JONES, OWE*. 



JONES, Silt WILLIAM. 



was at Granada, and in conjunction with M. Jules Ooury collected the 

 material* for the fint Motion of ihe work on the Alhambra. M. Qoury 



having died, the publication, in part*. wa undertaken by Mr. Jonea; 

 'ho himielf with awiataoU executed the printing in colour* and 



who 



gold, thereby mainly contributing to the general introduction of that 

 branch of lithography into thU country. The proofs*, it ia well known, 

 require* attention aa to the accurate "registering" or fitting of the 

 separate stone*, or colour*; and this, Mr. Jonea attained with great 

 pain* and coat, plaUa being frequently deatroyed when not at fint 

 oeeiiiful. The publication wan commenced about the year 1836; in 

 1837 Mr. Jonea again visited Granada, and in 1842 the final portion of 

 the work wai Usued under the title,' Plani, Elevations, Sections, 

 and Detail* of the Alhambra,' Ac. It include! a complete tnoalation 

 of the Arabic inacriptioni and an historical notice of the king* of 

 Granada, by Seftor Pascual de Oayango*. From about thia time Mi. 

 Jonra'a name it found connected with the ornamental designs and 

 chromatic printing, to many new works or new editions which were 

 published with elaborate embellishments by Messrs. Longman and Co., 

 and others. He has also made a considerable number of tasteful 

 designs for the articles of stationery manufactured by the Messrs. 

 De la Rue. His ornamentation has generally a character similar to 

 that of what may be called the Mohammedan styles ; the merit of 

 which he bos much advocated, and with some reason, having regard 

 to the amount of variety which is displayed in them with simple 

 elements, and their recognition of one, much-neglected, but correct 

 principle in surface decoration, namely, the avoidance of imitation of 

 relief. In 1842 he published 'Designs for Mosaic and Tesselated 

 Pavements,' with an essay by F. 0. Ward, on their material and 

 structure, and in 1S44. in the exhibition of decorative works sent in to 

 the Commissioners of Fine Arts, he exhibited a large plan of the 

 Houces of Parliament, including designs for the pavements of all the 

 chief halls and corridors of that building. lu addition to his works 

 above referred to, Mr. Jones was engaged in the architectural design 

 and superintendence of some buildings, and he was a competitor in 

 the competition for the building of the Army and Navy Club. In 

 general architectural character however, and even in the ornaments 

 of Moorish character which he introduced, he did not at that time 

 succeed aa well as in interior decoration, in which a well-known shop 

 in Regent-street (Houbigant's) may be named aa one of the most 

 important attempts at that time in London to improve the artistic 

 character of such places. A recent work of his however in the same 

 street (Jay's) with less elaboration, shows what is probably a better 

 treatment of colour, combined with much beautiful delineation of 

 form ; and in this he has adopted the character of Greek ornament. 

 On the formation of the staff of officers for the Exhibition of 1851, 

 Mr. Jones was named one of the " Superintendents of the Works," 

 chiefly with a view to the decoration of the structure, and the effective 

 grouping of the contents. The problem of the decoration was a novel 

 one, and Mr. Jones's original proposals, which he stoutly supported by 

 theory, were very freely discussed, and became somewhat modified 

 in the application. He however always maintained the propriety of 

 using the primary colours, and of using them in certain proportionate 

 quantities in which the reflected rays are held to constitute white 

 light, and also of using them on particular surfaces supposed to be 

 adapted to the force of each colour ; whilst his opponents we believe 

 to the last, held that although a good effect was produced, it was not 

 the effect previously described by Mr. Jones, but one which tended 

 rather against than for the particular reasons which he had given. 

 In the year 1852, one of the lectures at the Society of Arts, relative 

 to the Exhibition, was given by Mr. Jones, and afterwards published 

 under the title, ' An Attempt to define the principles which should 

 regulate the Employment of Colour in the Decorative Arts ; with a 

 few words on the necessity for an Architectural Education on the 

 part of the public.' He gave courses of lectures subsequently at the 

 London Institution and other places, on a similar subject. 



In May 1852, in the prospectus of the present Crystal Palace Com- 

 pany, Mr. Jones's name appeared as "Director of Decorations ; " and 

 con afterwards, in conjunction with Mr. D. Wyatt, he was commis- 

 sioned to visit many of the chief buildings and galleries of Europe, 

 in order to collect the remarkable series of casts and works of art 

 which are now exhibited. When the building was ready, the courts 

 of architecture and sculpture were commenced ; and the Egyptian, 

 Greek, Unman, and Alhambra courts, and the decorative painting of 

 the Kenvr.il fabric, were then completed under his directions. In the 

 building he somewhat modified the scheme of decoration which he 

 bad endeavoured to exemplify in Hyde Park. In that case, there 

 were some distinct questions as to the painting of the columns, some 

 of the objectors contending against painting them in stripes, others 

 arguing for what they styled, though in that particular case with 

 inadequate reason structural truth ; for which they supposed a 

 bronze colour was essential. In the buildings at Sydeuham Mr. Jones 

 baa painted the columns dark red, or marone, and with happy effect. 

 For the authorities for the decoration of the Egyptian Court, Mr. 

 Jones was asiat*d by Mr. Bonomi, Mr. Sharpe, and others, but the 

 irMilt :M a rniltxation of the character of Egyptian architecture, as to 

 ..l,..h a claim was advanced by the newspaper press beyond what 

 Mr. Jones would have put forth, has been of course contested. In 

 the polychromatic decoration of the Greek Court, however, Mr. 



