Moresque ornament from the Alhambra no. 5. Mosaics. 

Curator: We're looking at a print titled "Moresque ornament from the Alhambra no. 5. Mosaics" by Owen Jones. Editor: What a delightful pattern! It feels both orderly and incredibly vibrant with the arrangement of varied colors. Curator: Owen Jones was a very influential figure in the history of design. His work, particularly his publication "The Grammar of Ornament," became a crucial sourcebook. He aimed to revive what he perceived as timeless design principles, especially from sources like Islamic art. Editor: Yes, these repeating geometric shapes feel grounded and limitless. There is a strong focus on structure but it feels less like a technical exercise. Instead, the colors give it an almost playful and celebratory mood. Curator: Exactly, Jones was fascinated by the Alhambra's decorations, seeking to extract design rules that he believed would be universally applicable. He saw Islamic art as an exemplar of abstract beauty, devoid of naturalistic representation, which he felt was spiritually elevating. In doing so, his own period used it to advance the aesthetics of modernity, not tradition. Editor: It’s interesting how this print makes something monumental, like the Alhambra's mosaics, accessible on a different scale. The intricacy can be really studied here; and those varied colorful interlocking geometries become immediately legible as visual poetry. Curator: Absolutely. It's about extracting, classifying, and then disseminating this knowledge. Jones believed good design could morally uplift society, aligning with broader Victorian social reform efforts. Editor: The interplay between repetition and variation within each mosaic creates an energy of almost regulated spontaneity; this reflects, I feel, Jones' own creative philosophy. Curator: Indeed, understanding the Victorian era’s design theories gives these images new weight. Editor: For me, the careful combination of shape, color and spacing produce an incredibly balanced viewing experience. Curator: It's always striking to examine these historical works; reflecting both Victorian idealism and the ongoing appeal of geometric abstraction.