I will begin this chapter by copying part of the inventory of Kilburn Priory, 1536, "when," as the author of "Europe during the Middle Ages" says, "the hungry parasites of the crown joined with the arch-robber, Henry VIII., to destroy it, (the priory.) to fill their coffers at the expense of everything sacred." "Item-two bedsteddes of bordes, 8d. ; in the middle chamber one fether bed, 5s.; two mattresses, 20d.; two old coverlets, 20d.; three woollen blankets, Sd.; three bolsters, 18d.; two pieces of old hangings painted, (printed,) 10d. In prioress chamber, four pieces of say, (serge made entirely of wool,) redde and greene, with a border of story language, 3s. 4d. ; a standinge bedde and redde buckrame, and three curtaynes of same worke, 2s.; eight pillowes of downe covered with fustyan, 12d.; an old cupboard, with two ambroys in it, 10d.; two annde yrons, a foyer-forcke, a foyer-panne, and paire tonges, 20d.; noine paire sheetes, flaxen and canvasse, 13s. 4d.; two diapere table-clothes, 11s. 8d. ; a playne clothe for the borde in the hall, 12d. Such were the prices and the furniture of a prioress about 300 years past, from which it appears the lodging was much the same as at the present time.*

In large houses every bed-chamber had two beds-a standing bed, and a truckle-bed for the page or dressing-maid. The standing-bed had often, according to Stowe, a counterpane so richly and beautifully embroidered as to be worth 1000 marks; and the bed-room pictures of most value, commonly protected with curtains, which could be readily folded or drawn back.

Burton, in his " Anatomy of Melancholy," writes: "Bessardus Bisantinus prefers the smoke of juniper to a melancholy person, which is in great request with us at Oxford to sweeten our chambers."†

Cardinal Wolsey had two hundred and eighty silk beds for nightly use at Hampton Court.

The following is a description of the chamber at Hardwicke Hall while occupied by the unfortunate Mary, Queen of Scots: "Nothing can exceed the expense in the bed of state,

*At a meeting of the Royal Academical Society, held at Metz, (1834-5,) M. Fourne stated that "the Lepidium ruderale (Dittany) was the most attractive of all subjects or substances to the bed-bug. Slips of it hung up about beds and other places where they infested, would collect whole colonies, which may be thus readily destroyed."

The writer once had a cot bedstead much infested with these vermin, but, after soaking it a week in the tide water of the ocean, they were all destroyed, and none ever troubled him after.

"Of colours," he states, "it is good to behold green, red, yellow, and white; and by all means to have light enough with windows in the day, waxcandles in the night, neat chambers, good fires in winter, and merry companions; for, though melancholy persons love to be dark, yet darkness is a great increaser of the humour."

the hangings, and the coverings for the tables. The first is of cloth of gold, cloth of silver, velvet of different colours, laces, fringes, and embroidery. The hangings consist of figures as large as life, representing allegorically the virtues and the vices, embroidered with silk on black and white velvet. The cloths cast over the tables are embroidered and embossed with gold on velvets and damasks.

"The only moveables of any taste are the cabinets, chairs, and tables of carved oak. The chimney is wide enough for a kitchen; and over the arras are friezes of many feet deep, with miserable relievos of hunting in stucco."

Still the coup-d'œil must have been fine when the "dancing sun-beams played" on the bed on a beautiful summer day, through the noble oriel and other stained glass windows.

The following is copied from the wardrobe account of King

James I., 1613, on the marriage of his only daughter to the Elector Palatine : "Item-to our embroiderer, for one whole suit of hangings upon crimson velvet, richly garnished and embroidered all over with cloth of gold and cloth of silver; laces of gold, partly with plates, and chain lace of gold without plates; Venice twist, and gold and silver, and coloured Naples silk; for embroidering the several parts of a sparver bed, of crimson velvet as the head part, cealer, double valence, and curtains of velvet and satin; a very large cupboard-cloth of crimson velvet, carpet and screen cloth, chairs, stools, and cushions, all very richly garnished all over with gold cloth, cloth of silver, and coloured satin. Item-to our upholsterer, for making a suit of hangings of crimson velvet, containing five pieces; and two window pieces, embroidered, lined with dyed canvass; for making one cupboard-cloth, one carpet, and one screen-cloth, of like crimson velvet, embroidered, all lined with taffeta, and garnished with fringes of gold and silk; for making two large window-curtains of crimson damask, lined with fustian, copper rings, lyer of thread, &c.; for one bed, one bolster, and two pillows, of Milan fustian, filled with down, sewed with silk; three quilts of fustian, cased with taffeta, filled with wool, and sewed with silk; two pair of blankets of Milan fustian of five breadths and five yards long, the piece sewed with silk; two pair of fine Spanish blankets; two counterpanes of plush, both sides alike, sewed with silk. Item-to our joiner, for one frame for a canopy; for a cushioncloth, with iron-work to it; for the timber-work of one chair, two low stools, and two little tables; for one folding table of walnut tree.

Such was a princess's bed-chamber establishment; but the beds were in general very splendid. In almost every noble dwelling there is a state-bed, with heraldric devices exquisitely embroidered at the head, and often an elegantly carved footboard, silk hangings of taffeta, velvet, or satin; the cornices beautifully carved, painted, and gilted, and the four posts standing above, crested with plumes of ostrich or other valuable feathers. The state-bed at the Mansion House, London, (the lord mayor's house,) cost, when new, £3,150. Shakspeare alludes to a bed in "Twelfth Night," act 3d, scene 2d. The readers of the kind-hearted Isaac Walton, the angler, must be familiar with his noticing lavender being used to perfume the sheets on the beds when he went angling.

The woods in most repute before mahogany was introduced were walnut, oak, and chestnut, massive and elaborately carved. There is still in the possession of the descendants of T. Burkitt, Esq., of Sudbury, a very beautiful ebony cabinet, which

formerly belonged to Bridget, one of Oliver Cromwell's daughters, with spiral columns and bars of great strength; the interior is also of ebony: on the doors and drawers the panels are highly finished with oil paintings on copper, by "Old Ffranks"

The backs of the chairs were high, and the middle part and the seats often filled up with cane, and then covered with cushions. Brilliant foreign mirrors, and these generally accompanied with candle-brackets.

Turkey carpets were the first introduced; they were then put upon tables, and the floors covered with rushes; no doubt as the carpets became shabby or distasteful, they would be condemned to the floor.

Arras or tapestry (for they mean the same) was used on the walls, or served as screens before door-ways. After that caine

leather, which, when first introduced, was gilded in various ingenious patterns. After that France had the merit of supplying them with paper-hangings.

Professor Beekman says the flock paper was first made by Jerome Langer, in London, in the reign of Charles I., who obtained a patent in 1634. In 1712 a duty of 13d. per yard was laid upon paper-hangings.

In the "Mercurio Politicus," 1660, is an advertisement stating "that Richard Bailey, at the Sun and Rainbow, maketh oil-cloth the German way, and is very skilful in the art of oiling linen cloth, taffeta, woollen, &c., so as to make it impenetrable against wet or weather." Aubrey says: "There were painted texts of Scripture on these painted cloths when fixed to the walls of houses."

A Mr. Shaw, who published a work on furniture, states that "the tables, cabinets, wardrobes, and clock-cases began to exhibit that beautiful workmanship called Marquetry, from its inventor, M. Marquet, an ingenious Frenchman.”

The carved and gilded furniture which commenced in the reign of Queen Anne, never went quite out of fashion.