The form of this unusual jasper dip ewer is based on the Greek lekythos of the fifth century BC, a vessel for oil or perfume associated with the ritual anointment of the dead or sacrificial offerings at tombs. Wedgwood's version is rendered with well-rounded relief figures on an especially smooth jasper surface.

The ewer features youthful figures from Lady Elizabeth Templeton's "Domestic Employment" series, notable for their contemporary costumes in contrast to classical garb. One senses, however, that the solemn origins of the lekythos form have not been entirely overlooked. The figures, rather than being arranged in groups, are set individually at wide intervals, descending in scale from the central female figure holding an infant. A sense of isolation is created. Is this a scene of a young widow or orphans? Such an interpretation is in keeping with the sentimental aspect emerging in romantic literature.

The somber mood is broken, however, as moving around the cylinder, we note a tiny bacchanalian putti, mounting a leopard--certainly from a different time period and a different set of relief sprigs. Did the decorator run short of Lady Templeton's sprigs before the space in the composition was filled? The incongruity only adds to the interest of the piece.

Among the ornamental borders that finish the piece is an unusual three part combination of laurel, ribbon and beading at the shoulder.

Elizabeth, wife of Lord Templeton, was an amateur artist who supplied Wedgwood with designs in "cut India paper" in the 1780's. These were adapted in bas-relief by William Hackwood and used on a variety of wares in addition to jasper. While it is difficult to distinguish the full range of her designs, it is safe to say they contributed a somewhat more romantic, feminine touch to the Wedgwood repertory.