Lost Italian art: search goes on for masterpieces which went missing in WWII

We publish here for the first time in English a sample of the huge quantity of works of art removed from Italy during the war. One brave man, Rodolfo Siviero, devoted years to tracking them down, but many are still missing. Can you help?

If any of the works included in the list is found, the Bundeskriminalamt AE 12, Wiesbaden 1, Thaerstrasse 11, should be informed.

TORSO OF MALE STATUE (known as Kouros Amelung), 5th century BC., marble, h. 72cm. Rome, Amelung coll. Late Archaic (Paros school), headless, arms and legs missing below the knee. Bibl. E. Langlotz, "Frühgriechische Bildhauerschulen", 1927, pl. 79; Bianchi Bandinelli, "Storicità.. dell'Arte classica", Florence 1943, pl. 20, fig. 36.

DIADEM. Etruscan, 4th century BC. Decorative oak leaf motif. Restored by Museo di Valle Giulia. Minturno, Museo della Torre di Pandolfo Capodiferro.

FEMALE HERM (the goddess Marica?). Greek, 4th century BC, marble. Minturno, Museo della Torre di Pandolfo Capodiferro.

HEAD OF CAIUS MARIUS. Roman 1st century BC, marble. Minturno, Museo della Torre di Pandolfo Capodiferro.

HEAD OF OCTAVIUS 1st century AD, marble. Minturno, Museo della Torre di Pandolfo Capodiferro.

NIOBE OF PALESTRINA 2nd century AD, marble, Roman, h. 60cm. Palestrina, Museo Archeologico. Bibl.: D.Vaglieri, in "Notizie degli Scavi di Antichità" communicated to R. Accademia dei Lincei, 1907, figs. 13 and 14, p. 477.

TORSO. 3rd century AD, marble, Hellenistic. Pattern of torso muscles shown in great detail. Tension in the neck muscles indicates head was turned to the left.

CUP Silver, Hellenistic. Turin, Museo Archeologico. Handle with areas of relief decoration. One shows Hermes carrying the young Dionysius in the same attitude as the statue of Praxiteles found at Olympia.

DOOR OF CIBORIUM. 10th-11th century, ivory, 29x14cm. Maresca (S. Marcello Pistoiese) Chiesa di S. Gregorio Magno. Leaf of a diptych decorated with a cross bearing a bust in relief in its centre. A hole on the left was sealed during restoration carried out at the Soprintendenza alle Gallerie di Firenze in 1932.

PIETRO LORENZETTI (1280-1348), "Cristo in Pietà". Painting on panel, 27x28cm. Van Marle collection. Part of a predella: the figure of Christ crowned with thorns shown half length; gold ground.

BERNARDO DADDI (attributed to) (c.1290-c.1348). Madonna and child, and Crucifixion. Painted on cuspidate tablet. The two scenes are divided by a decorative plaster band; gold ground. Florence. Branch coil. Bibl.: R.Offner, K. Steinweg. "Corpus of Florentine Painting", vol. IV, p. 42, pl. ix.

SIMONE MARTINI (1280/85-1344). "Il Tribunale della Mercanzia". Tavoletta di Biccherna; 37x26.5cm, Siena, Archivio di Stato. The four judges of the Mercanzia court are seated at their bench with another two figures. Three of the judges wear dark blue robes. Bibl.: S. de Collie G. Giannelli, Archivio di Stato di Siena, Le sale della Mostra e il Museo delle tavolette dipinte, Catalogue, Rome 1956, p. 83, n. 274; B. Degenhart, A. Schmitt, "Corpus der Italienischen Zeichnungen 1300-1450", Berlin 1968, p. 83.

SANO DI PIETRE (1406-1481). "San Pietro Alessandrino enthroned". Ink on paper, 25.3x18 cm. Siena, Ar-chivio di Stato. The drawing, enlivened by shading in light violet, is on document 39 of the Statuto degli Speziali for 1356. Bibl.: S. de Colli and G. Giannelli, Archivio di Stato, Siena, "Le sale della Mostra e il Museo delle tavolette dipinte", Catalogue, Rome 1956, p. 83, n. 275; B. Degenhart, A. Schmitt, "Corpus der Italienischen Zeichnungen 1300-1450", Berlin 1968, p. 203.

STATUTO DEGLI SPEZIALI of 1356. List, document 2, illuminated page: measurements: 25x18cm . Siena, Archivio di Stato. Initial in red and blue, other initial letters in red.

STATUTO DEGLI SPEZIALI of 1356. Siena, Archivio di Stato. List of feast days observed by the various guilds

SEA MONSTER WITH CIONA. 10th century, marble. Minturno, Museo della Torre di Pandolfo Capodiferro. Bibl.: G. Haseloff, "La scultura preromanica in Italia", Florence, 1930, p.75; W. F. Volbach, "Oriental influences in the animal sculpture of Campagna", in "The Bulletin", xxiv, 1942, n. 2, p.178, n. 79, fig. 20.

ALLEGRETTO NUZI (c.1315-74), "St James the Less". Painted on panel, 25x18cm. Van Marle coll. The saint wears a red cloak, gold ground, gilt frame.

