Rope Bed
A Tudor Rope bed for Camping
by Duenna Catalina de Gata
With help by Lord Veil le Pantera
Section 1: The bed
History
The subject of this documentation is a Tudor rope bed. The bed is composed oak side rails, foot rails, a headboard, Pine canopy supports, steel curtain rails and an Indian cotton canopy cover with matching curtains. I have found pictorial evidence of rope beds from the 13th century. A byzantine camp bed carried on the back of a pilgrim.[1](Figure A) As most art seems to hide the bed rails with blankets and quilts or indeed artistic licence may have been used to hide ‘unsightly ropes’ it is hard to determine how often rope beds were used. Most 15th and 16th century extant examples are Rope beds from the examples I have seen.[2] Furniture in this period was made of quite a variety of wood though most cases was made of oak but also included ‘oak, ash, elm, box, holm oak, fir (Pine), Cypress, yew, olive and laurel.’ Sycamore, birch, alder, willow, poplar, plane, chestnut, lime, maple, beech and hazel.” As listed by Chaucer in his writings.[3]
Another notable feature of Rope beds of the 15th and 16th century was the canopy. It mainly differed from the earlier counterparts because the canopy was a part of the bed instead (Figure X) of being hung from the ceiling or walls (Figure X). This certainly allowed artisans to show their craft in the fanciful carvings on the bedposts supporting the canopy. Canopies on bed were noteworthy of upper class as it was a way to display wealth and that they could afford the privacy and warmth it would provide.[4] As my Persona is from that time period and a hanging canopy was not suitable for my tent design, I chose to base my bed on the designs from this era. There are numerous paintings and drawings of beds within tents showing that such was of use in period. Oddly though, they all seem to be off people getting murdered..hmms. The figures below are of are two such scenes. The woodcut from the Cologne Bible of 1478-1480 and “The discovery of Holofernes' body” from Bible Historiale of Edward IV (Figures X and Y)
Camp bed Pictures:
Figure v Bible Figure vi Bible
The Project
This bed will be used as a camp bed in a period Wall Pavilion, a square tent with short upright walls and a slanted roof. (Figure X) I have had a long term interest of increasing the look of my camp site. This has been my fourth rope bed. My first was based off the 13th century rope bed (see Figure X). A very simple design and low in weight. I did the cut timber and peg method with 45x45 pine. (Cut end of wood flat, drill holes in wood, drill holes in bedposts, insert dowels. Eventually the pegging failed on the small wood, but not before getting teased lots about the noise the ropes made as it went around the wood! Every time you rolled over it would squeak and creak. I was determined that next bed would have the rope go THROUGH the wood. The next was 2x6 constructions, again cut and peg. It might have lasted if I didn’t have a termite attack in my garage...so on to the third. I used 2x4 pine this time, but the same cut and peg construction. Pretty rough, the holes weren’t bored straight neither was the boards cut straight having struggled with a handsaw to cut the wood. This I at least painted (in an effort to protect from termites!) The peg holes were poorly aligned and I would have to substitute smaller bits of dowel or found twigs and eventually this bed failed at one of the peg holes on the headboard. It became clear that the cut and peg method was not going to work long term as I lost two beds to failures in this method. None of these beds were sanded, varnished, or finished properly. They were often struggles to put up because the pegs would sometimes slip out as you were trying to set it up. This time I wanted to take it a step further and truly challenge myself. My woodworking ability is of a very basic level and this would include work and joins that I have never done and work with tools I have never used before. This was further encouraged when Mistress Rowan came over and presented a class on ‘Toward a more period Encampment’. This is hoping to be one in a line a few more ‘improvements’ to my campsite inspired by that handout.
