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Approached by steps, the lower storey has three large pillars with arched windows or openings between.The roof and gable, shown in three-quarter perspective, is surmounted by a smaller room similarly roofed, and there are curling finials at the gables and eaves.Above and beyond this the water (shown white) forms an open expanse, with a boat at the centre left containing two little house-like cabins, propelled by a figure with a punt-pole aforeships.In the upper left quarter is a distant island or promontory with pavilions and trees, including a fir.Most 19th-century marks are printed and were often in blue under the glaze when the main design is also in underglaze blue.In a bygone age a wealthy and powerful Mandarin of the Chinese Empire lived with his lovely daughter Knoon-se in a grand palace surrounded by ornate, exotic flowers and trees.In the United States of America, the pattern is commonly referred to as Blue Willow.The exact moment of the pattern's invention is not certain.

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It became popular at the end of the 18th century in England when, in its standard form, it was developed by English ceramic artists combining and adapting motifs inspired by fashionable hand-painted blue-and-white wares imported from China.

Its creation occurred at a time when mass-production of decorative tableware, at Stoke-on-Trent and elsewhere, was already making use of engraved and printed glaze transfers, rather than hand-painting, for the application of ornament to standardized vessels (transfer ware).

Many different Chinese-inspired landscape patterns were at first produced in this way, both on bone china or porcellanous wares, and on white earthenware or pearlware.

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