"If something didn't look good with the fabric, it just didn't get into the house." Though he calls the Roman shades "classical," he adds, "I don't think they were ever made out of a zippy fabric in the eighteenth-century," But what about the contemporary-looking matting in the candlelit (no electric lamps here) dining room, where Delft tiles line the original mantelpiece, and an enviable set of nineteenth-century Windsor chairs surround the table? "Do you mean the sea grass?" asks the designer, not hiding his glee. "We know that grass mats were used a lot in the eighteenth-century, especially in bedrooms. I put the matting in here for acoustical reasons."   --- Off the kitchen, the flower room, with its wide floorboards, shallow porcelain sink, and white-painted cabinets, also offered Jayne a chance to play. "The wallpaper is twisted," he says, "It's a Wiener Werkstätte design we had custom-printed, and it's not syrupy." As for the flowers, they also had to fit in. "This is a house that is usually filled with 'lady of the house' flowers," says Jayne, who credits the illustrious decorator Albert Hadley (with whom he had a cameo professional experience) with that concept. "Those are the flower arrangements done by the people who really live there," says Jayne.