CHRIST BETWEEN SAINTS PETER AND PAUL. 13th century. Enamelled copper. Minturno, Museo della Torre di Pandolfo Capodiferro.

BAPTISMAL FONT, 13th century, marble, Central Italian

BONAVENTURA BERLINGHIERI (circle of), "Deposition" 13th century, painting on panel. Von Keller collection.

SASSETTA (1392?-1450) (attributed to), "Madonna Assunta". Tavoletta di Biccherna; 37.3x26cm . Siena, Archivio di Stato, source: Archivio delle Riformagioni. Wooden cover of inventory of goods and sacred furnishings of the Opera del Duomo 1423. The Virgin is enclosed in a lozenge supported by the Seraphim. The arms of the Opera are shown at the bottom. Bibt.: A. Lisini "Le tavolette dipinte di Biccherna e di Gabella del R. Archivio di Stato di Siena", Siena 1901, pl. II; E. Carli, "Le tavolette di Biccherna e di altri Uffici dello Stato di Siena", Florence 1950, p. 112, n. 122; S. Colli and G. Giannella, Archivio di Stato di Siena, "Le sale della Mostra e il Museo delle tavolette dipinte", Catalogue, Rome 1956, p. 155, n. 21.

SIENESE, ANONYMOUS first half of 15th century. Cappella del Palazzo Pubblico di Siena. Tavoletta di Biccherna. Wooden cover of inventory of silver, vestments, relics etc. of Palazzo dei Priori, from 1443 Concistoro; 31.9x21.5cm. Siena, Archivio di Stato. Depicts the former chapel inside the Palazzo Comunale, with altar. Bibl.: A. Lisini, "Le tavolette dipinte di Biccherna e di Gabella del R. Archivio di Stato di Siena", Siena 1901, pl. II; E. Carli, "Le tavolette di Biccherna e di altri uffici dello Stato di Siena", Florence 1950, p. 107, n.111; S. Colli and G. Giannela, Archivio di Stato di Siena, "Le sale della Mostra e il Museo delle tavolette dipinte", Catalogue, Rome 1956, p. 154, no. 20.

LUCA DI TOMME (1330-89). "Saint Peter" painting on panel. Buonconvento (Siena), Museo Parocchiale. Bibl.: F. M. Perkins, "Pitture Senesi", Siena 1933, pp. 37-38, pl. 44.

MAESTRO DELLE VELE (attributed to). "Beheading of Saint Paul". Painted on panel. Van Marle coll. Bibl.: G. Previtali, "Giotto e la sua bottega", Milan 1967, p. 117, fig. 184.

ANDREA DI BARTOLO (doc. 1389-1428). "Death of a saint or Dormitio Virginis". Painting on large panel. Black and gold frame. F. Mason Perkins coll. Kept in Villa Sassoforte di Lastra in Signa (Florence).

GIOVANNI DEL BIONDO (1356-92). "An-nunciation". Painting on panel. Each door 13x27cm. Galleria degli Uffizi (inv. 1890, n. 6104). Upper part of a tabernacle with doors. Bibl.: L. Marcucci, "I dipinti toscani del sec. XIV", Rome, 1965, Istituto Poligrafico dello Stato, p. 189; R. Offner, in "Mitteilungen des Kunsthistorischen Instituts in. Florenz", vii, Düsseldorf 1956, p. 188.

GIOVANNI DEL BIONDO (school). "Madonna and Saints. Painting on panel, 70x42cm. Florence, Del Fabbro coll. An enthroned Madonna is surrounded by saints, gold ground. Bibl. O. H. Giglioli "Le scuole pittoriche della Toscana", Bergamo 1939, pl.54.

COLA PETRUCCIOLI (1350 ca.-1408). "Madonna and saints", triptych, painting on panel. Florence, Loeser-Calman coll. The central panel shows the Madonna with two saints and six angels. Each side panel shows two saints. The top shows the Saviour and two half-figures of the Annunciation. Bibl.: B. Berenson "A Sienese little Master in New York and elsewhere", in "Art in America", 1918, p 69; G. De Nicola, "Studi sull'arte senese", in "Rassegna d'Arte", 1919, p. 100; R. van Marle, "The development of the Italian Schools of Paintings", The Hague, II, 1924, p.542, n. 1; v,1925, p.106, n. 2.

SIENESE, ANONYMOUS "Crucifixion", beginning of 15th century, painting on panel; 85x47cm. Home of HRH the Duca di Spoleto (formerly Uffizi, inv. 1890, n. 3218). The Madonna is supported by the Pious Women at the foot of the cross. Mary Magdalene kneels on the left; St John the Evangelist to the right. Mounted figures watch. Very damaged work.

NORTH ITALIAN, ANONYMOUS "Madonna enthroned", beginning of 15th century. The Child with hand raised in blessing between SS Anthony of Padua and Rocco, painting on panel, 107x82cm. Pescocostanzo, Chiesa dei Cappuccini.

VERONA, ANONYMOUS "Journey of St Brendon", painting on tablet. 15th century, Van Marie collection.

