To know and appreciate the best ornament should be an aim set forth in any scheme of general education.  This knowledge and appreciation can be obtained by studying the application of the laws and principles of ornamental art as exemplified in the works of masters, and also by endeavoring to apply these principles in designs of our own creation.

PRINCIPLES OF ORNAMENT.

We can only arrive at a knowledge of these principles by a consideration of the object.  In other words, nature and history must be studied.  First, nature, for she is the primary source and origin of all good ornament, whether ancient or modern; and if, as in everything else, we would not become servile imitators and weak copyists, we must go to the fountain head.  Second, history, for by the study of the ornament of past ages we will not only become acquainted with the highest developments of which ornamental art is capable, but will moreover broaden our views as to its object and scope, and will stimulate our own imagination and invention, by leading us to the contemplation of the myriad beautiful and protean forms it has assumed, when surrounding conditions, such as religion, climate, temperament, nationality, etc., have been different.  Knowledge of historic ornament will also prevent the imposition on the public, so common in our day, of weak and unworthy productions which claim to be based on classic originals, and which constitute a great stumbling block to the progress and appreciation of good art.  The result is somewhat analogous to that produced upon conscientious but ill-informed minds, who make every effort to appreciate and enjoy the spurious productions of a great author, not knowing that they are not genuine.

POSITION AND SCOPE OF ORNAMENTAL OR DECORATIVE ART.

I. Object of Ornamental Art.—­The object or purpose of ornament, as in the other fine arts, is to please.  In music and poetry this enjoyment is conveyed to the mind through the ear; in the decorative and pictorial arts, through the eye.  Generally, the meaning that we find in such productions, the appeal that they make to the understanding or feelings, is as great a source of interest to us as their intrinsic beauty.  Poetry and vocal music are greatly dependent for their effect upon the meaning they convey in words; painting and sculpture, upon the ideas or sentiments they suggest.  In all four, however, and most decidedly in music unaccompanied by words, the appeal is frequently made almost exclusively to the aesthetic sense, the mind or intellect remaining almost dormant under the impression.  Gems of rhythmical verse, such as Poe’s “Bells,” “The Raven,” Whistler’s “Symphonies in Color,” nameless forms in statuary, expressionless save in the mere beauty of their proportions and curves, and, as has been stated, nearly the entire field of