FOUR-POSTERS
At no time since the days of the Renaissance has interest been so keen
in interior decoration as it is at the present day, not only as regards
the main living rooms of the home, but the sleeping apartments as well.
This has resulted in a revival of old-time features, and the chamber
fittings of the present in many cases are similar in type to those of
early times, when purely classical designs were in vogue,--models that
have never been surpassed in beauty by later designers, though many a
fine piece of furniture has been made since then by expert
cabinet-makers.
Early specimens showed a delicacy of touch and a mastery of thought that
gave to them a lasting place in the world of architecture, and while the
coming historian may dilate upon twentieth-century models, he cannot
make any comparison that will in any way be derogatory to these
wonderfully fine old pieces. In early days, labor was a very different
problem from what it is to-day, years being often spent in the making of
a single specimen of furniture, and, indeed, in some countries, a
workman has been known to have spent his whole life in the fashioning of
a single piece.
Taking these points into consideration, one cannot wonder that early
century pieces are still as perfect as they were the day that they left
the makers' hands, and it is with regret that he views the hurry and
rush of modern times resulting in the practical abolition of hand
carving, and the introduction of machinery that has helped in the
deterioration of the art. Reproductions, as they are made to-day, while
in many cases very beautiful, cannot equal in finish the originals
fashioned at a time when art was the first consideration.
Fortunately, many genuine antiques are still in existence, and present
interest for the most part centers in their types and periods of
manufacture. With so many periods and so many makers, it is not
surprising that mistakes in these respects are sometimes made,
especially as regards the bedstead. For the best of these, one need not
search farther back than the seventeenth century, for the most valuable
specimens were made in the seventeenth and eighteenth centuries, many
of these to-day bringing from two to three hundred dollars apiece.
Of course, these fine beds were not the first beds used here, though no
doubt the earlier types, as well as these later specimens, were imported
from England, along with the other household furnishings. If any
bedsteads were made here, they were undoubtedly simple and
unpretentious, along the lines of the settle and board tables.
The articles of furniture devised by people of different countries for
comfort in sleep vary according to climate and the progress of
civilization. The bed of our primeval ancestors consisted of dried
mosses and leaves, with a canopy of waving leaves above. Later, through
the need of shelter from the frost and protection from crawling insects,
a rude structure consisting of a framework of poles, covered with
branches, was substituted. Probably the first authentic representation
of a bed is found on ancient Egyptian tombs, depicting a long, narrow
receptacle, suited for but one person. Greek and Roman beds,
representations of which have also been found, are of the single type,
resembling in shape the Flemish couches made in the latter half of the
seventeenth century, while the Greek thalamos, another type, showed a
framework of great beauty, curiously carved, and decked with ivory,
gold, silver, and precious stones. Roman luxury outvied that of Greece,
as is shown by specimens that have been found in Pompeii, and the
hangings of the bed, while receiving special attention, seemed to be
less highly prized than the frame, probably on account of the mildness
of the climate.
The eleventh century saw the half-savage people of northern Europe
building beds into the walls of their rooms, and fitting them with doors
and sliding panels to insure against the cold. These cupboard couches
are reproduced in a modified form in many summer homes to-day, being
arranged like steamer berths.
After the Norman Conquest, beds of this type came into favor in England,
though they were quickly superseded by a great oaken bed with
roofed-over top. This was arranged in the center of the room, and
heavily curtained for protection against the wind that blew in through
the cracks of the poorly hung doors and the unglazed windows, closed
only by loosely fitted shutters. Many of these beds were of prodigious
size, the most historic, "The Great Bed of Ware" to which Shakespeare
alludes, being twelve feet square, built of solid oak, and finished with
the most elaborate carving imaginable. This bed is known to have
furnished sleeping accommodations for twelve persons at one time, and it
has stood for nearly four centuries in an ancient inn, located in the
town of Ware. In style, this is a four-poster, and doubtless marks the
induction of this, the most expensive but the most popular bed of its
day.
[Illustration: PLATE XXXVIII.--Bedstead in Middleton House, 1798.]
Old-time four-posters consisted, as do those we see to-day, of four
posts, supporting a tester, and connected laterally by sidepieces which
were almost always undecorated, as the bedspread was supposed to fall
over the sides of the bed and cover them. A headboard was considered
almost indispensable, although it is absent in some cases. It was
usually rather low and decorated with carving, more or less elaborate.
