To soften the edge, hold the forefinger and middle finger of the right hand apart (see [Fig. 16]). Wet their inner surfaces thoroughly with slip, then, as the wheel revolves, hold them straight and firm (while the left hand steadies the wrist of the right) and press the rounded joining of the two fingers gently but firmly down on the top of the piece, holding it there steadily till one or two whole revolutions of the wheel have been made. If one wishes to have a more flaring top, lay the forefinger of the right hand inside the edge with ever so slight an outward pressure, while the wheel turns once. Before perfecting the bottom, it may be as well to let the piece stiffen for half an hour.
The hoe-shaped tool is used for cutting away the extra clay under the bottom. Set the wheel in motion, then take the tool, well moistened with slip, in the left hand. Hold it firmly with its long edge on the top of the wheel (if it is to be a long and gradual slope into the bottom of the jar), while the right hand steadies the top outer angle of the tool. It is then run in under the bottom and there held till one or more revolutions have cut away the surplus clay.
Should one wish to make a more abrupt line up from the bottom, the process is reversed, the right hand holds the tool, the short side of which is laid on the wheel, while the left hand holds the outside top angle, to steady it.
After an hour or two, when the piece has stiffened somewhat, it may be smoothed, and the form refined or improved, if necessary, with the smooth-edged oval tool of sheet steel. When the wheel is in motion, this tool, moistened with water and bent to fit the curves of the piece, is held in the right hand at right angles with the piece, while the left hand supports the wrist of the right. Too abrupt angles may be softened and roughness removed with this tool. Start at the bottom with it, and move it up gradually, with each revolution of the wheel, lightly, except where the form needs much trimming. The rubber polisher, wet with water, is now passed over the surface in the same way, taking care that it is held at right angles with the piece and the hand that holds it is braced by the other. A stout wire held close to the piece on either side is then drawn under it once or twice to prevent its clinging to the wheel.
The next day, or as soon as the piece is stiff, it is removed to a plaster tile. In finishing the bottom, the wheel is first scraped and wiped clean of all clay; the piece is then placed on it bottom up and centred. This is done by putting it as near the middle as possible by eye; then when the wheel is going well, hold the right forefinger or a wooden tool, well braced, close to the piece. See if it touches at any point, and if so, move that side nearer the centre. Roll four short pieces of rather stiff clay. With two of these make supports on the wheel about an inch high, close to the piece on either side to hold it steady—not close enough to cling to it. Two more supports are placed half-way between the first two.
Get the wheel going well, and holding the hoe-shaped tool so that its middle angle will strike the bottom of the piece about half an inch from the edge, aim it truly and hold it steadily till the wheel has made one or more revolutions, which will mark a circle. Within this line depress the bottom slightly by cutting out a thin layer of clay. This is done with the rectangular sheet steel tool held first near the line, then with each revolution nearer the centre till it reaches it. The potter next cuts his mark on the bottom with a wooden tool, if the piece is not very dry, otherwise it should be made with a pointed steel tool, taking care to bevel the edges of the incised lines.
On the left is a pale-green bowl for flowers; beside it, a cream-jug with a gray-green mat-glaze. The flower-jar with two handles is also gray-green, and the nasturtium bowl on the right has a dull blue mat-glaze.