Seriality in the Middle Ages: The Thuir-Madonna and her Sisters. Object scans (Heisenberg-Project "Medieval Sculptures of the Virgin in Performative Contexts: Gold, Silver, Lead and Other Metals")

作为海森堡项目“表演背景下的中世纪圣母雕塑：金、银、铅和其他金属”的一部分，将为物体扫描提供资金。该项目分析具有金属表面的中世纪圣母雕塑。这些文物可以追溯到10世纪到13世纪。它们由金、银、铅和其他金属制成，通常是混合介质的组合。关键的作品是埃森的金色麦当娜(约980年)、沃尔考特的银色麦当娜(11世纪初)或巴黎卢浮宫的维尔热·德·巴罗瓦(Vierge De Baroilles)。研究设计基于物品历史和中世纪的金、银、铅等物质历史，这些历史与表演实践和空间有关。在该项目中分析的表演背景包括中世纪的多感官教堂空间，以及作为祭坛一部分的中世纪后中世纪单一物体的舞台，在博物馆、临时展览或生活宗教实践中。绝对例外的是由铅塑造的处女。有10件藏品被保存下来，可以追溯到13世纪。该项目旨在为整个集团提供可靠的数据基础，以便首次详细定义单件之间的关系。分析工具是三维表面扫描(与KDWT Bamberg合作)。扫描的实现和分析应由一名学生助理支持(在项目第二阶段)。对于这名助理，应提供工作人员经费和旅费。通过这种参与，将产生一篇介于艺术史和修复科学之间的科学论文。

As part of the Heisenberg-project „Medieval Sculptures of the Virgin in Performative Contexts: Gold, Silver, Lead and Other Metals” funding for object scans shall be provided.The project analyses medieval sculptures of the virgin with metallic surfaces. The objects date from the 10th to the 13th century. They are made from gold, silver, lead and other metals, often in mixed-media combinations. Key pieces are the Golden Madonna in Essen (ca. 980), the silver Madonna in Walcourt (early 11th century) or the Vierge de Baroilles (Paris, Musée du Louvre).The research design is based on object histories and the histories of substances like gold, silver and lead in the Middle Ages, which are set in relation to performative practices and spaces. Among the performative contexts analyzed during the project are the medieval multisensorial church space as well as post-medieval stagings of single objects as part of altars, in museums, in temporary exhibitions or in living-religion-practices.Absolutely exceptional because of their materiality are the virgins molded from lead. Ten pieces are conserved, dating to the 13th-century. The project aims to provide a reliable data basis for the whole group, in order to define the relationship between the single pieces in detail for the first time. Analysis tool are three-dimensional surface scans (in cooperation with the KDWT Bamberg). The realization and the analysis of the scans shall be supported by a student assistant (during project phase 2). For this assistant, funding for staff and travel expenses shall be provided. From this participation a scientific thesis at the interface of art history and restoration science shall emerge.