A POTTER’S BOOK

Covered Stoneware Pot, 12th century. Either

made by immigrant Chinese potters or under
form of
their influence. In the full fruit-like
this fine potand in the modified Sung brush
work of the. leaf pattern which enriches it
the influence of a tropical environment may
be clearly seen.
 First published in May Mcnixl
by Faher and Faber Limited
Russell Square London WM. i

Printed in Great Britain by

R. MacLehose and Company Limited
The University Press Glasgoiv
All rights reserved
1
I DEDICATE THIS BOOK
TO ALL POTTERS

A
 CONTENTS

INTRODUCTION: LEACH IN JAPAN xvii

by Soyetsu Yanagi

PREFACE: xxiii

by Michael Cardew
AUTHOR’S PREFACE xxv
ACKNOWLEDGMENTS xxvii

Ch. 1. TOWARDS A STANDARD i

II. RAKU — ENGLISH SLIPWARE —

STONEWARE — PORCELAIN 28

III. CLAYS 43

IV. THE MAKING OF CLAY SHAPES 63

V. DECORATION loi

VI. PIGMENTS AND GLAZES 127

VIE KILNS :U8

VIII. THE WORKSHOP ^ ^ 213

APPENDIX :
;
v 260

INDEX :
283
 ILLUSTRATIONS

COLOUR PLATES
A. Stoneware bowl and cover, Swankalok,
1 2th century frontispiece
B. English trailed slipware oven dish, 1 8th century facing p. 36
C. Stoneware tea-bowl, by Shoji Haraada, 1938 136
D. Japanese enamelled stoneware jar. Old Banko ware 198

HALF-TONE ILLUSTRATIONS
1 . Korean bowl, cut and combed. Korai dynasty facing p. 4
2 . Chinese fluted stoneware bowl. Sung dynasty 4
3. Chinese stoneware bottle. Sung dynasty 5

4. Contemporary English industrial ware 12

5. English early industrial soft paste porcelain,
Chelsea-Derby 12
6. Tall stoneware vaseby Staite Murray 13
7. Covered stoneware pot by Norah Braden 16
8. Stoneware bowl by Nor ah Braden 16
9. Stoneware bottle by Katherine Pleydell Bouverie 17
10. Early Japanese stoneware bowl attributed to Genpin 17
11. English mediaevalpitcher and tile '

^ -

12. Primitive Persian jar , 21

13 Japanese rakutea^bowl and foot ring by Koyetsu

.
28
14. Japanese red raku tea-bowl by Donyu 29
15. Japanese raku tea-bowl by Koyetsu .29
 illustrations
by the KenzanSt
J apanese moulded raku dish
I
1 6
by the 1 st Kenzan 33
17 .
Japanese stoneware bowl
ash-pot by the 6 th Kenzan 33
18. Japanese stoneware
dish 34
1 English trailed slipware Toft
9;
oven dishes by the author 35
20 Combed slipware
Toft manner by the author 38
21 . Large raku dish in the
made at St. Ives 39
22. Contemporary brown slipware jug
made at St. Ives 39
23. Contemporary brown slipware jug
by Michael Cardew 42
24. Contemporary English slipware
43
25. German salt-glazed bellarmine
Korai dynasty 46
26. Small Korean bowl.
stoneware bowl. 1 3th century
47
27. Annamese
dynasty 48
28. Chinese stoneware jar. Sung
pot. Swankalok 48
29. Small covered
stoneware
from a jar similar to Plate 31 49
30. Detail of pattern
49
31. Korean porcelain jar, Ri dynasty
bottle. Sung 52
32. Chinese Tz’ou chou stoneware
author 53
33. Large stoneware jar by the ;

bowl. Sung 60
34. Chinese Lung Ch’uan celadon
60
35. Chinese Han dynasty hill censer
61 y.

36. Chinese Han dynasty vase

37. Korean celadon bottle. Korai
lady 64
38. Chinese T’ang figurine of a court
39. Chinese T’ang figurines: dancers ^ :6s

dancers ' : 65:

40. Chinese T’ang figurines:
Tenmoku glazed porcelain teapot by Shoji
Hamada 86
41 .

the authoV
86
. 42. Stoneware teapot by
Sr:
43. Present day Cornish slipw 4 '^*^ P^^^^®'"
dynasty
44. Chinese stoneware Chun bowl. Yiian ^
Kawai 90
45. Contemporary Japanese stoneware box by K.
90
46. Persian lustre bowl. Rhages
Contemporary Japanese inlaid porcelain jar
47.
91
by K. Tomimoto
bowl by the author 91
48. Cut sided stoneware
dish. Willow pattern, Seto
100
49. J apanese stoneware
 ILLUSTRATIONS
50. Contemporary Japanese stoneware bowl
by K. Tomimoto facing f. loi
51. Japanese stoneware dish. Seto loi
5 2. Detail of decoration on Cantonese slipware jar.
Ching dynasty ro8
53. Chinese stoneware bowl, Tz’ou chou. Sung or later 109
54. Korean stoneware pot. Ri dynasty 109
SS- English marbled slipware dish. i8th or 19th century 1 14
56. Earthenware dish made at Samarkand.
9th or loth century 1 14
57. Japanese stoneware dish. ‘Horse-eye pattern’ i IS
58. Modern Korean kitchen pot iiS
59. Stencilled stoneware plate by the author 1 16
60. Byzantine lead glazed sgraffito bowl 116
6 1 Cut pattern,
. raw tenmoku bowl by the author 1 1

62. Spanish peasant ware plate. i6th century 1 1

63. The back of a large Hispano-Moresque bowl u8

64. Contemporary English stoneware bowl
by Stake Murray 119
65. Chinese Tz’ou chou stoneware bottle. Sung 119
66. Greek earthenware bowl. 19th century 122
67. Chinese stoneware Tz’ou chou jar. Sung 122
68 Stoneware tile painted by the author
. 123
69. Stoneware tile painted by the author 123
70. Three stoneware tea-bowls by Shoji Hamada 1 26
71. Tall stoneware bottle by the author 127
72. Nigerian women potters preparing for an open firing 178
73. Nigerian women potters firing with dry grass 178
74. ,
English bottle-neck kiln i 79
75. Round up-draught kiln Old Cairo
at t 79
76. Korean potter throwing on a kick wheel 179
77. Tomimoto throwing dnthe Japanese hand wheel 179
 1

ILLUSTRATIONS

LINE DRAWINGS IN THE TEXT

Test rings 4^
Clay kneading by foot 4^
‘Dolly’ or glaze mixer 49
Clay sieving 49
Plaster or biscuit bats for stiffening clay 5°

Drying soft clay in sun and wind 5 °

Plaster or biscuit bowls for stiffening clay S i

The spiral movement ofthe clay in hand-kneading 51

Japanese clay-kneading by hand

Squeezed or pinched pot 64
Japanese coiling and throwing 65
Coiling and smoothing, Japan 66
Malayan turn-table 66
Indian wheel 67
Kick-wheel, Normandy ^ 68
German wheel 68
Section of Japanese wheel 69
St. Ives kick wheel 70
Wooden profiles used in throwing narrow-necked shapes 74
Oriental porcelain thrown in sections 7S
Adjustable pot gauge 76
Types of pot lips :
: 'f v ^

.r
’]']'

Cut lip 78
Japanese twisted thread cut 80
tiand-made oval bowl 8
Rib 82
Profile rib 82
The leather hold for smoothing lips 82
Hoop-iron shaving tools 83
Types of cut feet 86
Spout moulds 87
Moulded tea-pot 88
xiv
 1

ILLUSTRATIONS
Handle cutters page 90
Thrown lids gi
PrimitiveKorean potter’s hut '

,
94
Engraved biscuit mould for bowls 95
Landscape pattern by K. Tomimoto 103
Swallow pattern tile by the author 104
Bamboo graving tools 109
Fluting tool 109
Steel tool for embossed clay transfers no
Incised rollers no
Clay plane in
Slip trailers 112
Wood or leather comb 115
‘Hakeme’ slip brush 115
J apanese brushes 118
Different types of pattern on the same form 1
23
Chinese exercises in brushw^k 123
Ball mill m 14^
J apanese glaze mixer 1 44
*
Double dipping 145
Glaze sprayer 147
Method of heating wax for resist painting 1 48
Simple round up-draught kiln 1 80
round up-draught kiln
St. Ives 1 8
Round down-draught kiln 1 82
Chinese kilns at Ching-te Chen, which the Newcastle
and Cassel kilns closely resemble 183
Communal Korean kiln 184
Japanese climbing kiln, up to 20 chambers, mainly re-
duced 185
Japanese climbing kiln, up to 20 chambers, mainly
oxidised 185
St. Ives climbing kiln designed by the late T. Matsu-
bayashi 187
Semi-automatic wood grate 190
XV
 ILLUSTRATIONS
Temporary kiln page 19s
Tomimoto’s biscuit, raku or enamel kiln 196
Tongs 200
Method of cutting wads and slices 209
Stacking teapots 210
Oriental method of stacking bowls 211
Plan of a small Pottery 21S
Damaged contents of a high temperature kiln in situ 216
Position and attachment of handles 224
St. Ives pottery seals 226
Unglazed lips. Plates packed lip to unglazed lip 227
Seger cones 232
Design for a teaset by the author 233
Pseudo-Greek vase 234
Sino-Greek vase 234
J oint dish and method of stacking W .
242
Simple Test Kiln to be used wiA Primus blow-lamp
N0.618 ^ 244
Kiln Log, September 1939 251
 INTRODUCTION: LEACH IN JAPAN
By SOYETSU Yanagi
Director of the National Folk Museum i
Tokyo

A^ost visitors from the West come to the East to teach or to

criticize. We have learnt a good many things from the views
of outsiders, but few people come over here to learn from our
side, and still fewer are the foreigners who realize that we learn

more from those who learn f^|pi us.

Enchanted with the memories of his childhood in the East,
and fascinated by the magic of Lafcadio Hearn’s prose, Leach
came to Japan at the age of twenty-one, full of dreams and
wonder. Trained as an artist, he had planned to give lessons in
art: but the time soon came, as he once confessed to me, when

he cast aside what he was intending to give and plunged into

his new life, of receiving. This straightforward conversion gave
him the rare chance of reaching the heart of the East from
within. So it is not surprising that his influence on us has been
so great, and that there has been between him and us a com-
munity and understanding such as has scarcely ever been
reached before between ourselves and foreigners.
Fortunately his love for Japan was not the sentimental one so
often met with, but an honest one, informed by the insight and
imagination of an artist. It would seem that art is always the
best highway for mutual understanding between different
peoples.:,

At the time when he came to J apan our young artists were in

 introduction
in quest of artistic light. It was
the midst of their ‘Wanderjahre’
such artists as Rodin, Van Gogh
the period when the work of
this country
and Cezanne were introduced for the first time in
and sensation among us, playing an im-
and made such a stir
our cultural life. It was about
portant part in the renewal of
thirty years ago; we were all young men at that time. I first met
lecture in his new house
him one evening when he was giving a
ever given in Japan on the art of
in Tokyo, the first lecture
press which
etching. He demonstrated the process with the big
was one of the audience who
he had brought from England. I
listened to a talk in which
the name of Augustus John was
remember the moment even
repeated over and over again. I
pencil-drawing of a gypsy girl
now, when he showed us a fine
presented to us.
by John, which he afterwards ^ ^ ^

at an exhibition of modern
After that I often met him again
Western art which was held in Tokyo. We
were drawn to each

other silently and irresistibly; I

l^ak we realized instinctively
to each other.
that our characters were necessary
one of us. Our
From that time on he lived among us as
spiritual appetites were the same,
we moved about in an un-
hope was his hope,
known world, looking for our real home. Our
the
and our agony was his agony. He probably
got nearer to
ordinary Japanese did. It is
heart of modern Japan than the
doubtful whether any other visitor from the
West ever shared
our spiritual life so completely. Lafcadio
Hearn was certainly
the old Japan,
one of these rare souls, but what he knew was
whereas what Leach touched was the new Japan.
was in this country that he learnt the
art of making
It

pottery. He began under the

instruction of old Kenzan, a

pottery master, the sixth of one of the

well-known lines of
his brother artist
Japanese traditional potters. Leach and later on
Tomimoto studied hard under the old man. Their efforts were
rewarded. ‘Certificate of Proficiency’ written on impressive
A
Seeirig
hosho paper was bestowed upon them, by the master.
that old Kenzan died without any heir, Leach and Tomimoto
xviii
 INTRODUCTION
should rightly receive the title of the seventh Kenzan, for they
are the only pupils who legally mastered the art of Raku ware.
This is a fact which might be of interest to students of J apanese
ceramic history.
There followed other, more serious, studies for stoneware
making. He fired at several potteries at different places, but
worked for the most part at his own kiln, designed by Kenzan,
at Abiko, and later in Tokyo. Here he made some very fine
pieces in blue and white, in celadon, and in overglaze enamels.
Besides his work in Japan, his stay in China enabled him to
•deepen his views on ceramics; in particular, the wares of the
Sung dynasty opened a new world. His visit to Korea also
nourished his sense of that imaginative beauty which is so
delicately manifested in the pottery of that solitary country.
I cannot forget the pleasant days when I lived with him in the
quiet village of Abiko, by the side of a lagoon.
Abiko, about twenty-five piles from Tokyo, was at that time
a colony of and the centre of a literary school called
artists,

Shirakaba. A number of artists and men of letters gathered

here in exciting discussions and intimate appreciations. Leach
He was never idle, and I have
talked well but also listened well.
never seen him tired. All his friends liked him, respected his
work and learnt many things from his attitude towards art, and
especiallyfrom his keen intuition, for beauty.
Duringhis stay in Japan he held exhibitions in Tokyo
annually for several consecutive years, all of which were success-
ful. Our people are born pottery lovers, for among us pottery

making has been for centuries regarded as a true art, of equal

dignity with the drawings and
fine .arts.. Leach’s, etchings,

pottery attracted, many visitors and .widened his fame year after
year. Even after his returjn to England there has been a repeated
demand for exhibitions of his work over here. Many Europeans
may know more of the science or history of Oriental ceramics,
but none, so far as I know, has ever before expressed the spirit

of Far Eastern pottery in actual things, i

 INTRODUCTION
He has his own sense of form and colour, but he is at his best

in drawing, as may be seen from his tiles and sHpware designs.

As a maker of patterns he stands out as unique among modern
craftsmen, for in the work of modern craftsmen (as opposed to
those of the past) nothing is more striking than the lack of the

intuitive ability to create patterns, a tendency which seems to be

parallel with the lack of melody in modern music. Very few

contemporary craftsmen are able to produce creative patterns
with real vision and vitality in them. Leach’s patterns are dis-
tinguished by their imaginative quality. They are full of poetry
in which man and nature sing together rhythmically.
Leach is a man of humble and affectionate character, and
what he makes is intimate and warm. He has never been an
artist of repulsive and excessive character, the tragical symptom

of the so-called modernism. It is not surprising that Korean

pottery stimulated his work more strongly than anything else.
His art is more naturally akin to Korean work than to Chinese
or Japanese.
Yet he is not a sentimentalist; his taste, as I understand him,
is rather for the austere Gothic than the sweet Greek. In this
sense he is a true descendant of William Blake, whom he
admires above any other English artist. He is probably the only
living English potter who carries on the tradition of Toft and
Simpson and the slipware of the seventeenth century.
But above all, the outstanding character of his work is the
union in it of East and West. All his ideas, life and endeavour
seem to have been focussed on this one. point. An Englishman
by blood, born in China, educated in London, 'who learned his
art in Japan and now works in England, he feels this union to
be the special task of his life. Owing to the special circumstances
of his life he knows both hemispheres from within, and this

gives him an unique and unprecedented position as an artist.

If the meeting of East and West be a cherished human ideal,
then his aims and achievements in art should be honoured by
the discerning, although it be only the beginning of an endless
 INTRODUCTION
journey. We in Japan feel him to be a brother, not a stranger at
all, for ours is destined to be the country where, as modern
history shews, new and old, high and low, East and West, make
their contact day by day. We feel that we in particular were
born to solve this problem in some way or other, though in this
age of disintegration and divorce in so many directions, it is a
task in which the peoples of all nations must collaborate.
May I quote here a Buddhist quatrain, which every J apanese
pilgrim carries with him wherever he goes:

Really there is nono West,

East,
Where then is the South and the North?
Illusion makes the world close in,
Enlightenment opens it on every side.

SOYETSU YANAGI
 PREFACE
By Michael Cardew

Ihis is who work as artists,

a practical book for those potters
either in one-man studios or in small workshops.
But it is much more than that: it should be of great use also
to the numbers of people who, although not necessarily crafts-
men, are interested in pottery, whether in commerce and manu-
facture, as teachers, as collectors, or simply as intelligent con-
sumers. In recent years there has been a great, even a surpris-
ing, increase in thenumbers of studio potters in England, and
there has grown up a Modern School of pottery, an essential
element in which is the gradual creation of a new relationship
between the potter and his public, very different from that of
the past, tyhen the ‘mysteries’ and ‘secrets’ of the trade were
guarded jealously. In this atmosphere the public, kept in a state
of genteel ignorance about the mechanical arts, expected to be
flattered of astonished by aesthetic novelty and technical skill.
It is not surprising that this state of affairs produced a marked
reaction to the modern ideal of a sympathetic understanding of
the potter’s technical rheans and artistic aims; and this book is

an important contribution to the building-up of such an under-

standing. The
technical means, the alleged ‘secrets’ of the old
potters ofChina and Japan were, as Mr Leach shows so
admirably, a very simple and perfectly homely use of their
natural materials and resources; their real secret lay in the
integral tradition, the continuity of their culture. There is no
"
.
xxiii'
 PREFACE
need to complain that the tradition is lost and the continuity
broken: it is only necessary for the modern potter to set to work
in the same spirit, using the same kind of materials in a straight-

forward and natural way.

The complaint is sometimes made that studio potters,

especially in England, appear to be slavish followers of the

early Chinese. Certainly they emulate the early Chinese potters,
and they are quite right to do so; but in fact they do not follow
them so slavishly as the potters of the sixteenth century, when
Chinese porcelain was first imitated in Europe. Then, and for a

century ormore following, the whole main stream of European

ceramics was directed to imitating the achievements of the later
Chinese porcelain of the Ming period. But in fact potters of
most ages have looked to the Chinese as their masters. The
Persians and Arabs of the early Middle Ages did the same
thing, striving to imitate and equal the celadons which were
being exported at that time to the Mohammedan world.
No apology is necessary for the modern potter if he does the
same thing mode appropriate to modern times, and no
in a
apology need be made for the fact that the methods of China
and Japan occupy so much space in this book. On the contrary,
the fact that Mr Leach has lived and worked for so long in
Japan as well as in England, is his best qualification for
writing it.

Michaei, Cardew
 AUTHOR’S PREFACE

lottery has its own language and

inherent laws, and words
have theirs,and neither can be bound by the other. Neverthe-
less a certain amount of translation and interpretation is poss-
ible provided a potter can find the words, or a writer insight
into pottery. Ihave been fortunate in having had the aid of such
a writer; any clarity of expression which may have been
achieved is due in great measure to my friend Henry Bergen.
This book is the outcome of twenty-eight years’ experience of
making pots by hand processes Far East and in England.
in the
During twelve of those years had unique opportunities of
I

gaining an insight into the spirit and methods by which early

Oriental pottery was made. Here I have attempted to state these
simply and openly, and to relate them to our Western need,
primarily for the sake of other potters who suffer inevitably

from the almost entire loss of our own birthright of traditional

craft lore. But book is also intended for students and
this
teachers, for lovers of good pots and sound craftsmanship, and
finally for those to whom the cultural meeting of East and West

is the prelude to a human Out of riiy dual experience I

society.

have tried to formulate a criterion by which good pots may be

recognized in a manner similar to that by which an ever-chang-
ing but nevertheless continuous classic standard encourages the
appreciation of fine architecture, painting, writing and music.
Accepting the qualities of the pottery of the T’ang and Sung
dynasties as the height of ceramic beauty, I have reviewed and
XXV"
 AUTHOR’S PREFACE
revalued has long been taken for granted. My
much which
wares should not be
frequent criticism of mass-produced
regarded as an attack upon the machine
so much as an exposure
false standards of beauty,
whether of commercial origin
of the
have accompanied the rise of
or of debased court taste, which
industrialism.
technical chapters are based very
largely upon
As the main
personal experience many types of pottery are omitted, but
stoneware and por-
between Japanese raku, English slipware,
covered. I have endea-
celain a fairly representative field is
to describe practice in
voured to explain principles as well as
to enable students of pottery to
adapt recipes of glazes
order
conditions. Much
and pigments, and designs of kilns, to local
qualities of raw mate-
attention has been given to the inherent
rial, and whenever possible
European substitutes have been
for Oriental. Certain types of pots,
such as Chinese
suggested
blue and white porcelain, will not be
found amongst the illus-

well known: others, such

trations because they are sufficiently
as enamelled wares, because of the
expense of colour repro-
contemporary potters are represented. I
duction, and only eight
regret the disproportionate number of
photographs of my own

pots, but I have been forced to use them by the difficulty of

otherwise obtaining suitable illustrations of many of the pro-

cesses described in the text.

Darfingion, ig39
 ACKNOWLEDGMENTS

W.hou. the help of Leonard and Dorothy Elmhirst I would

never have been able to find time to disentangle years of pottery
notes and and organize the other material which has
to gather
gone to the making of this book. To them my first thanks are
due.
To Henry Bergen, Bh.D., I am deeply indebted for constant
many details of fact.
revision and
My former pupils, Michael Cardew, Laurie Cookes and
Katharine Plcydell-Bouverie, have contributed in various w'ays

with generous criticism, typing, notes and photogi-aphs.

The analyses of wood ashes on p. 162 are the result of re-
peated experiments undertaken by the Dartington Hall
Laboratory under J, B. E. Patterson, M.Sc., A.I.C.
What owe to friends in Japan, my old master Ogata Ken-
I

zan, K. Tomimoto, S. Yanagi, S. Hamada, K. Kawai and

many others cannot be measured in. words.
To the courtesy of the Victoria and Albert and British Mu-
seums permission to reproduce a large number of the illus-
trations is due.

xxvii
 Chapter I

TOWARDS A STANDARD

Very few people in this country think of the making of pottery

as an art, and amongst those few the great majority have no
criterion of aesthetic values which would enable them to dis-
tinguish between the genuinely good and the meretricious.
Even more unfortunate is the position of the average potter,
who without some standard of fitness and beauty derived from
tradition cannot be expected to produce, not necessarily master-
pieces, but even intrinsically sound work.
The potter is no longer a peasant or journeyman as in the
past, nor can he be any longer described as an industrial
worker; he is by force of circumstances an artist-craftsman,

working for the most part alone or with a few assistants. Fac-
tories have practically driven folk-art out of England; it sur-
vives only in out of the way corners even in Europe, and the
artist-craftsman, since the day of William Morris, has been the
chief means of defence against the materialism of industry and
its insensitivity to beauty.
Here at the very beginning it should be made clear that the
work of the individual potter or potter-artist, who performs all
or nearly all the processes of production with his oWn hands,
belongs to one aesthetic category, and the finished result of the
operations of industrialized manufacture, or mass-production,
to another and quite different category. In the work of the
potter-artist, who throws his own pots, there is a unity of design
and execution, a co-operation of hand and undivided petsorial-
 TOWARDS A STANDARD
that has no counterpart
ity, fordesigner and craftsman are one,
for mass-production, whose
ofhce is
in the work of the designer
be cast or
to make drawings or models of utensils, often^to
and subsequently assembled. The
art of the
moulded in parts
terminology, and is intuitive
craftsman, to use Herbert Read’s
that of the designer for re-
humanistic (one hand one brain);
abstract and tectonic, the work
of the
/ duplication, rational,
that of the artist Each
engineer or constructor rather than
.
’

Examples of both
method has its own aesthetic significance.
between them lies in the
can be good or bad. The distinction
actual making not merely to other
hands than
relegation of the
driven machines. The pro-
those of the designer but to power
the same intimate qualities
ducts of the latter can never possess
the possibility of excellence of
as the former, but to deny them
reproduction can do is both
design in terms of what mechanical
blind and obstinate. motor car such as a Rolls Royce Phan-
A
appeal is mainly
tom achieves a kind of perfection although its
intellectual and material. There I think
we come to the crux of
craftsmanship
hand is directly subject to the
the matter: good
human activity, whereas machine crafts, even
prime source of
at their best, are activated at one remove— ^by the intellect. No
doubt the work of the intuitive craftsman
would be considered
people to be of a higher, more personal, order of beauty;
by most
‘
nevertheless, industrial pottery at its best, done from the draw-
ings of a constructor who is an artist, can certainly have an
intuitive element.^ The trouble, however, is
that at a conserva-
industrial pottery pro-
tive estimate about nine-tenths of the
hopelessly
duced in England no less than in other countries is
few
bad both form and decoration. With the exception of a
in
and patterns for table-ware, arid others
traditional shapes
designed by the best designers available to-day and painted by

the best available artists (none of whom is a potter), turned put

1 ‘Whenever the final product of the maehine is designed or deter-

mined: by anyone: sensitive to forhlal values, that product

can and
the term.
does become an abstract work of art in the subtler sense of
— Read, Art and Industry, p. 37.
2
 TOWARDS A STANDARD
notably by the Wedgwood and Royal Worcester and Minton
factoriesand by the Makin and Gray firms iir Hanley, and
excluding also a few purely functional and utilitarian designs,
some of which are also traditional, such as Doulton’s acid-jars,
we meet everywhere with bad forms and banal, debased, pre-
tentious decoration — qualities that are perhaps most conspicu-
ous in ‘fancy vases’, flower-pots and other ornamental pieces, in
which we find a crudity of colour combined with cheapness and
inappropriateness of decoration and tawdriness of form that
must be seen to be believed. And although the mechanical pro-
cesses are indeed marvellous, as for example the automatic
glazing, cleaning, measuring and stamping of many millions
per month of bathroom tiles, fired in a single non-stop tunnel
kiln, the mere fact of their being mass-produced is no reason

why these tiles should be as cheaply designed and as dull and

miserable in colour as it is possible for tiles to be; nor in the case
of hollow-ware is the casting of shapes so exactly and so quickly

and with such perfect pastes an adequate excuse for dead shapes,
dead clay, dead lithographed printing or the laboured painting
of dead patterns. Indeed the more elaborate and expensive the
decoration the more niggling and lifeless it is, and the nearer it
approaches the long deceased fashion of naturalism of the nine-
teenth century, when close attention to detail and the careful
painting of pictures upon porcelain in enamel colours was con-
sidered the summit of ceramic art:
—‘applied’ art with a ven-
geance! On the other hand, if the bulk of the pottery turned out
in England to-day is mass-produced and of inferior form and
decoration, its inferiority is not so much due to the manner of
its production—-for mass-produced wares can not only be of fine
quality of body’^ and beautiful in form, if designed by the right

i
'. .pottery manufacturers know that mass production can in
.

ceramics, at least as regards the quality of the body, help greatly

towards improvements. The reason is that more efficient kilns. can
be used and better conditions of firing attained.’— Comp. Nikolaus
F&vsnet, An Enquiry into Industrial Art in England, and
P-83- ,
” '
 TOWARDS A STANDARD
men—but for various extrinsic reasons, chief: of which is ,t,he

manufacturer to interest himself in good design.

failure of the
The want of artistic initiative; on the part of the manufacturers

must be ascribed to the general lowering of taste under condi-

tions of competitive industrialism. The public is ever increas-
ingly out of touch with the making of articles of everyday use,
and although its entrepreneurs, the buyers and salesmen of
;

trade, are continually caught out in their under-estimation of

what people like they cannot be entirely blamed for catering to
safe markets. Even if, as Pevsner says, ‘one cannot condemn an
industrialist too severely because he does not jump at every
suggested artistic improvement’, and it ‘would be absurd to
suggest to the producer that he ought to ruin hirnself for the
community’, there is nevertheless no reason why he should not
work as far as possible towards replacing bad forms and decora-
tions with good, and realize, in spite of the cheerful assurances
of buyers and travellers, that he must cater to bad taste, that one
of the chief reasons why 'the public (apart from a few hope-
lessly insensitive individuals) likes’ tawdry utensils, is because
as a rule it can get no others. Apart from the initial expense of
new moulds, and provided a competent designer is available,
there no apparent ground for believing that good commercial
is

pottery should be any more expensive to make than bad.

It is obyious that the standards of the world's best pottery,
[for Sung periods in China and
example, those of the T’ang and
the best of the Ming, Korean celadons and Rhcho, early
'Japanese tea-master’s wares^, early Persian, Syrian, Hispano-
Moresque, German Bellarmines, some delft and English slip-
ware, cannot well be applied to iridustrial work, for such
pottery was a completely unified human expression. It had not
f

* i.e. pottery approved of by tire

Japanese tea-masters, adepts in
the Cha~no'-)iu, or tea-ceremony, who have, for several Cehtufies been
the foremast art critics in Japan and have counted among their
numbers many creative artists of the first rank. For an account of the
spirit of the Cha-no-yu, See The Book of Tea by Okakura Kakuzo,
also A. L. Sadist, Cha-no-yu, London (1934).
,
'
.1.Korean Porcelain Bowl, cut and combed. Korai
dynasty, T’ing type. Early porcelain, freely handled.
2. Chinese Fluted Stoneware Bowl, Sung Dynasty
(in the author’s possession). This beautiful bowl was
made of buff clay, wheel-thrown, cut, slipped and then
fired in an oxidizing atmosphere. The cool lines and
serrations show well assimilated influence from
Graeco-Buddhist art and foil the full curves of tho pot.
 TOWARDS' A STANDARD
been mechanized. Yet there is no doubt that much; can be
learned by the industrial potter or designer from the wares:
especially of the Sung and early Ming dynasties. The Chinese ,

potters’ use of natural colours and textures in clays, the quality

of their glazes (e.g. the Ying-ching and T’zu-chow families),
the beauty and vitality of their well-balanced and proportioned
forms, could be a constant source of inspiration to the designer
for mass-production no less than to the craftsman.
It is no and utilitarian advances of
discredit to the scientific
the English pottery industry to say that the beauty to which the
Sung potters attained was far beyond the highest that from its
beginnings in Josiah Wedgwood the English factories ever
aimed at. The two traditions and methods of production are
radically different, and the intuitivej organic qualities of Sung
pottery can never be completely expressed by the rational and
tectonic methods of big industry. Concentration upon mecha-
nical production and utilitarian and functional qualities is
to-day necessary and justified, and as already said there is no
reason to suppose that factory-made utilitarian wares may not
by reason of their precision, their pleasing lines and perfection
of technique, added to complete adaptation to use, have a great
beauty of their own. Even during the course of the last two
centuries moulded English tea ware of admirable design has
been made, and often its decoration, especially the ‘Japan’ and
other conventionalized set patterns of the late eighteenth and
early nineteenth centuries, has been,-, if not great art, at least

possessed of much charm. It would.be surprising if equally

good patterns could not be turned out by able designers to-,

day.
It is quite otherwise with the studio potter. He is indeed con-
strained to looJc to the best of the earlier periods for inspiration
and may, so far as stoneware and porcelain are, concerned^ ^

accept the Sung standard without hesitation. As it is, there are

a few English craftsman potters to-day who do accept it, and
their work is incomparably the best that is now being turned

5
 TOWARDS A STANDARD
out.^ Others go back to an outmoded ‘arts and crafts’ tradition,

which seems to. have had its origin in France in the last quarter
and to have been largely influenced
of the nineteenth century
by modern Japanese designs, which became fashionable soon
after the Paris Exhibition of 1867, Its chai-acteidstic features are
Weakness of form, especially of lip and foot, and, except in the
case of the salt-glazed wares of the Martin Brothers (much of
which was influenced by the same school of design), crudely
coloured glazes in which all aesthetic quality is lost in technique,
as always happens when the means are mistaken for the end.
It is easy to understand the impression made on potters by the
discovery, first in France by Chapelet and later in England by
William Burton, of how to make the brilliant high-temperature
single colour and flambe glazes of the Ching period in China;
but in the absence of tradition, again technique triumphed over
art and eccentricity and weakness over strength. The attempted
revival of lustre painting under pre-Raphaelite influence by
William de Morgan led as one might expect to nothing fresh
and vital in form, or for that matter in decoration. Nor does the
example of the Doulton company in reviving English salt-glazed
pottery at the end of the last century seem to have had any influ-
ence on studio potters, who in the rare instances that they have
made salt glaze have turned to the earlier Continental models.
In the absence of some agreement, however inarticulate, as
to a common standard, one may hope to find an occasional work
There has never been a European stoneware tradition except that
^

of the Rhenish salt-glazed wares. 'Accepting the Sung standard' is a

very different thing from imitating particular Siing pieces. It means
the use so far as possible of natural materials in the endeavour to obtain
the best quality of body and glaze;, in throwing and in a striving
towards unity, spontaneity, and simplicity of form, and in general the
subordination of alT attempts at technical cleverness to straight-
,

forward, un-selfconseious workmanship. A strict adherence to Chinese

standards, howsoeverfine,, cannot be advocated; for no matter what the
source and power of a stimulus, what we make of it is the only thing
that, counts. We are not the Chinese of a thousand years ago, and the
underlying radsd and social and economic conditions which produced
the Sung traditions in artwiU never be repeated;: but that is no reason
why we should notdrawall the inspiration we can from the Sungpotters.
 TOWARDS A STANDARD
of genius in the free, or so-called fine arts (frequently then only
the outcome of pain and poverty and lifelong obscurity); but in
applied art, which depends upon collaboration in the workshop
and constant sales to a public, there is even less hope. Indeed,
amongst some at least of the free arts there does exist what one
may call a classic standard, according to which the work of
to-day, especially in literature and music, is compared with the
great work of the past. That the criterion of beauty is a living
thing and constantly in flux, is true, but here at least there is a
continuous if ever changing consensus of opinion as to what
may be called great achievement. In regard to pottery such a
i
criterion can hardly be said ever to have entered the conscious-
ness of Western man. In the East it has long been in existence,
especially in Japan, where the aesthetic sensibility of educated
people has been stimulated by the ablest of critics for some three
hundred or more years. As space will only allow me to speak
briefly of this great aesthetic cult and its unrivalled standard of
artistic appreciation, I cannot do better than give a more or less
condensed and paraphrased extract from an essay on popular,
or folk, arts and by Soetsu Yanagi, the
crafts intellectual leader

of the J apanese craft movement of to-day:

‘I have many occasions to call at the residences of well-
known art collectors, but I find too often that the articles of
everyday use in their homes are far from being artistic, to say
the least. They often leave me with a sad suspicion as to how
much these collectors really appreciate beauty.
‘To me the greatest thing is to live beauty in our daily life and
to crowd every rhonient with things of beauty. It is then, and
then only, that the art of the people as a whole endowed with is

its richest significance. For its products are those made by a

great many craftsmen for the mass; of the people, and the
moment this art declines the life of the nation is removed far
away from beauty. So long as beauty abides in only a few
articles created by a few geniuses, the Kingdom of Beauty is

nowhere near realizatibn.

'
':
7
 ,

TOWARDS A STANDARD
‘Fortunately, in Japan, handicraft objects have been trea-

sured through the channel of ceremonial tea. Cha-no-yu in the

last analysis is a means of harmonizing life and beauty. It . . .

may be thought of as an aesthetics of the practical arts. In all

its appurtenances, whether it be in the architecture, the garden,
or the utensils, the first principle is utility and the adornment of
life with refinement. Not beauty for beauty’s own sake, but
j
beauty answering all immediate needs of life—that is the
essence of ceremonial tea
‘One may
what then is the nature of the beauty which
ask,
has been discovered by these tea-masters? ... In the first place
it is non-individualistic. ... As in medieval Europe art meant

adherence to tradition, so in the East all works of arts or crafts

were governed equally by common principles. . . . Some of the
most famous tea-bowls were originally the simplest of utensils
in popular use in Korea or China; many of them were the rice
bowls of Korean peasants. But the amazingly keen eye of the
Cha-no-yu master has discovered in these odd, neglected pieces
a unique beauty; for what most appeals to him are the things
originally made for everyday use. In brief, Cha-no-yu may be
defined as an aesthetics of actual living, in which utility is the
I first principle of beauty. And that is why such great significance
has been given to certain articles necessary for everyday life. . .

‘The next important aspect of the works of people’s art is that

They are simple and unassuming. Here the quality of extrava-
gance that is always associated with expensive art objects is

wholly absent, and any surplus of decorativeness is objection-

able. . . , Simplicity may be thought of as characteristic of cheap
things, but ,
it must be remembered that it is a quality that har-
monizes well with beauty. That which; is truly beautiful is often
simple and" restrained,
,
. . .
. I am. told that St. Francis of Assisi
advocated what he called ‘Holy Poverty’. A tiling possessed In
some manner of the virtue of poverty has an indesciibable
beauty. Indeed, Beauty and Humility border upon each other.
I
What is so appealing in the art of the people is this very quality,

8
 TOWARDS A STANDARD
. beauty accompanied by the nobleness of poverty. The
Japanese people have a special word shibui to express this ideal
beauty. ... Itis impossible to translate it satisfactorily into one

English term, “austere”, “subdued”, “restrained”, these words

come nearest. Etymologically, shibuims.2x& “astringent", and is
used to describe profound, unassuming and quiet feeling. The
mere fact that we have such an adjective would not call for
second thought, but what does call for special note is the fact
that this adjective is the final criterion for the highest form of
beauty. It is, moreover, an ordinary word, and is repeated con-
tinually in our casual conversation. It
is in itself unusual that a

whole nation should share a standard word for aesthetic ap-

praisal. Here in this criterion of ours for the best and most
beautiful may be observed the fundamental principle of the
aesthetic tastes of the Japanese people. If you have travelled
. . .

much Japan you must have come across one of these

in rural
stone monuments, with the inscription Sangai Banrei To, at a
crossroad or in a deserted corner. The inscription means “a
monument to the unknown, departed souls of the million
people of the world”. This monument is an expression of the
Buddhist’s compassion for the countless number of forgotten
and uncared-for souls. I am one of those whose prayer it is to
erect suchmonuments in the Kingdom of Beauty.’
Thus from a Buddhist background, ethically much akin to
the medieval Christianity on which the neo-Thomists have
based their attitude towards art, Mr. Yanagi seems to me in
these arresting and moving sentences to have thrown, down a
challenge not only to his Japanese contemporaries but to us as
well—a challenge to our over-accentuated individualism. For
one may indeed look back, with an acute sense of loss: to those
periods when the communal element, with its native religious,
'

psychological and aesthetic basis,' was all-powerful as an en-

nobling and transmuting influence and source of life.
A potter’s traditions are part, of a nation’s cultural inherit-
! ance and in our time we are faced with the
'
breakdown of the
9 '-
 TOWARDS A STANDARD
Christian inspiration in art.We live in dire iieed of a unifying
culture out of which fresh traditions can grow. The potter’s

problem is at root the universal problem and it is difficult to see

how any solution aiming at less than the full interplay of East and
West can provide either humanity, or the individual potter, with
a sound foundation for a world-wide culture. Liberal democracy,
which served as a basis for the development of industrialism,
provides us to-day with a vague humanism as insufficient to in-
spire art as either the economics of Karl Marx or the totalitarian
conception of national life, but at least it continues to supply an
environment in which the individual is left comparatively free.

Our need of a criterion in pottery is apparent and seems to be

provided by the work of the T’ang and Sung potters which
during the last twenty years has been widely accepted as the
noblest achievement in ceramics. But the successful assimila-
tion of strange stimuli requires a healthy organism, and it
remains to be seen whether there is enough vitality in Europe to
absorb from early Chinese pottery even more than we did
during the eighteenth and nineteenth centuries from late Chinese
porcelain. At the moment it is difficult to believe that the general
arrogance of our materialism and the particular self-sufficiency
of the pottery trade will permit the subtler scale of early oriental
values to be perceived, except by artists and some sensitive
people of leisure. Influences from alien cultures either upon art
or industrymust pass through an organic assimilation before
they can become part and parcel of our growth. This happens,
moreover, only when they supply an inherent need, and is
usually inaugurated by the enthusiasm and profound convic-
tion of men who have themselves succeeded in making the
synthesis. The superficial imitation of early Chinese shapes,
patterns, colours and technique signify nothing unless new life
emerges from the fresh combination. The temptation for the
individual potter is to stand back with the paralysis of frustra-
tion in face of such a sea of change, but we cannot afford to wait
until the tide of a new culture rises.
10
 '

TOWARDS A STANDARD
The necessity for a psychological and aesthetic common
foundation in any workshop group of craftsmen cannot be '

exaggerated, if the resulting crafts are to have any vitality.

That vitality is the expression of the spirit and culture of the
workers. In factories the principle objectives are bound to be
salesand dividends and aesthetic considerations must remain
secondary. The class of goods may be high, and the manage-
ment considerate and even humanitarian, but neither the
creative side of the lives of the workers nor the character of their
products as human expressions of perfection can be given the
same degree of freedom which we rightly expect in hand work.
The essential activity in a factory is the mass-production of the
sheer necessities of life and the function of the hand worker on
the other hand is more generally human.
The problem is made increasingly difficult for the reason that
the people who are attracted to-day by the hand crafts are no
longer the simple-minded peasantry, who from generation to
generation worked on in the protective unconsciousness of
tradition, but mainly self-conscious art students. They come to

me year after year from the Royal College, or the Central

School, or Camberwell, for longer or shorter, usually shorter,
periods of apprenticeship. As soon as they have picked up
enough knowledge, or what they think is enough, off they go to
start potting on a studio scale for themselves. Very few have
proved themselves to be artists. And what of the others, those
thousands who pass through these schools and then either dis-
appear from sight or continue to produce bad work. Again, in
the past tradition would have developed and used, their moi-e
moderate talents; in our own one cannot escape the sense of a
great Wastage. ^

In crafts the age-old traditions of hand work, which enabled

humble English artisans to take their part in such truly
human activities: as the: making of medieval tiles and pitchers,

and culminated in magnificent co-operations like Chartres

Cathedral, have long rince; crumbled away. The small estab-
 TOWARDS A STANDARD
lishments of the Tofts and other siipware potters were succeeded
by the factories of the Wedgwoods and the Spodes, and in a
short space of. time the standard of craftsmanship, which had
been built up by the labour of centuries, the intimate feeling' for
material and form, and the common, homely, almost family
workshop life had given way to specialization and the inevitable
development of mass production. For that no individual can be
praised or blamed: like many another institution it arose in

response to a human need, moving parallel on the one hand with

the slow progress of economic democracy, and on the other
with an unprecedented rise in the population. But although we
have now reached a point where for the first time in history we
are able to produce enough and more than enough for all, the
trouble from the artist’s or craftsman’s, or for that matter any
sane person’s point of view, is not only that the. problem of
equitable distribution is still unsolved, but that so many of the
things we have thus contrived to make are inhuman.
In the field of ceramics the responsibility for the all-pervading
'

bad taste of the last century and the very probable ninety per
cent, bad taste of to-day lies mainly with machine production :

and the accompanying indifference to aesthetic, considerations

of individual industrialists and their influence on the. sensi-'

bility of the public.^ Yet although industrialists will as time
goes on become more and more conscious of the desirability of,
if not the necessity for good form and decoration, it is also plain
that during the last twenty-five years a far reaching change in
aesthetic judgment has come about, not only in Ebgland, but ,

literally all oWr the 'Civilized world. A newtype of craftsman,'

called:iridividualj studio, or creative, has emerged,: and a new:
idea of pottery is.being worked out: by hirn as a result of :
an :

^ is not.to say that any better taste was shown in the work of
This
thfe late nineteenth and early tWentieth-centhry hand-potters in;
^

England np to fifteen oi twenty years ago, or by many of them even

now; btttit is, probable that the example se industrialiSih and -tlie
strain of getting away from it was largely responsible even for their
demoralization.

12
4- Contemporary English Industrial Pottery. Johnson Bros, and
Wedgwood & Sons.

5. English Early Industrial Soft-paste Porcelain. Chelsea-Derby.

Rococo elegance and Georgian dignity still predominate but in form
and sensitiveness to material such examples cannot be compared with
the pots of Plate I (see page 41).
 TOWARDS A STANDARD
immensely Ixoadened outlook. Another wave of inspiration has
come to us from the Far East, and out of the tomb-mounds of
long dead Koreans and Chinese, looted and disturbed by the
encroachment of Western commercialism, has arisen a new
appreciation of ceramic beauty.
It is just about fifty years ago that Carriere, a young French
sculptor, began to make stoneware based upon old Japanese
models. Fie has been followed by a number of potters in Paris,
such as Delaherche, Decoeur, Gazin and many others, whose
work has been inspired by the simplicity and restraint of the
Sung potters. In Flolland, Germany, Austria, Scandinavia,
America, Japan and England there has been a similar response
to the same stimulus, and factory products are being more and

more influenced by them. One need only mention Sevres and

Copenhagen. Amongst all these individual efforts to my mind
fthe Japanese and English are the best.
Pots, like all other forms of art, are human expressions:
pleasure, pain or indifference before them depends upon their

natures, and their natures are inevitably projections of the

minds of their creators. It is unfortunate that as a consequence
of its divorce from life, the ‘applied’ no less than the ‘fine’ art of
our: time, more than in any other age, suffers from excessive
self-consciousness, or what is often called pose, a very different
thing from the unconscious, inherent, personal and race char-
acter which has distinguished all the great periods of creative
art. It is also important to remember that, although pottery: is
made to be used, this fact in no wise simplifies the problem of

artistic expression; , there can be no fulness or complete realiza-

tion of .utility without beauty, refinement and charm, for the

simple reason that their absence must in the long run be in-
tolerable to both maker and consumer. We desire not only food
but also the enjoyment and zest of eating. The continued produc-
tion of utilities without delight in making and using is bound to
produce only boredom and to end in sterility. And the greater
part of what passes for pleasure in the form and decoration and
 TOWARDS A STANDARD
colour of pottery for the people to-day is so banal, so false and
ridiculous in the confusion of mechanical perfection with beauty,
as to be in itself alone an indictment of our popular half-culture.

The art forms of a community are the crystallizations of its

culture (which may indeed be a very different thing fi;om its

civilization), and pottery traditions are no exception to the rule.

In the T’ang period it is not difficult to recognize the Chinese

genius for synthesis, here reinterpreting Greek and Buddhist
ideology in terms of contemporary need, and combining these
elements within the native framework of Taoist and Confucian
concepts, thus fundamentally modifying and extending the
boundaries of their ideas of beauty and truth. In the greatest

period, that of the Sung dynasty, all these different influences

are welded together in one, for unification was then supreme.
Until the beginning of the industrial era analogous processes of
synthesis had always been at work amongst ourselves, but since
that time the cultural background has lost much of its assimil-
ating force, and the ideas we have adopted and used have been
moulded into conformity with a conception of life in which
imagination has been subordinated to invention and beauty to
the requirements of trade. In our time technique, the means to
an end, has become an end in itself, and has thus justified
Chinese criticism of us as a civilization 'outside ink
Since the last quarter of the nineteenth century, the reaction
started by William Morris has been taking place mainly outside
industry and has culminated in what I have called the indivi-
dual, or. artist, craftsman. Beginning in protest against the irre-
sponsible use of power, came to an end in pseudo-medieval
it

work and life. Thence has arisen

crafts little related to national

the affirmation of the mechanical age in art—functiona.lism.

