ShortHand: The ‘Monuments Men’ Saving Art from Nazi Bombs

Summary

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RedHanded — ShortHand: The ‘Monuments Men’ Saving Art from Nazi Bombs

Date: February 24, 2026
Hosts: Sam & Co-host

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Episode Overview

This episode of RedHanded's "ShortHand" series dives into the true story of the Monuments Men, a group of art historians, museum curators, and academics who risked their lives during World War II to save Europe's priceless cultural treasures from Nazi theft and destruction. The hosts explore how Hitler’s obsession with art fueled his campaign of looting and cultural annihilation, and they celebrate the resilience and heroism of those who fought to preserve history in humanity’s darkest hours.

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Key Discussion Points & Insights

1. War, Destruction, and the Forgotten Value of Art

• The episode opens with a powerful quote from Antoine de Saint-Exupéry:
  “War is not an adventure, it is a disease. And that goes triple for a world war.” (02:43, Co-host)
• In wartime, beauty and culture are often the first casualties, but a handful of ‘dorky’ yet heroic individuals — the Monuments Men — ensured world leaders at least “think about the art.” (02:43, Co-host)

2. Hitler’s Twisted Relationship with Art

• “In 1907, Hitler was rejected from art school and he was not very happy about it... From then on, Adolf Elisabeth Hitler was on a mission to prove himself as an unsung creative genius.” (05:38, Sam)
• Hitler's frustration over his art school rejection fueled his campaign against modern and “degenerate” art, associating it with Jewish and “decadent” influences.
• 16,000+ pieces by Picasso, Degas, Van Gogh, and others were seized; some sold, many destroyed (08:31, Co-host).
• Ironically, a Nazi-hosted “Degenerate Art” exhibition attracted 2 million visitors, vastly outshining the official Nazi “Great German Art” showcase.

  “In an extremely satisfying turn of events, 2 million people showed up to the Degenerate Exhibition. That's four times more than the amount of people who went to the Yawnfest across the road.” (09:03, Sam)
  “Oh my God, that's hilarious.” (10:05, Co-host)

3. The Nazi Looting Machine: Ambition and Devastation

• The Nazis looted an estimated 5 million works of art and cultural artifacts from across occupied Europe (10:15-11:16).
• Hitler envisioned a “Führer Museum” in Linz, Austria, filled with stolen masterpieces.
• High-ranking Nazis like Hans Frank and Hermann Göring amassed their own extensive collections.

4. Europe’s Quick Response and the Rise of the Monuments Men

• Britain's National Gallery sent collections to Wales; the Louvre scattered its art across the French countryside, moving the Mona Lisa six times (11:16, Sam).
• Enter George L. Stout (“the real Indiana Jones”):
  • Art conservation pioneer, relentless advocate for protecting cultural heritage.
  • Initially dismissed when he raised the alarm about wartime threats to art, Stout eventually convinced FDR to send experts to safeguard treasures (13:24-14:11).

  “Who cares about some old doodles when the literal fate of humanity is at stake? Stout, that's who.” (13:24, Sam)

  • Roosevelt's support was partly motivated by PR — protecting art enhanced the Allies’ reputation as “moral authorities” (17:22, Co-host).

5. The Human Side: Key Characters of the Monuments Men (and Women)

• Early team included James Rorimer (The Met), Toby Sizer (Yale Art Gallery), Dean Keller, and Harry Ettlinger, a refugee from Nazi Germany.
• Monuments Women such as Ardelia Ripley Hall and especially Rose Valland, a spy embedded in Paris, played crucial roles in locating hidden and stolen art (18:46-19:35).

6. The Impossible Mission

• On the front lines, Monuments Men improvised to save as much as they could, sometimes using decoys and “explosive” warnings to keep soldiers out of vulnerable rooms (19:35-20:27).
• As the war neared its end, Hitler’s “Nero Decree” ordered the destruction of valuable assets to prevent enemy access (20:57, Sam).
• The Monuments Men shifted from protection to a frantic race to recover 5 million stolen pieces before the Nazis could obliterate them.

7. Dramatic Discoveries and Daring Recoveries

• Artworks were often hidden in salt mines for preservation.

• Thanks to Rose Valland’s intelligence, over 60,000 artworks were recovered, including massive caches in Merkers and Neuschwanstein Castle (21:53, Co-host).

• One memorable find: a Da Vinci painting lying on the floor with a boot print, reclaimed from Hans Frank’s stash.

