Gisela M. A. Richter

“ Such defects are almost invariably due to faulty composition of the clay or the glaze or to the conditions of firing. They can often be remedied by further glazings and firings; but quite often a pot on which much time and labor have been bestowed is hopelessly ruined. A good potter, however, will soon learn to bear such mishaps philosophically; and it is certainly true that one often learns much more from failures than from successes. Moreover, the element of uncertainty lends spice to the craft. ”

“ In taking out the contents of the kiln, gloves and sticks are often useful for handling ware that is still too hot to touch. Invariably there will be surprises—what one has expected to be a great success often turns out a failure, and what one thought little of may become a rare thing of beauty. In the biscuit firing the adventures of the pot are comparatively few; it may crack or sag or warp, but as a rule the expected shape is maintained. But in the glaze firing so many elements enter in that even an experienced potter can never be sure of the result. ”

“ Besides shaping and firing a vase, a potter must understand the art of glazing, to many the most alluring part of the craft; this comprises both the preparation of the glaze and its application to the pot. A glaze is a chemical compound, known as a silicate, which upon firing becomes a glassy substance. ”

“ The process of moulding vases is the one most in use nowadays, for the simple reason that when once the required mould has been made the production of any number of vases is a rapid and easy task. But though commercially favored, this method is looked down upon by the artistic potter as being purely mechanical, and there is no doubt that a moulded vase has all the characteristics of machine work.
The material used for moulds nowadays is plaster. The clay can either be poured into a mould in slip form or pressed into a mould while soft and plastic. ”

“ Judging from the evidence collected above it is fair to assume that though the estimate of potters and pottery varied at different times, in the period of Athenian vase painting it was distinctly high. Potters had, it is true, no social status; but they were respected members of the community, and the keen appreciation of their work had as its natural result eager rivalry among the potters and the setting of high standards. That their craft was regarded as a “trade” is of course nothing new. Artists as a class have only lately been promoted to the higher social ranks. ”

“ In building up a certain shape it is best to use a templet of cardboard or plaster, to be sure that the profile of the vase is followed out correctly. To give the required finish at the end, modeling tools as well as further rubbing with the fingers are required.
With this process in mind it is easy to distinguish between built and wheel-made pottery among the Greek wares. In the built pottery, however careful the work, there is always a certain unevenness of outline—which indeed gives it some of its charm. ”

“ Not all earth is suitable for pottery, but with regard to potter’s clay, some prefer the yellowish red, some the white, and others mix the two. 2. Some in judging of a well-made pithos are satisfied if, when struck, it gives forth a sharp, clear sound. 3. That, however, is not enough, but the person in charge ought to be present while the work is going on, and see to it that the clay has been well worked, and not let it be put on the wheel before the clay shows what sort of pot it will make when fired. ”

“ Potters turn the wheel which moves neither backward nor forward and at the same time imitates the rotation of the universe, and on this same wheel as it whirls they make things of all kinds, no one of them like another, from the same materials with the same tools. ”

“ It is during the second process of turning that an expert potter can effect many changes in width and height or in details, and thus make his product correspond exactly with his carefully planned design. Modern potters of standing work in the same way today. They first make a drawing of a vase, full size or to scale, and then proceed to follow this drawing in every detail, using rules and calipers for their guidance. Of course it needs a great deal of skill and patience to be able to work so exactly; but Greek potters, we can be quite sure, had a good supply of both of these qualities. ”

“ Unfortunately very few potter’s implements of classical Greek times have survived. We have no Athenian wheel or kiln or turning tools. And even from other periods the list of such utensils is a slim one. But what has survived here and there from other periods is in line with the general trend of the evidence—that the techniques in ancient times were very similar to what they are today. Perhaps the most interesting pieces are the terracotta disks found at Gournia, Arezzo, and elsewhere, [57] which are wheel-heads [58] on [85] which the pottery was thrown and turned. ”