Inspirations
The bed I primarily used as inspiration to recreate this bed is from the Saffron Walden Museum. It is a bed I have looked at for quite a few years for the last two beds I have made. Mistakes made in those were based on not understanding the joins. I had originally thought they were simple peg joins as I did not visualize the mortise and tenon joints. (Did I say...novice woodworker?) With the help of Veil le Pantera, he helped me analyse the pictures more closely, such examination showed that they were indeed mortise and tenon joints that seemed to have pegs added. I also emailed the museum the bed is currently at to get more information. Carla Purdue, Documentation and Exhibition Officer of the museum, got back to me with quite a bit of information and better pictures! The other main inspiration for the bed was from the Weald and Downland Museum. It is a bed without a canopy that looks similar to my bed without the canopy added on. Other than the following pictures of the original and recreation I have yet to find more information on it other than it is early 16th century though it is likely made of oak. The rope holes clearly visible on the bed sides.
The information and pictures provided by Mrs. Purdue and House Greydragon website were an immense help in this project. The date of the bed is around 1500, which is around the time of my persona. The bed was made of oak. The bed posts were 80x80mm and 1800mm tall. These had intricate carvings upon the bedposts and linen fold carving on the headboard. The documentation provided suggests it was a takedown bed meant for travelling: That ‘Fold-up furniture became popular in Henry VIII's reign as Henry showed his wealth by travelling in comfort” Hemp rope was used to cord the bed. No method of holding up the canopy has survived. [5]
The Wood
The closest wood I could find to approximate the size of the bedposts of the Saffron Walden bed was 70x70 pine and these were shortened to 1200mm tall to accommodate tent height. The pine substitution for the Canopy and Bedpost components were primarily because of availability of the size timber of the bottom half of the bed post and then wanting to keep the entire bedpost of the same type of wood by making the slimmer top half in pine as well. Pine was used in period furniture and it was feasible that beds might be made of pine. There is evidence of Pine beds, furniture [6]and wooden ceiling decorations[7] in Spain which puts it in the realm of my persona both in time frame and country. The rest of the wood in the bed is Tasmanian oak. The bed rails are 110mmx 35mm and the treatment on the headboard was Tasmanian oak strips, 40mmx5mm.
The Joints
We chose to use ‘offset’ tenons as it appeared to be off set in the close up pictures of the bed. (Figure X) At the time I have chosen not to use pegs on the joins as on a trial run the bed and joins were held securely by the tension of the ropes themselves. The Weald and Downland Museum bed does not seem to be pegged. This may change in the future as I use the bed more, but feared, also, that it is just something to get lost. Should I do the pegs they will be made from Tasmanian oak, already waiting in my workshop.
I am uncertain of the original bedpost were of two part design as mine was, but the decision was based on several reasons: Transport and Setup. I have found it easier in the past to set up the main bed portion then add the canopy section once I have put the bed in position. With these new joins I may well find it just as easy to leave the full uprights intact now, but I will give it a couple camping runs before I decide to permanently join them.
The Headboard
The headboard was linen fold carving on the Saffron Walden Bed. This is well beyond my ability. I strove to recreate this with panelling on board. Such was cut to size and glued upon the board with wood glue. A surface rabbet joint was set into the headboard rail and headboard bedposts to slot the headboard into. This aided in the transportability of the bed. Surface rabbet joints are used in period furniture and this seemed a feasible use of it [8] More details in the making of section.
Canopy rails
The documentation provided says that no method of holding up the Saffron Dowland canopy survived. I looked through artwork of the time and the most of the rails I saw looked to be metal. A recreation of a tester bed shows that the metal rods were slotted into the bedposts.[9] I used a steel curtain rod from bunnings. It looks to be of a similar diameter of the pictures and lightweight to aid in packing.
Finishing
Every source I looked at suggested Linseed oil and gum turpentine was a common varnish used in furniture of the time period and I used such for this bed. The two were mixed in a 50/50 solution and spread over the pieces of wood with a plain cloth. I was quite surprised the difference it made in the wood. The oil brought out the grain of the wood and seemed to take it from looking like boring cut timber to something special.
