Historic Ornament: Treatise on Decorative Art and Architectural Ornament (Complete‪)‬

The comprehensive nature of the subject of this work renders it impossible to deal with its various divisions and sub-divisions, except in a very condensed manner, within the limits of a handbook for students.

I have endeavoured to present to the reader, and to the student of ornamental and decorative art, some of the salient features which characterize the historic styles of ornament, and those that seem to me to show themselves as landmarks in the wide domain of Historic Ornament.

Realistic decoration was the earliest form of all art, as we find it in the etchings on the bones drawn by the prehistoric cave-dwellers; but ornamental design or pattern drawing is a kind of invention which implies the orderly decoration of architectural forms and other objects, and is generally applied to such objects with the view of adding some enrichment that shall make them more pleasing to the sight.

The former belongs more to pictorial art, while the latter is purely decorative.

As the construction of ornament, in a great measure, ought to be based on the laws that govern the design of good architecture—this we gather from the design of the best ornament of the historic styles—it has been thought necessary to give a slight sketch of each of the principal orders and styles of architecture, placing them, as far as possible, in a chronological sequence in regard to the periods of their existence, and countries in which they flourished.

In some cases I have also thought it desirable to give a brief account of the religion of those nations that have created distinct styles of architecture and ornament; for in many cases, such as in the art of the ancient world and of the Middle Ages, we find that the art of a country was so bound up with the religion of its people, that to understand the former it is indispensable to have some knowledge of their religious ceremonies and beliefs.

I have here to express my indebtedness to various writers on ornamental art whom I have named in the pages of these volumes for some useful points of information, and to them and the publishers of this work for the use of the greater portion of the blocks of illustrations.

I have also to thank Mr. T. M. Lindsay for the use of his drawing of the monument of Lysikrates, and the Science and Art Department for permission to use many of the illustrations of their excellent handbooks on decorative art.

In a succeeding volume to this work, the various divisions of the Industrial Arts and Crafts will be treated in their historical developments of decoration and workmanship.

In conclusion, I trust that the contents of these pages will be helpful to students in art schools, and to others who may desire to have an introduction to the fascinating study of Historic Ornament.