MAESTRO DELL'OSSERVANZA "Saint John the Baptist", painting on panel; h 21.5cm. Assisi, Mason Perkins coll. The saint shown half length is dressed in a light pink robe. Bibl.: Pope-Hennessy, "Sassetta", London, 1939, p. 176, p. 213; A Graziani, "Il Maestro dell'Osservanza", 1942 and vol. II, 1948, p. 84, fig. 95.

FLORENTINE SCHOOL "Madonna with Child and St John", fifteenth century, painting on panel, contemporary frame. Stia, S. Maria della Grazie. The Virgin and St. John are kneeling in adoration of the Child, a landscape in the background.

LUCA DELLA ROBBIA (1400 ca.-1482). "Madonna with Child", glazed terracotta tile. The Virgin, shown half length, stands between garlands of fruit which form a frieze in the temple containing the tabernacle of the Madonna. Florence, Collegiata dell'Impruneta . Bibl.: M. Raymond, "Les Della Robbia", Florence 1897, fig. p.107; L. Planiscig, "Luca della Robbia", Vienna 1940, p. 68; R. Salvino, "Luca della Robbia", Novara 1942.

ANDREA DELLA ROBBIA (1435-1525). "Head and bust of Virgin", glazed terracotta, fragment.; 25x35cm. Siena, Basilica dell'Osservanza. Part of a large altar-piece showing the crowning of the Virgin. Bibl.: M. Reymond, "Les Della Robbia", Florence, 1897, pp. 168-170, fig. p. 169; M.Cruttwell, "Luca and Andrea Della Robbia and their Successors", 1902, p. 174.

MATTEO CIVITALI (1436-1501). "Christ collecting the blood flowing from His side", polychrome terracotta. Lucca, Chiesa di S. Maria della Rosa. Christ is crowned with thorns and a cloak falls from his left shoulder to enfold his sides. His face is turned slightly to the left to observe the blood emerging from the wound in his side to be collected in the eucharistic chalice.

PESELLINO (1422 ca.-75). "Story of a holy monk". , 40x20cm. Van Marle coll. Bibl.: "The Development of the Italian Schools of Paintings", The Hague, X, 1928, p. 484, fig. 291.

MATTEO DI GIOVANNI (ca. 1435-95). "Mother with Child and Saints". Tabernacle-shaped tablet with circular arch. Assisi, Mason Perkins coll.

SASSATTA (attributed to), two paintings on panel depicting St Bernard. Minturno, Museo della Torre di Pandolfo Capodiferro.

ALESSIO BALDOVINETTI (1425-99). "Trinity", painting on panel; 80x70. Bourbon-Parma coll.

MANTEGNA (1431-1506) (attributed to), "Head of Old Man", 50x60cm. Parma, Zinzani collection.

HANS MEMLING (1433-94). "Portrait of Youth", painting on panel; 35x24cm. Reverse: on a black ground, an oak with a label bearing the motto "DE BIEN EN MIEUTS". Florence, Galleria degli Uffizi, inv. 1890, n. 1134. Bibl.: "Catalogo dei dipinti degli Uffizi", Florence 1926, pp. 143-144.

SCHOOL OF SOUTHERN ITALY. "Madonna with Child and Saint", fifteenth century. Messina, Museo Nazionale. The Madonna seated against a cloth, holding the Child in her lap. A saint is kneeling before her with hands joined.

FLORENTINE, "Two kneeling angels", 15th century, wooden sculptures. Florence, Branch coll.

CENTRAL ITALY. "Young holy deacon" fifteenth century. Polychrome wooden sculpture. The Saint, with hand raised in blessing, is robed in a dalmatic decorated with geometric motifs. Florence, private collection.

G. B. CIMA DA CONEGLIANO (ca. 1459-1518) "Madonna with child" Painting on panel. 100x80cm. Bourbon-Parma coll. The saint is kneeling against a rock in front of a broad landscape.

UTILI DA FAENZA or BIAGIO D'ANTONIO (working 1505-1515). "St Sebastian and St John the Baptist", painting on panel. Faenza, Pinacoteca Civica. Two panels, each representing a saint (possibly organ doors) with a landscape in the background.

LARENZO DI CREDI? (1459-1537) "Female portrait" Schiff-Giorgini Collection". Grey background, steel grey girdle, hair with tawny highlights, light bonnet, green necklace. The painting appears to be very touched up from the photograph. Bibl.: A. Venturi, L'Arte, 1931, p.349.

FLEMISH TAPESTRY. 15th century, Florence, Branch coll. many figures, in two registers, enclosed by a floral border.

FLEMISH TAPESTRY. 16th century, Florence, Branch coll. Scenes of animals in a landscape. Enclosed by a wide floral border.

BRUSSELS TAPESTRY. 16th century, 340x340cm. Florence, private collection. Formerly at Palazzo Davanzati. Scenes of plundering, enclosed by border with flower and fruit.

