I am not aware of a store that sells ready-made bed curtains for a tall post bed. However, most interior decorators would be able to fit and construct curtains for your bedstead. Thank you for your kind words about our work here in Colonial Williamsburg's Historic Area.

I agree that I am very fortunate with my job. Training for a museum curator usually requires course work in history and art history, as well as specialized classes in the particular medium, such as textile weaving, printing on textiles, and embroidery construction methods. Most curators go on for advanced studies in museum methods at schools that offer graduate work in the field. I studied at the Winterthur Program in Delaware.

Most print sources from the 18th century show the bed made up in a very formal manner, without any coverlet or blanket folded at the foot of the bed. On an informal daily basis, however, we suspect some people may have kept a blanket or extra cover close at hand to draw up when necessary.

We do not have any patterns or plans available for sale, as curtains and valances need to be fitted to your particular framework and bedstead. Most interior decorators can design and cut curtains and valances to fit your bedstead. If you are interested in learning more about the topic yourself, you might wish to consider attending our conference on home furnishing textiles September 20-23, 2009. You can also get more information on the Colonial Williamsburg website at www.history.org/conted.

I am not familiar with the sizes and types of commercial products available in the market, so I will suggest options that I would consider for my own bed. One possibility is to custom make a bed skirt to your special measurements using sheets from the set. Another possibility, possibly easier to sew, would be to purchase the shorter skirt and add to it to achieve the length you need. You could add a band of matching fabric or a ruffle using a sheet cut from matching material. An added braid or cord could make the transition between the two seem deliberate.

Hi Julia. We do have a few christening gowns in our collection, all dating from before 1830, which is our collecting date parameter. I have published our early christening gowns in my book What Clothes Reveal. My knowledge of gowns after 1830 is sketchy. At one point in time we did offer a christening gown for sale based on one in our collection, but we no longer have that product available.

Most of the costumes worn in the early 1970s were worn out and replaced over the years. There still is a separate costume department, headed by Brenda Rosseau. She can be reached at brosseau@cwf.org.

I'm so glad you enjoy visiting Colonial Williamsburg. The best storage for your handkerchief would be to keep it flat without any folds in an acid-free box padded with acid-free (neutral) tissue papers. (Do not purchase "buffered" acid-free paper, which is good for linen and cotton, but not silk.) Alternately, you could roll it on an acid-free tube with acid-free papers, making sure not to roll any creases into the fabric. If you do decide to display it, keep in mind that light will cause deterioration over time. If you cannot find a source for acid free tissue or boxes online, thoroughly washed and rinsed muslin can be a good substitute.

I'm afraid I am not familiar with the products that might be available to raise bedsteads, though a hardware store might have some ideas. The type of product would depend on the construction of your framework. It might be easier (and less stressful for your wooden components) to re-hem the dust ruffle to shorten it to the correct length.

I am not aware of sources for ready-made bed curtains for a king-size bed. Probably an interior decorator or talented seamstress would be able to cut and sew them custom-made from photographs you show her/him of styles you like.

Bed bugs were a constant problem in the 18th century, so wishing someone a night without being bothered by the creatures was a wish that they would have a restful night's sleep. Some people think that the word "tight" refers to the ropes on the bed, though it is more likely that the word was used in its archaic meaning of "soundly or well."

Bed curtains had several functions in the 18th century. Because textiles were so expensive, yards of textiles were a status symbol, signifying that the owner of the bed was wealthy. Bed curtains could be closed around the occupants to preserve heat, which was a practical consideration before efficient central heating. Finally, curtains provided some measure of privacy.

Bed sheets were always plain white linen (or more rarely cotton) in the 18th century. Although this was in part a matter of custom and fashion, the white color had a practical function having to do with cleanliness. Sheets were washed relatively frequently with harsh detergents and hot water, a process that would have quickly faded a more expensive dyed or printed textile. People put their money for expensive patterned fabrics where it showed: on the curtains, rather than on the sheets.

During most of the 18th century, Virginians imported their textiles from England or through English ports. Many of the textiles were made in England. Although chintz cottons from India were also very fashionable (and expensive), navigation laws required them to go through British ports. When hostilities with England developed in the years before the Revolutionary War, increasing numbers of Virginians boycotted English goods in favor of homespun produced in the colony.

This green, coral, gold, and white comforter set features our Custis Garden fabric in pear color, which is blooming with a variety of classic Williamsburg flowers including apple blossoms, camellias, and roses. The comforter reverses to our beautiful green Monroe Medallion fabric, monochromatic pattern of scalloped medallions interspersed with delicate floral medallions. Comforter sets include a reversible comforter, shams, and a ruffled bed skirt (15" drop). 100% cotton.

At this time, we do not offer feather bed covers for any of our bedding patterns.  In the 18th century, feather beds were actually part of the mattress set, and people slept on them, rather than under them. Their covers were plain linen covered by the bed sheets.

