In these handless cups and saucers, Ridgway, Morley and Wear's "Caledonian" pattern follows a simple formula--a lively plaid pattern and coordinating medallion. The tartan-like plaid evokes the romance of the Scottish highlands as does the use of the Roman name for the region, Caledonia.

A second glance, however, reveals a designer's deviation from the Scottish originals. The strict horizontal and vertical lines of traditional tartan have been replaced by intersecting arcs, each bearing an ornamental pattern  resembling embroidery; the spaces left by the intersections contain additional crosshatching. Not only do these arcs conform to the curved surfaces of both the cups and saucers more readily than right-angle lines, they are handy for the formation of the eight-pointed star medallion in the center. The only other ornamentation is a lightly drawn border of pendant devices to finish off the border edge. 

Ridgway, Morley and Wear found their "Caledonian" formula adaptable to a number of decorative variants. In addition to the single color red transfer used here, bi-color treatments of red and green were offered as well as variations enriched with enamel highlighting.

The romance of rugged landscapes peopled by fiercely independent clans -- each identified by a distinctive tartan pattern -- captured the imagination of the British public early in the nineteenth century.  This fascination would continue through most of the nineteenth century, generating a variety of tartan products from floor coverings to boxes and cases for sewing notions to tableware.

However, Ridgway, Morley and Wears' "Caledonian" pattern also hints at a shift from from scene and border patterns to patterns based entirely on ornament that would begin in the mid-nineteenth century and would culminate in the dominant twentieth century approach to tableware design.

Other red and green "Caledonian" variants currently available on this website are featured in the final photo.