An important source of knowledge for the technique of Greek vases is supplied by the representations of ancient potters at work and by potter’s implements which have survived. It may be interesting to review these and see what new interpretations experience at a modern pottery school will suggest.
FASHIONING THE VASES
1. Black-figured hydria in Munich.
Furtwängler u. Reichhold, Griechische Vasenmalerei, I, Text, p. 159.
Jahn, Beschreibung der Vasensammlung in der Pinakothek zu München, No. 731.
Fig. 58. Athenian pottery establishment
Furtwängler u. Reichhold, Griechische Vasenmalerei, I, Text, p. 159
An Athenian pottery establishment. To the left a man sits on a stool and is holding with both hands an amphora on his lap; a boy (only the head and one hand are preserved) is standing before him, placing one hand on the body of the vase; the latter is painted black, that is, it has already been glazed. The man has the air of inspecting it, while the boy is apparently helping him hold it (since it is still in leather-hard condition, it requires careful handling). The next group represents a man throwing a tall vase on a wheel; a boy is sitting before him on a low stool, turning the wheel with both hands at whatever speed is required. The vase is so tall that the entire forearm of the potter is inserted; while his other hand (now missing) was doubtless placed on the outside of the vase, so that by the pressure of the two hands the pot might acquire the necessary form and thickness. 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. He is evidently the overseer or proprietor of the pottery. To his right a tall youth is carrying a heavy weight on his back, apparently a sack of charcoal. He is bringing it to the kiln, which is being stoked by the fireman. The kiln has a satyr head at the top to avert the evil eye and protect the pottery from all danger during the firing.[56]
2. Fragment of a Corinthian pinax in the Berlin Museum.