A higher ambition: Owen Jones (1809–74)
Owen Jones, 'Decoration for the Alhambra Court, South Kensington Museum', 1863. Museum no. E.3608-1931
'Form without colour is like a body without a soul'
Owen Jones was a versatile architect and designer, and one of the most influential design theorists of the 19th century. Through his work at the 1851 Great Exhibition, he was also a key figure in the foundation of the Victoria and Albert Museum.
Two hundred years after his birth, Jones's theories on flat patterning and ornament continue to resonate. In his search for a modern style, unique to the 19th century, he looked to the Islamic world for inspiration. The courageous new principles that he devised became the teaching frameworks for the Government School of Design.
These bold theories on the use of colour, geometry and abstraction formed the basis for Jones's seminal publication, 'The Grammar of Ornament', a design sourcebook that is still in print 150 years later.
Early travel 1832-4
Owen Jones grew up in a world dominated by the austere 'whiteness' of Neo-classical architecture. However, recent discoveries had suggested that ancient Greek buildings were originally coloured. The prospect of studying these examples of architectural 'polychromy' would have been irresistible to a young, ambitious architect such as Jones. He embarked on his Grand Tour at the age of 23, visiting Italy, Greece, Egypt and Turkey before arriving in Spain to carry out the studies of the Alhambra Palace that were to cement his reputation.
Owen Jones, 'Tomb near Cairo', 1833. Museum no. SD.532
Owen Jones, 'Tomb near Cairo', 1833. Museum no. SD.533
The Alhambra Palace
Jones and Goury continued their travels in Spain, hitching a ride from Istanbul on French military ships. Entranced by the beauty of Spanish Islamic design, they spent six months meticulous studying the Alhambra, producing hundreds of drawings and plaster casts. But tragically, Goury then died of cholera. Jones brought his body back home to France and returned to London determined to publish their work. The resulting book became one of the most influential publications on Islamic architecture of all time.
Charles Clifford, 'Court of the Lions, Alhambra Palace, Granada', about 1860. Museum no. 47:790
Charles Clifford, 'Court of the Lions, Alhambra Palace, Granada', about 1860. Museum no. 35:508
Designs for tiles & mosaics
The publication of Jones's Alhambra studies firmly established architectural polychromy as an issue for debate and discussion. Inspired by the tilework at the Alhambra, Jones became interested in contemporary developments in mosaics and tessellated pavements. His designs for tiles attracted the attention of key figures associated with Victorian design reform, including Prince Albert, and led to his involvement in the Great Exhibition of 1851.
The Great Exhibition & The Crystal Palaces
Jones finally introduced his colour theories to the wider public when he was asked to decorate the interior of the 1851 Great Exhibition building. His simple yet radical paint scheme utilised only the primary colours: blue, red and yellow. The design generated much criticism and debate, yet Jones never lost confidence in his vision. The building eventually opened to much great acclaim. Six million people - three times the population of London at that time - visited the colossal iron and glass palace.
The Government School of Design
The first School of Design was founded in 1837, with the aim of raising the standard of British manufactures by improving design. The same spirit of reform underpinned the 1851 Great Exhibition, which included what were seen as some of the world's finest manufactures. Owen Jones helped select objects from the Great Exhibition to be included in the School of Design's teaching collections. He then used these 'best examples' to develop key principles for the School's teaching programme.
The Grammar of Ornament, 1856
Owen Jones finessed his theories on decorative design through various articles and lectures. He had helped organise the School of Design's teaching collections but was aware that many designers had limited access to these objects and to his teaching. His Fine Arts Courts at the Sydenham Crystal Palace were intended as a source for architecture and design education for the wider public, but access was also restricted to those people who could physically visit them. He therefore decided to publish 'The Grammar of Ornament' as a summary of his design theories. It would act as a collection of the 'best' examples of ornament and decoration from other cultures and other periods.
Owen Jones, Original drawing for 'The Grammar of Ornament' - 'Egyptian No. 3'
Owen Jones (1809-74)
Original drawings for 'The Grammar of Ornament'
'Egyptian No. 3'
Published 1856
Museum no. 1579'The Grammar of Ornament' consisted of twenty chapters that explored design principles from sources as diverse as ancient Egypt, Greece and Pompeii, medieval Europe, India, China, Pacific islands and of course the Islamic world. The V&A holds all of the original drawings, which were made by Jones and his team of assistants. Jones's assistants spent a year meticulously preparing the original 'Grammar' drawings for publication. The drawings were carefully copied on to lithography stones and then printed.
