The kiln used by the early Greek potters had a place for fuel on one side, and an upper chamber for the pieces of pottery, with a door through which it could be put in and withdrawn. This differed from the Egyptian kiln only in having a dome.
A is the chamber for the pottery.
BB the fire boxes.
CC the firebacks.
DDDDD the passage and outlets through which the heat enters the kiln.
Many of the kilns of the present day are shaped almost exactly like those used by the early Greeks. So important a part does the kiln play in perfecting a piece of pottery—putting the final touch upon it: the touch that shall make or mar—that the potter realises he must plan, before anything else, either to own a good kiln or to know of one where his pieces can be sent to be fired. Unless one wishes to make pottery on a large scale, as a business, the expense and care of owning one’s own kiln is unnecessary. There are makers of art pottery near the principal cities who for a reasonable amount will fire one’s pieces admirably, and with much less risk than an amateur could possibly do them—that is, providing one uses the same kind of clay as is employed by the owners of the kiln where one’s pottery is to be fired. If not, this clay can usually be purchased at the pottery ready mixed at slight expense. Even though one may not care to assume the cost and responsibility of owning a kiln, it may be of interest to know something of the construction of kilns and how they do their work.
THE OPEN-FIRE KILN
The open-fire kiln is preferred by many potters. Such kilns have been used for generations by potters in England; and for ware that needs hard firing they have proved most reliable. Fig. 44 shows the interior of one of these kilns, and Fig. 45 the ground plan. From these diagrams one can get an idea of the principle on which such kilns are run. This kiln is built mostly of fire-brick, and should be under cover for more than one reason. First, there is no danger from frost if the kiln is inclosed by a wooden building, and then it is more convenient for the potter to do his work where he is not exposed to the weather.