Decoration is the science and art of beautifying objects and rendering them more pleasing to the eye. As an art, individual taste and skill have much to do with the perfection of the results; as a science, it is subject to certain invariable laws and principles which cannot be violated, and a study of which, added to familiarity with some of the best examples, will enable any one to appreciate and understand it, even if lacking the skill and power to create original and beautiful designs.
The study of decoration offers many advantages. It cultivates the imagination and the taste; it develops our capacity for recognizing and enjoying the beautiful in both nature and art; it adds to the pleasure and refinement of life. Practically, its importance can hardly be overestimated, as it enters into almost all the industrial pursuits. We can think of but few classes 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 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 æsthetic 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 instrumental music, are cases in point. In the ornamental and decorative arts, as well as in architecture (from which they are indeed inseparable), beauty alone, in like manner, should be the principal aim and purpose. In the former, of course, it is indispensable that such should be the case, as they are entirely subordinate and accessory in their nature, their only raison d'etre being to beautify or render more agreeable objects already created for some purpose.
It must not be imagined that such artistic impressions—viz., where the appeal is made almost solely to the æsthetic sense, regardless of the reason, judgment, or feelings—are necessarily of a lower order. Their effect is almost analogous to that which nature herself produces upon us—the starry heavens, the mighty ocean, the tender flower. The impression, whether the object belongs to the domain of nature or art, may be a merely sensuous one; and if it stops there, as it certainly does for the majority of people, it ranks without doubt far below productions where the æsthetic element is only used to stimulate and heighten the appeal to the mind or the feelings. But if it extend beyond, and makes the sensuous impression but the parting link to the contemplation of ideal, abstract beauty, without the intermediate aid of the heart or the reason, it is the shortest and quickest road toward the realization of the infinite, and makes us indeed feel that it is but a short step "from nature up to nature's God." Thus architecture, which embodies, more than any other of the space arts, principles of abstract beauty, has been with reason called the noblest of them all.
However, ornamental and architectural forms frequently do convey a meaning, which we term symbolism in art. If this symbolism does not detract from the first object of ornament—viz., to beautify—it is perfectly legitimate and proper. It is impossible to fully appreciate many phases of art, as, for instance, the Egyptian and the early Christian, if we leave out of sight the symbolism which pervades them.