CAREL VAN MANDER (1579-1623), tapestry. Mythological scene; 420x325cm. Florence, Enrico Lumbroso coll, The subject is framed by wide borders decorated with flower and fruit motifs. The colour red predominates. A signature and date are woven on the right: Karl Mander. Fecit An. 1607 (or 1617).

CAROL VAN MANDER (1579-1623), tapestry. Mythological scene; 420x360. Florence, Enrico Lumbroso coll. The subject is framed by wide borders decorated with flower and fruit motifs. The colour red predominates. Appears to be dated 1619.

LARGE CARPET Abruzzese, 16th-17th centuries. Woven in wool. Pescocostanzo, De Capite coll.

CARPET Abruzzese, 16th-17th centuries. Pescocostanzo, De Capite coll.

CARPET Abruzzese, 16th-17th centuries. Pescocostanzo, De Capite coll.

DOOR HANGING Central Italy, 17th century. Pescocostanzo, De Capite coll. Arms on red ground with angel supporters, in a floral frame. A banner at the top bears the wording: "Virtus omnia vincit".

CHEST. Italian, 15th century. Florence. Branch coll.

LARGE DRESSER FOR SACRISTY Florentine, 15th century; 450x265x90cm. Florence, Palazzo Davanzati, formerly Volpi coll. Five intarsia panels on centre and sides: Virgin with Child and Stories of the Saints.

DRESSER Tuscan 15th century; 370x50cm, h 122 cm, Florence, Palazzo Davanzati. Divided into six rectangular panels.

DRESSER Tuscan 16th century. Florence, Palazzo Davanzati.

BERNARDO BUONTALENTI (1530-1608). Church pew. Florence, Palazzo Davanzati.

DRESSER 16th century; 302x55cm. Florence Palazzo Davanzati.

DRESSER. Tuscan, sixteenth century. Florence, Palazzo Davanzati.

ANTONIO BARILE (1453-1516). Two chests in walnut. Width 200cm, depth 65cm, h. 70cm. Florence, Wanda di Grolée Virville collection. Made for the Sansedoni family.

JOOS VAN CLEVE (fl. 1507-36) "Grieving Madonna" Florence, Matilde Loeser coll.

FLEMISH SCHOOL "Saints, holy men, and donor", early fifteenth century; 102x75. Bourbon-Parma coll. Behind the donor, on the left, are saints, holy men and the Faithful, graded in size according to their importance.

GIAMPIETRINO (known 1520-40), "Madonna with child". Naples, Anna Maria Caracciolo coll. The Virgin is holding the child in her arms. A curtain is drawn aside to show a landscape in the background.

BISSOLO (1470?-1554). "Holy family and donor", signed, painting on panel Bourbon-Parma coll. Set in the open, with the Virgin holding the Child on her right knee. St. Joseph and the donor on the left.

TITIAN (1490-1576) Portrait of Ludovico Ariosto", painting on canvas; 60x50cm. Oriani coll.

TITIAN (1490-1576) (attributed to) "Portrait of Doge Antonio Grimani;" 71x83cm. Artur Francesco Spender coll.

TITIAN (1490-1576), school of, "Venus", painting on canvas. Avvocato Gino Pincherle coll.

PALMA IL VECCHIO (1480-1528) "Madonna with Child and Saints", painting on canvas, 89x98cm. Pescocostanzo, chiesa di S. Maria del Colle. Against a cloth, the Child turns toward St Peter, holding out keys.

PARIS BORDONE (1500-1571). "Portrait of a warrior" Bourbon-Parma coll. The character is depicted in armour, with a coat of mail, resting on the pommel of a great sword.

GIROLAMO DAL LIBRI? (1474-1555). "Presentation in the Temple", painting on canvas. Bourbon-Parma coll. The signature redone in the nineteenth century. The figures half-length in a landscape.

GIOLFINO (ca. 1476-1555) "Concert in a garden". Van Marle coll. Ladies and knights in the open air listening to a concert given by three musicians.

BONIFACIO DE' PITATI (1487-1553) "Ezzelino da Romano", painting on can-vas; 47x62cm (with frames 9x74). Rome, Galleria Nazionale, stored at the Officers' Club, Palazzo Barberini.

BONIFACIO DE' PITATI (1487-1553) "Farinata degli Uberti", painting on canvas; 47x62cm (with frame 59x74). Rome, Galleria Nazionale, Officers' Club, Palazzo Barberini.

BONIFACIO DE' PITATI (1487-1553) "Philippus Scolarius", painting on can-vas; 49x66cm (with frame 65x81). Rome, Galleria Nazionale, Officers' Club, Palazzo Barberini.

BONIFACIO DE' PITATI (1487-1553) "Sciarra Colonna", painting on canvas; 47x62cm (with frame 59x72). Rome, Galleria Nazionale, Officers' Club, Palazzo Barberini.

BONIFACIO DE' PITATI (1487-1553) "Parable of Lazarus and the rich man", painting on canvas; 250x150cm. Conte Volpi di Misurata coll. A sumptuous columned atrium. On the left, figures fill vessels and drink. Gilt frame.

BONIFACIO DE' PITATI (1487-1553) attributed to. "Rape of Europa", painting on panel; 90x56cm. Artur Francesco Spender coll.

