Topical and transdermal botanical formulations of the Chinese pharmacopoeia—a review by Gu, Jingyi, Lane, Majella E., Sil dos Santos, Bruno, Heinrich, Michael

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50 Years of quantum chromodynamics by Gross, Franz, Klempt, Eberhard, Brodsky, Stanley J., Buras, Andrzej J., Burkert, Volker D., Heinrich, Gudrun, Jakobs, Karl, Meyer, Curtis A., Orginos, Kostas, Strickland, Michael, Stachel, Johanna, Zanderighi, Giulia, Brambilla, Nora, Braun-Munzinger, Peter, Britzger, Daniel, Capstick, Simon, Cohen, Tom, Crede, Volker, Constantinou, Martha, Davies, Christine, Del Debbio, Luigi, Denig, Achim, DeTar, Carleton, Deur, Alexandre, Dokshitzer, Yuri, Dosch, Hans Günter, Dudek, Jozef, Dunford, Monica, Epelbaum, Evgeny, Escobedo, Miguel A., Fritzsch, Harald, Fukushima, Kenji, Gambino, Paolo, Gillberg, Dag, Gottlieb, Steven, Grafstrom, Per, Grazzini, Massimiliano, Grube, Boris, Guskov, Alexey, Iijima, Toru, Ji, Xiangdong, Karsch, Frithjof, Kluth, Stefan, Kogut, John B., Krauss, Frank, Kumano, Shunzo, Leinweber, Derek, Leutwyler, Heinrich, Li, Hai-Bo, Li, Yang, Malaescu, Bogdan, Mariotti, Chiara, Maris, Pieter, Marzani, Simone, Melnitchouk, Wally, Messchendorp, Johan, Meyer, Harvey, Mitchell, Ryan Edward, Mondal, Chandan, Nerling, Frank, Neubert, Sebastian, Pappagallo, Marco, Pastore, Saori, Peláez, José R., Puckett, Andrew, Qiu, Jianwei, Rabbertz, Klaus, Ramos, Alberto, Rossi, Patrizia, Rustamov, Anar, Schäfer, Andreas, Scherer, Stefan, Schindler, Matthias, Schramm, Steven, Shifman, Mikhail, Shuryak, Edward, Sjöstrand, Torbjörn, Sterman, George, Stewart, Iain W., Stroth, Joachim, Swanson, Eric, de Téramond, Guy F., Thoma, Ulrike, Vairo, Antonio, van Dyk, Danny, Vary, James, Virto, Javier, Vos, Marcel, Weiss, Christian, Wobisch, Markus, Wu, Sau Lan, Young, Christopher, Yuan, Feng, Zhao, Xingbo, Zhou, Xiaorong

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'(Un)richtige Aufnahme': Renaissance sculpture and the visual historiography of art history by Johnson, GA

“…Extract<br> ‘How should one photograph sculpture?’ asked Heinrich Wölfflin in the titles of three ground-breaking articles on the subject published in 1896–97 and 1915 (plate 1).1 Few art historians have seriously considered the question, not just in regard to photographing Italian Renaissance sculpture, which was Wölfflin's main concern in these publications, but works of art in general.2 Examining both how and why art works have been photographed and otherwise reproduced, however, can tell us a great deal about what one might call the ‘visual historiography’ of art history as a discipline. …”