User:TrudiJ/sandbox/Bed hangings

= Bed hangings = Bed hangings, also known as bed "furniture," were used from medieval times through the 19th century, though their popularity waned from the mid 1700s. Bed hangings proved useful for several reasons. The master bed was often located in the parlor, and the hangings provided privacy. Other beds may have occupied the hall and kitchen, as well as the upstairs bedrooms. Given the public locations of some beds, the decorated hangings also served as a show of wealth and helped to keep warmth in. Bed hangings in the second half of the 1600s through the first half of the 1700s were often embroidered with Jacobean motifs in crewel wool.By the mid 18th century, separate rooms for sleeping were becoming more common, and the need for bed hangings diminished.

Categories of hangings
A complete set of bed furniture would include a coverlet (not technically a bed hanging), "a headcloth, three or four valences (depending on whether the bed was against the wall), side curtains, a tester cloth (canopy), and bases, attached to the bed rail."

Headcloth (or Head cloth): this would hang above the head of the bed and extended just below the head board. It would normally be as wide as the bed. If there was extra width, it may have been designed to be wrapped around the bed posts.

Valences: these short pieces of fabric would extend around the top of the bed, outside of the other hangings, and would lie perfectly flat. They were the "crowning element in a set of bed hangings." They were usually in three pieces, one for each side and one for the bottom of the bed, but by the late 1700s a valence might be one long piece.

Side curtains: these would hang on both sides of the bed, and be used to cover the upper half of the bed.

Tester cloth: the canopy for the bed (the word tester was occasionally used to mean the headcloth) Foot curtains: these would be wider than the side curtains. They would be pulled both toward the center sides of the bed, to meet the side curtains, and towards the foot of the bed, to meet in the center across from the headcloth.

Bases: These would often be stiff, and used to cover the lower bed frame.

Materials
English bed curtains were often made of wool, though in the mid 1600s linen and cotton fabrics started to be used, particularly fustian, a heavy twill-woven cloth with a linen warp and a cotton weft. In the late 1600s those who could afford it might use silk and velvet fabrics. Colonial American bed hangings were often made of home grown linen or from local wool. These would be spun, dyed and woven, though finer fabrics were available for purchase.

Needlework decorations
Embroidery was used to decorate bed hangings, with some of the finest embroidery produced in Caen, in France. Elaborately decorated bed hangings were known in medieval and renaissance France as courtepointerie, a term now associated with quilts. These sumptuous bed hangings were purchased by the nobility and royalty. During the Renaissance in France, bed valences were embroidered with scenes from the bible, mythology, and allegory. Many bed hangings were made from velvet or satin. Those of the highest quality were made by professionals. In Italy, embroidered bed hangings had been made in Palermo since the 12th century. Professional workers embroidered padded gold threads on velvet or satin, used braid-outlined applique, sometimes with silk embroidery.

Crewel embroidery with wool was used to decorate many bed hangings in England and the colonial US from the mid 1600s to the mid 1700s. The designs used in England were more dense than the open designs found in colonial America, and many used a wider range of stitches. Thread was hard to get in Colonial America, and so it was not used where it would not show. Colonial bed hangings used stitches where most of the wool is visible on the front, and not wasted on the back. Such stitches include economy (Romanian) stitch, flat stitch, herringbone, buttonhole, running (outline), and French and bullion knot stitches. Regardless, the work involved a great deal of time and effort, as it required decorating large expanses of fabric.

For bed hangings decorated at home, the colors of the embroidery depended on what was available for use, or what could be dyed. Those who had access to a full range of colors could embroider realistic floral designs, while others would select or be limited to a monochromatic color scheme. Blue and rose and blue and white were popular in the American colonies, with the blue dye coming from the household's indigo pot The designs used varied with the country and the time period. Elizabethan designs had scrolling vines and animal patterns, Jacobean designs might be predominantly leaves. About the turn of the 17th century, chinoiserie design elements became popular. By the mid 1700s, designs were more natural and included pictorial elements, such as animals.

It is possible that few pieces of 17th century crewel bed hangings survive because women did not have the leisure time to work on them. In addition, few full sets of bed hangings were passed down intact, because their worth often meant they were divided amongst surviving heirs.

Examples
In Great Britain, the Oxburgh Hangings, hanging in Oxburgh Hall, were embroidered by Mary Queen of Scotts and Bess of Hardwick between 1570 and approximately 1585. Anne Boleyn embroidered a tester for Henry VIII.

In the United States, the only complete set of embroidered bed hangings are those made by Mary Bulman, most likely in the 1730s, which are housed in the Old Gaol Museum in York, Maine. This set includes "four curtains, a coverlet, a headcloth, tester, outer valences, and inner valences." These inner valences contained an embroidered poem by Isaac Watts, "Meditation in a Grove." These valences would hang inside the bed curtains, where they could be read while in bed. When Mary's husband died in 1745, his probate inventory listed the value of the bed hangings as 20 pounds, which was the same amount as a 10-acre piece of land also in the inventory.

A set of bed hangings donated to the Museum of Fine Arts, Boston by Samuel Bradstreet, a descendent of the early American poet Anne Bradstreet, were worked in crewel in a pattern of large floral designs, and were likely made in the second quarter of the 1700s.

The New Elizabethan Embroidery Project created a new set of bed hangings in the Elizabethan style for the 16th century bed in the Grand Tudor chamber in Sulgrave Manor, George Washington' s ancestral home. Completed in 2007 by stitchers in both the US and the UK, the designs were inspired by motifs and symbols found elsewhere in the house.