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The article reports on a conference on death, held in Kassel, Germany, on February 23, 2013, the fourth installation of a series of conferences on the subject entitled "Transmortale." Topics of discussion included persistent complex bereavement-related disorder, Reformed theological debates about mourning in the early 18th century, and the representation of the soul after death in late medieval and early modern German art.

The article discusses the composition of the crucifixion of Jesus Christ scene in German paintings during the 15th and 16th century on the example of German artists including Lucas Cranach d. Ä., Albrecht Altdorfer, and Wolf Huber. The author analyzes how the frontal depiction of the crucifixion scene changed into a diagonal depiction, which supported the need for adoration of Christ by his believers. Other topics mentioned in this article include the changing depiction of the passion of Jesus Christ in the 15th century, the depiction of the Virgin Mary in crucifixion scenes, and the influence of the discovery of print on the German art.

The article looks at art historian and museum director Ludwig Justi's interest in the medieval German artist Albrecht Dürer. Justi's art history career from 1897 to 1906 was devoted in large part to the study of Albrecht Dürer and his relationship to Italian renaissance art, which continued as Justi was promoted to professor at Halle University after his studies. Included in the article are references to Justi's writings and books about Dürer's work and pictures of Dürer paintings.

The article presents notes on drawings by 16th and 17th century German artist Hermann Weyer. The drawings are reportedly dated to 1596 and after 1621, and photographic images of the drawings are included in the article. Biographical information about Weyer is provided, along with detailed descriptions of the content and composition of the drawings. The themes of the drawings discussed include the crucifixion of Jesus Christ, personified death, and personified evil. The article also comments on the dating and signing of the drawings.