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- 1855 T. Webster & Mrs. Parkes Encycl. Domest. Econ. (new ed.) 291 - Bed-curtains are made of various materials, as silk, damask, moreen, chints, or dimity.
Bed curtains are pieces of fabric commissioned to drape around and enclose the eighteenth century four-poster bed, and, although they are less common in modern society due to design and material innovation, they were regardless a staple of the moderate to wealthy home. At first, they were used in a purely utilitarian sense: as draft-preventers around beds, and as coverings for wedding carriages and carnival pieces. However, they later came to indicate the wealth of the household they were located within, and were a way of equalising the power dynamics within a relationship between husband and wife. In literary terms, bed curtains functioned as a construct with which an author could create a truly private space for a married couple; in separating them from the outside world and the public sphere, the gender barriers were less pronounced, and the woman was given some personal agency.
(1) John Linnell's design for a state bed, 1765.
The design, though impractical and never made, features solely around the theme of love and exudes grandeur and romance. Due to the Earl's coronet at the foot of the bed it is likely that this was designed for an Earl, and the opulence of the carvings and heightened use of damask suggest a neoclassical approach.
Class Distinctions
(2) A late 18th Century bed curtain from a household of the wealthy Peasant class.
This example shows how the intricacy and size of the bed curtain would have affected the value and therefore who could have owned it; the buildings are most likely those that are in the vicinity of the maker, but could have been commissioned to contain local landscape. Shown here is that the bed curtain as a concept transcended class as the Wealthy Peasant class tried to uphold the fashions of those above them in the class structure. Of course the key functions of the bed curtain are decoration and draft prevention, but through restrictions of value and price, they become a signifier of social standing and position. Therefore, one's means are literally being depicted to those who enter the bedroom, setting the bedroom itself (outside of the bed curtain) as a public space rather than private, as such intricate detail was afforded to the Bed Curtain for performative purposes. There is a suggestion in Eighteenth Century literature that the most expensive bed curtains would be presented in the guest bedrooms to deliver this exact function, rather than being enjoyed by the home owner.
The following are examples of fabric used to make Bed Curtains. To establish their value the records of the Old Bailey have been used and the prevalence of cases show their popularity, so Bed Curtains are easily stolen and therefore sold. Bed Curtains then become emblematic of economic exchange.
Harrateen.
A kind of linen fabric formerly used for curtains, bed-furniture, and the like. - OED
- 1825 E. Hewlett Cottage Comforts v. §67. 36 - If you have curtains..the best..are linen check harrateen.
Harrateen was the cheaper option for bed curtains, with a worth of around 12 s depending on their size:
- 22, 23. John Turner and Susannah (his Wife ) were indicted for stealing a Sett of Harrateen Bed-Curtains value 12 s.
Although it is earlier referred to as "the best," by Esther Hewlett in her publication, "Cottage Comforts, with hints for promoting them, gleaned from experience: enlightened with authentic anecdotes - 1825"; it is clear that this text would be aimed more toward the rising bourgeoisie class rather than the aristocracy, so the difference in disposable income would dictate the standard of curtain fabric. From the title it can be deduced that this text was an early guide to home improvement, and so bed curtains once again take on an air of performativity with the purpose to "promote" the home to others.
Chints/Chintz.
- 1755 Johnson Dict. Eng. Lang.Chints, cloath of cotton made in India.
THE ORDINARY of NEWGATE, His ACCOUNT of the Behaviour, Confession, and Dying Words, OF THE MALEFACTOR, Who were EXECUTED at TYBURN, n WEDNESDAY the 26th of this Instant JULY, 1732:
"Household Furniture; consisting of fine Needlework, Chintz, Silk, and other Standing Beds, with Chairs, Hangings, and Window Curtains suitable to the same; Crimson Damask Window Curtains, Chairs and Hangings; India Cabinets, Screens, Chests and Tables of the rare old Japan, fine large Pier and Chimney-Glasses and Sconces, and a curious large Parcel of old Japan China Ware of the most useful Sort."
The importing of fabric is a good indicator of the success of the Empire and the increased focus on international trade. The furniture in this household is very orientalised, showing the fashions for the exotic in the English home, only made possible by the increased trade and exploration of new lands by the Empire.
Moreen.
A strong ribbed worsted fabric with a watered finish, used esp. for making curtains and furnishings in the 18th and 19th centuries.
