatures. The artworks had arrived in the university city via various salvage centres in Baden-Württemberg[^Rave names 142 miniatures, packed in groups in cardboard boxes, as well as 20 miniatures or paintings remaining in the Kunstbibliothek. He puts the number of paintings on the Museum Island at 352, based on a photo file available to him. Klaus Goldmann identified the return lists of the works removed from Tübingen. He assigned the boxes numbered 43/298 to 43/341 to the Kunstbibliothek and the State Library. Boxes 43/378 to 43/383 contained the Lipperheide miniatures. The first digit of the numbering indicates the year of salvage.].
+**In 1941**, the atrium of the Kunstgewerbemuseum  was also cleared of the holdings of the Art and Costume Library. On 19 November 1942, the Kunstbibliothek reported that a quarter of Lipperheide's book collection and some of the other books had been salvaged.[^Cf. de Günther 2020, p. 191.] No document has survived of the salvage of Lipperheide's painting collection outside Berlin. It is difficult to reconstruct the exact locations of individual objects in the collection during the war years.[^Klaus Goldmann, who together with Beate Wild researched the salvage and repatriation history of the museums in 1986 and 1987, locates the Lipperheide paintings in three different storage locations in his overview. Some of the paintings were taken to the Pergamonmuseum, but this was not specified, while other paintings remained in the basement of the Martin-Gropius-Bau at Prinz-Albrecht-Straße 7. He locates the miniatures at a site which he describes with the abbreviation "SPf", but which he does not resolve.] After the division of Germany, the paintings remained in the East on the Museum Island. There, Lipperheide's paintings were stored on shelves numbered from 1 to 15 and reaching up to the ceiling. As can be seen from various [location lists of the time](set/48645), the smaller paintings were stored in baskets.
+A letter by Paul Ortwin Rave from **January 1960**, which describes the measures taken to return the miniatures from the University of Tübingen's depot, provides information on the whereabouts of the miniatures. The artworks had arrived in the university city via various salvage centres in Baden-Württemberg.[^Rave names 142 miniatures, packed in groups in cardboard boxes, as well as 20 miniatures or paintings remaining in the Kunstbibliothek. He puts the number of paintings on the Museum Island at 352, based on a photo file available to him. Klaus Goldmann identified the return lists of the works removed from Tübingen. He assigned the boxes numbered 43/298 to 43/341 to the Kunstbibliothek and the State Library. Boxes 43/378 to 43/383 contained the Lipperheide miniatures. The first digit of the numbering indicates the year of salvage.]
 ### 1944: Closure of the library
 The bombing raids of **November 1943** damaged the museums in Prinz-Albrecht-Straße, i.e. the Ethnological Museum and the former Kunstgewerbemuseum . In **March 1944**, *[Wolfgang Bruhn](item/18791)* reported [four paintings damaged during an air raid](item/18815) from the Lipperheide Collection. The severe damage to the building meant that the reading rooms at Prinz-Albrecht-Straße 7 had to be closed in May 1944.
 ### 1945–1949: Storage damages
 In **May 1949**, over 300 paintings from the Lipperheide collection were relocated to the former [crate room of the Kaiser-Friedrich-Museum](item/18812). The most serious damage to the Museum Island, and thus also to the *[Kaiser-Friedrich-Museum](item/18781)*, was caused by the attack on the 5th of February 1945. 
-This may have had an influence on the condition of the Lipperheide paintings, which were stored in the [depots](item/18812)[^The reclaim letters permit such an indirect conclusion. There are no files on the transfer of the paintings to the Museum Island. The first post-war cleaning of the collection of paintings on the Museum Island is documented for November 1945.]. Bomb damages and artillery hits on the *[Kaiser-Friedrich-Museum](item/18781)* caused downpours of rain to reach the ground floor and cellars. The water damage [visible on the Lipperheide paintings](set/48646) may have been caused by this. There is also evidence of a flood in the spring of 1946.
