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The debate on decolonizing monuments has provoked a great deal of covering and shrouding of public sculptures. This paper looks at three examples and shows how textile interventions alter a monument’s visibility and, as products of (post)colonial trade or communal handicraft, add semantic layers. Ranging from The Kudzu Project’s marking of Confederate monuments in Charlottesville, VA, through the covering of the Robert Milligan statue by protesters in London, to a curated artwork by Joiri Minaya in Hamburg, the examples span both geographical regions and the recent history of the debate. The paper proposes that textile ephemerality questions concepts of history embedded in the traditional materiality of public sculptures and provides a model for imagining other practices of commemoration.

The house of George Sand (1804-1876) at Nohant, run today by the Centre des monuments nationaux, still has two theatres of remarkable authenticity, one designed for actors and the other for puppets. The two theatres are installed in the same room, the audience turning to face whichever stage was in use. Most of the decors and accessories from this dual practice, dating from the middle of the 19th century, have been kept, in particular a unique series of stage costumes. This singular collection gives an idea of the spectacles performed and show the diversity of the costumes used. The collection comprises costumes for actors and also little clothes for the puppets, along with their accessories. They were made by George Sand herself, based on designs by her son Maurice Sand (1823-1889). They bear witness to the intensity of the theatrical activity which animated the daily life of Nohant and its guests. The costumes are of course adapted to the requirements of the stage, but they also suggest a universe of fantasy which is inspired both by ancient history and by the fashions of the day. The article gives a description of the characteristics of the two types of costume and of the restoration campaign which enabled in 2022 the presentation of two newly-restored actors' costumes on stage.

It is presented two textile pieces „oprege”, existent in the patrimony of the National Museum of the Romanian Peasant from Bucharest, donated in 1907 by Princess Mary herself, to whom they had belonged. The pieces were to be displayed in a homage exhibition entitled „Ferdinand and Mary. The kings of the great union”, but their state of preservation was inadequate for this approach. After the restoration of the pieces, they were presented for the first time to the public, in a stabilized form. Later they were classed in the Treasure category.

At the beginning of the 20th century, the last National Territory, the Governorship of Los Andes, was created in the Argentine Republic. Its lands were adjacent to the cordillera range, and occupied the present day provinces of Salta, Jujuy, and Catamarca. This is where Antofagasta de la Sierra is located. We propose to approach the study of resistance to the State annexation of the Puna region, by focusing on the textiles found in an ranch inhabited during the first third of the 20th century. From the analysis of the textiles, we prepose that the families generated spaces of autonomy, cohesion and identity, by displaying creativity and ancient knowledge of producing textiles from a local perspective, thus confronting the expectation of conformity that the State intended for those who lived on the recently incorporated territories.

In Annaba (Ex Bône), the colonial urban fabrics are characterized by a clear diversity which is emphasized with architecture joined to it. This paper proposes a critical reading. Besides raising the confusion in the qualification of this built frame, the objective of this work is to question this particular production in objective terms and to consider it finally as any esthetic product, connected to the various contexts of its creation. The complexity involved rests on a distinction to be operated among the components of this vast corpus and who could be examined on historic and esthetic various views. [ABSTRACT FROM AUTHOR]

