Studio portrait of the grandmother of Herbert Strauss with two of her daughters.

Digital Image

[Johann Georg Schramm].

Handwritten purchase agreement for a barn in Merzbach, Franconia (photocopy of the original and typed transcript).

Historian Herbert Strauss with CDU Mayor of West Berlin, Richard von Weizsacher.

Digital Image

Historian Herbert Strauss seated at his desk at the ZFA (Zentrum für Antisemitismusforschung; Center for Research on Antisemitism); Berlin Portraits Men

Digital Image

Portraits of Magdalena Strauss.

Mother of Herbert Strauss

Herbert Strauss seated under trees in a park reading the newspaper; Potsdam.

Digital Image

Studio portraits of Benno Strauss and Magdalena Strauss.

Parents of Herbert Strauss

Lewis Lichtenstein Strauss papers 1908-1973

Consists of correspondence, documents, speeches, reports and other writings, photographs, film and other records of Admiral Strauss' involvement with Jewish organizations and causes, as well as miscellaneous personal items.

Strauss-Stern Family 1902-1942

Personal and official documents relating to the life of the Strauss family during the years 1902-1940: pre-marital agreement dated February 1902 and June 1904 (Ehe und Erbvertrag); partnership agreement dated on several dates in 1905; variety of Lehrvertraege, passports, documents necessary for emigration and immigration to Italy and USA. The Lehrvertrag is dated 1920, the other documents pertain to the period from 1938 to 1942. "Schulzeugnisse" from the early 1900s.

Max Strauss Collection 1911-1935

Documents, medals, and photos pertaining to Max Strauss' service in the German Army before and during World War I:

Pietismin kuva - ikkuna yksityiseen hengellisyyteen : Johann Arndtin opetukset pietistisen embleemin perustana

The image of Pietism a window to personal spirituality. The teachings of Johann Arndt as the basis of Pietist emblems The Pietist effect on spiritual images has to be scrutinised as a continuum initiating from the teachings of Johann Arndt who created a protestant iconography that defended the status of pictures and images as the foundation of divine revelation. Pietist artworks reveal Arndtian part of secret, eternal world, and God. Even though modern scholars do not regarded him as a founding father of Pietism anymore, his works have been essential for the development of iconography, and the themes of the Pietist images are linked with his works. For Arndt, the starting point is in the affecting love for Christ who suffered for the humankind. The reading experience is personal and the words point directly at the reader and thus appear as evidence of the guilt of the reader as well as of the love of God. Arndt uses bounteous and descriptive language which has partially affected promoting and picturing of many themes. Like Arndt, Philipp Jakob Spener also emphasised the heart that believes. The Pietist movement was born to oppose detached faith and the lack of the Holy Ghost. Christians touched by the teachings of Arndt and Spener began to create images out of metaphors presented by Arndt. As those people were part of the intelligentsia, it was natural that the fashionable emblematics of the 17th century was moulded for the personal needs. For Arndt, the human heart is manifested as a symbol of soul, personal faith or unbelief as well as an allegory of the burning love for Jesus. Due to this fact, heart emblems were gradually widely used and linked with the love of Christ. In the Nordic countries, the introduction of emblems emanated from the gentry s connections to the Central Europe where emblems were exploited in order to decorate books, artefacts, interiors, and buildings as well as visual/literal trademarks of the intelligentsia. Emblematic paintings in the churches of the castles of Venngarn (1665) and Läckö (1668), owned by Magnus Gabriel De la Gardie, are one of the most central interior paintings preserved in the Nordic countries, and they emphasise personal righteous life. Nonetheless, it was the books by Arndt and the Poet s Society in Nurnberg that bound the Swedish gentry and the scholars of the Pietist movement together. The Finnish gentry had no castles or castle churches so they supported county churches, both in building and in maintenance. As the churches were not private, their iconography could not be private either. Instead, people used Pietist symbols such as Agnus Dei, Cor ardens, an open book, beams, king David, frankincense, wood themes and Virtues. In the Pietist images made for public spaces, the attention is focused on pedagogical, metaphorical, and meaningful presentation as well as concealed statements.

Relatos de viajes medievales : una historia de taxonomías literarias (1849-2007)

Número monográfico: El viaje y sus discursos

Reise im innern von brasilien : auf allerhochsten befehl selner majestat des kaisers von osterreich, Franz des Esten, in den jahren 1817-1821 unternonmen und herausgegeben

O primeiro volume foi editado em 1832 e o segundo em 1837, após a morte do autor, fato que contribuiu para a pouco acurada nomenclatura em português verificada no segundo volume, conforme afirma Borba de Moraes. A grande importância do trabalho de Pohl residiu na descrição de Goiás, à época, uma parte do Brasil quase desconhecida para os cientistas estrangeiros. Seu texto contém descrições sobre a arquitetura colonial e do século XIX. Pohl também produziu um atlas que complementou, por meio de belas ilustrações, o trabalho contido nesses dois volumes. Estes, especialmente se acompanhados do atlas, são um trabalho mais raro do que os relativos às viagens de Martins

Collecção das Leis do Imperio do Brasil de 1849

Parte 1 - Decisões