“ Three other skyphoi are on the ground, while a kantharos and a skyphos are near by on a shelf. Another workman is inspecting a skyphos he has just glazed; a paint pot and brush are on a low stand by his side. He takes no notice of a scene which is taking place close by, a man beating a slave suspended from the ceiling. The workmanship is very crude, and if it is a product of the pottery establishment which it depicts, it is a fair sample of the work we might expect from a place run on such methods! ”

“ Building is generally done nowadays by means of coils of clay (fig. 35) , which must be a little thicker than the walls of the vase are to be and should be as uniform as possible. To make the foot of the vase, the end of one of these coils is laid in the center of a plaster bat and the rest coiled round in spiral line. To hide the joints the surface is rubbed over with the fingers on both sides. In making the walls of the vase a coil is used for each round and the superfluous clay pinched off, every new coil being begun at a new point. ”

“ If ferric oxide (Fe2O3) is present in the clay—which is the case in red clay—the carbon monoxide will take one molecule of oxygen from it and convert it into ferrous oxide [31] (CO + Fe2O3 = CO2 + 2FeO) . The important feature in this process is that ferric oxide is red and will make the clay burn red; but ferrous oxide (FeO) is black and will give the clay a blackish color. If no ferric oxide is present in the clay, that is, if the clay is not a red clay, then reduction has no effect on the color of the clay and can be freely used. ”

“ Now it is not a natural procedure for an artist to make a rough sketch for his design, and then to leave his vase to be fired before completing his work. Furthermore, an examination of the incised lines on the black-figured vases—which clearly go over the black glaze—shows also that these lines must have been made while the clay was still leather hard. The ragged edge of the glaze along the incisions has sometimes been thought to indicate that they were made after firing. But just this effect is produced by cutting through dry glaze on unfired clay ”

“ For, the nature and properties of clay being the same now that they were in Greek times, the manner of working it must have been essentially the same then as now. Many archaeologists have, of course, seen potters at work in different places, or perhaps consulted potters on specific points; but that is a different thing from getting a thorough knowledge of the craft oneself and learning once for all what is possible and what is not possible in clay-working. ”

“ A very conspicuous fault is the change of the clay from a pink to a grayish color. [29] Archaeologists often explain this as due to over-firing. [30] The real reason is not that the temperature has been too high, but that the clay has been subjected in the kiln or in the funeral pyre, to fumes the carbon of which has been absorbed by the clay. In other words, there was either reduction and the red ferric oxide in the clay has been changed to black ferrous oxide (cf. pp. 30 f.) , or the clay has absorbed the black carbon physically. ”

“ Did you never observe in the arts how the potters’ boys look on and help, long before they touch the wheel? (Jowett) .
Ἢ οὐκ ᾔσθησαι τὰ περὶ τὰς τέχνας, οἷον τοὺς τῶν κεραμέων παῖδας, ὡς πολὺν χρόνον διακονοῦντες θεωροῦσι πρὶν ἅπτεσθαι τοῦ κεραμεύειν;
[104]
Quintilian, Institutio Oratoria, II, 17, 3.
... For what man is there so bereft, I will not say of learning, but of sense, that he thinks that there is an art of constructing and of weaving, and of making vases from clay, but that rhetoric, that greatest and noblest work, as I said above, has risen to such sublime heights without art? ”

“ The objection that Athenian pottery is fragile is easily disposed of. Actual handling of the vases will show that they are anything but fragile, in fact that they are remarkably strong. All those portions which would get special wear, such as handles and rims, are almost always stoutly made, more so than much of the china and earthenware and glass we use today. Occasionally, of course, we get a very thin and delicate example ”

“ Twelve hours for the firing and twelve for cooling is a rough estimate for the firing of an ordinary kiln. It is important not to hurry the process of cooling, as a too rapidly cooling fire may crack the ware or affect the glaze injuriously.
The Greeks fired their pottery at a considerably lower temperature than potters do today. It seems to have been about 960° centigrade (corresponding to about cone 010) since any increase over this temperature causes a change in the color of the clay together with an additional contraction. ”