  “They found a Da Vinci that he had swiped. One of just 16 paintings ever made by the genius polymath. It was on the floor with a boot print on it.” (23:01, Sam)

• Major Robert Posey's toothache led to a fateful meeting with a dentist whose son-in-law had helped Hermann Göring steal art — the “naughty boy spilled the naughty beans,” revealing the location of both Göring’s and Hitler’s hoards (23:33, Sam).

8. The Big Finale: Saving Hitler’s “Museum”

• Hitler’s personal collection was concealed in a salt mine in Altaussee, Austria, rigged with explosives per the Nero Decree (24:42, Co-host; 29:01, Sam).

• Local miners and Nazi officials secretly removed most of the bombs, staging a decoy explosion to protect the collection.

  “They left just one near the entrance of the mine and detonated that. So that made it look... like his plan had gone off without a hitch. And also very cleverly sealed the world's greatest art collection ever very safely inside a salt mine.” (29:01, Sam)

• When the Monuments Men finally entered, they found thousands of masterpieces — paintings, sculptures, armor, tapestries — and notably, van Eyck’s “Adoration of the Mystic Lamb” and Michelangelo’s Madonna at Bruges (30:09, Co-host).

9. Aftermath & Ongoing Legacy

• George Stout took just one day off during his European mission, before moving on to Japan to save looted Asian treasures (31:18-31:43).
• The Monuments Men and Women Foundation continues to search for missing artifacts today. Stolen works still resurface around the world, showing the hunt isn’t over (32:02, Co-host).

  “Even just last year, a late baroque portrait stolen by the Nazis from a Jewish arts dealer was spotted in the background of a house listing in Argentina.” (32:02, Co-host)

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Notable Quotes & Moments

• “If there’s no art, what are we fighting for?” (33:27, Sam)
• “There’s something worth fighting for. Not just our lives... but also a preservation of our history. And I think that’s beautiful.” (33:06, Co-host)
• “Perfect illustration of how art is politics.” (33:32, Sam)

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Important Timestamps

• 02:43 — Opening reflection on war, loss, and the enduring value of beauty and culture
• 05:38–09:03 — Hitler’s obsession with “real” art and the Degenerate Art exhibitions
• 10:15–11:16 — Nazi looting operations and the 5 million stolen works
• 12:23–13:24 — George L. Stout, art conservation pioneer
• 17:22 — Creation of the Monuments, Fine Arts and Archives section (Monuments Men)
• 19:35–20:57 — Field work: dangers, improvisations, and the scale of the mission
• 21:53–23:28 — Salt mines, Rose Valland, and the dramatic recoveries
• 24:42–30:09 — The chase for the Nazi and Hitler's private art stashes and their daring rescue
• 31:18–31:43 — Stout’s indefatigable pursuit — from Europe to Japan
• 32:02–33:03 — The legacy: ongoing search for missing artwork

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Conclusion & Final Thoughts

RedHanded’s hosts blend wit, awe, and a sense of justice as they recount the remarkable legacy of the Monuments Men and Women. Through humor and admiration, they underline how the fight to save art was — and remains — a testament to humanity’s belief that culture and history are worth risking everything for, even in the bleakest times.

“If there’s no art, what are we fighting for?” (33:27, Sam)

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Transcript

[Sam]

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[Co-host]

Hello, hello and welcome to another episode of Shorthand where the minute I look down, even though I know I requested this particular topic. Hard French word. Hard French name. Let's try. It's my own personal war. Antoine de Saint Expurrier sure once said, war is not an adventure, it is a disease. And that goes triple for a world war. Slowly, everyone and everything is reduced to a grinding, joyless cloud of destruction. And everything fun and pure and beautiful is mostly forgotten. But somehow, in the darkest hour of World War II, with the future of the entire planet at stake, a small group of meek middle aged art historians, architects and museum curators manage to make world leaders. Please think about the art.

[Sam]

With bombs flying willy nilly across France, Italy, Poland and the rest of the continent, these brave little dorks mounted a resistance in the thick of war. The so called Monuments Men travelled to the front lines to seek out and save priceless masterpieces across the continent. And that's not all, because apart from their itchy trigger fingers, those pesky Nazis had extremely light fingers as well. The Nazis stole priceless art like it was going out of style. And we still don't know where loads of it is. The orders came from the very top. The Fuhrer had extremely strong opinions about how art would fit into his new world order. He and his top generals looted thousands of history's most precious artifacts. Hitler himself hoarded perhaps the biggest collection of precious art in history. But eventually the tide of war turned against them and the Nazis turned hell bent on destroying every single precious piece. The race was on to save European culture itself from destruction.