The introduction of the skill of pottery-making has been recognized as the turning point in the human past from the very inception of the disciplines of archaeology/anthropology. Until recently, pottery has been explained as a part of the Neolithic package and linked to the beginnings of agriculture and sedentarism. However, the pottery registered among the hunters-gatherers of the late Pleistocene in the Far East has demonstrated beyond doubt that it represents an innovation completely independent from plant cultivation and domestication of animals. This has induced a reconsideration of our knowledge. Although various hypotheses explained the appearance of the earliest pottery, it seems today that the invention of pottery technology was most probably induced by utilitarian, practical reasons. On the grounds of the analyses of the organic contents of the vessels, their qualities and the distribution of use alterations, it is certain that pottery is closely linked to preparation and partially with storage of food of animal, often aquatic origin, and sometimes of nuts. On the other hand, the causes and mechanisms of adoption of pottery as a new technology may have been diverse and dependent on various factors. For example, pottery production may be seen as prestige technology among hunters-gatherers, where individuals compete for power, prestige and status by organizing feasts, but in the non-stratified societies as well, where it was used as a medium during the festivities aimed at strengthening the group cohesion, or on the occasion of marriages of members of different groups, where they are reminded of communal obligations and alliances. One of the characteristics of pottery in mobile communities is its close link to twined/woven objects: many pottery assemblages from these groups bear traces on their surfaces that are the consequence of pressing such material (cords, baskets, sacks, mats, fabric, etc.), so sometimes “ceramization” of these older technologies is mentioned. However, the importance of spun material should be stressed in the technology of pottery production. These may have been used in the process of modelling of vessels, as supports or moulds. Finally, the text considers the Starčevo pottery. In spite of the fact that it “reaches” into the Balkans along with other characteristics of the Neolithic package, it performs important similarities to the pottery of mobile communities, from its transportability as a desired feature, to indications that at least some forms were executed in baskets as moulds. The examples of the Starčevo pottery exist bearing the impressions of textile on their interior surfaces, probably due to easier separation of the dried vessel from the mould. All these data raise the issue of interdependence of soft technologies and pottery, as well as wider questions, such as mechanisms of cultural transmission.

The article presents the research of archaeological textiles (sample No. 3) found in burial No. 39 (dating back to 1580s) in the narthex of the Assumption Church of the Căpriana Monastery. The paper describes the archaeological textiles, procedures for the preservation and restoration of artifacts, as well as the method of manufacturing textile products based on archaeological analogies in the Romanian medieval principalities and the countries of Northern Europe. Fragments of textiles from the Căpriana Monastery are made of natural silk and narrow strips made using the technique of weaving from silk and metal threads. On the basis of analogies, it was established that fragments of textiles from the Căpriana Monastery represent elements of the ceremonial costume characteristic of the Romanian principalities in the 16th century.

Essay on the life achievement of Marielle Martiniani-Reber, tribute on her 65th anniversary.

Natural dyes from plants, insects, and fungi can be used to color yarns and textiles by craftspeople. Craft communities interested in natural dyes are using social media platforms such as Instagram to connect and share knowledge and to generate commerce for their products. #Naturaldye is a documentary film that explores the use of Instagram as a pedagogical, social, commercial, and creative space where dyers foster community and support businesses. Participants in the film discuss what types of information they find essential to articulate while also describing themselves as part of a community of other makers and artists. Theoretically, #Naturaldye is situated at the intersection of the circuit of style-fashion-dress (Kaiser, 2012) and imagined communities (Anderson, 1983). Social media platforms like Instagram enable articulation between fashion, textiles, commerce, and craftspeople where knowledge of natural dyes, dyers, and their work is conveyed to a wider array of individuals that become part of an imagined community through craft.

The introduction of the skill of pottery-making has been recognized as the turning point in the human past from the very inception of the disciplines of archaeology/anthropology. Until recently, pottery has been explained as a part of the Neolithic package and linked to the beginnings of agriculture and sedentarism. However, the pottery registered among the hunters-gatherers of the late Pleistocene in the Far East has demonstrated beyond doubt that it represents an innovation completely independent from plant cultivation and domestication of animals. This has induced a reconsideration of our knowledge. Although various hypotheses explained the appearance of the earliest pottery, it seems today that the invention of pottery technology was most probably induced by utilitarian, practical reasons. On the grounds of the analyses of the organic contents of the vessels, their qualities and the distribution of use alterations, it is certain that pottery is closely linked to preparation and partially with storage of food of animal, often aquatic origin, and sometimes of nuts. On the other hand, the causes and mechanisms of adoption of pottery as a new technology may have been diverse and dependent on various factors. For example, pottery production may be seen as prestige technology among hunters-gatherers, where individuals compete for power, prestige and status by organizing feasts, but in the non-stratified societies as well, where it was used as a medium during the festivities aimed at strengthening the group cohesion, or on the occasion of marriages of members of different groups, where they are reminded of communal obligations and alliances. One of the characteristics of pottery in mobile communities is its close link to twined/woven objects: many pottery assemblages from these groups bear traces on their surfaces that are the consequence of pressing such material (cords, baskets, sacks, mats, fabric, etc.), so sometimes “ceramization” of these older technologies is mentioned. However, the importance of spun material should be stressed in the technology of pottery production. These may have been used in the process of modelling of vessels, as supports or moulds. Finally, the text considers the Starčevo pottery. In spite of the fact that it “reaches” into the Balkans along with other characteristics of the Neolithic package, it performs important similarities to the pottery of mobile communities, from its transportability as a desired feature, to indications that at least some forms were executed in baskets as moulds. The examples of the Starčevo pottery exist bearing the impressions of textile on their interior surfaces, probably due to easier separation of the dried vessel from the mould. All these data raise the issue of interdependence of soft technologies and pottery, as well as wider questions, such as mechanisms of cultural transmission.