This, through let us say, Picasso,^ Corbusier and Gropius of

Vlt is worth recording that: Picasso himself, perhaps the most

creative artist alive, has written, ‘decorative art bears no resemblance
to easel painting, to, the production of a picture. Due ls utilitarian, the
other a noble play. An armchair means the back against which one
leans. It is a utensil. It is not art.' Creative Art, une 1930.
J

14
 TOWARDS A STANDARD
the Bauhaus, is having its effect on A movement
all crafts.

which however based by on a new and dynamic

its initiators

concept of three-dimensional form, tends amongst those who

attempt to carry the idea into industry to an over-intellectual
; effort to discover norms of orderliness and utility. Such a pro-

/ cess limits the enjoyment of work to the designer, and overlooks

the irregular and irrational element in all fine activity including

the making of pottery. Herein lies the significance of the artist-
craftsman as distinct from the factory designer. Almost alone
amongst workmen does he exercise the responsibility of making
—
things for full human use objects which are projections of
—
men alive in themselves. To him the question of standard is of
vital importance, and through his work to industry, and through

industry to everyone. He is faced with a broken tradition, and,

what is even more serious, with a culture in rapid process of
change. Our sensibility to beauty is ministered to for the most
part only by the work of a handful of men of genius, for the
history of all nations with a developing industrialism shows
that the unconscious, intuitive craftsman breaks down under
the strain of, transition from hand and tool to industrial
•
machinery. His native ability and good taste, his insight and
his capacity tojudge of and assimilate fiew ideas become per-
verted. Only the artist and craftsman of unusual perception and
strength of character stands a chance of selecting what is best
from the welter of ideas which rolls in upon him to-day. As soon
as the craftsman becomes individual and detached from his
tradition he stands on the same footing as the artist. This may
not signify much when one thinks of the number of artists in
relation to the number of paintings done each year which will
appeal with any conviction to men a century hence! But the;
important question is how in our disintegrating times individual
potters are to discover their particular kind of truth, in other
words, their highest standard, and further, by what means it can
be passed on to other artist-potters to the end that humanistic
work of true merit, especially for domestic use, may be produced
IS
 ;

TOWARDS A STANDARD
I can still remember vividly how twenty-five years ago I

stood before the magnificent examples of the pottery of tire

Sung dynasty in the Tokyo Museum wondering how an indivi-

dual potter of to-day could possibly appropriate to himself a

beauty so impersonal, so inevitable—-the patient unassuming
outcome of centuries of tradition gradually developing through
the experience of material and increasing complexity of need,
and the sublimated emotion of a loiig succession of Chinese or
Korean workers. I was abashed, I know now that it is a task
beyond the power of any one man, and what makes the matter
still worse, far from there being any unity of purpose and faith,

at the present moment there is such an obsession with the in-

dividual point of view among English craftsmen, that one often
hears them ridicule the very idea of a new communal standard.
Independence once achieved is very precious, but an exaggerated
pride in its possession stands bluntly in the way of concurrence
in either aim or
action, and the pride is only too often merely
that of an artist on a dunghill. Since the Great War, however,
there have been at least some signs of change, in science, in
philosophy, in politics, even in the world- wide acceptance by
the' younger artists of a more or less common geometric ab-

stract. But even this new common factor has been accompanied

by a growing awareness of emptiness and steidlity.

We craftsmen, who have been called artist, have the whole
world to draw upon for incentive beauty. It is difficult enough
to keep one’s head in this maelstrom, to live truly and work
sanely without that sustaining and steadying power of tradi-
tion, which guided aU applied art in the past. In my own par-

ticular case the problem has been conditioned by my having

been born in China and educated in England, I have had for
this reason the two extremes of culture to draw iipon, and it was

this which caused me to return to Japan, where the synthesis of

East and West has gone farthest. Living there among the
younger men, I have with them learned to press forward in the
hope of binding together those elements from the ends of the
i6
7. Small covered Stoneware Pot, brown and rust on grey,
,

I'jy Nor ah Braden.

8. Stoneware Bcnvl, brown and olive on grey, by Norah

.
Braden. Individual English potter.
 TOWARDS A STANDARD
earth which are now giving forzii to the art of the coming age.
I may tend to overstress the significance of East and We.st to
one another, yet if we consider how much we owe to the East in
and how recent a thing is 'Western
the field of ceramics alone,
recognition of the supreme beauty of the work of the early
Chinese, perhaps I may be forgiven for the sake of the first-

hand Icnowledge which I have been able to gather both of the

spirit and manner in which that work was produced.

The manner, or technique, will be dealt with in the following

chapters: here at the outset I am endeavouring to lay hold of a

spirit and a standard which applies to both East and West.

What we want to know is how to recognize the good or bad
qualities in any given pot, and we are at least able to say that

one should look first for the nature of the pot and know it for an
expression of the potter in the background. He may be an
unknown peasant or he may be a Staite Murray. In the former
case his period and its culture and his national characteristics
will play a more important r6Ie than his personality; in the
latter, the chances are that personality will predominate. In
either case sincerity what matters, and according to the
is

degree in which the vital force of the potter and that of his
culture behind him flow through the processes of making, the
resulting pot will have life in it or not. •

I have often sought for some method of suggesting to people

who have not had the experience of making pottery a means of

approach to the recognition of what is good, based upon com-
mon human experience rather than upon aesthetic hairsplitting.
A distinguished Japanese potter,Mr. Kawai of Kyoto, when
asked how people are to recognize good work, answered simply,
‘With their bodies’; by which he meant, with the mind acting
directlythrough the senses, taking in form, texture, pattent and
colour, and referring the sharp immediate impressions to per-
sonal experience of use and beauty combined. But as pottery is
made for uses with which we are all familiar, the; difficulty
probably lies less in one’s ability to recognize proper adaptation
B If
 TOWARDS A STANDARD
of form to function than, in other directions, primarily perhaps
in unfamiliarity with the nature of the raw material, clay, and
its natural possibilities and limitations, and also in uncertainty
as to the more imponderable qualities of vitality and relative

excellence of form, both of which are indispensable constituents

of beauty. It must always be remembered that the dissociation
of use and beauty is a purely arbitrary thing. It is true that pots
exist which are useful and not and others that are
beautiful,
beautiful and impractical; but neither of these extremes can be
! considered normal: the normal is a balanced combination of the
‘
two. Thus in looking for the best approach to pottery it seems
reasonable to expect that beauty will emerge from a fusion of
the individual character and culture of the potter with the
nature of his materials — ^clay, pigment, glaze —and his manage-

ment of the and that consequently we may hope to find in

fire,

good pots those innate qualities which we most admire in

people. It is for this reason that I consider the mood, or nature,
of a pot to be of first importance. It represents our instinctive
total reactions to either man or pot, and although there is no
guarantee that our judgment is true for others, it is at least
essentially honest and as likely to be true as any judgment we
are capable of making at that particular phase of our develop-
ment. It is far better to run the risk of making an occasional
blunder than to attempt cold-blooded analyses based upon other
people’s theories. Judgment in art cannot be other than intui-
tive and founded upon sense experience, on what Kawai calls
‘the body’. No process of reasoning can be a substitute for or
widen the range of our intuitive knowledge.
This does not mean that we cannot use our common sense in
examining the qualities in a pot which give us its character,
such as form, texture, decoration and glaze, for analytic reason-
ing is important enough as a support to intuition. Beginning
with the colour and texture of the clay, one must ask, apart
from its technical suitability, whether it is well related to the
thrown or moulded shape created by the potter and to the pur-
'
 TOWARDS A STANDARD
pose for which the pot is intended — ^what, for example, is appro-
priate for a porous unglazed water jug is utterly unsuitable for

/ an acid jar. Does its fired character give pleasure to the eye as

well as to the touch; its texture contrast pleasingly with the

glaze? Haswhere exposed to the flame turned to a dull brick
it

red which contrasts happily with the heavy jade green of a

celadon? Does it show an interesting granular surface under an
otherwise lifeless porcelain glaze? Has its plasticity been such
as to encourage the thrower to his best efforts, for the form
cannot be dissociated from its material. The shape of a pot can-
not be dissociated from the way it has been made, one may
throw fifty pots in an hour, on the same model, which only vary
in fractions of an inch, and yet only half a dozen of them may
possess that right relationship of parts which gives vitality —
life flowing for a few moments perfectly through the hands of
the potter.
Apart from the basic clay, the form of the pot is of the first

importance, and the first thing we must look for is, as already
indicated, proper adaptation to use and suitability to material.
Without these we cannot expect to find beauty in any of its
modes, nobility, austerity, strength, breadth, subtlety, warmth
— ^qualities which apply equally to our judgments of human and

ceramic values. Nor do these qualities arise frorn human char-

acteristics alone, but from a common recognition of forms,
whether man-made or natural, which we associate with them.
Of all forms we know best our own and attach to it the greatest
degree of evocative emotion; next come animal, plant and
mineral forms; lastly, and mainly in our own time, geometric
abstracts, largely the inventions of man’s brain- It is not with-
out reason that important parts of pots should be known as
I
I foot, belly, shoulder, heck and angle
arid lip, or that curve
should often be thought of as male or female. Beauty of
cerarnie form, which is at once subjective and objective, is ob-
tained in much the same manner as in abstract (rather than
representational) sculpture. It is subjective in that the innate
19
 .

TOWARDS A STANDARD
chai'acter of the potter, his stock and his tradition live afresh in

his work; objective in so far as his selection is drawn from the

background of universal human experience.
/ Subordinate to form but intimately connected with it is the
problem of decoration, and the question arises whether the
increased orchestration adds to the total effect or not. Decora-
tion will be treated more fully later on, here it is enough to say
that, although some of the very finest pots are quite plain, it is
nevertheless of the greatest significance. Many a good piece has
been spoiled by a weak or tasteless design, printed or applied

in one way or another; not only must the pattern be good in

itself and freely executed, but it must combine with and im-
prove the form and harmonize with the natural variations of
both colour and texture of body and glaze.
The upshot of the argument is that a pot in order to be good
should be a genuine expression of life, It implies sincerity on
the part of the potter and truth in the conception and execution
of the work. By this reasoning we are thrown back upon the old-
est of questions, but there is no escaping fundamental issues in
discussing problems of: art at a period of break-up and change. ,

Art is an epitome of Ijfe experience and in searching for a stand-

ard in pottery elastic enough to cover both past and present we
are compelled to look far afield and to examine the principles
upon which the Best pots of East and West have been based.
In a broad way the difference between the old potters and the
'

new is between unconsciousness within a single culture and

individual consciousness of all cultures. And to this one can only
: add that until a life synthesis is reached, by humanity the in-
dividual potter can only hope to deepen and widen his conscious-
ness in anticipation and contribution towards that end.
The method by which a pot is formed determines its general
character, whether hand modelled or built up out of coils or
slices, or freely thrown on the wheel, or thrown in a mould, or

cast entirely in a mould — each process conditions the interpre-

tation of the original idea, and each has a limited I'ange of right

20 - :
II. English Mediaeval Pitcher, 14th century. Wheel thrown,
combed, and with a pinched foot. The lead ore (galena) glaze has
probably been dusted over a coating of damp slip. The severe
dignity of form allies such monastic pitchers with Gothic architec-
ture. Inset, part of an English mediaeval tile (see pages 1 1 and 32).
 ,j

Primitive Persian Jar, circa 3000 B.C.,

wheel-thrown, pig-
12
painted pattern
mented but unglazed. The manner in which the
subtle variations of the large form
picks up and vitalises the
should be noted.
 TOWARDS A STANDARD
'

usage, from the easy flowirig application of which follows the

: sense of satisfaction and adequacy of technique. It is for this

reason that the industrial practice of rigidly separating designer
on paper from maker in clay is responsible for much of the
deadness of commercial pottery, for it is a waste of opportunity
V as well as a straining of technique to make moulded pots as like
thrown pots as possible. The beauty of each method lies in

using that method honestly,' for what it is worth, not in imitat-

ing other quite diffei'ent processes.^
The range of plastic beauty achieved in primitive pottery,
made chiefly by the hands of women without a wheel and with
:
tools only of wood or stone, basketry, textiles, leaves of trees or

stitched animal hides, is immense. The whole world seems to

have contributed to it during thousands of prehistoric years:
Minoan, archaic Greek, African, North and South American,
pots of the Black Earth Region and neolithic China, pigm'ented
but unglazed, often so fine that one might be tempted to sur-
render all claim for the supremacy of eleventh and twelfth cen-
tury China, were it not for the fact that the general cultural and
j

i technical achievements of the Sung Chinese were so much

I
For this reason I shall deal in this book for the most
greater. ,

!
part with wheel-thrown forms, which reached their greatest
perfection round about that period.
A pot thrown on a good wheel with responsive day, but not
jtoo soapy in texture, is impressed and expressed, urged and
^ Every designer either on paper or of model parts should have first-
'

hand experiende not only of the processes of manufacture, but also

of the liittitations noless than the potentialities of his materials. Wha t
is obviously needed is a new type of designer who kno-ws both

;
approaches to pottery and can therefore keep industry in touch with
fresh artistic expression in the studio. Without such an alliance in the
near future between artist-cfaftsmaii and factoiy, it is difificult to
.
conceive; how pots could be made in Staffordshire which -would be
,

.
even respectable in the scale of bea'uty the world has km-wn. The
.

tendency to employ sculptors and painters of reputation; to make

;

designs for the industry is useful up to a point, but it gives no guaran-

tee that these artists know. and feel Their medium, nor that the, fac-
tories and their reduplicating processes will do j ustice to the designs.
The link is not close enough.
21
 TOWARDS A STANDARD
pulled and coaxed through a series of rhythmic movements,
iwhich like those of a dance are all related and interdependent.
The spinning wet must be kept dead true to the centre of
clay
the wheel while it is being hollowed and drawn up, expanded
and contracted into a living embodiment of the potter’s inten-
tion. The preconceived shape will include the mark of each part
of the process of throwing, the ribs left by the fingers, the up-
ward thrust of the cylinder from the wheel-head to the major
curve of the belly, the fulness or leanness of that curve, the
pause and turn on the shoulder, often accentuated with ridge
or collar, where convex movement changes to concave, the neck
tapering to the lip with a concluding accent and conciseness of
finish. Many of the noblest and most spontaneous pots are com-
plete at this point, but others, especially such as are to have a
foot-ring or bevelled lip, need to be pared on the wheel when
half dry. This cutting off of shavings gives a different and
sharper quality of finish: the difference between modelling and
carving; and the two surfaces must be brought into harmony
with one another.
The foot, upon which the pot stands, should be reasonably
wide for stability, but over and beyond that its angles and pro-
portion should relate to the lip, to which the eye instinctively
leaps. The cutting of the foot does not end with the profile; the
inside of the ring is nearly always hollowed out in the East.
Stoneware pots are seldom glazed over the bottom, and the
exposed clay tells how thoroughly the potter felt the contrast
between the profile with its necessary concluding foot and the
perfect curve of the pot through it.

There are many types of foot-cutting well understood

by
Oriental potters and often associated with certain kinds of
vessel or with certain localities, in which refinement has been
worked out by a long process of trial and error into a fixed
tradition.^

It is interesting to see an Oriental pick up a pot for examina-

1 See p. 86 for illustrations of examples.
 ; TOWARDS A STANDARD
t tion, and presently carefully turn it over to look at the clay and
the form and cutting of the foot. He inspects it as carefully as a
I

I
banker a doubtful signature — ^in fact, he is looking for the bona
fides of the author. There in the most naked but hidden part of
j

I
the work he expects to come into closest touch with the char-
I acter and perception of its maker. He looks to see how far and
j
how well the pot has been dipped, in what relation the texture
I
and colour of the clay stand to the glaze, whether the foot has
I
the right width, depth, angle, undercut, bevels and genei-al
i
feeling to carryand complete the form above it. Nothing can be
j
concealed there, and much of his final pleasure lies in the satis-
faction of knowing that this last examination and scrutiny has
i been passed with honour.
! As for the shapes of pots and good proportions in different
types, it is impossible to do more than offer a few general sug-
gestions in the footnotes to the illustrations of particular ex-
amples. Artists of many races have believed that there are
fundamental laws of proportion and composition, and I too
believe it; for what we call laws are no more than generaliza-

j
tions founded on our sense experience, but when the attempt is

made to reduce such generalizations to matherhatical formulae,

it is difficult to believe that they can be applied in practice with-
: out robbing the craftsman’s work of its vitality. No formula,
! however accurate, can take the place of direct perception.
Here, for example, are a few of the constructional ideas that
I
I have found useful;
[

!
I . The ends of lines are important; the middles take care of
themselves.,
2.Lines are forces, and the points at which they change or
cross are significant and call for emphasis.
3. Vertical lines are of growth, horizontal lines are of rest,
,
'

diagonal lines are of change.

4. Straight line and curve, square and circle, cube and
sphere are the potter’s polarities, which he works into a rhythm
of form under one clear concept.
23
 TOWARDS A STANDARD
. 5 . Curves for beauty, angles for strength.
6. A small foot for grace, a broad one for stability.
7. Enduring forms are full of quiet assurance. Overstatement
is worse than understatement.
8. Technique is a means to an end. It is no end in itself. If

the end is achieved, and a fine pot comes out of the kiln, let us
not be hypercritical about fortuitous blemishes. Some of the
most beautiful pots in the world are full of technical imperfec-
tions. On the other hand, the Japanese have often gone too far
and made pots with deliberate imperfections and overstate-
ments of technical characteristics. This is nothing more than a
kind of intellectual snobbery, rather to be expected from groups
of second-rate tea-masters, and a very different thing from the
sanded foot of Ming porcelains or the Korean foot-ring, spur-
marked with quartz, whose virtue was the virtue of necessity.
There was no question of pose about it. But there comes a time
when the accidentals of potting have to be considered consciously
as such, and that is the position to»day.
Round the question of accidentals and incidentals in pottery
making revolve some of the chief difficulties we encounter in
'reaching a new idea of standard. After the symmetries and
microscopic precision of mass production these two words seem
such mouthfuls to swallow. But if T’ang or Sung pottery is
accepted as the highest achievement in ceramics they will have
to be swallowed. Eastern and Western thought alike regard
man and his work as vary inadequate and variable affairs, and
fan Oriental art lover eyes any very perfect piece of technique
^with the suspicion that it contains little depth of meaning. In
all the greatest pottery of the world the natural limitations of
both the material and the maker are accepted without question.
In China the clays are often coarse and usually exposed, the
glazes are thick, and crackled, and run, and occasionally skip,
the brushwork is vigorous and calligraphic, not realistic and
‘finished’, the tlirowing and moulding are frank, and accidental
kiln effects are frequent.

Z4
 TOWARDS A STANDARD
Apologies for these ‘imperfections’ by authorities like the late
Mr. Joseph Burton on the ground that they were incidental to
primitive handwork anluse Oriental writers on art, who feel that
such expressions of opinion merely expose the critic’s lack of
insight. The Far Eastern point of view is that all these qualities
can be used and that they are incidental to nature rather than
: accidental.
A more recent dictum occasionally heard is to the effect that
where irregularities occur the potter ‘has not realized his in-
tentions’. It should not be forgotten, however, that within the
potter’s intentions are included all sorts of variations depending
on the nature and manner of use of his materials and ranging
from the fortuitous and often highly effective skipping of a
glaze to wide differences in its colour and quality, and that so
long as they do not involve structural weaknesses or by their
eccentricity detract from the beauty of the pot, they are accept-
able to him. It is the uniformity of perfection that kills. On the
other hand, if a pot is spoiled by blistering or cracking, it is

spoiled,and the]t;e is no doubt about it.

During the loitg Victorian period ‘perfect finish’ came to
mean two things, either great realistic detail and meticulous
surface finish or a concealing of the means by which the end
had been achieved. Even so great a rebel as Whistler proclaimed
the latter idea in print if not in paint. An unprejudiced survey
of pre-industrial pottery, especially Far Easton, must lead to
the conclusioji either that makers were first class bunglers or
its

that we have got our values upside down. But at the same time,
if feeling in this matter is indeed changing, in spite of the em-

by mechanically made
phasis on technical precision necessitated
products, nevertheless, the which craftsmen rightly
way in
make use of ‘accidentals’ and ‘incidentals’ has inevitably been
lost sight of. Technique has become so complex and so hidden

away from common sight that we no longer know good clay,

good throwing, turning or brushwork, or good firing when we
see them. Nor are we constantly reminded through doing things

35
 TOWARDS A STANDARD
by hand, how from each part of a craftsman’s job of any real
interest variations emerge, which must be dealt with on the spur
of the moment. The closest analogy is that of the kitchen, with
which a pottery has so much in common. Many of the problems
touched on in this chapter will appear more familiar if trans-
lated into terms of good home cooking, for despite individual
preferences we all know something from experience about good
and bad food. But to-day the average man or woman judges
pots by a Victorian trade standard and food apparently by none
at all. And although a few people turn to books, museums and
collectors for enlightenment, there are no good books save

technical, and the acquisitive impulse of the collector is re-

sponsible for many false values. Rarity is no guarantee of

beauty, and the cunning search for it is only a hindrance to
appreciation of beauty as normality.
The extent to which quite ordinary people react to the chang-
ing beauty of a shape on the potter’s wheel has been a continual
revelation to me of their latent desire, and often capacity, to
make good things, to use them or at the very least to learn to
know them. To make a thing oneself is the nearest way to
understanding; but although our newer education is insistent
upon this counterpoise to theoretic learning, there are hardly
any schools or teachers in this country who are introducing boys
and girls to the kind of making which involves real beauty. The
sort of thing that goes by the name of Art and Craft in most

schools, including many art schools, the next generation could

very well do without.
So far as pottery is concerned, school training is a doubtful

method in any case. It does not bring students into contact with
the actual conditions of the craft either as Hand or machine
work. At no more than a half training as
best they receive
individual potters. The number who have come to me from
:
Exceptions, must be. made in the case of Dora Billington's short
*

but informative volume,.. r/w

,
.Ari of the Potter, Oxford: University
Press, 1937,' and as.a handbook for the student, Geo. T. Cox's Pottery
for Artists, Crafismn and Teachers, \

26
 TOWARDS A STANDARD
well-known schools without even an elementary knowledge of
clays, of throwing, of glazes and their composition, of kilns and

their construction —
and use the very foundations of the craft —
reveals a state of affairs which could not be tolerated in any
other subject.
In childhood a natural process of rehearsal and growth
through experience is constant, but educationalists do not take
this sufficiently into account in the teaching of pottery. I often
see electric kilns and power wheels installed in schools, and
clay,pigments and glazes bought ready made. This is begin-
ning at the end, and is a loss of opportunity and a w'aste of
money. Children and students learn far more by re-experienc-
ing, as far as possible, the evolution of the potter’s craft from its

primitive origins. They enjoy finding and digging their own

clay, building their own kilns and making their own colours and
glazes as potters used to do before the machine age. Shoji
Hamada recounted to me once how when he was a boy in a
Japanese village he took part as a matter of course in making
half the things used by the villagers with the consequence that
he grew up knowing out of his body the nature of wood, of
cotton and silk, of metal and clay and foodstuffs. Local tradi-
tion was still pure enough to provide a standard of form,
pattern and colour which embodied that deeper wisdom of
beauty in articles of daily use which we have almost lost. Such

a child could never be entirely deadened by mechanical and

monetary values. Only with the enthusiasm engendered by such
personal experience is there any likelihood of a generation
growing up capable of appreciating and demanding beauty in
our domestic pottery. Until that time comes the individual
potter, together with other artist craftsmen, is bound to remain
outside the normal flow of a healthy national life.
 Chapter II

RAKU~ENGLISH SLIPWARE-
STONEWARE-PORCELAIN

Ihe four principle wares with which I propose to deal in this

book cover broadly the evolution of glazed pottery,

Japanese raku glaze and overglaze enamels, owing their dis-

tant origins to Persia and Egypt, melt at about the red heat of a
bonfire (750° C.),
English slipware, which belongs to a simple lead-glazed family
of earthenware found all over Europe and Asia, and probably
originating in Egypt, is fired at an intermediate orange heat
round about 1000° C. .
:

Oriental stoneware and porcelain, originating in China be-

tween the second and sixth centuries, are fired at white heat
(i35o'’-r3So° C.). Between these extremes of temperature prac-
tically all pots are made.

RAKU
The low temperature at which Raku is fired brings the
making of pots within the range of any enthusiast. One
may start with, very little apparatus and expense; a broad'
range of colours is available, and such a direct control of each
individual piece is possible that since the end of the sixteenth
century this simple technique has not only been the favourite
of Japanese amateuns but has made the strongest ajjpeal to
the Japanese tea-masters. Such craftsmen as Koyetsu and
28
•
1 . Japanese Raku Tea-bowl, by Koyetsu. Greyish
brown, hand-modelled. This famous bowl in the
Tokyo museum is an example of the austere and
assymetric preference in the cult of tea.
 ‘V-
. '^r

fSjlf:
'‘\sf<y^

Japanese Red-Raku Tea-Bowl, by

Donyu, died 1656.
14
over a buff clay under a trans-
Ochre brushed irregularly
Tong marks are clearly visible.
parent glaze.
II Tea-Bowl by Koyctsu. Rosy butf clay
K Japanese Raku
should
Attention
under a semi-opaque glaze, hand-modelled.
modulation of Koyetsus toims.
be given to the generous
 RAKU
Kenzaii valued rakii
' foi- its artistic potentialities of surface tex-
ture and colour when used with characteristic restraint, its prac-
ticability for tea-bowls (because a somewhat thick and porous

clay vessel is a bad conductor of heat and the bowl of hot frag-
rant tea could, therefore, be held comfortably in the hands), and
fqr the comparative ease with which laymen of aesthetic sensi-
bility could make their own pots. Two types, red and black, ^ are
the most familiar. It will be seen from the illustrations that they
are frequently modelled or cut by hand and not thrown on the
wheel. The tea-masters, influenced by Zen Buddhist philosophy
took a unique pleasure in this conscious return to direct and
primitive, treatment of clay. But living as we do in an environ-
ment of predominant symmetry of form and pattern, it is diffi-
cult for us Westerners to appreciate the subtle asymmetrical
rhythms of these tea-bowls. Yet this very quality is one of the

most valuable and characteristic in Japanese art, and it is only

when such objects are seen in their native surroundings that
their full value is appai-ent. Kenzan was among the first to use
a variety of colours and he did so with great richness and
restraint. The fine breadth of his calligraphy and brushwork
was unequalled by any other Japanese, potter except Koyetsu,
who was primarily a painter. His palette and glazes were
hinded on to me by my master, the sixth and last Kenzan of the
Tokyo branch, who died shortly after the great earthquake and
fire of 1923. The I'ecipes are given in later chapters.
My connection with this line of potters came about almost
wholly by chance. One day in iqr i, two years after I had re-

turned to the Far East, I was invited to a sort of garden-party

^
at an artist friend’s house in Tokyo. Twenty or thirty painters,
actors, writer.?, etc.. Were gathered together on the floor of a

1 KSyetsu jcffca i558~i;637), painter,: poet, calUgrapher, potter

:
Jaeqnerer and sword expert, was perhaps the greatest of Japanese
artist: craftsmen. The painter Kdiin and his :hrpi:her,
.

;
the: potter and: painter Kenzan (1 660—1743'),: were, greatly influenced
:
,

'
“ See Plates 13 to 17. ,
 .

RAKU—ENGLISH SLIPWARE—STONEWARE
large tea-room; brushes and saucers of colour were lying about,
and presently a number of unglazed pots were brought in and
we were invited to write or paint upon them. Almost all edu-
cated Japanese are sufficient masters of the brush to be able to
write a decorative running script to Western eyes, great
of,

beauty, and many of them was told that within an

can paint. I

hour’s time these pots would be glazed and afterwards fired in

a little portable kiln, which a man was stoking with charcoal a
few beyond the verandah in the garden. I struggled with
feet
the unfamiliar paints and the queer long brushes, and then my
two pots were taken from me and dipped in a tub of creamy
white lead glaze and set around the top of the kiln and warmed
and dried for a few minutes before being carefully placed with
long-handled tongs in the inner box or muffle. Although this
chamber was already at a dull red heat the pots did not break.
Fireclay covers were placed on top of the kiln, and the potter
fanned the fuel till the sparks flew. In about half an hour the
muffle gradually became bi'ight red, and the glaze on our pots
could be seen through the spy-hole melted and glossy. The
covers were removed and the glowing pieces taken out one by
one and placed on tiles, while the glow slowly faded and the
true colours catrie out accompanied by curious sharp ticks and
tings as the crackle began to form in the cooling, shrinking
glaze. Another five minutes passed and we could gingerly
handle our pots painted only one short hour before.
As a result of this experience adormant impulse must have
awakened, began at once to search for a teacher and
for I
shortly afterwards found one in Ogata Kenzan, old, kindly, and
poor,, pushed to one side by the new commercialism of the
: Meiji era, and then living in a little house in the northern slums
of Tokyo. By him I was taught how to ma:ke raku and stone-
Ware according to the
Japanese tradition. There is no doubt
that most of the things described as the work of the ‘First
Kenzan’ in pur Western collections were really made by him or
his immediate predecessor, Kenya, yet the old man, like all
 RAitU
craftsmen of the East, waslost when he departed from tradition

and yielded to the influence of the West. Later on I made an

agreement with him by which he was to build a kiln for me in
my garden, teach me his traditional recipes, and coach me for a
couple of years. Nine consecutive years I spent in Japan and
China, giving more and more of my time to my new vocation,
gathering ideas from every available source and putting them
to the final test of fire.
Raku has two disadvantages which should be mentioned
together with those qualities which obviously recommend it to
the artist, the craftsman and the school; it is porouswhen new,
and it is comparatively fragile. With use the pores of the body
and the craclde of the glaze gradually fill up, so that even a raku
vase will eventually cease to leave a damp mark behind it even
on a polished surface. Its fragility, due to low temperature
firing, necessitates the making of pieces with fairly thick walls,

handles, and spouts. For this reason it is not advisable to make

thin table-ware of raku. A harder preliminary firing of the
biscuit will strengthen the body, but at a sacrifice of the pecu-

liar soft character of the glaze and its crackle. The Japanese do
make pottery of this kind, using soft coloured glazes over stone-
ware and call it ‘Kochi’ (Cochin China ware), but it
biscuit,

requires a kiln which will go to high temperatures.

The word raku ranges in xneaning from ease, comfort, or
enjoyment, to happiness, and comes from the ideograph en-
graved on a gold seal given in 1598 by the Taiko, who was an
enthusiastic patron of the tea-ceremony, to Chojiro, son of
Ameya, a Korean who settled in Kyoto in 1525 and is said to

have been the first to make this ware. Ameya was succeeded by
Ms wife Teirin, who evidently had both ability and taste, for

her tea-bowls attracted the favourable attention of the great

tea-master Rikiu. Some years later, in 1 578, her son ChSjiro,
officially the first of the line of raku potters, was given a large
Oda Nobunaga, which had the effect of
order for tea-utensils by
immediately making the ware fashionable. From that time on
31
 RAKU— ENGLISH. SLIPWARE— STONEWARE
and Raku Kichizaemon
the line Has continued without a break,
was making black raku tea-bowls in Kyoto a few years ago.

ENGLISH SLIPWARE
Although old English slipware is very unlike raku in appear-
ance, the transition to asomewhat harder fired lead- or galena-
glazed ware is not difficult, A visit to the Victoria and Albert
Museum will show that the resemblance between the galena-
glazed fragments from old Cairo and our slipware is no acci-
dent. Glaze, body and treatment are quite similar, and if the
kindred Spanish, Italian, French, German, Pennsylvanian
Dutch and Central European slip wares are taken into consider-
ation, it becomes evident that this pottery tradition must have
spread to Europe from various centres in the Near East.
The change in style from English medieval tiles and pitchers
to seventeenth and eighteenth century slipware is very pro-
nounced, and one can only conjecture that it was largely a
result of the dissociation of the potters from their ecclesiastical
and architectural background, following the dissolution of the
monasteries and cbnseqiierit scattering of their patrons after the
middle of the sixteenth century. For from the beginning of the
seventeenth century English pottery becomes at once more
advanced in technique and less dignified. The nobility and
strength of form of the pitchers of the fourteenth and fifteenth
centuries and their uncommonly beautiful applied decoration
disappeared with their Gothic environment. The peasant potter,
faced by a growing popular demand, seems to have been thrown
back upon his own rustic resources, especially itt the second
half bf the seventeenth century, when pottery was beginning to :

come into general domestic use, and throughdut the eighteenth

century. More elaborate forms and decoration were invented,
the glazes became thicker, the use of slip more varied, and
pattern, now almost entirely trailed, often degenerated into
32
 original Ogata Kenzan.
i Tananese moulded Raku Dish by the

isssHiSsssi fnnt-nnteh
17. Japanese. Stoneware Bo-wl by the 1st Kenzan. 1660-
1743. Engraved iron pigment over broad touches of white
slip on a buff body. Contbincd richness and restraint of
pattern and texture (see page 29, footnote).
18. Japanese. Stoneware Ash-pot by the 6th Kenzan (in
the possession of the author). Made about 1912. Pattern
derived from 12th-century traditions in Korea and China.
 ENGLISH SLIPWARE
unrelated intricacies or descended into the commonplace. Still,

in so far as these essentially peasant pots kept their close con-

nection with the soil, they remained healthy. The work of
Staffordshire slipware potters, such as Thomas Toft, Ralph
Toft and Ralph Simpson, and the Wrotham group, especially
the best of their big dishes with figures, sometimes mounted, or
animals or birds or coats-of-arms within a cross-hatched or
otherwise decorated border, wall always have an honoured
place in ceramic history.
During my years Japan the artist-potter Tomimoto and I
in
carried many a suggestion from the illustrations in the late
Charles J. Lomax’s Old English Pottery into our early raku
pieces. To him and to other Japanese potters, who were in the
habit of depending almost exclusively on the brush, this new
method of using clay was a revelation, and to-day there are at
least half a dozen potteries in Japan where the slip-trailer is
employed. The translation of the English idiom into J apanese
issometimes too literal, but that is the habit of the learner and
corresponds to our own often too close following of Eastern
example. That this art and pottery loving people on the other
side of the world should value our pre-industrial countryside
slipware so highly is significant enough. They too are reviewing
in a long perspective the history of art and of ceramics.
When I returned to England in 1920 accompanied by Shoji
Hamada, our first endeavour was to search for what remained
of the English tradition. Books, museums and surviving coun-
try potteries, such as Truro, Verwood and Fremington were
our chief sources of material, and gradually by adapting our
previous knowledge of Eastern methods to those of the English
slipware potters and through many experiments, one difficulty
after another was surmounted. There was no one, for example,
who still had the secret of ‘combing’^ but eventually we

1 The extent to which combed oven-ware was used may be judged

by the fact that we collected fragments of it for study from the

han'owing of the fields opposite our pottery in Cornwall.
c c.p.B.
'

2a
'
 RAKU— ENGLISH SLIP WARE— STONEWARE
rediscovered most of the old technique, which I shall describe

in later chapters.
Nevertheless, after the fever of technical research had abated,
we saw that there were definite limitations to the use of slipware
in present-day life. The softness and relative roughness of the
Ware relegates it for the most part to the kitchen and the cottage
in the shape of casseroles, bowls, egg-bakers, honey pots, oven
dishes, jugs, pitchers, basins and so forth, although its great
decorative value opens for it the way to many other uses. But
few people want red and brown or black or heavy cream-
coloured ware for table use in modern cities. The slipware
potter has his own following and does not desire to compete
with Staffordshire.

SALT-GLAZED STONEWARE
It might be suggested that salt-glazed ware could offer

another solution of the problem of pottery for the household,

and it does indeed seem strange that except by the Martin
brothers it has not in recent times been put to nobler use than
for ink and ginger beer bottles and drain pipes. The Martins,
together with William de Morgan, were the pioneers of the
reaction against cerarriic industrialism fifty year's ago. But much
as the ingenuity of the Martins in the use of the salt-glaze
technique is to be admired, and their honesty of purpose in a
lifelong struggle in the face of continuous poverty respected,
I cannot remember having seen any Work of theirs whifch could
compare with tbe bellarmine illustrated in Plate 25. They
lived at a time when- craftsmanship in England Was at its lowest
ebb, and in only the more desperate case because few then knew
it for what it was, and their energy was lajgely expended on
twisted gp'otesqueries of naturalistic form;
and pattern, far re-
moved from the simple dignity of the bid tradition. But to-day
when there is no longer public sympathy or demand for extra-
34
 8

Ihomas loft.
IQ. English 1 th century trailed Slipware Dish by
Dark brown and brick-red slip on a
‘The Pelican in her piety’.
Ihese plates ai'c fre-
cream base; yellowish transparent glazc._
quently over 20 inches in diameter.

.
 .

SALT-GLAZED STONEWARE
vagant and detailed ornamentation and curious and irrelevant
naturalism, one wonders why, apart from Doultons, who to-
wards the end of the last century revived the Lambeth tradi-
tion of applied decoration on commercial salt-glazed wares,
although in an inevitably W'eakened form, some potter does not
and vases,
give us salt-glazed jars fruit and cake bowls, clean
and sober in form and clay-like in throwing. The natural
orange-skin surface of the glaze makes the ware unsuitable for
table use with cutlery or silver, but for many another domestic
use the colour, texture and hardness of this simple form of
Western stoneware is admirably suited. How it originated in
Germany about the fifteenth century seems to be as yet unex-
plained.

STONEWARE AND PORCELAIN

Stoneware is pottery in which the clay has been fired to the
point at which it vitrifies. This takes place at white heat, but
the exact temperature, say i20o'’-i4oo'’ C., varies with the
composition of the clay. Clays that contain much iron or alkali
vitrify more easily than others. It is the melting together of the
particles of which the clay is composed into one homogeneous
mass that distinguishes stoneware and porcelain from earthen-
ware. This explains its non-porosity (even when unglazed), its

greater strength, and its clear ringing note, although if the body
is coarse or the glaze very thick the sound may be deadened.
Porcelain differs from stoneware in that its white body becomes
translucent when vitrified. There is no sharp line of demarcation
between the two, hence the description of some early Chinese
pieces as proto-porcelain or porcellaneous stoneware.^

If, for example, lo per cent, of red ochreous clay is added to a

porcelain body in order to give a good colour base for celadon glazes,
it still remains go per cent, porcelain. The Japanese term /ww yaki
(truly baked) applies equally to stoneware and porcelain

35
 STONEWARE AND PORCELAIN
until the second decade of
ignorance of the early Chinese wares
early Chinese forms and tex-
this century, in part because
the

general not suitable for table-ware, which plays such

tures are in
modern production; but that the public is begin-
a great part in
enamel painting and crudely
ning to realize the inadequacy of
and other ornamental pieces,
coloured flambe glazes for vases
the interest shown in the early stoneware
and
is evident from
Exhibition at Burlington House,
porcelain at the recent Chinese
although it is to be regretted that so many of the specimens
an eye to rarity than to
shown there were selected more with
Chinese art would have been
beauty. The retrospective view of
domestic work of the people had
of far greater interest if the
the ohjets d'art made to suit
been substituted for many of
appeal only to dealers and
Chinese court taste, and which now
second-rate collectors.
at high temperatures is limited,
Although the range of colour
and porcelain which no
there a satisfaction in stoneware
is
I should say, is due
to more than
softer wares can give; and this,
technical difficulties overcome. In the
the mere consciousness of
for preference suggest them-
case of porcelain obvious reasons
and fineness of material, but in
selves, such as translucence
stoneware the real explanation
would seem to be determined by
I have discussed
in Chapter I.
those standards of beauty which
porcelain are usually fired together
In the East stoneware and
in the same and porcelain is only regarded as a refinement
kiln,
not necessarily as an improvement.
The sur-
of stoneware and
glazes awaken the sensibilities of
face texture of stoneware
touch as no other pots do, We
feel more than a satisfaction

fingers are invited to play

through the eyes. Unconsciously our
thereby experiencing pleasure
through the
over the contours,
Children play with pebbles
most primitive and objective means.
perceptioii, and orientals have
with a similar awakening of
fresh wonder of childhood less than we
lost touch with the
have.';,,.

37
 '
,
RAKU— ENGLISH SLIPWARE— STONEWARE

PORCELAIN
In order to familiarize oneself with what must be considered
the ultimate refinement of pottery, one must go back to the
early porcelains and examine the Ting and Ying Ch’ing wares
of the T’ang and Sung dynasties. Here we find all the purity
and strength of an inception. In later centuries command of
material and range of expression increased, but never again did
Chinese porcelain exhibit such noble simplicity of treatment,
such fulness and clarity of form, such skilful potting without
loss of virility, the tonality light and the decoration almost
wholly limited to sharp incised or moulded patterns or delicate
combings in the moist body, covered by transparent glazes.
Loyang, the capital of the T’ang emperors, had a population
of three million, amongst whom dwelt from forty to fifty thou-
sand Persians, Turlcs, Greeks, Arabs and other foreigners.
These traders and missionaries, even including Nestorian
Christians, introduced a variety of objects from the West, some
of which directly influenced Chinese crafts. Certainly T’ang
pottery was affectedby imported metallic shapes. It is fre-
quently jointed, rimmed at foot and lip, and has hard curves.
But the Chinese had already developed a fine sense of formal
relationship expressed chiefly in bronze, which in Han times
had been in part translated into green-glazed wheel-thrown
earthenware (see Plates 35, 36). It is thus comprehensible that
when T’ang period had been
the foreign influences of the
assimilated, Chinese potters under conditions of peace and
patronage broke away from severe formalism and settled down
to full rich plastic expression.
Of all pottery that of the Sung period is most expressive of its
material. It is in fact the purest of pottery. And if we consider it
in the light of Sung we cannot fail to recog-
culture as a whole,
nize that at this climax the Chinese succeeded in making a rich
fusion of external cultural influences with their own Taoist and
38.
 » «.s* t

Toft manner by the

21. Large Raku Dish with a border in the
a cream ground (see page 33}.
author, 1918. Red and black slip on
I\es.

St.

at

made

Jugs

Slipware

Brown

23.

and

22
 .

PORCELAIN
Confucian ideologies, and that in the field of ceramics this re-
sulted in superlative work.^The fame of these hard new wares
travelled far, for fragments of Ying Ch’ihg porcelain of the
T’ang period have been dug up as fiur West as Samarra in
Turkestan, with proof of importation during the seventh cen-
tury.Chinese potters of the Sung dynasty were active in Annam
and Cochin China as well as in Siam, and the Korean celadons
of the twelfth century Korai dynasty, which were greatly ad-
mired in China, again had their origin in Chinese prototypes.®
The later development of Chinese porcelain was indirectly
brought about by the conquest of China by Kublai Khan in
A.D. 1280. Once again Western influences played a part in modi-
fying native traditions, and Graeco-Buddhist inspiration made
way for Mohammedan. The outcome was blue and white porce-
lain, overgla2e enamels, and single colour glazes. In general, the
widening of colour range (sanctioned by the aesthetic of a very
different philosophy of life) was accompanied by a loss of
vitalityand a hardening of form. Beautiful as many of these
pots ai e and the earlier are far more beautiful than the later,
they are of another, lighter and more playful order of beauty,
tending often to the extravagance of luxury (which became
even more marked in the Ching period) and lack the power and
dignity of their Sung predecessors. Ordinary Ming porcelain is

apt to be heavy and sometimes opaque, but the native cobalt

pigment yields a beautiful restrained blue, and the glaze has
depth. The patterns of this period are for the most part floral or
symbolic, with an abundance of cony^tional ornament and
emblem, and sometimes exhibit a. rather heavy formalism
reminiscent to us Europeans of a similar quality to be seen in
Roman decoration. V

1 At this point tlie student -would be' well advised to refer to .an

article in tbe Burlington Magazine 1934 by Ludwig

Bacbhofer on ‘Characteristics of T’ang and -Sung Pottery’, in which
he ably demonstra-fces the transition from the. rhuitiform co-ordinated
unity of T’ang pots to the perfect and indivisible unity of Sung,
‘
See Plates 26, 34, 37.
39
 RAKU—ENGLISH SLIPWARE—STONEWARE
After the Ming period the command of technique steadily
increased; the bodies became thinner and whiter, the shapes less

and less expressive of the material, the patterns more intricate

and irrelevant, the colours harder and the glazes meagre. Even
in China virtuosity began to displace virtue, and the famous
Mohammedan blue of the time of the Emperor K’ang Hsi,
obtained by use of a purer imported cobalt, instead of being an
aesthetic achievement, was in fact only a technical advance. In
the history of crafts which combine with artistry a process of
technical evolution, these two quite different things are fre-
quently confused with one another.
In Korea under the Ri (Yi) emperors (1392-1910), a thick
but beautiful white porcelain was made, probably from the late
fifteenth century, until comparatively recent times. It is painted

with a pale sleepy native cobalt and sometimes with copper or

iron. Although derived from Ming porcelain, it has a character
of its own in material, form and pattern, as distinct from the
Chinese as that of the earlier Korai celadons (see Plates 30, 3 1),
It is probable that the first specimens of Chinese porcelain

reached Europe towards the end of the twelfth century, but

apparently not until the early sixteenth century did any known
examples (celadon and blue and white) find their way to Eng-
land. The impression made by the blue and white translucent
pottery must have been very strong upon peoples accustomed
,

only to comparatively crude earthenwares, and although at-

tempts to imitate the Chinese porcelain were made in Italy and
France, etc., at various times, during the sixteenth and seven-
teenth centuries,, only glassy substitutes, perhaps based on
the translucent wares of Persia (as for example the Medici
-

Ware, :
were produced until about 1710, when
1575-85),,
Bottger succeeded in manufacturing true porcelain from the
proper materials at Meissen. ,
Some of the soft-paste glassy,
porcelains bore an astonishingly close superficial resemb-
lance to the Chinese, but all were fired at a much lower
temperature and none stood in any relation to porcelain in

4P
 PORCELAIN
composition^ Even after the Chinese method was understood and
china clay and china stone had been made available (in England
by Cookworthy in 1 768), porcelain never entirely supplanted the
various soft-paste glassy bodies which were the outcome of the
earlier experiments. Different types of body were developed in
Germany under the influence of Rococo art and under French
court patronage at the Sevres factory, which towards the end of
the eighteenth century set Europe a standard of flamboyance
and unsuitable naturalistic decoration more debased than even
the most eccentric Ming pottery had ever dreamed of being,
and as far removed from the restraint of the Sung potters as is

possible to conceive. Chelsea and other English potteries fol-

lowed suit, for towards the end of the eighteenth century and at
the beginning of the nineteenth French porcelain was almost
extravagantly admired in England. In the meanwhile, begin-
ning at the Bow factory in 1750, bone ash began to take the
place of the glassy ingredients of soft paste, and thus a new
intermediate type of porcelain, more easily fired than true por-
celain and hence more suitable for domestic use, came into
existence —
the bone china, finally perfected by Josiah Spode in
1 800, for which England obtained a great reputation during the

nineteenth century. Hard porcelain, after a short period of,

manufacture at Plymouth and Bristol, was given up in England
in 1781; but it has been continuously produced and developed
on the Continent at Sevres, Berlin, Meissen and Copenhagen.