[Co-host]

The 2014 film version of the monument's men's story isn't quite as dorky as we've made it sound. It's got a pretty star studded cast. We're talking George Clooney, Matt Damon, Cate Blanchett, Bill Murray, John Goodman and Hugh Bonneville.

[Sam]

There you go.

[Co-host]

But somehow the real story is even more dramatic than the silver screen. This is the story of an impossible mission, the single greatest treasure hunt ever. A handful of academics put into uniform and sent into the most destructive conflict in history to save thousands of years of European culture from obliteration. This is the shorthand.

[Sam]

In 1907, Hitler was rejected from art school and he was not very happy about. Won't surprise you to know that young Adolf considered himself to be quite the visionary genius. Both uniquely skilled as an artist and with a profound knowledge of what constituted great art. So when he got his rejection letter, he figured that something must have gone wrong. Most of the jurors were Jewish, so that played into his narrative quite nicely. I also believe that he had a flatmate who got in and he didn't. And that flatmate was Jewish. Yeah, I think something like that.

[Co-host]

I remember something like that.

[Sam]

But from then on, Adolf Elisabeth Hitler was on a mission to prove himself as an unsung creative genius and unprecedented appreciator of the arts. And a part of that was destroying the new Jewish led liberal experimental art scene that was developing throughout Europe at the time. Hitler considered the only true art to be straightforwardly beautiful. German art from the 19th century, easy to understand landscapes and portraits depicting life for the average person. These works celebrate youth, strength, heroism, all of the qualities that the master race wanted humanity to turn into. I cannot believe I forgot to tell you this. So you know when we did the shorthand on the line.

[Co-host]

Yeah.

[Sam]

And we were laughing about the female

[Co-host]

architect, that was probably AI. So she got in touch with you.

[Sam]

It's Geeta's sister. What? Not quite so it would be better. So Vania, Geetha's sister, does a lot of work for the Saudis and she's in the video for the line, but it's not that woman.

[Co-host]

This is Hannah's friend who lives in South Africa.

[Sam]

So yeah, her sister is in the video. The video itself is like 45 minutes long, so we didn't watch all of it, but Vanya's in it. And Vanya is one Aryan looking motherfucker, which is probably that. And she's the only woman on the project. But like mad.

[Co-host]

That's very funny. So yes, Hitler felt that modern art in comparison to this 19th century Germanic art was a symptom of a sick, decadent, greedy and self obsessed 20th century society. And he decided it was totally incomprehensible to the viewer, that is him in Mein Kampf. In 1929, Hitler attacked modern art as degenerate and used that distinction to ramp up the hate. He said it demonstrated the unbridgeable cultural gap between high minded civilized Aryans and and degenerate Jewish modernists. And then in 1933 he was elected Chancellor. Pretty much straight away. He gave the order all works of art deemed Degenerate by Nazi high command, were to be removed from museums and houses immediately. More than 16,000 of these works were taken down across Germany, including masterpieces by Picasso, Degas and Van Gogh. Some were traded or sold abroad, but tragically, many priceless pieces were burnt to a crisp in a bonfire. Hitler's war on art was gaining pace. But then he made a bit of a curveball move.

[Sam]

In 1937, the Fuhrer put on two exhibitions in Munich. One displayed what he saw as the pinnacle of German art. Paintings of farms, nude sculptures, etc, etc. But the other, just around the corner, exhibited exclusively degenerate art. Inside were a madcap collection of modernist and expressionist works expressing the horrors of war and the complexity of human suffering, many by Jewish artists. The walls were scrawled with graffiti describing just how sick and twisted this art was and why it was actually very bad. Journalists were pressured to turn up and write about how despicable it all was. I think you can see where this is going. In an extremely satisfying turn of events, 2 million people showed up to the Degenerative Exhibition. That's four times more than the amount of people who went to the Yawnfest exhibition across the road.

[Co-host]

Oh my God, that's hilarious.

[Sam]

And the degenerate art tore German cities, selling out everywhere it went.

[Co-host]

Anyway, that blip aside, Hitler had big ideas for the future of German art after he won the war. He would build a Fuhrer Museum, a gigantic complex in his hometown of Linz, Austria, containing an opera house, a grand art gallery and even a Hitler hotel. So between his desire to hoover up all the good art for his own museum, and also all the bad art for selling and burning, it became very important to the Fuhrer that the Nazis snatched it all asap. Mostly this meant more looting all over Germany and Austria, and when they invaded them, also Poland, the Netherlands, France and Belgium too. They went into museums, churches, universities and homes, and swiped and estimated 5 million works of art and cultural objects, including sculptures, furniture, religious artifacts, anything they could get their bony little Aryan hands on.