This article analyses the continuity and importance of the textiles of pre-Hispanic origin in the economic colonial order of the Central Andes of the New Kingdom of Granada during the XVI and XVII centuries. Through the study of the official documentation that accounts for the link of cotton mantas to the colonial tax system, the trade and the exchange values are examined. First, we analyse hints of the volume of mantas delivered by the indigenous groups as a tribute in species, which allows us to observe the flexibility of the fiscal system characterized by the negotiation, the non-fulfillment of the official rates and the protection of the interests of the different actors involved. Second, we establish who were some of the final consumers of the product and what conditions surrounded the trade and transportation of the textiles. Finally, we show the types of exchanges that involved the cotton mantas, and the values these acquired in the local and regional markets. These three thematic axes show the active and relevant presence of the indigenous textile manufacturing in the local, provincial and inter-provincial context, as well as the network of political, economic and commercial relations that stimulated this productive activity during this colonial period.

The paper proposes a new approach and a new analysis of the Virgen de Chiquinquirá, the most famous religious image in Colombia, produced around 1550 in the Eastern Cordillera within the context of the local indigenous Muisca religion. The analysis is primarily concerned with the materiality and with the formal and stylistic qualities of the image painted on a Muisca cloth (known as manta in Spanish). The image was compared with primary sources from the colonial period in order to highlight the importance of the muisca contribution to its production and to the subsequent devotion to it. Relying on the theories of perspectivism, we point out the agency of objects such as múcuras, tunjos and cloths in the creation of belief. Finally, we claim that the Virgen de Chiquinquirá was a Muisca votive object since its inception.

The aim of this work is to delve into the history of Mexico’s colonial silk industry and of its workers in order to demonstrate, from a microsocial analysis, the existence of long-standing gender-exclusion processes and of integration mechanisms, displayed in the framework of institutional modernization, that were implied by the Bourbon Reforms on both sides of the Atlantic. To this end, an analysis of the bibliography on the subject has been made. The viceroyalty policies created to revive the industry have been briefly reconstructed and it has been possible, within this contextualization, to understand the circumstances in which the process was carried out. Multiple sources from the General Archives of the Nation of Mexico have been used to look into an episode of the social history of New Spain. In the course of the research, it has been found that women in the silk industry were not limited to spinning mills, and that they could have greater aspirations. Gertrudis Gutiérrez Estrada’s opposition to the silk spinning guild of Mexico City in 1795, and her triumph in the dispute, showed a circumvention of the restrictions imposed within the silk industry to a particular sex and the implementation of resistance mechanisms that were institutionally —by the Bourbon legislation— and socially —by her family— constructed. It was a paradigmatic case that served to modify, in 1806, all the guild ordinances of the time and it is, at the same time, one of many examples that must be traced in the archives in order to rethink the role of women in the colonial industry.

Cameroon has a large industrial plant that operates in the textile sector of spinning, ennobling and fabric production. But the economic frame in which it oparates faces strong competition from Nigeria since the middle of 1980s.because of the constant depreciation of the Naira, of the size of its estimated population to nearly 115 million in 2000, and its industrial weight, Nigeria is a strong economic opponent for Cameroon in the textile domain. The massive and low-cost entry of these original or counterfeit textile products puts Cameroon's less competitive textile sector in difficulty. The study situates the Cameroonian textile industry in relation to the economic power of its big neighbor Nigeria, identifying the difficulties it faces. It analyzes through diversified sources the impact of formal and informal trade with Nigeria on the Cameroonian textile industry. [ABSTRACT FROM AUTHOR]

Dans l’étiquette palatine espagnole, le lit royal est un meuble important qui sert au repos du monarque mais remplit aussi une fonction publique, notamment lors des obsèques royales. Sa prééminence repose sur la richesse des matériaux utilisés, en particulier les tentures, que l’on changeait selon la mode du moment et la présence d’un ciel. Les lits plus remarquables de la riche collection du Patrimonio Nacional datent du xvie au xixe siècle et sont actuellement répartis dans les divers palais où vécurent les rois d’Espagne. Ils révèlent des influences chinoises, indiennes, françaises ou italiennes. Quiconque veut rêver du sommeil des princes et des rois peut maintenant contempler cet héritage raffiné.