Tools
Power tools were primarily used in construction of the bed though; a chisel, handsaw and rasp were also used. The decision to use power tools over hand tools was primarily guided by suffering from chronic pain issues. Even using the tools I had to take breaks to let my hands recover. I believe though that the use of the power tools does not detract from the period look of the piece. There was nothing created by the power tools that could not have been done by hand tools.
Construction
The timber was purchased from Gunns Timber and Bunnings. The steel railing from Bunnings. The hemp rope from HempTraders in the US. The canopy at present is from my previous bed.
When the day of Creation arrived, February 19th, I took all my materials to the workshop of Veil le Pantera. I was summarily instructed on the safety rules and ways to handle the power tools. Power tools for the most part I had never used before and quickly found myself enjoying. Routering is fun! Try it!
First I cut the Tasmanian oak 110x32 rails for the bed with a mitre saw, then we cut the 70x70 pine were cut for the uprights. Pantera helped with cutting down the uprights as I could not hold the circular saw and the pieces were too big for the mitre saw. Then I cut down the 45x45 pine for the top part of the uprights.
I then lost my router virginity as I routered the edges of the bedpost. I had intended on doing the entire lengths, but in my practice runs I actually liked the curved lip the router does when applying to wood and it looked like some decorative carving on the extant bedposts examined. I then went a little router crazy and did up the rest up the uprights and the tops of the uprights. I ended up with some really big dice...that will never be seen alas.
Then on to the scariest part of the whole process, a mortise and tenon joint, which neither of us was particulary experienced in. After some experimenting we determined to use a guide and
router to achieve the mortise. A bandsaw was used to cut the tenons. As mentioned earlier we decided to cut the tenons offset as it seemed to be so in the pictures of the extant bed. It also helped us fit reasonably long tenons in the 70x70 corner post for security. I camphored the edge of the tenons with a camphor chisel to round them up for easier setting into the mortise.
I chose to use a rabbet groove to insert the headboard. This was obtained with what was explained by Pantera as a ‘dangerous’ tool and him uncertain how it would go. He even cleared us out of the shed for this part for fear of the process. I thought it prudent to let the expert handle this.
Day ended me with me taking lots of drugs for pain but being fairly satisfied in what I accomplished that day. A few day s later I returned to the workshop to complete the bed. I started the day with putting the headboard together and figuring out the depths of the grooves and where to place the panel pieces on the plywood. 3mm ply was chosen for its weight. I did not want to add bulk to my packing. Tasmanian oak curved p anels, 4cm wide and 5mm deep were glued to the ply to give an approximation of the panelled headboards in the extant beds. The “dice’ were pegged and glued to the narrow parts of the uprights. One less fiddly thing to lose.
Much of the rest of the day was spent in sanding the different components, smoothing hard edges and rough bits. And more sanding...and more sanding. I used a battery powered mouse sander for parts of it and a sanding block and sandpaper when that died. Lots of sanding!
I cut the steel for the canopy curtains as the last bit of ‘tooling’ I would need to do for the bed. Hopefully.
That night we put the bed together and it all fit together lovely! I took it home and varnished the bed and once dry put it together once more and roped it up with the hemp rope. Everything came together wonderfully. I placed all the period bedding I had made so far on and had a lay down and found it quite comfortable and sound. I left it standing for two days and even took the odd nap in it. When it came time for taking it down, it was a process that Much quicker than my previous beds. I hardly had to loosen the ropes at all and was able to roll up the four rails together without unlacing the bed.
Setting up the bed
Place Head rail between the two tall uprights, place a long rail into each tall upright. Place the short rail into the two short uprights then place the other ends of the long rails into the short uprights. Tighten the ropes. Insert the canopy part of the uprights in then the steel poles between them for the curtains. At this point I added the bedding: A rush matt to smooth out the feelings of the ropes, A wool mattress followed by a feather mattress, Then a sheet and wool quilt. Curtains were placed upon the rails then the canopy ‘cap’ placed on the bed.
