In his eponymous saga, Icelandic outlaw Grettir swims through icy waters to a friend’s farm. That night, while he sleeps on a bench inside the longhouse, his clothes fall off. He wakes the next morning to a servant woman laughing at him. “He’s out of proportion,” she says. “He’s big but small between the legs.” This episode, according to a scholar of saga-era Icelandic life, “illustrates the openness of the life in the hall.” 

Since opening in 2009, the fifty-eight-story Millennium Tower, which offers multimillion-dollar condos in San Francisco’s Financial District and won several awards for structural engineering, has sunk sixteen inches and tilted six inches toward its neighbor. Developers blame a transit hub under construction next door; the transit authority denies responsibility. “San Francisco is not going to bail anyone out,” the city supervisor has said. “It’s not our problem.”

Derived from the French bouder (to pout or sulk), the word boudoir once meant “a place to pout in.” “I have a boudoir, but it has one fault,” the Earl of Chesterfield wrote to a female companion in 1748. “It is so cheerful and so pleasant that there will be no such thing as pouting in it when I am alone.” Its “fault,” he added, could be remedied “by introducing those clumsy, tiresome, and disagreeable people whom I am obliged to admit now and then.” 

In 1882 the nawab of Bahawalpur ordered a bed from a Parisian manufacturer that included four life-size bronze gurines of naked women with natural hair and movable eyes and arms, holding fans and horsetails. Wires were arranged so downward pressure on the mattress set the gures in motion, fanning and winking at him, while a selection from Gounod’s opera Faust played from a built-in music box. 

“It requires great exertion,” wrote Lady Irwin in 1771 about the dangers of life in a grand country house, “to use exercise and stir about when the will is not so inclined and the sofas appear in every corner of the room.”