Illustrated Books acquired for the Melbourne library by 1861:
Humphreys & Jones (O.) Illuminated Books of the Middle Ages 1849 {1860} SLV [IB]
Jones (O.) Designs for Mosaic and Tesselated Pavements 1842 {by 1861} SLV [IB]
Jones (O.) & Goury Alhambra 1842-45 {1858} SLV [IB]
Jones (O.) The Grammar of Ornament 1856 {1857} SLV [IB]

He is also credited with producing the 12 chromo-lithographed plates for Adams (E.) Polychromatic Ornament of Italy 1846 {by1861} SLV [IB].

Jones first came to prominence through his study of the Alhambra and application of Arabic design to contemporary architectural decoration, as outlined in the two earlier 1840s books noted above, both employing the relatively recent medium of chromo-lithography with considerable sophistication.

His ideas on ornament later became particularly influential, through his involvement in the early development of the collections and teaching curriculum of the South Kensington Museum (now the V&A), and various other publications, especially The Grammar of Ornament, regarded as a masterpiece of chromo-lithography.

Jones was also responsible for key elements of the design of the exhibition content of the Crystal Palace, both for the Great Exhibition (1851), and also, together with Wyatt, the rebuilt Crystal Palace in Sydenham (1854), for which Jones designed the Egyptian, Greek, Roman and Alhambra Courts. He also contributed texts for several of the handbooks published at the same time, including “An Apology for the Colouring of the Greek Court,” a detailed analysis of the evidence for whether ancient Greek architecture and sculpture were originally coloured.

Recent scholarly attention to Jones has emphasized his wide sphere of influence (both in Britain and elsewhere), and particularly his interest in Arabic pattern and the Alhambra.


See (accessed 5 March 2021) For Jones’ contributions to the Sydenham handbooks, see Fine Arts Courts… Crystal Palace (1854), first series, acquired for the Melbourne Public Library in 1858 [SLV A708.2 F49]

For recent analysis, see e.g. Carol Flores, Owen Jones: Design, Ornament, Architecture & Theory in an Age of Transition, Rizzoli, 2006; and Ariane Varela Braga (2017), as cited in the entry on Jones & Goury’s book on the Alhambra