The footboard was sometimes used, but was quite often omitted in the
older specimens, and seems to have come into favor later on, as an
additional detail. When the posts were lowered, the footboard rose into
prominence, but this was not until after the first quarter of the
nineteenth century had elapsed.
Many of the beds had a canvas bottom, held in place either by iron rods
or ropes, or sometimes by both. It was "sackcloth and ashes" at
house-cleaning time in those days, for either kind required the united
strength of several muscular arms to put it together. The hair mattress
was unknown at that period, and in its place was used brown linen
sacking filled with straw and buttoned at one side, so that the straw
could be easily removed at any time. This formed the lower strata of the
bed, and above it were laid innumerable feather beds, piled one above
the other, so high that often steps were necessary assistants in getting
into bed.
[Illustration: PLATE XXXIX.--Sheraton type, in Kittredge House;
Four-poster, about 1825.]
In colonial homes, where bedrooms were fireless, curtains and hangings
were important accessories of the bed to shield the sleeper from drafts.
These were often made of linen, handspun by some member of the
household, and while many were white, some were in colors. One of these,
of blue and white homespun pattern, edged with hand-made ball fringe,
has been in constant use for generations, and as yet shows not the
slightest sign of wear. It is now owned by a fortunate Salem woman.
[Illustration: PLATE XL.--Field Bedstead, slept in by Lafayette, in
Stark Mansion. Owned by Mrs. Charles Stark, Dunbarton, N. H.]
Many of these hangings were made of chintz and hand-embroidered linen,
and in homes of limited means they were also made of patch, following
the style of the quilt. Blankets were likewise home-made, of handspun
wool, adorned with roses in each corner, which gave them the name of
rose blankets. A blue and white homespun counterpane added the
finishing touch, and often the hangings of the bed were of this same
material, the curtains being drawn back loosely so that, on cold nights,
they could be permitted to fall about the bed. Often both counterpane
and hangings were finished with a hand-made netted fringe, varying in
width from five to eight inches.
While beds were a scarcity in the rude homes of our early ancestors,
still they were sometimes brought here from over the seas, as is proven
from an account written by Rev. Robert Crowell in his _History of
Essex_, in which he speaks of two bedrooms in Darius Cogswell's house.
These were divided off from the main room by handsome curtains that were
stretched the whole way across, and, in the bed reserved for visitors,
the guests of the night lay inclosed with curtains to exclude the night
air; these, when drawn in the morning, allowed one to peer through the
cracks in the shrunken logs at the world outside.
Most of our ancestors, however, were content with much simpler beds than
this, for mere frames, with curtains and valances, were most frequently
used, the beds stuffed with straw or feathers plucked from live geese,
or poultry, and laid on the floor. Among these early types are
"Cupboard" or "Presse" bedsteads, frequently mentioned in the
inventories from which we gather much of our information. These, when
not in use, were fastened up against the wall, proving valuable space
savers where space was limited. Bunks were another type of the early bed
in use here, one specimen, used in early days for slaves who were in the
family, being still shown at the Adams house at Byfield.
Possibly the early settlers may have used a bed that is still in fashion
among the Kentucky mountaineers, known as "Wild Bill." This is a
one-poster, rather than a four-poster, and occupies a corner of the loft
in a log cabin. The side and end of the cabin serve for headboard and
one side of the bed; saplings nailed to the solitary post that runs from
roof to flooring supply footboard and sidepiece; springy poles, running
crosswise, uphold the home-made straw mattress and feather bed.
Doubtless the rest of the mountaineer who uses this is sweet, but to one
unused to it, it seems a diabolical bed!
When life in the new country became easier, furniture of all kinds was
brought here from England, much of it of the Queen Anne period. This
comprised, among other details, four-posters made of black walnut, this
wood having superseded English oak in popular favor during the preceding
reign of William and Mary. Panelings and moldings that had done duty
during the Jacobean period were retained in all their splendor, and to
these were added the new feature of the claw-and-ball foot. Our oldest
beds belong to this period, unless we consider Presse bedsteads or
Cupboard bedsteads, already spoken of, as real beds. The Dutch name for
such contrivances was "slaw-bank," and they might be said to be the
forerunner of the latter-day folding bed.
