A strong profile, a sophisticated combination of geometrical design elements, and a reliance on the tactile appeal of the smooth terra cotta surface characterize this ale jug from the Watcombe pottery.

The decoration consists primarily of molded  horizontal rings circling the jug's body--some highlighted with gilding or black enamel, some left in relief. In two places these rings frame bands of relief decoration. Slightly below the jug's widest point is a row of boldly modeled and enamel black studs of a cabachon shape with subtle molded vertical ribs between each. This soft ribbing is expanded in a second decorative band where the form tapers to its foot. A flaring black enameled handle completes the geometry of the piece.

Of course there is one non-geometric element of the design. The spout which emerges from the collar takes the form of a smiling bearded face. Goats ears reveal the character's identity as a satyr and suggests that the jug was intended for something stronger than milk or water.

The Watcombe pottery is an example of a ceramic manufacture whose origins are linked to a specific natural clay deposit. In the 1860's fine red clay was discovered outside Torquay in Devon. Initial success in selling the clay as raw material for potters led to the establishment of a local ceramics works in 1869. The young pottery was praised by Llewellyn Jewitt in his classic 1883 account of the British ceramic industry. Through a variety of decorative techniques and styles, the unifying element of Watcombe's product is its reliance on its high quality terra cotta body. 

The eminent Victorian designer Christopher Dresser is often associated with the Watcombe Pottery, but the details of the association remain undocumented. While the clean geometry of this jug may reveal his influence, we resist the common tendency to attribute design to Dr. Dresser recklessly.