Owen Jones, Original drawing for 'The Grammar of Ornament' - 'Greek No. 4'
Owen Jones (1809-74)
Original drawing for 'The Grammar of Ornament'
'Greek No. 4'
Published 1856
Museum no. 1591'The Grammar of Ornament' consisted of twenty chapters that explored design principles from sources as diverse as ancient Egypt, Greece and Pompeii, medieval Europe, India, China, Pacific islands and of course the Islamic world. The V&A holds all of the original drawings, which were made by Jones and his team of assistants. Jones's assistants spent a year meticulously preparing the original 'Grammar' drawings for publication. The drawings were carefully copied on to lithography stones and then printed.
Owen Jones, Original drawing for 'The Grammar of Ornament' - 'Pompeian No. 3'
Owen Jones (1809-74)
Original drawing for 'The Grammar of Ornament'
'Pompeian No. 3'
Published 1856
Museum no. 1598'The Grammar of Ornament' consisted of twenty chapters that explored design principles from sources as diverse as ancient Egypt, Greece and Pompeii, medieval Europe, India, China, Pacific islands and of course the Islamic world. The V&A holds all of the original drawings, which were made by Jones and his team of assistants. Jones's assistants spent a year meticulously preparing the original 'Grammar' drawings for publication. The drawings were carefully copied on to lithography stones and then printed.
Owen Jones, Original drawing for 'The Grammar of Ornament' - 'Indian No. 4'
Owen Jones (1809-74)
Original drawing for 'The Grammar of Ornament'
'Indian No. 4'
Published 1856
Museum no. 1625'The Grammar of Ornament' consisted of twenty chapters that explored design principles from sources as diverse as ancient Egypt, Greece and Pompeii, medieval Europe, India, China, Pacific islands and of course the Islamic world. The V&A holds all of the original drawings, which were made by Jones and his team of assistants. Jones's assistants spent a year meticulously preparing the original 'Grammar' drawings for publication. The drawings were carefully copied on to lithography stones and then printed.
Owen Jones, Original drawing for 'The Grammar of Ornament' - 'Savage Tribes No. 1'
Owen Jones (1809-74)
Original drawing for 'The Grammar of Ornament'
'Savage Tribes No. 1'
Published 1856
Museum no. 1574'The Grammar of Ornament' consisted of twenty chapters that explored design principles from sources as diverse as ancient Egypt, Greece and Pompeii, medieval Europe, India, China, Pacific islands and of course the Islamic world. The V&A holds all of the original drawings, which were made by Jones and his team of assistants. Jones's assistants spent a year meticulously preparing the original 'Grammar' drawings for publication. The drawings were carefully copied on to lithography stones and then printed.
Owen Jones, Original drawing for 'The Grammar of Ornament' - 'Moresque No. 4'
Owen Jones (1809-74)
Original drawing for 'The Grammar of Ornament'
'Moresque No. 4'
Published 1856
Museum no. 1615'The Grammar of Ornament' consisted of twenty chapters that explored design principles from sources as diverse as ancient Egypt, Greece and Pompeii, medieval Europe, India, China, Pacific islands and of course the Islamic world. The V&A holds all of the original drawings, which were made by Jones and his team of assistants. Jones's assistants spent a year meticulously preparing the original 'Grammar' drawings for publication. The drawings were carefully copied on to lithography stones and then printed.
Owen Jones, Original drawing for 'The Grammar of Ornament' - 'Nineveh and Persia No. 1'
Owen Jones (1809-74)
Original drawing for 'The Grammar of Ornament'
'Nineveh and Persia No. 1'
Published 1856
Museum no. 1586'The Grammar of Ornament' consisted of twenty chapters that explored design principles from sources as diverse as ancient Egypt, Greece and Pompeii, medieval Europe, India, China, Pacific islands and of course the Islamic world. The V&A holds all of the original drawings, which were made by Jones and his team of assistants. Jones's assistants spent a year meticulously preparing the original 'Grammar' drawings for publication. The drawings were carefully copied on to lithography stones and then printed.
Owen Jones, Original drawing for 'The Grammar of Ornament' - 'Arabian No. 4'
Owen Jones (1809-74)
Original drawing for 'The Grammar of Ornament'
'Arabian No. 4'
Published 1856
Museum no. 1607'The Grammar of Ornament' consisted of twenty chapters that explored design principles from sources as diverse as ancient Egypt, Greece and Pompeii, medieval Europe, India, China, Pacific islands and of course the Islamic world. The V&A holds all of the original drawings, which were made by Jones and his team of assistants. Jones's assistants spent a year meticulously preparing the original 'Grammar' drawings for publication. The drawings were carefully copied on to lithography stones and then printed.
