Cravat End

Discussion

FROM THE ART INSTITUTE OF CHICAGO’S CATALOG

When the heavily Baroque fashions originating at the court of Louis XIV (r. 1643–1715) were simplified during the late 1660s, accessories underwent similar changes. Once belonging to a set of two, this splendid piece of Brussels lace may have been made for the Sun King himself shortly before his death. This type of bobbin part-lace, initially produced in Brussels during the eighteenth century, consists of individual motifs made separately but joined together so skillfully that the seams are almost imperceptible. Worn with its mate, slightly gathered at the neck, this rectangular piece of fabric is replete with symbols signifying the elevated status of its wearer. At center are a rooster and trophies, beneath which is the king’s monogram of double L s. Surmounting this image and supported by two trumpeting angels is a baldachin, a canopy carried over important personages during processions. Armed female warriors appear to the right and left, and gracing the upper corners are the Maltese cross and the sun, the latter the emblem of Louis.

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