A burgeoning market for antique European lace developed in Europe and the United States during the second half of the nineteenth century. Encouraged by women who were adding antique-lace elements to their garments in the 1840s, the market grew as private collectors and decorative arts museums formed antique-lace collections. Continued interest in lace fostered the development of replicas of past styles, particularly point de France. This style, which includes needlepoint and bobbin-made laces, developed in late seventeenth-century France under the direction of Jean Baptiste Colbert (1619–1683), France’s First Minister of State. It was made only by state-authorized lace makers using preset patterns, materials, and guidelines. In the 1670s, these patterns reflected the style of Jean Berain the Elder (1640–1711), dessinateur de la chambre et du cabinet du roi (draftsman of the king’s chamber and office) from 1674 and chief government designer from 1690. His style was distinguished by decorative scrollwork and motifs inspired by Asian aesthetics. This delicate flounce featuring Berainesque patterns depicts figures seated under canopies fanning themselves. They are surrounded by dancers, cherubs, birds, butterflies, and ceremonial flags. The pattern traces back to a seventeenth-century point de France needlework flounce believed to have been commissioned for the court of Louis XIV (r. 1643 to 1715). Though the lace technique has shifted and overt references to the court, such as the crown and sun, have disappeared, the flags and pavilions reflect the longevity of this popular theme. The Museums’ flounce may have been intended as trim for a dressing table, a bed, or other piece of furniture. llc & jkd