1907). Albert von Le Coq was also part of the third German expedition and was under the direction of Albert Grünwedel, but only remained until June 1906, when he had to leave for British India due to a heavy illness. The caves were photographed, drawings were made, and large portions of the murals were removed and sent to Germany. Grünwedel removed a great number of paintings, but was careful to make records before doing so in order to retain their archaeological value, and to photograph or draw them before cutting them out, out of fear that they could be destroyed upon removal or during transport. He used a canvas to take quite precise records of the paintings. For example, Grünwedel recounts how he discovered a very interesting mural with warriors in the Cave of the Painters (207). Intending to remove it, he first made a precise drawing. But once the drawing was made, the mural disintegrated upon removal and was lost, except for a few fragments still in-situ. Altogether, the Third German Expedition still removed many paintings, and shipped almost 120 crates of murals to Berlin. Grünwedel published the result of his explorations in 1912 in Altbuddhistische Kultstätten in Chinesisch Turkistan, Bericht über archäologische Arbeiten von 1906 bis 1907 bei Kuča, Qarašahr und in der Oase Turfan. Grünwedel discovered that the Kizil Caves were essential in the understanding of the development of Buddhist art, and suggested some forms of Western artistic influences as well: The French explorer Paul Pelliot and his photographer Charles Nouette, who were in Kucha from January 1907, visited Kizil soon after the German mission, from September 1, 1907, over a few days, and Charles Nouette took many beautiful and informative photographs. Albert von Le Coq came back to Kizil and surrounding areas in 1913–1914, heading the Fourth German Expedition, removing many paintings, including those Grünwedel had left in place, but generally taking much fewer records than his predecessor. Datation schemes Albert Grünwedel and the German school In 1912 Grünwedel proposed in 1912 a structural scheme which has remained influential throughout the 20th century. It is essentially based on the definition of two schools of art, "Style 1" and "Style 2". Style I, qualified as "Indo-Iranian", derives from the Art of Gandhara, and murals tend to have dark cinnabar backgrounds with green and orange color schemes and natural shading, and the architecture tends to consist in squarish