The Snail and all the molluscs with turbinate shells increase the diameter of their corkscrew staircase by degrees, so that the last whorl is always an exact measure of their actual condition. The lower whorls, those of childhood, when they become too narrow, are not abandoned, it is true; they become lumber-rooms in which the organs of least importance to active life find shelter, drawn out into a slender appendage. The essential portion of the animal is lodged in the upper story, which increases in capacity.
The big Broken Bulimus, that lover of crumbling walls and limestone rocks leaning in the sun, sacrifices the graces of symmetry to utility. When the lower spirals are no longer wide enough, he abandons them altogether and moves higher up, into the spacious staircase of recent formation. He closes the occupied part with a stout partition-wall at the back; then, dashing against the sharp stones, he chips off the superfluous portion, the hovel not fit to live in. The broken shell loses its accurate form in the process, but gains in lightness.
The Clythra does not employ the Bulimus' method. It also disdains that of our dressmakers, who split the overtight garment and let in a piece of suitable width between the edges of the opening. To break the jar when it becomes too small would be a wilful waste of material; to split it lengthwise and increase its capacity by inserting a strip would be an imprudent expedient, which would expose the occupant to danger during the slow work of repair. The hermit of the jar can do better than that. It knows how to enlarge its gown while leaving it, except for its fulness, as it was before.
Its paradoxical method is this: of the lining it makes cloth, bringing to the outside what was inside. Little by little, as the need makes itself felt, the grub scrapes and strips the interior of its cell. Reduced to a soft paste by means of a little putty furnished by the intestine, the scrapings are applied over the whole of the outer surface, down to the far end, which the grub, thanks to its perfect flexibility, is able to reach without taking too much trouble or leaving its house.
This turning of the coat is accomplished with a delicate precision which preserves the symmetrical arrangement of the ornamental ridges; lastly, it increases the capacity by a gradual transfer of the material from the inside to the outside. This method of renewing the old coat is so accurate that nothing is thrown aside, nothing treated as useless, not even the baby-wear, which remains encrusted in the keystone at the original top of the structure.
If fresh materials were not added, obviously the jar would gain in size at the cost of thickness. The shell would become too thin, by dint of being turned in order to make space, and would sooner or later lack the requisite solidity. The grub guards against that. It has in front of it as much earth as it can wish for; it keeps putty in a back-shop; and the factory which produces it never slacks work. There is nothing to prevent it from thickening the structure at will and adding as much material as it thinks proper to the inner scrapings from the shell.
Invariably clad in a garment that is an exact fit, neither too loose nor too tight, the grub, when the cold weather comes, closes the mouth of its earthenware jar with a lid of the same mixed compound, a paste of earth and stercoral cement. It then turns round and makes its preparations for the metamorphosis, with its head at the back of the pot and its stern near the entrance, which will not be opened again. It reaches the adult stage in April and May, when the ilex becomes covered with tender shoots, and emerges from its shell by breaking open the hinder end. Now come the days of revelry on the leafage, in the mild morning sun.
The Clythra's jar is a piece of work entailing no little delicacy of execution. I can quite well see how the grub lengthens and enlarges it; but I cannot imagine how it begins it. If it has nothing to serve as a mould and a base, how does it set to work to assemble the first layers of paste into a neatly-shaped cup?
Our potters have their lathe, the tray which keeps the work rotating and implements to determine its outline. Could the Clythra, an exceptional ceramic artist, work without a base and without a guide? It strikes me as an insurmountable difficulty. I know the insect to be capable of many remarkable industrial feats; but, before admitting that the jar can be based on nothing, we should have to see the new-born artist at work. Perhaps it has resources bequeathed to it by its mother; perhaps the egg presents peculiarities which will solve the riddle. Let us rear the insect, collect its eggs; then the pottery will tell us the secret of its beginnings.