The bedroom in the depth-psychology corpus is not treated as mere domestic furniture but as a charged psychic space where the most intimate transactions of the self — with desire, grief, vulnerability, and the unconscious — are staged. The room where one sleeps, makes love, and dreams occupies a threshold position between waking consciousness and the underworld of the psyche, and the library’s major voices approach it accordingly. Freud establishes the foundational symbolic grammar: rooms in dreams are women, and the bedroom in particular concentrates the symbolism of enclosure, sexuality, and the uterine interior. Jung’s clinical seminars extend this, presenting bedroom scenes in reported dreams as sites where compensatory figures intrude upon the ego’s domesticity — naked boy-children, axe-wielding phantoms, slowly opening doors — each marking an irruption of the unconscious into the sanctioned space of conjugal life. Thomas Moore, working in the Hillmanian tradition, reads the bedroom cosmologically, proposing that Ficino’s recommendation of celestial imagery on bedroom ceilings restores the room’s lost archetypal resonance. Kalsched and O’Connor treat the bedroom as a theater of trauma: for the abuse survivor, it is the site of dissociative terror; for the bereaved, the marital bed becomes a conditioned stimulus for grief. Hillman, more briefly, frames bedroom conversation as legitimate religious and psychological territory, contesting any hierarchy that would privilege church over bedroom as a site of ultimate meaning. The cumulative portrait is of a room that refuses to remain merely utilitarian.