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From the historical source to a database: a short story

A couple of years ago I was sitting in a coffee-house in Antwerp and working on my database. A group next to me started a small and informal business meeting which got rather loud. The manager eventually turned to me to apologise for the noise the team was making. While we were talking, he saw my laptop screen that contained a large, multi-coloured Excel file, full of figures and codes. He thought I was an accountant. When told him that I was an early modern historian, his reaction was of amazement and perplexity. What does history have to do with statistical databases?

Quantitative history may indeed seem a strange or  even contradictory for many. How is it possible to study a subject, which is considered par excellence qualitative, through the schematised and rigid ‘cage’ of a database?

The answer lies in the fact that, in reality, quantitative approach is much less rigid than one may at first think. It is, in fact, sometimes the only way to organise large quantities of historical data, in order to arrive at conclusions beyond examples and case-studies.

The results are impressive especially when the sources are suitable for a quantitative treatment (and potentially all sources are suitable) and the analysis is based on an adequate system. The potentials of quantitative approach in history can be illustrated well by studies that rely on post-mortem inventories as their main source. The extensive exploitation of these documents through quantitative approach has been fundamental over the years when historians have, among other issues, investigated levels of wealth and analysed trends in inequality in the past, or reconstructed the steps that led to the creation of the modern model of consumption. It would be difficult to address such complex topics comprehensively using just a dozen of documents.

Refashioning the Renaissance project follows this fruitful line of research, and combines the study of hundreds of post-mortem inventories with qualitative research, in order to shed light on the transformation and the adaptation of fashion, as well as on the meaning and the changing cultural attitudes to dress. Yet, the question remains, how to study the quantitative point of view in practice?  In the following, I will introduce the steps that lead from the ‘raw material’ to the ‘finished product’, that is, from the archival document to the final outcomes of a database.

The first page of the inventory of Serafino, the blacksmith, who died in Siena in 1603. Archivio di Stato di Siena, Curia del Placito, Tutele e Inventari, 275, c. 42r.

The first step is obviously to collect the historical sources. This involves going to the archive, looking for the right documents at indexes and catalogues, and requesting all the folders needed. This takes time. In addition, transcribing the documents by hand, one by one, and taking pictures of all the documents requires a lot of patience. To give a sense of the scale of the work, the Refashioning the Renaissance project has identified and gathered over 1500 post-mortem inventories, belonging to craftsmen and small shopkeepers who died in urban centres of Siena, Florence, Venice or in the Scandinavian town of Elsinore between 1550 and 1650.

Once the documents have been identified, collected, reproduced and transcribed, we can move on to the second stage: to transpose the data from the sources into the database.  This work can be done in two different ways. The first option is to work in a source oriented way, i.e. to record all the information in the document word by word (verbatim) on the database, and thus to preserve both the original content as well as the structure of the document. Alternatively, the researcher can choose to work in a method oriented way, inserting only those parts of the information in the database that he or she has decided in advance are most interesting and relevant to the study. Both approaches are equally valid, and the choice between the two depends only on the characteristics of the study. Since the Refashioning the Renaissance focuses on a precise and circumscribed research topic, and there are a large number of sources to process, the most appropriate option was to conduct a method oriented study.

Once the decision has been made about the categories of object that one wants to focus on, one can start the actual data entry – or at least its first part. In this phase, the collected documents are analysed page by page, line by line. The data recorded at this stage is relatively basic, but it provides important technical information, for example, about the archival location of the document as well as about the individuals whose documents we are dealing with, such as the owner’s name, profession, place of residence, and the date of the document. This is followed by a faithful transcription of the description of the objects that were recorded in the document.

The work at this stage is laborious and takes time. Just for Florence and Siena, for example, we recorded more than 14000 textile objects, clothing articles and fashion accessories that belonged to artisans and shopkeepers, including a wide range of hats, gloves, skirts, aprons and shirts of different colour and kind.  This means that we filled 14000 lines of the Excel sheet. The task is often complicated by the fact that the handwriting in the document might be bad or the document is in poor condition.

The Refashioning the Renaissance database after the first step of data entry.