^ The development by the Dutch of the tin-enamelled earthenware

tradition, which had spread north and east (to Italy) from the Moors
in Spain, shows many remarkable instances of imitation of blue and
white Chinese porcelain. Delft has a buff clay body covered with an
opaque white stanniferous glaze which is fired at low temperature
in an oxidizing atmosphere and somewhat resembles a feldspathiq
alkaline glaze. On this glaze the painting is done, Sometimes the piece
is covered with a second coating of lead glaze. To the eye the result,
especially when the design in blue is copied from a Chinese model, is
often extraordinarily like its original, although being earthenware it
has neither the hardness nor the translucence of the porcelain. Tin
enamel was made in Syriaj Egypt and Asia Minor as early as the sixth
century.''
4I'. '

:
 RAKU—ENGLISH SLIPW ARE— STONEWARE
The higher temperature at which it must be fired increases the

cost of production and the risk of loss in the kilns, and com-
pared with soft-paste the gain in strength is by a coldness
offset

in colour and a hardness of glaze surface in which enamels do

not sink.
At the present moment W'e seem to have arrived at a parting
of the ways. A new architectural and decorative impulse is
sweeping steadily through Europe. It is the expression and
acceptance of the machine age and no longer a reaction from it.

Its major effect upon ceramics so far has been in favour of sim-
plification of design within the limitations of material as con-

ceived by industry. For this much we should be thankful but not

content. The accent on geometric design is not one which lends
itself readily to the potter even under industrial conditions. To
the deadness of technique to which I have called attention is

added a further deadening of concept. Such pots as have al-

ready been produced under its influence are not very inspiring.
Good pottery imposes limitations of form and pattern which are
themselves sufficiently abstract. What is needed is a humanizing
influence, and it will be provided by the growing appreciation
of those qualities in Sung and other pottery with which this
book deals. Pottery has reached the summit of its technical
evolution. There no further stage beyond porcelain, so, of
is

necessity, development must be sought in other than purely

technical directions. Creative art invariably expresses the spirit
of its age, and ours is one which despite its indecision is feeling
towards a human synthesis. We are being forced both indivi-
dually and nationally to review the past and select from it the
best. If we lay great stress upon Sung pottery it is not because
we shall be content merely to imitate it but because it offers the
highest and most universal standard with which to vitalize the
technical achievements of the West.

42
 Chapter III

CLAYS

A potter’s prime need is Whether he be indu.strial,

good clay.
which pots are
peasant or studio potter the raw material of
made is of fundamerital importance. Upon the quality of the

clay depends the strength and

more the character of the
still

design or accident,
finished pot. Eastern potters, whether by
respond pleasantly
have generally used clays which when fired
to the touch, whereas Western potters from the early days of
industry, and especially in making porcelain, have travelled
of clay
further and further away from a natural conception
which are aptly
towards an ideal of over-refined mixtures
called pastes. Up to a point this has
been a necessary tendency

in the stages of standardization,

but in so far as it is a survival
superficial court taste of the eighteenth
and nineteenth
of the
centuries the sooner we return to a healthier understanding of
dig a single clean clay in
clay and melted stone the better. To
habit of the old country potters,
the vicinity of the kilns was the
of
and it is which can be recommended to the studio potter
one
comparatively
to-day. it true that freightage of clay is a
is
contact with the source in
small item in his yearly budget, but
materials gives a potter
nature of his clay, pigment, and glaze
advantage of the varia-
more control and scope for the taking
tions which nature always offers.
He should not want to stan-
dardize, or to depend entirely
upon those reliable but uninter-
merchant offers to the trade
esting sub.stances which the potter’s
studio potter in search of
What usually happens is that the
43
 CLAYS
quality is forced by ignorance or convenience to buy standard-
ized raw materials and then to introduce impurities artificially

in order to obtain, not nearly so successfully, what he might

have had direct from nature.
Nearly all clays are products of the decomposition or erosion
of feldspathic rocks which make up such a large proportion of
the earth’s surface. Such formations are known as mother-rock
of clay. Feldspar, with which one is familiar as the rectangular

white crystal set in common granite, contains sufficient alkali to

cause it to melt into a sluggish semi-transparent whitish fluid at
about 1300° C. China stone (Cornish stone or pegmatite) is a
variety of feldspathic rock closely resembling pure feldspar and
melting at a slightly higher temperature. These two stones are
extensively used as a basis for high temperature glazes and
together with china clay are the chief ingredients of true hard
paste porcelain. The natural decomposition of granite frees the
feldspar of its alkaline content, and the resulting china clay, or
kaolin, is found in enormous deposits in various parts of the

world, especially in Cornwall.^ This primary clay is found near

its mother rock. It is an invaluable material for potters because
it withstands very high temperatures while retaining its colour.
Without it the majoiity of our domestic wares could not be
made. It is composed of silica, alumina and water, and is called

by chemists alumino-silicic acid. In its theoretically pure foi-m

it has the formula Al203,2Si02,2H20, the average composition
of which is; alumina 39-45, silica 46-64, water I 3-91. Most clays
do not contain much more than 50 per cent, of this pure clay
substance, but china clay may have as much as 95 per cent.
As might be expected: china clay is seldom plastic.
The causes of plasticity in clay have not yet been fully ex-
plained. For our purpose, however, we may assume that it is

dependent upon the quantity and the minuteness of the particles

^ The great white conical

heaps to be seen in Cornwall, erroneously
thought to be china clay, ^ are actualty composed of refuse-— quartz,
mica, and fragments of undecomposed feldspar.

44
 CLAYS
of pure clay present. The other substances may roughly be
described as fine sand. The flat, or lamellar, form of these
microscopic grains of clay sets up a strong molecular attraction
in the presence of water, and, furthermore, the salt or acid
nature of the water combined with the clay seems to be respon-
sible for a sort of colloidal, or gelatinous, lubrication which adds
to the total effect of plasticity. .

Ball clays'^ are similar in composition to china clay but are

far more plastic. They contain some soda or potash of vegetable
origin which lowers their vitrification point and accounts for
their varied colour in the raw state. This colour, however, dis-
appears in the kiln, leaving a creamy or light greyish body.
Secondary clays are the result of china clay having been carried
by water further from its source and having gathered impurities
on the often long journey to their final sedimentary beds. As
the impurities can be of many kinds, so the range of secondary
days is wide. They may be classed as refractory, vitrifiable and
Refractory clays, among which fireclays are to be in-

cluded, will not vitrify at 1400°-! 500° C. Vitrifiable clays tend

to fuse at hard porcelain heat, 1350° C. Of these the alkaline
type is generally used in England for stoneware. Fusible clays,
the most widely diffused of all, for they can be found in every

country, lose their shape at 1 200° C. or less. The commonest

varieties contain iron,and fire orange red to brown at upwards
of 1000° G. Red bricks and tiies are familiar examples of its use;
most primitive and peasant wares are made of it. Ochre, so;
useful for slips and pigments, with which should be associated
the umbers and siennas, is a smooth and often highly plastic
variant. It contains a higher percentage of red iron oxide, and
is sometimes used to make a kind of unglazed low temperature

stoneware.^,:

u So called because the Ii^ps of Dorset clays formerly carried by

mules from the coast to the Potteries resembled: footballs.
“ Chinese Y-hsing ware and English Eler’s ware are examples.
 CLAYS
Local Clays afid Sands
There no comparison between the satisfaction of finding
is

one’s own bed and that of buying a ready-made

local clay
article. Although more trouble may be involved in obtaining

first-hand knowledge of the geological resources of one’s own

locality and of selecting what is needed according to texture,
colour and composition, the attempt should not be lightly
abandoned. This is not only true for the studio potter but also
for any boy or girl in those schools where craftsmanship is con-
sidered to be of educational value. It may also be added that as a
rule it is possible to obtain such local materials for little more
than the cost of the labour. If there are no brick works or clay
neighbourhood local masons, miners, well diggers or
pits in the
geologists should be consulted as to the whereabouts of sticky
clays and fine freshwater sand. Builder’s sand often contains a
large proportion of silica, which eriables itto stand high tem-
peratures, and it is therefore extremely valuable for ‘opening’
an otherwise too smooth clay.^ Its addition not only gives a
pleasanter texture but also counteracts excessive shrinkage,
warping and splitting.
Samples of clay when brought in, if fairly free from im-
purities such as gravel,
roots, dead leaves, etc.,
should be damped down
under wet cloths until soft,
and then rolled between the
palms of the hands, doubled
and re-rolled for a few min-
utes to obtain a fairly even
~)
round consistency. These rolls can :

Test rings be cut into pieces about

three inches long and one-
third ofan inch thick, and then bent into rings with the ends
overlapping and flattened with one finger on a dry tablfe to form
t Builders distinguish between ‘sharp’ and ‘ioaniy’ sands: the latter
mix better with a too fat clay:
46
 curve

shell-like

the

on
Potters

Sung

of

influence

the

showing

century,

3th
1

Bowl,

Stoneware

Annamese
 CLAYS
bases for them to stand on. If the rings split in bending, it is an
indication that the clay is too ‘short’ for throwing purposes, and
had better be discarded unless mixed with a more plastic clay.
The next step is to dry the rings thoroughly and fire them
up to
the temperature and atmosphere necessary for the kind of ware
desired. For this and many other purposes a bench test kiln is
almost indispensable (see Chapter VI 11 , p. 244). It will thus be
possible to get an idea of the colour the clay will give under clear
glazes, its contraction, and its resistance to heat.

PREPARATION OF CLAYS
Potters’ clays are improved by weathering. The clay is

spread in an eighteen-inch layer and exposed to sun, wind, rain

and frost: the sun and wind dry and crack it, the rain beats
into the crevices and soaks through, and in winter frost nets its

surface with a thousand fine veins of ice. Every few months the
entire mass should be turned over with a shovel to expose fresh
surfaces. All this helps materially in the disintegrating process
by which the actual clay substance, and thereby the plasticity, is
increased. Provided the clay does not contain major impurities
it can then be moistened with lime-free water and mixed by

hand, foot, or pug mill to the right consistency for throwing. If

too full of impurities for direct use, a batch should be thorough-
ly driedand weighed. Any other clay with which it is to be
combined must be treated in the same manner. The two (or
more) clays are then churned with water and the resulting
liquid passed through sieves of varying mesh. The clean slip is
allowed to settle, the water is drained ofi” the surface, and the
mass of soft clay is slowly dried to the consistency at which it
can be kneaded up for storage and use. Evaporation of the slip
can be hastened by moderate heat or filter presses, but it should
be noted that too much heat destroys organic life in the clay and
reduces plasticity, and also that clay hardened by filter presses

47
 CLAYS
less plastic than if prepared in the more leisurely old way.
Clay is improved by long storage; it gains in plasticity, its de-
composition continues, it 'changes colour, and may even begin
to stink. I have been told of old potters who speak of such
matured, or soured, clay with the quiet impressiveness of
epicures discussing vintage wines. Immediately before use it

should always be mixed again. This is done in factories by pug

but the result is not so good as by wedging, or kneading
wdth hand or foot. In Japan it is said
that the slow pressure of a man’s heel
working rhythmically in a rotary
movement, as he steadies himself with
a hand on a beam overhead, gmes the
best results. Souring and kneading
cause the flat particles of clay to lie

close together and in more parallel

directions, thus increasing the mole-
cular and therefore the
attraction
plasticity. If the impurities removed

from the clay mixture by sieving are, of ,

'

"any considerable bulk, it will be

necessary to treat each clay separ-

Clay kneading by foot ately, and to compensate for loss

before the slips are combined. The

chief impurities va. clays consist of magnesia, potash, soda,
iron, lime, and carbon or vegetable matter. Lime, or calcium
carbonate, absorbed from water, decreases plasticity, and mag-
nesium carbonate acts in a similar way: but occurs, in much
smaller proportions in clays. In industry iron is removed from
slips by means of electric magnets. ;
\

Itmay be useful to describe m greater detail and by means of

drawings the methods which we employ at St. Ives in the pre-
paration of slipware and stoneware clays: After weathering we
dry out batches of local clay and weigh them. These are then
mixed with water in a barrel by the use of a dolly to a slurry

48
28. Chinese Stoneware Jar of good plain form,
Sung Dynasty; cut paper pattern.
29. Small covered Stoneware Pot, Swankalok,
1 2th to 13th centuries. Here is an attractive cer-

amic expression which forms a link between Indian

and Chinese cultures.
 PREPARATION OF CLAYS
condition, i.e. that of thick rough slip. This barrel A is kept

with one other B on a platform. A sieve of 6o mesh is laid on

two bars over the top of barrel B — /I
and the slurry is ladled through it. V\ //
The sieve is tapped with a padded \\ jj
bat horizontally. Sticky accum- \\
Height //
ulations are dispersed by spurts
of water from the small nozzle of
^\\ ^ S
//
//
a hose pipe, or returned to barrel //
A, and only grits are thrown \\ /
aside. Each morning the clear \\ /
water which has accumulated in \\ jj
barrel B is siphoned back into / /
barrel A and the slurry is re- I
churned with the dolly. As soon
as barrel B is full of smooth thick
slip the contents are let out into /

one of two long parallel troughs Iron

ItOtt I \ % blade
j
made of fireclay bats i8" x 12 " x /

2^'^ These troughs are held to-

gether by light wooden frames
and the bats are luted at the joints mixer
j)oUy' or glaze
'Dolly'
'

with cement. Stiff clay is used tore-

pair any cracks which may appear later. The troughs are slightly
raised above the ground so that air has free play all round
the

covers

Clay sieving

Jryer to evaporate the moisture wdiich is sucked out

of the slip.

Flat galvanized covers, six feet by two, are placed on the

^ Plaster may also be used, or, better still, soft. biscuit bats.
C.P.B,
o 49
:

-
.
,
 CLAYS
troughs to keep out rain, dust, and dead leaves. The slip
hardens sufficiently in a fortnight for kneading purposes. Some-
timesJwe use one trough for one clay mixture and the other
for another. Our troughs are about twelve feet long, one
foot deep,and one foot wide,
Plaster orlizsc^it
and each will provide enough
clay for about 300 pots,

roughly 500 lbs., which is the

equivalent of 300 lbs. of dry
clay. In J apan it is more usual
to have a group of three bar-
Soft rels for sieving, so that a man
clay can be kept continuously at
work, sieving into one whilst
the other settles. Repeated use of the same water is advised by

Japanese potters on the ground that it assists the colloidal

formations in the clay, in other words, makes it more plastic.

When the clay is removed from the troughs it is usually too wet

in the centre and too hard on the edges. The hardened parts

Tziy — ^
^

Ncrr

Drtf inf soft claij in sun and wind

should be embedded in lumps of soft clay and left to equalize;

thiscan be done in thick plaster bowls, between absorbent bats,

or by exposure to sun and wind. The clay is then ready for
thorough mixing. Large quantities are most conveniently put
through a pug mill working on the same principle as a meat
'

'
".mincer.'
Wedging is done by taking a lump of clay of, say, 60 lbs.
weight and putting it on a strong table with a top either of
SO
 PREPARATION OF CLAYS
smooth slightly absorbent stone, like slate, in
such a
plaster or
projects over the edge of the table. It is then
way that half of it

feet long with

cut in two with a piece of brass wire about two
length from
knobs at each end by an upward slice at full arm’s
clay then turned over and
the knee. The projecting half of the is

liftedwith both hands above

one’s head and brought down
with its full weight on top of the
other half, so that the two cut
surfaces lie one above the other
facing the operator. The two
joined clay masses, after being
smacked together all round, are
turned over, given a half turn, and pulled
forward into the
over the side of the
original position, with about half projecting
table, and the entire process of cutting in
two, etc., repeated for
mindtes’ hard
about a quarter of an hour. Thus some fifteen
about thirty
work is involved in preparing sufficient clay for
Repeated cutting of a lump of clay with
pint size vases or jugs.
small hard lumps.
a fine wire, before wedging, will disperse
thin slices
Twenty cuts and then a re-arrangement of the
should be repeated five or six times.

Kneading
rotary move-
The Japanese knead their clay by a two-handed
ment with the weight of the shoulders coming
down rhyth-
mically on the right wrist.
Fifteen to thirty pounds of
clay are handled at a time;
the clay is turned slowly
clock-wise, mainly by the
left-hand, the right hand
taking a fresh hold after each
pressure and release. The
The spiral movement of the
effect is to move the clay on
clay in hand-kneading:
 CLAYS
troughs to keep and dead leaves. The slip
out rain, dust,
hardens sufficiently in a fortnight for kneading purposes. Some-
times'Jwe use one trough for one clay mixture and the other
for another. Our troughs are about twelve feet long, one
foot deep, and one foot wide,
Plaster or*Jnscmt
and each will provide enough
clay for about 300 pots,

roughly 500 lbs., which is the

equivalent of 300 lbs. of dry
clay. In Japan it is more usual
to have a group of three bar-
Soft rels for sieving, so that a man
clay cait be kept continuously at
work, sieving into one whilst
the other settles. Repeated use of the same water is advised by
Japanese potters on the ground that it assists the colloidal
formations in the clay, in other words, makes it more plastic.
When the clay is removed from the troughs it is usually too wet
in the centre and too hard on the edges. The hardened part.s

in. sun and wind

should be embedded in lumps of soft clay and left to equalize;

this can be done in thick plaster bowls, between absorbent Itats,

or by exposure to .sunand wind. The clay is then ready for

thorough mixing. Large quantities are most conveniently put
through a pug mill working on the same principle as a meat
mincer.
Wedging is done by taking a lump of clay of, say, 6o lbs.
weight and putting it on a strong table with a lop either of
 .

PREPARATION OF CLAYS
plaster or smooth slightly absorbent stone, like slate, in such a
way that half of it projects over the edge of the table. It is then
cut in two with a piece of brass wire about two feet long with
knobs at each end by an upward slice at full arm’s length from
the knee. The projecting half of the clay is then turned over and
lifted with both hands above
one’s head and brought down
with its full weight on top of the
other half, so that the two cut
surfaces lie one above the other
facing the operator. The two
joined clay masses, after being Plaster or biscuit bowls
stiffening clay
smacked together all round ,
are
turned over, given a half turn, and pulled forward into the
original position, with about half projecting over the side of the
table,and the entire process of cutting in two, etc., repeated for
about a quarter of an hour. Thus some fifteen minhtes’ hard
work is involved in preparing sufficient clay for about thii’ty
pint size vases or jugs. Repeated cutting of a lump of clay with
a fine wire, before wedging, will disperse small hard lumps
Twenty cuts and then a re-arrangement of the thin slices

should be repeated five or six times.

Kneadtng
The Japanese knead their clay by a two-handed rotary move-
rhent with the weight of the shoulders coming down rhyth-
mically on the right wrist.
Fifteen to thirty pounds of
clay are handled at a time;
the clay is :
turned slowly
clock-wise, mainly by the
left-hand, the right hand
taking a fresh hold after each

The spiral movement of the pressure and release. The

clay in hand-kneading effect is to move the clay on

-S'
 CLAYS
the outside towards the. centre of the mass whence it works out
slowly to the circuriiference again. A hundred to a hundred-and-
fifty turns, taking about five minute.s, is sufficient to squeeze out
all the air and thoroughly temper the clay. The right-handed
movement is suitable for a
wheel which also works clock-
wise. In England it would be

better to learn to knead with

a left-handed action so that
the twist would be with, and :

not against, the subsequent

wheel motion. This only ap-
plies when a single pot is

made out of a kneading. It

takes a few days to get the
knack of it, but once acquired
it is the best method of knead-
ing small quantities of clay
preparatory to throwing., For
studio work I advise wedging
before and kneading ;
after:;

storage.

Storing
The clay should be stored
and soured in a cool damp
Japanese clay-kneading by hand place. For small quantities an
ordinary dustbin is very eon-
venient. If a two-inch floor of plaster of Paris is set in the tin, it

can be dampened with water in order to keep the clay moist. Even
then it is advisable to place a wooden bat at the bottom on which
to rest the balls of cl ay, to prevent them from sticking and leaving
small pieces only to harden and be picked up by the next filling.
Larger quantities can be kept in a cellar, or a brick box, and
'
52
32. Chinese Sung Tz’ou Chou Stoneware Bottle. Sgraffito pattern,
oxidized firing.The background has been impressed by a small
bamboo tool, probably the wrong end of a brush. The form is per-
fect and the drawing clean and spirited although the conclusion
of the pattern on the shoulder may be open to criticism.
 PREPARATION OF CLAYS
treated in a like manner. If the clay is covered with wet cloths
these should not be used too long as they quickly rot and
leave hairs and shreds on the clay.^ Lumps of clay which have
become too hard for use can be smoothed over the surface and
soaked overnight in a bucket of water. After a few hours they
absorb sufficient moisture to allow of re-kneading.

SLIPS
The fluid made by mixing dry clay and water in about equal
proportions known as slip, or engobe. A pot after having been
is

allowed to dry to leather hardness, can be covered with this slip

by the same methods as are used in glazing. A slip adheres well

when its contraction, during both drying and firing, is approxi-
mately that of the body of the pot to which itffias been applied.
P'or this reason it should be composed of as much of the clay
used in the body as the difference in colour permits. Bodies to

be covered with slip are usually intermediate in colour, and for

this reason do not present much of a problem; but
dark slips

when a red or grey body is coated with a white slip difficulties

are often encountered. Slips which peel or flake especially
on the thin edges of cups, bowls and handles, do so because
they have been left behind by the greater contraction of the
body. In raw glazing this tendency is still more pronounced,
and here it is less easy to correct the fault. With slips it is either
a question of adding more
and contracting material to
plastic

them or more refractory elements to the body. We have experi-

enced little trouble in using slips of too great plasticity with
rough textured blays; at worst a series of fissures or cracks will

develop in a thick line of pure ochre trailed over a refractory

raku body, but even then the slip adheres. If it should prove
difficult to obtain a white slip clay with as high a rate of con-

'Hie life of such cloths may be prolonged by an occasional soaking

in a weak solution of alum.
S3
 P

CLAYS
traction as the body, and for one reason or another it is unde-
sirable to alter the body, the pots can be biscuited and then-

dipped in not very plastic nature.

slip of a we
Thus at St. Ives

coat refractory stoneware tiles which have been biscuit fired for
us elsewhere at 1200° C. with a dip of:

China clay 6
Ball clay 2
Feldspar 2

In this case the feldspar is added in order to help the primary

clay adhere by a slight fluxing or vitrification.
Slips of various colours czn easily be made by the addition of
metal oxides or body stains. We make a black slip which can be
used equally well on our slipware and stoneware bodies thus:

Dry slipware body 7

Red iron oxide 2J
Our jA))— ike’s siliceous ball clay, G.F.S.
—
Our J?ed slip Pure local raw ochre.
,pur Red-brown slip—Mzdo of the slipware body.

SLIPS FOR STONEWARE BODIES

The slips suitable for high temperatures differ from those
used for lower temperatures only in so far as the colour range is

more limited and the clays of which they are composed must be
more refractory.
White slip is made of china clay and white ball clay propor-
tioned to suit the body shrinkage. Feldspar is added sometimes
to help adhesion by its fusibility.

The same as for slipware.

Coloured slips\ Oxides of cobalt, chromium, iron, copper and
manganese, in a very fine powder form must be very thoroughly
mixed with either white or red slip to give blacks, browns,
blues and greens. The order in which they are mentioned is that

54
 STONEWARE SLIPS
of their strength, but it is not possible to tabulate oxides with
exactness because the depth of colour each will impart to liquid
clay depends upon the preparation of both oxide and slip. One
per cent, in the case of cobalt may be the equivalent of ten per
cent, of manganese. The finest oxides are chemically precipi-
tated; those commonly used by potters are water ground.
It will be of advantage to compare these notes on the colour-
ing of slips with the equivalent remarks on pigments and glazes
in Chapter VI.

Settling
All slips have a tendency to settle in their containers, and
often to gather together in small hard lumps or to dry on the
sides of the tub, and afterwards fall back into the liquid in
flakes. Consequently slip must not only be stirred well before

using, but if necessary it should also be run through a sieve.

The consistency of slips is partly a matter of taste, but the

thickness as recorded by a slip gauge should be noted down to

enable one to repeat a former effect.

Specific gravity
Attention must also be called here to a fact, familiar enough
to experienced potters, which may be pyerlooked by beginners;
namely, that the weight of the clay content of various slips of
equal consistency will not necessarily be the same. Thus
accurate records should be made of the properties of the various
materials in use in a pottery if consistent results are expected.^
Laboratory accuracy is very irksome to the craftsman and artist,

but this intermediate workshop carefulness and clearness is

essential.-'

RAKU CLAY
The raku ware naust be able
clays used for' ma.king to vyith-

stand sudden and violent changes of temperature, and this end

1 See description of a slip gauge on p. 228

55
 CLAYS
can be secured by the: very simple means of mixing with the
ordinary clay hard burnt and re-powdered fireclay known to

potters as grog. When clays are subjected to heat they lose

both their free and their chemically combined water, up to 30

per cent, of the former at about 100° C., and between 3 and 13
per cent, of the latter between 350° and 700° C. These are the
first two causes of contraction, and they are responsible on the

average for a 10 per cent, shrinkage. By the introduction of

quartz, flint, sand and, especially, grog, the contraction is

lessened and at the same time the pores of the clay are opened
to allow the moisture to escape more easily so that it will no
longer tend to burst its imprisoning walls, Raku bodies are
usually made of a plastic white clay, to which the grog is added.
The latter may be coarse or fine according to preference, but
the proportion used is seldom less than one-third of the whole
mass by bulk. If too much is added plasticity is lost. In many
localities it is impossible to find a plastic white firing clay, and
in such cases one has to buy stoneware clay and grog, or fireclay
such as is used in making saggars. I have found Pike Brothers’
(of Poole) siliceous ball clay excellent for this and other pur-
poses. E. J. & J. Pearson & Sons (of Stourbridge) sell good

saggar clays. The

last named firm add to the Stourbridge clay

as dug a considerable proportion of grog, so that by adding a

little more when kneading, it is very easy to obtain a satisfac-

tory raku clay. The Stourbi'idge fireclay, as a mixture for rough

purposes, has the advantage of not being too refined. As a rule
one should use a more finely screened grog for small and deli-
cate pieces, and a supply can usually be arranged for with the
firm that sells the fireclay. If one is making one’s own body, it is

best to keep several grades of grog, such, for example, as have

passed through 8, 16, and 32 mesh. It is less important to pre-
pare raku clay by the wet method. The dry powdered clay may
be mixed with water, kneaded, stored for a few days and re-
kneaded before use, as the pores are kept more open by this
treatment. There is no reason, other than aesthetic, why raku

S6
 RAKU CLAY
bodies should be white. A red or buff firing clay may be used
provided it gives good effects, but the Japanese prefer to obtain
the beautiful brick red and salmon colourings of their raku
tea-bowls by several brushings of thick raw ochre slip over a
white body. The white under the red gives greater brilliance
and variety of tone.

SLIPWARE BODIES
English slipware is usually composed of a local red or buff
secondary clay, to which siliceous sand or quartz powder is

sometimes added. The old peasant potters and their public were
not very sensitive to porosity, but to-day it is important to use a
fine textured clay which will vitrify sufficiently at about io5o°C.
to prevent leakage. If this proves difficult it is advisable to raise
the melting point of the glaze, by the addition of quartz or clay,
to the point at which the body becomes impervious, say, at
1100° C. This also tends to prevent crackle or crazing in the
glaze.
The best clay of which I know for slipware is dug by Mr.
Charles Holland of Tawstock, Fremmington, North Devon.
This is the clay used by the potters of North Devon from the
earliest times to the present day and until recently by Michael
Cardew. I obtain my red clay from a local pit which also yields
various grades of sand, a fusible white clay, and very good
ochre. Our slipware body is composed of:
St. Erth red clay ^’ '1

Water ground quartz 23 I Dry

Porthia china clay i 6j

The china clay is introduced to lighten the colour, to fill the

interstices and to cause the luix to resist a higher temperature.
Most red clays used in brickworks are suitable for slipware
if sufficiently refined. Even calcareous clays, or marls, may be
 CLAYS
used provided the limestone or chalk fragments are small, for
pieces no larger than bird-seed will absorb moisture after the
pots have been fired and throw off chips of clay, exposing them-
selves as white nodules in the fracture. At higher temperatures
they act as a flux and combine with the body.
The reel secondary clays of which I am speaking contain up
to about 8 per cent, of iron oxide, which gives them their

colour; but there is no need to avoid other clays, provided they

are not too porous. I make my andlarge trailed Toft dishes

combed oven-ware with raku clay for the reason that owing to

its refractory nature it withstands warpage, and I find a light

body with red and black slip trailing a pleasing alternative to

white slip trailed on a red or brown body. In my round kiln

dishes measuring from sixteen to twenty-two inches have to be

fired upside-down on stilts.^ It is true that the fireclay body
remains porous at 1050° C., but as these large dishes are not
intended to hold liquids, this is no great disadvantage.
Our Deep cream slip—A. mixture of white and red-brown.
Green slips can be made by adding 3-6 per cent, of black
copper oxide to the white slip.
Blue slips can be made by the addition of black cobalt oxide
finely ground with ten times its weight of dry white slip, this is

then thoroughly mixed with another 85 to 90 parts of dry white

slip, but since cobalt is the strongest of colouring oxides I prefer

to mix it with red slip which gives it a modified and slightly

granulated effect.

Provided the slip fits the body,

it can be applied either thick

or thin.Thin effects are often very pleasant because they allow

the body to show through irregularly after firing. Slip may be
thickened in its container by the addition of a little acid such as
vinegar. The thickest effects are obtained by the Use of a trailer,
as in the old Toft wares. If flat trailed lines are preferred the
trailed slip can, when it is set; be rolled, pf beaten into the

^ Thts is to assist the passage of the flames over difficirlt liorizontal

'.areas, ,
.

S8
 SLIPWARE BODIES
leather-hard body, thus forming a sort of inlay with fat rounded
edges. The use of slips for combed and marbled ware is de-
scribed in the chapter on decoration.

STONEWARE BODIES
The high temperature at which stoneware is fired limits the
choice of material. Fusible clays suitable for slipware can only
be used for stoneware if combined with more refractory clays.
As with other kinds of pottery, the happiest solution is the dis-
covery of a single natural clay which combines in itself all the
necessary qualities: resistance to heat and atmosphere, plasti-
city, Only special local-
non-porosity, good colour and texture.
ities might be looked for in
are likely to yield such a material: it

two sources, either among the fireclays which lie between coal
seams at Newcastle-on-Tyne, Longport, South Yorks, and the
Midlands, or among the stoneware clays of the Poole and
Bovey Tracey beds. Our fireclays are nearer than our ordinary
clays in character to the clays used in the East. The ball clays
and stoneware clays as sold are so unctuous that they must be
mixed with coarser material, such as grog, or red clays, or
siliceous sand, to give them sufficient character to offset the

smooth richness of stoneware glazes. It is generally necessary

to mix several ingredients to form a satisfactory body, but this

can be done very easily if the right principles are properly

grasped, Over-plastiq clays may be opened or stiffened with
hon-piastic clays, non-plastic enriched,, and contraction in-
jCreased, by and fusibility may be
long, or plastic, clays. Colour
augiriehted by the addition of red clays, or feldspar may be ;

introduced to increase vitrification: Sometimes it is better to

add what are variously called or sherds in preference to
grog. These are made of the same body as the ware, fired at the
same temperature, and crushed to a more or less fine powder.
59
 CLAYS
They have the advantage of both stopping contraction and of
opening the body without altering its composition.
Before actual production is attempted many experiments
with clay are necessary. It is important, moreover, to ascertain
that the source of one’s chief material is dependable, for the
composition in a clay pit tends to vary from seam to seam.
These experiments should be carefully recorded, and raw and
fired specimens preserved for future reference. In the actual
working of a small pottery: these clay tests would probably be
combined with slip, pigment, and raw glaze experiments. In
Cornwall our local materials consisted of a fusible red secondary
clay, china clay, feldspar and sand. For some years we depended
upon a mixture of these for our stoneware body. Later we
obtained from Poole Pike Brothers' white siliceous ball clay,
with which we mixed china clay, feldspar and quartz to make a
fairly white and plastic, but not very translucent, porcelain. To
this we added varying quantities of our local red si ip ware clay
for lighter or darker stoneware bodies. For large pieces we also
added our raku clay (p. 56). The only other body made by us
was for fine celadons, and there, instead of using red slipware
clay, we added 5 to lo per cent, of raw ochre to the porcelain.
This is a rather rough and ready way of doing things but a very
convenient one. It would not be expedient if the output were

large and close reproduction essential, but with personal control

. it is possible, and quite usual in workshops in the East, to con-
trol by rule of thumb two or three clays, half a dozen slips, and
twice as many glazes. It would be pointless to give exact clay
: compositions because clays vary so much, and unless our clays
were used and under precisely the same conditions, the recipes
would mean nothing. All: that niatters is an understanding of
the principles involved, and a systema,tie application of them to
whatever raw materials are in any given case available.
Our sHpware body becomes dark and very vitreous at about
1
1 5o°-i 200° C. and would turn to slag at 1 300° C. Tluit would
be true of most local red, clays. But as the china clay easily
60
 iririklT itfl

^Ui-St

34. Northern Sung, Lung Ch’iian Celadon Bowl. The

finely cut and combed surface is filled by the thick olive
green glaze.
35, Chinese Han Dynasty ‘Hill Censer’.
 .

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 '

STONEWARE BODIES
stands our highest temperature and remains white, a stoneware
body can be obtained from these two materials by adding to the
clay 25 per cent, and upwards of china clay to the point at
i-ed

which plasticity declines, let us say 65 per cent. Pike’s siliceous

white ball clay also stands up to 1350° C. and emerges from an
oxidized atmosphere a light buff colour and from reduction a
light grey.

PORCELAIN
True porcelain bodies are made of china clay and feldspar or
Cornish stone. But as English china clay is comparatively non-
plastic, some ball clay must be added to make the body suitable

for throwing. Our St. Ives body is composed of:

Varcoe’s No. i china clay 45

Varcoe’s water-ground feldspar 25
Pike’s siliceous ball clay, G.F.S. i6-66
Wenger’s 471P water-ground quartz I3’33

Chinese petun’ze, according to James Fairie’-, is not exactly

the same substance But he states that
as china or Cornish stone.
the dykes of petrosilex found, but not worked, in some local-
ities in Ireland correspond to Japanese ama^usa and Chinese

Both in China and Japan there are forms of semi-

decomposed feldspar which when very well ground make,
without the addition of anything, good porcelain bodies which
can be thrown upon the wheel.
The fact that true porcelains are not made in England must ,

be largely attributed to the invention of bone china.® There is

no doubt that if we: had wanted porcelain badly enough we

could have made it with the materials at our disposal. To-day,
with a hew conception of fine porcelain opened up to ukby early

Irish Potting Clays, Notes on Pottary Clays, by James Fairie.

F.G.S, Scott Greenwood & Go.
'

® See p.41;.
 CLAYS
Chinese work, the time seems ripe for fresh experiment. The
nearest attempt in the past is the famous Parian ware composed
of two parts of feldspar to one part of china clay, tiring- at

1 150°-! 200° C., but this was chiefly used for unglazed statu-
ettes.

No European porcelain, whether soft or hard, has ever

possessed those qualities of body, pigment and glaze which are
ordinarily found in the porcelain of the T’ang, Sung or Ming
dynasties. In other words, European manufacturers have drawn
their inspiration from comparatively debased late Oriental
examples simply because porcelain was not made in Europe
before the eighteenth century and the finer earlier Chinese
wares were practically unknown until the second decade of the
twentieth century.
Since nine-tenths of our industrial pots are cast and not
thrown, the difficulty of non-plasticity is hardly relevant. But
even this difficulty can now be overcome by the use of small
quantities of American clays such as Carolina and Florida ball
clays. These have the remarkable property of rendering an
otherwise non-plastic body fit to throw with if they are present
even in small proportions. Oriental kaolins are much more
plastic than any which are found in England, this is due to a
higher percentage of plastic mica arid, also, to the greater
plasticity of the pure clay content, the actual alumino-silicic
acid.
 chapter IV

THE MAKING OF CLAY SHAPES

HAND-MODELLED POTTERY
The most instinctive and primitive way of making a pot is by
hollowing out a cavity in a small ball of clay with the thumb,
and then proceeding to make the wall thinner by squeezing it

repeatedly, with a regular pressure of the fingers in a slow

spiralmovement. The result within a few minutes is a thick
bowl of about 3 by 3 inches, whereupon a fresh start is made
from the centre of the base. This time the repeated squeezings
should be closer and more even, in order to make the surface
smoother.The thickness of the wall in the lower part at this stage
must not be more than is finally required. From now on the
bowl should not be allowed to rest on its bottom lest its own
weight should cause the soft clay to go out of shape. Holding
the pot in the hollow of the left hand at an angle, the squeezing
is continued gradually up the wall with a gathering movement
of the fingers. With practice, bowls of hbout the. size and shape
of a half coconut, but thicker than a coconut shell, can be made
in five or ten minutes without any scraping or cutting. If a
longer time is taken the clay shows a tendency to dry and split at

the lip from the warmth of the hands, and besides, the freshness
of quality is soon lost by over-manipulation. This is the method
by which most Japanese raku tea-bowls were made.-
For different forms and larger sizes the half finished pot is

' '..'''
'See':Plate:i2..
 TIIR MAKING ON CLAY sHAVKSi
inverted and allowed to. harden a little while resting on damp
cloths, which^ keep the rims moist. Then rings or coils of clay
are welded on to the inside of the lip with the same kind of move-
ment and pre.ssure.

Scraping, smoothing
•liViS ctiUing may also be
employed, but mainly
for decorative effect. A
hand-modelled pot of
this kind can be cradled
in a shallow bowl, and
primitive potters in
Nigeria use old broken
biscuited sherds as sup-
ports. When reversed
they are employed as
convex moulds upon
which clay is pres.sed
pul: to form’ the bot-
toms of coiled vessels.
To prevent the soft clay
from sticking to thei’n

these surfaces should be

dusted with dry pow-
dered clay or quartz.

Basket Pots
:
Baskets were also used, by neolithic peoples as moulds into
which clay was lightly pressed and smeared. It was necessary
weave and shape, to be such as. would allow the clay to
for thci
conie away :
easily as and contracted Some pots were
;
it dried . .

even made and baked, in baskets which burned away in the firCj
leaving the impress of the woven pattern. ^

1 The maldng .Qf.: basket, and .coiled pots

is described in ,
detail by
Henry and Denise Wreii in their book on Handcraft Pottery.
' '

64 '

,
38. Chinese Terra-Cotta lomb Figurine of a
Court Lady. T’ang Dynasty, The beauty of
many of these pieces is inseparable from that
of the finest sculpture of the period and may
be compared favourably with the graciousness
ofTanagra.
 Dynasty.

T’ang

dancers.

Figurines;

Tomb

Cotta

Terra

Chinese

40.

and

39

1
 COILED POTS

COILED POTS
It seems evident that the making of pots by coiling ropes of
clay was derived from basketry, but as a technique imported
from another craft, it falls short of methods determined by clay
itself. Almost all coiling which I have seen in the East is pre-

dapanese cotltn
and ihrowing^

liminary either to throwing or to scraping and smoothing. It is

simply a convenient means of building up a clay wall for sub-

sequent treatment; the coils are never left as coils. The method
is chiefly used to-day for making large pots on the wheel. Three
years ago, however, atTokunabe in Japan I watched one of the
last craftsmen able to build up a large pot without using a

wheel. The potter walked backwards round a jar, 3 feet high by

3 feet in diameter, with his right forearm loaded with a rope of
clay 1 8 inches long and 2 inches thick, coiling, squeezing, and
 THE MAKING OF CLAY SHAPE.S
smearing on to the growing wall which was supported on the
it

outer side by the palm of his left hand. 'I'he movement wa.s
regular and rhythmic, and even befoi-e he proceeded to beat the
fresh piece of work with a bat, replacing his left hand with a

Coiling and smoothings Japan Malayan tn-rn-tabln

shaped wooden support, the surface was surprisingly smooth

and even. Later, when he took wet cloths in each hand and
smoothed the six inches which he had added to the height of the
pot, it was difficult to believe that the pot had not been tlirown
on a wheel. Amongst some primitive peoples a crude revolving
base is used to overcome the necessity for walking round the pot,
and it seems evident that this is the origin of the potter’s wheel.

THE POTTER’S WHEEL

The wheel upon which a potter moulds his hollow forms is
one of the most peculiar and intimate devices which human
beings have invented. There is nothing quite like throwing in
 THE POTTER’S WHEEL
any other craft. Wood, metal, fibre and glass are none of them
so responsive to the touch as clay.
The potter’s wheel is known to have existed in Egypt from
thecommencement of recorded history, and in China and

Indian wheel

Europe it dates back to at least 2000 B.C. The consensus of

opinion is that it originatedsomewhere in the Near East, and
that the knowledge of it spread from one centre. The drawings
illustrate afew of the many types of potter’s wheels. In prin-
ciple they all consist ofa wheel-head, or disk, which revolves
with considerable momentum and smooth control of speed and
is driven by hand of foot, Or by gear. The momentum is ob-

tained from either a heavy wheel-head or from a fly-wheel. In

some cases the spindle is attached to the wheel and revolves in
67
 THE MAKING OF CLAY SHAPES
a socket at the base, in others the socket is in the centre of a
hollow shaft attached to the under part of the wheel-head and
the spindle is fixed in the
ground. The latter type is

common in the East and the

former in the W est. The prim-
itive kick wheel is turned by
the direct action of the bare
feet on the fly-wheel, but the
more evolved type has a crank
in the iron shaft with a kick-
bar attachment. Before the

Normandy coming of mechanical power

Kick-wheel,
wheels were also driven by a
beltfrom a large separate wheel hand-turned by an assistant.
To-day the action of the best power-wheels is governed by the
friction of two cones placed head to tail in such a way that the

lermati
 THE POTTER’S WHEEL
As the momentum slows down, the thrower deftly inserts a
short stick into one of these notches and twirls half a dozen
times vigorously. The fresh impetus lasts long enough to make a
small pot, but has to be renewed constantly for a large one. In
spite of this apparently laborious method, the day’s output of
an Oriental thrower compares favourably with that of our own

Tuvningstick
Hardwood

Porcelain-
9

Section of nese^
heel

in the West. It is, moreover, a great advantage for the thrower to

be able to keep head and body still while making delicate shapes,
and especially in turning the bottoms of pots.The most curious
of all wheels is Egypt
that used in and Syria set at an angle fac-
ing the thrower: yet large pots are made on wheels of this type.’-
A good power-driven wheel with easy control of speed and a
quiet movement enables a potter to throw large shapes, but for
workshop and studio use a well-proportioned and strongly built
kick wheel will meet most requirements, and besides is very
much cheaper. It is important that the size and weight of the
1 1 have heard recently that similar wheels are also found in the

BlackForest.
 THE MAKING OF CLAY SHAPES
fly-wheel should be adequate, and that the proportions of the
crank and bar should be such as to give an easy long kick to
avoid jerking the body. The framework ought to be quite rigid
at maximum speed. For these reasons it is unwise to attempt to
have a wheel made without plans and specifications. It is best to

get a local carpenterand smith to copy an old kick wheel of a

type which has proved its worth to generations of potters. There

are wheels on the market sometimes successfully foisted upon

unfortunate students which are in fact no more than toys. Kick-
wheels without seats are also unsatisfactory^ but it is surprising
how frequently they are to be found in schools of Art. The seat
should be about on a level with the wheel-head and close to it in
order to give a good purchase.

Throwing
Any verbal description of the manipulation of clay on a
potter’s wheel is bound to be inadequateiv if not rnisleading.
70
 THROWING
Anyone who watches a pot grow into shape out of a lump of
clay for the first time is astonished at the seeming ease with
which it happens.

Centring
The clay spins like a top, seeming to prefer the centre of the
wheel to any other position, but if the onlooker tries his hand
his first discovery is that the clay actually has a preference for
any other place than that. So the first thing a beginner has to
do, before there can be any question of making shapes at all, is

to learn how to centre the clay and keep Only then is

it centred.
it possible to overcome centrifugal force. It takes a very good

thrower to re-centre a pot which has gone even a fraction of an

inch out of the true, and the student had much better cut it off
and start again.
The clay which is to be used ought to be freshly kneaded, or
wedged, before throwing to make sure that it has the same con-
sistency throughout. It is advisable to test masses of clay by
cutting them through with a wire to see if there are any hard
lurnps or air pockets. In England it is the custom after kneading
up the clay according to the weight of each pot and the
to cut
number of pieces of the same shape and size which are to be
made in the day’s work.These pieces of clay are roughly rolled
into balls and put beside the wheel. In very dry weather it is
best to cover them with damp cloths.

Throwing hollow ware ;

A ball of clay is thrown firmly onto the centre of the wheel,

care being taken that the wheel-head is damp but not wet.
While the pot being made, the clay and hands should be kept
is

constantly wet. With us it is customary to have the tray or box

y/hich surrounds the wheel-head more or less swimming with
slip and trimmings, but unnecessary slop is bad craftsmanship

and discouraging in a workshop. Now the wheel is turned

vigorously anti-clockwise and the wet clay is clasped with both
71
 THE MAKING OF CLAY StIAPES
hands, elbows steadied by the near edge of the box, and pulled
towards. an unwavering central spin.
The horizontal pressure of the hands causes the ball to rise
into a cone, which is then depressed by the palm of the left hand
while the right hand continues to pull the clay towards the
centre. This up-and-down movement is repeated several times
to achieve a final nicety of consistency. On no account should a
hollow be opened out and then closed in because softer clay
would be imprisoned in the mass and cause trouble later on.

Single-handed throwing
The clay being centred in a comfortable clasp of the right
hand, the thumb is pressed firmly down the middle of the dome
almost to the wheel-head. Then it is forced slowly outward,
forming the bottom of the pot. From this point the action be-
comes vertical, an even pressure between thumb within and
fingers without allows only a certain thickness of clay to pass
between them, as the right hand, steadied at the wrist by the
left, rises. The fat ring of clay with which the movement started
is thus drawn out at each repetition into a thinner and higher
wall. This is ridged by the pressure of the fingers, and should
always be terminated by a slight thickening at the rim which
helps to prevent it from opening out too far. This description
applies so far to small cylindrical pots, but if the clay weighs
more than one or two pounds the action of a single hand is not
sufficiently powerful.

