This blog isn’t solely dedicated to describing each new book published by our press. In the long run, that would be dull. Instead, it focuses on things we enjoy using in our work or simply surrounding ourselves with.
One of these is undoubtedly the ceramics from the English company Spode, especially the famous Blue Italian pattern. Introduced in 1816, it has been in production—with only brief interruptions—ever since. It quickly became one of the most recognizable products from the Stoke-on-Trent factory in the Regency and George IV eras, gracing the tables of the elite. However, much like the products from its great competitor, Wedgwood, Blue Italian soon became more accessible, without losing any of its quality.
Charles III with a Spode cup. Photo: Internet
Charles III with a Spode cup. Photo: Internet
The term "Blue Italian" originates from a depiction of an idealized Italian landscape, a motif popular during the Grand Tour—a journey to Italy. Unfortunately, it’s unknown who created this design or exactly what it portrays. It has been suggested that it was inspired by the numerous views of Rome created by James Merigot (also known as Jacques Mérigot), a French engraver living in London from 1760 to 1824. In the late 1790s, Merigot published a popular book, *A Select Collection of Views and Ruins in Rome and its Vicinity* (published in two parts in 1797 and 1799). The illustrations from this book were used in Spode’s "Rome" and "Luciano" series ceramics.
Photo: Spode
Photo: Spode
The issue is that, while Spode drew on Merigot’s images, none exactly match what we see on the Blue Italian ceramics. Experts believe that there’s no such place in Italy. It’s assumed that the visible ruins are a loosely interpreted version of the Great Bath at Tivoli, while the houses resemble those in Lazio, north of Rome. Meanwhile, the castle is similar to those found in Lombardy or Piedmont. It’s generally accepted that the design is a composite of drawings by an unknown traveler, presenting a variety of Italian locations. Although in 1989, the official Spode Museum acquired a 17th-century pencil drawing depicting a scene that might have inspired Spode’s design.
Roger Scruton. Still from the film "On Beauty"
Roger Scruton. Still from the film "On Beauty"
Furthermore, while the image is undoubtedly European, it’s adorned with motifs borrowed from copies of traditional Chinese ceramics, produced by Spode since the company’s inception. Regardless of what exactly Blue Italian depicts, it’s clear that the series has been a tremendous commercial success, as evidenced by the fact that it’s been in continuous production for over 200 years.
And it fits Rambler’s books like a glove.
