Though more typically found in medium blue, the Spode "Greek" pattern is executed here in...

Though more typically found in medium blue, the Spode "Greek" pattern is executed here in brown transfer. The finely potted body and pearlware glaze, however, indicates the same production date as the early blue examples.

The pattern focuses around the solid ground classical relief-like vignette in the center; in this example, a war-like figure in command of a four horse chariot or quadriga.  From the lightning bolts in his hand, we can probably assume he represents Zeus or Jupiter. The complementary border features additional vignettes alternating with depictions of classical urns arranged on a vine pattern ground, suggestive of the wine-loving Mediterranean.  

The images of Greek vases featured in the border give an important clue to the source of t...

The images of Greek vases featured in the border give an important clue to the source of this pattern. The late eighteenth-early nineteenth century  English art and design community was hugely influenced by the publication of ancient Greek ceramics collected by Sir William Hamilton during his diplomatic stint in Italy. The images on the vases, already linear in nature, were documented in engravings, solidly identifying ancient arts with a simple, flat, sketch-like style. The link to the vignettes in the "Greek" pattern is obvious. The pattern also recalls the sketch style of John Flaxman, who drew inspiration from classical sources as well.

In addition to the typical examples in medium blue, Spode "Greek" is occasionally found in blue with  red overglaze enamel highlighting (called clobbering).  The pattern is also found (even more rarely) in brown, sometimes with orange highlights. All of these variations seem to date from the Spode ownership prior to the 1833 acquisition by Copeland and Garrett.