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Acknowledgments | |
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Introduction: What's in a Coat-Of-Arms? | |
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The Serpent | |
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The Lamb | |
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Cranach in History, Art, and Religion | |
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Taking the Measure of Cranach | |
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Painter and Entrepreneur | |
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"Most German of the Germans" | |
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Art and History | |
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Dismal Analysis | |
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Cranach at the Gate: Breaking the Renaissance Mold | |
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Chasing D�rer | |
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From Kronach to Wittenberg | |
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Friedl�nder's "Twenty-two": Were Cranach's First Works His Best? | |
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The Difference Time Makes: Trekking to Schleissheim | |
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Beautiful People: The Cuspinians and the Reusses | |
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The Body Ascetic and Erotic | |
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On the Sunny Side | |
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The Compleat Court Painter | |
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Wittenberg Calling | |
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The New Job | |
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Changing Styles: The St. Catherine Altar | |
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Praising Cranach in Word and Deed | |
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Self-Assertion | |
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Anticipating Luther | |
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Workshop Wittenberg: Cranach Domestic and Entrepreneurial | |
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Old House, New House | |
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Barbara Brengbier Cranach | |
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Cranach as Taskmaster | |
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Publisher | |
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The Cranach Pharmacy | |
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Marketing Luther | |
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Allies | |
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The Artist and the Theologians | |
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Worms, Wartburg, and Wittenberg: Luther Under Cover | |
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Cranach in Halle, 1521-23: Luther Betrayed? | |
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Gospel Art | |
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Circling Wagons | |
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Disenchanted Art? | |
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Art and Revolution | |
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The Malady of Genius and the Remedy of Faith | |
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Cranach's Melancholy | |
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Humankind's Best Friends | |
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Cranach's Women | |
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The Moral-Domestic Front | |
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Fascinating Women | |
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History and Myth: The Magdeburg Venus | |
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Were Cranach's Women Tramps? | |
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Antiquing Sex: The Politics of Art and Nudity | |
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Women on Top | |
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Defenders of the Fatherland | |
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The Biblical Stories | |
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Homicides and Suicides | |
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Testing Testosterone | |
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The Judgment of Paris: Still Judging After All This Time | |
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Venus Waning, Amor Rising: Cranach Steals the Scene | |
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The World We Have Lost | |
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Remembering Cranach and Luther | |
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Cranach in Exile | |
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Cranach Goes to the Mountain | |
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The Money Trail to the Grave | |
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Cranach and Luther upon the Altars | |
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Notes | |
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Index | |