Worcester has demonstrated the attributes of their dry blue overglaze decoration to best advantage in these soft paste porcelain  platters.  The size and shape of these platters provide a rare showcase both in the simple, blank ground they offer and the acumen required to fire these larger-than-usual  flat rectangular pieces. 

The decoration reflects the somewhat conservative style of floral painting Worcester turned to in the late sixties and seventies. Four monochromatic floral groups of various sizes have been carefully arranged, appearing to have fallen randomly onto the platters along with various individual blooms.   The soft, creamy surface of the body provides wonderful contrast for the slightly rough, slightly raised nature of the overglaze enamels sitting on top of that surface.  Finally the long straight stretches of molded edge provide the perfect field to demonstrate the skill of Worcester's gilders in their trademark dentil pattern  -- so fine that one can not tell where the edge pattern begins and ends.   

Simon Spero and John Sandon noted in Worcester Porcelain, 1751-1790, The Zorensky Collection (pp201, 202, plts 223-225) that all porcelain producers faced problems developing a blue enamel for overglaze decoration which would not run and would work with other colors.  Worcester partially solved the issue with their "Dry Blue"  -- although they found it was not compatible with other colors, remaining somewhat three dimensional on top of the glaze and a bit rough.  Considering these facts, they chose to use it alone for the floral designs which were coming into style -- with limited gilt detail, mostly in the form of dentil edge trim.  So it was that one variety of decoration which we associate with the restrained, subtle elegance of eighteenth century taste came into being.