Two-handed throwing
In larger pots the throwing is done by the pressure of one
hand against the other. In Europe the fingers of the left hand
press outwards and upwards on the inride of the wall of the pot
and are supported on the outside by a corresponding urge of
the crooked forefinger of the right, or by a Wooden rib if a
smooth surface is required.^ The Ghinese action is similar to ours
'''

* See.p.'Sa.',

72 .
/
 THROWING
but the positions are reversed in Japan where the wheel re-
volves clockwise, reserving* the extra strength of the potter’s
right arm for turning the wheel in the manner which has
already been described. Except for shallow bowls and plates
the preliminary shape of is a cylinder, and that
all upright pots
iswhat a beginner must learn to make. If he is to develop into a
competent thrower he ought from the outset to work to weight,
measure and time, and not indulge himself too much in efforts
to capture beautiful shapes which are beyond his capacity. This
who through lack of con-
applies to art students in particular,
tact with actual workshop conditions try to make pots as they
would paintings and sculpture. On the other hand, throwing
easily becomes insensitive and mechanical under factory con-
ditions. Cylinder throwing is frankly an exercise, and a very
essential one, but it will soon develop into a progressive ex-
ploration of form as soon as the student is able without diffi-

culty to make small cylinders, truly centred, and with walls of

equal thickness. Tests should be made from time to time by
cutting the pot longitudinally into halves with the wire or
needle.
The natural tendency of any open spinning shape is to flare
and split at the lip, but this may be countered by collaring and
gradual closing up with a slow upward and inward clasp of
both hands. The lip should then be compi-essed into a thick
ridge. If collaring is done violently the clay will ripple. A slight

ripple pan be smoothed out by support on the inside with one

hand while the other gently continues the collaring action. The
taller the pot the slower the revolution should be, and the
steadier the wheel movement. With practice, cylinders
and its

eighteen inches high ought to be mastered.^ Any irregularities

on the lip of a pot should be cut off with a trimmiHg tool, made
by breaking a large needle in half and driving the thick end in a
wooden handle. The needle point is pressed gently through the
^ I have seen pots the full length of a man’s arm thrown out of
single pieces of good plastic clay. ,

'-
73
 J

THE MAKING OF CLAY SHAPES

lip as the pot turns, after which the whole strip will come away
with ease. Any lump which comes to light while throwing ought
to be dug out at once with a dry blade and the cavity refilled
with clay of the same hardness as the body, otherwise a hole
will soon be torn in the thinning wall of the pot. The wall ought
to-be a little thicker near the foot, par-
ticularly for high temperatures, as that
is the point where the weight will tend to
make the pot sag as it vitrifies. This is

one reason why stoneware pots are

heavy, but it is no reason for making
them ponderous.
In the East it is customary to work
with a large lump of clay on the wheel-
head, out of which several pots are made.
The potter sits at his throwing tailor-
fashion and leans rather more over the
wheel than in the West, which is of some
advantage in drawing up tall shapes.
The pushing out of a cylinder into
curves is very naturally brought about
ii by the persuasive action of the hand

W
G U
-

ooden profiles used

inside; but for minor corrections of form

in
wooden
narrow-necked vases or
may
bottles,

replace the hand.

long

in throwing narrow-
These are firmly held at an angle so that
necked shapes the chamfer faces the revolving clay
gently distending the curve.
An able thrower takes only a few seconds for centring and
cylinder making before swiftly running the clay out towards
the final shape. It is this vigour and certainty that give vitality
to the rhythms of a
pot. Whenever possible, it is best to keep the
opening only wide enough for the passage of the hand or arm
until the last stages. The longer the action of throwing lasts the
wetter, as well as thinner, the wall of the pot becomes, and the
74
 THROWING
greater the tendency of the clay to ‘squat’. Once this has begun
it is better to make a fresh start. The tendency to squat is much
more pronounced in absorbent sandy bodies, and sometimes
the only thing to do is to use instead of water for lubricating

the pot while it is being thrown.

The most difficult form to throw is that which has a large
bellyand a narrow neck. Just where the shoulder begins to turn
in and merge its convexity and thrust with
the hollow curve of
the neck is
the neck, the clay inclines to sink. For this reason
often thrown separately, and luted and thrown on when both it

Oriental porcelain thrown in sections

it has been
and the body have stiffened a little. In many potteries
large in sections, cin 6 for short
a common practice to throw /oity .

bodies, such as porcelain, it is often the only way. At one

to the Korean pot
pottery in Japan I saw two-foot jars similar
I# made by throwing bowls half that height and
in Plate 31
they were returned to
allowing them to become quite hard before
they were extended to
the wheel, where, by the coiling method,
interesting point is that the clay
the shape shown in Fig. B. The
finally eontracted without breakage
to the shape shown in Fig. C.

Meastiring T
to be an expdrt
At the Royal Lancastrian pottery there used
thrower who could produce in rapid succession different sizes
 ,

THE MAKING OF CLAY SHAPES

of tea-pots, with lids which fitted exactly without any other
measurement save that of the eye. But, although it is surprising
how reliable the unaided eye can become with practice, some
sort of gauge is required for repeated identical shapes. The
simplest is a long thin tapering stick thru.st into a piece of stiff

clay and fixed on the further side of the framework of the

A djustabte pot gauge

wheel, with its point adjusted just to touch the lip of thb pot, the
edge of a bowl, or any other convenient part. A more ela-
borate system of adjustable hinged pointers is here iUustrated;
but together with a pair of wooden callipers and a clearly
marked foot-rule, preferably with the contraction allowance,^
this is all that is really necessary.

The Lip
The lip mai'ks the end of a series of movements, and requires
emphasis both for practical and aesthetic reasons. Indeter-
minate thin-lipped pots are unsatisfying from every point of
1 See p. 98.
 THROWING
view. There an alternative to a thick reserve ridge of clay for
is

making lips, and that is to return the edge upon itself. The
accompanying drawings illustrate this, and besides show a
variety of mouths suitable for vases, bottles and jars,.
The pouring Up of a jug is made in one of three ways. The
commonest, and the one most closely associated with traditional
hand work, is formed by pressing out the clay, as thrown, with

if Inba-ned

Types of pot Ups

the wet fingers. The middle finger and thumb of one hand sup-
port the mouth of the jug while one finger of the other presses
and gently smooths the clay between them, outwards and over.
Care must be exercised not to split the clay by a sudden pull. If
it does split it can be luted with slip or soft clay after it has
hardened a little. A great many old country-made jugs pour
badly, and there is no excuse for this annoying defect. The lip
ought to be made with a sufficient overhang to prevent dribbles
from running down the front of the jug, but this may give it an
unpleasant pouting expression. If it is found too difficult to
make a good pouring spout in this way, it may be necessary to
cut out a V-shaped piece and apply a hand-moulded lip with

IT
^
'

’
 THE MAKING OF CLAY SHAPES
slip and modelling tools. The third making a pouring
way of

lip isby paring the edge of the pot down, as illustrated. The
flow of liquid must also be considered and the width of the lip
and throat in relation to it.
Sharp pointed pouring lips
are to be avoided, not only
because they are unplastic
but also because they are
easily chipped. Sometimes
it is difficult to reconcile
the practical and aesthetic
needs of a jug, and the art
of jug-making consists in
finding a harmonious equil-
ibrium.

Foot and Lip

Some pots can be com-
pleted on the wheel at the
time they are thrown. With
a good long clay the wall
can be made thin enough
right down to the foot.
There it is best to make an
undercut bevel with a tool. It is advisable to compress the clay
of the foot first with the fingers while it turns, as a precaution
against splitting. The subsequent tooling may throw up a
slight ridge according to the manner of handling the tool, and
such an accent will nearly always be found to improve the lines
of the profile, corresponding as it does to the emphasis, already
referred to, at the lip of most vigorous pot forms.
The cylinder which precedes any expansion is conditioned by
the nature of the material and by gravity. The shape which
follows is determined by other requirements of use and beauty.
In a good pot these elements are welded into a living whole, and

/ ,
,
,
78
 THROWING
it is illuminating to notice how the inter-play occurs. In spherical
shapes there is a structural relationship between the width and

weight of the foot-ring below and the lip above, and even in bowls
and plates it is always possible to recognize the hard core of struc-
tural necessity supporting with its thrust the surfaces of the form,

Bats
A round cleated boards between 6 and 12 inches in
set of
diameter upon which large pots, bowls, and plates can be
thrown, is very useful. Disks of asbestos can also be used. To
attach one to the wheel, a piece of stiffish clay is beaten out on
. the damp wheel-head to a thickness of about half an inch. The
surface is then trimmed with a shaving tool, and the bat, which
has been damped on both sides, is centred and then given
several sharp blows with a half brick or mallet. This should be
enough to hold it in position. A little leverage will remove the
bat and the next one can then be damped with a sponge and
placed on the same clay foundation.

Cutting off
In England pots are separated from the wheel-head either by
cutting with a thin brass wire, with a wooden or clay knob at
each end, or by ^ broad flexible blade that of a house-
painter’s putty knife. By the first method the wire must be
pressed firmly along the wheel surface; by the second, the blade
should be inserted almost to the centre against the accelerated
spin of the clay, and continued with an easy lifting movement,
carrying the pot w;ith it supported by the other hand, to its

position on a drying board.

In China and Japan the pot is cut off a cone of clay with a
double twisted thread or gut, usually tied at one end to a small
•piece of stick. The stick end is held against the foot of the pot
while the loose end is carried round by the slow revolution of
the wheel three-quarters of a circle, at which point it is pulled
through horizontally. The pot, unless it is unusually soft or
79
 THE MAKING OF CLAY SHAPES
wide, is then lifted off, held between the forks of the first and
second fingers of each hand, palms upward. Sometimes, for a
wider foot, two pieces of pliant bamboo or cane are used to add
length to this hold. Japanese connoisseurs pay considerable
attention to the thread cut of fine concentric loops, and can
often tell when and where a pot has been made by this means.

Japanese iwL&Ud ikread cai

In special cases it may be worth while to have a piece of hoop-

iron made into a ring with a suitable splay to fit the inside of the
bottom of such things as pancheons, then the outside may be
clasped without fear of distortion. Another method of moving a
large soft pot wind a few narrow strips of cotton fabric
is to
around it near the Up or on a dangerous bulge, but the most
sensible thing for small scale work is to have a supply of bats of
various sizes. It is always advisable to cut through between the
base of the pot and the bat as soon as the throwing has been
completed, so that the base may contract without cracking.

Base Cracks
The crack which appears in the unshaved foot of pots made
with certain clays can usually be obviated by one or other of the
'

".,8o ,
,
 THROWING
following methods, (i) After the first opening of the clay on
the wheel with the thumb, a small ball or pat of clay can be
dropped into the cavity and pressed into the bottom with the
next movement. (2) If the pot is to be unturned, the bottom
ought not to be more than a quarter-inch thick. (3) If it is to be
turned, the thickness should not be more than is necessary, and
the turning ought to be done while the clay is comparatively

(4) At the end of the throwing, the foot

soft. of the pot should be
firmly compressed by the forefinger of the left hand aided by
the strength of the right hand. (5) The bottom of a pot can be
lightly beaten into a concave depression before shaving.
It is useless to try to mend one of these cracks, and actually
much of this trouble can be obviated by a clean decisive treat-
ment at the first opening up of the clay and in forming the
bottom of the pot.

Oval Dishes or Bowls

Oval shapes can be made with most plastic clays by cutting
out of the middle of a dish or bowl a narrow piece of clay the

81 L.P.B.
 THE. MAKING OP CLAY SHAPES
shape of a willow leaf and then pressing the sides firmly to-
gether on a sanded board while the pot is still soft. The two raw
edges must be forced to meet, the join is then covered with the
and smoothed
leaf of clay to a flat surface with the firm pressure
of a wooden tool.

Large Plates and Bowls

A good way of throwing large open shapes is to place the ball of
clay on a bat and beat it with the dry hands, as it revolves, until
it is centred. Then, in place of the

wet thumb, the hollow is thumped

out with the fist in a slow spiral until
the flat bottom is surrounded with a

The leather hold for

Profile rii> smoothing Ups

thick coil of clay, which

is then wetted and thrown into a

vertical wall. most easily done with the aid of a wooden

This is

profile, or rib, which smooths out dents and ridges better than

the hand.^ From this point the wall is carried out oblicpiely with
> Shaped profiles are also useful in throwing smooth interior curves
of bowls,. ..

82
 TURNING
a slower wheel rotation. The outward spread of the lip needs
the compensation of pressure to prevent a split or frayed edge.

This can be done by the fingers alone or with wet cloths, or,
best of all, with a piece of thick chamois leather held in the
manner illustrated. Nearly all Japanese pots are finished on the
edges with wet leather^, which is more suitable for use with
clay than are either sponges or cloths. The final turning outward
and flattening of the rim of a plate is a delicate operation calling
for steadiness of hand and wheel, and good judgment of what
the clay will stand without collapsing. Large plates sometimes
have to be put aside on their bats to dry a little before the final
flattening can be safely done.

Turning
The foot and the thick
lower part of the walls of
many pots need to be
shaved down when the
clay has become leather-
hard. In factories this is

'done on a horizontal
lathe, but in the East pots
are placed bottom-up on
the wheel: and turned in a
vertical position. They are
centred by three or four
sharp light taps with the
side of the hand as
the eccentric revolutions
bring the pot towards it.

•
The pot is then fixed in
position with a roll of
slightly stiffened clay. For smaller and for narrow necked pots a
chuck, or raw clay cylinder, is used as a holder or support, A
* Deerskin or chamois.
83
 THE MAKING OF CLAY SHAPES
Japanese thrower makes these rings, or chucks, of the same clay
as the pots, and of the sizes and shapes required, to be put
aside to harden with the pots.
Shaving tools are made out of rather thick pieces of hoop-iron
bent at the ends and filed into various angles and curves, as
illustrated. As. they quickly get blunt the cutting edges should
be filed on the backs to a chisel section; otherwise they not only
fail to cut but also tend to chatter.
When the reversed pot is centred for turning the right width
for the foot is determined by eye or callipers, and a firm vertical
cut made, of about the depth of the foot-ring, with a rect-
is

angular tool. This is followed by a .series of spiral shaves down

the w'all of the pot until a good profile is obtained, unless, as

sometimes happens, the thickness of the pot has been mis-
judged, and the blade suddenly rips through the wall. It may
be anticipated, however, by occasionally tapping the clay and
judging the thickness by the sound. Another vertical cut is

made for the inside of the foot-ring, with an allowance for fur-
ther correction. Then follows the hollowing out of the foot with
a tool of appropriate angle or curve, from the centre to the
inside cut. The number of operations will depend upon the
depth of the foot-ring and the hardness or softness of the clay.
Finally, the bevels on the foot-ring are chamfered off. Quite

different textures and effects are produced by the degree of

hardness of the clay. If it is too soft it will clog the cutting, if it

is work will be laborious and the result unplastic.

too hard the
In general, the quickest work and the most plastic expression is
obtained by using sharp tools freely on fairly soft sandy clay.
For rough clays containing particles of grog, it is sometimes
preferable to polish the surface after turning, in which case the
back of the shaving tool can be used as a burnisher.
The difference between the soft finger ridges of throwing and
the sharp cutting of the metal tools is equivalent to that be-
tween modelling and carving, and when one shaves pots in this
Oriental way good taste is called for in making the transition

84
 TURNING
from one kind of surface to the other. The fine grained non-
plastic pastes used for porcelain generally necessitate an excep-
tional amount of turning, and this explains the comparatively
cool hard outlines even of Oriental porcelain, and the conse-
quent desire to enliven these surfaces with painted decoration.
In theWest turning is relatively a mechanical technique, and it
would not be an exaggeration to say that our industrial con-
ception of the surface and finish of pots has been mainly influ-
enced by the techniques of exact turnery and casting. The
is a necessary corollary of mass-production,
resulting precision
but need not blind us to the greater freedom attainable by the
it

use of simpler tools adapted to the hand. It is as unreasonable

to apply the standards of power technique to hand work as it is

to insist that the machine should imitate the expressive irre-

gularity of hand-made articles. Therefore, the turned surfaces
of hand-made pots may not unreasonably be expected to show
the characteristic marks of hand and tool, provided they are
free from affectation and improve the texture and form. Many
irregularities in the feet of Chinese and Korean pots strike the
European eye as pure clumsiness, or, in Japanese Tea Cere-
mony wares, as deliberate distortions, grains of sand adhering
to the feet of Ming porcelains, quartz spur marks embedded in
Korai celadons, imperfectly centred turning of later Korean
pots, notches cut out of the foot-ring^, or rough unglazed areas,
which scratch silver and polished tables; in general, a series of
imperfections from a utilitarian point of view. That they were
not drawbacks to the Orientals who made them is due to their

manner of life, their use of wooden chopsticks, for example,

instead of table silver, aind also to the fact that most of the wares
in question, whether glazed or not, are impervious to liquids;
But, underlying these; apparent crudities, there exists in the
East a perception of beauty to which a growing number of
^ Some Korean rice bowls, made either in Korea or by Koreans in

Japan, were notched in the foot-ring to hold a cord when they were
packed for transport, f.ater on they were adopted by Japanese tea-
masters for ceremonial tea, and then copied by Japanese potters.
85
 THE MAKING OF CLAY SHAPES
people in -the West have become susceptible during the last
thirty or forty years. Some of these seeming imperfections are
inseparably bound up with the conception and execution of
hand-made pots at the given time and place of manufacture.
Even if the Japanese sometimes made a fetish of them, it was
due to over-emphasis of taste and not to clumsiness. The
Oriental potter made a virtue of necessity, but it would be an
affectation for us to copy him blindly. Need and method have
changed; but the virtue remains as a stimulus and a source of
delight. Provided a good tradition is kept alive amongst a group
of potters, making hand-made pots quickly and economically,
something of the precision and breadth of old Chinese and
Korean turning will be achieved. The briefest movements of
the best available tools are discovered for each job by a process
of natural comparison and elimination, and they become part of
the ritual of a tradition which leaves no time for self-conscious
hesitation.

The variety of types of unglazed foot-rings of Oriental pots is

rich in comparison with ours. The series illustrated is by no
 eapot by Shoji Hamada. 1 hrown
and cut shape, including the handle. Black
ten-

moku’ glaze breaking to rust.

42.Stoneware Teapot by the author. Engraved

pattern showing through an olive blue glaze.
43. Present-day Cornish Slipware Pitcher. Sound form and good
craftsmanship unchanged since the i8th century.
44. Chinese Stoneware Chun Bowl, Yuan Dynasty, Heavy lav-
ender coloured glaze with copper markings in grape purple (in
the collection of Henry Bergen) (.see page 240).
 TURNING
means exhaustive, but may serve, together with the corres-

ponding set of sections of lips, as suggestions based on good

models. be noted that the inside of the foot is a continua-
It will

tion of the main lines of the pot, and that a satisfactory ter-
mination of the form at this point is of great importance.

Spouts
A teapot is about the most difficult article a potter is called

upon to make. In comparison with a vase of equal size it re

quires in addition, a lid, a

handle, a spout, and perfora-
tions to retain the tea leaves.
Each one of these parts may take
as long to make as the pot itself,
and to assemble them success-
'Biscuit
fully requires considerable fore-
' core
sight. To gauge the size of a
spout, to cut and mould it to a Plaster
teapot so that it will both pour
well a,tid balance the handle
satisfactorily, requires much
practice and a good sense of
form,Sincethefiredteapotmust
Spout moulds
also match the rest of the set

in colour as well as shape, it will be readily understood

that tea-sets involve the studio potter m troublesome and
unremuneratiye work; Spouts can be made in two-piece

moulds, or over a plaster or biscuit core, or they

may be thrown
edge such as a
on the wheel. When spouts are thrown, a straight
of the spin-
penny ruler, the edge firmly held against the inside
thin wall. A.
ning clay cylinderj is of great help in elongating the
spout which pours withopt dribbling should be the potter s aim,
but there is no golden rule for rpaking one.
The turn over,
which I; recommend for jugs, is usually very ugly teapots. m
the flow of liquid
The thin lip of a metal spput which cuts
'

8,7:
 THE MAKING OF CLAY SHAPES
would be too fragile if imitated in clay. The three following

points may help towards a solution of this difficult problem:

(i) the holes at the base of the spout must not be too small or
too few; (2) the spout should taper; (3) the final pouring edge
should be fairly sharp.

Handles
Handles are moulded and attached at the leather-hard stage
of drying, except in the case of porcelain, in which the joining

Moulded iea-pot

is usually done with a touch of slip when both handle and pot
are bone dry. the pulled handle is the most suitable for the
craftsman and studio potter (See Plates 22, 23, 24; 43).
h
i or 3 lb. cone of clay, somewhat harder than is used for
throwing, is taken in the left hand and gradually coaxed with
the full grasp of a wet right hand into a long smooth tongue.
When it is judged that the thickness, section, and ribbing are
suitable for the pot, a sufficient length is nipped off by the
thumb against the forefinger, and the butt end is rammed
'

. 88
 SPOUTS AND HANDLES
against the pot where the handle is to begin. It is advisable to
score the surface of the pot with a tool, and to support the
inside of the wall with the left hand during the operation. On no
account must the surface be wet, but the pot ought to be as soft
as possible in order to equalize the contractions. After the butt
end of the handle has been welded on by the thumb above and
the forefinger below, the tongue of clay is bent into a loop
which will give a corhfortable grip for as many fingers as the
size of the pot warrants, and the end is home and any
pressed
residue either used decoratively or swept aside. The butt end
ought to be attached to the pot much as a branch of a tree grows
from the trunk, and an oval section for the handle is more
graceful, comfortable and strong than a round one. The loop
should project only far enough to allow room for the fingers,
and, with few exceptions, the handle should bridge that part of
the pot which is concave (e.g. the neck of a jug), thus avoiding
unnecessary projection. In some potteries where the body used is
very plastic, the pulling of the handle is done on the pot itself as
soon as the end is firmly attached; but if the body is short, it is
not easy to pull it out rapidly without snapping it. With short
clay it is better to use slip instead of water as in throwing.
Various ridges and cross-sections are dependent on the position
of the hand in grasping the clay. Cones of throwing clay are
put aside to harden with the pots that have just been made
on the wheel. If the pot is too hard, or the cone of clay too
soft, the handles will detach themselves or crack during
drying. ,

Certain kinds of handles require a firmer attachment at the

lower end, In such cases, additional pieces of clay can easily be
welded in with the wet fingers. Another method of making
handles, which came into use at the beginning of industrializa-
tion, was Me wire-cut handle. By dragging a wire loop through
soft clay, uniform strips are quickly made which can be bent to
any requisite curve, allowed to harden a little, and then attached

to the pot in much the same way as ordinary pulled handles. It

89
 THE MAKING OF CLAY SHAPES

Handle cutters

cannot be too strongly emphasized that the merit of a handle,

foot, lip, spout, or knob can only be finally appraiised as a part

of the whole pot, :

Perforations
The simplest way for the hand worker to perforate the front
of a teapot is to bore a series of h.o\ts vilHa. a short length of
umbrella spoke -^hich hss been filed to a tapering point, and
then to plane or shave that part of the wall to a thickness of
about one-sixteenth of an inch. The hollow groove in the
umbrella spoke removes most of the clay, and the remainder
can be brushed off the inside of the pot when it is dry. In Staf-
fordshire potters’ borers are made of brass, and shaped like a
small gouge. A similar tool can be made very quickly out of
bamboo.
 a of
as

precursor

19).
employed

1
this page

in
(see
successfully

spacing
vivid

is
figure The

pattern

pots.

human

on
heraldic

the

decoration

find

to

96).

page

(see

potter

Japanese

Individual

Kyoto.

Kawaiof

Kanjiro
47- Inlaid Porcelain Jar with cut sides by K. Tomi-
moto. First individual Japanese potter.
48. Cut and planed Stoneware Bowl by the author.
Warm grey and rust glaze.
 LIDS

Lids
The five drawings on this page show different methods by

which thrown lids can be made. All of these, except the first,
which is thi'own and finished in one operation, are thrown up-
side down with thick bases, to be turned later, for knobs when
required can either be turned or added later by throwing.

'Flat
inset

Thrown lids ':L:TciL:L.-

The snug fit of lids is a matter which deserves special atten-

tion, for it gives a particular satisfaction to the user and is an
evidence of competent workmanship. The diameter should be
measured by callipers while throwing, and a slight margin may
be allowed for later turning. This is advisable because of the
tendency of some shapes made of very plastic clays to contract
more than others. Whenever possible, it is also a good plan to

shave the lid in its proper position on the pot so as to make sure
of a good continuity of line. In addition to true fit, teapot lids

should be so shaped that they will not fall off when the pot is

tilted. To rhake certain of

:
this, they must either have heavy
flanges or be set in deep sockets. The fonning of these flanges,
or in the case of the pot itself the gallery or socket for the lid, is

most easily done at an early stage in the throwing whilst the clay is
thick and firm leaving only the finishing with a leather to the end.
 THE MAKING OF CLAY SHAPES

Knobs and Feet

There are several ways of making knobs and feet besides free

modelling or press moulding or the turning described above.

Loops of various shapes can be attached to lids in the same way
as handles are put on jugs. Balls of clay may be attached with a
little slip and either thrown into shape or moulded by a repeated

twist of wet forefinger and thumb. This is also a quick and

effective way of putting feet on round bottomed pots. In the

case of turned porcelain with its harder forms, carving may be

employed in addition to modelling for spouts, knobs and feet.
This is very simply done by allowing the roughly modelled clay
to harden sufficiently for cutting.
A convenient tool for cutting the soft-turned foot of a bowl
into three or more segments is a metal ring, wider than the
bottom of the pot, to which is attached the requisite number of
fine brass wires. These are gathered together and twisted in the
centre, forming equidistant radii. The pot is reversed and fixed,
the ring is taken in two hands and pressed down around it,

causing all the wires to cut the foot ring simultaneously with
whatever movement is imparted to the implement.

Damping and drying

A box, or, preferably, an air-tight cupboard, wide enough to
take standard pot-boards on ledges, is indispensable in any

workshop for preventing half finished pots from drying too

quickly. A three-inch layer of plaster of Paris at the bottom, or
loose plaster slabs, upon which water is occasionally poured,
will keep the atmosphere humid. In addition, pots which from
one cause or another have got too dry can be covered With
darhp cloths and softened. Some clays Will stand wetting even
after they have changed colour on the edges, but this can only

be determined by experience, and in any case, care should be

taken that water does not run down the sides of pots and make
puddles, which quickly disintegrate the clay.

92
 DAMPING AND DRYING
Drying is best done naturally. In the East out-of-door
trestles are a permanent feature of country potteries, and they
may often be seen loaded with boards of pots drying in sun and
wind, with a man
going the rounds carefully reversing or
turning the pots. If a sudden shower threatens, a cry is raised,
and all hands come mnning out, and in a few moments the
boards are taken under cover. While the clay is still pliant there
is no danger from warping, and, in any case, pots are auto-
matically trued in the process of turning on a flat wheel-head
provided they have not become too hard.
In Korea, where the winters are exceedingly cold and dry,
work continues in round thatched huts, and drying is done, as
the drawing shows, on a gently heated platform. This simple
adaptation of the Roman hypocaust has the advantage of
drying the thick foot of the pot With our damp and vari-
first.

able climate a drying cupboard or room with gentle artificial

heat and ventilation is a necessity. At St. Ives we utilize the low
gable of an attic for this purpose.

Moulds
Plaster of Paris is to the factory what the wheel used to be to

the potter’s workshop. By far the largest proportion of modern

pots are made by the use of plaster moulds, whereas in pre-
industrial times clay moulds -were employ&d on a
small scale, and it was the wheel which supplied the world with
most of its pots. The transition from biscuit to plaster concerns
us here, and the relative value of each to the studio or workshop
potter. There is no question as to the convenience of this cheap,
quick-setting, absorbent substance—plaster—in mould-mak-
ing. Without it, easting, the most important process in mass-'

production, woiild be impossible. But it is debatable whether,

from the point of view of beauty, plaster is to be welcomed, not
so much because of any inherent evil in the material, as of the
fatal facility with which it has been used to multiply florid
 'i'HE MAKING OF CLAY SHAPES

PrimiUve Korean potters hut

Hqpocaast^

jCneadtag Posr^
iPheel

forms.^ To the. studio potter plaster is of far less import, unless

he happens to be a figure modeller, and even in this connection

' Because of prevalent banality of tasto it is easy to overlook the

vast distribution by this means of plain and practical domestic

crockery and sanitary .ware,, which, although seldom beautiful, has
nevertheless brought a. large measure of physical refinement to mil-
lionsof homes. ,

94
 MOULDS
it is worth recording that no pottery figures have equalled the
T’ang tomb figurines in beauty of plastic expression and they
were mostly duplicated from two-piece biscuit moulds.
Beyond the characteristics mentioned above, plaster has very
little life of its own. It possesses no variability which the artist
in the craftsman can take advantage of, and for that reason it is

more suitable For this reason,

for large scale reproductive work.
and because several of the books on pottery mentioned deal
:
fully and clearly with its use, a description is omitted here.

For simple work two advantages of biscuit for press moulds

are, first, its comparative durability in yielding sharp impres-
sions; secondly, the continued use of the potter’s familiar
material, clay. This enables him to engrave or emboss the
mould itself in a half dry state with greater freedom than is

possible on Thus many Sung and Korai bowls were

plaster.
made by pressing and beating the outside of thrown shapes,
usually bowls, on to ezigraved convex moulds, and shaving the
backs in the usual way. The Chinese up to the present day use
biscuit moulds very „ ,

ingeniously for round unsure

and angular wares,
freely combining, with-
in the limits of the
material, moulding,
modelling, throwing,
and turning. As with
plaster, biscuit moulds
must be thoroughly dry
Btscuif
before they are used,
but, in addition, they
should be dusted with
powdered silica, or
Engraved biscuit mould Jor bowls
clay, or wood ashes to counteractsticking. Even with this precau-
tion, a soft proof frequently needs assistance in shrinking from
the biscuit mould by the gentle pull of an extra squeeze of clay
95
 THE MAKING OF CLAY SHAPES
which has been pressed against it, or by jarring the mould, or,

finally,by blowing between mould and proof. Shallow moulded

dishes or bowls can be made by pressing slices of clay, cut in
the manner already described, into concave, or onto convex,
moulds. The shape should permit a moderately soft sheet of
clay about a quarter of an inch thick to be stretched by the
pressure of the palms of the hands to its curvature without
splitting or folding. The mould may be engraved or embossed,
but in any case it should be dusted before each impression is

taken. The clay should be hard enough to allow the pot to be

reversed on to a board at once.
The clay of which these biscuit moulds are made should be
open, and the firing ought not to be so hard as to diminish por-
osity.The green-hard matrix is oiled before the negative moulds
are taken from it. The latter usually have to be corrected as they
tend to be distorted in the process. In some cases no matrix is em-
ployed but, instead, the mould itself is thrown or modelled direct.

Slab-built shapes
Another method of making angular pots which, together
with pinching and coiling, is especially suitable for use in
schools, consists in preparing slices of clay of suitable thickness,
half drying them, cutting each facet with the aid of a template,
and luting the pieces together with slip. This is a kind of
ceramic joinery, and, provided the designs derive from the
nature of the material, it offers yet another wide range of expres-
sion to the studio potter (See Plate 45),

Slice cutting
^

.
• :

The simplest way to cut slices is to use a pair of vertical bars

of hard close grained wood marked off on one side into one-
eighth of an inch, and, on the other, to quarter-inch Spaces by
horizontal saw cuts. A thin brass wire with tags at each end is

stretched from bar to bar and held in corresponding slots by the

grip of each hand, and the taut wire is then pushed through the
'

,
,
, ,
,96
 SLAB BUILT POTS
mass of clay with the ends of the two bars kept firmly down on
the table-top or board. The bulk of the clay can then be moved
to a fresh position, leaving single slices to dry, or the wire may
be moved up one space after each cut, in this way making a pile
of slices which will remain damp for a considerable time.
Slices so cut are u-sually scored by the track of some coarse
grain of sand or grog dragged through the mass by the wire.
It is very easy to smooth the surfaces with the flat of a large
blade, such as a carving knife, or with the edge of a wooden
board. This also helps to compress the ciay, but it often happens
that the granulated slice, as cut, makes a preferable surface
texture for the pot. The way to cut the slices up into pieces
best
of accurate size and shape is to make templates of paper, card-
board, linoleum or wood, and lay them on the clay and cut
round them in outline. These pieces must be kept very carefully
at a uniform degree of green hardness. The surfaces which are

to be joined are first scored,and then basted with thick slip.

The Thin strips of
pieces are then firmly pressed into position.
soft clay are next pressed into the interior angles and pressed

smooth with a sponge or piece of leather. Finally, the c/ay

//«««’ is used for trimming and chamfering external edges and
angles. " ^

Tz/es
Tiles thin and even enough to satisfy the requirements of
mason and architect are not easy to make by hand, Ordinary
commercial tiles are usually made of very uninteresting clay,
but fireclay tiles of good texture can be obtained from the
Stourbridge firms at a low cost. The main difficulty in tile-

making hj th& wet process to avoid warping. The industrial

method is to stamp tiles out of damp clay powder under heavy
pressure. The apparatus is expensive, and the monotonous
work unsuitable for the small scale potter. The following

,
* See p. III.
G 07
 THE MAKING OF CLAY SHAPES
simple methods can be recommended for school use and for
experimental production. They also come in very useful in
making bats and kiln shelves.
The clay can either be compressed into a wooden or plaster
mould for each separate tile, or a larger rectangular slice of
clay, made on the same principle, may be subdivided by cut-

ting. The first method is simpler for very small quantities, but

the latter is probably the best for studio and school use. With
slight variations it is that described by C. F. Binns in The
Potter's Crafty New York, 1922. A tray is made by attaching to
the four sides of a perfectly level and rectangular board strips of
wood which rise above its surface the exact height of the damp
They are marked at intervals with slight notches corres-
tile.

ponding to the size of the raw tile. Presuming that twelve 4 by 4

inch tiles, of an approximate thickness of half an inch are to be
made at once, and that an allowance of 10 per cent, for total
contraction of the clay during drying and firing is sufficient,

then the board would need to be I3|- by I7f inches in size, and
the ledges M of att inch high.^
The tray is dampened and evenly dusted with a coating of
fine grog, quartz or sand, and then a ball of clay is rolled out
with a rolling pin to fill the framework completely, and any
excess of day is struck off cleanly with a straight-edge from the
centre outwards. At this stage various textures can be imparted
to what will be the face of the tiles by brushing, combing, slip-
ping, dusting with grog or sand, or smoothing with a long
The whole rectangle of clay can then be cut into
flexible blade.

four squaresby three squares each measuring 4|f by 4^ inches.

The cutting should be done with a thin firm blade held verti-
cally against the side of a ruler, but the point of the knife
should not penetrate quite as deep as the wooden board. The
reason for this is that a slight attachment of tile to tile will pre-

i
To save constant calculations it is convenient to make a special
ruler for each clay with a different rate of contraction. The marks on
it should represent actual inches and fractions ijIus the contraction.

98^
 TILES
vent warping. It is best to dry the tiles slowly, in their mould, at
an angle of 45 degrees until the clay reaches the consistency of
stiff leather. At that poiht the whole sheet may be reversed on to
another board and gently broken up into its component sections
each of which should be trimmed with the clay plane. If warp-
ing still persists, powdered quartz or flint should be added to the
clay mixture, or if a less porous tile is required feldspai', or
Cornish stone, may be used instead. The backs of the tiles can
either be stamped with seals to form a key, or square headed
hob nails (which would automatically leave their impress on the
backs of the tiles) may be driven into the face of the tray at
proper intervals. By using a sharply incised plaster bat, instead
of wood, to form the bottom of the tray raised patterns may be
imprinted on the clay. Tiles with stamped patterns of this kind
are best made singly. Clays used for tile-making must be refrac-
tory. Fireclay reinforced by at least one-third of its own weight

— —
of fine to medium grog raku clay, in fact is suitable for high
temperatures. At lower temperatures proportionately less heat-
resistant clays may be used if they are stiffened with sand or
grog. Textures will be largely determined by the screen through
which the grog or sand has been passed. Between 20- and
40-mesh is most suitable. Colour can be deepened by the
addition of red clay, or slips can be applied to the tiles either,
before or after biscuiting. The thinner the tile the greater its

inclination to warp, on the other hand tiles which are much

more than f of an inch thick are heavy for transport. In stone-
ware firing tve have found half an inch sufficient for tiles up to
five inches even when they are packed back to back and on

edge.:
The drying of tiles needs to be carefully watched. No strong
heat should be employed, and draughts ought to be avoided, so
as to give the clay every chance to contract slowly and equally.
The tiles ought to be reversed on their flat boards several times
duringthe process. :
 THE MAKING OF CLAY SFIAPES
Seals
A note may be added here on what is often the last treatment
of the clay before it is allowed to dry, namely, the marking of the
pots with the name or sign of the designer or pottery. This is

sometimes done by scratching on the bottom of the ware in

ordinary hand-writing. This is unpleasant to anyone familiar
with the discreet treatment of the exposed clay foot of Oriental
pots. The alternatives are to stamp the bottoms with a small
seal made of biscuited clay or of wood, or to paint a signature in
underglaze colour. Many of the old painted signs had a delight-
ful decorative and calligraphic quality which is lacking in our
own day. If any mark is to be used to indicate the potter’s
identity, for those who are unable to recognize him by his style,

a simple well cut seal yields an impression which suits bare clay
and adds to the finesse of this hidden but important part of a
pot (See p. 226).
49- Japanese Stoneware Dish made at Seto (in the possession of
the author.) The lovely willow pattern in brown and blue was
probably painted by a child as was the custom in the 1 8th and
19th centuries. The blemishes are due to the method of packing
described.
so. Stoneware Bowl by Kenkichi Tomimoto, First
individual Japanese potter.

5 Japanese Stoneware Dish made at Seto, 1 8th or

1
.

19th century. The loose peasant pattern may be con-

trasted with the nervous energy and individuality
of Tomimoto’s brushwork.
 Chapter V

DECORATION

Ihe word ‘pattern’ really means original motif in the sense of

exemplar, and not its repetition, or copy, but we have come to
use the word loosely for applied design in general.
Patterns may be described as concepts of decoration reduced
to their utmost simplicity and significance. They are analogous
to melodies in music and proverbs in literature. Their signifi-

cance enhanced by directness of personal statement and de-

is

tracted from by mechanical reproduction, for in such repro-

ductions continuous vital interpretation is lacking, however
good the original. That is why well painted pots have a beauty
of expression greater than pottery decorated with engraved
transfers, stencils, or rubber stamps.

Hand-made pottery
Hand-made pottery —Chinese of Han or T’ang times,

Mexican or Medieval English—decorated by various sta,mping

processes, may surpass painted pottery of good periods in
formal beauty, But such reproduction is conceived iri the
simplest terms of material and technique, and is carried out by
hand with an allowance for irregularity which is human and
not mechanical. A pattern may be symmetric or asymmetric,
naturalistic, stylized or abstract. The Chinese of the Sung
period, still more their artistic descendants the Japanese,
and
asymmetry in their decoration, whereas we in the
inclined to
West have in the main shown a preference for symmetry in-
lOI
 DECORATION
herited largely from Greece and Rome. It is not a question of
one approach being better than the other, or of a strict limita-

tion of either to East or West, but of an increased richness ob-

tainable by a fusion of the two. In pots especially, regularity of
form seems to call for an irregular element in decoration, and an
antithesis widens the range of expression. Furthermore, pattern
in general and asymmetric pattern in particular, from practical
as well as aesthetic reasons, should be stated with the greatest
brevity and certitude. This must not be taken to suggest a
mechanical perfection of touch, because the swiftness of really
good brushwork on pots is full of nervous energy and irregular-
ity of touch.
It is a rare thing to find good new patterns; but it is not so
long ago that they were being produced in conformity with
tradition by able but now forgotten craftsmen and artisans of
the people. Such craftsmen hardly exist to-day, for the function
of the artisan has passed into the hands of a few conscious
artists who rarely attain to a like simplicity of heart. The pro-
blem of producing vital pattern is a very real one to the artist-
craftsman. He can no longer depend upon the support and re-
straint of any particular tradition but must form his own syn-
thesis and invent his own creative designs, for pattern should
rise out of the need and experience of to-day and not from that
of yesterday.
The most fertile and vigorous maker of patterns in Japan is
Tomimoto, and when he and I first tried to produce our own
decorative motifs twenty-five years ago, we used to go out to
nature looking for simple forms in birds, clouds, leaves or
flowers which could be seized upon with a few swift lines con-
ceived as brushwork, inlay, slip-trail, or sgraffito. The brevity
of the impression and its statement insured some measure of
translation as well as simplification. Even so oiir drawings were
often too laboured and had to be modified for each individual
pot. What we sought to capture from nature was some small but
significarit portion ofthe beauty we had seen; but Only when it
102 ,
 PATTERN
no longer imitated the external object and acquired an irre-
ducible related form of its own did either of us feel that we had
begun to discover a way towards making living patterns. One
may almost go so far as to say that it is that element in the

pattern which is unlike the natural object which gives it

piquancy and a deeper verisimilitude. Imitative realism can

only have a confusing effect on the decoration of pots, and when
it is carried to the extent of three dimensional representation
the results are almost invariably bad, for the pot itself provides
the third dimension.
Although many primitive patterns look as if they were com-
pletely abstract, it is nevertheless true that most of these tradi-
tional patterns have a descriptive, literary or symbolic origin,
Constant repetition of the same pattern mver long periods of
time results, moreover, in the gradual loss of representational
103 4
 DECORATION
abstract rhythms
elements and the substitution of increasingly
which are often more beautiful and more suitable to iheir pur-
when staying with Mr. Hamada, I had a
pose. Two years ago,
in actual process.
unique opportunity of observing this change

Swallow pattern tile by the author

old woman
rhe srnall potter^s town of Mashiko there lives an
named Minagawa, who is the last traditional painter in that
she has
part of Japan. 'Wholly uneducatedL and quite illiterate,
command, which she paints on tea-
some thirty patterns at her
pots with dog's hair brushes of her own making with an incred-
single day she is
ible speed and light dryness of touch. In a ,

Capable of decorating a thousand pots, and lives happily

on
what would be in England an excessively low wage. In modern
Japan, unfortunately, there is little demand for
work of this

kind, and it will not be long before it disappears,

 PATTERN
In working with her it became apparent that she was quite
unconscious of the merit of the designs she painted, and her
knowledge of the original subject matter of the patterns she
used was limited to their traditional names, such as ‘best land-

scape’ or ‘second-best bamboo and peony’. What she did know

was, from what sort of dog and what part of the dog to clip the
hair for the brushes, what the consistency of her pigments
should be, and how to hold the teapots so that the flow of

strokes should be as rhythmic and rapid as possible. Once she

paused in her work and said, ‘Oh, it is a long time since I

painted this pattern, I remember how my father painted it

can’t

on the other side, I’m only an old country woman, you are
educated, you’d better paint it instead of me.’ In the East many
if not most of the beautiful patterns on old pots were executed

by simple people well trained by practice and even by children.^

The contention of the Japanese critic Soyetsu Yanagi is that in
comparison with such painting the work of trained artists is
sophisticated, and that craftsmen of to-day need to recover a
state where there is no strain between intuition, reason, and
action.
'

In addition to patterns w'hich are obviously derived from

nature, abstract designs also have from the very beginning been
used in pottery decoration. The preceding paragraphs illus-
trate one of the many ways in which they have come into being.
Potters and other craftsmen have always been attracted by
symbols and geometric patterns as well, and frequently com-
bined Ahem. Many Chinese characters provide excellent
examples, such as the early and late forms for mountain and
sun:

1 See Plates 49, 51. 55-

105
 DECORATION

o or the more definite pattern which

denotes the dual principle of ‘Ying’
and ‘Yang’, positive and negative, or
the smallest coin in China, the cash,

!=;
Sun,
which is

signifying
may say,
a square within a
man’s construction
the city) set foursquare with-
in the circle of the universe.
Broadly speaking, there are two approaches
making, objective and subjective; the one immediate and the
circle,

(one

o
to pattern

other the result of the slow assimilative process in the subcon-

scious mind.
It cannot be said that either method is ‘best’, for naturalism

and abstraction counterbalance one another, and throughout

the ages patterns of beauty have emerged from every point
between them. Naturalism is rooted in our direct reaction to
physical life, abstraction in our capacity for comparing and
generalizing. The former may deteriorate into slavish imitation

of nature, the latter into uninspired mechanism. Nevertheless a

pot starts by being an abstract shape, and consequently any
pattern applied to its surface calls for formal emphasis in order
to attain unity with it. The personal or human touch which
vitalizes the fusion of these two approaches I have attempted to
deal with in the chapter on standards.
During the last quarter of a century geometric form and
pattern have invaded every branch of European art with the
force of a revolution, but it must not be forgotten that primitive
and Mohammedan art are saturated with geometric concepts.
The difference between such art and ours is one of development
and accent. Primitive and Eastern pattern is two-dimensional
and free-hand, ours is three-dimensional and' more mechanical.
Sense of form in the West has evolved to a stage iri which free
play is given to geometric abstractions of a predominantly in-
tellectual order. In so far as this is a reflection of mechanized
 PATTERN
materialism in modern life it offers the potter and all hand-
craftsmen a coldly forbidding background for their work. But,
as I have already pointed out in another connection, our civil-
ization differs from all those which have preceded it in that we
are the first to have the opportunity of drawing inspiration from
the cultures of the whole world and of all epochs. There is some
justification therefore for the hope that our growing apprecia-
tion of beauty as expressed by primitive and Eastern artists and
craftsmen will as time passes counteract the aridity of extreme
intellectualization.

DECORATIVE TREATMENT OF RAW CLAY

The methods of decoration were derived from the
earliest

processes employed in making pots. The impress of basket

moulds, for example, led to the imitation of woven patterns.
Roughly fashioned tools of bone, wood or stone were used to
give these repeated impressions. The actions of beating, indent-
ing, embossing, modelling and scraping were all employed in
shaping the pot, and was only one step forward to use the
it

same processes for purely decorative ends. A round jar can be

beaten with a wooden bat till it has as many flattened sides as
one wishes. Vertical indentations may be made with the square
edge of the same tool and the angles can be softened by a
wet hand or leather. Sponges are much used to-day for this

purpose. :

Scraping or turning is now done with iron or steel imple-

ments, but formerly pieces of flat stone, like slate, were used,
and also wood such as bamboo and, strangely enough, pine
with the outer bark removed. In the chapter on shaping pots
illustrations are given showing steel and iron scraping tools.
Bamboo is excellent. It ought to be from 2 to 4 inches in dia-
meter, and the wall thickness J to J inch. The hard outer skin is
always retained as the cutting edge. When bamboo is very old
107
 1

DECORATION
and dry it becomes brittle, but I have had many pieces in use
for over ten years. The kind used for making gramophone
needles is just right for potter’s tools. A convenient source of
supply in England would probably be a large nurseryman.

