In this soup plate, Wedgwood demonstrates both a high level of technical expertise and an awareness of shifts in public taste.  The wild Italian scene departs from the restrained  Neoclassicalism which had ushered in the century and points toward the Romanticism which would come to dominate all aspects of culture. 

Wedgwood's technical prowess is demonstrated not only in the consistently fine engraving, but in the achievement of multiple shades of blue. The border, a rose garland against a stippled blue ground, utilizes the carefully managed contrast of blue tones  against areas left white to achieve depth and variety.

This sensuous ring of multi-hued roses compliments the Romantic mood of the dreamy Italian harbor scene.  Most of the right half of the scene is taken up with water lapping against a long irregular  shoreline.  Toward the center, a large rowboat ferries passengers to the schooner anchored off shore. As with many Romantic views, certain ominous elements are present. The rocky shoreline could pose dangers; fortresses can represent oppression as well as refuge; and in the distance a volcano erupts.

A.W. Coysh and R.K. Henrywood discuss this series -- which they refer to as Wedgwood's "Blue Rose Border" Series -- in The Dictionary of Blue and White Printed Pottery: 1780-1880  Vol I (p.46).  Introduced in 1824, it  was made over a number of years with some pieces dating to the third quarter of the century.  Noting both Italian and British views, they point out the possible association of our volcano with Mount Etna.

Coysh also illustrates this view in his earlier work, Blue and White Transfer Ware 1780-1840 ( p. 92-93).  There he identifies the scene as "Landscape Series, Sicilian Pattern" and  dates the view to 1835.