In short, the whole thing should be a matter of taste and suitability.  If you have a few fine old things that have come to you from your ancestors—­a grandfather’s clock, an old portrait or two—­you are quite justified in bringing good reproductions of similar things into your home.  The effect is the thing you are after, isn’t it?  Then, too, you will escape the awful fever that makes any antique seem desirable, and in buying reproductions you can select really comfortable furniture.  You will be independent of the dreadful vases and candelabra and steel engravings “of the period,” and will feel free to use modern prints and Chinese porcelains and willow chairs and anything that fits into your home.  I can think of no slavery more deadly to one’s sense of humor than collecting antiques indiscriminately!

[Illustration:  THE TRELLIS ROOM IN THE COLONY CLUB]

XVIII

THE ART OF TRELLIAGE

When I planned the trellis room of the Colony Club in New York I had hard work finding workmen who could appreciate the importance of crossing and recrossing little strips of green wood, of arranging them to form a mural decoration architectural in treatment.  This trellis room was, I believe, the first in America to be so considered, though the use of trellis is as old as architecture in Japan, China, Arabia, Egypt, Italy, France and Spain.

The earliest examples of trellis work shown are in certain Roman frescoes.  In Pompeii the mural paintings give us a very good idea of what some of the Roman gardens were like.  In the entrance hall of the house of Sallust is represented a garden with trellised niches and bubbling fountains.  Representations that have come down to us in documents show that China and Japan both employed the trellis in their decorative schemes.  You will find a most daring example on your old blue willow plate, if you will look closely enough.  The bridge over which the flying princess goes to her lover is a good model, and could be built in many gardens.  Even a tiny modern garden, yours or mine, might hold this fairy bridge.

Almost all Arabian decorations have their basis in trellis design or arabesques filled in with the intricate tracery that covers all their buildings.  If we examine the details of the most famous of the old Moorish buildings that remain to us, the mosque at Cordova and the Alhambra at Granada, we shall find them full of endless trellis suggestions.  Indeed, there are many documents still extant showing how admirably trellis decoration lends itself to the decoration of gardens and interiors.  There are dozens of examples of niches built to hold fine busts.  Pavilions and summer houses, the quaint gazebos of old England, the graceful screens of trellis that terminate a long garden path, the arching gateways crowned with vines—­all these may be reproduced quite easily in American gardens.