Empleada no sólo para el descanso en la vida, sino también tras la muerte, la cama tuvo en la etiqueta palatina española un componente público que hacía de ella un importante mueble de representación en determinadas ocasiones, como es el caso de los funerales de los monarcas. Su preeminencia quedaba en todos los casos marcada tanto por la presencia del dosel como por el empleo de los ricos materiales utilizados en su fabricación, destacando las ricas colgaduras que cambiaban según la moda de cada momento. Influencias chinas, hindúes, francesas o italianas están presentes en la rica colección de camas de Patrimonio Nacional, cuyos ejemplares más destacados, fechados entre los siglos XVI y XIX, se encuentran repartidos entre los diversos palacios que fueron morada de los soberanos que se sentaron en el trono español. Este conjunto de piezas supone un exquisito legado que ahora puede ser contemplado por todos aquellos que quieran soñar con los sueños de príncipes y reyes.

Since Pliny the Elder described the “wool-bearing trees” of Aethiopia in his Natural History, the cultivation of cotton has been a well-known aspect of the textile production of ancient Sudan. It was confirmed during the first decades of Sudanese archaeology by the discovery of many cotton textiles found in Meroe and Lower Nubia, and more recently completed by several archaeobotanical studies conducted in the same regions. The aim of this article is to survey the whole span of data pertaining to cotton in ancient Sudan, collecting information from different sources and chronological periods, so as to trace the evolution of cotton production from the Meroitic to the medieval times. New discoveries have led to a regain of interest for textile research in this part of the world, which will help us contextualize cotton cultivation within the wider framework of clothing and social display, as well as textile craft and the organization of the economy. This multi-disciplinary approach will highlight the important role of Sudan and Nubia in the development of cotton production and exchange in the ancient world.

Copyright of Annales Historiques de la Révolution Française is the property of Librairie Armand Colin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study deals with the feasibility to weave 3D warp interlock fabric from flax roving dedicated to composite reinforcement as well as its multiscale characterization. 3D warp interlock weaving leads to thick structures that are more resistant to delamination than traditional 2D laminates. The mechanical properties of these dry 3D reinforcements depend on their architecture and the warp binding yarn path in the thickness of the fabric. [ABSTRACT FROM AUTHOR]

Archaeological exploration of Crypt 3 in the commemorative burial complex in theNorthwest Annex of the Monastery on Kom H in Dongola in 2012 completed the process of investigationof the three crypts, discovered in the mid-1990s but not fully excavated at the time. Crypt3, built together with Crypt 2, hosted remains of five individuals. Remains of textiles and gravefurnishings were also discovered, among them an oil lamp and part of a broken amphora. Crypt 3constituted an integral part of a commemorative complex consisting of a naos, two sanctuaries withaltars and screens, and a prothesis with altar.

In the 2012/2013 season, the Polish–Egyptian Archaeological and ConservationMission of the Temple of Hatshepsut at Deir el-Bahari (PCMA UW) continued work in a tomb(Tomb II) cut into the cliffs bordering the temple of Tuthmosis III from the west. The work focusedon a shaft and two subterranean chambers (C and D), which yielded together more than 300 piecesof funerary linen and equipment. Despite the disturbed archaeological context, the finds constitutean important corpus of seldom studied and published Pharaonic textiles. Some of the textilesare of very high quality, up to 2 m in length and preserved with their original colors. Importantly,they portray characteristic features of Pharaonic Egyptian textiles. Several pieces have inscriptions,including one with a fragmentary cartouche.

