of thousands of shekels’ worth of cigars and champagne he gave to the Netanyahus stemmed from his years-long friendship with the family, Channel 2 reported earlier this month.

That story followed reports in Hebrew media that the questioning of Milchan, which took place over a number of sessions in London, marked the first time the billionaire was questioned as a suspect in the case. During the interrogation, Milchan reportedly denied wrongdoing concerning the sale of the controlling bloc of shares in Channel 10. Milchan noted that others, who are not suspects, had sold an even larger amount of shares at the same price.

Milchan also denied Netanyahu had intervened on his behalf with then-US secretary of state John Kerry to successfully obtain a 10-year US residency visa for him, sayingdigital reproduction into art history to previous technological innovations. Prior to the late nineteenth century, art historians employed originals, casts, prints, sketches, and verbal descriptions to support and disseminate their research (Nelson 2000). The introduction of photographic reproduction enabled wholly new methodological approaches in art history—from the formalism of Heinrich Wölfflin, who introduced the slide comparison to the art history lecture in the 1880s, to the iconographical approach of Aby Warburg in the 1920s, who drew upon a vast archive of photographic reproductions from antiquity to advertising to advance his theory of nachleben. The change wrought by the digitization of slide collections since 2000 is therefore not only one of size and speed (an increased quantity of images for analysis and faster search returns), but also one of