The chap­ter illus­trates a col­lec­tion of sig­nif­i­cant art­works and arti­facts, each with a brief descrip­tion high­light­ing their cre­ator, year of cre­ation, mate­ri­als used, and the loca­tion from which they were stolen.

The first notable piece is *Madeleine de France* by Corneille de Lyon, a 1536 oil paint­ing stolen from the Muse­um of Fine Arts in Blois, France. Fol­low­ing this, an ivory sculp­ture enti­tled *Adam and Eve* by Georg Petel (1627) is list­ed, hav­ing been tak­en from the Rubens House in Antwerp, Bel­gium.

Anoth­er high­light includes a tobac­co box craft­ed by Jean-Bap­tiste Isabey around 1805, made of gold, enam­el, and ivory, which was stolen from the Valais His­to­ry Muse­um in Sion, Switzer­land. The chap­ter con­tin­ues with *Sibylle of Cleves*, an oil paint­ing by Lucas Cranach the Younger (c. 1540), stolen from the New Cas­tle in Baden-Baden, Ger­many, and a still life by Jan van Kessel the Elder from 1676, tak­en from the Euro­pean Fine Art Foun­da­tion in Maas­tricht, Nether­lands.

Fur­ther art­works men­tioned are *Fes­ti­val of Mon­keys* by David Teniers the Younger (c. 1630), van­ished from the Thomas Hen­ry Muse­um in Cher­bourg-en-Cotentin, France, and *Alle­go­ry of Autumn*, attrib­uted to Jan Brueghel the Elder (c. 1625), which was abscond­ed from the Muse­um of Fine Arts in Angers, France.

The nar­ra­tive goes on to depict *Sleep­ing Shep­herd* by François Bouch­er (c. 1750), and a flint­lock pis­tol craft­ed by Barth à Col­mar (c. 1720), both of which were stolen from muse­ums in Chartres and Thann, France, respec­tive­ly.

The chap­ter empha­sizes the his­tor­i­cal sig­nif­i­cance of these pieces, includ­ing a *Pietà* by Christoph Schwarz (c. 1550), stolen from Gruyères Cas­tle, and *The Bish­op* by Eustache Le Sueur (c. 1640), which was tak­en from the Muse­um of the Citadel in Belfort, France.

The theft of these remark­able art­works not only rep­re­sents a loss to cul­tur­al her­itage but also stirs intrigue regard­ing their elu­sive where­abouts. The final entries fea­ture items such as a com­mem­o­ra­tive medal­lion stolen from the His­to­ry Muse­um in Lucerne, Switzer­land, and sev­er­al chal­ices from var­i­ous Bel­gian muse­ums, show­cas­ing the chap­ter’s focus on art theft across Europe.

Wait­ing ai