Often the simplest of ornamental strategies are the most effective. The surface of this strong cylinder form is divided into three horizontal bands, each receiving a different classical motif. Rising from the base are the vertical elements of the "bellflower and acanthus" border. Above swags of roses caught up by rams head terminals swoop down to compliment the varied heights of the underlying flower stalks and leaves. The third and uppermost motf, an elaborate horizontal scroll with anthemion (honeysuckle) elements, is set off by raised bands that allow the white body to show through the yellow dip--creating an even more dramatic contrast with the black sprigged relief.

Each of these ornamental patterns was used elsewhere by Wedgwood as a border device framing the main motifs of other jasper and basalt pieces. The three borders in combination, however, shoulder the entire decorative burden of this vase quite handsomely.

Because of some--still to us unexplained--variations in the markings of black on bluff jasper pieces, there is significant confusion concerning the dating of these pieces. This piece, however, bears the simpler sans serif  typeface for "Wedgwood," which was introduced in 1929. Thus we can recognize the vase as an example of the neoclassical strain that continued to be present in interiors well into the mid-twentieth century. (And of course the color combination is undeniably "jazzy.") Quite the evolutionary journey for a form that originated as a holder of match-like sticks for use at hearthside.