MICHELANGELO (1475-1564). attributed to. "Mask of faun", marble sculpture. Florence, Museo Nazionale del Bargello. Supposedly sculpted by him when he was fifteen years old".

MICHELANGELO (1475-1564), attributed to, "Two studies for the Last Judgement", ink on paper. D'Urso coll.

MICHELANGELO (1475-1564) "Two studies for the Prisoners", drawing in sanguine; 25x15. D'Urso coll.

RAPHAEL (1483-1520) "Veiled Madonna", black pencil and chalk on yellowish paper; 77x73cm Florence, Galleria degli Uffizi (Inv. n. 1774E). A pyramidal composition with the Virgin at the top, the infant Jesus sleeping on the left and St John pointing to him on the right.

SEBASTIANO DEL PIOMBO (1485-1547) "Cardinale Ippolito de' Medici". Rome, Museo di Palazzo Venezia, from 1941 stored at Minturno, the Museo della Torre di Pandolfo Capodiferro.

BECCAFUMI (1486-1551) "Madonna with Child", painting on panel; 80x50cm; gilt frame. Bianca Scarabicchi, widow of Moretti, coll. The Madonna guides the Child's right hand as he tries to write with a goose quill. Two Angels in the corners above the Madonna.

CORREGGIO (1489-1534) "Madonna with basket", painting; 140x30cm, carved, perforated, gilt frame. Florence, Finaly collection (inv. n. 2500).

CORREGGIO (1489-1534) attributed to, "God the Father", painting on canvas; octagonal; 85cm dia., 38cm each side. Naples, Giulia Radicati Guadagni coll. God the Father, with the left hand resting on the world and the right raised in blessing. A cherub's head is barely visible at the top. Colour somewhat dark.

DOSSO DOSSI (1489-1542) "Redeemer", painting on panel; 71x40cm Bourbon-Parma coll. The risen Christ shown in a marble niche, two angels above.

GIROLAMO MARCHESI (1480-1550) "Painting of woman with lute", painting on canvas; 82cm. Forlí, Pinacoteca Comunale. Half-length against a dark ground. Her hair is elaborately dressed and she is adorned with necklaces and rings.

JAN GOSSAERT (known as Mabuse) (1478-1533/36), "Mother with Child", painting on panel; 31x45cm, gilt frame. Messina, Museo Nazionale (old inventory n. 482). The Virgin holding the Child on her knee is seated beneath a canopy against a broad landscape. The Child holds a bird in his left hand and brings a cherry to his mouth with his right. Some fruit on the chair to the left

JAN VAN HEMESSEN (1500-1566) "St Jerome in the wilderness". Bourbon Farina coll.

PARMIGIANINO (1503-1540) "Holy Family", pencil drawing, oval; 6.5x5.5cm. Florence, Finaly coll., Inv. n. 285.

PARMIGIANINO school, "Madonna with Child and St. John", oil on panel 33x25cm carved gilt frame. Florence, Finaly coll. (Inv. n. 2521).

MICHELE DI RUDOLFO (1503-1577) attributed to, "The Archangel and Tobias"; 99x49cm. Florence. Galleria degli Uffizi (Inv. 1890, n. 2154), (attr. to F. Granacci).

PIERINO DA VINCI (1530-53)."Madonna feeding the Child with Saints John, Elizabeth and Joachim", marble relief. Florence, Museo Nazionale (Inv. n.59).

ANGELO BRONZINO (1503-1572) school, "Christ on the Cross", oil on panel; 28x18cm. Florence, Galleria Palatina (Inv. 1890, n. 263).

ANGELO BRONZINO, manner of "Portrait of young girl", 24x18cm, Florence, Galleria degli Uffizi (Inv. 1890, n. 5632). Probably a child from the house of Medici.

PIER FRANCESCO DI JACOPO TOSCHI (1502-1567). "The Magi", painting on pan-el; 16x39cm. Florence, Galleria degli Uffizi (Inv. 1890, n. 6260). The composition enclosed in a cartouche. Part of a predella.

BENVENUTO CELLINI (1500-1571) manner of, Oval plate, silver-gilt; 64x53cm; weight 4390kg. Florence, Palazzo Pitti, Museo degli Argenti (Inv. n. 6), (from the Medici collection). Mermaids, tritons, nereids and sea animals represent the myth of Neptune and Amphitrite. In the middle, the arms of Wolf Dietrich, prince and archbishop of Salzburg (1587-1612).

JACOPINO DEL CONTE (1510-98) "Portrait of Giulia Gonzaga", Rome, Galleria Borghese (Inv. n. 79), stored at Minturno, Museo della Torre di Pandolfo Capodiferro. Half-length; the work attributed to Bronzino in a previous inventory.

FRANCESCO SALVIATI (1510-63) "The Deposition", ink on paper; 26x20cm; Florence, Finaly coll. (Inv. n. 467).

FRANÇOIS CLOUET (1572) "Female portrait", painting on panel; 28x18cm. Florence, Finaly coll. (Inv. n. 1060). "Clouet François" written on frame.

