This, however, is only Treillage in its elementary form. If one wishes to have a truly effective screen offering a number of exquisite outlines for the entwining of some of the loveliest things that grow, one must go further in one's choice than the simple diagonals and rectagonals--the simple verticals and horizontals. The moment that curves are introduced one gets into a new field of charm, and I know of no means of gaining better effects than by elaborating this form of joinery as the French did two centuries ago, before the discovery was made that every form of art in a garden is inartistic. But possibly if the French _treillageurs_--for the art had many professors--had been a little more modest in their claims the landscapests would not have succeeded in their rebellion. But the _treillageurs_ protested against such beautiful designs as they turned out being obscured by plants clambering over them, and they offered in exchange repoussé metal foliage, affirming that this was incomparably superior to a natural growth. Ordinary people refused to admit so ridiculous a claim, and a cloud came over the prospects of these artists. Recently, however, with a truer rapprochement between the “schools” of garden design, I find several catalogues of eminent firms illustrating their reproductions of some beautiful French and Dutch work. Personally, I have a furtive sympathy with the conceited Frenchmen. It seems to me that it would be a great shame to allow the growths upon a fine piece of Treillage to become so gross as to conceal all the design of the joinery. Therefore I hold that such ambitious climbers as Dorothy Perkins or Crimson Rambler should be provided with an unsightly wall and bade to make it sightly, and that to the more graceful and less distracting clematis should any first-class woodwork be assigned. This scheme will give both sides a chance in the summer, and in the winter there will be before our eyes a beautiful thing to look upon, even though it is no longer supporting a plant, and so fulfilling the ostensible object of its existence. There should be no limit to the decorative possibilities of the Treillage lath. A whole building can be constructed on this basis. I have seen two or three very successful attempts in such a direction in Holland; and quite enchanting did they seem, overclambered by Dutch honeysuckle. I learned that all were copied from eighteenth century designs. I saw another Dutch design in an English garden in the North.