In looking over the French inventories of Louis XIV.’s time, we frequently come across the description of a bed that belongs to an earlier period. It is not surprising that these old beds, with their magnificent hangings that are sometimes described as much faded, or as lacking some of their decorations, should have been valued and bequeathed from generation to generation. In some of the castles, therefore, the beds were historic. Sometimes they had special names by which they were known. For instance, among the valuable beds owned by the Crown was a bed mi-party of embroidered violet velvet and cloth of gold that was known as “lit d’Angleterre,” because the arms of England were embroidered in the centre of the headboard with the device “Honi soit qui mal y pense.” Another bed was anciently called the “lit des satyres,” because upon its draperies were depicted Diana and her nymphs and satyrs. Another was known as the “lit de Melusine,” because that serpent-princess was represented on the headboard as bathing in a fountain. Such beds, belonging to a former age, were frequently to be met with in luxurious and ancient dwellings; yet we cannot associate them with the days of Louis XIV. Nor was the lit en housse abandoned. It is indeed quite frequently found. Even as late as 1708, M. de Leger’s chamber contains a lit en housse (3½ feet wide and 6 feet long) of violet and white damask trimmed with a mixed silk fringe. The four folding-stools in this room were covered with the same. On Plate [XV.] (No. 1) a transitional bed is shown; this forms a link between the lit en housse of the Louis XIII. period and the lit d’ange of the Louis XIV. period. The latter, also represented on Plate [XV.], is the characteristic bed of this age, and is the model to be kept in view when reading the descriptions of the beds in the following pages, and the model that should be imitated when arranging a bedroom of this period.
PLATE XIV
The position of the bed is always “vu de pied,”—standing out in the room.
According to the Dictionnaire de Trévoux, a lit d’ange was a bed without pillars or posts, and whose curtains were looped back. To add to this, other authorities say that the ciel, or canopy, while being the same width as the bed, must not be as long. If it covers the entire bed, then it is a lit à la duchesse, and if it lacks a carved or decorative cornice, then it becomes simply a lit à pavillon. Finally, according to Havard, the true difference between a lit d’ange and a “lit vu de pieds” of to-day is not to be determined by the dimensions of the canopy, nor by the arrangement of the curtains or lambrequins, which are the same, but that the foot of the bed is not simply covered by a long courtepointe, or counterpane, but should have the squares of drapery (cantonnières), hanging from the mattress repeating the form and trimmings of the upper valance and rest of the bed furniture.
An early lit d’ange recorded occurs in Cardinal Mazarin’s inventory, dated 1653, and is described as a lit d’ange of China gauze on a background of flame-coloured silk, with flowers and syrens in gold. The counterpane and six curtains were of this rich material adorned with gold fringe. The lit d’ange continued in fashion for about a hundred years. It became as popular as the lit en housse had been; and, if we may believe Des mots à la mode, one of the merits of a courtier in 1692 was to “juger en dernier ressort du grand art de retrousser les rideaux d’un lit d’ange.”
The lit d’ange was sometimes as high as 12 feet; but it was generally 11 feet high, 6 feet wide, and nearly 7 feet long. Single beds were about 6 feet long, 6 feet high, and 3 feet wide. They were evidently comfortable, as the average number of mattresses was three, besides a feather-bed, and the bolster was frequently of down. Pillows never seem to have been used on the bed at all. For instance, the furnishings of Madame de Maintenon’s bed were: two woollen mattresses covered with fustian, one feather-bed, one hair-bolster; and, in addition to the sheets, she had a red blanket, a Marseilles quilt, and a wadded white satin quilt, the reverse being of white taffeta. Over the white Marseilles quilt, the crimson damask counterpane was smoothly drawn, and the valance neatly adjusted. Mademoiselle d’Aumale’s bed had three mattresses and a feather-bed and a feather-bolster. She had two white woollen blankets and a white Marseilles quilt.
The various pieces of the bed were valances (upper and lower), cantonnières (for definition, see note on page [85]), straight curtains called bonnes grâces, outside curtains, headboard, canopy, posts, and pommes, or knobs. The four-post bedstead has nearly become extinct, and now the beds have but two posts only at the head. These are almost invariably covered with a kind of sheath, or case, made of brocade, silk, or velvet, matching, or contrasting with, the curtains. Taffeta is a favourite material for lining the curtains, and almost every bed is decorated with some kind of braid and fringe, usually gold, or gold and silver mixed. In addition to the beds described in the preceding pages, we may note here other typical beds that would serve as suggestions for the designer of to-day. One is a bed of reddish brown velvet, embroidered with gold, and trimmed with a gold braid and fringe; the valances, headboard, posts, and canopy were of this material, while the three curtains were of a gold, silver, and violet brocade lined with red taffeta. Another was of green and white muslin, trimmed with a woollen braid and fringe of green and white; a third, is a pavilion bed of red and white muslin, trimmed with red and white fringe; and a fourth, a “lit en dome” of striped gauze, the stripes being gold, silver, and flame-colour. The ornamental fringe was a narrow one of gold and silver. The draperies were arranged in seven festoons. The counterpane was also of this striped gauze.
Returning to the lit d’ange, one owned by the King himself is of extraordinary elaborateness, being entirely embroidered on a gold background, with flowers, quivers, cartouches with the arms and cypher of the King, and, moreover, ornamented with gold lace. On the ceiling, there was painted a little picture representing Night; and on the centre of the counterpane, a picture representing Sleep. A heavy gold cord, tied in knots and decorated with tassels, looped back the curtains. The wood at the foot was visible. It was carved in the form of two pillars at the foot representing children on eagles, each carrying on his head a perfume-vase. This frame and all the rest of the visible wood was gilded. The detail (No. 2) on Plate [XV.] represents the base of a less ornate bed and one of a later period than this of the King. Here there is a feeling that anticipates the coming period of the Regency, although the cloven foot, or hind’s foot has long been familiar, and is of frequent occurrence in Boulle’s work. The mascaron, too, above the foot, is not new, nor is the shell, or anthemion ornament, in the centre. The general effect of the curve is what announces the coming style.
Two beds belonging to Louis XIV. were described in 1718 after his death, and as having been made especially for him. One was à la duchesse (demi ciel), and the other was à l’Impériale (the dome surmounted by a crown). The latter must have been very handsome, as it was of yellow damask, embroidered in silver, the design being foliage, leaves, berries, and seeds. The whole bed was finished with a fringe of amaranth chenille. What a charming combination! yellow and silver with a touch of reddish purple!