Nevertheless, the research is exciting. Post-mortem inventories are indeed interesting documents, since they allow us virtually to enter the homes that people of the past lived in. We can visit all the spaces of the house -the main bedroom which was usually reserved for the householder and his wife, and the hall that was used to throw parties during important occasions such as weddings and childbirths. We can visualise and appreciate the paintings that were hanging on their walls, observe the decoration which embellished beds and wardrobes, and even open every drawer or trunk that contained their clothing, from modest shirts and skirts worn for work, to elaborate silk aprons that were embellished with trims and embroidery. Once the basic data entry is completed, we extract the data. This means that all the descriptions of object are broken up and organised in many small units of information. We record in separate columns, for example, what type of object of clothing we are dealing it, its colour, material and finishing, and what the condition of the item is (whether it was new, used, old).

After this, we can move on to the third step, the data standardisation. The variety of objects, colours, and materials in our database is so wide that it would be difficult to analyse the data without a consistent system of categorisation.  Therefore, it is necessary to catalogue the information by identifying broad, homogeneous, and consistent categories. To provide an example, when we look at the colour of the objects, the various shades of red (rosso, pavonazzo, cremisi, and so on) are grouped under the same umbrella category called ‘red’. The same goes, for instance, for the huge variety of fabrics made of wool such as saie, rascie, panni, and saiette which are catalogued under the ‘wool’ label. The standardisation is perhaps one of the most important and delicate phases of the entire database creation process. In fact, the categories created cannot be too large (the results risk to be too vague and therefore not informative), nor too narrow (the risk here is to offer only many small impressions, without showing general trends).  The data standardisation also makes it possible to check the various entries for mistakes and correct errors, as well as, crucially, to translate the information in English (or eventually in any other language), making the database usable by a larger number of people.

Different shades of red. A.S.L. Archivio Sardini, n. 68/1. Samples of drappi attached to a book, commissioned at the fabbrica of Bartolomeo Talenti, 1771-1784 Catalogue, Arti e mestieri, n. 8.

The Refashioning the Renaissance database in its final form.

Once the standardisation phase is finished, the database is in its final form and it is ready to be properly used and tested.  The Refashioning the Renaissanceproject has created a dedicated online database in collaboration with Jodie Cox from Wildside, which will be available for everyone in the future. This allows one to do searches on the clothing, accessories and jewellery that our artisans and small shopkeepers owned, including their materials, colours, cut and condition of the articles, as well as how these were decorated and combined with other garments. All entries can be seen in both processed from as well as in the original documents, or organised in charts and tables according to years, geographical location, clothing types, colours and so forth.

Finished database, which will be open for public in the future.

A database, despite its granitic appearance, is in fact an organism capable of evolving in a thousand different ways, moulding itself to the needs of the researcher. This extreme flexibility is probably the greatest strength of this kind of quantitative approach and also the reason why it is particularly suitable for the analysis of historical issues. 

Some preliminary tests using the database.


Mattia worked with us for three months, assisting Stefania Montemezzo in the data standardisation and transcriptions for the database. Read more about Mattia on our People page, and more about the database on Stefania’s project page.

An Example of 16th Century Artisan Self-Fashioning – Master Shoemaker Jens Pedersen from Odense 

Shoemaker Jens Pedersen, 1583. Photo credit: Odense Bys Museer

In the process of gathering source material for my PhD research I came across a beautiful and decorative glass window in the shoe makers guild house in Odense, dating from 1583. Jens Pedersen had commissioned and donated the stained-glass window, picturing himself with his wife and two other shoemakers, probably a journeyman and an apprentice.

I was immediately caught by the details in the illustrations, and how the stained glass gives insight into the workshop of a shoemaker. Then I became intrigued by the variety of fashions and styles of garments that Jens Pedersen and his wife are wearing. They are each portrayed with three different outfits, showing off many kinds of decorative and colourful fashions and styles. The glass window shows different styles of hats and caps, and the construction of the clothes is also quite clear.   

A work scene from Jens Pedersen’s workshop is depicted in the middle of the frame. He as the master artisan, is sitting at a table wearing a black doublet and hose with some kind of linings, together with black stockings. On his head, he is wearing a black hat. The two working men are wearing white, probably linen shirts, black hoses and yellow stockings. They are all wearing ruffs around their necks. The workshop scene shows how the master artisan is cutting leather, and the journeyman and apprentice are sewing leather shoes together. The depiction not only gives insight into the working environment of the artisans, but also reveals a social hierarchy through the clothes worn by the master artisan and his workers. Were these the actual clothes shoemakers wore, when they were working in the workshop? And does this paint a realistic picture of an early modern artisan workshop?

