A lobed shell-shape dish is decorated in a Japanese Imari-derived pattern of the type sometimes called "segmented." These rich patterns had also been labeled "mosaic" by earlier British potters.

Eight wedge shaped panels of contrasting patterns surround a central prunus medallion like eight slices of a pie. In two of these a cobalt ground is enriched with gilt tracery. Three feature flowering vines. Two others are filled by a trellis pattern that frame alternating motifs. The odd panel is again divided into diamonds--in brighter tones--each containing a circular motif. In two places bordering panels are punctuated with the circular crests traditional in Japanese designs.

Gold and white molded details top and bottom finish what for Masons is an unusually formal design.

Because of early trade restrictions British access to Japanese porcelain was less direct than to Chinese. By the time the Masons developed this Imari-derived pattern, they may have been working with Japanese pieces, continental copies by Meissen and others, or, of course British porcelain derivatives produced since the previous century. It has been pointed out that because of these multiple sources, British copies of Japanese design are less faithful than those based on the Chinese. Could this help account for the free-wheeling bravado of  the Masons Japan wares?