ANDREA SCHIAVONE (1505-1563) attributed, cassone frontal with three episodes from Genesis, painting on panel; 173x50cm. Florence, Artur Francesco Spender coll. "Adam naming the animals", "The fall" and "The expulsion from paradise".

ANDREA SCHIAVONE attributed. "Adam and Eve", painting on canvas; 71x64cm. Florence, Artur Francesco Spender coll.

JACOPO TINTORETTO (1518-94) "The dead Christ supported by two Angels", drawing in sanguine; 28x69. Florence, Galleria degli Uffizi, Gabinetto disegni e stampe (Inv. n. 738). The body is carried on a sheet by two flying angels who support him under his knees and arms.

PAOLO VERONESE (1528-88) school "Adoration of the Magi", painting on canvas; 145x145?cm. Florence, Galleria degli Uffizi (Inv. 1890, n. 3096). stored at Villa Cisterna, Via della Pietra, Florence. In the centre of the composition framed by architecture, one of the Magi kneeling before the Child held by the Virgin. On the left, St. Joseph, the procession of the Magi on the right.

VENETIAN SCHOOL "Portrait of a man", sixteenth century, painting on canvas; 54x41cm. Florence, Galleria degli Uffizi (Inv. Castello n. 999). Half length, looking to the left.

ARCANGELO SALIMBENI "Time crushed by a weight", drawing; 16x23cm. Florence Finaly coll. (Inv. n. 611).

BATTISTA NALDINI "The Deposition" two standing figures in the background, ink drawing; 13x15cm. Florence, Finaly coll (Inv. n. 265).

BATTISTA NALDINI (1537-91). "The Deposition", ink and sepia drawing, circular; dia. 15cm. Florence, Finaly coll (Inv. n. 330).

FEDERICO ZUCCARI (1540-1609). "Man and woman within an architectural frame", ink, bistre and red crayon drawing; 18x15cm. Florence, Finaly coll (Inv. n. 215).

SOFONISBA ANGUISSOLA (1527-1623) "Family around a table"; 100x150cm. Wanda de Grolée Virville. Young women and children take fruit from bowls.

JACOPO LIGOZZI (1547 ca.-1626). "Bombardier". Florence Galleria degli Uffizi. In profile to the left, a heron on the right.

IPPOLITO SCARSELLA, known as Io Scarsellino (1551-1620) "Madonna with Saints George and Margaret". Bourbon-Parma coll. The Virgin in clouds appears to the two saints.

LAVINIA FONTANA (1552-1614) "Portrait of lady Elena Alidosi Amogli", Bologna. Admiral Pellegrino Matteucci coll. Half-length, with richly embroidered robes, a wide collar and necklace with large pearls. A handkerchief in her left hand while her right rests on a piece of furniture. Dark background. A curtain borders the composition to the right.

ANTONIO TEMPESTA. (1555-1630) "Saint Sebastian and another saint in glory", ink on paper; 14x14cm. Florence, Finaly coll (Inv. n. 393).

LUDOVICO CARDI, known as il Cigoli (1559-1613) "The Martyrdom of Saint Stephen", ink and wash on coloured paper; 114x84cm. Florence, Gabinetto disegni e Stampe, Galleria degli Uffizi (Inv. n. 828 E, formerly n. 2047 Santarelli).

LUDOVICO CARDI, known as il Cigoii "Angel appearing to a holy monk in a cave", painting on canvas, gilt frame; 30x50cm ca. Naples, Giulia Radicati-Guadagni coll.

PIETRO TACCA (1577-1640) attributed. Altar frontal with the crucifixion, angels, Virgin, St John and the Pietà, gilt-bronze and wood. Impruneta (Florence), the Collegiata.

ANONYMOUS, 1583 "The Martyrdom of the Forty Holy Martyrs" painting on panel, with gilt frame; 24x17cm, Florence, Finaly coll. On the rear is written "TCXC/1583/NT KA"

FRANCESCO VANNI (1563-1610) "Woman and warrior in a wood", sepia drawing; 20x14cm. Florence, Finaly coll. (Inv. 203)

FRANCESCO VANNI "Madonna with Child and St Francis". Drawing in sanguine; 26x19cm, Florence, Finaly coll (Inv. n. 606).

FLORENTINE SCHOOL, l6th century "Unknown female portrait", painting on canvas; 32x23cm, Florence, Galleria degli Uffizi, stored in Via Lambertesca, then in the Occhi store at Palazzo Pitti (Inv. 1890, n. 5688; Inv. 1881, cat. 2, n. 39) then at Borgo a Buggiano. Her dark robe is lightened by a white collar and a light veil; dark green ground.

NICOLAS POUSSIN (1594-1665) "Group of standing men and women with babies in arms", sepia drawing; 17x22cm, Florence, Finaly coll (Inv. n. 247). "Poussin" written at the bottom.

BERNARDO STROZZI (1581-1644). "Deposition", ink and sepia drawing; 28x21cm. Florence, Finaly coll (Inv. n. 289). At the bottom is written "Drllasi" (?).