- 1796 C. Smith Marchmont III. 67 A high, long, old~fashion room, with a dark blue morine bed at the end of it.
WILLIAM OWEN was indicted for stealing forty-eight yards of stuff called morine, value 4 l. 10 s. and a linen wrapper, value 8 d. ++
- Carpenter. I am warehouse-man to Mr. Webb, in Gracechurch-street; I looked out two pieces of morine, about forty-eight yards, to be sent to the George in Smithfield ; they were carried by Richard Hooper .
Richard Hooper . I carried the morine to the George inn; I delivered it I believe to the book-keeper of the inn; it was to be sent to Hagley in the waggon; I carried it on the 3 d. instant.
Richard Weston . The prisoner acknowledged stealing this out of the George-yards.
The fabric is engaged in a movement throughout the mapping of the city, being exchanged from one person to another and is once again the symbol for increased trade and entrepreneurship.
Dimity.
- Tout cotton fabric, woven with raised stripes or fancy figures; usually employed undyed for beds and bedroom hangings, and sometimes for garments.
- c1710 C. Fiennes Diary (1888) 236 A half bedstead as the new mode, dimity wth fine shades of worstead works well made up.
Frances Tate and Elizabeth Oxbury of the Parish of St. Andrew in Holbourn , were indicted for privately stealing 40 Yards ofDimity, value 38 s. out of the Shop of Thomas Nash , on the 23rd of January last.
A more expensive material than moreen, dimity was used as a more decorative piece, so rather than the quality of the fabric it was the design which held the importance in the use of this material.
Bed Damask.
- 1728 in H. B. Morse Chron. East India Co. (1926) I. xviii. 196 (table) - Bed Damask..Poisee, flowered. - OED
Bed damask was the more expensive option:
John Wright and Edmond Anthony , of the Parish of St. Andrews Holbourn , were Indicted for breaking the House of Matthew Pluck Esq : on the 23d. of August last, and stealing six flowr'd damask Curtains value 40 s.
As shown by (1), the design for the Earl's bed intended to use damask for the covers and the curtains, it was held in high esteem as a fabric, and was therefore very expensive, limiting the families that could afford it, enhancing it's exclusivity.
(3) One of five Eighteenth Century red silk damask festoon curtains, repaired by Lady Meade-Fetherstonhaugh
The prestige of damask is shown here, as Queen Anne herself used it as both bedding and bed curtains for her gargantuan four poster. Although Queen Anne died before the bed could be completed, the bed was finished and so gives us an insight into not only the popularity, but the elevation of the fabric to be used in such a commission. Once again, the idea of performativity and the bedroom as a public space is introduced with the excessive scale of the bed. Following on from the idea of wealth being reflected by the quality of material and structure - this is a literal embodiment of the wealth and status of Queen Anne, supporting the illustration of class boundaries through the quality and size of not only the curtain but furniture itself.
Poverty
(4) In Praise of Poverty
"A little meat sufficeth to nourish us, a poor Bed (without Rich Curtains) will serve to repose us."
This passage shows that there was a limit to the classes that could commission a bed curtain, as they are an unaffordable frivolous item, secondary to the basics of survival such as meat. Therefore the text shows the bed curtain as a somewhat inaccessible object to the lower classes, and a signifier not only of a class but of a lifestyle and mindset. It shows that the basic functionality of objects were becoming something perhaps demeaned by the wealthy or comfortable, as "a poor Bed" will suffice without the garnishes added by others, indicating the rise of aestheticism. It's inclusion in a poverty narrative acknowledges the prevalence of the "Rich Curtain" in middle and upper class homes, but also enters it into the discourse of excess arising in Eighteenth Century fiction moving into the Nineteenth.
Curtain Lectures
curtain-ˈlecture, n.
‘A reproof given by a wife to her husband in bed’ (Johnson)
Curtain lectures were named as such because of the bed curtain enclosing the sleepers and therefore making a private space where a wife could reproach her husband. While the domestic space is associated with the feminine, the overall power in a relationship still lay with the male and so these reproaches could not be given in the presence of servants or friends so to not undermine the accepted gender roles of the time.