SECTION 2: The Bedding
Figure xxxv Recreation Bedding of the Great Bed of Ware
I could not talk about the bed without talking about the bedding. Part of this project was to create period bedding for the bed. This would include mattresses, sheets, pillows, quilts etc. To set up a bed as they would have set it up. The reconstruction of the Great bed of Ware provided much of the inspiration for this project. Details of which are provided in both “Living with Oak” and “Clothing the Great Bed of Ware”:
I. A woven mat of plant material to keep the bedding from gapping between the holes.
II. Bottom Mattress: Course Linen Canvas Mattress stuffed with Wool.
III. Middle Mattress:Course Linen Canvas mattress Stuffed with Feathers
IV. Top Mattress: Finer Linen Mattress stuffed with Down.
V. Bolster and pillows: Canvas pillows Covered in Fine Linen stuffed with down
VI. Sheets of Fine Linen
VII. Woven wool blanket
VIII. Quilt
IX. Coverlet
X. Curtains for Canopy
Details on the above.
I. For a woven rush mat I started my search at old faithful...bunnings. They had some rather rough and bulky things that might qualify but I thought would be far too bulky for the bed. I then did an internet search for ‘Woven rush mat’ and came up with the Takami mats used for samurai sword cutting. These are handwoven and roughly sewn just as described in the article. So I did purchase a pack. It would provide the first layer to protect from the feeling of the ropes. This was a smooth ‘sheet’ that did not take up much room when rolled up. Again a bonus to the ‘excel packing’.
II. The next layer was the ‘course linen canvas’ stuffed with wool. As I already spent much of my budget on the wool and wood, I choose to use some cotton Canvas I had. This would also decrease my itch factor as both Linen and wool make me itch! I ordered the wool off Ebay from a lady in South Australia who owns a farm. When I told her about my project she was very supportive and stuffed even more wool in the package then what I ‘Won’. When it arrived, I donned my gloves started separating the wool and stuffing it into the canvas mattress.
III. The next two layers were described as a Feather mattress and a down mattress. For several considerations I decided to combine these. Mainly...because I could not find anywhere...just downe and secondly since my packing space is limited, one mattress would have to do. So op shops and Ikea did provide for the stuffing of this mattress with Ikea amazingly being cheaper as they had these 750g pillows for $8. In the end six kilograms of feathers went into the canvas bag.
IV. Combined with above.
V. I purchased two extra feather pillows at Ikea. I will be working on making pillowcases for them. As yet I have not decided whether to do a bolster. While it was a common item for bed ware, for me it would be unnecessary and added bulk for packing.
VI. For this I may well go to my Spanish roots and choose cotton sheets as linen does make me itch. Currently I have a cotton coverlet that looks like linen. It is not the smooth mercanized cotton, but more like the cotton that would be available in period.
VII. A cotton doona will likely substitute for this wool blanket layer, given my allergies to wool. I may reconsider as I trial placing the cotton sheeting next to my skin instead.
VIII. I am making a trapunto quilt for this bed. The beginnings of are seen in the documentation of the bed set up. It is red Indian cotton on one side and white wool on the other side. Many blankets seen in period paintings were red and some even folded back to show a white layer. Sandwiched in between is a cotton bamboo stuffing, which at the time I started the blanket was the only natural fibre stuffing available. I have a gold brocade coverlet I can use for this bed.
IX.
The curtains for the canopy are made from the same Indian cotton as the quilt fabric to provide a continuity of fabric and color to both the bed and its bedding. These may be upgraded to brocade as finances allow.
Experience
I had a wonderful experience creating this bed and already thinking about my next woodworking projects for my tent. This is definitely in the realm of just about anyone as I am not an experienced woodworker in the slightest and I believe I achieved an elegant bit of furniture in two and a bit days of work. I plan to challenge others to do the same over the next year. The bedding that has followed on from the bed project has proved interesting as well and the research and sourcing of materials definitely had me going to unexpected places. I imagine the bedding will be an ongoing project for some years as I acquire or embroider up various other items for the bed.
