and rub them gently over the coiled clay in the saucer to smooth it, but be careful not to get it too wet and not to lower the coil on the edge in the process. If depressions occur fill them with fresh clay joining the edges of the new clay to the coiled clay, making it one piece with no cracks or seams. In adding clay at any time the new piece must always become one with the old, else it will crack when dry or in the firing, and it is best to brush the place to be filled with slip before adding the clay. Set your saucer away at this stage of the work until the clay stiffens a little and the piece becomes what is called “set.” It is just here that you must use patience, for to continue to work while the clay is too soft will frequently spoil the whole thing and the only remedy is to bunch the clay and begin over again. To be successful in the making of pottery one’s enthusiasm must be of the kind that will not cool during the necessary waiting periods.
Fig. 568.—Cut the ends like this.
When the clay in your saucer has become firm but is still quite pliable, dip another square of muslin in water, spread it inside the clay saucer and
Fit in Another Saucer
of china a trifle smaller than the first. This will give you a pile of three saucers one within the other, first china, then clay, then china. Now cover your small board with wet muslin and turn your stack of saucers upside down on the board. Lift off the top saucer and you have your clay saucer inverted on top of the smaller china saucer. You will find all the seams of the coil showing on this underside and must join them and make the clay one piece as you did on the inside. With your wire tool ([Fig. 561]) or a hairpin, carefully
Fig. 569.—Wrap the candle with a strip of wet muslin.