Applied ornament
Clay luted to the pot as soon as the latter is hard enough to
handle may be treated in a variety of ways. Prepared in rolls,

pats, strips, or thin cakes, it can be twisted, notched, combed,

stamped, or smeared. The Cantonese potters who turn out the
large oval bath-tubs of the Far East work with a bunch of tools on
a chatelaine at their waists, catchinguponeoranotherwith which
to perform these operations with incomparable freedom and
dexterity. Medieval English slipware, although rougher, shows
qualities of restraint and sense of plastic material and form which
brings it closer to this kind of Chinese work than to any other.

Graving
As smoother clays came into use, men began to grave pots
more skilfully with various pointed tools. A sharp point leaves
an unpleasantly furrowed line in soft
clay, so the Chinese and

Koreans used chisel-headed bamboo implements and fine

combs. With these they cut the most crisp and airy patterns
which have ever been put on pots. The curves full and free yet
restrained. Our best penmanship is tight by comparison, for the
Chinese have several different highly developed free running
hands to which Western script has no counterpart.

, Fluting -

The fluting sometimes to be seen on Sung bowls was done^

with a thin piece of metal toothed in the manner shown, and
used like a carpenter’s plane.

r See Plates 26, 34. ® See Plates 2> 36.

108
 glaze.
dynasty.

galena

Ching

Hard

tub.

bath
rolled.

and
Cantonese

combed

large

cut,

a
on
freely

decoration

pattern,

of

Detail Applied-clay

52.
 Stoneware Bowl, Tz’ou Chou. Sung Dyn-
Apart from the good form and
asty or possibly later.
well-proportioned foot the simplification of a fish to a
dozen brush strokes and scoring is remarkably direct.
54. Korean Stoneware, Pot of the Ri Dynasty. Brushed
white slip ('hakeme’) under a powerful pattern in iron.
 DECORATIVE TREATMENT OF RAW CLAY
Stamping and Inlay
Pots from very early times were stamped with seals, These
can be carved in half-dried clay and afterwards biscuited, or be
made of metal, or plaster of Paris, or close grained wood. The
stamp should be impressed as soon as the pot is firm to the
touch. Thin pieces of soft clay can also be stamped wdth a

Bamhoo grauin^ iools Fluiin^ Tool

design and applied with slip to the pot. The Wedgwood factory
has long been known for very delicate work of this sort. A neat
steel tool is used both for pressing the material into the mould
and for lifting it out again by the adhesion of the damp clay to
the blade. A freer, more artistic use of such seal patterns is to
be found on many German grey-beards or bellarmines.^ Seal
marks, whether positive or negative, can either be left to be
more or less filled up with glaze, or they may first be washed
over with a thin coating of pigment which flows into the
1 See Plate 25. ,

109
 DECORATION
depressions, and emphasizes the pattern. The impressions ob-
tained by pressing the seals directly into the wall of the pot are
used as a basis for inlay. Thick slip of a different colour from
the body is basted well into the hollows and allowed to dry to

Steel toolfor embossed clay transfers

the same consistency as the clay wall, and after that the surface
is pared down with a shaving tool or blade until the pattern is

sharply and flatly exposed. A non-plastic material such as

china clay, quartz or grog should be added to a slip used for
inlay to counteract unequal shrinkage. Korean potters of the
Korai dynasty used this technique with great delicacy and
charm, inlaying a white and a black slip and then covering the
body with a delicate celadon glaze.

Engraved rollers
which are also of great antiquity, can be very
biscuited clay with a thick wire handle at-
tached. By their use pro-
jecting ridges or applied
rolls of clay may be rapidly
impressed with repeat or
running patterns as the
pot revolves on a wheeh
The edges of old English
combed oven-ware dishes,
were notched by this
Incised rollers means. '

Cut facets
Another method of decorating half dried pots is that of cut
surfaces. This is done usually on prominent curves with a blade
 DECORATIVE TREATMENT OF RAW CLAY
like that of a table knife, or with a small wooden jack-plane the
aperture of which is about twice as wide as that used for wood-

Clatf plat

work. In throwing it is best to leave the walls thicker where

they are to be cut, and for large surfaces it is necessary to beat
the pot roughly into shape first (See Plates 47 and 48).

Slip Treatment
Slipping and glazing are so similar that reference should be
made to the chapter on glazes to amplify what is said here.
The simplest way of using slip is to dip the pot in it, either by
holding it by its foot and immersing itin the liquid, lip down-
ward, or by holding and steadying it from within and pressing
it down until the slip rises to the lip. In either case the residue is
wiped off with a sponge. It takes some practice to judge if a pot

is quite horizontal (as it should be) when it is inverted and par-

tially dipped, for a slanting line is very disturbing to the eye. A

defective first dip may be corrected, by a second, but this means
a thicker coat of slipmay not be desirable. Also, if the
which
pot is a thin one, it may absorb too much moisture and go out of
shape^ the colour may become too pronounced, or the slip scale
off when dry. The Japanese sometimes lightly dip the side of a

rounded pot and the resulting oval patch is subsequently

painted and called a ‘window picture',’' Sometimes one-half of
a dish or bowl is dipped. In the sixteenth century a patch of

1 See Colour Block C.

Pit
 DECORATION
glaze was applied to the front
of otherwise unglazed pitchers
in the same manner by English
potters.

It should be remembered that

slips, especially white slips, are
partially dissolved by a well melted
glaze, consequently any variation
in thickness becomes much more
pronounced after firing. The same
thing happens with pigments. A
deliberate use may be made of this
characteristic; for example, a pot
with a rim on the neck which holds
the slip may, after dipping, be
quickly returned to a vertical
position so that the excess of slip
will run down in doubly thick
trickles. One slip can be run
over another with a jug or trailer,
but this requires greater con-
trol.

Slip Trailing
The most convenient type of slip
trailer is a rubber bulb fitted with
cork into which one or more
quills are inserted. The old potters
a clay vessel with a narrow
neck and an opening or spout on
one side. They controlled the flow;
of slip With the mouth dr thumb.
This tool Was used With great
freedom by the English peasant potters of the seventeenth and
eighteenth centuries. Besides the large plates which are known
 DECORATIVE TREATMENT OF RAW CLAY
by the family name of TofD, various sorts of oven dishes,
decorated with patterns in trailed or combed slip, were in
common use all over the country until about the middle of the
nineteenth century.® The designs were usually in white on black
under a transparent amber glaze. Jugs, jars, posset pots, tygs,

beakers, salts, and a curious variety of ornamental pieces were

also decorated by such methods in little country potteries
scattered all over England. Even as far west as Cornwall,
according to local traditions, there were no less than sixteen
potteries at one time or another in the Duchy. The last of these
is still producing fine Cornish pitchers at Truro. They are
stronger in form and better in colour than the productions of
any other of the surviving peasant potteries in England.
When a trailer is used, the consistency of the slips is im-
portant, particularly when one is trailed over another while still

wet, for unless they sink into one another to forth a level surface
the pot cannot be successfully joggled and combed. The slips
must be well sieved, and it is sometimes useful to add a small
quantity of gum tragacanth to ensure adherence, and to make
sure of a treacly quality in their flow. Slips must be thicker for
trailing than for dipping. The simple, loose patterns suitable for
trailing should be thoroughly learned before the slip is applied,

for there is not much time for pausing once the operation has
begun. It is better to wipe out a misdirected effort with a
Sponge and start afresh rather than to attempt retouching. All
fine and intricate lines are to be avoided and the design should
be translated into terms of spacing, easy speed, and pressure on
the bulb of the trailer.

Feather Combing
Combing is generally done on flat slices of clay, which are
afterwards pressed on a convex mould into the shape of a plate

» See Plate 19.

* See Colour Block B.
H ”3 L.P.B.
 DECORATION
or shallow bowl. The slices of clay are laid on round boards and
the foundation slip is poured over them and drained off. After
a few minutes, but before the wetness of their surfaces begins to
dim, another slip is trailed across in close parallel lines, then the
boards are bumped down on a hard surface. This has the effect
of making the superimposed lines spread, but the two slips

will The slip below being more liquid, especially if it

not mix.
contains much iron oxide, floats to the surface in a hair line
unobtainable by any other means. Then a quill, which has been
sharpened to a long fine point is drawn lightly across the pat-

makes no line itself but drags one slip out into the other
tern. It

with a delicacy only comparable to that of the markings on

some sea shells. Sometimes it was drawn rapidly backwards
and forwards giving an effect of alternate brackets.^ Combing
can be applied to thrown pots too, but as may be imagined, it

requires considerable dexterity.

Marbling
When one or more slips have been unsuccessfully trailed over
a wet background, for which black is the most suitable because
of its stronger adherence to the body, it is sometimes a good
plan to try for a marbled effect by and twist-
violently shaking
ing the board upon which the clay rests. The slips then run into
each other and produce most unexpected and occasionally
interesting patterns.® Another method which the old potters
sometimes used with success, was to slip the inside of a bowl
and then release successive drops of another slip oh the rim;
these ran down the inside and were then coiled by circular
tilting in a spiral at the bottom of the bowl. But iri all such

processes, which depend to a considerable extent upon chance,

one niust use one’s judgment as to whether the effect obtained
has aesthetic merit or merely exhibits dexterity .

* See Plate ao.

* See Plate 44.
114
55 ' English Marbled Slipware Dish. i8th or 19th
centuries,
S6. Earthenware Dish made at .Samarkand in the
9th
or loth centuries. Red and black pigment on a cream base.
57 - Japanese Stoneware Dish made at Seto, i8th or igth centuries.
‘Horse-eye’ pattern.
58. Modern Korean stoneware Kitchen Pot; finger-combed glaze.
A good example of the healthy beauty of common things made by
-

ordinary artisans.
 DECORATIVE TREATMENT OF RAW CLAY

Slip Combing
A coating of wet slip may be combed with a rubber or
wooden implement with rounded teeth which are more or less

widely spaced. The combing is done

either free-hand, or more regularly
Comh
on a slowly revolving wheel, a few
minutes after the application of the
slip. Pattern is almost necessarily
limited to a simple up-and-down
movement, variety being obtained
by the width and spacing of the teeth
and the length of the wave, and
alterations of the angle at which the

Wood 0t lealher
Slip Brushing
Liquid clay is not a very suitable medium for brushwork
because the colouring matter in it is liable to vanish in the glost
firing. If, however, it is laid on thick, certain good effects can be
obtained. The most notable in the East are the coarse brushings
of white slip called hakeme^ on early Korean pots as well as on

Hakeme* slip brush

bowls made from the fifteenth to the seventeenth century by

Koreans in Karatsu, Japan. These were done with a miniature
garden broom made of the grain ends of rice straw. The uncon-
scious beauty of theKorean work has always been deeply felt
by Japanese connoisseurs, but Japanese potters have rarely, if
ever, been able to equal it. Gur European technique, called

^ See Plate 54.

Il.'i
 DECORATION
pate sur pate, which is a sort of brush-built modelling developed
in France in comparatively recent times, is a very different thing.
It would be difficult to find a better example of what should not

be done with day.

Stencils
Stencils, cut out of paper or thin sheets of pliant metal, may
be pressed against the surface of a pot and pigment brushed or
dabbed over them. Positive or negative paper patterns may also
be stuck to the damp surface of a raw pot, which is then dipped
into slip; the paper is subsequently removed.^ Sung potters not
only employed this device, but even occasionally used the green
leaves of plants for the purpose. It is a method, however, which
easily lends itself to meretricious effects, but this entirely de-
pends upon the person who employs it. As stencil printing is in

flat tone with a slight emphasis on the borders where pigment

accumulates it is advisable to keep the patterns simple and
large, and diversify them if need be by other treatment such as
graving or sealing.

Rubber Stamps '

Using a pad saturated with a mixture of finely ground pig-

ment and water, and a siccative if need be, rubber stamps inay
be charged with colour and applied to biscuit ware in the same
way as letters are postmarked. Ordinarily such stamps are made
of non-absorbent indianrbber, and for this reason the pattern is
best limited to comparatively thin lines. But during the last few
years the Japanese have made extensive use of fine sponge-
rubber, which they cut to any pattern with astonishing skill.

The consequences of this ‘improvement’ have been disastrous,

because hand-painted pottery has almost disappeared from the
Japanese market. The new patterns are sometimes the same as
the old, and through a shop-window it is difficult to tell one
 author.

the

By

away.

cut

pattern

the

with

Bowl

Glazed

‘Tenmoku’
 DECORATIVE TREATMENT OF RAW CLAY
from the other. A
closer examination, however, discloses tlie
method, and in conjunction with cruder colours, vulgar pat-
terns, and mechanized shapes and finish, the effect is deplor-
able. But there is no inherent reason why this kind of stamp

should not be employed in a straightforward way for pattern

and colour.

Engraved and Washed Biscuit

Upon a fine soft-biscuited porcelain body it is quite easy to
engrave lines with a steel point. It is very much easier than
making a dry point etching on a copper plate, which first

brought the idea to my mind. After the design has been drawn
a good diluted blue pigment can be lightly washed over the
whole with a broad flat brush. The colour lies thicker in the
lines,and the plain surfaces may be wiped almost clean with a
sponge. Several darker tones of blue may then be added if
required. Finally, light lines can be cut through any of these
layers of colour. This treatment lends itself to delicate as well as
*
freepattern.

BRUSHWGRK
The use of the brush is in itself a wide subject, especially to
anyone who has lived in countries where a hair point takes the
place of metal implements for writing. Our Western use of
the brush is comparatively limited, not; so much from lack of
skill as; from ignorance of the range of brush-drawn line open
to Oriental peoples who seriously regard their lettering as a
means of the highest artistic expression, Compared with the
flexibility of a brush, a stilus, a graver or a pen only allows
play in one dimension. We are accustomed to pushing, prod.-
ding and scratching, but not to the feather-weight touch of
soft bru.shes. If to-day we knew something about the craftsman-^
ship of our own writing it would provide us with a reasonable
..iry
 DECORATION
point of departure for the investigation of a more highly deve-
loped art, but very few of us do, and a suspicion arises that there
may be something the matter with a people who have become
and yet have lost the skill of the pen. Artists, in so far as
literate

they are artists, have perceptions which transcend training,

Forflahm$hes

for Jain

dry BSiiaa
Japanese brushes

hence the many draughtsmen we have produced whose touch

was instinctively good.For this reason Japanese who are
familiar with Western art, and they form a considerable pro-
portion of the educated classes, are not slow to recognize the
greatness of a Rembrandt by his pen drawings. It is too much
to hope that many Europeans Will arrive at a corresponding
appreciation of Oriental calligraphy, but the knowledge of Far
Eastern painting is spreading and there can be no better intro-
duction to it than that provided by the brushwork on .Sung and
Yuan pots.
118
 <• >* HIH

64. Stoneware Bowl, rust on oatmeal. Staite

Murray, individual English potter.
65. Sung Tz’ou Chou Bottle. Oxidized stone-
ware, brown bn cream. This was the great period
of Chinese brushwork on pots.
 BRUSHWORK
The brushes used in the Far East differ from ours in certain
important particulars. They are usually made of several dif-

ferent kinds of hair, such as cat, badger, deer, and dog, scrupu-
lously selected by hand and even by the tongue. The hairs are
all perfect, is to say, they are chosen from such parts of the
that
animal, e.g. the back of the neck and the top of the tail, where
there is least friction, for there the hairs have grown to fine
tapering points. Needless to say, they are never trimmed. The
longer hai'der hairs are placed in the centre to provide a springy
core, and around these, other softer kinds of hair are gathered.
A brush made in this way will give fine as well as broad lines.
The more or less upright
resilience of the core necessitates a
action of the brush and definite stroke production, in order that
the painting may have what is called ‘bones’, or, in other words,
structural character. The brush is mounted in a long bamboo
stem and is held well away from the point, and the painter’s or
writer's action is more from the elbow than from the wrist.
The kind of brush described above is by no means the only
type used in the Orient, but with it and a few flat brushes for
washes, and short round ones for dabs, all the painting which
studio pots require may be done.
The brushwork in Europe on pottery was done by the
best
Moors in Spain.The Moors derived their tradition from the
lustre painting on tin enamel of Persia, S)n'ia and Eygpt, which
reached its climax at Rhages in the thirteenth century. Chinese
pottery and porcelain had already been exported to Persia in
the seventh century, but after the conquest of China by Genghis
and Kublai Ehan in the thirteenth century the ceramic inter-
change between the Near and Far East became very marked.
Mohammedan culture extended from Valencia to Peking, and
it is not surprising that occasional pieces of Spanish or other
Mediterranean wares should remind one of early Chinese work.
Despite the imposition of a Mohammedan style of intricate
arabesque and geometric backgrounds, the breadth and vigour
of the heraldic brushwork, especially on the backs of the large

119 \
 DECORATION
Hispano Moresque dishes, is astonishing. The touch of the
brush is both broad and keen, and in its contrasts of thick and

thin line is reminiscent of that on the painted wares of the Sung

dynasty. By contrast, Italian majolica is generally weak, ornate
and North of
closely allied to third-rate Renaissance painting.
the Alps a homely bourgeois intimacy preserved the Delft tile
painters from neo-classic weakness. In the attempts, moreover,
to copy Chinese blue-and-white porcelain, the Delft potters
learned a great deal about Chinese brushwork, and often
applied their knowledge successfully. Frequent reference is
made by writers on ceramics to the difficulty of painting on the
porous and friable surface of tin enamel; but it may be pointed
out that this only had a deterrent effect upon niggling painters
and was on the contrary a spur to the free use of the brush on
the absorbent surface of either soft biscuit or raw enamel. In
some of their simpler polychrome Delft plates and drug pots
the Dutch potters, and occasionally those of Bristol and Lam-
beth, achieved a great charm of colour and pattern. The white
tin-glazed sack and claret bottles made at Lambeth in the
seventeenth century are good and at the same time genuinely
English in character.
With the following century industrialization began in Eng-
land, and gradually swept across Europe, step by step displac-
ing the hand by mechanical power. Small potteries continue
here and there on the Continent to carry on the ancient tradi-
tion, but the patterns even more than the shapes have lost their
vitality. The decoration used in factories is largely in pverglaze
enamels, diluted with oil instead of water to suit non-absorbent
surfaces. It seldom rises to a higher level than the charm of
detailed prettiness, while the underglaze painting Was soon
largely replaced by was a pre-photo-
transfer printing. This
graphic age in which the graver was laboriously employed for
reproducing pictures for many of which it was eminently un-
suitable. Its invasion of the surface of pots by means of fac-
simile prints from engraved copper plates in potter’s colours
120

.’r" '^•'Mfl
 BRUSH WORK
saw not only the death of free pattern painting, but was also a
further stage in the division of labour, which, however neces-
sary for mass-production, has destroyed the unity of conception
and execution in the completed article. That certain dignified
effects were occasionally obtained by transfer printing, despite

this handicap, must be attributed more to the designer on

,
paper and the engraver than to the potter. The differences
between the Spode willow pattern and the brush painting in
blue on the Chinese porcelain, from which it was derived,
illustrate both these points.
As orthodox Oriental calligraphy and brushwork are ob-
viously beyond our capacity, the most practical advice which
can be offered to an Occidental student is to obtain some good
brushes^ and learn from steady practice what they will naturally
do, and so to acquire a limited range of free stroke production.
In this study, thoughtful observation of what the Chinese,
Persian or Spanish potter did with a large fully charged brush
should provide the best background. Brushes deserve and
repay respectful treatment. They should be washed after use,
and carefully pointed, before they are put away. Moths have a
great liking for the hair, so when brushes are not in use they
should be rolled up in paper with some naphtha powder or
camphor.
When painting, it is advisable to hold a pot at some distance
from the eyes, and to grasp the brush well away from the point,
in order to see the work as a whole and paint with freedom.
Gainsborough’s outburst to a lady who was examining one of
his paintings through a lorgnette, comes aptly to mind.
‘Madam,’ he is reported to have said, ‘my paintings are made
to be looked at, not smelt,'

If the curvature; of freely thrown pots is analysed it will be

found that it is usually divided up by natural emphasis iritd
See the list of materials at the end of the book.
 DEj:ORATION
constructive movements. Potters of all countries have been in-
clined to add fiirther emphasis to these slight but life-giving
angles by banding. This horizontal spacing of the areas of a pot
with circles gives a unity between decoration and form, but no
hard-and-fast rule can be laid down because the mood in which
a pot is conceived must be given preference to any formalism.
The bands are made with a brush held steadily at a slightly
oblique angle to the spinning movement of the wheel. Circles
can be made either freely or with mechanical precision. Free
banding is never seen on industrial pots, indeed would be out
it

of place upon such precise forms, but freely thrown pots call
for a spontaneous touch. This is nowhere better illustrated

than on the T’zu Chow bottles of the Sung and Yuan eras,

where the contrast of thick and thin line is most alive.

Pattern Painting
Patterns, whether used in conjunction with banding or with-
out it, fall into several categories, such as single, repeated, and
all-over, any of which may be symmetric or asymmetric,
naturalistic or abstract, or used in one or another combination,
A series of drawings of a simple shape, treated in different
ways, may give a visual impression, and suggest the endless
variety of decoration which can be used on the same form.
The last four types have already been dealt with, and with
regard to the first three, single, repeated, or all-over, it need
only be said that although the shape of a pot may be suggested
by a decorative motif, the more natural process is to conceive a
pot for a definite purpose and then consider: what pattern, if
anyi will give it an added beauty. The beginner will be well
advised to explore the possibilities of bands, dots, natural brush
strokes and the simplest wave movements as a foundation for
abstract design on pots.

122
66. Greek Earthenware Bowl, 19th century. Dull orange
and manganese brown on a cream slip. The affinity between
these pots is too strong to be overlooked. The shape of this
modern Greek bowl is pure Sung and the brushwork speaks
for itself (see page 119).
67. Chinese Stoneware J ar of the Sung Dynasty. Tz’ou Chou
'Ware. White slip painted with iron pigment, oxidized firing.
 DECORATION

TOUCH
If it is true that nothing betrays a man more than his hand-
writing, this is doubly true of brushwork. In the flow of the soft
point his real character is revealed. Decision or hesitation,
sensibility or dullness, breadth or narrowness, tenderness or
sentimentality, are all nakedly exposed. Why then, since at best
it would only seem to be a disguise, should a student struggle to
develop a technique of brushwork? The real value of such a
training, however, is not to acquire technique as an end in itself,

but as a means to an end. The only risk is that of losing sight of

our objective; the gain, and it is one which we instinctively feel,

lies in finding a way out of our weakness as the brush reveals it

to us. The degree to which artists and craftsmen are able to

endure the visual evidence of their actual selves, when it is

brought home to them by their own hands, depends largely

upon the depth of their love of beauty. The value of a living
tradition is that it makes this kind of training more accessible to
those who are capable of acquiring it.
I possess a set of a dozen volumes of Chinese exercises in
brushwork which have been used for centuries as the basis for
the training of painters. The books commence with simple
stroke production, wet or dry, fast or slow, representing, for
example, leaves according to tree, age, or season^ From the
single leaf, in some sixty arbitrary conventions, it proceeds to
sprays, branches, whole trees, combinations of trees, complete
landscapes with waterfalls, mountains, valleys, overhanging
rocks, and a sage’s hut with the poet himself rpeditating unob-
trusively. The book is in fact an impersonal epitome of what the
Chinese consider to be good brushwork. A dignified formal
treatise by the aid of which the budding Chinese artist can
gather together, under the guidance of a masterj a store of
classic subject-matter and sound technique, and with which, if
he lias personality, he can approach nature for original inspira-
124
 TOUCH
tion. Almost all Chinese painting which we admire, including
that on pots, derives from the solid foundation of brush writing
and this subsequent training.

Some Chinese brush-work leaf conventions

Without masters to set standards, schools in which to acquire

them, and a public with which to keep in living contact through
its own experience of good craftsmanship, no more can be done
I2S
 DECORATION
than indicate where the best traditions flourished, and how they
worked, and leave it to the individual to pick up what he can
for himself.
The use of engraved ti-ansfers and the aerograph I shall not
touch upon as they hardly concern hand-made pottery. Wax
resist and glaze on glaze decoration I have already described in
the chapter on gla2es.
 authoiS,

the

of

glaze glaze

possession

clear clear

dip of of
the

(in ‘Kaki’ coat

coat

potter last final

a
a a
under
and
and

individual

but

brushing
brushing
glaze

Japanese

iron
clear iron

over
magnetic
magnetic

Hamada,

pattern

glaze,
resist,

Shoji

resist

clear
by wax

wax

slip, glaze,
Tea-bowls

ochre

clear

Centre,

Stoneware

Three

70.
71- Tall Oxidized Sic
pattern painted over tl
 Chapter VI

PIGMENTS AND GLAZES

Pimitive man employed a variety of ferruginous clays and

powdered rocks for decorating pots long before the art of
glazing was developed. Some of them were slips and others
were pigments- but there is no sharp line of division between the
two. Slips, or engobes, are clays modified by small proportions
of oxides, natural or introduced, and pigments are predomin-
antly metal oxides.^ At low and medium temperatures fluxing
agents such as lead and borax cause pigments to adhere to the
clay beneath them and to combine satisfactorily with the glaze
over them. Silica, added to oxides beyond the proportionrequired
by the fluxes, acts as a stiffener preventing the pigment from flow-
ing, whilst china and other clays, tin and zinc oxides opacify and
dilute the colour. In the East it is unusual to add fluxes to tinder-
glaze stoneware pigments because at 1 2 50° C, and over, iron, man-
ganese, copper and cobalt fuse sufficiently with clay and glaze.
Clays, slips, pigments and glazes are all subject to the pre-
vailing atmosphere of a kiln but as soon as the glaze commences
to melt the surfaces beneath are sealed against any further
alterations of colour, therefore it is extremely important to con-
trol oxidation or reduction, as the case may be, for some con-
siderable time before that point is; reached. When reduced
effects are intended it is advisable to employ metal compounds
which contain less oxygen—ferrous and cuprous oxides, for
example, instead of ferric and cupric—and in certain cases ® it

’ The preparation, of slips is described in the chapter on

? See page izg.
 ^

PIGMENTS AND GLAZES

is helpful to add carbon to the pigment or glaze to assist local
reduction. The I'eciprocal action of fluxes and metal oxides on
one another is varied and potter’s pigments cannot be indis-
criminately mixed like paints. The effect of one ingredient upon
another can only be learned slowly from experience. The
greater the heat of a glost firing the more limited the palette.
Metals with low melting points tend to volatilize, and iron, the

most useful of all, will not provide the potter with a warm red
for hard fired wares at much over 1000° C. Oxides are generally
employed in the form of chemically refined and well ground
powders, but in the East, natural or partially prepared oxides
or metallic compounds are commonly used in traditional
potteries, and a good deal of washing, calcining and grinding

is done by the potters themselves and they are able, as a conse-

quence, to make use of any inherent impurities.

This fact accounts for greater irregularity and at the same
time a charm of broken colour and texture which is foreign to
an industrialized technique. The magnetic iron pigment, for
example, used by Hamada for stoneware is a crushed rock,
only slightly ground, which when brushed on a pot dries with a
brown sandy surface. The granules are fluxed by the melting of
the glaze but the impurities in them form various chemical
reactions in an atmosphere which alternates between oxidation
and reduction and produce the broken colour referred to above.
Colours used for delicate brushwork require long and fine
grinding, such red iron peroxide or colcothar, employed as
an overglaze enamel, and the impure cobalt oxide, with which
Chinese, Korean and Japanese porcelains were painted from
the fourteenth to the latter half of the nineteenth centuryd

j I Imported cobalt: then began to tabe its place, a change, now

.

almost complete, which is responsible for the harsh and brilliant blues
of modern Oriental porcelain. It may appear strange and unfortunate
to ns tha^ the Chinese and Japanese should abandon the use of their
beautiful native colours, -but the explanation is to be found partly in
the reliability, cheapness and strength of European oxides, but more
iu: the general unconsciousness of abstract beauty which prevails
amongst Eastern craftsinen,'
128
 PIGMENTS
In some Japanese potteries one may still find an old woman
constantly employed grinding Chinese cobalt with a pestle and
mortar whilst she reads or talks to the workers. Pattern painters
have told me that hand-ground pigments are more sympathetic
for fine brushwork than mechanically ground colours of an equal
fineness. In looking for the cause I came to the conclusion that
the irregular movement of the pestle held by the hand pro-
duced a greater variety of minute particles of colour, and in
later years it was interesting to discover from English colour
manufacturers a scientific corroboration for this theory. This
gosu, or earthy cobalt, is found in certain river beds in China as
a dark olive pebble, called by us d^bolite, which shows on
spectroscopic examination the presence of no less than seven-
teen other elements besides lo to 30 per cent, of cobalt. The
most important impurity is manganese. No ordinary mixing of
iron, nickel, manganese and European cobalt will give the same

underglaze blue on a porcelain body, and in order to make a

synthetic substitute it is necessary to combine the precipitates of
these metals. To dilute for painting on porcelain strong tea
is used instead of water.
Various shades of blue may be obtained by mixing oxides of
iron, manganese and zinc with black cobalt. Zinc makes a
bright blue, iron gives a brownish or greenish hue according to
the degree of oxidation or reduction, and manganese introduces
a violet note. Tin oxide and clays, particularly china clay, dilute
and opacify the colour.
Coppergreen can only be produced in an oxidizing atmosphere.
Green copper carbonate is employed for this purpose in Japan.
An underglaze red copper pigment in reduction by Mr
Kawai is composed of:

Black copper oxide 60

Zinc oxide 28 -1-
10 per cent, barium oxide
Tin oxide 3 to intensify the red.
Hard carboniferous ash 9,
I 129 t.P.B.
 ^

PIGMENTS AND GLAZES

He uses rice straw ash for which wheat straw or husk is an
equivalent. The particles of carbon contained in it assist local

reduction.
Greens may also be prepared from chrome oxide, but although
stable at high temperatures they are inclined to be heavy and to
show an unpleasant yellowish fringe.
At St. Ives we make a dark brown pigment by adding two
parts of white slip to spangled or magnetic iron oxide.
Pigments are occasionally used over instead of under viscous
stoneware glazes, but in order to avoid rough metallic effects
some flux should be added to them. I have found for example
that our magnetic iron pigment with about 2 5 per cent, of glaze
added to it will give a silvery metallic quality when reduced and
a red rust when oxidized.
As an alternative to coloured slips or glazes underglaze pig-
ments or stains may be applied to biscuit ware by a soft broad
brush, or by dipping, spraying, etc., but as it is more difficult to

obtain an even coating in this way such treatment is best

reserved for deliberate effects of broken colour.
For a fuller and more scientific treatment of the subject of
pottery colours the reader is referred to the chapter on decora-
tion in Emile Bourry’s standard work, A Treatise on Ceramic
Industries translated by Alfred B. Searle. Scott Greenwood &
Son, 1926.

KENZAN RAKU PIGMENTS

Black Chinese cobalt 67IT0
67YT0 replace
reolace TManganese oxide 40
White lead yj-Chinese Black iron oxide 30
Frit zdjcobalt Black cobalt oxide 20
Calcined ochre lo
White China clay 40’
Thefritin each case is thcsame
White lead i

40
Frit
’
as that described for raku
10
glaze. ^ ^ ‘

Quartz
:

I0_

tjo
 5

KENZAN RAKU PIGMENTS

’
Jied Biscuited ochre 62
The ochre should be a light
Bright red iron oxide 8
brick red after biscuiting at
White lead 1
700° C. Grind thoroughly.
Frit 1

Green Copper carbonate 19 Brown Black pigment 50

White lead 26 Red pigment 50
Frit 48
Quartz 7
Yellow Antimony oxide Blue Smalt 25
White lead 32 f Whitelead
Frit 64 Frit 37I
Red iron oxide I

Smalt at the time of the first Kenzan was a powdered blue

glass containing impurities which might be imitated to-day by
adding lo per cent, of powdered sherds and i per cent, to 5 per
cent, of iron oxide to modern smalt.

GLAZES
As clothes are to the human body so are glazes to pots. Both
serve practical ends, both should enhance inherent beauty of
form. The covering of clay shapes with glazes, or glasses (for a
glaze consists of, or resembles, glass), makes them smoother to
the touch, cleaner and more varied in colour and texture, and in
the case of pottery fired at a low temperature, more impervious
to fluids. Thus the potter has kept pace with the general increase
of knowledge of the art of living, or culture. Higher tempera-
tures give more durability and less porosity, and ultimately we
arrive at white translucent porcelain. When that stage has been
reached there is little more scope for the inventive energy of
potters than to pass over in review the whole technical and
aesthetic evolution of ceramics^ selectively, as we have begun
:
to do.. :

15^ ...
 PIGMENTS AND GLAZES
That the clay vessels made by 23rimitivc peoples were not
glazed suggests a parallel to their own familiarity with nudity,

nor does seem inappropriate that they should have had the
it

greatest feeling for naked clay forms. With our multiplicity of

clothing we have become sophisticated and ashamed of our
bodies, and, in a manner no less apposite have completely
covered our pots with glazes. The beauty of clay is forgotten,

and still more that exquisite relationship between clay and

glaze which is to be seen at its best in classic Oriental pottery.

In our commercial wares we have sacrificed the finer aesthetic

utilities to and cheapness. Bone china is
quantity, uniformity
fired in such a way that the glaze must be thin and uncrackled,
thereby fundamentally restricting the opportunities for beauty,
for it eliminates the possibility of textures and qualities of glaze
as shown in the glazes of the Chinese, and confines improve-
ment to form and pattern.
Here, however, it is our intention to deal with the preparation
and use of glazes which can by their nature yield depth and
play of colour, and richness and variety of unforced texture. But
first I should like to amplify a little further the question of the
relation of glazed and unglazed surfaces in a pot.
The late Mr Joseph Burton was convinced that this charac-

teristic of Sung pottery and Japanese ‘Tea wares’ was due to

ignorance, and that with our greater scientific knowledge such
treatment of glaze and body could only be regarded as an
affectation. Whilst agreeing that the mere imitation of the Sung
manner would be an on the part of the
insincerity modern
potter, I know that there body of informed
is a considerable
opinion in the West, as well as in the East, which warmly
appreciates this turning of a necessity into a virtue, and is not
at all impressed by the fact that it was at one time found ex-
pedient when using a thick flowing glaze to cover only half or
two-thirds of the body, because of the danger of the glaze
running down and causing the pot to adhere to its kiln support.
Another aspect of this practice, and not the least important, is

132
 GLAZES
the pleasure which some of us, besides Orientals, obtain from
the happy contrast between glazed and unglazed surfaces, as
expressed for example in the poetic description ‘purple lip and
iron foot’ given by Chinese scholars to certain Lung Ch’uan
celadons. A faint magenta tinge, due to the greater exposure of
the reduced iron-bearing clay, is apt to show where the glaze
runs thin on the edge of bowls, etc., and the ‘iron foot’ is caused
by the oxidizing action of the final stoking of the kiln on the
same unprotected unglazed ferruginous clay, flashing it to a
red rust.^
Glazes and pigments vary in their character according to the
temperature at which the glaze matures, and the ingredients of
which they are made, and as I am giving the results of my own
experience in this book I am therefore describing such as are
used in:

‘Raku' (a soft J apanese faience) fired at about 50° C.

7
Oriental Enamels „ 7 So°~ 850° C.
English lead-glazed Slipware ,, ,,
900°-! lOo'’ C.
Salt-glaze Stonewa^-e „ ,,
i220°-i28o‘’ C.
Oriental Stoneware ,, ,, i250®-i3So‘’ C.
Oriental Porcelain „ „ 1 300°-! 3 50° C.

But before turning to these in detail, it will be best to state

some of the general principles upon which glazes are based.
This is the more important for the reason that the usual modern
approach is from chemical theory, whereas mine is mainly
derived from the practical experience embodied in tradition,
verified, and sometimes varied, by my own practice.

The essential element in a glaze is the fluxing agent: the sub-

stance, be it lead/ borax, soda, salt, limestone, magnesia or
wood ash, which causes the other ingredients to melt or flow. It

might be considered by way of analogy as the life blood of the

glaze. In contrast to it is the hard, heat-resisting silica, generally

* It will usually be found that where this takes place a very thin

coating of volatilized salt accompanies the discoloration.

 PIGMENTS AND GLAZES
in the form of flint or quartz, which also plays an essential role

in all glazes. This may be called the bone of the glaze. To these
two a third element, analogous to the flesh of a glaze, may be
added, but as it is not always present (in salt-glaze, for example)
and is obtained from more varied and complex substances, such
as frits, feldspar, tin oxide and clay, it cannot be adequately
described in a brief statement. To it is due the fatness, depth
and subdued brilliance of glazes which one feels instinctively

have most quality.

During the lastwe have suffered fi'om far too many
century
ingenious attempts to make pottery look like anything but what
it honestly is; even metal, glass and wood have been imitated.

Besides this, during the same period the industrialization of pot

making has involved such a heightened degree of standardiza-
tion of material that it is now no longer the universal practice
for potters to know their glaze materials and to make their own
glazes. It is even difficult to-day to make the old glazes, because

the simpler, cruder and more natural materials have given

place to others which although chemically purer, are at the same
time devitalized. From the standpoint of character standardiza-
tion is inevitably deadening. If the reader will bear in mind
what I have already said on the subject of cobalt he will find it

is not an isolated case, for the same principle nms through most
of our commercial practice, and is inherent in all mechanical
processes. Quantity may necessitate standardization but not
false standards of beauty,: and in the trade it is not only the
necessities of large output which rule but false Conceptions of
beauty. As far as glazes ai-e concerned, part of the trouble is a

what constitutes character of material. At the

forgetfulness of
moment in other trades besides pottery this is being increasingly
felt, both here and on the Continent, but as a nile a certain
lugubrious element in English taste makes our decorative
efforts look dull beside the French for example. When we
think of the and nauseating obviousness of the ‘broken
artificial

colours’ of trade fireplace tiles, in which rutile plays the part

134
 GLAZES
which open firing and less purified ingredients used to do, we
can only turn with relief to plain commercial glazes. But even if
we compare the plain glazes on our table-wares with the most
straightforward and rather similar glazes of the Ting ware of
the Sung dynasty, ^ or the porcelain glazes of the Ming period,
what a profound difference there is! The one is dead, the other
alive.

This ‘life’ due in large measure to the

in the old glazes is
presence of. elements in raw material which the old potters
the
either did not know how, or did not desire, to eliminate. The
most common was a small percentage of iron, which in the Ting
wares produces a creamy colour, and in Ming porcelain a
greenish tinge. If they had removed this' and other 'impurities’,
as we call them, at least half the vitality and charm of the glazes
would have vanished. And curiously enough, if we to-day,
usually because we cannot buy our raw materials unrefined,
artificially try to return to glazes their variable or inherent
characteristics (for nature is never stereotyped), the results are
not the same, they look precisely what they are, self-conscious.
I do not say that it is impossible, with, greater subtlety of per-
ception, so to obtain moderately good results, but I do urge a
return to nature if only to learn greater humility.
In the East stoneware glazes in particular were, and are still,

composed of stones, ashes and clays, ground, washed, and

sieved only just as much as is necessary from both a practical
and aesthetic point of view. What.we have done is to dissociate
these two approaches, w:hat we are: now attempting is their
'

reintegration.
Shoji Hamada once gave me the following brief summai-y of
the evolution of Oriental glazes: In .China during the later Han
dynasty, A.I). I to 250, Taoist alchemists, .corresponding to our
alchemists of the twelfth to fifteenth centuries, experimented
with many materials with the object of prolonging life. Lead
was called by them kobo, or ‘mother of ore’, aiad its various
' See Plate i.

135
 PIGMENTS AND GLAZES
properties studied. Copper had long been used in connection
with tin in the manufacture of the more important articles of a
bronze age. Thus the stage was set for the coming of a Persian^
who brought the knowledge of how to combine lead oxide with
copper oxide and silicaXsand) to form a glaze at low tempera-
tures for cheap clay vessels based on earlier bronze forms, and
thus to popularize them.® From this developed the clear and
coloured lead glazes which we find upon some of the T’ang
dynasty tomb figurines.
These lead, borax, or soda glazes thus seem to have ori-

ginated in the Near East and not in China. It is probable that

their discovery was due to the observation of the fluxing of sand

and borax in connection with metal work in early Egypt, at

least 7,500 years ago.

The stages between these soft glazes, melting between

750° and 1000° C., and the earliest examples of Chinese trans-
lucent porcelain, not later than A.D. 650, still remain somewhat
of a mystery. We in the West were content with low temperature
right up to the fifteenth century when the Germans began to
make salt-glazed stoneware (Plate 25). However, we can be fair-
ly certain thatit was their observation of the glazing effect of

wood upon the walls of kilns and furnaces which led the
ashts
Chinese with their great commonsense and adaptability to draw
conclusions and see the advantages of a harder and less porous
kind of pottery. .
:

According to Hamada, the earliest stoneware glazes ^ete

brown, and composed of either a single natural stone or clay or
a mixture of one or the other of these with a small quantity of

A Hamada told me of Chinese documentary records of the advent

of this Persian. 'But Beginnings of Pomlainin C/w»a (Chicago,
,1917), .Berthold Laufer gives ample evidence of the importation of
cakes of glass frit, called fiw iK, from Cambodia, Annam and India,
between a, n. 200 and 300, If is: recorded that this liw if was mixed
with carbonate pf soda to make the low temperature glaze. It is
interesting to note that the same word liw ii is still used to signify
glass in China and a certain blue glaze in Japan.
A|5 ee Plates 33 and 37. '
Stoneware Tea-Bowl by Shoji Hamada, 1938.
Admirable form, pattern and colour, executed
with complete freedom. This is an example of
‘window pattern’, the bowl having been dipped
sideways in white slip to give a white patch for
the painting. The growth of the pattern from the
exposed foot of sandy pinkish clay to the thick
glaze on the lip may be specially noted.
 EARLY STONEWARE GLAZES
wood ash.^ In most Japanese traditional countryside potteries
to-day the commonest stoneware glazes are of this variety. At
the small town of Mashiko where Hamada has lived and
worked for the last fifteen years the local building stone, simply
ground and levigated, gives an excellent rust-red glaze {kaki).
By the addition of lo per cent, of medium wood ash it becomes
the rich black glaze called tenmoku.^
The earliest Chinese stoneware glazes, of which there are
good examples at the Victoria and Albert and British Museums
are transparent olive. These I have myself reproduced by mix-
ing a siliceous buff clay with 40 per cent, of oak ash, and I have

often observed a similar formation of glaze on saggars and kiln

walls, all of which bears out the above theory in regard to the

origin of Chinese stoneware glazes.

From this original brown glaze of the later Han period,
during the succeeding T’ang era, stoneware glazes developed
into two and a dark, the former made of whitish
types, a light
clays or ground stone combined with wood ashes, and the latter
of clays and stones containing a fair proportion of iron, to which
their darker colour is due.
In all this early stoneware, of whichever type, iron is the main
source of colour, its proportions varying from as little as i|- per
cent, in the lighter celadons to 20 per cent, in the darker glazes.
This iron is inherent in one or more of the natural materials as
what we call an impurity; and although the production of true
porcelain as early as the seventh century would seem to indicate
an advanced knowledge of potter’s minerals, especially if we
consider the struggles of European ceramic chemists such as
Bottger and in more recent times Seger, Lam inclined to believe
as a result of my experience of Eastern crafts and craftsmen that
whatever knowledge they had was almost wholly based on un-
1 Shoji Hamada and Kanjiro Kawai were the first Japanese to

investigate scientifically the earlier: Chinese glazes and to reproduce

them at the Municipal School of Pottery,: Kyoto, between 1917 and
rgeo.
:
2 ,See Plates 41, 46, 49.
 FIGMENTS AND GLAZES
written oral tradition, itself the outcome of innumerable first-

hand experiments of generations of men living very close to

nature and very far from laboratory theory.
My own master, Kenzan, was often quite puzzled by my
questions concerning the principles underlying procedure and
technique and retreated behind a barrage of frowns, and re-
luctant replies, such as, ‘That is the way my master did it,’ ‘If

you do so and so, as I tell you, the result will be this and that.’

He was quite unable to explain the theory of oxidation and

reduction, so that consequently for several years I, as a very
amateur chemist, imagined myself to be on the verge of an
important scientific discovery in regard to the smoky firing of
celadons! On the other hand, some knowledge of the part
played by oxidation (or clear burning) and reduction (or smoky
firing) is essential to even the most elementary understanding of
Oriental glazes. It is less important in Europe because by far the
greater number of our wares are fired as a matter of course in a
clear burning flame. A familiar example of an oxidizing flame
is that of an ordinary oil lamp, in which the supply of oxygen
entering through the air-holes is sufficient to allow of more or
less complete combustion. If, however, a hand is placed over the
air-holes the flame immediately becomes smoky, and. the same
effect is seen if something is put partly over the chimney. The
smoky flame is called a ‘reducing’ flame.
The effect of these two kinds of flame upon the metallic
colouring agents in both clays and glazes is opposite, the dear
or oxidized flame causes the oxide of the metal to give the
resulting colour, and the smoky or reducing flame causes the
metal itself to colour the glaze. ^ In the case of iron and copper
the results will be browns and greens under oxidation, and
greys and reds under reduction. Iron oxides vary from dark

That is, when subjected to an oxidizing flame the atoms of oxygen

I
;; r6toain:combined with the metal, but when exposed to a reducing
.flame they are more .strongly attracted by tlie floating particles of
carbon (the smoke resulting from incomplete combustion) and leave
s.v ihe raetal to unite wxth them,
•
'

13S
 KILN ATMOSPHERE
brown to brick red; the metal itself is bluish-grey. Oxidized
copper is green, the metal red. And so on with other metals,
although some of them do not behave in quite such a simple
way. •

Without access of air, fuel will not burn. Charcoal and coke
are made by cutting off the air supply to a minimum. A choked
fire of wood or coal burns badly and smokily. Plenty of air

means plenty of oxygen and the conversion of the metallic

elements in a clay or glaze to an oxide; on the other hand, a
flame without sufficient air supply causes the oxides of metals
present to ‘reduce’ to their pure or approximately pure state.
The only other flame used in a pottery kiln is neutral, or alter-
nating between the two extremes. All three are of fundamental
importance to potters.
The fact that a clay containing iron turns grey when reduced,
before the glaze over it has melted, should be borne in mind
when considering celadons and Far Eastern porcelain. I believe
the Chinese recognize some seventy varieties of celadon alone,
and they are all more or less dependent upon the percentage of
iron in the clay as well as in the glaze for their colour. This
family of glazes is usually transparent.
Of course the categories of celadon and other glazes have
been made by Chinese literati and collectors, as well as by poT

ters, and consequently fanciful names have come to be given to

certain effects, in total ignorance of the real facts. Identical
glazes are differently classed not only because of the different
kiln effects of oxidation and reduction, but even on the basis of
pure accidents of firing. The resulting confusion has sometimes
led to pi-olonged arguments amongst connoisseurs, which afford
mere potters considerable amusement.
As it is quite practicable to employ glazes which give satis-

factoiy results whether fired in an' oxidizing or a reducing

chamber, and as Chinese, Korean and Japanese potters have
always done so, the seventy celadons may come down to half
the number of actually different glazes,
,139
 PIGMENTS AND GLAZES
At what point of Xxmc petun'se, that is to say, feldspar, Cor-

nish stone, or china stone, which are our nearest equivalents,

was discovered by Chinese potters is unknown, but as early as
the seventh century a substance must have been found which
could be used as a half melting translucent vehicle in both clay
and glaze. Indeed, there are in Japan and China natural felds-
pathic rocks which alone will make the body of a true porcelain
if sufficiently ground and levigated. At all events the subsequent
development of Chinese, Korean and Japanese porcelains are
all based on such a discovery. For the dark family of stoneware

china stone is not so necessary,, and I doubt if it was used in

either their bodies or glazes until later times. In glazes it gives

a slow melting fatness of quality, but it should be noted also
that in a porcellaneous body, its effect is to heighten the bril-

liance of the dark iron colours considerably. This I do not

necessarily admire myself and regard the sterner and austerer
bodies and glazes as nobler than these suave lustrous effects
which appeal to a heightened sophistication.
A reference to the chapter on clay (p. 43) will make still

clearer the great significance of the discovery of primaries.

