ABSTRACT
This chapter explores the question of the significance of the roses on Margaret's collier and suggests an alternative understanding of their function in this intricate ensemble of enamel, gold, and jewels. The delicate little gold pin in the form of a daisy or 'marguerite' placed at the far right edge of her decolletage further serves to identify the sitter as Margaret of York. In contrast to the sumptuous tones of the portrait and, in particular, Margaret's dress, the collier stands out as both vibrant and ornate: an elaborate ensemble of gold, jewels, and enamel work in floral forms combined with patterns of abstract interlace and initials. The Portrait of Margaret of York, variously dated on biographic and stylistic grounds to the period 1468—80, depicts the sitter at half length and in three-quarter view. In numerous respects, the Louvre portrait documents the thorough 'Burgundianization' of Margaret of York.
