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Frederick Oechsner: This is the Enemy. 1942.   

who had more cordial relations with Hitler than any other foreign 
diplomat. Poncet was obviously greatly impressed by the place. As he 
emerged from his ascent in the elevator with an adjutant and entered 
the big glassed-in room, he looked around in surprise and said softly 
yet audibly: "What? Isn't Wotan here yet?" A guttural voice from behind 
a door which Poncet had not seen,replied: "Yes, here he is", and Hitler 
stepped out.

F. Oechsner: This is the Enemy. pp. 77,78.

Another of Hitler's favorite construction projects, though vastly 
different from the Kehlstein, is the new Reichschancellery in Berlin. 
Prior to the Nazis' accession to power, the old Reichschancellery was both 
good enough and large enough to take care of the needs of the Chancellors. 
Hitler continued to use it also for the first two years of his office, but 
decided that something really befitting affluence of the Nazis should be put 
up. He gave orders on January 11th, 1938, that the new building must be 
ready for occupancy exactly one 1 year from that date. As in the 
construction of the Kehlstein, he would not compromise with the 
difficulties of time or space, even if an entire row of buildings had to 
be razed. A year later to the day he moved in, not seeing perhaps the 
workmen who were still drying the walls with blow torches.

F. Oechsner: This is the Enemy. pp.78,79

Hitler got in on time. He says that the Chancellery is only temporary 
anyhow and that some day a permanent building, presumably even larger 
and more gorgeous, will be put up, which will surely last the Nazis' 
"Thousand Year Reich".

It is characteristic of Hitler that he has left the old Chancellery on 
the Wilhelmstrasse intact .... as a horrible example of Republican 
artistic decadence which is supposed to impress Berliners and visitors 
as such.

Hitler took an intense personal interest in the architectural plans for 
the Reichschancellery. Many of these plans bore marginal notations or 
drawings in his own hand. As a matter of fact, his interest in the 
construction of the place was embarrassingly thorough. When the 
Chancellery was projected, Hitler insisted that the Grand Corridor 
leading to the so-called Diplomats' Hall should be 650 feet long.

Frederick Oechsner: This is the Enemy.l942. pp. 78.79

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The architects told him that it was impossible to provide this length 
because of space limitations. They would have had to remove further 
buildings or block off street. Hitler was insistent, and told them 
firmly to try to fit it in.

But the best they could do was to stretch the Hall from the original 
proposed 325 feet to 475 feet, which it is today. Hitler finally agreed 
with a sigh, but said: "I resign those hundred and seventy-five feet 
with a heavy heart".

The architects did everything they could to please him by making the 
hall look longer. .....

 .... Each one of the samples of illusion was submitted to Hitler, o
f course, for personal consideration. As I have said, he dotes on working 
out small details of his giant projects. The red marble framing of the 
giant full-length windows in the Corridor, carrying out the tone of the 
flooring, was a Hitler order.

When the time came to provide his own office in the Chancellery, Hitler 
again insisted upon space. When the plans were submitted to him he 
vetoed the dimensions as being to [sic] modest and in his own marginal 
figures exactly double the measurements. This presented a new 
impossibility, but again the architects did their best.

Hitler had a passion for super dimensional constructions, whether it be 
the rooms in the Chancellery, the Kehlstein, or the great stadium 
accommodating 400,000 persons which he ordered to be built for the 
annual Oarty [sic] rallies at Nuremberg. Hitler says "'big ideas can 
only be produced in big rooms; the spirit bumps against walls and 
ceilings." This passion for space and magnitude is represented also in 
his political thinking, and the word gross (great) recurs frequently 
in his vocabulary. It is either Gross Deutsches Reich or Grossraum 
Politik or Gross Wirtschaftsraum.

F.Oechsner: This is the Enemy. pp.79,80.

In the spaces between these rest depots... are fourteen breathtakingly 
beautiful Gobelin tapestries, all personally selected by Hitler and 
all but four of them representing a horse motif in either hunting or 
war scenes.

Every one of these horses is a stallion which is a fetish of Hitler's. 
He likes animals but only males, and whose [sic] with power. His two 
male shepherd dogs, Castor and Wolf, have accompanied him even to his 
headquarters during campaigns. Virtually the, only horse pictures 
he will allow around the place are stallions. If the features of 
the body which would identify the sex of the beast are

F. Oechsner:This is the Enemy.1942. pp.

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concealed in the tapestry or photograph by foliage or other objects, 
then he has experts determine the sex from the nostrils, the mane, 
the musculature or the bone formation. Thereafter, if a person who 
is supposedly a horse fancier visits Hitler, he engages him in talk 
about horses and says casually: "By the way, you are an expert. What 
do you think of this stallion?" If the visitor says cautiously: "I 
can't tell from this picture, whether it is a stallion or a mare", 
Hitler observes him with a superior expert air, "Why, you don't know 
anything about horses. That is a stallion," and then proceeds to 
point out the proof.

F. Oechsner: This is the Enemy. p.82

There is one room in the Reichschancellery for which Hitler does 
not have much attachment, and that is the so-called "Cabinet-Room". It, 
too, is a chamber of no mean dimensions ....... The official by whom I 
was being conducted quoted me a bon mot of Der Fuehrer's: "This is 
where the Cabinet sleeps while I run the government."

