This ewer has an almost ovoid body with a curved rim; its graceful handle has volute terminals and a cast caryatid bust emerging from an acanthus scroll. The ornamentation is divided into horizontal zones with fields of flowering vines providing a uniform background. Two protruding human masks are soldered on the neck. The shoulder has four slightly raised repoussé human masks alternating with inverted palmettes. The central zone of the body has horizontal strapwork with four slightly raised repoussé masks alternating with four urn-shaped volute reservoirs, each filled with a bouquet of tulips, spherical buds (poppies?), and rosettes. The body’s lower register has four compartments, each with a mythological or allegorical figure most likely representing a Greco-Roman deity or personification, such as of the Four Elements. LACMA’s Lucknow ewer is fashioned in a design style popular in the 19th century called the "Cellini pattern," fallaciously ascribing it to the great Italian gold- and silversmith Benvenuto Cellini (1500–1571). Ornate Cellini-pattern ewers and basins were made by gold- and silversmiths across Europe during the Renaissance Revival in c. 1850–80. In the 1850s Indian silversmiths in Lucknow began to make sundry objects of European form and function that were distinguished by their Indian style decoration. LACMA’s Cellini-pattern ewer has been accordingly "Indianized" with Mughal-derived floral motifs for the background.