The rounded profile of this teapot in drab-colored stoneware is given a lively jolt by its arched handle and the upsweep of the "parapet"--a terrifically arcane sounding term that refers to this sort of upraised collar surrounding the lid. As a further embellishment of the form, the spout is trimmed by a dignified classical relief of stylized foliage.

The most striking element of the pot, however, is the unexpected contrast between the bright (almost electric) blue of the applied sacrifice figures and the earthy ground tone. Moreover, the blue clay has a slight sheen which makes the relief stand out even a bit more from the matte surface of the unglazed stoneware ("dry-body"--another impressive term.) Why would anyone think to call this "drab?"

Wedgwood had a number of sacrifice groups in its repertoire of relief figures; Reilly and Savage list about a dozen in the first version of their dictionary. They also note that because the figures in such friezes could be separated and applied in a mix-or-match fashion, it is somewhat difficult to keep their identification straight. Given the obvious grain and sickle held by the figure atop the altar, it seems safe to assume that this is the group listed as "Sacrifice to Ceres,*" designed by Flaxman around 1779. (If our assumption is wrong, blame the general confusion noted by Reilly and Savage!)

*Ceres, of course, was the Roman goddess of agriculture.