P. P. RUBENS (1577-1640). "Virtue", painting on canvas. Rome, private collection. The painting shows three female figures, three putti and a dove above.

VAN DYCK (1599-1641) school "Madonna with Child and a Saint", painting on copper; 21.8x16.4cm, Florence, Galleria Palatina (Inv. 1890, n. 282).

VAN DYCK after, "Deposition", painting on canvas, 145x220cm, Adria (Rovigo), Chiesa di S. Andrea. The shoulders of the dead Christ are supported by the Madonna, who turns her eyes to heaven. An angel kneels before Christ with his arms outstretched.

SISTO BADALOCCHIO (1581/85-1647) school. "Deposition of Christ", painting on canvas. Perugia, van Marle coll. Christ supported by two bearded figures, nearby is a youth with a lighted candle; to the right a woman crying. The background opens into landscape at sunset flanked by two onlookers.

PIETRO DA CORTONA (1596-1669). "The sacrifice of Xenophon to Diana", painting on canvas. Rome, formerly in Barberini collection. Figures crowd around a circular temple, about an altar at which Xenophon makes his sacrifice.

DOMENICO GARGIULO, known as Micco Spadaro (1612-75) "The Gypsy", painting on canvas, circular in square frame; 50x50cm, Milan, Princess Ginevra Colonna coll.

DOMENICO GARGIULO, known as Micco Spadaro "The Fair", painting on canvas, circular in square frame; 50x50cm, Milan, Princess Ginevra Colonna coll.

GIUSEPPE RIBERA (1590-1652) "Saint Mary of Egypt", painting on panel; 30x25cm, Rome, D'Urso coll. Behind the frame, a very faded contemporary label., "Ritratto della … eseguito da … Ribera per la sua Santa Maria Egiziaca". The work is similar to another larger work by Ribera in the Galleria Borghese, Rome.

MATTIA PRETI (1613-99) "The Virgin enthroned between two saints", painting on canvas; 200x150. Minturno, Museo della Torre di Pandolfo Capodiferro.

SALVATOR ROSA (1615-73) attributed, "Marine Landscape", painting on canvas; 137x101, Florence, Conte di Fossinetto coll. The shipwreck of a sailing boat with a broken mast. The body of a victim lies on the beach among the debris.

SALVATOR ROSA "Battle", painting on canvas; 88x64cm, Florence, Conte di Fossinetto coll.

SALVATOR ROSA (1615-73) "Battle", painting on canvas; 10x23, Florence, Galleria degli Uffizi (Inv. 1890, n. 2925). Stored at Villa Cisterna. In the middle of a landscape dominated by large clouds and obscured by gunsmoke, a group of horsemen fight with swords and firearms.

FRANCESCO GRAZIANI, known as Ciccio Napoletano (working in 16th century.) "Cavalry Battle", painting on canvas; 22x32cm. Florence, Galleria degli Uffizi (Inv. 1890, n. 7324; Inv. 1881, cat 4, n. 1008).

JACQUES COURTOIS, known as Il Borgognone (1621-75), style of, "Battle", painting on canvas; 32x50cm. Florence, Galleria degli Uffizi (Inv. 1890, no.6864), stored at Villa Cisterna, Via della Pietra.

JACQUES CALLOT (1593-1635) "Temptation of St Anthony", pen and bistre on paper; 47x75cm. Florence, Gabinetto dei Disegni e delle Stampe della Galleria degli Uffizi (Inv. 6127 E). The saint is surrounded by monsters, naked women and diabolical apparitions. A great demon at the top; behind, a Gothic church in ruins and trees.

REMBRANDT (1606-1669) "Self-portrait", painting on panel; painted, gilded Renaissance frame; 37x33cm, Florence, Finlay coll. (Inv. n. 2537).

STEFANO DELLA BELLA (1610-44) "View of Castel Sant'Angelo", ink drawing; 15x30cm, Galleria degli Uffizi (Inv. n. 12582).

SEBASTIANO MAZZONI (1611-78) attributed "Madonna with Child and Saints", painting on canvas. Perugia, Van Marle collection.

ADAM F. VAN DER MEULEN (1634-90) "Louis XIV crossing the Rhine", painting on canvas. Bourbon-Parma coll.

DAVID TENIERS (1638-85) "Laughing man", elaborate frame, Florence Loeser coll.

ANTONIO CARNIER (1640-80), "Susanna in the bath", painting on canvas; 60x140cm. From the collection of Lord Kent [sic]. Susanna fleeing from two old men to the right of the observer.

JAN DAVIDSZ. DE HEEM (first half of 17th century) "Still life", painting on canvas; 70x105cm. Formerly in Lopes Cardoso collection, then in the Galleria Giosi, Naples. Bowls containing fruit and asparagus are arranged on a table.

CRESCENZIO ONOFRIO (1632-98) "Landscape", painting on canvas; 99x123cm, Florence, Galleria degli Uffizi (Inv. 1890, n. 4709). At the foot of a tree in the foreground , a footpath with men and riders leads off to the left. On the right, a man frees a vessel from the bank.