[Sam]

London acted very quickly, just in case. Pretty much the whole National Gallery collection was moved to Wales. And luckily, just before the occupation of France, the entire Louvre collection had been scattered and stashed around the French countryside. The Mona Lisa was actually moved six times between different chateaux. Some of the looted art was displayed in French galleries, but the best stuff went straight onto Hitler's future museum Pinterest board. And he wasn't the only one who was at it. Hans Frank, the brutal governor of occupied Poland and close personal friend of Hitler, was an avid collector as well. Same with Hermann Goring, Hitler's deputy. He also considered himself to be a uniquely cultured art appreciator. This was not just stealing. It was the commandeering and destruction of thousands of years of European culture. And against this tidal wave of destruction, one man decided to stand up and fight. And he was Indiana Jones.

[Co-host]

George L. Stout was born in Iowa in 1897. And after serving in a German field hospital in the First World War, he decided to study painting. He finished a master's at Harvard and started working in the university's art museum, the Fog.

[Sam]

He is Indiana Jones.

[Co-host]

He threw himself into the new science of art conservation. And when the museum founded its own lab in 1928, Stout became his director. At the time, art conservation was basic, to say the least. But Stout developed all sorts of science backed new techniques to protect paintings, prevent degradation, and restore them to their former beauty. In fact, the manual he wrote back then is still used as a key source of preservation studies today.

[Sam]

That's cool. That's a cool legacy, isn't it? Better than a nose hair.

[Co-host]

Much better. Through all of this, Stout had one aim. To do everything he could to protect the world's art.

[Sam]

So when war broke out in the heart of European culture, Stout was spooked. What about the paintings? His entire career had focused on painstakingly preserving artifacts from across Central Europe. But soon bombs would fly over those countries, aiming to cause as much destruction as possible, not caring whether they hit medieval churches, Renaissance masterpieces, or marble sculptures. So Stout took his concerns straight to the top. At first, obviously, he was laughed out of the building. Who cares about some old doodles when the literal fate of humanity is at stake? Stout, that's who. So he enlisted in the Navy and bided his time.

[Co-host]

I love that. I love that. For him.

[Sam]

And a few years later, he was ready to give it another shot. This time, Stout managed to get his concerns in front of the President himself. The film version of the Monuments Men opens with George Clooney making his speech to Roosevelt saying, who will make sure that the statue of David is still standing and the Mona Lisa still smiling? And maybe the real version was a bit less Hollywood, but whatever Stout said, it worked. Roosevelt sent Stout to the front lines to protect Europe's cultural treasures. How do you like the sound of a bank that's built for you? Not the 1%. Sounds pretty good, doesn't it? Well, you should check out Chime. Chime isn't just another banking app. They unlock smarter banking for everyday people with products like MyPay giving you access to up to $500 of your paycheck anytime and getting paid up two days early with direct deposit. They also don't charge an overdraft or minimum balance fee, so you're in control of how you spend your money. In fact, there's no monthly fee at all. Instead of charging you to use your own money, Chime actually turns everyday spending into real rewards and progress. It's the new way to build credit history with your own money and get rewarded every single day. Plus, you can earn up to 3% APY on savings, which is seven times higher than a traditional bank. Several of my mates have already switched to Chime for their everyday spending, and they say that they have never felt more in control of their money. Chime is not just smarter banking. It's the most rewarding way to bank. Join the millions who are already banking fee free today. It just takes a few minutes to sign up. Head to chime.comredhanded that's chime.com redhanded Chime

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[Co-host]

But it wasn't just a love of art that changed Roosevelt's mind. When the US first joined the war, Europeans were mostly overjoyed and pathetically thankful for its big Yankee might. But as the war dragged on, the goodwill wore thin. The State Department began to worry that if American soldiers were seen to be destroying or disrespecting European treasures and stomping through historic buildings with their big, muddy American boots, well, it wouldn't play very well into the narrative that the US could be the world's big moral authority after the war. So in about 1943, they created the Monuments, Fine Arts and Archives section of the US army, more snappily known as the Monuments Men. They were scholars of art and history, museum curators and directors, conservators, artists, archaeologists, architects, librarians and archivists.

