Daily Kennebec journal. [microfilm reel] (Augusta, Me.) 1870-1975, 1894-10-08

Il Description Which Recalls LonSfellow's
''song Of the Potter" turn, Turn, Ny
Wheel; All Things Must Change t. some
thing New, to Something Strange
Let us watch potter at his wheel. The
apparatus before him is simple, consisting
Of bench, let into the top of which is a
horizontal wheel revolving by q treadlc
At his right is tank of water. near which
are piled Jumps of finely ground wet clay,
wet to the right consistence. Each weighs
\ pounds.
AT his left is board holding six pots
just from the wheel. Behind him is a
framework ON which boards are placed as
fast as filled, that the pots may dry before
baking. They are the 8 inch hanging
pots, and tho making of one includes
nearly all tho processes in use for making
any kind of 1owerpot expecting those
made in moIds.
The potter drops lump Of clay on the
center of the moving wheel, shaping it
with both hands to the form of short,
thick cylinder, which, while turning oven
ly and rapidly, is followed at the top by
the fingers and widened slightly, leaving
it like rudo cup several inches high. A
few downward strokes around the base
spread out the allowance of clay for the
saucer fiat upon the wheel.
Then this whirling cup begins to rise
higher and thinner under the potter fin
gers, the circle of the rim growing wider
and wider till the cup changes to an old
fashioned wineglasS, with its fat stand
ard, very short, thick stem and funnel
shaped upper part. But this form alters
as, with wet fingers and sometimes with q
wet wooden scraper, the potter presses
against the inner side till, rising higher
and swelling outward, it gains beauti-
fully rounded outline and is the desired
size. The edge is turned over at right an
giles and wet and smoothcd with the
scraper till perfect rim an inch or more
wide is formed. Then for tho first time
the wheel is still, while the drainage hole
just above the saucer is punched with a
pointed stick from the outside, thus leav-
ing the outer surface smooth. though the
inner is rough.
In the same way the holes for chains in
the rim of the pot are made, the wheel
revolving slowly while the distance be
tween them is measured accurately and
quickly by the eye.
Next the rim of the saucer is turned up
ward and smoothed like the upper rim.
The pot is now ready for the finishing
touch and turns very slowly as the rim is
crimpcd with thumb and finger, the num-
Der of scallops coming out even at the end,
with no gap between or any too near to-
gether
With quick motion wet string, held
taut, cuts the bottom of the saucer from
the wheel, and the finished pot is lifted to
the board
The whole process has taken only l
minute and 10 seconds. Truly the work
seems dono as by magic. 1t is as fascines-
ing to watch as glass blowing, being not
an exhibition of strength or of mechanical
precision, but of pure skill in handiwork
Most of the fowerpots now made arc
shaped in plaster Of paris molds. These
are in three sections, shaped inside like
the bottom and sides of pot, arc very
thick and are held together by means of
corresponding projections and dcprcssions
in their edges. Often the inner surface
has fancy pattern, which, being deprcss-
ed into the mold, appears raised on tho
pot Rustic pots are made in this way. y
favoritc design is n vine around the rim,
the rest of the surface showing repousse
effect
The process of molding is short ana
comparatively easy. There is the same
horizontal wheel, though turned by ma
chinery The mold holding the right
quantity of clay is placed firmly upon tho
wheel WhiIo in rapid motion the op2r
ator presses against the inside a thin
wooden piece suspended from above, shap-
H. af hn Of hn
pot Held firmly against the whirlinG
mold, it forces the clay into the desired
shape in q few seconds.
After the porus mold has absorbed the
moisture the pot is taken out and whirlcd
rapidly, whilc a cutting metal edge is
held againsS it, trimming the ragged
edge of the rim and throwing it off in a
thin clay ribbon.
The part of the mold not fitting perfect
ly, the clay forced into the cracks has to bo
cut away, after which the pot is ready for
baking.
Pieces to be glazed on the inside have n
thin brown glazing mixture poured into
them, shaken and turned out. When bak-
cd, they are ready for decoration.
The pots to be colored are dipped in n
large pail of paint and turned to drain
upon q rack over shallow box which
slants toward and drains into another
pail, which, when full, is emptied into tho
first, thus applying the paint evenly and
quickly and with little waste. Tho inner
edges are painted by hand before tho ware
is baked.
Around the great circular furnaces are
built thick parallel walls of tho kilns,
reaching to the ceiling, and in this space,
perhaps three or four feet wide, the pottery
to be burnt is carefully piled, the thick
doors shut, the heat gradually raised to
the right point and as slowly cooled.
Large howerpots are piled one on an
other, every other pot being inverted, Civ
ing the effect of rows of fantastic pillars.
Shelves built of blocks of fire brick support
other kinds of pottery. Saucers are set on
their rims in horizontal rows.
The implanted clay wares require for
their first baking a heat of 2, 500 degrees
and the decorated wares a heat Of 1900
degrees. The degree of heat is estimated
by experimenting with substances which
ere known to melt at certain temperatures.
Around these furnaces glowing with
white heat thewares are kept "a hours for
a first baking and from four to six hours
for subsequent firing, as required after
decoration.