Just to point out something of the subtle use patterns of the living space revealed while stripping back successive layers, look in the darkened corner opposite the side lit by a window. Half-way down on the plastered section of wall behind the battens which support the linnen groundwork of the wall paper, obscured somewhat by the shadow cast by the hanging lamp, there is an unwhitewashed part. It’s because there once was a cabinet standing there and rather than move it to paint behind there the whitewash stops at the cabinets edge, the wall behind left bare. Smart eh, but not only that it maybe can shed some light on a way of thinking that could be described as, less is more.
Ceiling getting exposed, repaired, and sanded, the wall of the bedstead gets a treatment so similar to that, going down, (or back), past the wall paper, past the yellow, maroon, to the pink, yes I think that will be it, getting that pink back on top, being the oldest and therefore the best.
It’s clear by now that I took the mouldings away, even though they were original, still they have always struck me as an alien force and indeed looking into it I find most old bedsteads were conceived not as walls with openings containing a sleeping arrangement but as flat surfaces, a continuous entirety, unbroken. So again, I break with the original and in doing it knowingly commit restoration blasphemy. Not stopping there, I think those doorknobs will have to go too.
The wall’s not getting left plain though. I like to break up all that verticality with a single profiled plank running above the doors the entire width of the wall but that will have to be done up special out in the workshop.