[Sam]

A lot of A's there. Are you okay? Doing all right? Struggling, struggling. Apart from Stout, the early crew included James Rorimer, the curator of the Met, Toby Sizer, former director of the Yale University Art Gallery, and Dean Keller, an artist and professor.

[Co-host]

More than a lot of episodes we've done recently, the names and the words we're having to say in this. It feels like I'm doing some sort of viral face yoga exercise.

[Sam]

Harry Ettlinger, a German Jew whose synagogue was burnt down on Kristallnacht, had risen in the art world after fleeing to the U.S. and soon Englishmen joined the fray, like RAF Squadron Leader J.E. dixon. Spain. And what about the monument's women? There were loads of them, actually. Ardelia Ripley hall went straight to Bonn, Germany, to hunt art for the State Department, and then, crucially, for occupied France, we have Rose Valland. She had been the curator of Paris's Jeu de Palm Gallery, and she pretended to the Germans that she was bang on board with their occupation. So they trusted her with information on where the masterpieces were being sent. They didn't know that she was telling the Allies everything.

[Co-host]

As for those Monuments Men who were sent out to the front lines, their first job was simple. Track down treasures and make sure they don't get blown to bits. Field commanders were sent a letter urging them to protect historical monuments wherever possible, as well as a huge guidebook of sites that had to be protected. But sending generals a list of nice churches is one thing. The realities of war are very different. Inevitably, ancient bridges and churches were bombed. Grand historic chateaus were used as shelter. So the monument's men had a huge task on their hands. In those huge chateaus, they try and get troops at least moved into less important rooms and even put up signs falsely claiming that there were unexploded mines to keep soldiers from exploring and looting

[Sam]

precious items like bedlocks and broomsticks.

[Co-host]

Yeah, they got around from monument to monument, mostly hitchhiking with troops or riding on stolen bikes. They would report on the conditions of paintings and objects, and if they could repair damaged art as they went with zero equipment, they used what they had, sheepskin coats, gas masks, etc. To pack up artworks to be sent home. They saved thousands of pieces from destruction. And then as the tide of war changed, the job of the monument's men did too.

[Sam]

In the first few months of 1945, it was becoming clear as day the Nazis were toast. The Soviets were pounding them from the east and the Allies were pounding them from the west. And Hitler scurried away to his little bunker with Eva Braun. And just before he blew his bigoted brains out or escaped to Argentina, he sent out a very petty little notice called the Nero Decree. Essentially, the Nero Decree said that anything of value within Reich territory and anything that could be used by the enemy should be destroyed. And a lot of his generals interpreted the value bit of the message to include treasure. So the Monuments Men's new mission was to track down More than 5 million looted Nazi art objects and save them before the Nazis could blow them up.

[Co-host]

And soon the mon men started to uncover incredible collections. Salt mines were a popular hiding place. Moisture in the air is a killer for paintings, so the dryness of a salt mine stops them from degenerating underground. At one salt mine In Merkers in April 1945, alongside paintings by the likes of Manet, they found 200 tons of gold. And they found this, thanks to our hero super spy in Paris, Rose Vallon. Her meticulous notes, made and distributed throughout the war, directly led to the discovery and recovery of more than 60,000 works of art. And they pointed the way for James Roymer to find an even bigger collection at Neuschwanstein Castle. The six storey castle had belonged to a German Jew who'd fled before the war and was then commandeered by the Nazis to store more than 21,000 pieces of art. Now, these were all pretty good finds, but the real cream of the artistic crop was skimmed off by Nazi High Command. And eventually, months of tireless investigation paid off.

[Sam]

The first of these came when Hans Frank, Governor of Occupied Poland and certified a knobbed was captured by US forces. When his collection of looted paintings was uncovered, it was instantly clear that this was a world changing discovery. They found a Da Vinci that he had swiped. One of just 16 paintings ever made by the genius polymath. It was on the floor with a boot print on it.

[Co-host]

What art appreciators you are.

[Sam]

And after Hans Frank's collection was returned, higher and higher ranked Nazis had their stashes revealed to the monument's men. And then they hit the big time. Monuments man and architect Major Robert Posey was in Trier hunting down masterpieces when he got a toothache. He found a dentist. And between bouts of saying ah, they got talking. The dentist's son in law was hoping to get passage to France. But there was a snag. Because this son in law had been a bit of a naughty boy. He'd helped Hermann Goring steal art by the trainload. Major Posey found this young man, they struck a deal and the naughty boy spilled the naughty beans. He revealed that Goring's loot was hidden between caves and a Luftwaffe vase. And this sneaky dentist son in law didn't just tell them the location of Goring's stash. He also knew where to find the motherlode. The private collection of Adolf Elisabeth Hitler himself.