Jones's illustrations of hi* views regarding the ancient practice, 

 were the subject of many comment*, even prior to the opening of 

 the exhibition ; so that on that occasion, he thought fit to publish 

 with the handbooks, 'An Apology for the Colouring of the Greek 

 Court by Owen Jonas; with argument* by O. H. Lewes and \V. 

 Watkias Lloyd,' and other matter, wherein he draws arguments 

 from the discoveries of painted enrichments by Mr. Penrose, to 

 whose work however a critical study should be given before accept- 

 ing the restorations given in it, or deduced by Mr. Jones from it. Some 

 idea of the tendency of Mr. Jones's views may be formed by our stating 

 that he had even earlier come to the conclusion that the shafts of the 

 columns of the Parthenon were entirely gilt. With regard to the paint- 

 ing of sculpture an old subject of controversy, but one of now growing 

 interest Mr. Jones equally adopted the extreme view, that the whole 

 surface of the marble was coated with thick paint, and at the Crystal 

 Palace he has painted one portion of the Elgin frieze in party colours, 

 on that principle, the hair of the figures being gilt. The question 

 (between the advocates of the use of colour) as to the ancient practice 

 may now be said to be between what Mr. Jones advocates, and the 

 mere staining of marble, combined perhaps with the introduction of 

 some painted ornaments. In the Alhambra Court Mr. Jones has pro- 

 sented the most elaborate coloured decoration that has been seen in 

 England ; and, allowing for a few trifling emendations or alterations 

 to adapt the work to the Crystal Palace structure, he has given a better 

 representation of the decorations of the original Alhambn than could 

 be obtained from that decaying work of art. Those several works 

 occupied him about three yean, requiring an amount of careful mani- 

 pulation, scarcely precedented even during the middle ages ; and by 

 his minute supervision of them he must be held to have served the 

 progress of decorative art in this country. He has also written a 

 ' Handbook to the Alhambra Court,' wherein he has given a very clear 

 exposition of the principles of ornamentation, and some arguments 

 iil.io advanced by others, relative to the nature and office of archi- 

 tectural art. Recently Mr. Jones has commenced the publication of 

 a work called ' The Grammar of Ornament,' devoted to numerous 

 illustrations of the ornaments of the different styles. 



Of the St. James's Hall, about to be commenced under his direction, 

 some illustrations have appeared in the 'Builder' (vol. xiv., 1856); 

 and these show that the interior will probably exhibit even greater 

 novelty and elaboration, with tasteful design and good art, than have 

 yet been seen combined in Mr. Jones's works as a practical architect. 



JONES, THOMAS RYMER, a distinguished writer on com- 

 parative anatomy and physiology. He was educated for the medical 

 profession, and having studied in London and Paris, he became a 

 member of the College of Surgeons of England in 1833. Being 

 afflicted with a slight deafness he determined to abandon the medical 

 profession, and to devote himself to the science of comparative 

 anatomy. His first papers on this subject were published in tho 

 ' Proceedings of the Zoological Society,' aud consisted of the dis- 

 sections of several forms of Mammalia, as the Tiger, Agouti, ;md 

 Opossum. On the establishment of King's College, London, he was 

 appointed to the chair of Comparative Anatomy, a position he still 

 holds. At this time no complete treatise on the subject of com- 

 parative anatomy existed in the English language, aud iu 1838 he 

 published ' A General Outline of the Animal Kingdom.' This work 

 at once gained for him a high position as a comparative anatomist 

 and physiologist, and is at the present moment one of the most com- 

 plete works upon the general subject of the anatomy of the animal 

 kingdom. A second edition with considerable additions was published 

 in 1856. In 1840 he was appointed Fullerian Professor of Physiology 

 in the Royal Institution of Great Britain. He was subsequently 

 appointed Examiner in Comparative Anatomy and Physiology iu tho 

 London University. In 1845 he published the first volume of a 

 work entitled ' The Natural History of Animals.' This work embodied 

 the substance of his Fullerian lectures, and constitutes a most 

 interesting introduction to the study of zoology. A second volume 

 ha* since been published, but it is to be regretted that the work is 

 not yet completed (1856). Professor Jones is an attractive popular 

 lecturer, and is well known amongst the literary aud scientific insti- 

 tutions of this country for his eloquent and instructive lectures on 

 natural history. During the progress of the ' Cyclopaedia of Anatomy 

 and Physiology,' he was one of the most frequent contributors to its 

 pages. He was elected a Fellow of the Royal Society iu 18-14. 



JONES, SIR WILLIAM, was born in London, September the 28th, 

 1746. William Jones, his father, who wa* a mathematician of some 

 eminence, was born iu 1680, and died in 1749. He was the author of 

 ' A New Compendium of Navigation,' 8vo, London, 1702; 'Synopsis 

 Palmariorum Matheseos, or a New Introduction to the Mathematics,' 

 8vo, London, 1706 ; ' Analysis per Quautitalum Series, Fluxiones, ao 

 Differeutias,' &<x, 4 to, London, 1711; besides some papers iu the 

 ' Philosophical Transactions.' 



William Jones having died when his son was only three years of 

 ago, the care of the child's education devolved upon his mother, who 

 appears to have been a sensible and intelligent woman. Jones was 

 remarkable in his early years for his progress iu learning. At the age 

 of seven he was sent to the grammar-echool at Harrow, and though 

 his classical studies were suspended for a twelvemonth when ho waa 

 nine years old, in consequence of an accident which kept him from tho 