Owen Jones, 'Frontispiece from The Grammar of Ornament'
Owen Jones (1809-74)
Frontispiece from The Grammar of Ornament
1856
Chromolithograph
Published by Day & Son
National Art Library Pressmark 106.J.22The eclectic, democratic attitude in Owen Jones's design philosophy is reflected in the title page for 'The Grammar of Ornament'. The design integrates Greek key scrolling, medieval manuscript lettering, Celtic interlacing and Islamic ribbed motifs.
Owen Jones, 'Original drawing for The Grammar of Ornament - "Byzantine No. 3"'
Owen Jones (1809-74)
Original drawing for The Grammar of Ornament
'Byzantine No. 3'
Published 1856
Pen and bodycolour
Museum no. 1603Jones had not travelled to many of the countries from which he gathered examples for 'Grammar'. He therefore studied collections at institutions such as the Louvre, the British Museum and the South Kensington Museum. Later known as the V&A, the South Kensington Museum had evolved out of the Government School of Design and included objects from the 1851 Great Exhibition. Jones displayed a great sense of 'design democracy' in his studies for 'The Grammar of Ornament'. To illustrate his decoration principles he drew upon a wide range of source material. The pages of 'Grammar' include examples of architecture, metalwork, textiles, ceramics, manuscripts, woodwork and even plants from nature. This page from 'Grammar's' Byzantine chapter draws upon Greek manuscripts and French enamelled tombs.
Owen Jones, Plate from 'The Grammar of Ornament' - 'Plate LXIV - Celtic No.2'
Owen Jones (1809-74)
Plate from 'The Grammar of Ornament'
'Plate LXIV - Celtic No.2'
1856
Chromolithograph
Published by Day & Son
National Art Library Pressmark 106.J.22Jones published 'The Grammar of Ornament' as a rallying cry to all designers. He drew attention to the valuable lessons to be learnt from historical ornament.
'The Grammar of Ornament' was available in parts, which at the time made it an affordable option for young designers. It is still in print today - more than 150 years after its first publication - and continues to provide a rich source of inspiration for contemporary designers.
'Grammar' was a monumental publishing project that achieved standards of colour printing never seen before. It included 112 lusciously illustrated plates. Unfortunately, due to the overwhelming vibrancy of the plates, Jones's core educational message was often lost. He had always intended that the illustrations should support the text, not the other way around.
Owen Jones, Plate from 'The Grammar of Ornament' – 'Plate XXI - Greek No.7'
Owen Jones (1809-74)
Plate from 'The Grammar of Ornament'
'Plate XXI - Greek No.7'
1856
Chromolithograph
Published by Day & Son
National Art Library Pressmark 106.J.22Jones published 'The Grammar of Ornament' as a rallying cry to all designers. He drew attention to the valuable lessons to be learnt from historical ornament.
'The Grammar of Ornament' was available in parts, which at the time made it an affordable option for young designers. It is still in print today - more than 150 years after its first publication - and continues to provide a rich source of inspiration for contemporary designers.
'Grammar' was a monumental publishing project that achieved standards of colour printing never seen before. It included 112 lusciously illustrated plates. Unfortunately, due to the overwhelming vibrancy of the plates, Jones's core educational message was often lost. He had always intended that the illustrations should support the text, not the other way around.
Owen Jones, Plate from 'The Grammar of Ornament' – 'Plate LVIII - Hindoo No.3'
Owen Jones (1809-74)
Plate from 'The Grammar of Ornament'
'Plate LVIII - Hindoo No.3'
1856
Chromolithograph
Published by Day & Son
National Art Library Pressmark 106.J.22Jones published 'The Grammar of Ornament' as a rallying cry to all designers. He drew attention to the valuable lessons to be learnt from historical ornament.
'The Grammar of Ornament' was available in parts, which at the time made it an affordable option for young designers. It is still in print today - more than 150 years after its first publication - and continues to provide a rich source of inspiration for contemporary designers.
'Grammar' was a monumental publishing project that achieved standards of colour printing never seen before. It included 112 lusciously illustrated plates. Unfortunately, due to the overwhelming vibrancy of the plates, Jones's core educational message was often lost. He had always intended that the illustrations should support the text, not the other way around.
Owen Jones, 'Wallpaper sample
Owen Jones (1809-74)
Wallpaper sample, designed for Jeffrey & Co.
