Chimneys belched fire and smoke. Oh really?

[Hannover]

"eyewitness" Nyiszli said:

"Smoke was visible at every hour of the day and night. By day it covered the sky above Birkenau with a thick cloud; by night it lighted the area with a hellish glow."
- Miklos Nyiszli, Auschwitz. A Doctor's Eyewitness Account. New York 1961, p.68.

"eyewitness" Olere drew this little beauty, it's considered 'evidence':



big problem here:

In none of the many wartime aerial photos are the chimneys of Auschwitz belching fire and smoke.

In many countries you will go to jail for exposing this nonsense.

- Hannover

[Sailor]

According to Topf engineers Prüfer and Schultze, there were suction blowers installed between the cremation ovens and the chimney stack, in order to improve the efficiency. How would those flames go passed those blowers I wonder?

[Willing to Learn]

Maybe the nazi doctor knew that if he made this false quote, it would help the revisionists make their case.

[Hannover]

I didn't know Nyiszli was a "nazi" doctor. However, it's clear that he's a liar, yet he's widely quoted in the 'holocau$t' literature.

- Hannover

[Hebden]

The two most important drawings by Mr. Olere are those showing Krema III in overview and in cross-section respectively.



See http://holocaust-info.dk/auschwitz/k3_top.htm for number key.





See http://holocaust-info.dk/auschwitz/k3_side.htm for key in English.

If these drawings date from 1945 and 1946, it must be admitted that Mr. Olere was very familiar with the plan and layout of the crematorium and it is not clear where he could have gained such knowledge unless he had regularly been inside the building.

[Hannover]

Hardly, it merely suggests he drew more nonsensical, unsubstantiated propaganda a la the laughable flame spewing chimneys. By 1945/46 the story had been fully developed and he just plugged into it. The labels assigned are not substantiated in the wartime photos and are not shown in actual German plans. Both drawings pretend to show alleged 'Zyklon-B' ports on the roof in which the pesticide is said to have been deposited into the chamber, producing death in mere minutes. Those are without any substantiation whatsoever, as the photos and on-the-ground inspections reveal no traces of them or any indication that the rooftops had openings for them.

In the lower drawing you gotta love the stairs to nowhere. Then, assuming that 'E' is supposed to be an alleged 'wire-mesh Zyklon-B introduction device', it completely contradicts "expert" Van Pelt who described them as wide at the bottom and narrow at the top. And ofcourse, they are technically absurd, as they would actually inhibit the alleged gassing process.

Ah yes, chere Olere, liar extraordinaire.

- Hannover

[Hebden]

Hardly, it merely suggests he drew more nonsensical, unsubstantiated propaganda a la the laughable flame spewing chimneys. By 1945/46 the story had been fully developed and he just plugged into it. Hannover

Which published sources in 1945 or 1946 represented the layout of the crematoria in such detail?

[Hannover]

Are you saying there wasn't "testimony" which alleged a gas chamber in Krema III, with alleged detailed specifics about it by 1947?

Are you asserting that the Communists were not pushing the gas chamber story with specific, detailed allegations by 1947?

Given those fraudulent accounts, such a 'detailed layout' was easy to devise, phoney that it is...as shown in my previous post that you ignored.

Please do not try strawman arguments.

- Hannover

[TMoran]

Hebden had introduced:
'The two most important drawings by Mr. Olere are those showing Krema III in overview and in cross-section respectively.'

===============================================

They are not drawings per se. They are copies of the plans. The 'drawings' show that Olere had access to the plans.

Should we wonder about that?

[Sailor]

The two most important drawings by Mr. Olere are those showing Krema III in overview and in cross-section respectively.

The drawing is for Krema II according to the title, not Krema III. The side view and horizontal cross section don’t match. The plan is reversed.

If these drawings date from 1945 and 1946, it must be admitted that Mr. Olere was very familiar with the plan and layout of the crematorium and it is not clear where he could have gained such knowledge unless he had regularly been inside the building.

We don’t know from where the man got his information, the circumstances under which he made these drawings. It seems that he may have had an architectural plan of the Krema at his disposal when he made the drawing, the proportionality of the dimensions is too accurate to be drawn from memory.

He also seemed to have detailed knowledge about the location of the chutes. Amazing. So far they could not find those holes in the remaining parts of the ceiling of morgue 1 of Krema II. If there were no holes, where did Olere get this idea?