It meant knowledge of the source of clays in their mOther-rock,
granite, and the properties under high temperatures of china
clay feldspar, Cornish qx china stone and related first stage
,

derivatives of granite. Again I must emphasize that this was

not scientific knowledge, but the outcome of repeated experi-
ments, and with it the capacity to control and enlarge the range
of colour grew. To iron were added copper, cobalt and man-
ganese, besides most of the other oxides used by us. The im-
portant thing to remember is that quality is largely: dependent
upon the presence of naturally combined impurities in the raw
materials of glazes. That the potter’s attitude to his materials,
and, I might add, to the technique, should be as delicate and
respectful as a good gardener’s to his plants, and that he should
work with and not againstnatufe, is no less to be emphasized.
Thus when we look at stoneware and porcelain glazes we should
140
 GLAZES
expect the qualities of reinelted stones. The character of Eng-
lish slipware glaze is that of lead glass tempered with common
red clay, and here we may expect warm and homely effects. In
salt-glaze stoneware we must be prepared for what inevitably
takes place, namely, the vaporization of the salt. The chlorine
escapes as a gas and the volatilized soda attacks the siliceous
particlesand forms a glaze which has a texture resembling that
of orange peel, and one reason why the old German^ and Ful-
ham bellarmines are so much pleasanter to both sight and touch
than modern ginger beer bottles is because the latter are made
of an over-refined siliceous clay with which the salt combines to
form a thin dull uniform surface. The very kiln blemishes of the
old greybeards are full of interest and character, and the crude
but economic method of packing the bottles in contact with one
another not only resulted in dents and scars but was also an
encouragement to the flames of an open wood firing, i.e. with-

out saggars, to produce mottling and variations of colour which

are among the most pleasing features of pottery of this type.
In soft raku earthenware, although the flux is lead, the char-
acter of the glaze is determined by the boracic frit, for the

crystalline opacity of this ingredient clouds and veils the

otherwise hard and full bodied colours which lie beneath it in a
peculiarly attractive way, and softens the excessive brilliance of
the glaze (See Plate 2 1).
The same is true of Far Eastern enamels into which the same
frit also enters. These are generally applied to hard-paste por-
celain glazes, so that there is no question of the overglaze
melting into the underglaze, as in Chelsea or other soft-paste

I
porcelains.®Here again the Chinese make a virtue of necessity
i
and preserve the marks of handcraft not only by showing the
technique frankly for what it is, but also by keeping to a limited
range of carefully selected colours and true stylization of pat-
tern instead of making the overglaze decoration as much like

* See Plate 25.

“ See Colour Block D.

I
 PIGMENTS AND GLAZES
miniature oil painting as possible. Once when examining some
portraits painted in enamels on blue china plaques at the Royal
Worcester Works, was astonished that only a very careful
I

examination revealed them to be miniatures not in oils but in

enamels. The skill and technical mastery required can be
imagined when we remember not only that potter’s raw pig-
ments are quite different in colour before and after firing, but
that many of them require quite different temperatures in the
muffle. What labour lost for the love of bad art!
Probably the best achievement in the West since the splendid
free brushwork in lustres on the early Hispano-Moresque dishes

is to be found in the precise copper-plate pot-hooks and flour-

ishes and bandings in plain gold on various nineteenth-century

wares. The most charming and gay Chelsea pieces or cottage
frivolities in lustred Toby jugs can never be taken as seriously
as the best Chinese enamels. I do not mean those late and well-
behaved and over-decorated Chinese Court vases of the Ching
dynasty but the earlier Ming export wares which can still be
found in Japan and the Malay Straits.

GLAZE-MAKING AND APPLICATION

Glazes are prepared for use either by sieving or grinding {pt
both) and mixing with water, and in some cases adding a sic-
cative^ or a suspender, such as a small quantity of ammonia. The
thickness of the liquid varies considerably according to the in-
gredients, as well as with its adaptation to the porosity of ffle bis-
cuit or raw ware, and the final result aimed at. The degree of
fineness of the particles is also determined by the effect required .

In stoneware glazes, for example, it is sometimes advisable to

retain coarser grains of ash to obtain yariation of colbuf . But,
generally speaking, sieves of between loo- and 200-mesh, i.e.
with too to 200 holes to the straight inch in the bronze lawn,

^Seep. 151.
‘

142
 GLAZE-MAKING AND APPLICATION
will suffice. It is better to have the different ingredients sieved
separately, and when possible kept in stock dry, because if they
are sieved together it is almost impossible to tell wffiich of them
fail to pass through the meshes and therefore difficult to com-
pensate for their loss. Both for effective action and to preserve
them from injury sieves ought not to be shaken or jogged ver-
tically, but horizontally, as the vertical motion is apt to damage
the lawn. The quickest way to go about it is to let a thin stream
of water play fairly hard on the glaze materials and to tap the
wooden side of the sieve with a padded bat; the mixture can be
allowed to remain in the tub overnight and surplus water
^
siphoned off next day .

Some glazes require to be ground finer than others and this

should be done in pot mills, but small quantities can be pre-

Air i
LiquU-i
Platt halls i

clamped top with

rubber washer

rollers

Ball mill

pared with a on a ground glass slab, or more

flat glass pestle

laboriously for larger quantities in an ordinary porcelain

mortar.'';, ,

The prepared glazes should be in hard-wood barrels of

convenient size. I have found it economical to use old beer or

1 The simplest way to do this is to fill a short length of rubber pipe

with water, pinch both ends tight and place one in the liquid to the
required depth, the other end must then be suspended over the edge
of the tub and when it is at a lower level than the first it may be
released.
i43';T'
 PIGMENTS AND GLAZES
cyder barrels called ‘stinkers’, which are usually obtainable
from a breweiy or cyder-mill at the modest cost of 5s. each for
the nine imperial gallon, or firkin, size.
The glaze barrels should be provided with
wooden covers to keep out dust, etc., and
should also be carefully marked with oil
paint. The hoops can be painted to pre-
vent rust and breakage. Nothing is more
vexatious than to discover a tub of glaze
or pigment which has not been used for
some time and to be unable to know what
it is because someone has neglected to

label it.

A very useful and simple tool for keep-

ing glazes from settling as they are being
used is here illustrated. The right con-
sistency can be recorded by a gauge.
Glazes and slips contain roughly 50 per
cent, of water, whereas clay ready for
throwing has about 30 per cent, of free
water in it.
There are several methods of applying
glazes. The oldest in England is un-
doubtedly that of the medieval and mon-
astic potters of putting fine dry lead ore
(galena) into a bag of loosely woven stuff
and dusting the half dry clay shapes with
Cit'cula.r
it. This would account for the thin patches.
end, <tmiw
;
Skill and care are required iin the
Japanese glaze glazing glaze) w:hich
:
inixer is usually composed of non-contracting :

materials , should scale off when the pot shrinks in drying, or

handles and spouts cdmeoff as aresult of the resoftening due to
the absorption of too much water from the glaze: If these
troubles can be obviated by the addition to the glaze of plastic,

144
 GLAZE-MAKING AND APPLICATION
contracting clay, thus turning the glaze into a slip glaze, the
gain in time and money through the consequent avoidance of
biscuit firing is a great advantage. Moreover, there are certain
decorative processes which can only be used with raw glazes.
I refer in particular to the dignified practice of graving and
cutting away the black lustrous tenmoku of the Chinese potters
of the T’ang and Sung eras.^
With sandy bodies it is generally better to allow a short
interval to passbetween glazing the inside and the outside of
raw pots in order to give the water a little chance to dry out,
otherwise the over-softened pot may collapse. When, on the
other hand, the clay of which a slipware pot is made is close
textured and leathery it is best to glaze inside and out at once.
It is advisable to wet thin handles with "water a minute or two
before dipping or otherwise there is a danger of their cracking
under the pressure of the sudden expansion caused by absorb-
ing moisture, or a handle can be covered with damp rags while
the rest of the pot gets dry enough for glazing. In any case their
natural tendency is to dry before the rest of the pot. Some clays
will stand immersion in a glaze when they are quite dry, and
this is particularly true of hard porcelain bodies.

Glazes are applied by dipping, double dipping, pouring,

spraying, painting, dripping, splashing and trailing. For each

of these methods there an appropriate technique which can

is

be properly acquired only by observation and practice. I use

double dipping whenever I can grip the pot by the foot suffi-
' See Plate 49.
K L.P.B.
145 i v ;
.
 PIGMENTS AND GLAZES
ciently firmly. The drawing on page 14s will show how it is done
better than words. By this method, which is much used in the
Far East, the inside and outside of a pot are glazed with one
movement. I possess a raw-glazed Sung pot with the finger

marks of the old Chinese potter still showing in the glaze where
he gripped it with three fingers and thumb in dipping.
Single dipping of biscuit is easier: First the interior is swilled

out with glaze and the edge wiped clean, and then the pot is

gripped by the foot and immersed to the level which the potter
thinks suitable. He usually holds the reversed pot at an angle
after taking it out of the glaze tub, so that the excess of glaze
back into the tub; the last
drips off neatly at the lowest point
congealing drop he wipes away. Sometimes the whole wet lip
is lightly touched down on a wet cotton pad.
Eastern potters either from speed or preference, or both com-
bined, are in the habit of leaving uncorrected irregularities
which are pleasantly characteristic of the dipping process. Their
eyes are more open to the aesthetic value of unpremeditated but
decorative effects, such as a happy irregular dip line on a
Japanese tea-bowl, or a trail of thicker glaze on one side just
stopping short of the foot in a heavy drop. In the East itself this

taking advantage of accidents, especially amongst the later

followers of the cult of Tea in Japan often becomes an affecta-
tion, but this can rarely be said either of the Chinese or the
Koreans, of whom the former at least were so firmly tied to the
realities of life that they had little time for aestheticizing and
were never divorced from the strong national current of uncon-
'

scious art.
If the pot is to be entirely covered and the foot needs cleaning
off afterwards, this is best done with a wet cloth or sponge at
once. With raw pots the reverse holds true because of the diffi-

culty of handling the resoftened clay. When the glaze is quite

dry it can be removed with an old toothbrush. A further method
of preventing the glaze from adhering is to paint the part in
question with wax resist. Awkward shapes which offer the hand
146
 GLAZE-MAKING AND APPLICATION
no convenient grip are best treated in this way, more particu-
larly when they are to be covered with thick stoneware glazes.
With thin glazes pots may be fully immersed and the finger
marks rapidly touched up before the surface dries.
If the first coat of glaze on a biscuited pot is too thin it is best
to re-dip it as soon as the surface has gone matt, later applica-
tion of a fresh coat tends to scale off. Another glaze can be put
over the first in this way, partially or completely; and patterns
can be scratched through, exposing the underglaze. Or one
glaze can be trailed over another with the same instrument that
is used in slip trailing. When glazes are brushed, or splashed,
poured, spattered, or sprayed on after a first dipping, it is safer to
mix some siccative with them. Such methods are more suitable
for slow melting glazes, rather than for quick melting lead
glazes. Pouring speaks for itself and applies mainly to large
pots and others that are awkward to dip.
Underglaze decoration generally requires an even thickness
of glaze over and any irregularities should be shaved down
it,

with a blade and gently rubbed smooth. Pin-holes in the glaze

should also be stopped up. Again, most glazes have to be con-
stantly stirred whilst in use, as certain of their heavier elements,
such as silica, tend to settle very rapidly. If this trouble becomes
serious a glaze suspender should be added to the mixture.
The spraying process is largely used in commercial potteries,
but in spite of its ease of application it is too mechanical in its
 PIGMENTS AND GLAZES
effects andcannot be recommended to hander aftsmen
it

except for applying a tinge of colour to the side or shoulder of

a pot or in order to use up a batch of glaze too small for dip-

ping.
Another method of decoration is the use of paper stencils
between glazes.* A simple pattern is cut through, say, a dozen
folded sheets of thin absorbent
paper (Japanese paper is par-
good for the purpose),
ticularly

and one or more of these are

applied to the first coat of glaze
with a wet brush and then the
pot is re-dipped. Presently the
paper can be removed from the
pot together with the super-
imposed glaze that covers it,

exposing the underglaze in a

neat flat pattern. On raw ware
sgrafif to lines or decoration can
be added.
Another and similar process
Method of heating wax is that of wax resist. Here, in-
for resist painting stead of paper, hot liquid para-
ffin wax (candle) may be used

freely with a brush, either on the raw or biscuited body, or over

a first glaze. The wax is best thinned with paraffin oil (wax 3
parts, oil I part), as this enables one to paint on glaze or on ratV
clay, to which the plain melted wax will not adhere. When the
pot is dipped, or re-dipped, the glaze runs off the waxed surface
as it dries. a delightful method
This is for free brushwork much
used by Shoji Hamada.^
Naturally,; all these devices can be put to good or bad use;
nothing that I can say will ensure the former, but at least the
" See Chap. VIII, p, 229.
* See Plate 58.

148
 LEAD AND BORAX GLAZES
need for restraint and for under- in preference to over-state-

ment may be emphasized.

LEAD AND BORAX GLAZES

At this point I who want to make
should advise students
practical use of this book to turn to the list of raw materials on
p. 260 and refresh their memories about them and their char-
acteristics under heat.

The clear raku glase handed down from the original Ogata
Kenzan to my master w'as composed of:

White lead 61
Frit 18

Impure silica {Boshu Zuna,

Maturing temperature,
a buff coloured siliceous
oxidized, 750° C.
sand from the Boshu Pen-
Dry weights.
insula)

The lead by itself will not form a glaze but causes both glaze
and pigments to flow, if in excess. Th& jrit alone will yield a
thick milky glaze. The silica by itself does not melt, but in
combination with the lead turns into a lustrous translucent
glaze.
It will be readily understood that the percentages of these
ingredients can be considerably varied according to taste within
their natural limits of fusibility one with another. What these

limits are cannot be simply stated, and the student must be

prepai-ed to learn to know his material through experience and
to make repeated trials in order to gain freedom within the
range of practicability. He needs to be systematic in this, and
my advice to him is always to record such glaze experiments in
percentages to combine his ingredients by dry weight.

When I began collecting old recipes in Japan I was constantly

baffled by the fact that some measures were wet, so many
149
 .

PIGMENTS AND GLAZES

bucketfuls of slip to such and such a dry weight of something
else. The who wrote them knew what they meant, but
potters
their formulae were only of general use to me because I could
not do more than guess roughly the water content of their slips,

etc. Again, it was some time before I realized the importance of

converting their totals to percentages, in order to find a means

of relating one glaze or one experiment to the others.
In adapting Kenzan’s .raku glaze to English requirements I

have found it possible to use red lead and litharge instead of

white lead. The red lead is rather more fusible than the other
forms.^
The composition of a raku glaze which I used for some time
here in England as a substitute for the J apanese was:

White lead 66
Quartz 30
China clay 4

In place of quartz, ground freshwater builder's sand, not too

red, can be used to obtain variety.

I have also varied this recipe by substituting for some -of the
lead 10 per cent, to 20 per cent, of finely crushed and well ground
flint glass or an English lead and borax frit melting at 900° C.
The china clay gives opacity but insufficient bulk.
These glaze ingredients should all pass through a sieve of I JO-
mesh, and the frit and quartz should be thoroughly ground.
Kenzan made a transparent bright apple green glaze by
adding to the ordinary glaze 16 per cent, of well tvashed and
ground copper carbonate. Low temperature green glazes, how-
ever, should be used with great discretion, for it is only too easy

1 The danger of lead poisoning from the occasional

use of a lead
glaze, particularly by the dipping process, is very slight. I have never
heard of a case except in factories, where the lead is in continual
use and in a powder form is breathed into the lungs. Reasonable
precautions should be observed, however, hands and utensils kept
washed, and the use of acids such as vinegar in underfired raku bowls
avoided.

ISO ,

’
1''
' '1
.
 RAKU GLAZES
to produce a hard glaring colour and then to try to reconcile
oneself to it by calling it a ‘gay note’.

Other coloured raku glazes can easily be made by adding to

the basic glaze iron, cobalt,manganese or antimony in one
form or another to produce browns, blues, purples and yellows.
Up to about 10 per cent, of oxide may be introduced without
metallic quality predominating. The glazes should be diluted
with water to the consistency of thin cream, and for every 20
cupfuls or so of this mixture one cupful of siccative should be
added to prevent the glaze from scaling off when the pot is

subjected to the sudden heat of a raku firing.

SICCATIVES AND SUSPENDERS

The Japanese use a dried seaweed, called funori, stewed for
a few minutes in water and sieved, yielding a syrup of the con-
sistency of that found in a tin of preserved peaches. We can
obtain a substitute from Irish moss, gum tragacanth, or even
common size.
Raku glazes are unpleasantly thin and hard unless they are
used generously and applied moderately thickly, and for this

reason also it is not necessary to wipe or scrape off trails of

doubly run glaze.

Crackle or crazing in a raku glaze is unavoidable, and is an
important element of the character and beauty of the ware. But
because of this, as well as the soft firing of the body, raku must
be frankly regarded as porous. This defect can be to some
extent neutralized and at the same time the beauty of the
crackle enhanced by soaking the finished pots in strong tea.

This procedure, repeated several times if necessary, tends to

close the pores in an unobjectionable way. Crackle can be
brought out still more strongly by rubbing in a colouring matter
stich as raw umber and a little sweet oil, whilst the pot is still

hot from the kiln. Formerly I used to do this, after the manner
151
 PIGMENTS AND GLAZES
of the Chinese, but latterly I have come to feel that such arti-

ficial effects are best avoided; they smack of trickery, and are
never so kind and pleasing as the slower and honestcr changes
of time and use. This is not so much a criticism of the Chinese
craftsman as of our studio potter’s tendency to obtain effects
cheaply or to overstress art for art’s sake.

Before leaving the subject of raku glazes I must make special

mention of the two types most in favour with the Tea drinkers
of Japan, aka or red, raku, and kuro or black, raku. The
former is made very simply by the application of the clear glaze
to the usual body which has been basted before biscuiting with
raw ochre of the consistency of cream; and the colour is deter-
mined, first, by the quality of the ochre, second, by the method
of firing, and third, by the thickness of the glaze. A rich salmon
colour is considered the most beautiful.^
Black raku is quite a different proposition. The glaze is based
upon lead and and a very ferruginous stone called Kamo-
frit

gawa ishi (Kamo river stone), obtained from the bed of the
river Kamo, which flows through Kyoto.
The peculiar thing about this ware is the method of its firing-
This is done either in a saggar in a blacksmith's forge, or in a
specially constructed box or muffle built in the side of a stone-
ware kiln, where it can be easily reduced. The body is made of
very refractory material, plastic fireclay, to which at least one-
third of grog (screenedthrough sieves of 20- to 30-mesh) has
been added, so that the pot can be removed from the heat of
1 200° C. or thereabouts with tongs and plunged into a bucket
of cold water. If this is not done, or if the water becomes very
hot through repeated dippings, the glaze comes but a reddish
brown and even a dull vermilion. The tongs leave a scar or im-
pression bn the thidc soft glaze but this mark is regarded as a
virtue sp long as it is firm
and deft. : :
^

The te^re pf black raku is due in part to the coarseness of

the body, in part to the reduction of the thick ferruginous lead
^ See Plates 13, 14, 15,

152
 SICCATIVES AND SUSPENDERS
glaze. The granular surface is really the re-smoothed or semi-

melted craters from which gas has erupted out of the clay, and
indicates the need of slowing up the fire, or at least of some
oxidation, for a short time before the pot is withdrawn. The
same method of smoothing out bubbles in lead glazes caused by
temporary reduction should also be borne in mind in firing
made with galena. The pro-
slipware glazes, particularly those
cesscan be clearly watched through a spy hole.
Oriental enamels are, generally speaking, ordinary (not
kuro) raku glaze or flux, with various percentages of colouring
oxides added. The proportions of the three glaze elements are
varied to suit these; lead to lower the melting point, silica to
raise it, and the frit to increase the bulk. The following table
not only gives definite compositions of the principal colours
used but will also serve as a guide to the limits between which
the components may be varied:

JAPANESE OVERGLAZE ENAMELS

7oo°-8oo° C. Oxidized

Raku glaze as basicflux

White lead 6o To soften To this flux I per

Frit 20 To add bulk and cent, 10 per
to
opacity cent, of oxides can
Silica (quartz) 20 To harden (beyond be added to give
about 25%) colour.

Hamada Hamada
Kazan light green light green turquoise green
 PIGMENTS AND GLAZES

Chinese cobalt or The oxide content can vary be-

manganese oxi( tween about 5 per cent, and
12 per cent.
White lead
Frit
Silica (quartz)

Bright red 20 to 25 This enamel is usually purchased

iron oxide from colour merchants. Great at-

White lead 10 „ 20 tention is given to its quality, which
Frit 60 „ 65 depends upon the preparation and
fine grinding of the iron oxide.

Yellow

Antimony oxide Red iron oxide and lead chromate

White lead also give yellow, the former dull
Frit and the latter bright. Hamada ad-
Silica (quartz) vises the use of either up to 5 per
,
. cent, in the basic flux aboye, ;

Black pigment under greens

Manganese oxide 70
Cobalt oxide 10
Silica (quartz) : 20

The Japanesefrit mentioned throughout called 'shiratama'

White lead
Quartz
Calcined borax

The Turquoise frit mentioned ahove

White lead
Japanese frit
Quartz
Copper carbonate
 JAPANESE OVERGLAZE ENAMELS
These enamels are generally to be found on porcelain glazes
and bodies, although white or cream coloured stoneware is
sometimes used, as for example, Satsuma, Awata and Inuyama.
As it is difficult to apply the thick enamels, even if heated, the
pots are first lightly coated with a wash of diluted gum arable or

size. When this has dried the design is painted on with thin lines
in black pigment and again dried. Over this the other trans-
parent colours, greens, purple, yellow are heavily and loosely
brushed. They are also mixed with gum arabic and are in a
thick syrupy state. Red can now be painted on thinly, care being
taken to see that it does not invade the other colours, by which it

would be dissolved. Gold and silver are added, if required, in a

separate firing, usually at a somewhat lower temperature.
The traditional Japanese way is to use impalpable gold and
silvei; mixed a small quantity of the wet red
dust with which is

pigment to act as an adhesive, just enough to begin to discolour

the gold. This gold when it comes out of the kiln looks like
yellow ochre until it has been rubbed and burnished with an
agate. It is probably easier to apply gold in the European way
in. the form of liquid gold chloride, but I have not tried this

method.

ENGLISH SLIPWARE GLAZES

The lead glazes used in traditional English sUpware were
made of lead ore (galena) and red clay. I have already referred
to the earlier medieval use of dry galena powder on ratv pots,
but I am now
speaking of eighteenth-century practice. The
temperature employed varies between 900° C. and 1100° C. and
the proportion of dry clay to dry galena was betweert a quarter
and a half. If the clay did riot contain enough silica rio doubt
quartz was added aswe have done at St. Ives up to 25 P^r cent,
of the whole. This raw galena glaze was applied tp the raw
body, and Michael Cardew and the Truro Pottery still do this
 PIGMENTS AND GLAZES
in the way that I have described But we gave it
for slip glazes.

up at St. Ives partly because it was more difficult to manage,

partly because our Cornish red clay was so sandy and absorbent
that handles and spouts were apt to split when dipped raw, and
partly because we wanted to avoid sulphuration and crackle and
to obtain a more tractable ware.
Sulphuration leaves the glaze surface looking matt and rough
to the touch, yellowish green and non-transparent, and it is

caused by the sulphur present in galena (lead sulphide) turning

into sulphuric acid which in turn combines with the soluble
salts present and forms sulphates. It is for this reason that
galena-glazed wares are fired in open up-draught kilns. Muffies
and unpierced saggars would prevent sufficient oxygen from
reaching the pots. This sulphuration seems more liable to take
place if the fuel, kiln or pots are damp and reduction occurs
before the glazes melt. To obviate this defect, which is most
prevalent in the interior of narrow necked bottles and vases, we
abandoned galena in favour of litharge, which is a form of lead
oxide without sulphur. This furthermore enabled us to fire pots
with their lids on without further fear of this trouble, thus
saving kiln space. That this technical improvement has meant
an appreciable loss of breadth, roughness and natural strength
must be admitted. At the same time, it has enabled us to make
pots for table use which do not cause continuaL complaints
because they are porous and rough to the touch, or because
silver spoons rake and grit to their damage in bowls and in
porringers. The change has raised our percentage of sound
pots from 70 per cent, to 90 per cent.
The old colour range is from cream to deep brown, obtained

either from iron-bearing clay in the glaze or from common red

iron oxide. A: clear glaze can be made by substituting ball clay
and quartz for red clay, and other coloured glazes by adding up
to 3 per cent, of cobalt oxide, or
up to to per cent, of copper
oxide and manganese oxide for greens and purple browns.
Although I have seen good greens on occasion, particularly
156
 ENGLISH SLIPWARE GLAZES
those of the last English peasant potter, Edwin Fishley of Frem-
mington in North Devon, still I feel strongly that the essential
character of English slipware is to be found in these warm and
homely colours out of iron. A little modern knowledge so easily
runs away with the sense of appropriateness which tradition
imposed on the art of the people. It needs a very good artist to

exercise equal restraint to-day.

With all galena glazes over biscuit water alone is needed, and
I have not found it necessary to do more than pass the materials
through a I So-mesh sieve.

Michael Cardew finds that the addition of seaweed {Carra-

geen or Irish moss') is necessary for raw glazing. He says, a
small handful simmered for half an hour in a quart of water is

enough for apan of glaze (four gallons). Strain through a 30-

mesh sieve, add to the glaze and stir. If the glaze contains much
slip it will curdle, and it will become more difficult to judge its

proper thickness, but it does prevent scaling. In winter the sea-

weed keeps its efficacy for about a fortnight or three weeks, but
in hot summer weather it loses it in a few days. When seaweed
is used the glazing is usually best done when the pots are hard
but have not yet changed colour. Raw glazes should never be
very thick or they will flake or scale except in the case of those
exceptional clays which will stand dipping when bone-dry.
Scaled pots can be heated up after firing and given a second coat
of glaze and refired. This is hardly any more trouble or expense

than biscuit firing, and it combines the advantages of raw glaze

and biscuit. The depth and quality of the one, and the gloss of
theother.
Pigments were not used with galena, nor in general are they
very suitable under glazes which are inclined to flow. Even;
slips when they are brushed on tend to disintegrate and it is

necessary to superimpose several coatings to ensure a flat

tone.
Before leaving the subject of English slipware, it may interest
some readers to know that there is at least one pottery iii Japan
IS7
 PIGMENTS AND GLAZES
where a kind of slipware is produced, namely the Fujina Pottery
near Matsue, which belongs to a family named Funaki who
have produced a lead-glazed ware for upwards of a hundred
years. The present representative, with whom I worked for

over a month three years ago, has come, into contact with
Hamada and through him with our old English tradition, by,
which he has been strongly influenced; but he has not blindly
followed either. His glazes are a modification of stoneware
glazes by lead, and they mature between 1150° and 1250° G.
The general effect is similar to ours, but harder and rather
smoother and more glossy; the pots are strictly non-porous and

uncrackled.
The Chinese also still produce a sort of hard galena ware
which they export in some quantity down the Malay Straits,

chiefly in the form of large oval baths made of fireclay and

glazed inside with a sea-green opaque glaze.^ These pots are
vigorously decorated outside with applied clay strips and pats,
notched, tooled, cut and combed, and covered with a rather
restrained galena glaze which must be fired at 1200° C.,

STONEWARE GLAZES
The following recipes and notes give an introduction to the
more important types of high temperature glazes which have
been gradually evolved by Oriental potters without the aid of
chemistry as we understand it. To expect the studio potter to
master the scientific ,
theory underlying the use of impure
minerals before attempting; to compose glazes is fortunately
impossible at this stage, since, the study of Fair Eastern stone-
:

ware and porcelain is still in its infancy. Such exact knowledge

is indispensable for indu.strial purposes, but in its complexity
often proves a hopeless barrier to the artist and craftsman.

* See Plate 52.

158 .
.
 "

STONEWARE GLAZES

Wood Ash
An unusual feature of the majority of these glazes is the pre-
sence in them of the ashes of trees, grasses and other plants used
principally as fluxing agents. Vegetable ashes contain varying
proportions of alkaline fluxes such as potash, lime and mag-
nesia, stabilizers such as silica, alumina and phosphoric acid,
besides small quantities of colouring matter such as iron.
The proportion of alumina and silica to alkalies, after the
ash has been washed and sieved to get rid of soluble potash,
determines the main effect in a glaze, and is the basis upon
which T have divided ashes into three categories hard, —
medium and soft. But the proportions and the other ingredients
vary considerably from ash to ash and yield in stoneware glazes
a considerable range of textures and colours which it would be
difficult or impossible to obtain in any other way. It should be
explained that such an arbitrary division can only be a rough
guide, because certain of those elements, such for example as
magnesium and silica, combine in definite proportions at the
first opportunity in a rising temperature. Such a combination is

called a eutectic, and only what is left over will harden or soften
the glaze. Then again, in the feldspar for example, there are
and eager to
further quantities of alkalies arid silica willing
form combinations, so that altogether the explanation of what
takes place and the theoretic means to control it is definitely
work for the chemist — and complex work at that. Fortunately
the practical potter can go ahead with trial-and-error methods
of experiment and gradually acquire a working knowledge of
the properties of his raw materials
Amongst the substances present in most of these ashes,
alumina does not lend itself to these combinations;, therefore its

action is proportionately powerful. On the other side, magnesia

forms a viscous flux with silica with a lorig f ange of vitrification.
Silica of vegetable origin differs from quartz or flint in so far

as its intimate combination with the fluxes causes it to melt

IS9
 PIGMENTS AND GLAZES
more readily, although in highly siliceous ash it remains sus-
pended as a crystalline opacifier.
In general, hark and twigs yield the best ash, and the maturer
the growth the greater the proportion of silica is found to be.

Straw, grasses, reeds and ferns may vary as much as 1 5 per cent,
between spring and late autumn cutting. The soil, moreover,
upon which the plant grows affects the composition of the ash,
so that it is advisable to gather a considerable quantity at a time
and mix it after burning in order to make several batches of
glaze of identical character.
In Japan it is customary to burn the fuel to an ash in an open
bonfire on a clean surface such as gravel or fireclay bricks. The
important thing is to avoid the admixture of iron-bearing earth
or clay. It is wise to choose a day when
no wind and not
there is

to make and
a great blaze which would carry off the light ash
reduce the quantity of the remainder by burning it white. Most
ashes are grey or buff, but those which I classify as hard
generally burn black. After burning the procedure is to mix the
ash with plenty of water in a receptacle and remove the char-
coal and scum which rises to the surface with a coarse sieve.
Then the mixture is promptly decanted, leaving any grit or sand
at the bottom of the first receptacle. The next procedure is to
run the liquid through a 60- to 1 00-mesh sieve and preserve what
will not pass through it, together with the coarser charcoal, for
drying and further burning. Finally the ash is passed through
100- to 200-mesh, according to the requirement of the glaze.
The residue can generally be coaxed through the finer sieve by a
gentle rotary action of a nail brush. After the ash has settled for
a few hours the brackish surface water containing the greater
part of the soluble alkalies
is poured off. Fresh water is added

and the decanting repeated until the Water is clear and tasteless.
The ash is then dried and stored. A study of the following
tables of analyses of vegetable ashes made at the Dartington
Hall Laboratories in 1938-39 may serve to give a general idea
of the part played by those substances in Oriental glazes.
160
i
VEGETABLE ASHES

VEGETABLE ASHES
The figures in the columns marked ‘hard, medium, soft’ have
been arrived at by adding the silica, alumina and phosphorus
contents together on the one hand, and the fluxing agents, lime,
potash and magnesia on the other, and subtracting to give a
residue roughly suggesting the effect of the ash in a glaze.
Medium ashes are those which lie between 40 hard and minus
20 soft,

In Japan the ash of the isu tree h. universally regarded as

best for porcelain glazes. The mixed autumn weed ash is not
dependable because it is next to impossible to determine the
proportions of the various plants contained in it, but it is inter-

esting to observe that in this case and with bracken there is

practically no loss by washing. It may be noted that bracken
contains an unusual amount of magnesia, and apple pulp of
alumina and phosphorus. The contrast between apple wood and
apple pulp is marked and indicates the degree of care which
should be taken to obtain the same material from year to year.
Sulphates chlorides and soluble potash are eliminated prin-
i

cipally by the first washing. The carbonates are in combination

with other ingredients such as lime until they are released as
carbon monoxide gas at a temperature of about 900° C., and
allowance has been made for them in the percentages given in
the table. AJoiAww has not been determined, but is present in
manganese, boron^ copperpttz.
Wheat straw makes a hard ash, barley straw oak and elm ^

are medium, and beon straw and clover soft. Wheat husk is
close to rice straw in analysis and therefore very hard.

The Effects of Different Wood-ashes on Glazes

Miss Katharine Pleydell-Bouveriej who during the last ten

years has been using various sorts of wood-ashes in her stone-

: "L ,; 161 .
'
'
34-69

j
3-25

j
0-89

j
54-20

1
0*70

j
i'59

1
1*98

j
2*65

j
washed

once

a^/

Applewood
 VEGETABLE ASHES
ware glazes at Coleshill, divides them into five groups accord-
ing to colour and quality. The glazes are made in the same
all

formula, one part of ash, one fart offeldspar and half a part
of Pike's clayp or with such slight differences that neither the
colour nor the quality is affected. Lawn of 120-mesh was em-
ployed thi'oughout for sieving.
A. Oak, beach, elm, thorn, box, hornbeam, holly, laurustinus,
rose. These tend to produce a fat, smooth glaze, pale bluish or
greenish in colour and usually heavily crackled.
B. Spruce, maple, lime, ivy, ash, elder, larch, laburnum,
horse-chestnut. These produce a matt surface, varying in

colour between a creamish grey and greyish blue and usually

uncrackled.
C. Yew, walnut, cedar. Very matt, almost rough; greyish in
colour or almost white in the case of walnut.
D. Scotch pine, peat, black currant. Oily texture, greyish or
olive, rather darker than the others.
E. Grass, reeds, nettles, lavender. White or very pale grey,
rather sugary in texture and heavily crackled if used thick.

As we should expect, however the glazes are apt to vary, not

only according to temperature but as a result of fortuitous differ-

ences in the kiln atmosphere, such, for example, as may be caused

by the use of different sorts of wood fuel, especially in finishing. As
Miss Pleydell-Bouverie points out, one is very apt to take things
for granted and to make up one’s mind that some result is the
effect of a given cause, and then after years even to obtain a

totally different result, and finally realize that it was due after
all to a factor that had hitherto been entirely unnoticed.

Whether the things that happen in one kiln would be repeated in

any other kiln-—how much damp fuel or kilns, humidity in the
atmosphere, wind, length and diameter of chimneys, packing,
stoking, etc., have to do with results ascribed to variations in
wood fuel, is also a question which can only be answered on the
spot by an experienced potter.
^ See pp. 60 and 61.
163, .
 PIGMENTS AND GLAZES
The effect of different kinds of woodfor glost firing has been
very little investigated, but Miss Bouverie’s experience goes to
show that certain woods such as elder, ash, oak and elm cause
more reduction, and others like horse-chestnut, apple and wal-
nut tend to oxidize. In some cases the appearance of the flames
is deceptive, thorn makes very little smoke and yet reduces, and

spruce makes a great deal even when the atmosphere is pre-

dominatingly oxidizing. As one might expect from the analyses
of ashes moreover, the composition of the burning gases is

altered in other ways according to the wood used.

Acidfumes (such as sulphuric) may be liberated which under
oxidizing conditions combine with any lime present in the clay
and cause spots or scum, or alkaline salts may form silicates

with the body covering the exposed ware with a thin coating of
salt-glaze.^ If the temperature is not high the sulphates^, raa-y

remain suspended in the glaze as opaque whitish spots. Soluble

salts in the clay may be dissolved by water or even humidity in

the atmosphere if the ware is porous and appear on the surface
as an efflorescence months after the firing. Such effects can
often be seen on common red bricks, but may be eliminated by
the use of carbonate of baryta in the clay mixture^
The stoneware glazes with which I am familiar may be
divided into four different groups: celadons, iron glazes, un-
coloured and coloured glazes.

Turning first to the celadons, which form a lai'ge family of

greyish green or blue, transparent or semi-opaque, crackled or
uncrackled glazes. They all owe their colour to the presence
of between per cent, and 3 per cent, of iron, ferric oxide
I

giving the yellower and ferrous the bluer tones in a reducing

atmosphere.
See p, 203. “ See p.: 136.
 CELADONS
Modern potters use chemically purified oxides, but it is still

feasible to employ natural clays such as ochre or china clay, or

rocks like feldspar or Cornish stone, containing the requisite
quantity of oxides in the Oriental way. More beautiful textures
and colours can often be obtained from materials finely sub-
divided and intermingled through long periods of geologic
time. Characteristics which these glazes have in common arc a
high percentage of feldspar and to a less extent of silica.
Hamada gives a proportion of limestone i, quarts 2, and felds-
par zs, a sound basis for experiments. At temperatures be-

tween cones 7 and 9 feldspar adds body and some opacity to

glazes which are usually applied thickly, and silica tends to
reduce crackle and prevent flowing if the amount exceeds the
eutectic’' demand of the fluxing agents and therefore remains

free. A curious and unexplained fact about fluxing agents is

that two in combination will act more powerfully than either

alone.
Resistance to heat, and opacity, may be increased by the
addition of clay, especially china clay, which remains suspended
in tiny particles, but a large proportion will take away from
clarity of colour, especially if it should contain manganese.
The quality of a celadon glaze depends to a great extent upon
grinding and upon the character of the silica. Water-ground
flint and quartz as supplied to the trade often require additional
grinding in a pot-mill. In Japan fine celadons are fi-equently
ground for forty hours,

1 Sue p. 15Q.
165
PIGMENTS AND GLAZES
 PIGMENTS AND GLAZES

IRON GLAZES
The chief point to be noted in regard to the three iron glazes
called by the Japanese, kaki, tessha and tenmoku, is their
close relationship. Whether in the form of natural earths or
stones, or artificially made up, most kaki and tessha glazes
can be turned into tenmokus by the addition of 5 pet cent, to
10 per cent, of limestone or wood ash. In other words, they only

need a little additional flux to subdue metallic effects produced

by oxidation upon the glaze surfaces. The transmutations of
iron upon which these glazes are based may be occasionally
observed where iron pigment emerges through a feldspathic
alkaline glaze from its dark brown reserve through tessha
mutations to kaki and even more open metallic exposure. A
high percentage of feldspar assists the formation of a good
quality kaki, but too much si}ica gives a hard metallic surface.
Silica of vegetable origin is for this cause better than flint or
quartz. Quick cooling causes rougher segregation of iron
crystallizations, therefore for tea-dust, tessha and tenmoku oil

spot effects it is very important. Opaque iron colours are some-

times due to calcium crystallization when either limestone or
wood ashes predominate. The chemical composition of one of
the natural rocks used in Japan, for kaki, is as follows:

Kimaichi stone Silica 61

Alumina 21
When ground ready:
Iron S
for use it has the ap-
Manganese 0-2S
pearance of Portland
Limestone 6L
cement. :

Magnesia 0-22
Kalium soda 6

In the following recipes Cornish stone may be used in place

of feldspar. It causes a glaze to settle more readily, but otherwise
we have not discovered an appreciable difference,
168
 IRON GLAZES
For silica we have employed Wenger’s water-ground quartz.
The Pike clay constantly mentioned is siliceous white ball
clay, G.F.S. marketed by Pike Bros., Wareham, Dorset.
PIGMENTS AND GLAZES
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 COLOURED GLAZES
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Feldspar Medium

3 § -d ^ c-
Pike

CH CJ

Manganese

Glaze
 PIGMENTS AND GLAZES

CRAZING
Crazing, or crackle as it is called when deliberate, is the
result of greater shrinkage in the glaze than in the body either
during cooling or subsequently. The theory of crazing in glazes
is highly complicated and is still the subject of investigations.
Irregular expansions and contractions of both body and glaze
take place in a pottery kiln during the rise and fall of tempera-
ture, and they are due to a variety of causes. One of the chief of
these is the change of quartz and flint at high temperature into
cristobalite. A characteristic of this form of silica whilst cooling
is a sharp contraction at about 225° C. The presence of 5 per
cent, to 1 5 per cent, in a body will produce what is called the
'cristobalite squeeze’, which exerts a centripetal compression
on a glaze which tends to prevent crazing.
To secure agreement between body and glaze their composi-
tions must be clearly established and tests made. If these show
crazing, the alkaline elements in the glazes should be reduced
and the siliceous and boracic increased. In the reverse case of
scaling, where the centrifugal strain in the glaze causes it. to
flake off, the opposite processes should be employed, If these
modiflcations are insufficient the body must be altered. Cristo-
balite may be cheaply obtained as powdered silica-birick waste.

Talc which is commonly introduced for the same purpose acts

as a catalyst and assists the transformation of: silica.

(ground fired body) may be employed if for other reasons it is

desirable not to alter the composition of the Clay.

The effect in either case is to give an increased cristobalite
content. The addition oi powderedftint is the usual first altera-
tion to a body to prevent; crazing, but nipre important than an
increase in quantity is a decrease in: the size of the particles of
silica. Borax as a fluxing agent has a high coefficient of ex-
pansion which reacts against the tendency to craze. Raw
borocalcite, BgOg, is the best. In glazes which contain frits
 CliAZING
resistance is increased by including a proportion of a very soft

frit. A method employed in Japan consists in drying, calcining

at 700° C., and regrinding half of the glaze and then mixing it
with the remainder. In non-vitrified bodies the amount of the
flux should be increased and in vitrified bodies the reverse is
true. Finally, in bodies which contain ball clay and china clay
the former should be increased and the latter decreased.
 Chapter Vll

KILNS

Kilns may be considered simply as chambers fed with flames

by one or more fireplaces, and out of which a chimney draws
heat and smoke. Or one may think of a kiln, unless it be elec-
tric, as a chimney or flue with a swelling near the furnace end, in

which the pots gather the passing heat. The pots, or the saggars

(fireclay boxes in which the wares ai-e stacked and protected),

or the shelving act as radiators, accumulating and reflecting the
heat from surface to surface. It is a very efficient kiln which can
gather 30 per cent, of the heat generated. Each batch of fuel

contributes a little, until the temperature necessary to melt the

glaze equally in all parts of the chamber is attained; For this

purpose the flames must be distributed evenly, and a general

rule holds good that no part of the chamber may the flame
at
ways be than the inlet from the furnace or
less in total section

the outlet to the chimneyf But, as I have explained more fully

in the chapter on glazes, it is not only a given temperature
which has to be evenly distributed, but also a predominant
atmosphere, or smoky, upon which the colour and to a
large extent the quality of clay, pigment and glaze will depend.
The construction of a kiln, as well as the method of stoking it,
helps to determine the composition of the burning gases. Many
kinds of fuel have been used: grass, woods of different sorts,
charcoal, coal, coke, gas, crude oil, paraffin, and electric cur-
rent. Generally, a long gentle flame, free of impurities such as
sulphur, gives the best results. Because of this, light and

178
72. Nigerian Women Potters piling their raw crocks in prepara-
tion for an open firing.

73. Feeding the flames with bundles of dry grass.

75.

76.
77.

74 ’ English Bottle-neck Kiln showing entries, iron bands and

chains, and two. out of five firemouths.
Round Up-draught Kiln at Old Cairo, packed from the fire-
mouth, showing the transition to the bottle-neck.
A Korean Potter throwing on a Kick Wheel.
Mr. Tomimoto throwing on the Japanese Hand Wheel.
 KILNS
resinous mood, despite the labour involved, has many advan-
tages. It is interesting to note that besides having been em-
ployed from the very beginning in all the old potteries of the
world, including those which produced the most beautiful
quality of glaze, wood is still used at Sevres. The best modern
substitutes are gas and oil. Electricity has hitherto had the
disadvantage of limiting the atmosphere to oxidation. But it

must not be too assumed that exact scientific control

readily
necessarily yields the most beautiful results. Quite a large pro-
portion of the most pleasing kiln effects were, in the days of
manual labour, due to accidental happenings only partly under
the control of the potters. The use of wood in firing has always
contributed largely to such effects.

The earliest method of baking unglazed earthenware was in

an open fire, and is still practised in some parts of the world.
The illustration of Nigerian women throwing armfuls of dry
grass on a large bonfire, in the heart of which the pots are
piled, probably takes us back many thousands of years in the
evolution of the craft. The reason that the pots do not dunt or
burst when fired in this primitive manner is that they are made
of coarse sandy clay, often containing flat particles of mica.
Thus, for reasons similar to those which explain the successful
firing ofJapanese faku, sixty or seventy per cent, survive. The
larger pots are given a preliminary heating over embers and
small wood for upwards of an hour, then they and the remain-
ing thoroughly dried wares are piled up as high as five feet on a
bed of Broken sherds are used as buttresses, and more
sticks.

sticks are laid against the mass and lighted. The firings are
very short, often lasting only an hour or two. As soon as the
wood begins to burn away, dry grass is thrown on in armfuls
until the pots are covered with a glowing heap of fine embers^
which, by preventing draughts of cold air from reaching the
pots, is in itself a protection against hunting. The maximum
temperature cannot exceed 75o°-8oo° C. At the end of the firing
the pots, some red, some black and some mottled, as may be
179
 .

