The Grammar of Ornament is Owen Jones’ design masterpiece. This lavish folio, first published in 1856, highlights stunning patterns, motifs, and ornaments in 100 illustrated plates. Each intricate illustration explores the design principles behind the architecture, textiles, manuscripts, and decorative arts of 19 geographical, religious, and chronological categories. The final chapter revels in the glory of the natural world.

This work was a monumental publishing project. It achieved standards of colour printing never seen before. The folio is still in print 160 years later, testament to its enduring design appeal. 

Who was Owen Jones?

Owen Jones was one of the most influential taste makers of the Victorian era. His pioneering studies on colour theory, geometry and form still inspire designers today.

Jones trained as an architect, designer, and design theorist. His greatest project was as one of the Superintendent of Works for the 1851 Great Exhibition. The location for this international event was Hyde Park in London. The exhibition displayed more than 100,000 objects from around the world. It celebrated the power and potential of new industrial technologies and modern design, celebrating the commercial advantages of the British Empire.

The Crystal Palace housed the objects in the exhibition. It was a purpose-built glass and iron building. Jones' work on the interiors of Crystal Palace showcased his skills to six million visitors. Bold primary tones, vivid reds, yellows, and blues decorated the ironwork. This was a nod to the Spanish Alhambra and Ancient Greece motifs which surfaced in Jones’ work time and time again.

Why did Jones create The Grammar of Ornament?

The Grammar of Ornament was Owen Jones’ rallying cry to the designers and taste makers of the Victorian era.

His life’s work was to convince others that the foundations for good, modern design were found in studying the lessons of history. The purpose of The Grammar was not to encourage others to copy or revive these older decorative arts. The aim was to help young designers make use of the rich underlying design principles, the grammar, in their own work. 

How was The Grammar of Ornament made?

Despite the exponential rise of industrial technologies during the Victorian era, the printing presses could not mass replicate the intricacy of Jones’ plates.

To solve this problem, and at great expense, Jones funded The Grammar’s print run from his own pocket. Working with lithographers Day & Son, he turned to the new and expensive technique of chromolithography. This elaborate printing method required up to 20 separate lithographic stones and drawings. One for each colour. These were then printed one over the other, layer over layer, to form the finished plate. Jones’ assistants meticulously copied The Grammar's original drawings on to lithography stones. This work took one year to complete. This layered technique was used in many variations on luxurious furnishings and prints during the late 19th century.

Further information

The Grammar of Ornament (museum reference D.2014.1) is on display in the Design for Living gallery at the National Museum of Scotland.

View an online copy of Owen Jones' The Grammar of Ornament.