Early American Choral Music, Vol. 1




Early American Choral Music, Vol. 2

Customs and Fashions in Old New England


the latter worth but three shillings apiece, all of importance enough to be named in wills and left with as much dignity of bequest as Shakespeare's famous "second-best bed." Even so influential a man as Thomas Dudley did not disdain to leave by specification to his daughter Pacy a "ffeather beed & boulster." In 1666 Nicholas Upsall, of Boston, left a "Bedstead fitted with a Rope Matt & Curtains to it." In March, 1687, Sewall wrote to London for "White Fustian Drawn enough for curtains, vallen counterpaine for a bed & half a duz chaires with four threeded green worsted to work it." In 1691 we find him writing for "Fringe for the Fustian bed & half a duz Chairs. Six yards and a half for the vallons, fifteen yards for 6 chairs two Inches deep; 12 yards half inch deep." This wrought fustian bed was certainly handsome.

By revolutionary times we read such items as these: "Neet sette bed," "Very genteel red and white copperplate Cottonbed with Squab and Window Curtains Fring'd and made in the Newest Taste," "Sacken & Corded Beds and a Pallat Bed," "Very Handsome Flower'd Crimson worsted damask carv'd and rais'd Teaster Bed & Curtains compleat," "A Four Post Bedstead of Mahogany on Casters with Carved Foot Posts, Callico Curtains to Ditto & Window Curtains to Match, and a Green Harrateen Cornish Bed." Harrateen, a strong, stiff woollen material, formed the most universal bed hanging. Trundle-beds or truckle-beds were used from the earliest days. So there was variety in plenty.

A form of bedstead called a slawbank was common enough in New York, New Jersey, Delaware, and Pennsylvania until this century. They were more rarely found in Connecticut and Massachusetts, and as I do not know what they were called in New England, we will give them the Dutch name slawbank, from sloapbancke, a sleeping-bench. A slawbank was the prototype of our modern folding-bed. It was an oblong frame with a network of rope. This frame was fastened at one end to the wall with heavy hinges, and at night it was lowered to a horizontal position, and the unhinged end was supported on heavy wooden turned legs which fitted into sockets in the frame. When not in use the bed was hooked up against the wall, and doors like closet doors were closed over it, or curtains were drawn over it to conceal it. It was usually placed in the kitchen, and upon it slept good-man and goodwife. I know of several slawbanks still in old Narragansett, and one in a colonial house in Shrewsbury, Mass. A similar one may be seen at Deerfield Memorial Hall. It is hung around with blue serge curtains. I have seen no advertisements of slawbanks under any name in New England newspapers, unless the "bedstead in a painted press" in the Boston Gazette of November, 1750, may be one.

The bed furniture was of much importance in olden days, and the coverlet was frequently mentioned separately. Margaret Lake, of Ipswich, in 1662, so named a "Tapestry coverlet" worth £4. Susannah Compton had at about the same date a "Yearne Courlead." "Strieked couerlids" appear, and Adam Hunt, of Ipswich, had in 1671 "an embroadured





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