Sharon, this is a great question, and I agree with you about washing items for reasons of allergies. All of our bedding is made with high-quality fabrics with vibrant colors and sometimes delicate detailing. We recommend dry cleaning as the best way to maintain the integrity of each bedding set fabric and shape.  In the 18th century, the linen sheets and pillowcases were white linen for this very reason. Boiled and washed in strong soaps, white linen would not fade, but would only become softer with washing (until it actually wore out from the cleaning). Some printed textiles used for bed hangings were not washed very often, if at all, because householders realized that the expensive items would have faded. Other printed textiles were relatively colorfast to washing, and were, indeed, washed with soap and water. Silks or woolens were sent to specialists (scourers or fullers) who had knowledge in stain removal and cleaning without the use of modern petroleum solvents.

Some of our bedding patterns do have coordinating fabric available. To learn which patterns we offer, please contact our customer service team at 1-800-446-9240.  In the 18th century, textiles were sold by the yard or ell (45"). The customer or upholsterer purchased the required lengths and made all the bed hangings by hand.

Kathy, at this time we do not carry California King-sized bedding and we do not currently have plans to offer this size. Interestingly, in the 18th century, most beds were no larger than the equivalent of a modern double bed mattress. The extra-long and extra-wide sizes are a modern convenience.

Four poster beds are regal and elegant  . . . and sometimes hard to dress. Some quilts and counterpanes in the 18th century did have the corners split or cut out to make a T-shaped bed cover. You might consider doing that with your bedspread or hiring someone to cut and bind the cut edges. We do use regular rectangular counterpanes on some of our tall-post beds in the Historic Area. In that case, we fold back the corners and tuck the spread under the mattress. By adjusting the folds, you can achieve a nice historic but attractive effect.

Some items of bedding could be purchased ready-made. These include some types of imported quilts and woven coverlets. Sheets and pillowcases were usually stitched and hemmed by women of the household from purchased linen (or homespun, if they lived in rural areas where linen was produced). Bed hangings, if the family had them, were made to fit the specific wooden posts and laths of the bedstead. Bed hangings were made by the women of the house or by a local upholsterer.

Thank you so much for taking the time to write. I greatly appreciate your kind words. You might want to schedule a trip to Williamsburg to see some of our new exhibits. Now through Labor Day of 2010, we have an exhibit of quilted clothing and bed quilts from 1600 to 1800 in date. This includes many quilted petticoats of the type American women were wearing in the 18th century. In the late fall of 2010, we hope to open an exhibit of costume accessories (shoes, hats, bags, aprons, etc.).

Bed rugs were used in America during the 17th and 18th centuries. They were heavy, warm bed coverings made of several different types of structure. Some were woven on looms with long pile inserted using a turkey knot technique or a similar loom-controlled knot. Some were embroidered with wool threads such as crewels on wool blanket grounds. Yet others were stitched with a loop stitch similar in appearance to hooked rugs, but done with needle and thread. I have not seen any examples that were actually hooked like modern hooked rugs, however. 

I will be around between lectures and at the social events during the Quilt Symposium. I'll look forward to seeing you during one of those times.

Sheets and pillow cases were almost always plain-woven linen. Those people with more money used finely woven bleached linen; the quality went down with the social level and amount of money available. An ordinary farmer probably had unbleached linen in a coarser weave. Very poor people had coarse scratchy linen known as "osnaburg." Blankets, which were wool, also varied in quality with price. Rich people had exceptionally fine napped wool blankets, sometimes embroidered in the corners with wool "rose" designs or compass patterns. Ordinary folks used blankets that were not as soft, fine, or beautiful. Outer counterpanes, which we would call a "bedspread" today, consisted of silks or imported India chintz palampores for the very rich. They also used fine quilted, embroidered, or woven matelesse fabrics (the last was developed around 1750). Middling and poor people used cheaper materials for their outer counterpanes, such as plain, striped, or patterned linens or woolens. Very poor people only had coarse blankets.

I have not had the opportunity to make or design a fabric medallion myself, but have asked colleagues about the techniques they use. The method will depend on the final look you want to achieve, that is, precisely pleated or less precisely gathered. You will need to have your wooden frame to begin with. Some designers figure out the distance around the framework and the exact depth of the desired pleats and stitch a tube or "skirt" of fabric to the necessary dimensions. That fabric is then very carefully pleated along one selvage edge to form the center of the medallion. They fasten off the center pleats and then tack the assemblage to the edges of the framework using precisely planned pleats. Finally, they cut off the excess fabric. This method uses trigonometry to achieve the final results—not one of my strong suits! Another person I interviewed would have used a more empirical method. She would tack the textile around the edges of the frame and gather in at the center, holding the gathers in place with an elastic or rubber band until the gathers are at the exact center. The gathers are then stitched close and the excess fabric cut off. In both methods, a fabric rose covers the rough edges of the center pleats.

Netted canopies were not used during the colonial period (they came later in the 19th century), but many colonists did use mosquito nets made of sheer open-weave silk or linen textiles, stitched together and draped over the bed to tightly enclose it for insect protection during the summer months. You could make an attractive draped canopy out of silk netting or sheer linen for a lovely summer treatment.  We use summer mosquito curtains in the Wythe House and in the Governor's Palace.

