On the "Africana" dinner plate, two curly maned lions survey their territory in a forest that appears distinctly European rather than African in character. Even less sub-saharan is the walled and battlemented fortress that rises in the background--perhaps some imaginary vision of Timbuktu.

The border offers nosegays of garden blossoms alternating with an intriguing scenic reserve. Theatrical curtains raise to reveal an African lady in a curious chariot hitched to swans. She may be a personification of the continent or the Queen of Sheba who was traditionally depicted as of African descent.

Transfer pattern engravers of the romantic period were rarely able to shed their European "eyes" when attempting to represent exotic locales. This of course only adds to the charm of such patterns. The fierceness of lions, it would seem, was particularly difficult to convey. These beasts--along with images of Daniel's Biblical lions of the same vintage--appear to have been based on contented cuddly kittens.

Although somewhat scarce, examples of "Africana" are often sought as appropriate companion pieces to the popular "Giraffe" pattern.