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surprisingly bold in pattern, is described by the decorator as "a family leftover." Johnson's modern yet old fashioned house is accompanied by two ancient outbuildings, a rebuilt eighteenth century log cabin, now a guest house, and a small nineteenth century structure containing a Dutch style "Bed Box" and modern greenhouse. The cabin, under the eaves, is cozier even than the main house, furnished with bosomy rose-colored print sofas flanking an ancient stone fireplace. The walls are hung with gilt-framed prints and portraits. Although Johnson is steeped in American historical style, this room put me in mind of painters Vanessa Bell and Duncan Grant in their farmhouse at Charleston, Sussex, a concatenation of still lives lovingly constructed, an Anglophile's rarefied bohemia. The gardens surrounding the house figure prominently as pathways to and view from the interior areas. As one walks towards the front garden, one passes beneath an ancient wisteria arbor opening onto a walled forecourt that allows access to another walled garden. The nineteenth century front door is painted in a color with a poetic name: "Old Vase de Paris Green." Weather permitting, one may dine chez Johnson al fresco. In one courtyard he has set a small round table, surrounded by glowing candles, with an early petit dejeuner—another southern tradition--fit for Marie Antoinette at the Petit Hameau, her rustic retreat near the Petit Trianon, which she reserved for meetings with her closest friends, a place of leisure. HYLAND