This paper analyzes the gender-related changes associated with the transformation of laundering between 1750 and 1820. In this activity, the transition from organic substances to mineral substances (soda, chlorine) sheds light on the gendered competition that took place at the time of the textile and chemical revolutions. In Paris, on the Seine and Bièvre rivers, laundering had long been an exclusively female activity. Women’s appropriation of the rivers took place in the context of their accepted role in the service economy. But these practices were gradually stigmatized from the beginning of the industrial revolution. On account of the obstruction, the noise and the pollution they supposedly caused, they were supposed to be replaced by a rational, mechanical, fluid and efficient environment, defined by manufacturing technology. This environment and the rivers would thus increasingly become a male domain. Male laundrymen thus appropriated a new conception of clean-the pure–as a result of the industrial revolution.

A corpus of funerary linen was found in the 2012/2013 season in one of the rock tombscut in the cliff bordering the Tuthmosis III temple platform in Deir el-Bahari during the work ofthe Polish–Egyptian Archaeological and Conservation Mission of the Temple of Hatshepsut atDeir el-Bahari. It derives from unidentified burials and from disturbed archaeological contexts andmost probably was deposited in the tomb in modern times. It constitutes an important additionto the known body of funerary linen from the Third Intermediate/beginning of the Late Period,as attested by a cartouche of Taharqo and other elements of the burial assemblages. The discoveredtextiles provide important information about the funerary functions of linen, as well as technicalaspects of Pharaonic textiles.

Copyright of Mélanges francophones is the property of Galati University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Annales Historiques de la Révolution Française is the property of Librairie Armand Colin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Emblematic and esoteric uses of color combinations have been proposed for Paracas Necrópolis textiles, since their first analysis in 1930 by Rebeca Carrión. While other scholars also have traced patterns of color variation among the figures repeated on large mantles, Anne Paul has contributed thorough documentation and has traced the distribution of other artifact types and design features among the gravelots. I seek to complement Paul’s work by tracing the combination of dominant color fields that communicate at great distance, and considering the interplay between the highly visible contrasts of background fields, the layers of patterned variability perceived upon approach, and the nearly invisible messages of interlace structures and yarn composition. While most previous studies have concentrated on late, Nasca-related textile assemblages, I focus on the early mortuary bundles and the relationship between textiles associated with the Topará and Paracas ceramic traditions. Comparison of predominant and exceptional styles in each Wari Kayan mortuary context with those of textiles from contemporary Ocucaje tombs reveals color schemes that indicate social identities and exchange relationships expressed in mortuary ritual.

The Nasca area is the place of origin of innumerable archaeological examples that show the level of technical skill achieved by Prehispanic weavers. Although we now know much about the techniques involved in the manufacture of these items, however little is known about the way their production was organized. If our knowledge of the production of fine textiles is limited, we know next to nothing about the production and distribution of common utilitarian textiles, and the role they played in the domestic economies of these people. This paper aims to contribute with information on domestic textile production for the Late Prehispanic occupation of the Nasca region (1100-1470 AD/1470-1532 AD). Based on materials derived from archaeological excavations at Huayuri, a Late Prehispanic settlement located in the northern part of the Rio Grande de Nazca Drainage (Ica, Peru), an attempt is made to reconstruct the chain of textile production associated to three residential units. The aim is to understand what was produced on site and the role of individual households in the overall production.

This paper describe the textiles from a funerary bundle from the site of Huaca Santa Clara in the Virú Valley that contained the remains of a young child, accompanied in death by other children and sacrificed llamas. The fabrics associated with this intrusive burial event —that took place four hundred years or so after the settlement was abandoned by members of the Viru polity— are of primary importance because they help to document the nature of this complex ritual event, while also adding to our knowledge of Tomaval period textile art of the Middle Horizon.

In this article, we analyze an exceptional ritual find from the Tiwanaku culture. Our intent is to understand the ritual and medicinal relevance of this assemblage, a q’ipichata belonging to a Tiwanaku shaman-priest found at the site of Pallqa in the valley of Amaguaya, Province of Larecaja in the Department of La Paz. We based our analysis on the use of ethnographic analogy, in particular on the understanding of two indigenous specialists: the renowned ritual shamans known as the Kallawaya from the province of Bautista Saavedra of La Paz, and the K’awayu from the province of Tomas Frías of Potosí, specialists and distributors of symbolic objects and medicinal plants. We have been able to identify a hierarchy of hide pouches used to hold and conserve the ritual paraphernalia and the snuff. Notable items include a large decorated snuff tablet, the personal clothing of the individual dated between AD 700-1500, and various medicines with symbolic and medicinal properties. We begin by analyzing the technological aspects of the artifacts through such qualities as the elements as the hides, the cords and the textiles; afterwards, we looked at the iconographic aspects with the intent of dating and assigning cultural affinity to the artifacts. Finally, we analyze the medical and ritual aspect by identifying each of the medicinal remains. In summary, our analysis takes into consideration the entire assemblage of the q’ipichata and proposes possible uses of the ritual and medicinal remains.

