Teatimes for the buyers of Masons Ironstone were as likely to be cloudy, foggy, or even smoggy as they were to be clear and pleasant. With this pattern, however, Masons provided year-round summertime for the table. The center, a precisely rendered, though flowing, variation on the Chinese vase and peonies formula leaves an unusual amount of exposed white ground, creating a breezy impression. Masons has a bit of fun with the color selection. Bright pastels contrast spicey orange tones with whimsical polka dot and ombre enamel application.

Masons maintains a light touch in adapting the pattern to the plate shape. A delicate fillet defines the well, leaving the flange free for loose strands of flowers and fruit which appear to have emanated from the center. A bit of ivory enamel and gilding accent the handles. Otherwise the outer edge is left un-ornamented, an unusual strategy that enhances the overall airy effect.

Lacking the sort of labor force that for generations precisely hand-painted intricate Chinese porcelain patterns by rote, Masons took two different approaches to their adaptation of far eastern designs. 

In their hand-painted Imari adaptations with their runny cobalt shapes and quick brushstrokes, sheer gutsy energy compensated for all irregularities or lack of uniformity. The tabletop is energized by the raucous chaos of color, even if sometimes we cannot quite make out the motifs which are being depicted.

Our cake plates epitomize the virtues of the second approach. Transfer printing provides the outlines to be filled in by enamelers. One scholar, in an entirely different context, dubbed this technique "print and tint." Pieces throughout a service are uniform; the intent of the design is clear. It becomes possible to include intriguing small details. Often, as we see here, the color palette shows greater originality. Yes, this is the safe approach, but one that can achieve a variety of effects beyond mere drama.

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