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The article discusses a German church society, which was founded in order to collection, preserve, and exhibit Christian art and liturgical objects, and is located at the church museum in the German dioceses of Würzburg. The art collection includes works by the artist Ben Willikens, sculptures by the artist Tilman Riemenschneider, and paintings by the artist Jehuda Bacon. Several pictures of artifacts and the church museum are presented. Other topics mentioned in this article include the collection management of this church art collection, federal aid to art collections, and the concept of welfare and support in Christianity.

The article discusses the educational and religious function of church museums using the example of the museum of the German dioceses Würzburg in reference to the overall relationship between art and Christianity. Several photographs of art exhibitions at the museum of Würzburg, Germany are shown. The construction of this church museum was mentioned in 1943 in order to preserve artifacts from destruction due to the war and finally built in 1997. Other topics mentioned in this article include tourism in Würzburg, Germany, baroque interior design, and recent church history in Germany.

The article discusses the activities of German art conservator Johann Jakob Schlesinger at the Gemäldegalerie (Picture Gallery) of the Königliche Museen (Royal Museums) of Berlin, Germany, between 1824 and 1855. It provides information regarding the establishment and administration of the royal museums, as well as on Schlesinger's role within the museum hierarchy, as both a conservator and a curator. Extensive attention is given to describing Schlesinger's art restoration techniques in detail and comparing them to 21st-century methods.

In this article, the author explores the proposed reconstuction of the artwork "Dortmund Altarpiece." According to the author, the artwork survives in its original position on the high altar of the Marienkirche in Dortmund, Germany. She describes the process of reconstructing the piece. She also identifies a number of assumptions that could not be proven by the proposed reconstruction of the original size of the Dortmund fragments.

The article discusses Johann Jakob Schlesinger, an art restorer of the Königliche Museum in Prussia from 1824 to 1854. The inspiration for the article is a book written by Ute Shter, which devotes a chapter to Schlesinger, during that time sparse records were kept on the history of restored works. Topics discussed include activities of Schlesinger as paintings copyist, the lack of literature on the topic of art restoration, and the science and methods (such as the application of oil) used in restoration.

The article presents journal entries regarding the restoration of the "Madonna Colonna," by Raffaello Sanzio da Urbino by painter and art restorer Johann Jakob Schlesinger in 1827 at the Königliche Museum in Berlin, Germany (formerly Prussia.) The painting was commissioned for restoration by the Einrichtungskommission des Königlichen Museums (Commission of the Royal Museum) due to worm damage in the wood board. The restoration process is also outlined in letters, which are sent to Friedrich Wilhelm III, the king of Prussia, and presents details on the cleaning and retouching .

A list of archival sources is presented for the preceding article on art restoration including the Staatliche Museen Berlin-Zentralarchiv, Akten des Geheimen Zivükabinetts, and Geheimes Staatsarchiv -- all located in Germany.

The article focuses on the commemoration of the National Museums in Berlin, Germany concerning the return of art pieces from the Soviet Union to Berlin that happened in 1958. It says that the National Museums commemorated the event through an exhibition of 170 artworks composed of sculptures, vases and craftwork. It also mentions the project of the Fundação Armando Alvares Penteado, which restored images of Greek and Roman deities.