an abbreviated version is on display. It is not known why the complete altar was not reconstructed when the new museum was built and the frieze installed. When conceiving the exhibit, Theodor Wiegand, the museum's director at that time, followed the ideas of Wilhelm von Bode, who had in mind a great "German Museum" in the style of the British Museum. But there was obviously no overall concept, and given the reigning idea of a major architecture museum presenting examples of all Ancient Near Eastern and Mediterranean cultures, the display of the altar had to be condensed. Up until the end of World War II, only the eastern part of the museum with the three large architecture galleries was called the "Pergamon Museum". In 1939 the museum closed because of World War II. Two years later the reliefs were taken down and stored elsewhere. At the end of the war, the pieces of the altar which had been placed in an air-raid shelter near the Berlin zoo fell into the hands of the Red Army and were taken to the Soviet Union as war trophies. They were stored in the depot of the Hermitage Museum in Leningrad until 1958. In 1959 a large part of the collection was returned to East Germany (GDR), including the altar fragments. Under the leadership of the museum's then director, Carl Blümel, only the altar was presented as it had been before the war. The other antiquities were newly arranged, not least because the Altes Museum had been destroyed. In October of that year the museum reopened. In 1982 a new entrance area was created which permitted a visit to the museum to begin with the Pergamon Altar. Previously, the entrance had been in the west wing of the building, so that visitors had to pass through the Vorderasiatisches Museum Berlin (Middle East Museum) to get to the Pergamon Altar. In 1990, nine heads from the Telephus frieze, which had been evacuated to the western part of Berlin because of the war, returned to the Pergamon Museum. All these war-related events had negative consequences for the remaining altar and frieze fragments. It also turned out that earlier restorations had created problems. The clamps and fasteners which connected the individual fragments and also served to anchor the frieze and sculpture to the wall were made of iron, which had started to rust. As this rust spread