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. While beauty, or capacity for pleasing the eye, may be very definitely said to be the aim of ornamental art, it is difficult to arrive at a universal standard as to what constitutes beauty. What pleases one person will not always please another. The child loves glittering objects and gaudy combinations, which the mature taste of the man declares extravagant and unharmonious. Savages decorate their weapons, utensils, and their own persons with ornaments that appear uncouth and barbarous to civilized people. Besides these differences in taste, which are due to different degrees of mental development, and which can consequently be easily disposed of, we find among highly civilized and cultured nations, at different periods, a great diversity of tastes. These varying and sometimes apparently conflicting products of ornamental art we designate as styles, viz., Egyptian style, Greek style, Gothic style, etc. So marked are the differences between them that we can sometimes tell at a glance to what period and to what style a small fragment of decoration belongs. Notwithstanding these differences, which at first may appear very great, a careful study of the best styles--those that achieved the greatest and most lasting popularity--will reveal the fact that they are all based upon certain fundamental laws and principles, and that all are good, bad, or indifferent according as they conform to or violate these principles. These essentials having been preserved, the opportunities for the exercise of individual or national taste are almost boundless.