+This may have had an influence on the condition of the Lipperheide paintings, which were stored in the [depots](item/18812).[^The reclaim letters permit such an indirect conclusion. There are no files on the transfer of the paintings to the Museum Island. The first post-war cleaning of the collection of paintings on the Museum Island is documented for November 1945.] Bomb damages and artillery hits on the *[Kaiser-Friedrich-Museum](item/18781)* caused downpours of rain which reached the ground floor and cellars. The water damage [visible on the Lipperheide paintings](set/48646) may have been caused by this. There is also evidence of a flood in the spring of 1946.
 ### 1945: Division among the Allies after the end of the war
-Berlin surrendered on **2 May 1945**. The comprehensive occupation[^On 4 April, the village of Merkers (Röhn) with the nearby Kaiseroda mine, the Hattorf mine and the Ransbach shaft had already been occupied by the Americans. Eight days later, on 12 April 1945, the American army also occupied the area not far from the Grasleben salt mine near Helmstedt and the Schönebeck salt mine on the Elbe near Magdeburg.]. Germany's occupation by the Allies naturally led to property difficulties and loss of control over the storage sites after the end of the war.[^In the course of the fighting, the museums in Prinz-Albrecht-Straße and Saarlandstraße (Stresemannstraße) were occupied by Russian troops on 1 May 1945 and on the following day (the surrender) also the Museum Island, i.e. the Kaiser-Friedrich-Museum, Pergamon, Neues Museum, Altes Museum and the Nationalgalerie.] As the city was divided into four sectors, the museum buildings came under American, Soviet and British administration.
+Berlin surrendered on **2 May 1945**. After the end of the war, Germany's widespread occupation by the Allies naturally led to ownership difficulties and loss of control over the storage sites.[^On 4 April, the village of Merkers (Röhn) with the nearby Kaiseroda mine, the Hattorf mine and the Ransbach shaft had already been occupied by the Americans. Eight days later, on 12 April 1945, the American army also occupied the area not far from the Grasleben salt mine near Helmstedt and the Schönebeck salt mine on the Elbe near Magdeburg.] In the course of the fighting, the museums in Prinz-Albrecht-Straße and Saarlandstraße (Stresemannstraße) were occupied by Russian troops on 1 May 1945 and on the following day (the surrender) also the Museum Island, i.e. the Kaiser-Friedrich-Museum, Pergamon, Neues Museum, Altes Museum and the Nationalgalerie. As the city was divided into four sectors, the museum buildings came under American, Soviet and British administration.
 From **7 May 1945 onwards**, deportations took place, including those of holdings from Prinz-Albrecht-Straße. They lasted until the first week of June, stopped briefly and began again in December 1945. The *Kunstbibliothek* was not affected by the removals, but the cellars and storerooms of the Museum Island were. No report on this has survived. In the further course of events, the museum buildings were divided up to the Western powers, in this case the American troops]. After the end of the war, problems of competence and ownership dominated in the museums, as well as storage problems resulting from the destroyed museum buildings. 
 Cultural property seized by the British, French and American Allies was transferred to the British "Depository" in Celle, the French site in Tübingen and the American *Central Collecting Point* in Marburg and Wiesbaden respectively, before being handed over to a German trustee administration in 1949.
 ### 1949 onwards: Berlin, the divided city and twin museums
@@ -89,10 +89,10 @@ At least two works from the Lipperheide painting collection were transferred to
 After the war ended, work also began on securing works of art from the Schönebeck and Magdeburg salt mines and transferring them to the British-administered *Kunstgutlager Schloss Celle*. These included extensive holdings of the Kunstbibliothek, which had been stored at Celle Castle since the spring of 1946, but were limited to prints and books.
 ### 1949 onwards: Safekeeping and preservation of the Lipperheide paintings 
 At an unknown date after the removal from the extension building at Prinz-Albrecht-Straße 7a **in 1934 and before 25 March 1949**, the Lipperheide collection items were moved to the basement of the former *German Museum* together with the holdings of the Kunstbibliothek. Here, the library director of the Kunstbibliothek (West)*[Carl Koch](item/18788)* estimates 42 pictures from the Lipperheidesche Kostümbibliothek in the Egyptian department and around 310 pictures in a basement room of the *German Museum*. This is documented by a [letter from Carl Koch](item/7811) to Ludwig Justi, Director General of the Staatliche Museen zu Berlin (East).
