Egyptian Ornaments glass tray
One of the most influential design manuals of the Victorian period, Owen Jones’ masterpiece, The Grammar of Ornament brought vibrant and accurate Egyptian motifs to a wide audience. Jones combined his training as an architect and an interest in antiquity with new techniques in chromolithography to create for the first time easily available colored re-creations of Egyptian designs, from flora and column capitals to patterns employed in a range of ancient monuments and objects. Jones’ philosophy of design in The Grammar of Ornament reflects his view of the “grammar” of ancient Egyptian art, as he summarizes: “every flower or other object is portrayed not as a reality, but as an ideal representation. It is at the same time the record of a fact and an architectural decoration, to which even their hieroglyphic writing, explanatory of the scene, by its symmetrical arrangement added effect” (Jones, The Grammar of Ornament, p. 23).
Owen Jones (1809 – 1874) was an English-born Welsh architect. A versatile architect and designer, he was also one of the most influential design theorists of the nineteenth century. He helped pioneer modern colour theory, and his theories on flat patterning and ornament still resonate with contemporary designers today."The decorative arts arise from, and should properly be attendant upon, architecture." —Owen Jones, Grammar of Ornament. His life’s work was to convince others that the foundations for good, modern design were to be found in studying the lessons of history. The Grammar’s purpose was thus not to encourage others to copy or revive these older decorative arts, but to help young designers make use of the rich underlying design principles – the grammar – in their own work.
In the potichomania process, the glass acts as both a foundation and protective finish, saving the step of varnishing. The original intent was to recreate Greek and Etruscan vases by simulating rare and expensive Sevrés porcelain.
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This tray measures approximately 6x10 inches. The relative thinness of the tray – just over 1/8” thick – belies the complexity of the potichomania process. Each of our trays is comprised of a glass tray, three layers of 28# paper, four coatings of varnish, and finished with two coats, each of paint and clear acrylic spray. We’ve added a high-quality felt pad on the bottom in order to protect your home surfaces.
Care: Please spray with a gentle glass cleanser and wipe clean. Do not submerge in water. For decorative purposes only.
©Why Girls Go Astray. All rights reserved.