the Nazi complex there. The building was broken into by a mob before American troops arrived in the city, and most of the 723 paintings still there were looted, while others were taken by American soldiers. Only 148 paintings were eventually recovered. Post-war After the war, the American Art Looting Investigation Unit (ALIU) of the Office of Strategic Services (OSS) made thirteen detailed reports on the Linz museum and the Nazi plundering of art. These reports were synthesised into four consolidated reports; the fourth of these was written by S. Lane Faison covering the Führermuseum. These reports focused on returning art to rightful owners. The authority for this was the 1943 Declaration of London, which invalidated all German art purchases in the occupied territories. Most of the paintings and other artworks were brought to the "Central Collecting Point" in Munich, a former Nazi Party administrative building, where they were registered and rephotographed if necessary. Restitutions occurred as early as autumn 1945. The work was turned over to German authorities in September 1949. In 1962, the responsible agency was disbanded, and the remaining unreturnable artworks were assessed for their value as museum items. These were loaned to various museums, while other pieces are on loan to government agencies. Jacques Jaujard, the French Director of National Museums, was hailed as a national hero following the war for his part in saving the French national art collection. He was made a Commander of the Legion of Honor and given the Medal of Resistance. Rose Valland, who surreptitiously collected information on the looted artwork that passed through the Jeu de Paume museum, became a fine arts officer with the French First Army and assisted the MFAA in the collection of looted artwork. She was inducted into the French Legion of Honor and also received the Medal of Resistance, was awarded the Medal of Freedom from the U.S. and the Officer's Cross of the Order of Merit from West Germany. In 1953, she finally received the coveted title of "curator". Count Franz von Wolff-Metternich, the "good German" arts officer who helped to protect the French national art collection from Nazi predation worked with the Allies after the war, return artworks to their rightful owners, then joined the West German Foreign Office, where he tracked looted art. Unfortunately, the men of the Altaussee salt mine who were responsible for saving the artwork stored there by preventing