[Co-host]

It turned out that the Fuhrer had stored his future museum hoard in a salt mine in Altersea, high in the Austrian Alps. Again, the salt mine was the perfect place to store the stash. Dry, cool, with a network of tunnels reaching more than a mile into the mountain. And after V day the path was clear for the monument's men to beeline straight to probably the biggest collection of art ever assembled stolen. Thing is, though, they were slightly against the clock because a Nazi general in charge of the mine had received the Neuro decree and he was set to blow the whole thing up.

[Sam]

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[Sam]

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[Sam]

August Egruber was convinced of the Fuhrer's message. If the Nazis couldn't have it, then the rest of the world couldn't either. Six bombs weighing half a metric ton each were moved into the mine in crates labelled Marble do not drop and a grouper ordered his team to detonate them. Thankfully, though, his plan had got out. Miners had got wind of his plans to destroy their mine and then Nazi officials heard about the plan as well and they thought it was completely insane. So a group of miners and Nazi troops snuck in and removed the pretend marble bombs one by one. They left just one near the entrance of the mine and detonated that. So that made it look to Igruber like his plan had gone off without a hitch. And also very cleverly sealed the world's greatest art collection ever very safely inside a salt mine.

[Co-host]

The monument's men arrived just a few days later. They eventually managed to create a small

[Sam]

gap in the rubble.

[Co-host]

The first ones through were Captain Robert Posey, our architect with the toothache, and Private Lincoln Kerstein, writer, art connoisseur, philanthropist and New York culturista who later co founded the New York City Ballet. As soon as their eyes adjusted to the dark, they knew the collection was safe. Sitting on a row of empty cardboard boxes were eight panels of the Adoration of the Mystic Lamb, which I have seen was very beautiful by Jan van Eyck and it is considered to be one of the masterpieces of 15th century European art. And the hits kept on coming. They found masterpieces by Vermeer, Rubin and Rembrandt, and Michelangelo's beautiful marble sculpture the Madonna at Bruges which Stout said was then packed up like a large Smithfield ham. Alongside the 6,000 paintings were 2,300 drawings and watercolors, 137 sculptures, 129 pieces of armour, plus countless pieces of furniture and tapestries. It was a significant portion of the most important works in the history of art.

[Sam]

For the year and a half that Stout had travelled through Europe tracking down, restoring and saving priceless artifacts, he'd only taken one day off.

[Co-host]

What a hero.

[Sam]

So with the operation to save Europe's art safely wrapping up and his impossible mission accomplished, what do you think he did next? Head back to the us? Rest on his laurels?

[Co-host]

No.

[Sam]

He hopped straight on a boat to Japan. He had heard that the Japanese Emperor had looted treasures from across the Philippines and he just could not let that go. So he spent the next few years saving East Asia's cultural treasures too.

[Co-host]

What a guy.

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[Co-host]

And the mission to recover all that lost art is still ongoing. Our historians have a database of hundreds of top tier masterpieces that they are still feverishly trying to track down. Thousands of items are searched every year by the Monuments Men and Women foundation. And bit by bit they are being found and returned. Even just last year, a late baroque portrait stolen by the Nazis from a Jewish arts dealer was spotted in the background of a house listing in Argentina. And in July 2025, an ancient Roman erotic mosaic was returned to Pompeii. The artwork dates to around the time of Christ and features a man in bed beckoning his naked lover to join him. It was taken from the ruins by a German Nazi army captain. The remaining hundreds of pieces are believed to be out there hiding in attics and collections of people with mostly no idea what they're sitting on. So 80 years later, the hunt is still on.

[Sam]

That's such a nice story, isn't it?

[Co-host]

I think it's really nice because as we said at the top, it's in the midst of all of this misery and humanity destroying soul crushing ness. There were these group of people that were still like there's something worth fighting for. Not just our lives and for the future, but also a preservation of our history. And I think that's beautiful.

[Sam]

Yeah. If there's no art, what are we fighting for?

[Co-host]

Absolutely. So there you go. Beautiful.

[Sam]

Perfect illustration of how art is politics. Sydney Sweeney.

[Co-host]

Well, thanks for listening. Bye.

[Sam]

Goodbye,

[Co-host]

Sam.