"She knew that her husband was too much distracted by his business as toyman and doll-merchant to digest her lessons in the broad day. Besides, she could never make sure of him : he was always liable to be summoned to the shop. Now from eleven at night until seven in the morning there was no retreat for him. He was compelled to lie and listen. Perhaps there was little magnanimity in this on the part of Mrs Caudle; but in marriage, as in war, it is permitted to take every advantage of the enemy. Besides, Mrs Caudle copied very ancient and classic authority. Minerva's bird, the very wisest thing in feathers is silent all the day. So was Mrs. Caudle. Like the owl, she hooted only at night."
(Mrs Caudle's Curtain Lectures and other stories, Introduction)
This quote clearly depicts the space behind the bed curtain as being entrapping to the husband, and one in which the wife asserts dominance. The norm of a passive female is challenged as the male adopts the passive role, and is forced to be submissive to his wife to conform to the sleeping pattern and social normative routine of the middle class. It does further perpetuate the limitation of female reproach as by remaining within the boundaries of acceptable routine and therefore the bed curtain, the woman remains passive in the daytime. The husband can come and go as is he deems appropriate whereas the wife must adhere to certain levels of decorum, and is not engaged in personal means of employment. While the man can escape the clutches of the bed curtain during the day, a woman cannot escape the domestic sphere. Curtain lectures therefore re-appropriate the space of the bed as the woman is shielded by the bed curtain, and while the Eighteenth Century ideal of sexuality was very much associated with the fantasies of the male, the bed is reclaimed by females as a space of reproach and dominance rather than a reassertion of the patriarchy.
An extract from a feminist document of 1700, The Female Advocate: A plea for the just liberty of the tender sex, and particularly of married women.
"If he be under such Discipline, he has doubtless had many a severe Curtain Lecture for it since; thou most are of opinion that he is very little Terror on that account."
In this document it is reiterated that Curtain lectures therefore represent the only space in which a woman has complete power, in bed and only in exclusive privacy. Reflecting opinion which undermines the brevity and effect of the Lecture, it asserts the idea for other outlets and an equality of power structures within relationships so that a woman's thoughts are not restricted to and by this one physical space.
A Curtain lecture between Mary Browne and her husband John Browne, in Blything Hundred.
M - "I'll tell you a piece of my mind before we get up."
J - "For God's sake don't say any more."
M - "I am determined to give it you, now you can't get away."
The curtain creates a barrier through which a husband cannot escape until permission is given and the routine of the feminine space has begun. As previously shown, Curtain Lectures are inescapable and so the bed curtain becomes symbolic for entrapment. Even after specific instruction from her husband, Mary is able to continue berating him without hindrance, solidifying the female dominant power relationship. The documentation of the curtain lecture shows women as an economically untapped resource - constantly referring to household budget and economics in a macro environment. Despite initially appearing as the 'nagging wife,' instead they show a mental prowess and unused faculties.
Summer Amusement: or Miscellaneous Poems: inscribed to the frequenters of Margate, Ramsgate etc.
This common idea most prevalent in the latter half of the 18th Century was filtering into poetry, but was taking on negative connotations, "She gave poor Ford a curtain lecture," and became the representation of an inconvenience. Rather than the bed being a woman's domain, the bed is re-appropriated to a symbol of entrapment and an overly fussing wife.
Low-Life: Or One Half of the World, Knows not how The Other Half Life
Through Curtain Lectures, bed curtains become associated with propriety and "Family-Duty" often tied with financial implications of the husband's spending:
"Some married citizens are under very severe Curtain-Lectures for the general Misconduct of their Lives, and their very great Neglect of Family-Duty." (24)
Again a culture is born where the Curtain Lecture is an inconvenience or an undesirable trait, with particular emphasis on the lack of employment of women:
"Poor labouring Men, who have been pestered with their Wives Uneasinesses the past Night, instead of taking and Rest, are obliged to get up, put on Part of their Cloaths, and go a Nigiting, i.e. fetching Midwives, Nurses and Gossips." (29)
Mrs Caudle's Curtain Lectures and other stories, Douglas Jerrold
Published in 1862, this text focuses on the tradition of Curtain Lectures through the dictation of a husband's (Job) reproofs from beyond the grave. Rather hysterically, before her death, Mrs Caudle would give such a stern curtain lecture that upon her death, Job continued to hear them:
"It was terrible to be thus haunted by a voice : to have advice, commands, remonstrance, all sorts of saws and adages still poured upon him, and no visible wife. Now did the voice speak from the curtains; now from the tester; and now did it whisper to Job from the very pillow that he pressed." (Introduction)
The curtain lectures are many and highly repetitive, and almost all pertaining to the running of the household and some form of disruption in this process:
Lecture VII - Mr Caudle has ventured a remonstrance on his day's dinner: cold mutton, and no pudding. - Mrs. Caudle defends the cold shoulder.
