The Grammar of Ornament

Synopsis

A complete and unabridged full-color edition of the classic sourcebook on ornamental design

First published in 1856, The Grammar of Ornament remains a design classic. Its inspiration came from pioneering British architect and designer Owen Jones (1809-1874), who produced a comprehensive design treatise for the machine age, lavishly illustrated in vivid chromolithographic color. Jones made detailed observations of decorative arts on his travels in Europe, the Middle East, and in his native London, where he studied objects on display at the Great Exhibition of the Works of Industry of All Nations in 1851 and at local museums. His aim was to improve the quality of Western design by changing the habits of Victorian designers, who indiscriminately mixed elements from a wide variety of sources.

Jones's resulting study is a comprehensive analysis of styles of ornamental design, presenting key examples ranging from Maori tattoos, Egyptian columns, and Greek borders to Byzantine mosaic, Indian embroidery, and Elizabethan carvings. At once splendidly Victorian and insistently modern, The Grammar of Ornament celebrates objects of beauty from across time periods and continents, and remains an indispensable sourcebook today.

Summary

Chapter 1: Division into Rectangles and Squares

* Summary: Examines the use of rectangles and squares as organizing elements in ornamentation.
* Example: A geometric pattern of squares and rectangles used as a decorative border on a Greek vase.

Chapter 2: Division into Triangles and Compound Triangles

* Summary: Explores the use of triangles and compound triangles to create complex patterns.
* Example: A Celtic knot pattern composed of interlocking triangles.

Chapter 3: Division into Lines and Curves

* Summary: Considers the integration of straight lines and curved lines in ornamentation.
* Example: An Islamic tile pattern featuring intricate geometric lines and curves.

Chapter 4: Division into Radiating Lines

* Summary: Analyzes the use of radiating lines to create symmetrical and dynamic patterns.
* Example: A Victorian stained glass window with a floral design arranged around a central radiating axis.

Chapter 5: Division into Concentrations

* Summary: Examines the grouping and concentration of elements within ornamental designs.
* Example: A Japanese scroll painting featuring a concentrated area of flowers arranged in a circular pattern.

Chapter 6: Division into Equal Spaces

* Summary: Explores the use of equal spacing to create regular and uniform patterns.
* Example: A Roman mosaic floor with a grid of equal squares and circles.

Chapter 7: Division into Unequal Spaces

* Summary: Considers the use of unequal spacing to create visually dynamic and organic patterns.
* Example: A Baroque tapestry with swirling floral and scroll motifs arranged in asymmetrical spaces.

Chapter 8: Division into Bordered Spaces

* Summary: Examines the use of borders to enclose and define areas within ornamental designs.
* Example: A medieval illuminated manuscript with a decorative border featuring geometric patterns and stylized animals.

Chapter 9: Division into Symmetrical Spaces

* Summary: Explores the principles of bilateral and radial symmetry in ornamentation.
* Example: A Renaissance ceiling fresco depicting a symmetrical composition of angels and cherubs.

Chapter 10: Division into Spaces Adorned with Figures or Groups of Figures

* Summary: Considers the integration of human figures or groups of figures into ornamental designs.
* Example: A Mughal miniature painting featuring a detailed depiction of a royal court with musicians and dancers.