About 1860
Colour print from woodblocks
Given by Miss Catherine Jones, sister of the artist
Museum no. 8336:106Jones passionately believed that direct representations of natural objects should be avoided at all costs. He felt, for example, that realistic depictions of flowers would disturb the 'flatness' of a wall if used in a wallpaper design. He drew inspiration from the stylised flower forms show in some of the samples of ornament exhibited here in this drawing for one of the Persian pages from 'The Grammar of Ornament'. Jones sourced these patterns from Persian manuscripts in the British Museum's collections.
This wallpaper sample is an example of how Jones applied the abstract flower forms exemplified in the 'Persian No. 1' page to domestic design.
Owen Jones, Plate from 'The Grammar of Ornament' - 'Plate LIX - Chinese No.1'
Owen Jones (1809-74)
Plate from 'The Grammar of Ornament'
'Plate LIX - Chinese No.1'
1856
Chromolithographs
Published by Day & Son
National Art Library Pressmark 106.J.22Jones published The Grammar of Ornament as a rallying cry to all designers. He drew attention to the valuable lessons to be learnt from historical ornament.
The Grammar of Ornament was available in parts, which at the time made it an affordable option for young designers. It is still in print today – more than 150 years after its first publication – and continues to provide a rich source of inspiration for contemporary designers.
Grammar was a monumental publishing project that achieved standards of colour printing never seen before. It included 112 lusciously illustrated plates. Unfortunately, due to the overwhelming vibrancy of the plates, Jones’s core educational message was often lost. He had always intended that the illustrations should support the text, not the other way around.
Owen Jones 1809-74. Museum no. 2006BB5274
Owen Jones 1809-74
Pen and bodycolour
Original drawing for The Grammar of Ornament (Persian No. 1)
Published 1856
Museum no. 2006BB5274
Owen Jones (1809 - 74), Plate XLI
Owen Jones (1809 - 74)
Plate XLI, No.5; Moresque No.3 - from The Grammar of Ornament
published by Day & Son, London, English
1856.
Museum no. 2006AY6170'The Grammar of Ornament' consisted of twenty chapters that explored design principles from sources as diverse as ancient Egypt, Greece and Pompeii, medieval Europe, India, China, Pacific islands and of course the Islamic world. The V&A holds all of the original drawings, which were made by Jones and his team of assistants. Jones's assistants spent a year meticulously preparing the original 'Grammar' drawings for publication. The drawings were carefully copied on to lithography stones and then printed.
The South Kensington Museum
The School of Design collections, collectively known as the Museum of Ornamental Art, were eventually moved to a site in South Kensington that had been bought through profits from the Great Exhibition. This museum later became the V&A. Henry Cole, another key figure in design reform, had helped Jones publish 'The Grammar of Ornament'. Cole was also the first director of the South Kensington Museum, and he asked Jones to design a series of galleries known as the 'Oriental Courts'. The Oriental Courts comprised of two galleries: an Indian Court and a Chinese & Japanese Court. These galleries showcased the museum's growing collection of objects from India, China and Japan. Christopher Dresser, one of Jones's most famous protégés, was an assistant on the project.
The Oriental Courts had closed to the public by the end of the 19th century and unfortunately Jones's designs were later painted over. The rooms were used as the kitchens for the V&A restaurant for many years. However, conservation work carried out in the 1980s has shown that much of the original decoration still remains intact beneath the whitewash.
Decorative design
19th-century Britain was dominated by historical revivals such as Neo-classicism and the Gothic Revival. These design movements were riddled with religious and social connotations. Instead, Owen Jones sought a modern style with none of this cultural baggage. Setting out to identify the common principles behind the best examples of historical ornament, he formulated a design language that was suitable for the modern world. He applied this equally to wallpapers, textiles, furniture, metalwork and interiors.
Architectural projects
Such were the impact and influence of 'The Grammar of Ornament' that is easy to forget that Jones was, first and foremost, an architect. Sadly, many of his built projects have long since been demolished. They included St James's Hall, London's principle concert venue for almost fifty years, and two shopping emporiums: the Crystal Palace Bazaar and a showroom for Osler's, the glassware manufacturer. Their sumptuous interiors were breathtaking monuments to leisure and consumption.
Experiments in printing
The Influence of Medieval Illumination
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Miss Jones and her Fairyland: The Work of Daisy Makeig-Jones
An illustrated catalogue of the ornamental lustreware made by Daisy Makeig-Jones for the Wedgwood Company.
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