Ubc Xa^incj ©ut of a park or lEstate 47 



lishing cause and effect, and thereby finding new ways 

 of working out in detail his early motives, or giving 

 them up altogether if other notions for the treatment 

 of parts strike him as being better. 



To see, remaining undisturbed, some particular 

 feature which has proved a failure, is pitiable. The 

 reason the blemish is left is because it has cost so 

 much time, so much money, and because a change 

 would add to the expense, costing as much again or 

 even more. Constant discipline is indispensable in 

 the proper exercise of any art, and when means are 

 not sufficient to treat every part of a park as it should 

 be treated, what money there is had better be devoted 

 towards the improvement of the old established 

 features than to the making of new ones. The 

 postponing of alterations which are recognized as 

 advisable is a dangerous proceeding, also, because 

 existing faults easily lead to the wrong treatment of 

 new features. 



"It has been truly said that 'Artistic production 

 is a matter of conscience,' hence a person with an 

 artistic conscience cannot remain content with parts 

 that have been recognized as not up to the standard, 

 or failures. Following the example of nature, which 

 starts and completes her humblest work with the 

 same assiduous care she bestows upon her most 

 sublime creations, one would rather make any 

 sacrifice than leave the blemish one has become 

 aware of, even if in itself it is but a subordinate 

 matter. 



