Turkish No. 3 Dome Ornament, Plate XXXVIII

Step into the majestic geometry and radiant color harmonies of 19th-century design theory and Ottoman architectural ornamentation with this extraordinary fine art poster. Originally published in 1856 by the celebrated British architect and theorist Owen Jones in his landmark design treatise The Grammar of Ornament, this iconic plate—titled Turkish No. 3 (Plate XXXVIII)—studies the breathtaking arabesque and geometric ceiling patterns of classical Ottoman design.

Featuring a fan-like radiating layout of a grand dome interior, this design showcases intricate black and white arabesque tendrils, geometric knotwork, and starry rosettes set against a blazing vermilion-red background. Meticulously restored to highlight its original chromolithographic brilliance, this print features authentic multilingual headers (“TURKISCH”, “TURKISH Nº 3”, and “TURCS”), offering a commanding, sophisticated, and deeply historic focal point for modern walls.

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The History: Owen Jones (1809–1874) was a monumental figure in Victorian architecture and decorative arts, famous for leading the interior decoration of the Crystal Palace for the Great Exhibition of 1851 and co-founding the South Kensington Museum (now the V&A). In 1856, Jones published his masterpiece, The Grammar of Ornament, a revolutionary folio featuring 100 chromolithographic plates that analyzed ornamental systems across world history and cultures. In Chapter X (Turkish Ornament), Jones explored the refined geometric logic, intricate calligraphy, and vivid color combinations of Ottoman mosques and palaces. Lithographed by Francis Bedford using cutting-edge multi-stone color printing, this masterwork served as an essential textbook that reshaped Western decorative art and directly inspired the Arts and Crafts and Art Nouveau movements.

The Aesthetic: A masterclass in radiating symmetry, spatial depth, and dramatic color contrast, this composition captures the breathtaking perspective of an Ottoman dome soffit. Jones uses a vibrant scarlet-vermilion field as the energetic canvas for a sprawling web of black, white, and cream arabesques. At the top center sits a brilliant geometric star-burst rosette, from which intricate tendrils, repeating palmettes, and interlocking geometric knotwork cascade downward in expanding bands. Grounded by clean cream borders and authentic historical typography in German, English, and French, this high-contrast print adds an unmistakable layer of architectural grandeur, worldly culture, and timeless sophistication to any space.

It is an ideal statement piece for:

• Architects, interior designers, art historians, scholars of Islamic art and architecture, and admirers of Victorian chromolithography and Owen Jones’ design theory.

• Grand entryways, living rooms, private libraries, formal dining spaces, creative studios, or as a vibrant centerpiece in an eclectic gallery wall.

• Bohemian, Art Deco, transitional, mid-century modern, or maximalist interior design styles that value bold geometric patterns, historical depth, and rich jewel tones.

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Product Details

Artist / Designer: Owen Jones (Lithography by Francis Bedford)

Title: Turkish No. 3 (Plate XXXVIII, The Grammar of Ornament)

Subject: Antique Ottoman Islamic Architectural Ornament & Dome Pattern Study

Original Year: 1856

Style: Victorian Decorative Arts / Architectural Chromolithograph

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Museum-Quality Vintage Prints

Our vintage posters are made to order using premium Giclée printing techniques. Every piece is printed on thick, heavyweight fine art paper (200gsm) with a smooth, completely matte finish.

We specifically source an acid-free, natural-toned paper that perfectly recreates the warmth and authentic character of original mid-century lithographs. Unlike standard glossy posters, our premium matte finish ensures there is zero glare when your artwork is framed behind glass, resulting in a rich, museum-quality display. Combined with long-lasting, UV-resistant pigment inks, your print is designed to remain vibrant for generations.