The sights of the sea coast--and almost its sounds and smells--are captured by the Doulton Burslem designers for their elaborate "Oceana" pattern. Six circular vignettes, nestled among shells, coral and seaweed, present ships of various sizes and occupations, a cliff top fishing village, and even a lighthouse looming above foamy waves. The warm cinnamon brown color in this context almost looks a bit sandy. Reigning over this coastal adventure--and perhaps suggesting a good use for this unusual square tureen--is a very impressive crab gracing a garland of seaweed and coral.

The availability of train travel made seaside excursions possible and popular for the Victorian middle class. This pattern doubtless evoked pleasant memories for these day trippers. Even today its appeal (and its relative scarcity) has made it one of the most sought after patterns in the Aesthetic Movement style.

When we cite "Oceana" as one of the great patterns of the aesthetic style, what do we mean? It lacks the asymmetry that characterized many contemporary patterns. The scenes are rendered in a purely European manner, without hints of Japanese influence.The Doulton designers kept their feet dry--resisting the depiction of fishy undersea life we find from potters like Minton. However, the way the circular vignettes are treated--like independent pictures mounted scrapbook style against coral and seaweed sprays--employs a Japanese tradition that was frequently used by British potters that clearly indicates their far eastern inspiration.