the form found in nature: "in the best periods of art, all ornament was based upon an observation of the principles which regulate the arrangement of form in nature" and that "true art consists of idealising, and not copying, the forms of nature". Christopher Dresser, Jones's best known protégé, contributed one of the plates in this final chapter, and he was concurrently presenting theories on natural-form ornament in his famous botanical lectures at the Government School of Design in the mid-1850s. This last chapter raises some critics about the inability to produce new ornamental design since repetition is a common factor among nature, and Jones describes this as "going back to nature like the ancients did" but his own response to this issue evolves around the fact that nature has a great variety of line and form, and is based in geometry which gives an enormous amount of freedom to the designer to follow and idealize the form of nature as a basic element while creating something that society has never seen before. Jones gathered together all these samples of ornament as 'best' examples of decoration in an attempt to encourage designers to follow his lead in examining the underlying principles contained within the broad history of ornament and polychromy. The Grammar was influential in design schools in the latter half of the nineteenth century, and is still in print today. Decorative design Jones was able to disseminate his theories on pattern and ornament through his work for several of the key manufacturers of the period, thus facilitating public consumption of his decorative visions in a number of diverse contexts. During the 1840s, having been inspired by the tilework at the Alhambra, Jones became known for his designs for mosaics and tessellated pavements, working for firms such as Maw & Co., Blashfield and Minton. He designed wallpapers for several firms from the 1840s until the 1870s including Townsend and Parker, Trumble & Sons and Jeffrey & Co. Jones was also prolific in the field of textiles – designing silks for Warner, Sillett & Ramm and carpets for Brinton and James Templeton & Co. Jones also immersed himself in a number of decorative schemes for domestic interiors, most notably working in collaboration with the London firm Jackson & Graham to produce furniture and other fittings. Architectural projects and other commissions Jones was well known for his work as an architect. Many