III. _Scope of Ornament._--The scope of ornamental art is almost boundless.
It is applied to objects large and small, adapted to the most various uses,
constructed of the most different materials. As the ornamentation is always
to be subordinate to the object, considerations regarding size, use,
position, material, etc., must govern it. An ornament that would be
admirable applied to one object, might be detestable if applied to another.
A design cannot be made without reference to its future application.

First: The material must be considered. Heavy and hard materials, such as
wood and stone, will not admit of as delicate curves and lines as textile
fabrics, such as cotton and woolen goods, laces, etc.

Second: The manner in which the article is to be made, whether by weaving,
cutting, carving, casting, etc.

Third: The position the object is to occupy. If elevated or otherwise
remote from the eye, elaborate finish and minute detail are useless.
Ornamental art, from time immemorial, has attained its greatest excellence
and exercised its greatest influence in connection with architecture.

In fact, the study of ornament is inseparable from that of architecture. It
is upon architectural forms that the greatest artists have in all ages
expended their greatest efforts and skill, and in a treatise on historic
ornament they are decidedly the most interesting and important object of
study.

IV. _Material of Ornament._--The two great sources of ornament are geometry
and nature. The latter includes the former; for not only must natural
forms, in order to be available as material for ornament, be first