LIVIO MEHUS (1630-91) "Sea port", painting on canvas, 63x99cm. Florence, Galleria degli Uffizi (Inv. 1890, n. 5585). Fortified port with ruins of fortification to the left and right. In the centre, a small boat with the sails partly unfurled. Lower down, a group of merchants, some in Eastern dress.

SEBASTIANO RICCI (1659-1734), Pygmalion, painting on canvas; 90x60cm. Artur Francesco Spender coll.

ADRIEN VAN DER WERFF (1659-1722) "Adoration of the Shepherds". Bourbon-Parma coll.

GIUSEPPE MARIA CRESPI (1665-1747) "A Saint in ecstasy", painting on canvas; 90x60, Florence, Artur Francesco Spender coll.

FRANÇOIS RIVIÈRE (1675-1746), "St Gregory baptising the family of king Tridate". Livorno, Chiesa Nazionale Armena di S. Gregorio.

ROME. "Removed by retreating Nazi troops at the end of 1943"; "Removed from Villa Landau-Finaly by a German parachute unit during July-August 1944"; "Removed illicitly from Florence by Hermann Goeringin 1943"; "Donated illegally by Italo Balbo to Goering". The catalogue of works removed from Italy by the Germans, part of which is published here, contains about 1500 notes of this kind and the same number of photographs: from Praxiteles to Simone Martini, from Luca della Robbia to Memling; from Cima da Conegliano to Perugino, and on to Titian, Raphael and Michelangelo.

This is the catalogue with which the late Rodolfo Siviero, head of the Italian delegation for the recovery of art works looted by the Germans during the last war, collected and documented the results of his investigations. It is a yellowing typewritten volume which has been languishing in the bottom of a cupboard at the Foreign Ministry in Rome for more than ten years. All this time, it has been in the safekeeping of Maria Vicentini, director of the Historical Diplomatic Archive, who also keeps a dossier with documents relating to each case.

At the beginning of this year it was decided to reform "Operation Siviero" which has been at a virtual standstill since the head of the delegation died in 1983 and to publish the entire list of missing works. That catalogue is finally published this month by the Poligrafico dello Stato. Progress has not been swift: interministerial wrangling has delayed any resumption of investigative work. Specifically, the Ministry of Culture and the Ministry of Foreign Affairs have yet to decide how the investigative work will be combined with the delicate diplomatic negotiations involved in recovering looted art. There are rows as to who will pay for the operation, who will head it and what powers it will have. This month an interministerial committee will attempt to push things ahead.

The reappearance of the list immediately provokes some questions. Why were items of such high value, which had been seized from Italian museums, archaeological sites and private collections, not claimed before? Will recovery even be possible, after all the irreparable damage of the past half century? Has this been due to negligence or deliberate sabotage?

It appears that in 1987, Italy's Foreign Office mandarins put an end to Siviero's delegation by cutting off funding, and cancelled the item from the ministerial budget. Mr Siviero's activities, his personality, his forceful character and his impatience with red tape (he once succeeded in forcing a train loaded with art heading for Vienna back to Italy) provoked annoyance in diplomatic circles at the time. When he died, the whole enterprise died with him, even though responsibility for the delegation technically passed to the general Cultural Affairs department at the Ministry. The fact remains that practically no works of art from Italy have been returned to their owners since that time.

In 1992, Prime Minister Andreotti set up an interministerial Commission for co-ordination between the Ministry of Culture and the Carabinieri's artistic heritage protection Unit. But the initiative did not get off the ground. It was not until March 1994 that the Ciampi government attempted to set restitution activities in motion again by appealing for co-operation between the three parties involved: the Foreign Ministry, the Cultural Heritage Ministry and the Carabinieri. But this appeal simply brought into existence yet another ministerial committee.

According to Colonel Roberto Conforti, commander of the Carabinieri's artistic heritage protection unit, a new law is not needed to get things moving. The problem is that of setting diplomatic channels in motion. Back in 1992, the Russian Culture Minister Yevgeny Sidorov stated his willingness to give Italy a list of works plundered by the Germans (including many from Italy) and then moved from Berlin to Moscow. So far, however, the "diplomatic channels" considered so essential by the Russians have not been opened. The European Directive over restitution of illegally exported works of art makes the Culture Ministry responsible for taking action.

As far as the Carabinieri working on the ground are concerned, the Italians simply need to make representations through normal diplomatic channels (without any need for ad hoc commissions or delegations) to achieve results.

An initial list of some 250 works was attached to a treaty drawn up between De Gasperi and Adenauer in 1953, part of which is reproduced here. In this treaty the Germans declared their willingness to cooperate in finding works stolen from Italy during the Nazi period and to return those that came to light. In practice hardly any of the works were returned in the intervening forty years. "We were probably the country most active in pursuing restitution immediately after the war (albeit on a very personal level and with little organisation), said Minister Francese, Culture Minister Antonio Paolucci's diplomatic attaché, and now we must re-examine this matter with urgency. The Siviero file", concluded the Minister, "must form the basis and starting point for this initiative."

Originally appeared in The Art Newspaper as 'Some are found - but many are still lost: can you help?'