Fig. 44. Design on red-figured krater
(a) Preliminary sketch (b) Completed painting
Furtwängler u. Reichhold, Griechische Vasenmalerei, I, pl. VII
Number of firings.
Was Athenian pottery once or twice fired?[14] That is, was it decorated in leather-hard or in biscuit condition? This has been one of the most debated questions in Greek ceramics. Archaeologists often assume offhand a number of firings,[15] but without stating any evidence or squarely facing the problems involved. Briefly, the arguments for and against are as follows. As is well known, a large proportion of red-figured vases of good period show a preliminary, colorless sketch for the design traced with a blunt[16] instrument directly on the clay (cf. figs. [43-44]). The smooth grooves of this sketch show beyond doubt that the sketch was made while the clay was in leather-hard condition, that is, before firing. If the vase had been fired, even at a low temperature, the sketch would have had to be scratched in with a sharp tool, and would have left a ragged, not a smooth line.[17] 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; and it would have been very difficult to attain the required delicacy, swing, and smoothness by incision into hard, fired clay. Any one who will try the experiment will soon become convinced of this.[18] So that, for the black-figured period at least, this evidence points to a once-fired pottery.
On the other hand, it might be urged that if we assume that the decoration was executed in leather-hard condition, the vase painters whom we see depicted on Greek vases should be handling their pots with considerable care, and that this is hardly conveyed in the representations. On the Boston fragment, for instance, the painter is holding a kylix by its slender foot without any apparent fear of breaking it (fig. [67]). And whoever painted the scene knew what he was doing, for he was in the act of decorating such a kylix himself. However, if the clay used by the Athenians was of a tough variety,[19] this would, I have been told by potters, be a perfectly possible procedure; and experiments made with imported Athenian clay[20] bore this out to an astonishing degree. Vases made of this clay could be handled quite freely in leather-hard condition. So that if the Athenian potter of the fifth century used similar clay to that of his present-day descendant, his handling of these pots on the vase paintings would be perfectly justified in the leather-hard state.
There is, moreover, evidence which seems to settle this question beyond dispute. On a number of the Athenian vases there are dents such as can only have occurred while the vase was still in a leather-hard state. The mark of the object contact with which caused the dent is invariably over the black glaze (cf. fig. [45]), showing clearly that the glaze must have been applied in leather-hard condition.[21] In some cases we find still adhering in the dents a little burnt clay, apparently from another vase contact with which caused the accident. Here it is probable that the accident was caused not while the vase was leather hard, but when red hot in the kiln, at least in those instances, as in the black-figured amphora in the Metropolitan Museum[22] (fig. [46]), where the glaze shows a rough fracture due to the separation of the two pieces which had stuck together; for this fractured edge would have become fused and smooth upon subsequent firing.[23]
Fig. 45. Detail of hydria showing dent with mark over black glaze
Met. Mus. Acc. No. 17.230.15