"HUMPH! I'm sure! Well! I wonder what it will be next? There's nothing proper now - nothing at all. Better get somebody else to keep the house, I think. I can't do it now, it seems; I'm only in the way here; i'd better take the children and go.
"What am I grumbling about now? It's very well for you to ask that! I'm sure I'd better be out of the world than - there now, Mr. Caudle; there you are again! I shall speak, sir. It isn't often I open my mouth, Heaven knows! But you like to hear nobody talk but yourself. You ought to have married a negro slave, and not any respectable woman.
"You're to go about the house looking like thunder all the day, and I'm not to say a word. Where do you think your pudding's to come from every day? You show a nice example to your children, you do; complaining and turning your nose up at a sweet piece of cold mutton, because there's no pudding! You go a nice way to make 'em extravagant - teach 'em nice lessons to begin the world with. Do you know what puddings cost; or do you think they fly in at the window?
"You hate cold mutton. The more shame for you, Mr. Caudle. I'm sure you've the stomach of a lord, you have. No, sir; I didn't choose to hash the mutton. It's very easy for you to say hash it; but I know what a joint loses in hashing: It's a day's dinner the less, if it's a bit. Yes, I daresay; other people may have puddings with cold mutton. No doubt of it; and other people become bankrupts. But if ever you get into the Gazette, it shan't be my fault - no; I'll do my duty as a wife to you, Mr. Caudle: you shall never have it to say that it was my housekeeping that brought you to beggary. No; you may sulk at the cold meat - ha! I hope you'll never live to want such a piece of cold mutton as we had to-day! and you may threaten to go to a tavern to dine; but, with our present means, not a crumb of pudding do you get from me. You shall have nothing but the cold joint - nothing as I'm a Christian sinner.
(5 Paragraphs later of much the same...)
"What's the use of your lying groaning there in that manner? That won't make me hold my tongue, I can tell you. You think to have it all your own way - but you won't, Mr. Caudle! you can insult my dinner; look like a demon, I may say, at a wholesome piece of cold mutton - ah! the thousands of far better creatures than you are who'd been thankful for that mutton! - and I'm never to speak! But you're mistaken - I will. Your usage of me, Mr. Caudle, is infamous - unworthy of a man. I only wish people knew you for what you are; but I've told you again and again they shall some day.
"Puddings! And now I suppose I shall hear of nothing but puddings! Yes, and I know what it would end in. First, you'd have a pudding every day - oh, I know your extravagance, - then you'd go for fish, - then I shouldn't wonder if you'd have soup; turtle, no doubt: then you'd go for a dessert; and - oh! I see it all as plain as the quilt before me - but no, not while I'm alive! What your second wife may do I don't know; perhaps she'll be a fine lady; but you shan't be ruined by me, Mr. Caudle; that I'm determined. Puddings, indeed! Pu-ddings! Pud---"
"Exhausted nature," says Caudle, "could hold out no longer. She went to sleep."
It is clear to see from this (rather long and arduous) extract, that the problems of the time are reflected through a curtain lecture, and so they are actually very good ways of assessing the issues of the time. There are indications of wealth and economic trade through the various foods mentioned. The allusion to bankruptcy and getting "into the Gazette" adds another dimension to the restrictions of the time, showing perhaps the unreliability of domestic trade. The recurring idea of performativity is shown when Mr Caudle appears to bring up (somewhat smothered in his wife's lecture) that "other people may have puddings with cold mutton."
Cuckolding
The Life and Opinions of Tristram Shandy comments on the moral ambiguity surrounding bed curtains:
"Have nothing to do with bed-steads ;-though, I know Du Cange says, " That bed-curtains, in all probability. have taken " their name from them :" -- n r have the horn-works, he speaks of, any thing in the world to co with the hornworks of cuckoldom."
Bed curtains provide a private space, one which can be subverted into a space of secrecy and hiding. Rather than relating the bed to the sanctity of marriage, it is related to adultery . This changes the purpose of a bed curtain from one of decoration, to a tool for hiding concealing debauchery.