Underneath the Chancellery is Berlin's safest and most elaborate 
air-raid cellar. At the time of the most intense R.A.F. raids in Berlin, 
Hitler gave order that a certain number of poor persons from different 
parts of the city should be brought there on every raid night, 
particularly women who were about to give birth to children. There 
were numerous births in the cellar's delivery room and every wailing 
infant got as a godfather Adolf Hitler, Fuehrer and Chancellor.

F.Oechsner: This is the Enemy. pp.82,83.

Hitler's passion for architectural pictures and photographs, and the 
almost psychic meaning that he reads into them, is well illustrated by 
an incident which concerns Foreign Minister von Ribbentrop. When 
Ribbentrop returned from Moscow in August, 1939, after signing the 
Soviet-German pact, he brought with him, as a gifts, one hundred pictures 
of Russian architecture. Going into the Chancellery to give his report 
to Hitler on the momentous pact which he had signed at the Kremlin, he 
presented the pictures also . Hitler lifted the cover, became absorbed, 
and when Ribbentrop politely suggested that he might give his report, 
Hitler said impatiently: "'No,no. Leave me alone with these for

Frederick Oechsner:This is the Enemy.1942. pp.82,83.

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an hour; I want to study them; then we can talk. Ribbentrop retired, 
came back in an hour, whereupon Hitler said dreamily: "These pictures 
show me that there is a great kinship between the Russian and German 
souls. If I had seen these pictures a year ago, I would have entered 
this pact then."

Dependence upon such reactions in political matters is not uncommon 
to Hitler. When he and Mussolini first met, they talked almost not at 
all on specific political details but about matters like architecture, 
painting, even philosophical subjects, and Hitler's attitude was that 
if he and Mussolini understood one another in such things they would 
talk the same political language.

      Hitler is a great devotee of columns and halls or passage-ways in 
architecture; psychically interpreted, these are phallic symbols, and 
medical experts are convinced that in Hitler's case they represent an 
intense morbid preoccupation with sexual symbolism. Hitler wants as 
many columns in any given space as possible. Men who know of this humor 
him in it. Once when Hitler showed Ribbentrop the plans for a small 
passage-way in which the architect Speer had placed two large columns, 
Ribbentrop squinted appraisingly, turned to Hitler and said: "It's very 
fine, Mein Fuehrer, but wouldn't this look better if there were four 
columns, smaller ones, instead of two?" Hitler was delighted and paid 
Ribbentrop a compliment on his architectural sensitiveness.        
Very often Hitler tests men with such little problems in order to 
see how closely their views coincide with his.

F.Oechsner: This is the Enemy. pp.83.84.

The great-bulked Goering, however, sarcastically observed once that a 
certain hall at Hitler's Berchtesgaden home, which was being remodeled, 
"should have 400 columns in it". The remark found its way to"Hitler, who 
quite without realizing the sarcasm of it, said that that was a splendid 
suggestion but -indulgently- the scheme did not quite permit of that.

Hitler's chief adjutant, Wilhelm Brueckner... used to turn a pretty 
penny by suggesting to wealthy and influential visitors to Hitler 
that they would be sure to get on the Chief's good side by bringing the 
conversation around to architecture and letting Hitler ramble on about 
his favorite topic. Super adroit ones would even bring up the matter of 

Hitler's primary graphic interest is unquestionably architecture, but 
closely allied to it is his never-abandoned

Frederick Oechsner: 'This is the Enemy. 1942. pp.83,84

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passion for free-hand sketching and water colors.

      His earlier water colors are fairly creditable performances with 
good conventional use of color and with, as always, considerable 
attention to detail. A physician who knows Hitler thoroughly says that 
his sketches reveal the nature of the typical half-educated, half-trained 
man who has the ability in a marked degree to co-ordinate detail into a 
whole harmonious scheme. He thinks that this is particularly evident in 
Hitler's treatment of fences and walls.

F.Oechsner: This is the Enemy. p.84

Hitler's choice of subjects is very catholic and he often quickly snatches a 
pencil from the nearest available spot to translate into visual form the 
ideas which overcrowd his tongue,whether they concern a cornice, a 
uniform or a new gun. On the West Wall, I have listened to rapturous 
accounts by General Staff officers of how Hitler during a tour of the Wall 
pointed out in self-made sketches where this or that pillbox should be improved. He was said by this officers to have designed entire pillboxes.

In another field Hitler has originated with his pencil the costumes to be 
worn by the dancers, the twin sisters Hoepfner, and also designed the 
uniforms now affected by the Foreign Office staff. On the Western Front he 
sketched a number of war scenes, including the Maginot Line after the 
attack by the Germans. He has also voluminously sketched German naval 
vessels, including the proposed 35,000-tonners. Hitler's war sketches 
are kept in two special portfolios designed for publication after the war.

      His strong psychic complexes have received display recently in the 
form of undisciplined fantasies of eight legged animals with queer splay 
feet or of humans with fantastic heads, This fantasy reaches over into 
the realm of the technical, and some of the ships and U-boats which he 
has drawn are from another world.

      Hitler has combined his drawing interests with his racial theories 
in a series of his own sketches which he calls EIN HERRENV0LK (A Master 
Race). These sketches, which repose in the strong room of the Kehlstein, 
are of the heads of men and women and children representing his conception 
of the ideal Nordic type. Interesting in his observation in script that 
the only people worthy to compare with the Germans under this 
classification are the English - and that because they are of Germanic strain.

      Whatever others may think of Hitler' s own work, he has a very high 
opinion of himself as an art critic. .... He ordered the cultivation and 
assembly of what he considered

Frederick Oechsner: This is the Enemy. 1942. pp. 84.85.86

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