Three-dimensional sculptures are perceived not only as designed volumes, but also as designed surfaces. The superficies - the "made exterior", but also the "appearance" - provides information about values, artistic concepts, changing aesthetic demands and conditions of preservation. It can emphasize the source material and make the traces of processing visible or refuse to provide information about materials and production processes. By reflecting incident light and reacting to heat or the composition of the air, it acts as a kind of membrane through which the picture connects to its immediate surroundings. In this way, she influences the effect of the three-dimensional bodies and makes them appear "alive" or particularly artificial. The present volume examines the handling of the surface using selected works from the Middle Ages and the early modern period. The contributions present different design concepts and ask about the role of superficies in sculpture with a view to material, technology, function and art theoretical discussion.