Commented critical edition of guild regulations for glass painters in German up to 1800: Sources on the social history of the artist from Central European archives (Austria, Czech Republic, Estonia, France, Germany, Latvia, Poland, Switzerland)

作为艺术史的一部分，这个历史批判版的项目是人文学科基础研究的基础。它打算首次出版德国玻璃画家的行会和工艺规定：古代政权（神圣罗马帝国）的艺术家，除了宫廷艺术家等少数例外，都与工匠行会有联系。这意味着，从学徒生涯的开始，到作为学徒的多年流浪，再到大师考试的结束，再到结婚，再到建立和管理自己的工作室，再到购买工作材料，最后再到出售艺术品，一切都由行会管理。这些规则是在工艺法规中建立的，在这里将首次对中欧国家档案中的玻璃油漆工工艺进行编辑。目前有12个欧洲国家参与的玻璃绘画媒体库（CVMA）主要关注保存或历史记录的玻璃绘画图像媒体，因此我们项目中要编辑的档案材料只是偶尔查阅。该版本将有助于缩小国际上玻璃绘画研究的重大差距。计划研究的申请扩大了三个已完成但未出版的版本项目（BKM， DFG， ERC），其中包括约7000页的古代政权视觉艺术家（画家）的行会和工艺规则手稿。玻璃画家没有项目申请，他们获得了部分相关但独立的法规或法规条款（这一点在过去几年才显现出来）。这些规定现在将在各自的项目中处理和完成，尽管在较短的时间内完成。项目持续时间较短的原因是，在那些熟悉工作的员工中，有两名被聘用，而且我们可以继续使用已经在运行的数据库（FuD）。此外，在过去的几年里，玻璃油漆工的资源库存已经记录到可以立即开始加工的程度。档案中的一些数字资源已经可用，或者在资源库存中可以获得确切的数据，因此可以及时订购。然而，协同效应也来自于内容，因为我们现在在记录和背景化来自不同文化区域的工艺来源方面有广泛的经验。关于收集和了解资料来源的形式但主要是内容的标准已证明是足够的，因此所要求的项目可以在缩短（而不是通常的三年）的运行时间内成功完成。因此，对于旧政权来说，这是第一次，可以利用一系列资源来规范玻璃画家在行会中的培训或在德语地区组织玻璃画家工作室。

The project of this historical critical edition as a part of art history is basic to fundamental research in the humanities. It intends to publish for the first time the guild and crafts regulations for glass painters in German: The artists in the ancien regime (in the Holy Roman Empire) were, with few exceptions such as court artists, bound to craftsmens guilds. That means, from the beginning of an apprenticeship followed by the many years of wandering as a journeyman to the concluding masters examination, then marriage to founding and conducting a studio of his own, to purchasing work materials and, finally, selling the art works themselves, everything was regulated by the guild. These rules were established in crafts regulations and are to be edited here for the first time for the craft of the glass painter from the archives of Central European countries. The corpus Vitrearum Medii Aevi (CVMA), with currently twelve European countries participating, focuses primarily on the preserved or historically documented pictorial media of glass painting, so that the archive material to be edited in our project was consulted only sporadically. The edition would help close a significant gap in international research on glass painting. The application for the planned research expands three completed but unpublished edition projects (BKM, DFG, ERC) which comprise in total about 7,000 manuscript pages of guild and crafts regulations for visual artists (painters) of the ancien regime. There was no project application for glass painters, who (as it became apparent only in years past) obtained partially related but independent regulations or regulation clauses. These regulations are now to be processed and completed in their own individual project, although within a briefer time period. The brief period of the project duration results from the fact that, of those employees acquainted with the work, two were taken on and the fact that we can continue to use an already operating data base (FuD). Furthermore, the inventory of sources for glass painters has been recorded in the last years to such a degree that processing can begin immediately. Some of the digital sources from the archives are already available, or the exact data are available on the stock of sources, so that they could be ordered promptly. The synergy effects also arise, however, from the contents, as we now have broad experience in recording and contextualising the crafts sources from quite different cultural areas. The standards concerning form but primarily content of collecting and understanding the sources have proven sufficient, so that the requested project could be completed successfully with a curtailed (instead of the normal three-year) running time. Thus, for the first time for the ancien regime, a collection of sources can be drawn on which regulated the training of glass painters in guilds or the organisation of glass painter workshops in the German-speaking area.