“ Such hand-built ware does not, of course, include the large painted kraters and amphorai of Athenian make; for these have all the ear-marks of wheel-thrown pottery. Wooden cores are still used today in the making of cement forms. Since the clay cement shrinks upon drying and the wood does not, care must be taken to prevent the former from cracking. The wooden core is therefore made in collapsible form. A wedge is made in the center and a core built around it. When the work is finished the wedge can be drawn out and the sides of the core will fall in. ”

“ This is the only place in ancient literature in which the action of the foot in wheelwork is referred to. In the second century B.C., therefore, we might assume the knowledge of the kick-wheel, though it may well have been in use long before then, since it is a simple and obvious device. Where labor, however, was cheap and plentiful, as in fifth-century Athens, a slave boy turning the wheel for the potter, whose whole strength and attention could then be expended on his work, would be preferable; and this is the manner in which wheelwork is depicted in Athenian vase paintings (cf. pp. 64 ff) . ”

“ It is unlikely that they were used by the Athenian potters, since the Greek black glaze is so thin it would not be apt to run, but for the Roman ware with metallic glaze they were essential, and the marks they left are visible on the feet of the vases. [60] On one of the British Museum stilts (fig. 89) are remains of a greenish glaze from such a vase. No moulds for the Athenian plastic ware have to my knowledge been found. But moulds for the later wares, such as the Arretine, are of course plentiful. They are invariably made of burnt clay. ”

“ The writer personally found nothing so difficult in her whole pottery training as the making of handles. The best method of procedure in handwork is first to shape the handle roughly [21] while the clay is soft and plastic, then wait until it becomes leather hard, and finally refine it to the desired form and finish with modeling tools. In moulded work, the handle has to be cut out in plaster and then used for making the mould. When the handles are finally made, they are joined to the vase by means of slip, in the same way that the sections were (fig. 27) . ”

“ To glaze unbiscuited ware is a delicate business, and the risk of glazing a piece of raw clay is considered larger than the trouble of burning it a second time. It is done occasionally when very tough clay is used, for instance, in kitchen crooks and in stoneware; in that case it is best to apply the glaze when the clay is in leather-hard condition, for then the absorption is less. More than the two regular firings are often used for correcting mistakes in glazing, for additional coats of glaze, and for decorating the ware.
Firing. ”

“ They are never, as so often on modern vases, detached pieces stuck on the vase as a kind of afterthought. Rather, they seem to grow out of the vase like branches from a tree, which gives them a wonderful, living quality. ”

“ The vase is painted white to show that it is as yet unglazed. A pair of calipers is hanging on the wall ready for use, to enable the potter to check the heights and widths of his products. To the right a youth is carefully carrying away a vase that has just been thrown, to dry. A similar vase is already standing on the other side of a column, drying in the open air or in a court. Both vases are painted white to indicate their unglazed condition. Next we see an old man walking leisurely with a stick. His dignified air is in strong contrast to the busy absorption of the workmen. ”

“ To apply a glaze properly to the clay body is a great art, and upon it, as much as on the preparation of the glaze, final success depends. The glaze mixtures when applied are whitish or grayish; it is only after firing that they assume the wonderful range of colors which delight us so much today.
Fig. 50. Method of glazing: dipping
Fig. 51. Method of glazing: pouring
The Athenian potter had no ambition to produce brilliant color effects in glazing. ”

“ This suggests that the piece was merely a “test,” such as potters use often nowadays for making trials of their clay body, or their glaze, or their kiln. The kylix is, as a matter of fact, too soft fired, and the glaze has turned reddish in parts. May we be permitted the guess [44] that this was a trial to test out a new kiln? It is only a possibility and there are many others. The important point is that the evidence of the unfinished fragments does not make it necessary to assume more than one glaze firing. ”