Minton's "Chinese Diaper" pattern was developed at the end of a decade that transformed British design--from the Crystal Palace, to the growth of design schools, to the publication of compendiums of world ornament. Appropriately the pattern represents a transition between traditional table wares and the adventuresome patterns to come.

Diaper refers to an allover pattern of repeated motifs, closely aligned along a grid. The diapering that gives the pattern its name is confined to the central band of the border. Otherwise the pattern adheres to the center/border tradition with the border interrupted by framed floral reserves--familiar territory for transferware. Innovation can be noted, however, in the round eastern motifs that punctuate the border and form the center, and in the degree of abstraction in the floral renderings. (Note especially the internal patterns of the outer rondels of the central device). In addition, the harmonious color scheme, while not quite approaching the aesthetic "Greenery-yallery," is notable for the lack of primary hues.

Perhaps the most innovative element is its intent to evoke Eastern culture, not with the pagodas and robed figures popular for the previous sixty years, but via ornamentation alone.

"Chinese Diaper" has been cited as one of the patterns developed for Minton by industrial design genius Christopher Dresser. The design registration date of 1859 places it very early in Dr. Dresser's career before his documentable work for Minton had begun.

What is certain, however, is that the pattern reflects the influence of Dresser's mentor, Owen Jones whose The Grammar of Ornament was published in 1856. In addition to documenting ornament of various cultures and periods, Jones set out principles of good design, two of which are relevant to "Chinese Diaper." Proposition 8 states that "All ornament should be based on geometrical construction." Proposition 13 endorses the use of natural objects like flowers only in an abstract form, not in full naturalistic detail.