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Published online by Cambridge University Press: 24 July 2012
In the manner of the Creole tradesmen of Louisiana, whose lagniappe to their patrons is legendary, the Editors offer a similar bonus to readers of the Review. Instead of trifling presents added to a purchase, however, our lagniappe will be documents illustrative of the evolution of business enterprise. It is hoped thus to provide a wider availability of the raw materials of business history to teachers and researchers.
1 Some indication of these relationships is seen in the evidence of business evasion of sumptuary legislation contained in Jose Puiggari, Estudios de Indumentaria Española … Cuadro Histórico Especial de los Siglos XIII y XIV (Barcelona, 1890), passim. See also Herman Freudenberger, “Fashion, Sumptuary Laws, and Business,” supra.
2 The rich fashion history of medieval Spain is easily seen in Sempere, Juan y Guarinos, , Historia del Luxo y de las Leyes Suntuarias de España (Madrid, 1788)Google Scholar; Puiggari, Estudios; Madrazo, Carmen Bernis, Indumentaria Medieval Española (Madrid, 1955)Google Scholar; and works cited therein.
3 The sophistication of Alfonso X's court is documented in Procter, Evelyn S., Alfonso X of Castile: Patron of Literature and Learning (Oxford, 1951).Google Scholar
4 These excerpts from the ordenamiento of the córtes celebrated in Valladolid in 1258 are only those portions dealing with fashion. They are translated from their original Castilian vernacular text appearing in Real Academia de la Historia, Córtes de los Antiguous Reinos de León y de Castilla (5 vols., Madrid, 1861–1903), vol. I, pp. 54–63.Google Scholar
5 In Las Siete Partidas, the great compilation of jurisprudence begun under Alfonso X, the King and his heirs were designated to be the most elaborately dressed members of society. This was to identify them as the earthly representatives of the splendor of the Lord and so men might recognize them for purposes of fealty. Only royalty could wear garments of silk adorned with gold and jewels, for example. Scott, Samuel P. (trans, and ed.), Las Siete Partidas (Chicago, 1931), pp. 288, 305.Google Scholar
6 The clergy was usually prohibited from wearing garments indicative of pomp. Robes were always to be fastened in front as a sign of modesty and heads tonsured as a symbol of the crown attained to in the kingdom of God. Ibid., p. 66.
7 The differentiation among saddle-types is unclear. Only royalty could use gold, silver, or jeweled saddles. Ibid., p. 288, 305.
8 Note the elements of practicality. Loose-fitting breast leathers invited sword or lance thrusts beneath their protection of man or horse.
9 Engris seems to have been a vari-colored silken stuff usually manufactured in Champagne.
10 The copete was a bang of hair, worn in the Franco-Gothic manner, in the form of curls or ringlets across the forehead. Beards were usually suppressed except for Jews and Moors. Bernis Madrazo, Indumentaria, pp. 25, 63, Plate 53; Puiggarí, Estudios, pp. 109–110.