Mahogany was first used in England in the year 1720, and therefore it
belongs to the Georgian period. Four-posters of this material, as
constructed in the early days of their popularity, had slender and
delicate posts, which were sometimes fluted and sometimes carved. In
these earlier specimens the headboards were simply made and left
undecorated. At this time great advance in the designing of furniture
was made, for cabinet-makers published books of designs, and
Chippendale, who was doubtless the greatest English exponent of his
craft, designed beds with footpieces and sidepieces, carefully paneled
and carved. He used tall and slender posts, and carving of the most
elaborate nature. Genuine Chippendale beds are rare in America, and they
are not common in England, seeming almost as if he had executed this
piece of furniture less frequently than any other. We have, however,
beautiful specimens which were modeled after Chippendale designs.
In English furniture making, the brothers Adam held the supremacy from
1775 until the end of the century. They endeavored to restore the simply
classical styles of Greece and Rome, with Greek ornamental figures, such
as the acanthus, urns, shells, rosettes, and female heads. They made a
smaller bed than the Chippendale pattern, with lower posts and less
abundant carving.
Hepplewhite's influence culminated some ten years later than that of the
brothers Adam. He designed four-posters of attractive delicacy, used
carved rosettes and a delicately carved beading by way of decoration,
and delighted to place an urn-shaped section, lightly festooned with
drapery, on the post where the sidepiece joins the standard.
[Illustration: PLATE XLI.--Sheraton Four-poster; Four-poster showing
decided English characteristics.]
Sheraton was the last of the noted cabinet-makers of the Georgian
period, commencing to publish his designs in 1790. They were
distinguished for the use of inlaid work, and later on he developed
painted designs. In his work he introduced many light woods, such as
whitewood, satinwood, and sycamore, which, when painted green, was
termed harewood. The trend of sentiment at that time seemed to be toward
simplicity and delicacy.
The last great change in the old four-poster was made, curiously enough,
in deference to Napoleon, for it was through his influence that ancient
Roman decorations, such as the laurel wreath and the torch, were
revived. England had her mental reservations regarding this type,
however, and by the time the fashion reached America it simply lowered
the bedposts. It was the beginning of the end, however, and forty years
later came the Renaissance of black walnut, and with it the relegation
of the old four-posters to attic and storehouse, or else to the chopping
block. Saddest of all, their owners were glad to see them go, on account
of the difficulty of putting them together. In the revival of colonial
fittings, the four-poster has again been restored to favor, and in many
modern homes the old four-poster is the chamber's most pleasing feature.
There are some wonderfully fine old four-posters in America. One of
these, in the Howe house at Haverhill, showing slender posts,
surmounted by the ball and eagle, is made of brass. Originally it
belonged to the first owner of the dwelling, Dr. Nathaniel Saltonstall,
a contemporary of George Washington, and a descendant of Sir Richard
Saltonstall. It has never been out of the family since its importation,
the present owner being the widow of the first owner's great-grandson.
Historic through the fact that it once graced the chamber of Oliver
Wendell Holmes is the exquisite four-poster now in a Salem house. This
is characterized by a richness of design that is most attractive, and
the hangings are in keeping with the exquisiteness of the whole. In this
same dwelling is another old poster, this time of the low type, that
came into vogue about 1825. This shows but little of the carving that is
a feature of the older types.
Other fine old four-posters can be found in Salem. One is of Hepplewhite
make, showing the slender posts and fluting of his type, while another
is considered one of the best specimens in New England, with a drapery
of patch that is probably all of a hundred years old.
At Dunbarton, New Hampshire, in the old Stark mansion, is a fine example
of the Field bedstead, standing exactly as it did when Lafayette
occupied it so many years ago, and still known by the name then given to
it, the Lafayette bed.
In the Middleton house at Bristol is a most interesting four-poster,
done in white, the gift to a bride of long ago. Lately this has been
repainted exactly as it was when first placed in the house, the design
depicted, that of the bow and arrow, showing as clear and dainty as when
first traced. In another chamber in this same old home is another
four-poster that was brought direct from Leghorn. Both of these rare
specimens have been in the family since the building of the homestead.
Examples of these fine old beds are growing scarcer and rarer each year,
and their value is correspondingly increasing. Some years ago they could
be had almost for the asking, but with their revival in favor, their
worth has increased. They depict an era that is associated with the best
in the way of design and craftsmanship, and not a few of them have
historic associations that render them particularly notable.