-A series of [notes, letters and activity reports](set/48647) on these and other object movements on the Museum Island, especially the Pergamon Museum, have survived. With a request for careful storage and preservation, especially of the Lipperheide paintings, Koch wrote to Justi: ["These are objects that were relocated to the deep basement rooms during the war and are now scattered around."](item/7811). This was preceded by a [short letter dated 27 July 1948 from Rudolf Anthes](item/18795), an employee of the Egyptian Department, to Carl Koch with a request to store the collection objects and the furniture of the Kunstbibliothek elsewhere in order to free up space for the Egyptian Department. **In 1950**, the Lipperheide collection of paintings, consisting of 316 paintings, became part of the collection of the Gemäldegalerie. It was only capable of exercising a purely custodial function, but the reports for 1949 and 1950 speak of ongoing safeguarding measures[^For the period from 15 November 1949 to 15 January 1950, as well as for the following reporting periods up to 14 September 1950, ongoing safeguarding measures are documented. Ongoing conservation measures are documented, such as the cleaning and restoration by the restorer Hans Böhm and the carpenter Hentschel for the frames, as well as renewed inspections in February and March 1950. In June and July 1950, photographic recording of the Lipperheide painting collection began. According to the work report, the cleaning of the works and photographic recording continued until mid-September 1950. At the same time, a picture card index was created and the 315 paintings were given new inventory numbers.].
+A series of [notes, letters and activity reports](set/48647) on these and other object movements on the Museum Island, especially the Pergamon Museum, have survived. With a request for careful storage and preservation, especially of the Lipperheide paintings, Koch wrote to Justi: ["These are objects that were relocated to the deep basement rooms during the war and are now scattered around."](item/7811). This was preceded by a [short letter dated 27 July 1948 from Rudolf Anthes](item/18795), an employee of the Egyptian Department, to Carl Koch with a request to store the collection objects and the furniture of the Kunstbibliothek elsewhere in order to free up space for the Egyptian Department. **In 1950**, the Lipperheide collection of paintings, consisting of 316 paintings, became part of the collection of the Gemäldegalerie. The museum exercised a purely custodial function, but the reports for 1949 and 1950 also speak of ongoing safeguarding measures.[^For the period from 15 November 1949 to 15 January 1950, as well as for the following reporting periods up to 14 September 1950, ongoing safeguarding measures are documented. Ongoing conservation measures are documented, such as the cleaning and restoration by the restorer Hans Böhm and the carpenter Hentschel for the frames, as well as renewed inspections in February and March 1950. In June and July 1950, photographic recording of the Lipperheide painting collection began. According to the work report, the cleaning of the works and photographic recording continued until mid-September 1950. At the same time, a picture card index was created and the 315 paintings were given new inventory numbers.]
 In **August 1951**, around 315 paintings from the Lipperheide collection were transferred from the wood restoration studio of Mr Schrön's sculpture collection to the [Teichler workshop](item/18794) of the Gemäldegalerie.
 In the course of repatriating the cultural assets confiscated by the Russian armed forces to the Gemäldegalerie (East) and examining the possibilities for accommodating these holdings, curator Irene Geismeier recalled that a room on the upper floor of the Bodemuseum was converted into a storeroom and furnished to house the canvas paintings from the Gemäldegalerie collection. At the same time, Geismeier mentions the paintings owned by Franz von Lipperheide, thus proving that 315 paintings were located on the Museum Island:
-> A special small depot is also planned for the paintings from the Lipperheide costume collection, which are currently still inadequately housed in the large wood workshop. A number of paintings that have returned from the Soviet Union and whose owners could not be identified have been stored in a cellar of the Pergamonmuseum. These are mainly portraits of princely personalities and portraits of officers[^Irene Geismeier: Gemäldegalerie Forschungen und Berichte (1)1957-(31)1991, 3/4 (1961), p. 163.].
+> A special small depot is also planned for the paintings from the Lipperheide costume collection, which are currently still inadequately housed in the large wood workshop. A number of paintings that have returned from the Soviet Union and whose owners could not be identified have been stored in a cellar of the Pergamonmuseum. These are mainly portraits of princely personalities and portraits of officers.[^Irene Geismeier: Gemäldegalerie Forschungen und Berichte (1)1957-(31)1991, 3/4 (1961), p. 163.]
