should induce a careful and sound completion of each object; yet paradoxical as it may seem, the less finishing, the better for the piece. It is no part of a craftsman’s work to go finnicking with file and sandpaper; too frequently nothing remains of what might have been a vigorous shape but a meticulous finish. The best Japanese work was superb in this respect and despite the many quaint and surprising shapes into which they fashioned the clay, it very rarely seems to lose its plastic character, it never assumes forms more suited to metal, wood, or stone. Again the character that comes with correct treatment is never smothered. Often the ribs or ridges made by the fingers or the tool in forming the shape are frankly left to contribute their quota to the general effect. The lips are rounded with scrupulous care and angles removed without a suggestion of weakness.
Where large utensils, ewers and the like, are in question, mediæval pottery is rich in suggestion for handles, spouts, and such added forms. It is only when such additions are affixed that one realizes the nicety of adjustment required between the size, shape, and situation of the handle or spout and the vessel to which it is attached. It is here that an appreciation and an intelligent use of historic ornament is necessary.
CHAPTER X
Firing Biscuit
“The Pope, the Cardinals, and the Princes of the World are astonished that such excellent and noble works can be made out of the earth.”
—Eximenus. Fifteenth century.
When sufficient green shapes have been accumulated and are white dry, the next stage will be biscuiting. This process is the firing of the clay to a primrose or a white heat according to its fusibility. This permanently expels the water that is always present, even when dry, and converts the friable clay into a hard unalterable body. This may vary in colour from the white of kaolin to ivory, grey, buff, red, or brown, according to the composition of the clay; it may be vitreous or porous; soft like common flower pots or so hard that it will spark when struck with steel.
The fire is the ultimate test of the pot and of the potter. It is indispensable to both. With but a small kiln the craftsman will begin to appreciate many things that can be learned only at the fire hole. Without a kiln he will not commence to be a potter.