Jens Pedersen must have had an agenda and an interest in showing himself off in the best possible way, and he is clearly aware that fashion can be a tool for promoting his own role as a prominent master shoemaker and burgher in the city of Odense. Especially the depictions outside the workshop signal honour and respect, and he is clearly using fashion as a tool for making himself stand out, and to shape his identity as a prominent and important burgher. His way of establishing himself as an important burgher can also be seen in the way he is using symbols, his wife with a wine jug and himself with a spear symbolling his participation in the city defence work.

His donation to the guild house shows that he proudly associates himself with the tradition of shoe making and of the guild. But at the same time, he distances himself from the coarser work of making shoes through his dress. Perhaps he also thought that the public placing of the window in the guild house could help shape an understanding of shoemakers as being fashionable, and in this way getting more patronage and additional commissions. No matter what, this is an excellent example of artisan self-fashioning, and I look forward seeing if there are similar examples out there.

 
Litterature:

Andersen, Vivi Lena: Between Cobbles, Bunion, Shoelast and Fashion. Shoes from 1300-1800 from Archaeological Excavations in Copenhagen, phd-dissertation submitted for University of Copenhagen, 2016.

Troels-Lund, Troels: Dagligt Liv i Norden: i det Sekstende Aarhundrede. vol 2. Gyldendalske Boghandel: Copenhagen, 1914.

Sumptuary Laws in Denmark: Om Drecht och Klædebon, 1558

In researching fashion and textiles in the artisan groups of Scandinavia, sumptuary laws are both important and interesting in terms of looking into what kinds of restrictions the king and the nobility found necessary to implement in society to maintain the social hierarchical order. Dress and fashion were ways people could signal their place in the social hierarchy, and the need to implement sumptuary laws, one might argue, was a response to a perceived threat from the masses of society.

In working with fashion among the lower groups of society, these laws are excellent in getting a glimpse into the social hierarchy of the Danish renaissance period, and especially how the society elite perceived the lower groups of society. Many sumptuary laws were issued in Denmark in the period of 1550-1650, but to what extent the over excessive consumption was an actual problem in the population, we do not know.

Christian III of Denmark, from the Bible of Christian III, 1550.

In considering the laws, I am especially interested in what kinds of restrictions were laid upon the ordinary people.  One of the first laws in the beginning of the period under investigation is a law from Denmark. In 1558 Christian III of Denmark issued a law called the Koldingske Recess. Within the law is the section called Om drecht och klædebon, where regulations on dress and textiles is stated. These regulations give information on what types of textiles the elite considered as luxury, and what kinds of textiles were in circulation in society, but they also tell what lower groups of society were restricted from using.

In general, the law prohibited all people from wearing luxury textiles such as gyldenstycke and sølfstycke (silk embroidered with gold and silver threads) and blyant silk (a valuable kind of silk together with any other kinds of silk embroidered with gold or silver thread). The law also prohibited the usage of embroidered hair pieces, pearls on headwear or neckwear, gold trimmings, silver trimmings, together with gold and silver lace.

Concerning ordinary people, it is stated that no unfree people, burghers or peasants, or the unfree man’s wife or their children, are allowed to wear velvet, damask, or silk. However, an honourable not noble woman, presumably an unmarried woman, was allowed to wear a plain silk or velvet ribbon around her head. Does this mean that the king and his servants had actual experienced these groups of lower stand wearing these kinds of textiles? And is this a sign that these people had access to these kinds of materials? These are some of the question that are interesting to look further into.

What the regulation also tells us, is that it was the responsibility of the hospital to collect the fees of people who broke the law. Working with these laws, however, we have to take in consideration that we do not know whether people ever were prosecuted for wearing forbidden items, or whether they might have adapted or rearranged their need for luxury, so they would not get prosecuted.

Even though there is a lack of knowledge on how these laws were enforced in this period, and we do not know how effective they were in real life, these laws offer great material when working with fashion and textiles, and can be used to accquire information on many different aspects on early modern Scandinavia.

 
Literature:

Dalgaard, Hanne Frøsig: Luksusforordninger – 1558.1683,1736,1783,1783 Og 1799. Tenen – Dansk Tekstilhistorisk Forening 2015.

Secher, V. A. Forordninger: Recesser Og Andre Kongelige Breve, Danmarks Lovgivning Vedkommende 1558-1660. Vol. 1: Selskabet for Udgivelse af Kilder til Dansk Historie, 1887-1888.