And coke is usually fed into the furnace in the basement below, not into the muffles (item I, Fouron a charbon).

[Hebden]

The two most important drawings by Mr. Olere are those showing Krema III in overview and in cross-section respectively.

The drawing is for Krema II according to the title, not Krema III. The side view and horizontal cross section don’t match.

We assume Mr. Olere was following the convention of numbering the Birkenau crematoria I-IV respectively. Hence KII is what we now call KIII.

If these drawings date from 1945 and 1946, it must be admitted that Mr. Olere was very familiar with the plan and layout of the crematorium and it is not clear where he could have gained such knowledge unless he had regularly been inside the building.

We don’t know from where the man got his information, the circumstances under which he made these drawings. It seems that he may have had an architectural plan of the Krema at his disposal when he made the drawing, the proportionality of the dimensions is too accurate to be drawn from memory.

To provide some more background, we present the following excerpt from Mr. Van Pelt's book The Case for Auschwitz:

One day after Bacon's liberation, American troops rescued a 43-year-old painter David Olere in the concentration camp at Ebensee, twenty-five miles south of Gunskirchen. Born in Warsaw, Olere had moved to Paris in 1923, where he found work making posters and designing film sets. He had been arrested in February 1943 and deported to Auschwitz on March 2 of that year. He was assigned to the Sonderkommandos of Crematorium 3, but he worked as an artist making paintings for the SS. Olere lived in the attic of Crematorium 3 and was able to observe both the building and its operation. After his liberation, Olere returned home to Paris. There he began to draw his memories: over fifty sketches, done in 1945 and 1946. Many of them were purchased by the Bet Lohamei Haghettaot Museum in Israel. These sketches remained unknown until they were first exhibited in 1976. They provide a very important visual record of the design and operation of the gas chamber and the incinerators of Crematorium 3, and they were made before information about that building was published. The first two architectural sketches that are of great importance are pen drawings dated 1945 and 1946, which are "cleaned-up" versions of pencil sketches made in 1945. One of them, done in 1945, provides a plan of Crematorium 3; the second, done in 1946, a section. The plan is a composite of the basement level with the underground undressing room and the gas chamber which jutted out beyond the footprint of the building, and the ground floor and the incineration room with its fifteen cremation ovens, the chimney, the incinerator for identity papers, the coke store, and the SS guard rooms. Arrows indicate the functional relationship between the various rooms: from the undressing room (1) people went through the vestibule (2) to the gas chamber (3) to be killed. SS men overseeing the operation could enter the basement by a separate stairway connecting the yard. After the gassing, Sonderkommandos moved the bodies to the elevator (4), which ascended to open into the incineration room (5), where other Sonderkommandos filled the fifteen incineration muffles of the ovens (0). The coke was brought with a truck running on rails from the coke store (11) to the back of the ovens (0). Through five underground flues the smoke left the ovens to the massive chimney (7). Olere's plan is fully corroborated by the plans that were found by the Russians in the building of the Central Construction Office, which will be discussed below. One detail of particular importance which cannot be found on the blueprints recovered from the Auschwitz building archive is the staggered arrangement of the four hollow wire-mesh columns (marked 10) in the gas chamber (marked 3) through which the Zyklon B was inserted into the room. As we will see below, there are various eye-witness accounts of these hollow columns, but they do not appear in the original blueprints because they were only added to the building shortly before completion. Olere’s staggered arrangement is confirmed by air photos of Birkenau taken by the Americans on August 25, 1944, and can be explained by assuming that these wire-mesh columns were located on the west side of the first and fifth structural columns, which supported the roof of the gas chamber, and on the east side of the third and seventh structural columns.

The corresponding section, drawn in 1946, is a complex drawing that shows much information in an economical manner. At the underground level Olere depicted the undressing room to the west or left (marked A) with the staircase on the extreme left that provided the principal access to this space. Because the undressing room was not equipped with a ventilation system built into the walls, it was equipped with metal ventilation ducts that were suspended from the ceiling. Olere also depicts the benches and the clothing hooks, To the east or right of the undressing room is the vestibule with the corpse elevator ( C ) to the ground floor and the gas chamber (D). In order to represent the gas chamber, which projected outward to the north of the building at the back and would have been hidden by the vestibule, Olere defied convention and turned it 90 degrees from a south-north to an west-east axis, so that it is depicted under the incineration room (which had no basement). The most important information contained in this part of the drawing are the four hollow wire-mesh columns (E). For the section of the incineration hall Olere turned the five triple-muffle ovens 180 degrees so that the muffles are visible. The forced-air blowers on the side of each furnace and the coke truck that supplied the back of the furnaces with coke are also important details. The corpses were loaded from the front.

