For those not familiar, the rochet, while it may look like a surplice in many ways, it is not the same thing as a surplice. The rochet (which can be primarily distinguished from a surplice by way of its form fitting sleeves) is an article of clerical vesture that is worn solely by prelates. Unlike the surplice, it is almost never worn uncovered but is rather covered over by another article of vesture such as a surplice, mozzetta, mantelletta or what not. The reason for this is that a rochet is considered a symbol of juridical authority; as such, when its wearer does not hold that authority in that place, it is covered over in order to represent that.
John Abel Nainfa, in his work Costumes of Prelates of the Catholic Church, has this to say of the rochet and its use:
The uncovered rochet is a sign of Ordinary Jurisdiction. Therefore, the Pope and Cardinals all over the world, Archbishops in their provinces, Bishops in their dioceses, Abbots in their monasteries, alone have the right to wear the rochet uncovered. Practically the rochet is always partly covered with some other vestment. However, a Cardinal at Rome, a Bishop outside of his diocese, and all the Prelates who have the privilege of wearing the rochet without having "ordinary jurisdiction," should entirely cover the rochet with the mantelletta. Abbots in their monasteries, Bishops in their dioceses, Archbishops in their provinces, and Cardinals everywhere, except at Rome, wear the mozzetta over the rochet... The Pope, Cardinals, Patriarchs, Archbishops, and Bishops have by law the full right to use the rochet. It is the principal part of their choir habit.
So with that bit of vestural background covered, I wished to now turn your attention to a rather stunning rochet that was made in Venice sometime between the years 1675-1699. It is a truly stunning piece and what is notable about it, at least to me, is the fact of its length (which is much like that of an alb). In recent centuries the rochet has tended to only come down so far as the thigh or perhaps the knee, but as you will see from this particular example, it could also be historically found to be much longer:
The lace used here is quite beautiful, being very fine in its details. It appears to use the style and technique of needle lace that the Venetians made famous in the seventeenth century, "point de Venise." Point de Venise lace is characterized by its scrolling, floriated patterns and it would come to be one of the most desired types of laces on the Continent.
The upper linen of the rochet is also pleated using the decorative "griccia" technique (a technique that one would traditionally find in Rome or other parts of Italy). Most often we see that technique in relation to the cotta (i.e. surplice), but it was also used at times for albs and, as we see here, even the rochet.
This rochet comes from the collection of the Victoria and Albert Museum who note that it is thought to have belonged to one of the Archbishop's of Padua, Presuming that their dating is correct, that would make it either the rochet of Cardinal Giorgio Cornaro (Archbishop of Padua from 1697-1722). or perhaps more likely, that of the sainted cardinal, Gregorio Giovanni Gaspare Barbarigo (Archbishop of Padua from 1664-1697):
Of course, whether or not this rochet is precisely dated or to whom it might have belonged is less the point than the fact of its particular nobility and elegance. From its full-bodied length, to its Point de Venise lace, to its decorative griccia pleating, it presents us with a number of elements that are rarely seen in our own time and yet are representative of the grace and beauty of the Roman vestural tradition.
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