On the cover of Potpourri: Arbaugh, Bartholomew, and Engelhardt Family Lore/ is a photograph taken in San Juan, Puerto Rico, on February 22, 1932, including author William C. Arbaugh and his grandparents, Clara and William G. Arbaugh, with Nora Leone and Alonzo Harvey Arbaugh. In this volume celebrating the family history of the Arbaugh, Bartholomew, and Engelhardt families, Arbaugh captures times past. Fueled by the surprise discovery of a neatly tied bundle of letters, the family history revealed in them led to the preparation of this family memoir. Arbaughs sisters, Nora Dorothy and Mary Margaret, were soon engrossed along with their brother in letters revealing the heartfelt views of their mother, Clara Engelhardt, and their grandmother. These letters described her interest in William G. Arbaugh, a young college friend she fancied. The letters chronicled the strong bond between Clara and William, eventually leading to their marriage upon completion of their education. These letters and the others they discovered served to deepen their respect for them and furthered their understanding of their idealism and strong faith. Potpourri shares family lore, ranging from Germany and the Caribbean to Indiana and Illinois with a broad reach from life on small-scale family farm prior to common use of electricity to the age of atomic energy.

The J. Paul Getty Museum Journal 18 is a compendium of articles and notes pertaining to the Museum's permanent collections of antiquities, illuminated manuscripts, paintings, and sculpture and works of art. This volume includes a supplement introduced by John Walsh with a fully illustrated checklist of the Getty’s recent acquisitions. Volume 18 includes articles written by Anthony Cutler, David A. Scott, Maya Elston, Ranee Katzenstein, Ariane can Suchtelen, Klaus Fittschen, Peggy Fogelman, and Catherine Hess.

Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.

1. A puzzling passage in Vasari's "Vite."- 2. Raphael and tradition.

Sage, scientist, and sorcerer, Hermes Trismegistus was the culture-hero of Hellenistic and Roman Egypt. A human (according to some) who had lived about the time of Moses, but now indisputably a god, he was credited with the authorship of numerous books on magic and the supernatural, alchemy, astrology, theology, and philosophy. Until the early seventeenth century, few doubted the attribution. Even when unmasked, Hermes remained a byword for the arcane. Historians of ancient philosophy have puzzled much over the origins of his mystical teachings; but this is the first investigation of the Hermetic milieu by a social historian. Starting from the complex fusions and tensions that molded Graeco-Egyptian culture, and in particular Hermetism, during the centuries after Alexander, Garth Fowden goes on to argue that the technical and philosophical Hermetica, apparently so different, might be seen as aspects of a single "way of Hermes." This assumption that philosophy and religion, even cult, bring one eventually to the same goal was typically late antique, and guaranteed the Hermetica a far-flung readership, even among Christians. The focus and conclusion of this study is an assault on the problem of the social milieu of Hermetism.