The Artist 
whether his problem be to build a house 
or to lay out a park or garden, is very 
complicated, involving outlays, not only 
for actual construction, but for prepara- 
tory study, superintendence, and the office- 
work of subordinates, which are rarely 
taken into account by the client, who 
thinks he has only to pay for stone and 
brick, soil and trees, and their actual 
manipulation. Every change from the plan 
first settled upon brings a new necessity 
for such outlays, even if it does not make 
needful the undoing of work already ac- 
complished, or the adoption of a scheme 
intrinsically more costly. “ He keeps ab- 
solutely within his estimates if you do not 
change your mind,’ , I heard a client say 
of a well-known architect not long ago, 
“ but he is very extravagant if you change 
it.” The truth was that her change of 
mind had meant the need for renewed 
study on the architect’s part as well as 
more expensive features in the house. 
“ The only way to keep within the sum 
you have named,” replied one of her 
hearers, “ is to go abroad as soon as the 
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