Bed Bibliography:
Byne, Arthur & Stabley, Mildred. Spanish Interiors and Furniture. Newyork, 1969
Diehl, Daniel and Donnelly, Mark. Medieval Furniture. Mechanicsburg, PA. Stackpole Books. 1999
Fiske, John & Freeman,Lisa. Living with Early Oak. Vermont, 2005.
Friedman, David and Cook, Elizabeth. A Miscellany <http://daviddfriedman.com/Medieval/Misc10/Misc10.pdf> Image <http://daviddfriedman.com/Medieval/Articles/rope_bed/period_bed.htm>
Halstead, Gary R. Interior Wood Finishing in Medieval and Renaissance Europe < http://www.medievalwoodworking.org/articles/Interior%20Wood%20Finishing.pdf>
House Greydragon. Rope Beds and Canopy Beds. <http://www.greydragon.org/furniture/beds/index.html>
Hunter, Stanley D.. Medieval Furniture. <http://www.die-familia.de/Neues_Haus/sammler/Furniture_class.pdf> August 2001. SCA Article.
Jones, Tony. Weald and Downland Open Air Museum photos. <http://www.flickr.com/photos/flambard/>
Larsdatter, Karen. Medieval and Renaissance Material Culture <http://larsdatter.com/beds.htm>
MacAlester of Kintyre, Elisabeth. Clothes on the Great Bed of Ware. <http://oak.atlantia.sca.org/18/18bedofware.pdf> SCA Article.
Oakley, Ld. Chas. Esq. On making a Medieval Bed. <http://www.livinghistory.co.uk/homepages/oakley/bed.html>
Purdue, Carla. Documentation and Exhibition Officer. Saffron Walden Museum.”Re: Bed at Saffron Walden Museum.” Email to Curator. January 2012.
Rettie, Thomas. Some Notes on Paints and Finishes <http://www.bloodandsawdust.com/Blood_and_Sawdust/Some_Notes_on_Paints_and_Finishes.html>
Victoria and Albert Museum. Great Bed of Ware. <http://collections.vam.ac.uk/item/O9138/bed-great-bed-of-ware/>
Victoria and Albert Museum. Spanish Ceiling Panels <http://collections.vam.ac.uk/item/O127827/panel/>
Bedding Bibliography:
Fiske, John & Freeman,Lisa. Living with Early Oak. Vermont, 2005. Chapter 8.
MacAlester of Kintyre, Elisabeth. Clothes on the Great Bed of Ware. <http://oak.atlantia.sca.org/18/18bedofware.pdf> SCA Article.
Hunter, Stanley D.. Medieval Furniture. <http://www.die-familia.de/Neues_Haus/sammler/Furniture_class.pdf> August 2001. SCA Article.
Victoria and Albert Museum. Great Bed of Ware. <http://collections.vam.ac.uk/item/O9138/bed-great-bed-of-ware/>
Pictures:
The picture of the bedding of the Great bed of Ware was taken at the V&A Museam http://www.flickr.com/photos/raggle/3256335372/
[1] Friedman, A Miscellany pg 237
[2] House Greydragon, Rope Beds and Canopy Beds
[3] Hunter, Medieval Furniture . pg 3-4 (Also Noted “The apparent dominance of oak as the material of surviving medieval furniture, having withstood the years, is due to the strength and toughness of oak and is not an accurate indication of the pre-eminence of oak for medieval furniture. Softwoods, such as pine and fir , were also used for furniture in Western Europe, but especially in the northern Scandinavian countries, where conifers are the dominant species.”)
[4] Fiske & Freeman. Living With Early Oak. Pg 149
[5] Purdue. Saffron Walden Museum images.
[6] Byne & Stanley, Spanish Interiors and Furniture. Pg viii
[7] V&A Collections, Panel.
[8] Diehl & Donnelly. Medieval Furniture. pg 7
[9] Diehl & Donnelly. Pg 79