The well observed and finely engraved scenic detail of John Ridgway's "Pomerania" pattern conveys a convincing impression of the northern European region on the Baltic coast, in contrast to many transfer designs that offer only vague evocations of far off places.

We are presented with a picturesque view of a quay along the Baltic Sea, rustic to be sure, but still the site of commerce with a boat arriving by water and tiny figures of herdsmen approaching up the walkway. Dominating the scene and responsible for its character, however, is a variety of architectural structures, primarily towers that range from the sturdy and functional to the delicate and ornamental. Echoing the form of the towers is a stone obelisk on the shore side of the quay. Female figures in the foreground give us a look at native costumes.

The pretty scalloped profile of the blank, set off by a row of printed bead work, reflects the change in taste which started in the late 1820's. Forming a frame for the center scene is an exuberant border of scrollwork, floral swags, and nosegays. A narrow net pattern ground between the border and the edge provides contrast.  

One wonders why harbor scenes are so frequently depicted on transferware. Does the choice trace to the shorelines that feature prominently in Chinese blue and white landscapes? Does it reflect the fine art tradition of harbor scenes--such as the work of Lorraine or Turner? Or maybe it stems from the importance of export trade to the success of the Staffordshire potters?