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，这一历史评论版的项目是人文基础研究的基础。它打算首次发布德语玻璃油漆工的行会和手工艺规定：旧制度下(神圣罗马帝国)的艺术家，除了宫廷艺术家以外，都受工匠行会的约束。也就是说，从开始当学徒，再到多年的流浪，到硕士考试，再到结婚，成立自己的工作室，再到购买作品材料，最后出售艺术作品，一切都是由行会管理的。这些规则是在工艺品条例中确立的，将首次在这里编辑来自中欧国家档案馆的玻璃油漆工艺。目前有12个欧洲国家参与的中古玻璃体(CVMA)主要关注保存完好的或有历史记载的玻璃绘画图画媒体，因此我们项目中要编辑的档案材料只是偶尔参考。这一版本将有助于缩小玻璃绘画国际研究的一个重大空白。计划中的研究申请扩大了三个已完成但未出版的版本项目(BKM、DFG、ERC)，这些项目总共包括约7000页旧制度下视觉艺术家(画家)的行会和手工艺条例的手稿。没有对玻璃油漆工的项目申请，这些油漆工(过去几年才很明显)获得了部分相关但独立的条例或条例条款。这些条例现在将在各自的单独项目中处理和完成，尽管时间较短。项目持续时间较短的原因是，在熟悉这项工作的员工中，有两人被聘用，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，玻璃油漆工人的库存已经被记录到了可以立即开始加工的程度。来自档案馆的一些数字资源已经可用，或者可以从资源库存中获得准确的数据，这样就可以迅速订购。然而，协同效应也来自于内容，因为我们现在在记录来自完全不同文化领域的手工艺品来源和将其联系起来方面拥有广泛的经验。关于形式但主要是收集和了解资料来源的标准已被证明是足够的，因此可以在缩短(而不是正常的三年)运行时间的情况下成功完成所要求的项目。因此，对于古代政权来说，第一次可以利用一系列来源来管理行会中玻璃油漆工的培训或德语地区玻璃油漆工车间的组织。

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 The application for the planned research expands three completed but unpublished edition projects (BKM, DFG, ERC) which comprise in total about 7,000 manuscript pages of guild and crafts regulations for visual artists (painters) of the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.