“And so you shall, if I have no further reminders of this sort, that my children are made of the same unreliable material.”
That afternoon, the three, started for the pottery works. Mr. Sands, the proprietor, kindly received them, and fully explained all his processes. First he pointed out what seemed to Charley a heap of dry hard common dirt; taking a little piece of this he dipped it into a basin of water and then squeezing and pressing it in his hand it soon became soft, and plastic, so that it could be wrought to any shape. He then led the party to another room where a young man was engaged in thus softening large masses. He would first crumble the hard earth into fine pieces; then wet and pack it together into a “loaf,” so Charley called it, and then raising it over his head throw it again with all his might upon the table before him until it became soft and smooth through all its bulk. This, Mr. Sands said, was called “wedging the clay,” and that it was now ready for “throwing” into shape.
“Will it come into shape if you just throw it?” said Charley.
Mr. Sands laughed heartily at this, and answered, “come and see;” and taking up one of the softened “loaves,” to use Charley’s word for them, he led the way to the next room. The young man who had been “wedging” now followed and placed himself at a large wheel which was connected by a strap or belt with a table at which Mr. Sands seated himself.
HOW POTS AND PANS ARE MADE.
Upon the table was another little [!-- original location of illustration HOW POTS AND PANS ARE MADE --] table, round and low, and upon this Mr. Sands placed his “loaf.” Then the young man began to turn the wheel and the loaf began to spin round very rapidly. Mr. Sands next pressed his finger right through the middle of the clay, so farming the hole which we always see at the bottom of flower-pots. Then, as it spun round, he worked the clay gradually upwards and sloped it outwards, using both hands, and holding the edges with his fingers and thumbs.
Before Charley could express his surprise, the little roll of clay was changed into a flower-pot. With a square iron tool called a rib it was smoothed outside, and then the pot was lifted on a board. One after another followed till a long row was ready and they were carried off to be dried.
“How do you know when to leave off stretching it?” asked Mary of the potter.
He laughed, and pointed to a small iron gauge on the table. As soon as the pot reached this he knew he must leave off stretching it out. This iron is of course put higher or lower according to the size required.