Merge pull request #190 from uclab-potsdam/sinanatra-patch-1

Update 02_GNM_cultural_collection_on_fashion_en.md

src/routes/texts/02_GNM_cultural_collection_on_fashion_en.md

@@ -15,15 +15,15 @@ The idea behind the creation of the *Germanic National Museum Nuremberg* was the
 
 ## The origins of the textiles and jewellery collection
 From 1870 onwards, the Germanisches Nationalmuseum's collection, which was still being formed and already comprised 282 original items of dress in 1870, included a series of purchases of garments, including a collection of 17th to 19th century realia, which were presented in a permanent exhibition from the mid-1870s.
-The Berlin collectors, von Lipperheide and his wife, were in Nuremberg in November 1878 on one of their acquisition tours. The collectors' years 1878 to 1882 were the years of [high acquisition activity](item-set/67422), during which the presentations of garments, textiles and weapons in the Germanisches Nationalmuseum occurred. This exhibition must have made a strong impact on the collectors.
+The Berlin collectors, von Lipperheide and his wife, were in Nuremberg in November 1878 on one of their acquisition tours. The collectors' years 1878 to 1882 were the years of [high acquisition activity](set/67422), during which the presentations of garments, textiles and weapons in the Germanisches Nationalmuseum occurred. This exhibition must have made a strong impact on the collectors.
 
 ## Model collection for the acquisition and publication strategy of the von Lipperheide collectors
 The fashion and costume scholar [Jakob von Hefner-Alteneck](item/38992), who worked as curator at the *Königliche Vereinigte Kunstsammlungen* in Munich and later as curator of the *Königliches Kupferstich- und Handzeichnungskabinett*, was a prominent and distinct reference point for the von Lipperheide couple. His influence is particularly evident in the observation of the *[Blätter für Kostümkunde](item/17794)* and in the collectors understanding of vestimentary sources [^Cf. in detail de Günther 2020, p. 44ff., https://doi.org/10.18452/24858.].
 
 Von Hefner-Alteneck, who initially worked as a drawing teacher at the Aschaffenburg trade school, began studying material culture early on by copying engravings from the Aschaffenburg castle library. His books also claimed to be truthful depictions and were often based on viewing the originals. He prefaced the illustrations with a historical overview of the history of dress. The descriptions of the images always refer to the object, the image model or the location of the material object, such as a sculpture. Franz von Lipperheide also referred to the models, after which depictions of historic garments were created, made them explicit and claimed the authenticity of the depiction. Hence von Hefner-Alteneck's publications served as a model for Lipperheides publication of the *[Blätter für Kostümkunde](item/17794)*. In 1879, von Hefner-Alteneck published *[Trachten, Kunstwerke und Geräthschaften vom frühen Mittelalter bis Ende des Achtzehnten Jahrhunderts nach gleichzeitigen Originalen](https://www.deutsche-digitale-bibliothek.de/item/OSK6REFMGAJBKMUY4RMRKFLTG3W4V7U7)* in ten volumes. By stating that he only drew "directly from the ancient originals", he once again argued in favour of the authenticity of the illustrations; a claim to scientific accuracy that was later also formulated by Franz von Lipperheide and which was based on von Hefner-Alteneck's methodological approach. Hence the work of the illustrator, engraver, collector, cultural and art historian von Hefner-Alteneck can be read as a template for von Lipperheide's interest in research and collecting.
 
 ## Selected historic textiles from the Textiles and Jewelry Collection
-The following parameters were decisive in the selection of [15 historic textiles or objects](item-set/45212): the selected objects were to supplement relevant information on the history of fashion that cannot be derived from a two-dimensional painting, a monochrome or colored engraving. The digital 3D models therefor have the purpose to expand the understanding of these cultural artefacts. They can be navigated by the viewer, bring details closer and convey an idea of the volume of the object. 
+The following parameters were decisive in the selection of [15 historic textiles or objects](set/45212): the selected objects were to supplement relevant information on the history of fashion that cannot be derived from a two-dimensional painting, a monochrome or colored engraving. The digital 3D models therefor have the purpose to expand the understanding of these cultural artefacts. They can be navigated by the viewer, bring details closer and convey an idea of the volume of the object. 
 
 The light- and pressure-sensitive textiles were mounted on figurines and digitized using a photogrammetric and a 3D scanning approach. The image capturing techniques[^See the detailed process description in the metadata of the individual objects.] were combined as required during data processing. Textiles still pose a challenge for digital 3D reproduction; they are fragile, rich in detail and are often difficult to stabilise (e.g. feathers, lightweight textiles). The considerable effort and the still experimental process resulted in a limitation to 15 textile objects, each with different degrees of difficulty and requiring slightly different approaches.