The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-09-28

tain details of the border indicate
that 1t is not in its original form. The
Formally of its pattern, however, and
the recurrence OF the pomegranate
suggest that II may have been de-
signed for the church, possibly for the
regal vestment of some prelate.
A needlepoint berthe in Case VII
combines the point d'Alencon and point
d'Argentan groundings; the central
medallion with its floral bouquet has
the fine mesh, while other parts of
the pattern have the large hexagonal
mesh.
A collection of lappets and cap
crowns of the first half of the eigh-
teenth century is placed in Case VIII.
In the old days the lappet, or barbe,
IS 1t Is sometimes called, was only
worn according to the strictest terms
IF etiquette. An early reference to
the custom is found In a description
of the funeral cortege of Queen Mary
Tudor G55S) which states that ladies'
in the first and second chariots wore
their barbes above their chynes," as
did likewise the four ladies on horse
back, while In the third chariot the
chynes." The lappets in this case are
Flemish bobbin work, Nos. 80, 81, 32.
SO. "a, 81 and Al, representing the best
type of old Brussels, always distin-
guished from the Flemish work of
other centres by the cote, a tapelike
,veining on the outline Of the pattern
or in the veining of the leaves. This
closely designed fabric seems to be a
survival of the compact Netherland-
ish lace of. the late seventeenth CEN
fury, and recalls as well the Schles-
wig lace preserved in the Rosenberg
Palace at Copenhagen. Nos. 3S, 80
and 40-a beautiful cap set with a
design of hunters, stays and dogs
have the same tsehnique but are
slightly later in date. In this set as
in the case of another set in Case TX.
mos. 46-4O the ownership is divided
between two enthusiastic collectors,
Mrs. Harris Fahnestock owning the
lappets and Mrs. McDougall Eawkes
the crown.
In Nos. 80, Sc and ~ the floral type
of pattern has been replaced by a close
design of ornamental hands and palm
cites, while No. 80 shows a tendency
on the part of the worker to produce
a more open effect by the introduce
ton of the reseau, which is charac-
teristic of the later period covered by
the lappets in Case TX. An eNcep-
tionally fine cap set (No. 35), in which
the ornamental ground, the oeil de
perdrir. reflects the needlepoint stitch
popular with the Argentan workers,
the reseau rosace (cf. No. % in Case
W, consists of the crown and lappets
with three lengths OF narrow lace
which comprised the bdrbes pleines or
lace headdress OF ladies at the court
of Louis XIV. Lappets also formed
part OF the fontange, a lace headdress
introduced during the later years of
the reign OF Louis XIV. This was
made with a high standing frill in
front, while the barbes hung loose at
the back. The lace produced at this
period often had the pattern reversed
to meet the demand of this important
feature OF court costume, just as was
true in the sixteenth and early seven
teenth centuries in the case of bobbin
lace made for trimming the neck ruffs
(cf the strip of lace in Case xxi.
with its inverted figures). In No. 40
two lappets have been Joined by a
skilful worker. the narrow lace frin
having been combined with the barbes
to make one long piece similar to a
guile (of No. 104. Case XXIX),
In Case TX. most OF the lappets shown
are OF later period. the third quarter