This entry explores the relationship between writing and the concept of the nuptial or marriage chamber as the site of writing. It takes the example of poetry from the Tudor and Stuart courtly environment to unpack some of the site-specific heritage of such poetry. Where, conventionally, male poets have been understood to utilize and shape the love sonnet’s “little room,” this entry looks instead at the intertwining of writing, gender, and place in courtly women’s writing, specifically in the context of epithalamia, or wedding poems. To do this, the entry examines both the literal space of the women writing and the ways in which their verses conjure up rooms, hence representing imagined spaces in which the poetry takes place. The reading of these poems by both contemporary and later audiences thus serves to reconstruct these fantasised rooms, making the reader a participant in the spatial and gendered economies upon which this poetry rests. Focusing on a courtly poem by Lady Margaret Douglas in the Devonshire Manuscript, and the casket sonnets attributed problematically to Mary, queen of Scots, the essay analyses two sets of texts that were produced at courts (those of Henry VIII and Mary Stuart respectively) at moments of erotic and political crisis. Framing these texts as epithalamia opens up some of the complex dynamics at work: special attention is paid to how the poems leverage the spatial imagery of classical wedding verse: enclosed rooms, doors, thresholds, confinement and even abduction.