Italian No.2 1856

Editor: Here we have "Italian No. 2", a drawing by Owen Jones from 1856, likely intended as a textile design. All these botanical patterns give me a sense of being in an enchanted garden. What stands out to you about this work? Curator: Oh, this piece vibrates with the spirit of a treasure hunt, doesn't it? Jones was such a fascinating figure, deeply immersed in the Arts and Crafts movement and Orientalism. Imagine him, poring over ancient Islamic patterns, then wandering through an Italian villa, sketching furiously... Don't you sense that convergence of cultures here? Look at the symmetry, almost meditative. Is it a direct copy, or more like Jones dreaming of those sun-drenched walls, translating them into a rhythm for the Victorian eye? Editor: It's interesting that you call it a Victorian interpretation. I definitely see the symmetry, but also an abundance that almost feels like controlled chaos. Curator: Controlled chaos... exactly! That’s Jones walking the tightrope between the rationalism of design principles and the exuberant, almost rebellious, spirit of nature itself. The palette feels very grounded and muted compared to other Orientalist works, maybe this makes it feel accessible as a design. Tell me, does it trigger any synesthetic connections for you? Does it smell of anything? Or sound? Editor: That’s a great question. If it smelled of something, I'd guess pressed flowers. As for sounds, maybe gentle harpsichord music from a drawing room. I love how much you bring Jones's persona into it. Curator: It’s hard not to, isn’t it? He seemed like the kind of soul who couldn’t help but imprint his energy onto everything he touched. Now I'm thinking of adding 'pressed flowers' to my notepad; how fascinating, the personal scent-maps these pieces leave behind. Thank you. Editor: It has been amazing to unpack Jones's thought process! It made me appreciate how personal even seemingly "decorative" works can be.