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.