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Owen Jones, The Grammar of Ornament, London: Bernard Quaritch, 1868

[4], 157 pp (text), 112 chromolithographed plates including the title page and numerous black and white illustrations; rebacked in quarter bound calf over beveled boards, five raised bands (six compartments) with gilt titling to the second compartment, beveled edges, marbled edges.
13.6 x 9.8 x 2.2 in (34 x 24.5 x 5.5 cm)

This magnificent masterpiece has justifiably been called "one of the great color plate books of the nineteenth century," and it is "certainly one of the most influential." Additional in-text plates. With the "Preface to the Folio Edition" by Jones, dated 1856.

Owen Jones’ Grammar of Ornament was first published in 1856 in the form of a lavish folio that highlighted stunning patterns, motifs, and ornaments across 112 illustrated plates. Considered to be a design masterpiece, the book was a monumental publishing project that managed to achieve unseen standards in colour printing. Each illustration in the folio explored the design principles behind the architecture, textiles, manuscripts, and decorative arts present across 19 cultural periods, including I:) Ornament of Savage Tribes; II: Egyptian Ornament; III: Assyrian and Persian Ornament; IV: Greek Ornament; V:Pompeian Ornament; VI: Roman Ornament; VII: Byzantine Ornament; VIII: Arabian Ornament; IX: Turkish Ornament; X: Moresque Ornament from the Alhambra; XI: Persian Ornament; XII: Indian Ornament; XIII: Hindoo Ornament; XIV: Chinese Ornament; XV: Celtic Ornament; XVI: Mediaeval Ornament; XVII: Renaissance Ornament; XVIII: Elizabethan Ornament; XIX: Italian Ornament; with the final chapter paying tribute to the beauty of the natural world titled XX: Leaves and Flowers from Nature.

It provided a systematic study of decorative art, influencing movements such as the Arts and Crafts Movement and Aestheticism. Design reformers, including Christopher Dresser, collaborated with Jones and were inspired by his work to develop new design philosophies that emphasized both beauty and utility.

Authored by Jones, whose studies on colour theory, geometry, and form remain an inspiration for designers till date, this book was his way of convincing the designers and tastemakers of the Victorian era of the need to look towards history to form the foundation for good, modern design. The purpose of Grammar of Ornament, thus, was to aid young and upcoming designers to use the underlying principles of the older decorative arts as inspiration in their own work.

The Grammar of Ornament remains a timeless resource, offering valuable insights into the universal principles of design and the rich tapestry of global decorative art traditions.

The book continues to remain in print even 169 years later—a true testament to its enduring appeal when it comes to design—and has been instrumental in shaping design aesthetics since its publication.

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