the Nazis were taken from this collection. Nazi Germany Justi was one of 27 art gallery and museum heads forced out by the Nazis in 1933 under the Law for the Restoration of the Professional Civil Service, to be succeeded for a few months by Alois Schardt and then by Eberhard Hanfstaengl, who was in turn dismissed in 1937; he had refused to meet with the commission under Adolf Ziegler, president of the Reich Chamber for the Visual Arts, who were charged with purging the gallery of "degenerate" works. Some artwork from a dealer had been burnt in the furnaces of the National Gallery building in 1936, and the modern art annexe in the Crown Prince's Palace was shut down in 1937 as a "hotbed of cultural Bolshevism". The gallery was placed under the control of the Berlin State Museums and Hanfstaengl was after a while replaced by Paul Ortwin Rave, who despite being more acceptable to the Nazi regime, conscientiously guarded the artworks and as the war drew to an end, went with them to the mine where they were to be stored for safety's sake and was there when the Red Army arrived. He remained in charge of the gallery until 1950. Post-war After the Second World War, the gallery and the other museums on Museum Island were located in the Soviet Occupation Zone which became East Berlin. The National Gallery's collection, much of it confiscated and then returned by the various occupying powers, was split between East and West and had been further diminished by the war; 19th-century paintings from the former annexe had been destroyed by fire. While the Alte Nationalgalerie building was renovated, in the Western sector, paintings were initially housed in Charlottenburg Palace. The city of Berlin (West) founded a new museum of 20th-century art in 1949; this was eventually merged with the Western branch of the National Gallery, and West Berlin then created its own cultural centre, the Kulturforum, which included the Neue Nationalgalerie (New National Gallery), a modernist building designed by Ludwig Mies van der Rohe. This opened on 15 September 1968 and initially exhibited the full range of 19th and 20th-century art. Werner Haftmann, who had become the director in 1967, said he was nervous about the gallery moving into the prestige modern building, comparing himself to "a wretched learner ... getting into a luxury Mercedes." The Friedrichswerder Church, a Gothic