KILNS
expected from the varying amount of smoke to which they have
been exposed in the uncontrolled atmosphere, are lifted out on
poles. Those which are intended for cooking purposes are basted
while hot with the juice of certain leaves to close the pores.
Such was the origin of the kiln, and it may be suggested that
the rudiments of ceramics could be taught in this way in country
schools,^
The evolution of kilns must have been governed by the
necessity to conserve heat and exclude draughts. This was
achieved by banking or walling the pots in, and by introducing
the heat through channels or flues. Two types are sufficient to
illustrate the development of kilns right up to recent times both
in the East and the West, for the great majority of modern kiln
designs are merely modifications of one or other of these. The
first one I call a bank, or climbing kiln, and the other a bottle
kiln. A British-Roman example of the latter type has recently
been set up in the children’s educational section of the Science
Museum at South Ken-
sington. A covered
trench dug in the
ground led to a cham-
ber formed by a circular
wall. The unglazed pots
were packed on a raised
perforated floor to the
height of the wall and
then closed in at the top
by loosely overlapping
sherds. Wood was
burnt in the mouth of
Simj/Lt routul updraught kiln
the trench and the

* Atapn^ unspoiled, primitive people in many parts of

the world the
making of pots was strictly in the hands o£ women. Men seem to have
.displaced them at the stage when properly built kilns and wheels
began to be used.
 KILNS
flames found their way through the piled up pots and out
through the interstices at the top. There was no chimney at this
stage.

Stives Kound Mtln

forhiscuii. rakti
— NL—d/" “ I
and slipware / \
(s>Hopd .

@ Ring bricks // 0
\\ {\ ° e * n
(^Firebricks / X W ^
//
(^Perforated / , \ v X (/

msi (§) mhe binding

@ Spit hole I %
WVaSSfi
® Heavy ditto and
<rt

® Quartzprsand
grog
@ Concrete or rock

Q
w @Ask and clay

St. Ives round up-draught kiln

'-iS

This simple of up-draught kiln has been used all over

the world. The drawings and Plate 74 show its develop-
ment into the familiar bottle-neck kilns of the Potteries and its
furtlier evolution mto down-draught kilns. We still use a very
similar kiln at St. Ives for all temperatures, although for stone-
i l8l'
:'

r
KILNS
 KILNS

Oriental bank kiln

Chinese kilns (d Ckett, which -hie Newcastle

and Cassel kilns closely resemble

it is difficult to baffle the rising heat

ware and porcelain
sufflciently to equalize temperature and atmosphere from top
bottom of the chamber. , i.

The bottle-neck kiln proper is made simply by heightening

183
 KILNS
the wall and rounding it into a dome with a chimney above it.

The packing is done through a doorway which is sealed with

firebrick and clay before each firing. In Staffordshire, the kiln
itself is often protected from bad weather and draughts by an

outer shell of brickwork called a hovel, and between kiln and

hovel there is a considerable storage space for saggars and fuel.

Over the dome a second chamber is sometimes built which is

partly, or wholly, heatedby the excess of flame flowing through

it from the lower chamber. In down-draught kilris the heat,
instead of rising through the dome, descends between the
stacks of saggars, below which it is collected in a central flue
which leads to a separate chimney. Such kilns conserve heat
betterand are more suitable for reduced atmospheres.
The bank, or climbing kiln, originated in the Far East: a
cave was dug in the sharp fall of an earthy bank, a small door-
way was left as a stoke-hole or furnace mouth, and at the op-
posite end an opening was cut through to .the surface as a
chimney. The floor was stepped, and the pots were piled on the
level terraces, the flame passing around and over them.
The next drawing represents a communal climbing kiln in
a potters’ village near the capital of Korea. In this case the

Commundl Kateati kiln

slope is artificial, and the kiln has developed into a long straight
tunnel half closed at the two ends and tilted at an angle of thirty

184
I
 KILNS
degrees. It has, moreover, half shouldered itself out of the
earth, and all down its exposed flanks are blow-holes which,
during a stoking, belch forth fire and smoke like some crazy
monster of dreams. As the fuel supplied to the main fire-mouth
at the lower end is not sufficient to heat the entire length of the
tunnel-like chamber, the latter is fed with thinner wood between
the ranks of pots through the blow-holes, in slow progression up
the slope as the temperature rises. The flame and smoke from
the holes show the rate of fuel consumption and at the same
time are an indication of the atmospheric conditions within.
The pots themselves can be clearly seen through the holes when
the flames die down.
The chief drawback to this tubular kiln must have been irre-

gular heating, so the Korean potters who were brought as

prisoners of war to Japan some 300 years ago began to break up
the long single chamber as the Chinese had done long before

Japanese chmbin
io 20 aiamhers ~ tnaini
 KILNS
into separate compartments with inlet and outlet flues at the

bottom of the dividing walls. This had the effect of turning it

into what is now called a semi-continuous down-draught kiln.
The final development in Japan has been the separate arching
of each chamber on the upward slope, which acts as a chimney,
and the gradient determines the draught and to a considerable
extent the prevalent atmosphere. The largest kilns of this kind
have as many chambers averaging 40 by lo by lo
as twenty
feet; they take about two weeks to fire, and hold at least 100,000

pots. Our three chambered kiln at St. Ives was built by the late
Mr. T. Matsubayashi, who was one of the thirty-ninth genera-
tion of the Uji family of potters,^ and although very small, each
chamber measuring 6 by 6 by 4 feet, it holds an average of over
1,000 pieces. It is interesting to note that when the question
arose of erecting a modern Western kiln in place of it, we were
advised by one of the leading kiln designers in England not to
do so, as its plan was excellent.
Strange as it may seem, these climbing kilns in Japan and
Korea are covered with thatch often only a few feet from
the blazing port-holes, but I have never heard of one catching
fire. The stokers are naturally expert firemen, and, in any case,

the loss of a light thatched roof would be of no serious conse-

quence in a country where labour is so cheap.
Stoking kilns with wood fuel is far from a mechanical job,
and in the East it is often done by specially trained men who
attend a circuit of local kilns in rotation. Bank kilns perhaps
more than others have their humours, with which one becomes
familiar by experience much in the same way as a yachtsman
learns to know the peculiarities of a sailing boat. One great ad-
vantage which they possess is that in a single firing pots requir-
ing different temperatures and atmospheres may be packed in

successive chambers. Those near the main stoke-hole are neces-

sarily reduced, but the upper chambers can be oxidized at will.

The duration of the firings of bank kilns, as of other types of

186
 KILNS
kiln, depends upon their size and construction, the skill of the
stokers, the temperature required, the quality of the fuel, the
state of the weather, and the contents of the kiln, whether large
pieces or small, raw or biscuited.

St Ives climiing' kiln

<iestfrie(t Sw taie T. Mafsubayasht

Side sli>ke-holes in ihe doors

In contrast to the fortnight required by the largest of the

Japanese climbing kilns ours at St. Ives takes on the average
hours to reach 1250° to 1300° C- throughout. Of this
thirty-five
time about two-thirds is spent in stoking the first chamber with
large wood in the main furnace.

WOOD FIRING
Logs and split logs of absolutely dry pine from three to eight
inches in diameter, and from two to two and a half feet long, are
iS;/' .
 KILNS
used. At the commencement we feed two or three pieces every

quarter of an hour into the ash pit, slowly working up to a maxi-

mum of a dozen logs every four minutes into the stoke-hole above. ^

The effect of each stoking is a burst of heat and smoke quickly

followed by a clear flame which then dies down to ember. The
blow-holes are kept half open and the character of the flame and
smoke which blaze out indicates the kiln atmosphere. When the
flames cease a fresh batch of logs are put in. This must be done
quickly and deftly in order to stir the embers, so that the ash
falls naturally through the firebars, as well as distribute the
fuel evenly, thereby permitting the hot air from the ash pit to

supply oxygen to as much wood surface as possible. This

ensures good combustion and obviates the necessity of raking,
which not only sends showers of ash amongst the exposed pots
but also cools the kiln. The atmosphere, that is to say, the com-
position of the burning gases, is governed by the design of the
kiln, by the quantity and kind of wood thrown in, by the fre-
quency of stokes, by the amount of air let in at the ash pit and
stoke-hole, and, finally, by the use of dampers. The dispropor-
tionately long time required for the main stoking is due to a
variety of causes. The kiln itself and the pots are cold and damp
at the start, especially if the pots are raw. This inherent mois-
ture must be driven oflF slowly, and for that reason the blow-
holes are left wide open up to red heat.* When the cones "in

chamber i (cone 9, 1280° C.): have all fallen, and the test rings*
have shown that the glazes are well melted, it is usual to keep
up a steady soaking oxidation to ensure equalization of heat

^ The ashpit
is only used for this purpose in the nearly stages of a
firing, as soon as the firebars and walls are hot enough the fuel is
transferred. The change fakes place three or four hours after the start.:
: At one pottery in Japan, in kilns containing large raw pots the :

Af/n doofs; are left open with wood, firds burning in each entry all the
way up the slope for twelve hours; or more before the firing proper
commences,.,
® In country potteries
in the East, and even in England, the
experienced stoker depends upon his eyes, and cones and pyrometers
are not used. '
 WOOD FIRING
without attempting- to increase temperature. By this time
chamber have reached about 1000° C,, and chamber III
II will
700“ C. solely by heat overflowing from chamber L It is from
this point that secondary side-stoking begins. The transition
has to be very carefully managed in a small kiln, for there is a
danger of losing the accumulated heat of chamber I if it is

allowed to cool too quickly, while on the other hand, continued

stoking from the main fire-mouth tends to consume the oxygen
in the kiln, so that proper combustion of the secondary wood
does not take place and half burnt embers soon choke the flues.

This difficulty can be overcome by half opening the ash pit and
keeping a few logs burning in the mouth of the main stoke-hole.
But the wood must be very dry. It is an excellent plan to dry the
wood for the next firing in a loft above the kiln, where it is

exposed to the rising heat, provided reasonable precautions are

taken against the danger of fire.
Intermediate sized climbing kilns of, say, twelve arches
measuring 1 8 by 6 by 7 feet average only four hours per cham-
ber, which, plus thirty hours allowed for main stoking, means a
total of seventy-four hours, which is no more than double the
time required for our three-arch kiln at St. Ives,
Continuous light stoking is seldom done with wood fuel, but

we find it best in our third chamber where the draught induced

by the chimney (added to the kiln in order to comply with local
regulations) is strongest. The illustration shows a method of
continuous automatic wood stoking with logs of fixed length.
An adequate verbal description of the handling of a potter’s
kiln is quite impossible, but I have given these details because
I do not know of any book which describes the use of wood as a

fuel.:

Although the proportions and construction of kilns involve a

series of problems of a complexity which only modern chem-
istry and physics can fully explain, it should never be forgotten
that the most beautiful pots have been made without the aid
of such knowledge. To a craftsman if is more important to know
189- ,
 KILNS
what works well than to know in precise detail why it works
well. Nevertheless it would be absurd for any craftsman to-day

not to take advantage of the results of modern scientific

research.

Side Front

Semi'CLudomaiic wood, grate

Mr. Matsubayashi, who was a well trained engineer and

ceramic chemist as well as a craftsman, drew up the following
practical rules of construction after a thorough examination of
many types of kilns in dilferent parts of Japan. They are con-
venient rules of thumb which we have found of considerable
help.

KILN PROPORTIONS AND

CONSTRUCTION
The following measurements are based upon circular pro-
portions and must not be confused with square measure. To
find the measurements of a rectilinear kiln an 8 foot 7 inch
squaremust be taken as the equivalent of a 10 foot circle.
1.The height and the width of ovens should be approxi-
matelyequal,':'"-/;'';L::'
2. The diameter of the chimney should be between one-
quarter and one-fifth of the kiln diameter; :

.190
 KILN PROPORTIONS AND CONSTRUCTION
3. The height of the chimney should be twenty-five times its

diameter.
4. The total superficial area of the combustion chamber (or
chambers) should be ten times that of a section of the chimney.
5. No fiame-way between the furnace and the chimney top
should be less in total section than the chimney flue, i.e. one-
fifth of the kiln diameter.
6. The best speed for kiln gases is 0-8 metres per second.

(The speed of the flames can be roughly estimated by putting a

piece of copper into the stoke-hole and noting the time the
resulting green flame takes to traverse a measured distance.
The copper should then be withdrawn or it may affect the colour
of the glazes.)
7. Whenever possible, flame should be conducted through
curves in preference to angles.
8. Short chimneys cause slow firings.
9. Long chimneys occasion high flame velocity and irregular
heating.
My own experience of kilns has taught me that there are
many which function well and yet break one or another of these
rules. The most sensible thing to do in building a kiln is to
construct it in such a way as to make it possible to alter the
furnace mouths, the flues, and the chimney without great diffi-

culty.

The foundations of any kiln should be protected from damp

by a bedding of waterproof concrete covered by brick or quartz
gravel to a depth of six to twelve inches to insulate it frorn
damaging heat.
The materials of which kilns are built must be sufficiently
refractory to resist the heat and strain to which they will be
subjected. My first raku kilns were made of a single wall of
sandy red brick lagged with two inches of mud, chopped straw
and sand. They withstood upwards of one hundred firings at
750° C. For higher temperatures it is advisable to make the kiln
lining and appurtenances of first class fireclay and grog. The
191
 '

KILNS
usual Wall thickness employed is nine inches, the length of a
standard brick, but for small kilns I have found a thinner wall
satisfactory if it is lagged with a good non-conductor. Theore-
tically, the walls of a kiln should be as thin as constructional
strength will permit, for the reason that thick walls absorb both
damp and heat, and consequently slow down the earlier stages

of a firing. Thus between the four factors of heat resistance,

kiln weight, expansion and radiation it is necessary to find
a happy mean in each individual case. In sharp contrast to
the treble thickness of brick frequently to be found in our
Western kilns are the Chinese kilns made of empty saggars,
open end outwards, which only present an inch or so of thin
fireclay bottoms to the intense heat within. How long such con-
struction will stand up to constant use I do not know, but in

Japan it is usual to rebuild the weaker parts of stoneware kilns

each year after they have withstood some twenty-five firings.
These Oriental kilns, as may be seen from the drawings, are
built in irregular curves and are seldom bound together by iron
bands to counteract heat expansion. In some cases they are
constructed of blocks of raw fireclay, which are partially burnt
by the firing of the kiln. This is only possible in localities where
a peculiarly non-contracting fireclay is obtainable. The beehive
construction of Far Eastern kilns lends Ttself to the kind of
lagging I have mentioned. We in Europe use asbestos and
kieselguhr, and, more recently, very light porous bricks. The
;
principle of non-conduction of heat is based upon a sponge-like
;
formation of minute air pockets. In theory, a Vacuum would be
,

best, but in practice air is the only alternative. The cheapest and
best non-conductor is wood ash, which is easily obtainable from
the burning of hedge clippings and weeds. The whitish or grey
ash should be dry sieved, and: mixed: With sufficient sandy clay
tohindlf, 'V.

:
For all domes I recommend the Use of hollow slotted cones
made by hand, . as illustrated, and filled with ash and clay and :

basted over the whole surface with the same mixture to a depth
'

192
 KILN PROPORTIONS AND CONSTRUCTION
of two or three inches. By this means a thin, well-insulated
shell, with the strongest bonding, can be constructed at a most
moderate cost. The building of -
domes with such hand-made
cones, whether solid or hollow, is

very simple because the work is

done from the supporting walls

towards the crown and a light
support is required only for the
final horizontal courses. Any
curve can be readily followed by
proper selection of the slightly
a

varying cones and by the use of

more or less mortar. The latter
must be used more freely than
in normal brickwork, and the
percentage of grog to fireclay should be very high. Our main
firemouth dome at St. Ives was built of solid cones, only soft
biscuit fired, fourteen years ago and has withstood rough
treatment very well.
The length of firings and atmospheric conditions in a kiln are
considerably affected by the weather. Strong gusty winds alter
the pull of a chimney, especially if it is short. Roof eddies in-

crease irregularities in the draught just as with ordinary

domestic fifes, but it is better to have the chimney end of a kiln
exposed to prevalent winds than the furnace end. Such diffi-

culties can be overcome by the installation of electric suction

fans in place of tall chimneys, but this only adds to the com-

plication and expense of a small pottery, and means dependence

on a mechanism, the failure of which rnight spoil a firing. In the
East it is recognized that heavy damp weather is more suitable
for reduced glazes, such as celadons, and bright clear autumn
weather for oxidized iron glazes, variously called kaki (persim-
mon red), (mottled rust and black) and (black),

by the Japanese.
 KILNS
Three years ago when T was working in Japan at Hamada’s
kiln a great typhoon arose during the firing, and, as luck would
have it, the wind blew open shed in the direc-
straight into the
tion of the flames. No barricades which we erected could keep
it out. The draught was such that the glazes were melted hours

earlier than usual. At the time we congratulated ourselves when

we saw the pottery ail shining in its brilliant whiteness through
the blow-holes, but. when was opened we found the
the kiln
sides of the pots away from the flame quite unmelted, and prac-
tically everything had to be refired. The police arrived just as
we had finished, to ask us to stop stoking because of the danger
of sparks starting a forest fire. They had just come from another
village kiln half a mile away. There the first three chambers
were finished and seven remained. The potters promptly closed
the fire-mouths and stopped up the exits, and when the wind
fell five hours later they re-opened the fires and went on as if
nothing had happened. The results in the first chambers were
like ours, but the other seven were saved.
The duration of a firing naturally depends upon the tempera-
ture to be reached, but this is not, as one might suppose, a
steady progression. The greater the heat the slower the increase.
The reluctance of many kilns to rise from about 1200° C. to’

1300° C. has been to many another potter besides myself a

cause for anxiety and 'even desperation. The firing is the
climax of the pbtter’sdafapur,. and in a ’Wood-fired kiln of any
size it is a long arid exhausting process. Weeks and months of
work are at stake. Any one of a dozen things may gO; wrong.
Wood fnay be damp,:, flues may get j choked, bungs of saggars
fall, '

Shelves give- way and; a,lter

.
the draughts, packing may
have beeri too greedily close, of for sheer exhaustion one
may have snatched an hour’s sleep, handing over control to
someone else and thereby altering the rhythm of the stoking.

At white heat things begin to move, to warp and to bend, the

roar of combustion takes on a deeper note—^the heavy domes
crack and tongues of white flame dart out here and there, the

194
 ^

KILNS AND FIRING

four-minute stokes fill the kiln shed with bursts of dense black
smoke and fire. Even in the East, where hand work is usual
and labour specialized, a big kiln firing has the aspect of a battle-
field where men test themselves to the utmost against odds.
This may sound like discouragement, but it is no more than the
simple truth.

RAKU KILNS
In Japan, raku and overglaze enamels are traditionally fired
with wood or charcoal in small up-draught muffle kilns. It is

also common practice to use the same kiln, with the muffle or
protective inner box removed, for the
preliminary or biscuit firing, which in Tetnjjoraty ktltt

the East is done at about 700° C. for all

wares. The charcoal-fired raku kilns of
about the size and shape of an ordinary
iron studio stove are often portable, and
a potter can sometimes be hired to
bring one of these to a private house
for an afternoon’s entertainment of
guests such as I have described in
Chapter 1 .

In England, practically any kiln can be used for firing raku.

The temperature is low, 750° C., and the usual atmosphere is
oxidizing. The only exception is in firing red raku, when a little
smoke is useful in giving the irregular grey patches which are
frequently to be seen on tea-bowls. A simple kiln of the rudi-
1There are young people who imagine that they can play at pot-
ting,condescending in their opinion from fine art to a craft which they
expect to learn in a few weeks or months, buying everything ready-
made, and avoiding drudgery by mechanical devices. Pottery is still
being made, or decorated, under this misconception. It would be well
both for potters and public to realize that the results of such per-
formances look precisely what they are, unhappy exhibitions of
,

dilettantism in a mechanical age. ,

I9S- .
 KILNS
mentary bottle type, resembling the British-Roman kiln, already
referred to, is probably the best for small scale potters who
prefer to use wood for low temperature work. Such a kiln can
be built on a very small scale with rough materials like broken
red brick, mud and sand, to hold one saggar as a muffle. I have
often knocked up a temporary biscuit kiln in this way to hold a

Tomittioto's biscuit, raku or enamel kiln

Three hour firing with thin pine

dozen or two pots, for which room could not be found in our
regulai' biscuit kiln. From this one may progress to a somewhat
larger kiln with a better muffle and an outer wall made of soft-
biscuited thrown fireclay and bound with wire, as shown in the
illustration; or a well-built kiln of the smaller kind can be
constructed of ring bricks of whatever size is found suitable
for permanent use. In this way one's experience is bought
cheaply.'"

196
 SOFT BISCUIT PACKING

SOFT BISCUIT PACKING

The packing of dry raw pots in a biscuit kiln varies so slightly
in the case of raku from that of any other ware that the follow-
ing notes may be taken to apply to all soft biscuiting.
In Europe the strength and hardness of most of our commer-
cial wares is due to the first unglazed firing, which is done at
a higher temperature than the subsequent glost firing. In the
East the process and the first firing is done
is reversed at a low
red heat, 700° C. This enough to alter the chemical com-
is

position of the clay so that it will no longer disintegrate in

water, and it makes the pots hard enough to stand handling
and absorbent enough to take a coat of thick glaze in one dip-
ping.
The pots are stacked on the kiln floor according to size and
shape and strength of wall and lip, to bear the weight of the
layers above. At the same time they are so placed as to allow
of the passage of the flames throughout the mass. Danger of
warpage is slight, and a thousand pots can thus be fired in a
chamber which will only accommodate a quarter of that number
of pieces if glazed. I have seen a round biscuit kiln in Japan, 10
by 10 feet, packed without the added support either of shelves,
saggars or props.
The dangers to be guarded against are: (i) bursting of thick
pots due to too rapid a rise in temperature; (2) dunting caused
by cold draughts; (3) breaking of thin pots under too great a
strain-, -Underfiring of pots at the top of the kiln; and (s)
aeeffiring at the bottom, both due to bad placing or unskilled
"
stoking.,

SOFT BISCUIT FIRING

For kilns of 12 to 24 inches internal diameter three to five
hours should be sufficient for biscuit firing small light ware, and
197 .
 KILNS
an hour less for the glaze. The first quarter of the firing should
be dead slow with a couple of pieces of wood, two to three
inches in diameter, at a time. During the second quarter three
or four one to two inch pieces should be burning together. In
the third quarter the kiln and the pots should be free from
damp. This can be ascertained by holding a piece of metal or
.

glass for a couple of seconds over the top of the kiln and observ-
ing whether any condensation takes place. If not, the stoke can
be increased to six pieces of not over one inch in diameter, all

carefully kept crisscrossed to ensure good combustion. It is

during this part of a biscuit firing that bursts may take place,
and if this should happen, the stoking ought to be slowed down
an hour. At the end, even more wood can be
for at least half

used, and the thinner the better. It would be advisable for

beginners to allow somewhat more time than I have suggested
for the first half of a firing,: and gradually to shorten the hours
with the confidence gained from personal experience. As soon
as the uppermost pots are clear of soot (with which they get
thickly coated) and. have become dull red all over, the firing
can be stopped, the fire-mouth closed, and all cracks thoroughly
basted with a half-and-half mixture of sand and mud to pre-
vent any currents of cold air from dunting the wares. Some-
times, when the biscuit has been packed very tight, it is difficult
to get rid of the soot on top. When that happens the Japanese
employ what they call ‘sky firing’. The fuel at the fire-mouth is
allowed to die down to ember, and then slivers ofwood are
.

inserted amongst the pots at the crown of the kiln. They catch
alight, and. in a.few minutes burn off the soot which the flames
from below could not properly reach. The kiln is then closed in
the usual way,: .

-.

Only towards the end. of the wood be

firing should fresh
thrust right in under, the circle of the kiln,
and even then only a
few thin pieces; but old embers may be pushed in by the fresh
wood,

198
Japanese Enamelled Stoneware Jar. Old
Banko ware copied from an imported Delft
drug pot. Two centuries ago the Japanese
artizan could achieve as lively a translation
of European form, pattern, and colour as
this.
 RAKU GLAZE FIRING

RAKU GLAZE FIRING

The first period of slow heating can be practically dispensed
with in firing glazed raku, as there is no danger of bursting. The
pots may be packed more closely than is usual, they may even
touch one another slightly, because, when they are taken out
red hot with long-handled tongs, the glaze wound quickly
anneals. If the slight imegularity of surface which shows where
they have been touched troubles a European’s aesthetic sensi-
bilities, it is a simple matter to pack them in the usual way, but
it may be said that the J apanese, far from disliking this stamp
of the making, only look to see if the result enhances the general
effect.

Raku pots can be refired with or without the addition of more

glaze. It is always advisable to put the fresh batch of pots round
the top of the kiln for at least ten minutes before they are placed
in the red hot muffle. Moisture has been absorbed from the
glaze, must be driven off first, or the pot may burst like
and this

a raw pot and scatter its fragments all over the half-melted
glazes with disastrous results. Cones are not used at this low
temperature as so much easier to see what is taking place in
it is

the worth
little kiln. It is remembering, however, that glazes on
pots always look more melted in the kiln than they are in
actuality, so the beginner will be well advised to wait patiently
until the surface has the appearance of ice in sunlight. The re-
flection of a cold iron rod placed alongside a pot in the kiln shows

still more clearly how far the melting of the glaze has advanced.
If a thick glaze begins to flake off when a raku pot is being
warmed over the kiln, it indicates either dust or grease on the
biscuit before dipping or too little siccative^ in the glaze mix-
ture. Pin-holes in the glaze are due either to dust or to coarse

granulation in the clay, but they sometimes become centres of

discoloration which may be beautiful. The latter are caused by
^'See p.-i5i-.-.

.... 199 '"

 KILNS
alterations in the kiln atmosphere, as for example, when a pot
with a reduced light grey body covered by a clear glaze has pink
patches round minute pin-holes. What happened was, that to-
wards the end of the firing the atmosphere was oxidized, and
the oxygen worked its way under the glaze from the pin-hole
entry and turned the iron in the clay back to its oxide form
around that point. Grey patches on a pink or red pot would be
to a reverse action.^
The tongs used for taking out and putting in the pots are
usually about a yard long. Any blacksmith is capable of making
them, but he should be told that they must be very light and
well balanced. The pots when taken from the kiln are placed on
bricks or tiles to cool off. As soon as the muffle is emptied of one

Tongs

batch it should be filled with the next, so as to waste as little heat

possible. After the first lot is done, the stoke-hole and ash-pit
(if there is one) should be closed until the next batch is in, when
the firing resumed at maximum. Each successive batch takes
is

less time, so that if we; assume that the initial stoking took three
hours, the second will take about one hour, the third forty
minutes, and so on down to about twenty minutes .

OVERGLAZE ENAMEL FIRING

The firing of enamels is done in muffle kilns in an oxidizing
atmosphere at about the same temperature as raku, but the
commencement of the firing must be more gradual, especially
ill the case of large pieces of porcelain, as they cannot stand

’ Sacli local discoloraldbii mav also take place in hieher temnem-

 OVERGLAZE ENAMEL FIRING
abrupt heating or cooling. For this reason also it is necessary to
cool the pots slowly in the normal way.

SETTING AND FIRING GLOST SLIPWARE

The setting, or packing, of lead-glazed slipware is peculiar
only when the pots are glazed on the raw body, or the glaze
contains sulphur. In the former case the precautions taken in
biscuit firingmust be combined with those of an ordinary glost
firing. That is to say, the natural and combined moisture of the

clay must be driven out slowly in proportion to the fineness of

the clay and the thickness of the wares. In practice, a round
kiln of the kind I am now describing, three feet in diameter,
which takes about six hours to reach raku temperature and ten
or eleven hours for slipware, should be given two or three hours
longer if the pots are large, thick walled, or made of very
smooth clay. With enclosed or muffle kilns it would be better to
allow a more ample margin of safety, because the damp cannot
escape from them as easily as from open chimneyless kilns.
At Truro, and at Michael Cardew’s pottery in Winchcombe,
where both kilns are of the old English bottle-neck type, with
chambers eight to twelve feet in diameter and several fire-
mouths, it is customary to pre-heat the raw wares the day before
t4,e proper firing. At St. Ives we warm up our round kiln with a
drip-feed of paraffin into a saggar half full of wood ash set in
the ash pit. This burns without attention all night preceding a
firing, and gives off a flame about twelve inches long. We have
also found that this combination of and wood lessens the
oil

•labour considerably during the actual firing, and the slow drip
is gradually increased to a steady flow of the thickness of a
match as the firing goes on. Without a chimney it is not possible
to obtain a sufficient pull of air to give complete combustion to
a larger quantity of oil, and any further increase only results in
a dense cloud of smoker L:
Wares glazed with galena must be packed in a very open way
 KILNS
to avoid sulphuration, that is to say, in saggars with holes large

enough to allow the flames to reach the pots. Closed saggars are
unsuitable, and covered pots should have their lids placed
separately. Bottles with narrow necks must be glazed inside
with a glaze partly or wholly composed of a form of lead into
which sulphur does not enter, ^ and large dishes are packed
face downwards on stilts, or sometimes, if the rims are not
glazed, on top of one another.
Slipware is fired under conditions of predominant oxidation,
but complete oxidation tends to yield disagreeable hot colours.
Reduction, on the other hand, makes the body grey, and under
a greenish glaze the effect can be just as unpleasant, while the
surface tends to be bubbly. It is essential to know one’s kiln
very well in order to steer a fair course between these extremes.
Moderate reduction is vrhat one aims at, continued for a hun-
dred degrees or so just before the glaze begins to melt, between
750° and 900° C. This procedure has the effect of sealing in some
of the reduced colour of the clay, which cannot be much altered
the glaze has melted. After it has reached that stage
reduction has the effect of causing the glaze to bubble violently,
this can be clearly seen through the spy holes. The bub-
bling will subside almost as quickly with steady oxidation. Up-
kilns are best for galena glazes, but they often present
difficulties in equalizing the heat from the bottom to the top.
At Truro it is the practice to finish the firing with furze, and at
Winchcombe with brushwood faggots, which throw up a long
and carry the soaked heat to the top of the kiln. A
of a few minutes is made after the ‘glows’ have been
raked out at the end of each stoke. Coal is not objectionable for
brown wares because the 4 per cent, to 5 per cent, of sulphur it

contains does not injure the colour as is certainly the case with
wares. Since galena contains sulphur, it is not advisable
to pack white wares with galena-glazed pots.

1 Fritted lead silicate. Wenger’s

Q 682, melting at Soo“ C., serves
very well for this purpose.
 SALT-GLAZE PACKING AND FIRING

SALT-GLAZE PACKING AND FIRING

In the old days the picking of a salt-glaze kiln somewhat
resembled the biscuit packing already described. It is true that
the volatilized salt covers everything in the kiln which contains
silica with a thin coat of glaze, but its action is far less drastic
than one might suppose, and although the old bellarmines show
scars they do not appear to have stuck together in such a way
as would cause serious damage, although packed in direct
contact with one another. We have had only two salt-glaze
firings, which took place at times when our round three-foot

kiln needed rebuilding and we could, therefore, afford to use it

for such experiments. I felt certain that the qualities of old
salt-glaze were due to the character of the clay and to wood
firing,and our attempts fully justified this belief. The kiln took
•eighteen hours, and 4 lbs. of coarse salt were thrown on the
wood at a little over 1200° C. This caused a dense white smoke
to pour out of the kiln and down the Land’s End road, to the
alarm of the stokers, who rushed out of the pottery fearing to
see passers-by fall in their tracks overcome by chlorine fumes.
The salt caused the temperature to fall, and after half an hour
or so a second dose of 4 lbs. was given and the temperature
maintained at 1250° C. for another hour.
Salt has a disastrous effect upon other glazes, and once a kiln
is impregnated, it is very difficult to cure. It makes stoneware
glazes crinkleon the edges of pots, and turns otherwise bright
glazes matt . Of Course,
it is not necessary to pack the pots in the

primitive method described, but they must be very openly

placed..
On the average i lb. of salt per cubic foot of kiln capacity will
give the best results. Directly after throwing the salt well into
the furnace when the stoke is low, dampers and stoke-hole
doors or covers should be closed for a few minutes to hold the
gases in the kiln. Walls and fixtures should be very aluminous
203
 KILNS
and relatively free from silica. The kiln cannot be used for any
other ware.

FUEL
The fire-mouths of kilns are built to suit the fuel to be used.
Wood takes up more space than coal, and coal more than oil or
gas. Charcoal and coke give off a glowing heat, rather than a
long flame, and so they are usually banked round a muffle with
plenty of air inlets, much on the lines of a roadside brazier.
Electricity is a purely i-adiant heat and requires no fire-mouth
or outlet to a chimney. My own experience has been limited
mainly to wood and oil. The larger round kilns to which refer-
ence has been made in this chapter could all be adapted for coal,
oil or gas firing. For coal the firebars should be closer together
than for wood, and the ash-pit must be sufficiently deep and
open to allow a good draught, otherwise the bars may bend
from excessive heat. The best type of coal for long flame and
high temperature is gas coal. For lower temperatures, long
flamed sandy coals are largely used. Coke is well adapted for
the steady slow heating, at the beginning of a firing, especially
of raw wares.
Fuller information in regard to European kilns may be found
in the excellent standard work on Ceramic Industries by E.
Bourry.^ I must point out, however, that his statement to the
effect that high temperatures cannot be attained by the use of
light woods is erroneous.
Oil has not been much used in Europe until recent years, but
in America it is extensively employed, especially in small
In the form of paraffin, or even thin fuel oil, it can, be
potteries.
burnt by means of a natural draught induced by a chimney.
Th.t Drackenfeldt and the Revelation kilns'^ manufactured at

, iA Tfeatise on Ceramic Industries, EicdleBourry. Scott Greenwood

&S011.
* Revelation Kilns, 10125 Jefferson Avenue, East, Detroil,
Michigan.
204
 FUEL AND KILNS
Detroit in the U.S.A, in various sizes suitable for studio use, are
economic and very effective. I have had one of the latter, and
can recommend it for temperatures not exceeding 1200° C. The
method of radiating the heat is peculiar: a muffle is formed by
conducting the flames up thin replaceable fireclay pipes, with
which the wall of the kiln is completely lined. In the Dracken-
feldt kiln hollow bricks are used for a similar purpose. In the
Revelation kiln the oil is drip-fed into a pan, from which the
flame drawn into the combustion chamber and from thence
is

up the pipes. Between the pan and the inlet to the kiln are four
perforated flaps, which, by opening and shutting, regulate the
atmosphere. This principle could be applied to any small kiln
with a chimney to make a sufficient draught.
Unfortunately, owing to the import duty and freight charges,
these American kilns are expensive to buy in England. Com-
mercial oil-kilns are fired with crude oil, which is atomized by a
pressure of air or steam varying from four to one hundred
pounds to the square inch. For the studio this is an expensive
and often noisy method of firing, but there is no doubt that
especially for high temperatures such oil blowers are very
and the big oil companies, such as British Petroleum
effective,

and Shell Mex, are quite willing to lend the assistance of their
engineers to any potter who proposes using their oil. I can also
recommend Mr Askam, Avenue Road Works, Aston, Bir-
minghanr, as a designer of oil fired kilns who has been of great
assistance to several potters whom I know.
Of gas kilns I have had little personal experience, but there
are many on the market, and they are much used in art schools.
One of the latest, designed by Mr Charles Vyse for the Gas
Light & Coke Company, is constructed to withstand stoneware
temperature.One of my students has also obtained good results
from the Deep Recuperative Gas Muffle made by the Incan-
descent Heat Co., Ltd., Cornwall Road, Smethwick, Bir-
mingham.
In the case of the bui'ners have air inlets to control
20 $
 lU' aimm

KILNS
the mixture of air and gas. In kilns fired with paraffin, or heavy
oil, this is more difficult, owing to the liquid nature of the fuel.

Nevertheless air must be given access to the burning surface in

as direct a way as possible. Besides this primary air there must
be a supply of secondary air whose access to the kiln should be
controlled: it is the supply of this secondary air which normally
determines the state of the kiln atmosphere. When, however,
primary air is supplied under pressure and control a secondary
air supply may become superfluous. If the secondary air can be
preheated by an adroit arrangement of the flues, the flames
become more powerful and a great economy is effected.
The building and use of very inexpensive coke kilns is de-
scribed in detail in Handcraft Pottery by Henry and Denise
Wren.
For temperatures up to 1200° C. there is a wide choice of kiln
for studio workers; but for stoneware and porcelain it is difficult

to find a small, reliable kiln, made in England, which is not

expensive.
There is a new electric kPin on the English market, the Graf-
ton kiln, made by the Applied Heat Co., Claydon, Ipswich,
Suffolk, which is suitable for the small-scale worker at tempera-
tures up to 1300° C. Its upkeep and cost are not prohibitive, and
a reducing atmosphere can be obtained by the introduction of
. thin pieces of wood without damage to the heating elements. It
is very simply and conveniently constructed, and the tempera-
ture in all parts of the chamber is ,
remarkably even. We have
fired stoneware tests in it with good results; but the replacement
of burnt-out heating coils, or elements, involves an occasional’
outlay, and we would advise anyone to switch on the power in
slow stages if the wares are packed in very close formation.
Only one other type of kiln need be mentioned here, because
it seems to mark the end of a long evolution. Trefer to the tunnel
kiln,which of late years has, been playing an increasingly im-
portant part in mass production. It consists in a series of truck
: loads of pots moving slowly through a. tunnel, of which the
206
 FUEL
central portion alone is heated to a constant temperature. The
movement is imperceptible to the casual glance, but the average
time taken by a truck to enter cold until it emerges cold again at
the other end is twenty-four hours. Work never ceases, control
is very exact, loss reduced to a minimum, and the output
enormous.

PACKING A STONEWARE KILN

In firing stoneware and porcelain even more difficulties are

encountered than in firing softer wares. One must take still

greater care, for in the neighbourhood of 1300° C. even refrac-

tory clays warp under pressure, more fusible bodies, like por-
celain, need but the slightest tilt togo out of shape, and glazes
which will turn steel when cold pass through a series of molten
transmutations.
Upon opening a stoneware kiln, especially if it has been
wood-fired and reduced, the kiln fixtures are glass-bound and
glisten with a thin coating of volatilized glaze. Saggars at the

bottom of a bung have to be split apart with a crowbar, despite

the use of coils of special refractory material to keep them
two or three inches thick may bend
separate. Shelves of fireclay
and touch the lips of a dozen pots carefully placed beneath
them, or the flat bottom of a saggar may sink under a teapot
with the consequence that a circle of egg-cups lean inwards and
get stuck fast to it with glaze. Such amongst many like happen-
ings may give a clue to the care and foresight required in pack-
ing a stoneware kilnt The kiln furniture, such as shelves, props,
saggars and the like, must be well made of first class materials

Sill one temperature, so that there will be no further

fired to

contractions. Of these an ample stock ought to be kept in sizes

adapted to both pots and kiln. With suitable fireclay and grog a
potter can make most of them on the spot and bake them in the
first firing of a new kiln, for when a kiln is newly built and still

damp one must not expect to get good glaze results. New sur-
'

207
 KILNS
faces are inclined to suck glaze from adjacent pots, and it is a
good plan to baste verticaland overhanging areas with a thin
wash of waste glaze to counteract this tendency.
The next thing to do is to array the pots near the kiln, and to
make a rough selection of what can go most economically into
each part according to the shelving and the space required for
the saggars. At this point it is necessary to consider if some
parts of the chamber are habitually cooler than others, and to
set aside pots with softer glazes to go into them. Conversely one
finds out from experience that certain effects are due either to
greater heat or to exposure to the flame itself, and accordingly
space for the right pots is reserved. Then follows the lay-out of
the packing to assure equal draughts and distribution of heat.

A general principle to be followed is that ‘if the outside is hot

enough the inside will take care of itself This means that if the

flames are well distributed round the inner surfaces of the kiln
walls, the radiation will concentrate upon the centre of the
chamber. The wider the kiln and the faster the draught, how-
ever, the less this rule can be depended on. Before beginning to

pack it is advisable to examine, clean, and, if necessary, mend

any kiln furniture or fixtures. Broken parts are best mended
with dry powdered fireclay and waterglass. Props must be
checked to see if they will stand the strain of another firing,

cracked shelves must haye additional support or be replaced,

saggars which have split into halves should be bound with cord
to hold them together until they are re-set in a bung. The
Japanese use rice straw ropes, and it is interesting to see their
frosted skeletons still adhering to the saggars after a firing.

Shelving and saggars: ought to be carefully dusted and any

projections chipped off with a cold chisel.

Then comes the making of ‘snakes* and ‘biscuits’. The

former are long rolls of fireclay dusted with quartz sand or
other refractory powder. Their thickness depends on the thick-
ness of the saggar wsills, usually | inch to | inch suffices, and
they are made between the palms of one’s hands and by dia-
208'
 PACKING A STONEWARE KILN
gonal movement of the flat hand on a table. Or strips may be
cut as the illustration shows. Biscuits are something like plate
mats, and are made of the same clay as the pots which are to
stand upon them. They should be beaten out on a table with a

Method of cuiiing’
wads and slices

wooden bat, from which have been rolled in the same non-
balls
adhesiye sand or powder. Plenty of sand should be used to pre-
vent the clay from sticking either to the bat or the table, and the
finished thin biscuits when made are best covered with a
cloth, as they harden rapidly. Their purpose is not only
vent the pots which rest on them from adhering to
saggar, but also to serve as a bedding both when packing and
later, when the foot ring of the pot contracts during the
Another method is to put a layer of sand on the kiln she
or in the saggars, and it is one which the Chinese potters
especially during the Ming dynasty, even for porcelain. There
are certain disadvantages however; sand adheres to the glaze if

the latter comes down to the foot, and it gets scattered about the
kiln and often into pots. The placing of fragile pieces with thick
friable glazes into every inaccessible comer of a restricted space
 KILNS
calls for patience, without the added exasperation of having to

unpack a whole shelf because a few grains of sand have fallen

into the pots on the one below. This is not so likely to happen if
the top shelves are packed first. Porcelain pieces are often
mounted on porcelain rings, which have been carefully thrown
and turned. This precaution is the more necessary when the
i ware is thin and raw glazed. Three years ago I gathered from

the kiln dumps at the great pottery centre of Seto in Japan one
»
or two specimens of egg-shell porcelain tea cups, as thin as
in
-.‘j
thick paper and as translucent as white glass, together with the
cone shaped stands upon which they had been packed upside
down, for the reason that the handles would have pulled them
out of shape if they had been fired the right way up. The very
»:. edge of the lip is unglazed but subsequently polished, so that this
characteristic is not noticeable. Thin flat wares also present the
_ greatest difficulty in firing at high tera-
peratures. Besides the obvious precautions
,

/ /of making them of strong clay and of shape

A / and section to resist the tendency to sag,
they must be set on very level bases and
fired evenly.

/ / It is a good rule to pack glazed wares

{ / with a minimum
spacing of a ^ inch be-
\ / tween each pot and its neighbours, but it

^
is one I must confess to breaking. The
CO temptation to squeeze in an extra pot or
( / two, especially towards the end of a pack-

\ / ing when some favourites have been left

out, is very great. I can only warn others
— that it is a very mistaken economy.
? For oxidization the pots should be
A / packed more openly on shelving and sag-
. / gars. The latter must be either perforated
or, at any rate, not tightly closed with rolls
Stacking teapots p^j. reduction, on the other hand,

2:ld ;
 PACKING A STONEWARE KILN
they should be closed as tightly as possible, and some potters in
the East who are attempting flambd effects go so far as to use
double saggars, packing the space between full of charcoal or
retort carbon.
Bowls of uniform size are often
packed in saggars, the bottoms of
which have been rounded in a mould so
as to fit within the circumference of the
bowl beneath, thus saving kiln space.
The height of a saggar can be in-
creased by rings, or by inverting an-
other saggar over it. At many potteries
in Japan and China saggars are hardly
used at all. This is the case at Ham-'

ada’s town of Mashiko, w4 ere pots are Oriental method of

packed in tiers, as the illustration stacking bowls
shows. This can only be done when the
partswhich touch are such as may be unglazed, and are strong
enough to withstand the strain, which is least in a quick oxidized
heat.
Unless an electric pyrometer is available, Seger or Standard^
cones are the bestmeans of gauging temperature. These are
elongated pyramids about one and a half inches in length, made
of materials used in glazes. They bend, or squat, at intervals of
about 25° C. It is usual to set them aslant in threes in a socket
of fireclay. Seger cone 9, which fuses at 1280° C., indicates our
average temperature, and we use cones i, 8, 9 and 10 in several
parts of each chamber. Cone i (i 100° C.) is a useful guide to the
temperature just before the glazes begin to melt, when reduc-
tion, if there is to be any, must take place. The cones should be
placed in positions where they can be easily seen, and it is also
expedient to put them where they are protected from fierce kiln
draughts. Beside the cones We use a number of test rings

* Standard cones require about 16“ C. more heat to cause them to

squat. ..
 KILNS
touched with cobalt and brown iron pigment and covered with
glaze. These are hooked out of the kiln towards the end of the
firing as an evidence of atmosphere as well as temperature.

When the kiln is full the doorway is blocked up with bricks and
fireclay mortar, and well basted outside with a mixture of sand
arid slip; dampers are opened, and strengthening bars or chains

tightened. The kiln is then ready for fire.

COOLING
As I have indicated upon p. i68 certain glazes require fast
cooling, but it is a safe rule with ordinary wares to allow as many
hours for the pots to cool as it has taken to reach their maximum
temperature. As a matter of fact there is no danger of dunting
them before they come down to a dull red heat, therefore in case
of need the kiln may be rapidly cooled to that point. Then it is

wise to see to it that no fine cracks in the clamming let in cold

draughts of air. With thick wares and fine vitrified bodies it is

advisable to delay the cooling by keeping fire mouths, blow-

holes and dampers closely shut till the pots are cold. Certain
effects of may be
glaze surface by producing a re-
facilitated

duced atmosphere for a short time during the cooling at round

about 700° to 800° C. The lustres are of this order. Related but
quieter effects can be obtained in the same manner with stone-
ware glazes in which metal oxides, particularly iron, are present
in some quantity.
 Chapter VIII

THE WORKSHOP

A friendly and inviting atmosphere in the rooms where pots

are thrown and decorated, good lighting, reasonable orderliness
and quiet, the tools and furnishings attractive in themselves,
however simple, and a few specimens of first-rate pots against
light toned walls make all the difference to the mood in which
work is done. An individual potter’s workshop means more to
him than a mere setting where the routine of production can
conveniently go on. Here he has to seek and weigh new ideas,
comparing them and his finished work with the standards of the
past and the needs of an unborn future.