Beds with holes in the sides were used with ropes that were woven through the holes from side to side and from end to end. Beds with pegs, on the other hand, were used with canvas "sacking bottoms" that had ropes running from eyelets in the canvas over the pegs. The sacking bottoms were apparently considered more expensive, because they required more fabric and were almost certainly more comfortable. The ropes were tensioned with a wrench-type of tool that took out the slack so the ropes could be tied off more tightly. Some rope beds were equipped with hide (leather) or woven mats to keep the mattress from sliding down through the spaces between ropes, making the bed more comfortable.

The choice of paint color depends in part on your personal preference and how dark or light the room feels. Although neutral "stone" or off-white colors were used in the 18th century, many paint colors were rich and dark, so you have many options that would be appropriate for the period. I would be inclined to select one of the colors in the print that also blends well with the wood tones of the furniture and whatever flooring you have. You might check your local Pratt & Lambert paint store for WILLIAMSBURG paint colors.

I certainly share your desire to see as much as possible of the beautiful wood of your bedstead. You also need to take into account the comfort of the bed for the modern lifestyle. The finest beds of the 18th and early 19th centuries were fitted with puffy featherbeds as the top layer for the optimal sleeping comfort. When we fit our bedsteads in Colonial Williamsburg's Historic Area, we try to find period print or painting sources that show us how high the mattresses should come with respect to the framework. Sleigh beds are illustrated by early 19th century designers such as Pierre de la Mésangère, Percier, and Fontaine, and Ackerman's Repository. Many of these sources show mattresses that come up a little higher than modern taste would prefer. Many are combined with upholstered rolled bolsters to top off the mattress, further covering some of the wood. Having said that, you have considerable leeway to select your mattress. You will want to measure the distance from the frame where the box spring sits up to the level where you want your mattress to come. That will give you a good ballpark for mattress shopping.

Although Colonial Williamsburg is not able to do custom work to fit your antique bedstead, a seamstress or decorator in your area should be able to make a custom set of dust ruffles using sheets from the set or another coordinating fabric. What we call "dust ruffles" today were called "base valances" in the 18th century. The term referred to valances used at the base or bottom of the bed, rather than at the top. Base valances usually echoed the shape of the upper valances with the same trimmings, textiles, and overall shape. Often, they were flat with scallops or shaped bottoms.

Thank you for offering this interesting information about bedbugs. I wonder if it worked.

Matelassé woven counterpanes or bed covers were very fashionable in the early 19th century. In the period, they were usually called "Marseilles quilts." Almost always woven of white cotton, they came in a variety of patterns, often with a central medallion and wide decorative border adding to the subtle textured effect.

Printed textiles have a long history that pre-dates the 17th century. By the 18th century, several different varieties were available. One type was imported from India and was made with a laborious hand-painting technique known as "mordant-painting and dyeing"; these were usually called "chintzes" and were very expensive, beautiful, and highly desirable at the time. We show reproduction Indian chintz in the Governor's Palace and in the Peyton Randolph House here in Williamsburg. A second type of printed textile was block printing. The Europeans and English quickly found ways to imitate the fashionable Indian prints using carved wood blocks to print the textiles in multiple colors. The third type is copperplate printing. Around 1750, the British developed the technique of printing colorfast cottons using engraved copper plates to create single-color prints with very fine details on white grounds. The most popular colors were red, purple, blue, and sepia. This technique was also used by the French, and the textiles often known by the French word "toile." Finally, roller printing was developed. Very late in the 18th century, manufacturers began experimenting with printing using rollers to speed the process. The technique was perfected in the 19th century, greatly increasing production and lowering the cost of printed textiles.

Old Abingdon Weavers made the Lodge bedspreads. The pattern is called Lover's Knot. The company was recently sold but the new owners still make spreads in the same patterns, from the same looms. To learn more, call 765.447.4100.

Thanks for your question, Lynn. Our William And Mary matelassé bedding has been a customer favorite for decades and we continue to look for opportunities to improve the products we offer. In the past, these bedspreads were made using a heavier, stiffer fabric. Recently we began to offer new William And Mary spreads using a much softer, more comfortable fabric. We would suggest that you wash your spread in very hot water and then place it in a hot dryer. The cotton fabric allows for approximately 3% shrinkage.

Hello Emily and thank you for your question. We're delighted you like the Wakefield quilt. As an alternative to the stripe, might I suggest a solid material for the bed skirt and window treatment. There is a lovely Newport Matelassé fabric by Waverly for WILLIAMSBURG that comes in three colors that would work beautifully with Wakefield-Indigo, Persimmon and Pear (retails for $19/yard). Each brings out a different color of the design-the blue, the terracotta, and the spring green-so you can choose the season! The fabric has a diamond-shaped weave that gives it texture and it's very nice to sew with. Matelassé fabrics have history in the 18th century, also. These fabrics are available at our WILLIAMSBURG At Home store.  If we can be of assistance, please don't hesitate to call at 757-220-7749.  And thank you again for your investment in WILLIAMSBURG.