The origin of all attempts at decorating or beautifying objects lies in the
universal love of mankind for the beautiful. Once the necessaries of life
provided for, man instinctively, the world over, turns his attention toward
gratifying this feeling, by improving and decorating the forms around
him--his arms, utensils, dwelling, or his own person. The history of every
nation proves this, and no matter how rude, and even ugly, their efforts
may seem to us, we are bound to recognize in them the same motives that
actuated the builders of the Parthenon or of St. Peter's at Rome. This
awakening and gratification of the æsthetic sense seems to be the first
advance from a condition of mere animal existence, in which food, shelter,
and comfort are the only considerations, to tastes and desires that are
higher and, consequently, more impersonal.
The term historic ornament is applied to the various styles of ornamental
art which have flourished at various periods in the world's history, from
the Egyptian, dating from the 14th century B.C., to those that exist at the
present day. Their number is, consequently, almost unlimited, and we will
confine ourselves to the consideration of a few of the principal ones
only--those that have achieved the most enduring fame, or those that
exercised the most marked influence upon succeeding styles.
In considering the various styles, we must always bear in mind that, with
the exception of the Egyptian, all show very markedly the influence of the
styles that preceded them, being very often merely an outgrowth or
development of a preceding one. Thus the Greeks borrowed many forms from
the Egyptians. The Romans simply adapted and elaborated the Greek style,
etc. So that while each style is usually known by certain prominent
characteristics, it does not follow that these characteristics are peculiar
to it alone.[1] They may be found in other styles, though not to such a
great extent. While similar features will thus be seen to run through many
styles, each will usually be found to possess an individuality of its own.
Every nation, like every individual, possesses different wants and
capabilities, and will develop itself accordingly. Differences in religion,
climate, manners, customs, etc., will cause differences in their art and
literature, the most lasting monuments of their morals, taste, and
feelings.
[Footnote 1: "Rudiments of Architecture and Building," through courtesy of
H.C. Baird.]
It is rather by the study of the art and literature of a people that we
arrive at a true knowledge of them than from the perusal of mere historic
facts concerning them--when they lived, who conquered them, etc.