Since the 1990s, heated debates have unfolded in Ghana on the origin of kente cloth. These discussions mainly concern the primacy of Asante versus Ewe weaving. Weaving has a long history in many parts of Ghana, and interconnections between textiles from the Ewe- and Twi-speaking regions go back at least to the 19th century.In this article, I will disentangle the ways in which different current claims on the origin of kente cloth are locally reproduced and understood, and therefore I will provide insights in local perceptions and constructions of the past. To unravel apparent paradoxes, I will focus my attention on different ways of seeing, experiencing, interpreting and performing the past in a field of contested narratives. Narratives not only create coherent scenarios which articulate shared meanings but are also further shaped in their fierce contestations over control and authority in interpreting the past correctly.

Since the 1990s, heated debates have unfolded in Ghana on the origin of kente cloth. These discussions mainly concern the primacy of Asante versus Ewe weaving. Weaving has a long history in many parts of Ghana, and interconnections between textiles from the Ewe- and Twi-speaking regions go back at least to the 19th century.In this article, I will disentangle the ways in which different current claims on the origin of kente cloth are locally reproduced and understood, and therefore I will provide insights in local perceptions and constructions of the past. To unravel apparent paradoxes, I will focus my attention on different ways of seeing, experiencing, interpreting and performing the past in a field of contested narratives. Narratives not only create coherent scenarios which articulate shared meanings but are also further shaped in their fierce contestations over control and authority in interpreting the past correctly.

This article documents the unwrapping of a coastal fardo dating to the Inca period. The fardo, excavated at Rinconada Alta in the Rimac Valley, is particularly rich in garments and textile accessories, and provides the opportunity for examining the suite of textiles associated with one man. Garment types, both Inca and coastal, are identified using recent studies of Inca and Inca-provincial textiles. Ethnohistoric information on Inca production and distribution of cloth is linked where possible to the archaeological textiles in the fardo. Comparisons with other coastal burials of this period are made to assess the relative prestige of the objects in the fardo. Using the archaeological, ethnohistoric, and technical studies now available, inferences can be drawn from the textiles regarding the status and roles during life of the man buried at Rinconada Alta. The configuration of the fardo and the spatial disposition of non-textile items are also documented. The types of offerings and their placement in the fardo suggest that, while some mortuary customs may have been local, others were widely practiced on the coast of Peru over long periods of time.

The Asia valley, which is situated 100 km south of Lima, played an important role during the Middle Horizon. In fact, the funerary contexts of the Huaca Malena, as well as the elaborate textiles that were found in them, suggest a strong relationship with Wari, Pachacamac, the central and the north coasts. From the textile evidence the transition from the Middle Horizon to the Late Intermediate Period showed an increase in relations with the central coast. In accordance with ethnohistorical data, during the Late Intermediate Period the valley was inhabited by the Coayllo, who gave tribute to Pachacamac. During the Late Horizon the Incas built important administrative centres in the valley, and during this period the ceramic material shows a strong relationship to styles found in neighbouring valleys to the north, such as Mala, Chilca and the coast around Lima.

El trabajo que presentamos trata sobre el matrimonio entre los miembros de la alta nobleza castellana, un asunto muy complejo y que ha sido estudiado en sus múltiples facetas tales como la cuidadodsa estrategia matrimonial llevada a cabo por las familias de los contrayentes, los pactos económicos en los que el enlace tuvo su apoyo, la composición del ajuar de la joven novia y las fiestas que con motivo de dicho enlace se celebraron. Por último se analizan interesantes aspectos de la fiscalidad señorial al estudiar la manera como los vasallos de los señoríos contribuyeron a los ingentes gastos que se ocasionaron.