Fig. 24.
Assyrian delineation of Chaldean House.
Furniture has been the excuse and the vehicle for embroideries, from the footstool and the cushion to the window curtain and the bed-hangings.[463]
Such curtains are the most permanently important features in the economy, or rather the luxury of the house. Let us begin with the decorations of the state bedroom.
Now the shape of the bed must regulate the design. If there is only a canopy—like that over a throne—one may have fine work for the head of the bed inside the canopy, and a rich border round its valance; this should contrast with the walls; and the curtains should marry the two together, by the embroidered borders belonging to the fashion of the bed, and accompanying the window curtains; while the plain surface should match with the wall hangings. Another method is to have the bed and curtains hung with plain materials, to contrast with embroidered or tapestried hangings on the walls.
This style of bed canopy absolutely belongs to the decoration of the wall to which it is attached. But when we have to deal with a large four-post bed—“a room within a room,” as poor Prince Lee Boo said—the bed may, in its own decoration, be totally independent of the wall hangings; and care must be taken that we do not injure the effect of both by too much contrast or too much similarity. Every room has its own individuality, and the first beginning of its decoration must be the key-note to guide the rest of the furnishing and adornment. I am anxious to point out that the bed and its belongings are a most important element in the beauty and dignity of style of the room and the house that contains it. It is a splendid opportunity for displaying the embroideries of the women of the family, and for exercising their taste. “The chamber of Dais,” as it was called in old times, was always carefully adorned for the welcome of the honoured guest. The bed-hangings, and even the linen, were embroidered,[464] and the greatest care and the most artistic work were lavished on the coverlet in firm stitches and twisted threads, while on the curtains the frailest materials and most delicate stitches were freely bestowed, as they were safe from friction. We may employ floss-silk and satin-stitch for such works with safety.
As a rule we should avoid too great a variety of design in the decoration of a bedroom, and at the same time beware of its becoming monotonous.
I should say that a change in the design, though not in the style, of the different parts of the bed is admissible, and gives opportunities for rich and graceful work. For instance, a parsemé pattern may be varied judiciously on the curtains, the valance, and the heading; provided there is a connecting link (say a cypher) found throughout. If the back of the Baldachino is embroidered, it admits of totally different treatment, and the valance must include a border according to its outline.
The ingenuity and magnificence of the Elizabethan bedroom furnishings are proved by the inventories to be found in old houses. Those describing the property of the Earl of Leicester, in the Library at Longleat, are so characteristic of a time when each room contained artistic furniture, that I cannot help making here some extracts, and pointing out that embroidery was usually employed to individualize each decoration.
“At Killingworth (Kenilworth) Lord Leicester’s Bedsteads.” “A fayre, rich, standing Square Bedstead of carved walnut-tree wood: painted with silver hearts, ragged staves and roses. The furniture and teste crimson velvet embroidered with silver roses, and lined throughout with Buckram.” There was apparently a second set of curtains inside of striped white satin, trimmed and fringed with silver, and the velvet curtains were also fringed with silver with long “buttons and loops.”
Another bedstead is described, with the pillars painted red, and varnished. The teste and curtains of red silk edged with gold and silver bone lace, and embroidered “in a border of hops, roses, and pomegranates.”