Met. Mus. Acc. No. 07.232.30
Fig. 17. Turning marks on outside of vase
Met. Mus. Acc. No. 06.1021.64
Fig. 18. Turning marks on inside of vase
Met. Mus. Acc. No. G.R.1228
This turning or refining of the shape after throwing, was, as we might expect, not in universal use in ancient times. Prior to the sixth century B.C. it was used occasionally here and there, and often only to a limited extent. But there cannot be the slightest doubt that in the Athenian black-figured and red-figured vases extensive use was made of the turning tools. The grooves and mouldings for lip and foot were produced by this turning process, not, as modern archaeologists tell us, by the use of moulds.[8] For this there is abundant proof. The feet of Athenian vases are almost all turned at the bottom, some with remarkable care and finish (fig. [15]), not left flat, as they would be after throwing (fig. [16]). The lids of pyxides and similar vases could not have been made to fit so neatly on their ledges without the use of turning. Above all, the wonderful finish and precision of Athenian vases could never have been attained by mere throwing. But there is even more convincing proof. Unless the marks of the turning tools are very carefully obliterated (with scrapers, sandpaper, and sponge), traces of them are always visible. And this is the case also in Athenian vases. The outside surfaces are generally carefully smoothed, but even there the ridges formed by the tools are often discernible (fig. [17]); and on the inside of the necks or feet or lids such ridges and concentric or spiral scratches are quite frequent (fig. [18]). They are very different, however, from the finishing marks left in handwork (fig. [19]). To appreciate the fine, smooth surface which work with the turning tools produces, we need only examine the insides of most Athenian amphorai and hydriai; for these, being more or less concealed, are generally left as thrown, often showing the spiral ridges which rapidly revolving clay will cause (fig. [20]). They thus form a striking contrast to the finely smoothed outside surfaces.