A Dialogue between a Cuckoldy Courtier and and his Lady (1720):
Written by Thomas Brown in The Remains of Mr. Thomas Brown, Serious and Comical in Prose and Verse. In One Volume. This was published after his death with respect to his other and earlier works by Sam Brifcoe who had been responsible for publishing numerous editions of Brown's work.
288 How then can you expect I'll be 289 True to a Man that false to me; 290 Since I have Youth and Beauty too, 291 At least, I'm sure, enough for you? Husband. 292 Both Sexes love the pleasing Sport, 293 It is a reigning Vice at Court; 294 I've had my am'rous Freaks, 'tis true, 295 And so, I'm satisfy'd have you; 296 Therefore what's Honour but a Cheat 297 Among the Noble and the Great? 298 Since we of Wealth and high Degree, 299 Who boast of Birth and Quality, 300 Are far more base behind theCurtain, 301 Than those content with meaner Fortune.
Brown depicts the curtain as a tool by which the gentry and aristocracy hide their “base” actions, providing a rather common negative class commentary on behaviour performed in the public sphere and the separation of this from the true identity, explored inside the bed curtains. Not only is it a barrier to entrap, it provides a visual barrier, keeping others out. He also likens the bed curtain to the curtain of the theatre, once again supporting the idea of gender and class relationships as performance.
Dialogue XI. Between a handsome Money-getting Shrew, and a Husband that depends upon his Wife's Pocket (1723):
9 That's rich, and swears he loves me dearly, 10 And would allow me so much yearly, 11 That we should flow and rowl in Money, 12 If he might fix the Horns upon ye; 13 Could you contentedly comply 14 With such a Lover, by the by; 15 Look kindly when he comes to see me, 16 Shake Hands, go out, and leave him wi' me; 17 Return at Night without a Frown, 18 And ne'er reflect at what we'd done, 19 But freely, from your Heart, forgive all 20 The Favours granted to your Rival; 21 Call me your Phubs, your pretty Fool, 22 Your Cockadil, your charming Soul, 23 And be as fond, altho' for certain, 24 You know I'm kiss'd behind theCurtain,
This extract shows a man asked to be willingly cuckolded, and once again features the bed curtain as a physical barrier to conceal sin and wrongdoing. It repeats the theme of corruption when considering the bed curtain, as the private space of the husband and wife has been willingly re-appropriated to the bed of the wife and the illicit lover, undermining the principle of the private space in it's entirety. Ward portrays female passion and lust as the corrupting factor and source of the wrongdoing as it is entirely the woman who incites this practice, aiming to persuade her husband through monetary value. The bed curtain then becomes a symbol of exploitation within marriage, both sexually and economically.
Memoirs of Lady Fanshawe
Memoirs of Lady Fanshawe, Written by Herself.
Lady Ann Fanshawe was from a prominent Royalist family, marrying Sir Richard Fanshawe, Ambassador from Charles The Second to the Court of Madrid 1665. Her husband's position meant that Lady Fanshawe was exposed to many different cities and countries such as Caen, Paris, Madrid, and Ireland; experiencing excessive levels of grandeur and luxury, often dining with the Monarchs of said countries. Her memoirs are an account of her time travelling around the world with her husband, focusing mainly on travel arrangements, her social calendar and routine rather than revealing much personal information or feeling. Included is a lot of information about their lodgings - descriptions of the furniture and fabrics in their temporary homes:
"Our house was richly furnished, both my husband's quarter and mine; the worst chamber and bed in my apartment being furnished with damask, in which my chamber-maid lay; and throughout all the chambers the floors were covered with Persia carpets." - (Lady Fanshawe, 187)
This extract establishes the calibre of home that Lady Fanshawe's position enabled her to inhabit, and also her own wealth due to employing a chamber-maid and keeping her throughout their travels. As already shown, damask was an expensive and luxurious choice of fabric only afforded by fortunate families or aristocracy.