Here then is what we are getting at - were these drawings in fact made in 1945 and 1946? What do we know about their history prior to the mid-1970s?

[Hannover]

I see Hebden's point about the drawings origin, curious that they would just show up in 1976; his suspicion seems warranted. This is the 1st I had heard of this. Thanks Hebden, you are full of surprises.

Regardless, they really don't help the Believers when confronted with Revisionist research. See my earlier post about the nonsense they contain.

- Hannover

[Sailor]

Here then is what we are getting at - were these drawings in fact made in 1945 and 1946? What do we know about their history prior to the mid-1970s?

Well? What do you think? Any opinion?

[Hebden]

The two most important drawings by Mr. Olere are those showing Krema III in overview and in cross-section respectively.

The drawing is for Krema II according to the title, not Krema III. The side view and horizontal cross section don’t match.

We assume Mr. Olere was following the convention of numbering the Birkenau crematoria I-IV respectively. Hence KII is what we now call KIII.

Whichever convention is used, consistency is key to avoiding confusion.
Compare, for instance, these two well-known inventories:





The top one is marked Krematorium 2 whilst the other refers to, unless our eyes deceive us, Krematorium II when it should read either 3 or III. If this is the case, we don't understand why these two documents, apparently prepared and signed by the same hand, do not share the same numbering convention.

[Sailor]

The top one is marked Krematorium 2 whilst the other refers to, unless our eyes deceive us, Krematorium II when it should read either 3 or III. If this is the case, we don't understand why these two documents, apparently prepared and signed by the same hand, do not share the same numbering convention.

The signature of the SS-Sturmbannführer seems to be the same. The other signatures seem to be from different people. Also the handwritings for ‘Krematorium II’ and ‘Krematorium 2’ seem to be different.

Here then is what we are getting at - were these drawings in fact made in 1945 and 1946? What do we know about their history prior to the mid-1970s?

The footnote 117 of the quoted text in van Pelt’s ‘The Case for Auschwitz’ lists as the source of these drawings a Jewish Resistance Heritage Museum, Kibbutz Lohamei-Haghettaot, Israel.

I am still amazed how correct and detailed those two drawings are. The number of attic windows, their form and shape and location, height, width, the proportions of lengths, width and height of the individual rooms, the slant of the roof, all of these are incredibly exact. The drawing of the furnaces in the basement are symbols as used by architects and engineers. I still suspect that these drawings were copied from the original architectural drawings, which are stored in an archive in Moscow, Russia. And I think that these were made available ten years after the event, certainly not in 1945/1946.

Of course, Prof. van Pelt has not only no evidence that something was "retro-actively fitted into the space" at all, but he has no evidence about when - or if at all – "the decision was made to use Leichenkeller 1 as a gas chamber" as well. He is simply telling us a fairy tale. And the cultural historian Dr. van Pelt relies on the drawings of an artist, David Olère. But unfortunately this artist is lying, as can be seen from his drawings: he permanently draws crematorium chimneys spewing smoke and fire. Would van Pelt be a proper architect, he knew right away that this is a propagandistic ('artistic') hoax. But van Pelt doesn't notice anything...

The great problem about accepting that this building was an instrument for mass murder is that the evidence produced by Professor Van Pelt relies on three "legs": a handful of eye-witnesses; a few architectural drawings; and a slim file of documents.
The eye-witnesses have turned out to be liars, particularly those who testified to the SS guards opening manhole covers on top of the flat roof of Leichenkeller 1 (morgue No. 1) and tipping tins of Zyklon B pellets inside. One witness was David Olère, an artist, who drew sketches years later in Paris, obviously intending to sell them. His sketches show flames and smoke belching from the crematorium chimney of Krema III, which was quite impossible; he portrays the victims of the Nazi killers mostly as nubile young females, all naked and sketched in a pornographic way, often clutching naked teenage children to their breasts. It was Olère, I invite the Court to remember, who told Jean-Claude Pressac that the SS made sausage in the crematoria out of human flesh (a passage which Mr Van Pelt did not inform us of).