are to be seen worn by many figures. In the famous Calendar scenes of the Trés Riches Heures, they are worn in the original form by the peasants working in the fields, both men and women (February, March and September), and huntsmen (December), and in the new form by some of the courtiers (January and May), who wear coloured and scalloped ones, probably of silk. However, the Duke himself, and the most prominent courtiers, do not wear them. In the Livre de Chasse they are most often worn by the lower huntsmen on foot in the original form, though they and mounted hunters also wear them on top of the head. Figures often have a hood chaperon and a hat as well. Only the original form (trimmed with fur in one case - fol.51V) is worn by the very highest-ranking figures. By the 1430s most chaperons had become simpler in the treatment of the cloth, and the cornette is long and plain, although the patte may still be elaborately treated with dagging. A perhaps overdressed courtier in a Van der Weyden workshop Exhumation of St Hubert (National Gallery, London NG 783) from this decade still has a very elaborately cut and dagged patte. A figure behind him is wearing his in church, which is unusual (both figures can be paralleled in the Seven Sacraments Altarpiece; see Gallery below). Evolved chaperon By the middle of the 15th century the evolved chaperon (worn on top of the head, with bourrelet) had become common wear for males in the upper and middle classes, and were worn in painted portraits, including those of the Dukes of Burgundy. The amount of cloth involved had become considerable, and although chaperons seem to have normally been of a single colour at this period, a silk or damask one would have been a conspicuous sign of affluence. A Florentine chaperon of 1515 is recorded as using sixteen braccia of cloth, over ten yards (9 metres). Chaperons are nearly always shown in art as plain-coloured at this period, but painting a patterned one would have been a daunting task. The cornette now stretched nearly to the ground, and the patte had also grown slightly; both were now plain and undecorated by cutting or dagging at the edges. Bourrelets could be very large, or quite modest; some were clearly made round a hollow framework (a drawing survives of an Italian