There is a limit in size beyond which the non-professional will not be
able to go. Men of life-long experience can throw very large jars but
this involves not only more practice than the artist-potter can hope to
secure but also great physical strength. On the other hand it is
perfectly possible to form vases two or three feet in height by doing
the work in parts or sections. No one need fear to put such a plan in
operation on account of sentiment. It is, of course, worth while to make
large wares in a single piece but section work involves great skill and,
as a rule, the result attained is better. Work made in one piece is apt
to be badly finished, especially inside, and unduly heavy. Work made in
sections can be thrown with thin walls and finished with proper care. If
tradition be of any help, be it known that the Chinese have used the
piece method for hundreds of years, and that the Greeks used it three
thousand years ago.
The first requisite is a drawing either actual size or properly scaled.
The measurements should be those of the soft clay and if a particular
size be desired in the burned piece, the shrinkage, probably about
one-eighth, must be added. The drawing must show the size of each
section with the points of junction, and should indicate the upper and
lower edges in each case. Some divisions are best made right side up;
some are more easily thrown upside down. Care should be taken that the
faces which are to be joined are thrown under similar conditions. In
every piece of work one face rests on the bat, the other is in the air
or free. A bat face should always be joined to a bat face and a free
face to a free.
Suppose, for instance, a vase is to be sixteen inches high and is to be
thrown in four divisions of four inches each. The bottom division is
made first. This will stand in its normal position, right side up. The
second section must now be thrown upside down, because, if it were not,
its bat face would be joined to the free face of the first piece. So the
sections are thrown alternately, every other one being inverted.
[Illustration: PLATE XIV. MAKING LARGE PIECES. THE FIRST SECTION.]
As the pieces are thrown they must be carefully measured to see that the
faces which are to be united are the same size. The height of each piece
also must be gauged and adjusted. The bats with their contents are now
set aside to harden. As soon as they can be handled with safety the clay
pieces should be removed from the bats upon which the throwing was done
and set upon dry bats which will absorb the moisture and help to stiffen
the clay. It is a good plan to pile the sections up as they are to stand
in the finished piece, one upon another and to leave them so in a cool
place for ten or twelve hours. The faces which are to be joined will
thus acquire a uniform hardness and unequal shrinkage will be avoided.
When all is ready for the turning, the sections being of the proper
hardness are taken in hand. This work should not be hurried. It will
take a whole morning to put together a large piece. First, the bottom
section is placed on the wheel, centered and made to run true as regards
the top edge. It is then inverted and the foot is properly finished,
signed and dated. Then the second joint is likewise turned true on both
faces, the inside turned smooth; and so on, each piece in turn is
prepared for the fitting, the measurement of each face being accurately
adjusted. At this stage it is possible to correct the diameter of the
faces to some extent either by pressure as the wheel revolves or by
building up with soft clay. In either case, however, the new work must
be hardened before proceeding. The whole piece is now put together
carefully but with dry joints. It should be slowly revolved on the wheel
and the proportions carefully criticised. If satisfactory it is taken
apart again and the actual fitting up may proceed.
The bottom section is again centered most carefully on the wheel and
steadied with three pieces of clay. A thick slip is now prepared, the
same clay as that used for the work being of course, used. This slip
must be quite free from lumps and should be as thick as molasses. The
upper edge of the work is carefully sponged with clean water and a good
coating of slip is applied at the junction. Care must be taken that
every part of the face is covered with slip. The second joint is now
moistened at the junction and set in position upon the bed of slip. It
is placed very lightly and the wheel is gently revolved to see if the
running is true. If so it is pressed home and the superfluous slip is
removed. The joint should be quite close like a glued joint in
carpentry.
In the same way the third section is placed upon the second and the
fourth upon the third. It is now possible to work over the face of the
vase with a little soft clay. There is almost always some irregularity
in the line, especially at the joints, and this must be adjusted while
the work is moist. Then the whole face is gone over with turning tools
and sponge and the vase is set aside to dry. It must not be expected
that large pieces, made by any method, will be produced with as much
ease as small vases and bowls. The risks are much greater and, owing to
the size of the work, the faults are much more apparent. When the vase
is perfectly dry it should be set on the wheel, centered and slowly
revolved. If it is very untrue in its motion there is no remedy. It
should be broken down and the clay used again. A very slight
irregularity may be corrected by rubbing off a little clay on one side
of the foot but this cannot be done to any considerable extent. The
courage to break unsatisfactory work is never more valuable than at this
juncture. It will pay in the end, for no imperfect piece can be a source
of satisfaction to the conscientious craftsman.
[Illustration: PLATE XV. MAKING LARGE PIECES. Measuring the Foundation
of the Second Section.]
[Illustration: PLATE XVI. MAKING LARGE PIECES. Drawing up the Second
Section.]
[Illustration: PLATE XVII. MAKING LARGE PIECES. Shaping the Third
Section.]
[Illustration: PLATE XVIII. MAKING LARGE PIECES. The Three Sections
Completed.]
[Illustration: PLATE XIX. MAKING LARGE PIECES. Turning the Edge of the
First Section. (Note the other sections on the table.)]
[Illustration: PLATE XX. MAKING LARGE PIECES. Finishing the Bottom of
the First Section. (Note the second section in the foreground ready for
turning.)]
[Illustration: PLATE XXI. MAKING LARGE PIECES. Checking the Size of the
Second Section.]
[Illustration: PLATE XXII. MAKING LARGE PIECES. Fitting Together Dry.]
[Illustration: PLATE XXIII. MAKING LARGE PIECES. Setting the Third
Section in Place.]
[Illustration: PLATE XXIV. MAKING LARGE PIECES. The Three Sections Set
Together in the Rough.]
[Illustration: PLATE XXV. MAKING LARGE PIECES. The Finished Vase.]