"So we went to bed, I cried, and he went to sleep; next morning early as his custom was, he called to rise, but began to discourse with me first, to which I made no reply; he rose, came on the other side of the bed and kissed me, and drew the curtains softly and went to Court." (Lady Fanshawe, 52)
This passage specifically shows an insight into the private world of Lady Fanshawe and a fleeting glimpse of emotion, quite appropriately enclosed by the bed curtain. As previously mentioned, the bed curtain allows the husband and wife to argue or to have private discussion without the interference or curiosity of servants or guests. However it's use in this passage is different than previously described, as when a wife is giving a curtain lecture, the bed curtain is a form of entrapment whereas the bed curtain here provides a form of comfort and rather than a sense of purposeful isolation, it creates the space inside as one of solace. Bed curtains then create a safe space where one can express truthfully one's own feelings rather than allowing the public to invade the private in the rest of the home.
There is also an interesting display of gender roles in the sense that it is the male who controls the opening and closing of curtain, subverting that which the curtain lecture would seemingly show. This shows that it is still a gendered space and overarching theme of patriarchy continues to hold power, reinforced by the passive nature of Lady Fanshawe in this instance. Hence one could suggest that the passivity of sleep itself reflects the state of the oppressed woman, and the bed is the only enclosed space where true emotion without fear of social consequences can come forth.
One can also comment that the bed curtain only establishes power without labour - Lady Fanshawe remains in bed while her husband goes to his employment. Bed Curtains are emblematic of the gender and class barriers created by society.
Annotated Bibliography
Primary Sources
Anon. A curtain lecture between Mary Browne and her husband John Browne, in Blything hundred. Ipswich, 1792. Historical Texts. Web.
This was helpful in introducing a conversational tone of the Curtain Lecture, rather than it being from a gendered, one-sided perspective.
Anon. Low-Life: Or One Half of the World, Knows not how The Other Half Live. Course Booklet. Print.
Engaging with this texts aided this page because it showed how embedded Curtain Lectures were in the normal behaviours of society, and helped me to engage further with texts from the course.
Burnbey, John Attorney at Canterbury. Summer Amusement: or, Miscellaneous poems: inscribed to the frequenters of Margate, Ramsgate, etc. London, 1772. Historical Texts. Web.
This poem added a trivial element to the Curtain Lecture - that it was being included in popular works not based around the topic once again showed how entrenched it was as a trope.
Brown, Thomas. The fifth volume of the works of Mr. Thomas Brown; done from the originals. Being a collection of poems, letters, essays, &c. together with his Legacy for the ladies, or looking-glass for both sexes. Adorn'd with a sett of new cuts, suited to the subjects. London, 1721. Historical Texts. Web.
Showing cuckolding through the bed curtain was important, and this adds the kind of duality that is depicted through female sin and debauchery.
Chudleigh, Mary Lee Lady. The female advocate; or, A plea for the just liberty of the tender sex, and particularly of married women. Being reflections on a late rude and disingenuous discourse, delivered by Mr. John Sprint, in a sermon at a wedding, May 11th, at Sherburn in Dorsetshire, 1699. London, 1700. Historical Texts. Web.
This was an important text to show the negative views towards Curtain Lectures that were becoming more prevalent in society.
Dunton, John. The art of living incognito being a thousand letters on as many uncommon subjects. London, 1700. Historical Texts. Web.
Fanshawe, Lady Ann. Memoirs of Lady Fanshawe. London. W.W. Greg Park Lodge, 1924. Print.
Lady Fanshawe showed an important, upper class woman still being restricted by the barriers of society, and therefore the barriers of the bed curtain.
Jerrold, Douglas. Mrs. Caudle's Curtain Lectures and other stories. London, 1846. Print.
This was integral in showing the view point of the male on the female's use of the curtain lecture.
Ward, Edward. Nuptial dialogues and debates: or, an useful prospect of the felicities and discomforts of a marry'd lie,...Digested into serious, merry, and satirical poems,...In two volumes. London, 1737. Historical Texts. Web.
Ward showed the importance of the bed curtain in married life, and the misuse of it outside of this.
The Old Bailey:
Susannah Turner, John Turner, John Turner, Theft > theft from a specified place, 12th October 1737.
Jonathan Parsons, Theft > burglary, 13th October 1686.
John Wright, Edmond Anthony, Theft > housebreaking, 13th October 1686.
William Owen, Theft > grand larceny, 16th February 1774.
Frances Tate, Elizabeth Oxbury, Theft > shoplifting, 22nd February 1716.
Secondary Sources
Historic Real Palaces. Making Queen Anne's Bed. 2013. Video.
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