sses of objects, even the most simple, in which some
attempt at ornamentation is not made.

Ornament is one of the principal means of enhancing the value of the raw
material. A piece of carved wood, or an artistically decorated porcelain
vase, worth perhaps many hundred dollars, if reduced to the commercial
value of the material of which they are composed would be valued at but a
few dollars or cents. The higher the ornamentation ranks, from an artistic
point of view, the greater becomes the value of the article to which it is
applied. Knowledge of good designs is thus evidently important, to the
purchaser of the object ornamented as well as to the designer who planned
it. This can only be attained by cultivation.

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