 
 ### 1947/1953: Opening of the Kunstbibliothek in Berlin (West)
 By the end of **1945**, the Kunstbibliothek had been reopened in the purpose-built library building at Prinz-Albrecht-Straße 7a. *Albert Boeckler](item/18789)*, library director from 1942 to 1947, set up a temporary reading room in the basement. After a brief interim solution at the new location in the western part of the city, in the northern pavilion of the Dahlem museum building at Arnimallee 23, arranged by *[Carl Koch](item/18788), the Kunstbibliothek moved its holdings again in **October 1953**, now to the Landwehrkasinos at Jebensstraße 2 in the Charlottenburg district, and opened on 20 January 1954. The Lipperheidesche Kostümbibliothek occupied the reading room on the ground floor. With the return of the former cabinet fittings from the Lipperheidesche Kostümbibliothek to the Jebensstraße location, the miniatures were once again stored on green plafonds in the cabinet doors as before. A few paintings were hung in the study room.
@@ -104,7 +104,7 @@ In the years **1975 and 1976**, storage work had been carried out in the East Be
 ### 1992/1993: Preparations for the relocation to Kulturforum (Matthäikirchplatz)
 Prior to the institutes' move to the Kulturforum in 1992, the 151 miniatures and 23 bas-reliefs in the West Berlin library were also transferred to the Gemäldegalerie's external holdings. Conservation care by the Gemäldegalerie was also stipulated in the contract.
 ### 1996–1998: Reunification of the collections at Kulturforum (Matthäikirchplatz)
-In preparation for the relocation of the Gemäldegalerie, the Print Room and the Kunstbibliothek to the Kulturforum, Rainer Michaelis, Christine Exler and Christina Ohlrogge carried out a review of the Lipperheide collection of paintings and miniatures in the *Bodemuseum* between **4 November 1996 and 14 February 1997**.[^In this context, technical and content-related information was added to the index cards, artworks were protected and conservation work carried out, paintings were labelled and rearranged. For the "Lipperheide Costume Collection", 315 numbers were recorded, one stolen portrait was noted and 164 numbers were listed, which had been taken over by the Berlin Kunstbibliothek in 1990.].  The first transfer from the *Bodemuseum* to the new building at the Kulturforum took place on **19 August 1997**, followed by others[^In a letter from Irene Geismeier to Bernd Evers dated 7 October 1998, the director informs us that the loans from the Lipperheidesche Kostümbibliothek, which had a total of 485 items as of 1 October 1998, are now kept in a separate depot in the new building of the Gemäldegalerie at Stauffenbergstraße 40.].
+In preparation for the relocation of the Gemäldegalerie, the Print Room and the Kunstbibliothek to the Kulturforum, Rainer Michaelis, Christine Exler and Christina Ohlrogge carried out a review of the Lipperheide collection of paintings and miniatures in the *Bodemuseum* between **4 November 1996 and 14 February 1997**.[^In this context, technical and content-related information was added to the index cards, artworks were protected and conservation work carried out, paintings were labelled and rearranged. For the "Lipperheide Costume Collection", 315 numbers were recorded, one stolen portrait was noted and 164 numbers were listed, which had been taken over by the Berlin Kunstbibliothek in 1990.]. The first transfer from *Bodemuseum* to the new building at Kulturforum took place on **19 August 1997**, followed by others.[^In a letter from Irene Geismeier to Bernd Evers dated 7 October 1998, the director informs us that the loans from the Lipperheidesche Kostümbibliothek, which had a total of 485 items as of 1 October 1998, are now kept in a separate depot in the new building of the Gemäldegalerie at Stauffenbergstraße 40.]
 ### 2014: Transfer of miniatures et al. to the third-party depot
 In **July 2014**, the administrative agreement between the Gemäldegalerie and the Kunstbibliothek, which has been in place since 16 November 1993, was extended by a further [81 objects](set/48649): miniatures and other works were transferred from the storage facility of the Lipperheidesche Kostümbibliothek to the Gemäldegalerie's administrative responsibility and into the depot of third-party property.