- — LUCA DELLA ROBBIA.
- — BERNARD PALISSY.
- — JOSIAH WEDGWOOD.
I.—LUCA DELLA ROBBIA.
There can be little doubt as to the antiquity of the pottery manufacture. It probably had its origin in that of bricks, which at a very early date men made for purposes of construction; but it is not impossible that he had previously contrived to fabricate the commoner articles of domestic economy, such as pans and dishes, of sun-dried clay.
Bricks, as everybody knows, are fashioned out of a coarse clay, such as we meet with in very numerous localities. After mixing up with water a kind of paste out of these clayey earths, the moulder works up the paste into the shape of bricks, and they are then exposed to the heat of the kiln. Sometimes it was thought sufficient to dry these bricks in the rays of a burning sun; but, so dried, their solidity is very inconsiderable. Baked bricks owe their redness of colour to the oxide of iron which they contain. They are either moulded with the hand or cast in rectangular frames of wood, dusted with sand. To bake them, they are piled up in huge stacks, in which intervals are left for storing and kindling the fuel. They are also baked in kilns.
The commoner pottery wares are manufactured with the coarse impure clays, which are allowed to rot in trenches for several years to render them more plastic. Flower-pots, sugar-pans, vases, and other and more graceful articles, are moulded on the potter's wheel.
Now, this potter's wheel is one of the most ancient instruments of human industry, one of the earliest inventions by which man utilized and economized his labour. It consists of a large disc of wood, to which a rotatory motion is given by the workman's foot. A second and smaller disc, on which is placed the paste for working, is fixed upon the upper extremity of the vertical axis to which the larger and inferior disc is attached. Seated on his bench, the workman places in the centre of the disc a certain quantity of soft moist clay, and turning the wheel with his foot, moulds the said paste with both hands, until it assumes the desired shape. You can imagine no prettier spectacle than that of a skilful potter causing the clay, under his nimble fingers, to assume the most varied forms. It seems as if by miracle the vase was created suddenly, and the rude clay sprang into a life and beauty of its own.