Citation: U. Ilg, 'Multum-valet-laicis, qui-simultudinibus-gaudent-externis...' - Andrea di Clione's fresco of the 'Inferno' in Santa Croce as catechetical instrument, Bruckmanns Pantheon, 56, 1998, pp. 10-24
Citation: S. Gensichen, '...nichts-als-lauter-Chicane.' - On Cosmas Damian Asam's changes in plansfor painting the chapel in the Bruchsal Residence, with a newly discovereddraft contract, Bruckmanns Pantheon, 56, 1998, pp. 112-119
Citation: J. Heusinger Von Waldegg, Around 1920: Max Ernst, Paul Klee, Giorgio de Chirico, Ossip Zadkine - Self-portraiture as media reflection, Bruckmanns Pantheon, 56, 1998, pp. 133-141
Citation: Mr. De Vrij, The Master of Willem van Bibaut, his oeuvre, his alleged origin and his place in the studio, Bruckmanns Pantheon, 56, 1998, pp. 186-191
Citation: R. Selbmann, Goethe's other side: Tischbein's watercolor 'Goethe am Fenster der Romischen Wohnung am Corso' as visual metaphor for the threshold of an epoch, Bruckmanns Pantheon, 56, 1998, pp. 195-199
Citation: A. Rauch, A 'reject' from the World War? A newly-discovered work of Erich Heckel from the Brucke period, and some clarifications of motive and significance of the 'frontal aspect', Bruckmanns Pantheon, 56, 1998, pp. 199-205
Citation: M. Seidel, SEARCHING FOR ORIGINS IN LUCCA - REDISCOV ERY OF A MEDIEVAL RELIGIOUSSYMBOL (CHRISTIAN ICONOGRAPHY, WOODEN CRUCIFIXES), Bruckmanns Pantheon, 55, 1997, pp. 13-23
Citation: F. Thurlemann, CAMPIN,ROBERT AS ARTIST JOURNEYMAN IN TOU RNAI AROUND 1400 - A STUDY AND ANALYSIS OF THE PIATUS,SAINT AND ELEUTHERIUS TAPESTRIES, Bruckmanns Pantheon, 55, 1997, pp. 24-31