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Jones gathered together all these samples of ornament as 'best' examples of decoration in an attempt to encourage designers to follow his lead in examining the underlying principles contained within the broad history of ornament and polychromy.
Jones’ original description of this plate from his “Description of the plates” (page 9–15), transcribed literally, using Jones’ orthography: “Portion of a painted china Dish: four dragons guarding the labyrinth form the subject of the composition, the flowers are most artistically arranged in the fragmentary style.”
In the Roman temple, the extravagant use of ornament served as a means of self-glorification, as scholar Owen Jones notes in his book chapter, Roman Ornament. Roman ornament techniques include surface-modeling, where ornamental styles are applied onto a surface.
Design reform began with Exhibition organizers Henry Cole (1808–1882), Owen Jones (1809–1874), Matthew Digby Wyatt (1820–1877), and Richard Redgrave (1804–1888), all of whom deprecated excessive ornament and impractical or badly-made things.
Owen Jones, architect and orientalist, was requested to set out key principles of design and these became not only the basis of the schools teaching but also the propositions which preface The Grammar of Ornament (1856), which is still regarded as the finest systematic study or practical sourcebook of historic world ornament. Jones identified ...
This "quality" is the feeling transmitted through ornament's visual messages. Owen Jones, in his book The Grammar of Ornament (1856), proposes theories on color, geometry, and abstraction. One of his guiding principles states that all ornament is based on a geometric construction. Granada, Alhambra, Hall of the Two Sisters, muqarnas ceiling.