At first glance, esthetic experience and editing appear to have very little in common. But even on such apparently safe ground as philological editing this impression turns out to be wrong. An editor who ignores the esthetic richness of the material he is working on may divert the attention of his edition's recipient away from essential features of the work of art in question. This collection is the fruit of a conference at which numerous editors and editing experts from various disciplines discussed the theoretical and practical consequences of such a constellation and their implications for the history of scholarship.