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Aby Warburg (1866-1929), the celebrated Hamburg art historian, who broke new ground with his research into Renaissance art history, found in Fritz Saxl (1890-1948), art historian, head librarian and finally his successor as director of Warburg's library and later the Warburg Institute, a scholar who contributed to the shaping of a pluridisciplinary understanding of research. Through Saxl's research of problems of Late Antiquity and the Middle Ages he gave important impulses to the scholarly understanding of intellectual history. Saxl, who extended the library system of the "good neighbourliness" of books, demonstrated his organizational thinking and strategies, which anticipated the use of hyperlinks - albeit without today's electronic technology. It was Saxl who turned Warburg's library from a private library into the centre of an international network for scholars. He spoke of himself as the wanderer through the museums and libraries of Europe, an agricultural worker who worked the piece of ground between history of art, literature, science and religion. Saxl's own research agenda was multifarious, the history of astrology, of mythology, in particular the research into illuminated astrological and mythological manuscripts of the Middle Ages, gleaned from archives all over Europe and published in three comprehensive Verzeichnisse. He further worked on religions of classical antiquity, the transition from pagan to Christian traditions, Mithras as well as art historical topics, Bellini, Titian. His life-long great admiration for Rembrandt found expession in a number of publications. 17th century art history, English medieval sculpture and his last great interest, seals, completed his scholarly output. But next to these research topics his achievements in the fields of organization were the area in which Saxl truly excelled. Warburg, although he spoke of him as the "junior partner", admired his scholarly honesty and thoroughness, but ultimately underestimated his achievements in administration and organization; these alone made it possible that the private library of Warburg could be consolidated into a internationally approved institute of teaching and research in Germany, and then in Great Britain. As Warburg's successor Saxl both kept as close as possible to Warburg's method as well as break fresh ground. Saxl was a truly original thinker, a congenial teacher, very demanding to his students and colleagues, but also fiercely supportive, for instance, to Roger Hinks, when he lost his post at the British Museum in the course of the affair of the cleaning of the Elgin Marbles. He employed Anthony Blunt as editor of the Warburg Institute publications, he brought Ernst H. Gombrich from Vienna to London in 1936. He was a great example to the young art historian John Pope-Hennessy, later Director of the Victoria and Albert Museum and the British Museum. Today, the Warburg Institute is a post-graduate research institute specializing in researching cultural and intellectual history, a forum for scholars and students. The fact that teaching and research could be kept up in Hamburg until 1933 and resumed in London from 1934 onward, speaks for the personal commitment of the employees and above all for Saxl;s intellectual courage and sense for practical solutions. His unstinting effort and dedication were certainly reasons for Saxl's early death at 58 years of age.

Art critics --- Librarians --- Saxl, Fritz, --- Warburg Institute.

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In 1967, France and Germany agreed to cooperate on the construction and commissioning of a nuclear reactor dedicated to research in physics, chemistry and biology. Thus was born the Institut Laue-Langevin, a project whose aim was to provide research scientists with an extremely intense source of neutron beams, a fundamental tool for probing the mysteries of matter. Britain soon joined the project, followed gradually by other countries both from western and eastern Europe, making the Institut Laue-Langevin a particularly successful example of European cooperation. This success is a clear illustration of how, by joining forces and skills in this way, it was possible to provide scientists from "the old continent" with the means to tackle ambitious projects by giving them the best neutron source in the world. Neutrons for Science tells the story of the beginnings of this project and shows how, with the right organisation, it was possible to optimise the use of the reactor. The book also paints the portraits of three eminent figures, Jules Horowitz, Heinz Maier-Leibnitz and Louis Néel, who played a key role in this success. In this English edition, a chapter has been added covering the period 2004-2018 in order to create a link with the modern era and highlight the dynamism that has marked the Institute since it was founded.

SCIENCE / Physics / General. --- Laue-Langevin Institute --- neutron beams --- matter

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Gauguin, Paul, --- Art Institute of Chicago --- Gaogeng, Baoluo, --- Gauguin, Eugène Henri Paul, --- Gauguin, Pablo, --- Гоген, Поль, --- Gogen, Polʹ, --- גוגן, פול, --- Chicago. Art Institute --- Art Institute Chicago --- Musée de Chicago --- Shikago Bijutsukan --- Chicago Academy of Fine Arts (1879-1882)

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Optics --- Physics --- Light --- Research. --- University of Rochester. --- Rochester, N.Y. --- Institute of Optics (University of Rochester)

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Standardwerk der NS-Forschung: Die Schutzstaffel Heinrich Himmlers entfaltete während des Dritten Reiches höchste Aktivität, und das nicht nur als Agent totalitärer Machtvollstreckung. Kater zeigt, dass die SS den ernsthaften Versuch einer Infiltration des deutschen Kultur- und Geisteslebens unternommen hat, aus Motiven, die nicht zuletzt in der bizarren Persönlichkeit Himmlers selbst beschlossen liegen. Himmlers SS-Forschungsamt ";Ahnenerbe"; entwickelte sich, über den Umweg anfangs noch harmlos anmutender geisteswissenschaftlicher Projekte, zu einem der gefährlichsten Instrumente nationalsozialistischer Kulturpolitik. Dennoch vermochte sich das ";Ahnenerbe"; nie zur obersten Kulturbehörde des Dritten Reiches, nicht einmal der SS, auszuwachsen. In einem Prozess der institutionellen Selbstvernichtung, der sich innerhalb der Schutzstaffel vollzog, wurde es sogar fast zerrieben. Der Verfasser charakterisiert die SS nicht als monolithisches Gebilde, sondern als ";Spielfeld parasitärer Kräfte, die im Neben- und Gegeneinander wirkten";. Er reiht sich damit in die Gruppe jener Historiker ein, die den Führer-Staat Hitlers als Ausdruck eines auf allen Ebenen wuchernden Machtpluralismus interpretieren und nicht als eine zielbewusst gelenkte, allzeit geschlossene Monokratie. Pressestimmen zur 1. Auflage: ";Kater hat mit seiner Untersuchung über Himmlers Kulturpolitik ein Standardwerk der NS-Forschung vorgelegt."; FAZ vom 24.5.1974 ";Michael H. Kater hat eine vorzügliche Arbeit geleistet. Auch seine präzisen Personen- und Institutsbeschreibungen zeigen ein immenses Quellenstudium und die Übersicht bis ins kleinste Detail."; SZ vom 12./13.7.1975 Zur 3. Auflage: ";Der erneute Nachdruck vermittelt nicht nur eine bedeutsame Arbeit aus der Frühzeit der Erforschung des Nationalsozialismus als Dokument der wissenschaftlichen Entwicklung, sondern auch eine Darstellung, die unbeschadet des Fortschreitens unserer Erkenntnis ihren Wert behalten hat und durch den Einblick in eine frühe Forschungssituation zugleich die gegenwärtige kritisch zu mustern hilft."; Heinz Hürten in: Zeitschrift für bayerische Landesgeschichte 67,1 / 2004

Ahnenerbe. --- Kulturpolitik. --- Nationalsozialismus. --- SS. --- Ahnenerbe (Institute) --- Nationalsozialistische Deutsche Arbeiter-Partei. --- Germany --- Cultural policy --- History