SELECTING A SITE
The selection of a site for a new pottery requires careful con-
sideration and forethought. With a limited and very scattered
public for sound handcrafts, every possible aid to sales has to be
considered. Proximity to rail, post and clay are almost indis-
pensable. Freightage is a serious item in the year’s budget even
of a small-scale pottery, A showroom at a good pause on an
important motoring road, or at some focus of interest, possibly
combined with a tea-room run by a partner, may make the
difference between success or failure. It allows the pots to be
seen in use in appropriate surroundings and gives the visitor a
breathing spell during which to consider unusual purchases.
213;
 I'aSlBffiy®

THE WORKSHOP

PLAN AND SCALE

The lay-out of a pottery should be determined by the pro-
gressive stages of work from the reception and storage of raw
material to the final display of the finished pots, or their des-
patch to agents and customers. Clay making, throwing and
moulding, decoration, slipping and glazing, kilns, office work,
stock and showroom and packing have all to be considered in
relation to one another. It would still be a small pottery run by
from three to six people which allowed the equivalent of one
room for each of these purposes. That is about the size of the
St. Ives pottery. As, however, this is somewhat larger than most
studio potters are likely to require, a plan is given of a large
workroom and a kiln shed in which, besides packing, firing and
unpacking, the clay could be prepared, the biscuit stored, and
slipping and glazing done, thus freeing the studio from the
rougher and dirtier work. If a potter is limited to a single room
it is almost essential that he should buy his clay ready-made and
depend upon a paraffin, gas or electric kiln.
A piecemeal description of the tools and procedure of even
such an average studio pottery as this drawing indicates would
be tedious to read, therefore I have attempted to give a picture
in the following pages of the stages through which a batch of
200 to 300 stoneware pots would pass during the month which a
couple of potters doing all their own work would take to make
them from start to finish. I have elected to describe freely the
work involved week by week, in the form of imaginary letters
between friends, such .as I have exchanged in. Japan arid in
England. I do not know of any such description nor of a better
way of bringing home to students, and possibly others, the
actual life of a potter. ,
mmm
 THE WORKSHOP

I. Sunday, September , 193

Gains and Losses in the August Kiln

Dear X,
We have ourselves largely to thank for the losses in last
month's kiln. Here is a sketch of what it looked like when
opened. We took a risk
with cracked shelves be-
hind the bungs of sag-
gars. They had held up
so long with an occa-
sional extra prop and a
smear of refractory clay
here and there that we
had grown careless. It
certainly does not pay,
unforeseeable accidents
are quite enough in
themselves at high tern-
perature. The saggar
~~ which telescoped in the
first bung and threw the
top section downy there-
by choking the flues and
altering the draughts,
must have had a terrific

grilling from the blast of

Damaged contents of a high flame w:hich "we played
temperature kiln like a hose on the outer

chamber in order to get cone 10 (1300° C.) to bend equally

on both wings. Directly there was a breach in the wall of
saggars the same heat flowed through to the shelf instead of
over the top and down behind. Judging by the appearance of
 THE AUGUST KILN RESULTS
the glazes 'the temperature in this area must have reached
1350° C. The Seger cones which would have recorded the heat
fell with the saggars. Another time we must protect the bottom

saggars from the full effects of the blown oil flame by a thin wall
made out of the same cracked shelves. The large open fired pots
on the top nearest to the door tilted and stuck together, and the
taller pieces below were spoiled by the two halves of the shelf

sitting down on them, but to make up for this quite a few pots
have come out a brilliant rust red, called by the Japanese ‘kaki’
(persimmon), turning to black where the glaze is thick, and the
black ‘tenmoku’ glaze on others has turned red where it is thin
on the rims, etc., just as old Chinese pots do. Unfortunately the
celadons became quite transparent and glossy, and the crackle
is fine, thus losing their essential jade-like character. Unluckily
some of the pots we were banking on were in this part of the
kiln, but there are about a dozen others which are really excit-

ing and will be put aside for our next show in London. Out of
284 pots, 84 had to be thrown away or put into third class, and
1 88 went into ordinary stock, The biscuit in the second cham-

ber came out almost perfect. Allowing one-third off for agents,
etc., the selling value, after the pots had been labelled and

priced, was only ;£’5S against the average of £ 75 per kiln per
month which we should maintain.

Cleaning up after a Firing

After the firing we had the usual cleaning up, was
the kiln
cleared of debris, the biscuits chipped off the shelves and sag-
gars where the excess of heat had made the glazes run over
them. In some places despite the use of biscuits and wads, of
what we calT 'snakes V lavishly powdered with quartz, a cold
chisel had to be employed to chip off bits and a pick-hammer to
prise saggars apart. Three factors are involved; first, the actual
vitrification of the biscuits which, to saye a wide foot from
splitting as it contracts, should be made of the same clay, or an
equally contracting clay, as the pot; secondly, the forming of a
'
217-''..
 the WORKSHOP
where the alkaline salts in the flame combine
thin coat of glaze
silicas in the clays; thirdly, sheer
compression.
with

Thin Kiln Shelves

2-|- x 12 x i8 inch Stourbridge bats of
Then we replaced the
which the old shelving was formed by a new and more expen-
sive variety made by the Morgan Crucible Company
only il

inches thick which is guaranteed to stand

our temperature,

atmosphere and maximum weight per square foot.

Blemished Pots
Some of the blemished pots were worth saving. In a few
difficult cases we split pots apart under
water with a wooden

mallet, or with sharp light blows with a mason’s trowel, and

then ground the excrescences on the carborundum wheel and,
finally, rubbed a little oil and umber on the
scar. It is a pity

people in England are so fussy about technical imperfections.

Collectors won’t look at a pot even though its aesthetic merit is
as little affected as a Rembrandt drawing would be by a minor
blot from his quill. The Japanese are more sensible in these
matters and see to it that defects are repaired beautifully with
lacquer, making no pretence at deception and often actually
enhancing austere colours with a fine gold line. The Chinese,
who waste nothing, have cracked or broken pots riveted for a few
coppers and continue to use and enjoy them. The only thing to
do is to keep such pots for people with perception and rigorously
destroy those other technically perfect pieces which, whether be-
cause of the pottei-’s or the kiln’s shortcomings, have abad nature.
'
After the kiln had been put to rights saggars were sorted by
sizesand a note made of necessary replacements. We find that
on the average they stand up to a dozen firings. Next the glaze
tubs, etc., were put away and re-marked with oil paint where
necessary. We also marked with Chinese ink (which burns out)
the glazed pots which were left over from the last packing. This
was done to save confusion later on, since it is difficult to recog-
218
 PREPARING FOR THE NEXT KILN
nize some of these glazes from one another in the unfired state
even if a biscuited plate with the descriptions in the centre and
dabs of glaze radiating to the circumference is kept for reference.
So far the unpacking and clearing up together with the
routine jobs had taken two days. The daily chores consist of
cleaning, office work, clay-making and looking after visitors,
besides variable details. Before we could turn our attention to
the next batch of clay a couple of cases of orders had to be
invoiced, packed, and sent off to agents. For such purposes we
keep a stock of packing cases and small wooden boxes, ob-
tained from chemists, next to the fuel tank up in the wood-loft.
Of saggar clay and porcelain there was enough in the clay bin,
but the stoneware body was almost used up last time and the
next lot in the drier needed stiffening, wedging and kneading.
At this point we had a consultation as to what was to be made
for the next firing, and found that we needed about 1 50 pots for
stock and orders leaving kiln space for 100 experimental and
exhibition pieces, including 30 large pots to be fired open on the
top of the shelving or in the saggars, and perhaps 100 tiles to
up odd spaces. For this quantity we estimated that 400 lbs. of
fill

stoneware clay and 100 lbs. of porcelain body would be suffi-

cient — fifty 10 lb. balls of prepared clay altogether, allowing
I lb. for the small, and 8 lbs. for large articles.
On Wednesday morning we shovelled the soft clay out of the
drier on and made four piles ten deep.
to the biscuited bats
These bats we made some years ago of rough china clay with a
little ball clay added for tensile strength and only fired them to

700° C. They measure IS X 12 X 2 inches and have proved very

satisfactory. The which the kiln shelves are
fireclay bats of
made are not sufficiently porous. The night before we had put
them into the kiln, which was still warm, to dry off. After lunch
we wedged until tired, what with interruptions and rests it took
us until it was time for high tea and knocking off for the day.
Our method on this small scale is to share the work as much
as possible. In theory it, may not be so efficient as a greater
219
 THE WORKSHOP
division of labour but we find it more companionable and
stimulating.

Correspondence-Sale or Return Agencies

The next morning whilst David was cleaning up I attended
to the correspondence as usual. Amongst the letters were two
which are worth mentioning. One informed us that an agent
from whom we have had great difficulty in obtaining payments
for some time, and who had of late refused to reply to letters,
was bankrupt, and that apparently her stock of our pots on
‘sale or return’ had been sold with her other assets to pay off

creditors! About to be written off as a bad debt I’m afraid.

Distribution
I am glad we have made the decision to abandon ‘sale or
return’ agencies in favour of purchase outright. They have
rarely been satisfactory. The temptation for someone setting up
one of the innumerable craft shops is to furnish them inexpen-
sively in this way, and the inducement is to sell cheaper goods
which they have had to buy outright. The first difficulty, of
course, for small scale production is to find a way of making a
sufficient number of similar articles to sell at a low enough price
without losing quality. The second is to discover a method of
bringing one’s work to the notice of people who are potentially
interested in That there is a public for good work is proved
it.

by a few shops and galleries where it is shown with taste and the
customers are treated in a businesslike way. In spite of the
miserable hand-made junk, both old and new, with which most
of the craft shops of England are number shows that
filled, their
a well-intentioned but ill-directed desire for humanly expres-
sive work is widespread. ‘One man shows’ in London are too
expensive to be depended upon for bread and butter. One way
and another they cost at least £ 70, which makes the sale of
inexpensive articles unprofitable. Selling by means of illus-
trated catalogues presupposes exact repetition in quantities
 A LETTER FROM JAPAN
contrary to the intention and capacity of individual hand-
work. Therefore it would seem that a different kind of dis-
tribution needed by the hand craftsman in a machine age.
is

The best method we have found is to take a box of samples out

in a light car once or twice a year and be one’s own traveller.

By this means we cankeep in touch with agencies,

sell outright,
and obtain a truer understanding of the extent to which the pub-
lic will buy pots which are primarily made for their own sake.
The other letter was from Japan. I think the following
passages will interest you.

Ando Mura,
Yamato,
Japan.
March.
Dear L.
How your family and your work getting on?
Nearly every day you but it is too far Yamato
we talk about
and St. Ives. Here Ume no hana (plum blossom) gone,
. . .

tJguizu (nightingale) came, Haru no tsukai (harbinger of

spring). I think you remember this best season of J apan.
This year I had five kilns but only five good works {pat goody
ordinary) and we wish to break up all the others (50), but if we
break up all of them we must ask too yen 10) each for five
works. Then who will buy? Can they buy? Well if they cannot
buy how shall we live? Think! only five pots out of 100 pots,
two months hard work, 1 50 yen gone. I will stop; you know well.
Plum blossom, nightingale and the rain of Yamato—-poor,
but we enjoy so much. I feel the plum blossom and such kind of
flower deeply coming in to my mind year by year. Last year I

did not feel as I enjoy this year.

Twish to speak with you in the quiet room but I cannot
explain well. Bah! English!
Pease write to us.
Yours,.
Kenkichi Tpmimoto.
221
 THE WORKSHOP
Opening Clays with Grog or Sand
For the large pots I added to the same Stoneware body a
one-to-four proportion of fine grog. This Stourbridge fireclay
contains particles of iron oxide which fuse under a glaze and
cause flecks of dark brown or rust red to appear in its surface,

breaking the uniform tone pleasantly besides opening the

smooth texture of the stoneware clay. When this mottled effect
is undesirable we use local red siliceous sand in which the iron
ismore evenly distributed.
Next we cleaned out the two wheels, taking the accumulated
clay shavings and putting them to resoften in buckets half filled
with water, then the bearings were greased, the throwing tools
checked over, and bats and boards for the pots set out. The
workshop contains well over lOO cleated boards three feet long
and either six or nine inches wide. Brackets and cupboards are
made to fit these standard sizes. In more spacious potteries
longer shelves are generally used
During the afternoon I made some thirty bowls and jars, the
former between ten and twelve inches in width and the latter
anything up to fifteen inches in height, and all thrown in one
piece.

Impromptu Throwing and Drawing of Pots

These pots were mostly impromptu but I do depend upon

drawings done at all sorts of odd moments when ah idea of

shape or pattern leaps to a visual image. Of these I have kept
some hundreds in a drawer ever since I first began to make pots,
destroying those which cease to ring true, and adding new ones
from time to time, . /y

Throwing Speed .

After weighing out his clay into 6-oz. balls David made his
sixty ash pots, from a model, in a couple of hours—slow enough
compared to the pot a minute of the professional thrower here
'.y, ;'222"
 THROWING SAGGARts
or in the East, but not so fast as to destroy sensibility to forni.
Students, on the other hand, are apt to forget that the hollow
clay shape on a potter’s wheel is in a semi-fluid state and that
each touch or pressure to some extent affects the whole form.
Also that it is continually becoming wetter and softer, and that
therefore a well thrown pot can only be made during a very few
minutes.

Saggar Making
Saggar clay is harsh on the hands so we use pads of wet rag
instead of the direct pressure of the fingers. When the saggar
is not to be more than six inches high, instead of coiling we
place the ball on a round wooden bat and centre it by beating
with the dry hand and then slowly and rhythmically thumping
out a cavity with the fist from the middle to the required
diameter. The thick outer ridge is then wetted and thrown up to
the required height in the usual way. On the inside the bottom
is smoothed with a broad wooden rib. A thin brass wire held
tight to the surface of the bat is then dragged right through the
clay. David also made a dozen saggar tops by beating out the
clay on sanded bats and trimming them off on the wheel with
turning tools. I should add that he had made a couple of tall

saggars without bottoms, cylinders in fact, and cut them hori-

zontally with a needle half way up the wall as they revolved,
thus producing altogether four rings which are sometimes used
for heightening saggars to contain tall pots. These cylinders
were about ten inches high and twelve inches in diameter, which
is rather a strain for one person to draw up whilst propelling the

kick bar, so I stood by his wheel and did this donkey-work

whilst he threw.
On Thursday morning, after routine, the previous day’s pots
were examined and turned upside down to enable the thick
bottoms to dry more evenly. Then I continued to make new
shapes whilst David, after cleaning out the saggar clay remnants
from his wheel and kneading up the necessary clay, set to work
223 .
 .

THE WORItSHOE
on a couple of dozen of our standard pint jugs, and the same
quantity of half-pint beer mugs. I enclose drawings of the

Position and attachment of handles

latter so that you will be able to visualize one or two points

which come up
will These, shapes have been evolved
later.

gradually and are neither individual nor purely traditional

Co-operative Pots
There is a peculiar satisfaction in arriving at a unanimous
verdict about a shape and its decoration. We rarely copy old
designs, partly because they seldom conform to present day
use, but mainly because the spirit of to-day has a different
tempo and rhythm, nevertheless we have no objection to taking
hints from an)rwhere providing the resulting pots have a use
and life of their own. As Yanagi said in one of his letters: ‘we
enjoy those pots most which are born and not made.’ My
criticism of most studio-made pots is that they are made and
not born. Amongst my own pots the one which gave me most
satisfactibn was this teapot engraved with a chisel-headed
bamboo tool whilst it was still oh the wheel. An olive-blue glaze
should fill the recessions and smooth the sharp edges, and,
with luck, will come out a burnt brown where the glaze runs
thinner and the iron in the clay adds its quota to the iron in the
glaze (See Plate 43).
 WORKSHOP CO-OPERATION
Turning and Decorating combined with Throwing
Some of the pots were thro'wn with balls of somewhat stifier
clay, making it possible to shave the lower and thicker portions
at the last stage of throwing. In such cases the foot is not
hollowed out and depends for its character upon the cut of the
twisted gut or wire. This directness gives a greater degree of
unity of form to large pieces besides increasing the speed of
production. Included in this category were several narrow-
necked bottles akin to those of the Sung dynasty. They make a
particular appeal to a potter because they are very complete
abstract shapes and can be effectively used as vases for single
sprays of flowers, for dead grasses or thistles, branches of
lichened thorn or willow catkin (See Plate 33).

Stacked Glost Wares

I also made six cake dishes to be packed in a pile only
separated by small balls of quartz sand mixed with a little flour
paste. The flour burns out leaving the friable grains of sand
loosely held together which can easily be chipped off with com-
paratively little blemish to a thin glaze. This is not a method
which can be indiscriminately recommended for fine table
ware, although it is one which is extensively used in the East.
The stilts, spurs and thimbles ordinarily employed for lower
temperature glost firings are out of the question for stoneware
and porcelain, because they would throw the pots out of shape
and make deep scars in a softening body.

Turning, Fettling, and Decorating Green-hard Pots

During the afternoon we both gave attention to those pots
made earlier in the week, now sufficiently hard to handle with-
out going out of shape. Smoothing the angle of the feet of those
which did not require shaving with the ball of the thumb,
stamping them all with the pottery seal, and individual pieces
with our private marks, and then beginning to turn the others
p 225 L.p.n.
 THE WORKSHOP
on chucks fixed to the head of the wheel. I could not get finished

by tea-time so worked alone for a couple of hours in the

I

evening as I saw that there was plenty to do on

Saturday morning and we were anxious to have a
break that afternoon. Turning takes nearly as
long as throwing, but neither can be done quickly
when it is a case of searching out new form. When
engraving, tooling, seal rolling or stamping has
to be done at the same stage, time has a way
:
i

of

fi
ai stopping. Every cut of a turning tool has as

Saini Ives much possibility of clean or smothered action as

pottery seals each pressure of the hands when throwing, and it

' 1 is not a question of a mechanically perfect profile

life
aided or thwarted by
i

in either case, expression is constantly

the hardness and texture of the clay, the sharpness of the tool,
and most of all by that rare balance of true feeling, planning,
ii
and the deft hand.
!

lii

Pottery Visitors
4 On Saturday mornings we allow visitors to watch pots being
made, so that not much beyond finishing up the week’s work
can be accomplished. We have often argued that it was trouble-
some and unprofitable, but we have gone on doing it because it
has given us a means of keeping in touch with the public. All
sorts come in, a fair cross-section of the kind of people from

whom we must earn a living, some appreciative, mostly unin-

formed about the a b e of pottery making, but nearly all sin-
cerely interested when they see pots being actually tnade by
sirfiple handwork which they can grasp. Many have said to me,
T shall never look at a pot in the same way again,’ and that,

more than any resulting sales, has made us feel that it was
worth while. Yesterday we had a good bunch of people, two of
whom at least knew a good pot when they saw it. One woman
started by asking if we hadn’t got any ‘blue pots’, and when
David showed them that last olive-blue glaze for which we have
226

m
 . 5

VISITORS
experimented for years, she said: ‘Oh! do you call that blue?
No, I want something bright to give to my niece for a wedding
present. If you haven’t got blue, orange or green might do.’
Eventually, when she had seen how well a celadon can dis-
play many flowers by quiet contrast, she asked me to make
her a vase specially for roses which I proceeded to do forth-
with whilst she watched. odd in sales for the morning, £ 1
for the week.
At 12 o’clock we closed the pottery and put away in the damp
cupboard all the pots which were in any danger of getting too
dry before they could be slipped or raw glazed on Monday.

Mutual Criticism
Whilst doing this a mutual flow of criticism about the week’s
work went on. I found fault with the ribbing, naturally caused
by finger pressure when drawing up clay on a wheel, on the
pint jugs which David had thrown the day before.^ I felt that
the accent should be more on the major curve than on the
straight line to the lip —
a smooth curve and a ripple above

Unglazed lips
Plates packed lip to unglazed lip

having less vigohr because the eye was distracted thereby from
the main expression of the shape, and also because it indicated
a disturbed rhythm in the actual throwing. David agreed, but
questioned the lack of a regular foot on the base of my cake
dishes, I pointed out that, as can be seen in section, it was im-
portant to reserve an ample thickness of clay to thrust obliquely
outward towards the lip so as to counteract the additional ten-
''1
Plate 23,
227;',
 —

THE WORKSHOP
dency to sag due to the dishes being piled one upon anothei'.
He replied that the argument was not a sufficient defence of an
uninteresting shape.

II. Sunday, September 14, 193

Dear X,
I hope that this letter will be briefer than last Sunday’s,
at any rate I intend to avoid repeating descriptions, even at the
risk of understating the necessary but monotonous side of

pottery. The small scale potter has half a dozen vocations

—
rolled into one painter, bricklayer,
sculptor, carpenter, fire-

man, tradesman—and each one of these activities leaves a mess

to be cleaned up!

Over-fast Drying
On Monday, despite precautions, we found that some of the
pots had changed colour on the thin edges because of the dry
east wind outside, so we had to damp them down again by light
sponging before we could dip them in slip or glaze. If this is not
done they are apt to split, and also to bubble, as the glaze-
water soaks into the open pores and displaces the little pockets
of air.

Slip Gauge
It was not sufficient to mix up the white slip with a paddle as
it had coagulated into small lumps, so we ran it through a 60-

mesh sieve into another tub, and then tested it and the black
slip with our slip gauge, which is simply a painted wooden rod

marked off in half inches, with a weight at the end. This floats
vertically in any liquid, but at different levels according to
specific gravity. When we have found out from experience
that the quantity of water in a glaze, or more particularly a slip,
is just about right we note the figure to which the gauge sinlcs
and can repeat the process at any time without trouble. David
 SLIP TREATMENT
now began to put handles to the jugs and beer mugs whilst I

slipped my pots.

Slip Treatment
Most of them were dipped, either to provide a light toned
base for subsequent glazes or for sgraffito. One or two jars I
combed, as soon as the surface of the slipped pot began to lose
its shininess, with a bluntly toothed comb made out of a piece
of old car tyre.^ As they were large pots, this was done after
centring them on a wheel on a round wooden bat. Sgraffito
designs are inclined to be dry and wiry, so I have taken to using
a fast ‘running hand’, as the Chinese call it, supplemented with
broad strokes and touches of brushwork in iron pigment. This
ismade up simply of one part of magnetic, or spangled, iron
and one part of white slip, and resists a high temperature with-
out blurring. If I were a sufficient master of the brush I could
no doubt obtain the sharp contrast of broad and fine strokes

with the freedom of an Oriental, but I am tied racially to the

carved line of European tradition, and all I can hope to do is to
use it with freedom and introduce the broad feather weight of
the brush with discretion.

Cut Paper Pattern

For the cake dishes I cut three round sheets of Japanese
paper into this mountain and path pattern and pressed the
positives to the dampened clay and then dipped the whole dish
into white slip.Then the three negatives of the pattern were
treated in thesame way and the plates immersed in black slip.
After a short time the paper was carefully peeled off exposing
the natural colour of the body in contrast to the slipped areas.
The trees were added with a trailer containing black slip for the
first set and white for the second. Finally, a few details in the

house and the peasant’s figure were engraved when the pieces

* See p. 115.
229
 THE WORKSHOP
had sufficiently hardened. By these simple means quite a rich
counterpoint of line and tone was produced which could not
have been obtained in any other way. A further advantage is

that such a form of decoration can be applied by several people

working together without loss of character. This work took up
all my morning (See Plate 59).

Pulled Handles (See page 224)

Meanwhile David had finished his handles and he asked me
to run my eye over them. Both of them, as you can see, are
,
unusual because they are applied amidships: this treatment, as
the jug exemplifies, generally necessitates an extra protuber-
ance which is, as it were, against the rules, but if the handle
were attached at or near the lip, which is the usual practice, it

would have to be much thinner to avoid pulling the mouth out

of shape, both when it was being rammed home and also as it
contracted. Moreover, the danger of breakage would be in-

creased rather than lessened. Another advantage of this type of

handle, and it frequently applies to teacups, is that the purchase
of the hand, or forefinger and thumb in the case of small
articles, is near the centre of gravity and the action of pouring
or drinking is facilitated. As it some of David’s handles
was,
were inclined to be thin and tapering.- These are both bad faults,
the first is an offence against the implicit plastic demand of any
generous shape, and the second, a narrowing of the width of a
handle from top to bottom, also takes away from the breadth of
form in a quite peculiar manner. Handles, spouts and knobs are
all tell-tale adjuncts of pots, and modem potters seeni to go
astray as much as modern builders with their porticos, finials,
facia-boards and chimneys. A round sectioned handle is almost
equally objectionable from opposite reasons of clumsiness and
weight. Such rotundity may take its place in early potteiy, but
it does not suit modern life. Sophistication is our lot and not
necessarily a bad thing, so we seek a .solution in the matter of
handles by a flat oval section and springing curves. There are
230
 HANDLES
two ways of considering handles, as there are of all composi-
tional problems, one of which may be called positive and the
other negative. The former I have been dealing with, the latter
ismore subtle. I suggest an approach to it by a consideration of
the empty spaces which are formed by the handle, chiefly the
aperture for the fingers. It may seem a roundabout way of
dealing with a practical problem and yet I know of no such
effective means of discovering the precise curvature which

would give the greatest degree of satisfaction in use.

After lunch I mixed up two raw glazes ready for use. One
was the ‘tenmoku’ which came out so well on a few pieces in
the last firing, and the othei' was an ochre celadon. Into the
tenmoku I dipped several large jars and bowls and the bottles,
and made a pattern by cutting away the glaze with a broad flat
point as soon as the surface had set. The glaze is applied
thickly and the best effect is obtained by a high temperature, so
there is some risk of flow. For this reason a broad line is less
likely to be lost and displays the heavy droop of a fat glaze. The
effect is richer and looser if a wax resist is employed instead of

an engraved line. When such pots are fired in the open, and
particularly with a well oxidized finish, even the unglazed parts
become thinly glazed by the action of the naked flame, and the
iron in the clay flashes to red or brown.
This tenmoku glaze is made of two parts of our Korean type

of celadon and one part of what is known hereabouts as tin

slime. It is the crushed and levigated ore from which most of the
tin has been extracted. There are quantities of it about near tin
mines and ‘stamps’ forming brown banks of a fine e^thy
powder. The colouring agent is mainly iron. We have never had
ours properly analysed as there was no point in doing so since
we could always obtain further supplies. The celadon composi-
tion given on p. 166 and depends for its quality to a large
is

extent upon the ochre which we get in the St Efth Valley. This
glaze can be applied either to a raw or a biscuited body. The
iron flecks, mentioned earlier, come out very well under it and
'
 1
."i

THE WORKSHOP
our purplish-brown manganese glaze makes a very pleasant foil
when trailed like a slijp over it. Another means of decoration I
employed this time, derived from Hamada,^ consisted in paint-

ing a pattern on raw celadon glaze with wax resist and then
basting the whole surface with a broad flat brush loaded with a
thin w'ash of magnetic iron. The pigment in turn is covered with
a further brushing of celadon, so that it lies between two layers
of glaze. The iron, or any other pigment, can either be sprayed
on or, alternatively, the pot may be dipped. Painting can be
done over a sluggish glaze if it is not too friable and if some flux
(usually the glaze itself in a proportion of I to 3) is added to the
pigment to subdue a metallic incrustation on the fired surface.
In the afternoon David wanted to make some of his own pots
for a change, so after had finished glazing I kneaded up a
I

quantity of porcelain day with lo per cent, of our plastic ochre

to form a fine celadon body suitable for delicate articles. With

this I made samples for two tea-sets for which one or two old

customers have been clamouring for a long while. Porcelain,

smooth though it is, is hard on the hands, so we keep a pot of
ointment handy to rub in after a spell of throwing.

Cones .
'

The following morning, Tuesday, I sent off an order to

Wengers for Seger cones,

both the standard and
small test kiln size: cone
I (1100° C.), cone 7
(l230°C.), and cone 8:

(1250° C.) which we use

up ;
quickest, generally
setting these: three in a
wad of clay opposite a spy
to
 1

CONES
reduction should take place as it bends over at about i ICK>° C.
before the glazes begin to flux. Cone 8 is our average, or
middle temperature, though we have glazes which mature at
cone 7 and up to cones ro or 1 and this represents the normal
,

variation from back to front of the kiln.

During this day I finished the pots thrown on Saturday
morning and made some twenty-five smaller pieces of celadon
including three teapots with their separately thrown spouts and
lids. Whilst I was doing this work David made the remainder

of the cups, saucers, small plates, milk jugs and slop bowls
from the samples r had thrown the previous, njght. The next
morning his own pots had hardened sufficiently, so he worked
at them most of the day turning and decorating. Amongst them
were one or two pots which had been worrying me considerably
as I caught a glinrlpse of them out of the tail of my eye. Whilst
he was turning their feet I saw that he had some uncertainty
about them himself, and when he began to mess about with a
233
 THE WORKSHOP
lot of pattern, as it were to smother theii' weakness of form, I

expostulated, but he turned on me, brush in hand, and pointing

to one of my own pots, asked me angrily if I thought it was any
better. I paused, looked at it afresh, saw that it had a lifeless
main curve which sagged to the foot, picked it up and threw it

Pseudo-Greek vase Sino-Greek vase

amongst the slops. He laughed, and was about to do the same

thing with his own when I stopped him in order to make an
explanatory drawing of a vase, which I enclose.

Greek and Chinese Influences

As a vase it is as practical as the one which I have drawn On the
right, but its shape is derived from our pseudo-Greek tradition
and the middle and late Greeks were bad potters.^ My criticism
of this pot is that it is conceived coldly and without reference to

* Michael Cardew, writing of what he calls the 'Greek vase horizon',

says: ‘In even, the best examples the is degraded to be a mere

field forthe drawing; and however good the drawing may be, the pot
fails asa pot for that reason. Made by the labour of slaves or of an
: ,

artisan class explicitly held in contempt by Plato and Aristotle, who

despised handicraft as a servile. Vulgar and somewhat disgraceful
occupation, they are, in their own sphere, typical products of the age ,

which saw the birth of logic and philosophy as we understand them,

an age in which Greek intellcctualism stifled Greek art.’
'

234
 THE GREEK VASE HORIZON
its material and to the organic growth of spinning clay shaped
by human hands. It is devoid of the active rhythm of the North,
of Viking ornament, of Gothic gargoyles. The lip is thin, the
foot metallic —a pale derivative of classic elegance. The vase
which I have drawn may be equally derivative from a Greek
source through T’ang assimilation, but it is a better pot.

Summer Courses for Teachers and Students

On Thursday morning came an enquiry from two school
teachers who wanted to know if we gave a pottery course for
students in the holidays. I replied that we did in the summer
and sometimes at Easter, and gave the conditions. We have had
some interesting spells of work with small groups working
together for two or three weeks. They at least obtain some first-
hand experience to take back to schools, and always seem to
enjoy the varied life of a pottery. It is only a smattering which
can be obtained in so short a time, one to three years is neces-
sary for a training, and 'I find that that is best learned which is

not taught but imbibed or picked up almost unconsciously in

the natural course of co-operative work. Many of these students,
upon whom the teaching in schools depends, and by whom the
attitude of the next generation towards crafts will largely be
formed, have had a little previous experience, but this is usually
a disadvantage, and we often conjecture what sort of teaching
of pottery goes on under the mantle of the Board of Education
and wonder how it could be improved. Without a standard of
values it is problematic whether nine-tenths of it is of any use
'.at all.

Tile Dipping y ^
This morning I asked David to dip one hundred 4 by 4 inch

fireclay tiles, which Pearsons of Stourbridge make for us, in

white slip. This simple process has to be done carefully. The
tiles should be thoroughly clean, otherwise pin-holes appear
after dipping where dust prevents the slip from adhering pro-
" "
235
 THE WORKSHOP
perly. The day being coarse there may also be small pockets in
its surface which do not become filled; in that case it is advisable
to dip the tiles, or pots for that matter, lightly in water a short
time before they are to be slipped. The tiles are held one in each
hand downwards, and immersed ^ inch one after the other,
face
lifted smartly an inch or two and returned to catch the wave of

slip caused by the suction. They are then tilted at an oblique

angle to let the surplus drain off. If this is not done quickly a
star pattern of extra thick slip, which may not become visible
until after a glost firing, will be formed. Tile dipping did not
take long and was followed by the making of a hundred test

rings.

Rolls oj Clay
They were rolled, flattened, cut into lengths and looped in
less than three-quarters of an hour. The knack of rolling a lump
of clay between the palms of the hands in such a way that an
even string, or rope, of clay is rapidly extruded downward is

one of the numerous sleights of hand of which a potter should

be master. It is a survival from primitive coiled pottery, which
is still of use in a dozen different ways as, for example, the
wadding of saggars.

Clay Slices for Moulds

After the rings David cut some oval slices of a mixture of
fireclay and stoneware to be pressed the following day on a
large plaster mould of a meat dish. Such slices are spread out
singly on wooden bats, unless it is necesswy to keep them for
some days before use, in which case they can be piled six deep
and covered with a damp cloth. Should they become too hard
to bend without splitting they rnay be laid out singly on
saturated plaster, such as the bottom of the damp cupboard,
and again Covered over with wet cloths. By this means slices of
clay, or even pots, can be re-softened in a few hours. Whilst this

work was progressing I had been turning and completing the

236
 TILE PATTERNS
ochre-porcelain shapes thrown on Tuesday, and when David
had finished he began shaving the feet of his cups and saucers.
The turning, handling, spouting, slipping and decoration took
us both well into Friday afternoon. Three teapots alone took as
much sell for more
time as half a dozen large jars which would
than two complete tea-sets. The
was pressing the slices
last job

of clay on the moulds, trimming the edges and modelling the

feet. By four o’clock all the pots were ready for drying which,
since the weather was good, we left to take place naturally.

Painting Tiles
The last two hours of that day I gave over to painting slipped
tiles. Our stock was getting low in certain patterns, and I

wanted besides to work out a new design by repeated painting

until I discovered a final simplification of brush-strokes and
spacing. The was simply a robin picking up crumbs.^
subject
With a speculative eye I have watched David feeding it after
lunch for weeks and I wanted to find twenty broad and fine
touches of iron pigment and a pale wash of Chinese cobalt to
express what I felt in less than two minutes. The repetition of
such patterns on pots is not necessarily the boring work which
might be supposed, provided some freedom of interpretation is
permitted. Although the composition is predetermined, and
even the order of the strokes more or less fixed, mood and its
consequent rhythm alters from day to day and even from pot to
pot, so that the verve or intensity with which it can be set in
motion provides a constant incentive to a pattern-painter. Being
human one has ‘off’ days, and there are also times when the
desire to make new patterns is thwarted by orders for old ones
illustrated in a tile catalogue.
On Saturday we still had
a few visitors but most of the sum-
mer holiday-makers have gone and our local sales will almost
come to a standstill until next Easter. The week’s takings
dropped to ;^8 odd.
^ See Plate 68.
237
 THE WORKSHOP

III. Sunday, September 21, 193—-

Biscuit Firing
Dear X,
It is not our habit to have special biscuit firings because the
second chamber of our kiln is constructed so that the flow of heat

from chamber I can be diverted to the chimney by dampers

as soon as chamber II has reached biscuit temperature. With-
out this precaution it would normally go up to about 1000° C.
From that point, when we wish to use it for stoneware, it has to
be side-stoked with wood. That is our intention this month in
order to obtain oxidized effects upon the pots biscuited during
August. The chamber holds about 150 pieces which will be
additional to our normal monthly production. To fire the
second chamber alone it has to be started up from cold with
gentle baitings of wood fed through the lower stoking holes at
each side. Any dry wood, or even coke or coal, may be used
during the first part of the firing, but a light and resinous deal
or pine is requisite during the later stages to give a long well-
distributed flame.

The Biscuit Firing

'

By Tuesday evening the pots were nearly all dry, but to make
doubly sure we put the larger pieces, and those which had been
made last, into the drying cupboard where an oil lamp could
give them a gentle heat all night.^ The pots may be piled upon
one another almost indiscriminately. In this case the shelves
presented no difficulties. In front of them the saggars and larger
pots were placed at the bottom and the smaller and thinner pots

’The drying and damp cupboards are light wooden frames i8

inches deep, 6 feet high and 3 feet wide covered with sheets of
asbestos. The damp cupboard has 3 inches of saturated plaster at the
bottom to maintain humidity, and the drying cupboard is perforated
on top. Both are fitted with runners at intervals on which the boards
slide home.
238
 BISCUIT FIRING WITH WOOD
oil top with a loose wall made of old shelves eighteen inches
high between them and the fiercest of the flames. At the sides a
gap of two inches was left to allow some of the heat to traverse
the inside of the cold doorways. Cones and tests were quite
unnecessary because it is only a question of attaining a low red
heat all through and can be perfectly well judged by eye.
this

Each entry is formed of eighteen large fireclay blocks, made by

ourselves to fit the space exactly. This saves a lot of work which
is exceedingly hard on the hands. Mud and sand with a little

waste clay added was trowelled over the outside and the whole
surface was brushed over several times during the firing to make
sure that no fine cracks would allow cold air to dunt the pots
within.
The firing was started at one o’clock with a couple of pieces
of wood 3 X 2 X 24 inches burning on each wing pushed gradu-
ally into the lower holes. The flues from chamber I had pre-
and slurry to shut out draught
viously been closed with firebrick
from that direction. The reason was simply the incon-
for this
venience of closing the flues at the back of the shelves in
chamber I. Flames never exceeding two feet in length were
kept up by fresh introduction of wood every ten minutes or
quarter-of-an-hour for two hours. In the third hour the quan-
tity was slowly increased, the intervals shortened, and the

flame lengthened to about three feet By the end of the fourth

hour four pieces of wood 2 x 2 x 24 inches were pushed in on
either side every eight minutes or so and the flames could be
seen climbing to the top of the wall. This is the time when any
pots with thick sides or bottoms are most likely to burst, and if

this should occur the only thing to do is to slacken off the rising
heat for half an hour, or more if necessary. Once the flames
have begun to give the nearest pots a deirk red hue the danger is

over and the last stage of stoking is reached. From this point

six pieces of wood, averaging only i x i X24 inches, were in-

serted at a time from each of the upper stoke-holes at intervals
of four minutes when the wood had died down almost to ember.
'

239
 THE WORKSHOP
At the end of the fifth hour the whole mass of pots was a dull

red. We closed the four stoke-holes and clammed them up and

gave a last basting over the doors with slurry, cleared up and
went to supper.

White Matt and Chiin, or Yuan, Glazes

Earlier in the week the biscuited pots for the second chamber
had been glazed and decorated. Besides the rust and black
glazes already mentioned, sometimes used over one another
with wax reserve between, the only other glaze we used was
white matt containing bracken ash.’- The old Chinese used to
burn bracken and limestone together to make a flux for their
porcelain glazes. We use it because it contains a high percentage
of alumina and magnesia, and gives the thick glaze a smooth-
surfaced opacity pleasing in itself and equally suitable for
either wax-resist or over-glaze painting. It is kin to the Yiian or
Chiin glazes in which rice-straw ash takes the place of bracken.
The rice-straw ash contains 30 per cent, more silica than the
bracken, and less alumina and magnesia, and it is the suspen-
sion of tiny particles of silica in the melted semi-translucency bf
the glaze which produces its opalescence. As in some celadons
the bluish colour is due to a small percentage of iron in both
glaze and body. It is a mistake to attribute the Chiin blue to the
presence of oxidized copper. Hitherto we have found the best
substitute for rice-straw to be the common thatching reed
which grows on marshy land. Attempts to replace the silica of
vegetable origin by quartz or flint have not been successful,
because they are not as intimately combined with the other
ingredients of the glaze.

Test Glazes
On the Tuesday afternoon I had prepared two glaze experi-
ments to be fired in the littletest-kilhdurihg Wednesday’s biscuit
^ See p. 173.
240
 i

GLAZE TESTS
kiln.Our tub of ordinary stoneware glaze was getting low, and
before making up a fresh batch it was prudent to try out a
small quantity using the new washing of hard-wood ash. This is
a mixture of oak and elm obtained locally as sawdust and burnt
by us. The other experiment consisted in using plain feldspar
mixed with lo per cent, of the same ash, approximately the
glaze composition used in the old ‘Hagi’ ware of Japan. Both
tests came out well although not first-rate in quality, which is

hardly to be expected, as from easy to control the atmo-

it is far
sphere of the fierce flame of a blow-lamp constricted within a
narrow tube. But the results told us what we needed to know,
namely, that the fluxing power of the ash was normal and that
it did not contain any harmful impurities. The ash and feldspar

applied thinly over a mixture of red sand and stoneware body

and then irregularly a second time with a thicker coating of the
same glaze yielded an effect resembling ‘Hagi’, ‘Karatsu’,
‘Oribe’ and ‘Shino’, rough and smooth at one and the same
time; reminiscent of the thawing surface of frozen snow. If
magnetic iron is used as a pigment it almost disappears under
the thicker patches, shows as a dark earth brown elsewhere,
and emerges as a burnt red rust through the thinnest parts,
enhancing thereby the wintry effects in which the Japanese
delight. The firing may be oxidized or reduced, but the finish
ought to be oxidized to bring out the warm tones of iron in body
and pigment.

Moulded Oval Plates

Whilst, I was carefully weighing out, mixing, and making
notes of these tests, David pressed and fettled the six meat
dishes. You will notice that the feet are formed by knobs at the

four corners. We decided ths.t such treatment was safe because

the weight of the piled pots would be well distributed and there
would be less likelihood of warping. We planned to leave the
grooves in the middle unglazed and use them during the glost
firing as a base for a central prop. The gravy trough in which
Q 241 nr-B.
 THE WORKSHOP

Joint dish and method of stacking

the grooves terminate forms a protuberance underneath slightly

shallower than the feet. These plates were all dipped in our raw
‘kaki’ glaze.

Crude Oil
,,
During Wednesday we recollected that our supply of crude
oil for the next week’s firing was getting low so we telephoned
 BISCUIT
for another delivery of lOO gallons at 6d. a gallon. On Thursday
morning, as the kiln was still rather too hot to open, we made
'snakes’ and biscuits and put them away in the damp cupboard.
Then we both set to work weighing and sieving the ingredients
of the standard stoneware glaze, making up a quantity of half-
a-hundredweight (dry), enough to refill our tub.

Unpacking the -Biscuit

In the afternoon we unpacked the biscuit. A few handles
were sprung at the hilts because the pots themselves had been
allowed to dry too far before the handles were attached, and,
unfortunately, one or two of my large pots had cracks in the
bases. This was due to lack of care on my part. I had got so
much into the habit of throwing with the intention of hollowing
out by turning that I had not made an allowance for ‘the fact
that some of these pots were not going to be turned. It is almost
impossible to mend such cracks, because the shrinkage of the
clay opens them out still further during the subsequent hard
The handles were not so bad that the cracks could not be
firing.

filled made of waterglass and dry clay and then

with a paste
covered by an extra touch of glaze. The dusting and sorting of
the pots according to the glaze or pigment treatment which they
had to receive occupied the rest of that day. Gn Friday the
excess of water in the new glaze was decanted, and the rest of
the week was spent in decorating pots.

lU, Sunday September ,

.'."'..'Dear/X,'.

The firing is over and it has made up for August’s

losses, but before I attempt to describe this last week’s work I

must answer your question. You ask how the test firing was
'

done.''"

243
 THE WORKSHOP

Test Kiln
I am sorry I omitted a description of the little kiln. Here are
three drawings of it. Firing from cold takes about three-quarters
of an hour to reach cone 8 and is a normal firing on a miniature
scale. Towards the end the outsize blowlamps has to be pumped
frequently to keep up a maximum pressure. The paraffin con-
tainer two-thirds full may give out towards the end, in which

Simple Test Kiltv

h be used with
Primus hlow~lamp
fk 618

case it ought to be filled and re-pumped very rapidly to avoid

dropping the kiln temperature, and it will then re-light in posi-
tion. Its full blast is deafening, but for this there is no remedy.
A second or third firing will be proportionately far shorter;
before now, we have obtained stoneware temperature in ten
minutes. These blowers are very strongly made and will last for
years. The best filtered paraffin should be used to avoid dirt,
which easily clogs the tiny jet. In any case it is advisable to keep
the pricker handy, and there is no need to stop the firing in
order to use it, If the container is more than two-thirds full,

burning liquid instead of paraffin gas will spurt out.

^ Primus blowlamp No. 6i8.

244
 STONEWARE PACKING AND GLAZING
Stoneware Glazing and Re-glazing
On Monday the first job was to stir, and sieve when neces-
sary, ten tubs of glazes. Some of them have an inclination to
settle or coagulate more than others, usually those which con-

tain most silica and Cornish stone settle, and those with a large
proportion of raw plastic clay coagulate. Certain ashes, like

bracken, and oxides such as manganese, cause the soggy mass

of settled glaze to consolidate in a particularly obstinate man-
ner. In order to break this up, the blade of the dolly should
alternately chop the surface and rotate over it, mixing with
water the glaze which has been displaced by the vertical action
before repeating the process. Much time and temper can be
saved in this way.
There are generally a few underfired pots left over from pre-
vious kilns which require a touch or two of thick glaze where
the original coat has chipped or bubbledoff. Sometimes bubbles

have to be ground down to a smooth surface with carborundum,

and in other cases it is possible to save a good shape by re-
dipping it an opaque glaze to cover the original colour or
in
pattern. Such pots may have to be pre-heated as they are prac-
tically non-absorbent, and in any case the consistency of the

glaze must be thick. That is why it is better to do this work

before the glazes are thinned out with water for normal dipping.
It is also possible to make a thick glaze adhere by brushing the
pots over with a thin coat of size and letting the surface dry
before re-dipping.
After lunch David began packing chamber II while I glazed,
trimmed, and decorated by glaze over glaze methods which I

have already described. By 9 p.m. we had finished.

Stoneware packing
On Tuesday morning the pots for reduction in chamber I

were divided up. Those for the 4, 6, 8, and lo-inch shelves,

and tall pots for the fop, were Tanked near the kiln door,
245

1
 THE WORKSHOP
whilst the wide pots were congregated near the saggars. Then
subdivisions were made of those glazes which required most
or least heat. From this stage packing continued steadily
all day, one of us filling the shelves from top to bottom,
and the other feeding suitable pots, biscuits and tools, and
during intervals packing bungs, eighteen inches high, of sag-
gars ready to pile in front of the shelves when they were finished.
This month there were few interruptions and, save for one dis-
concerting accident, the work went smoothly, but it was late in

the afternoon before the shelves were full. It is worth mention-

ing what happened, as a warning. A shelf full of pots had
been put on a rather narrow box so that it projected at one
end. Pots were taken from it by degrees until I asked David to
give me a tall one from the far end, and as he turned and
seized it, the weight of the rest suddenly proved too much,
and the whole board toppled over and several pots were
broken.
Packing fragile and friable pots close together by the light of
guttering candles^ stuck in lumps of soft clay against the walls
of a kiln, cramped, dusty and often cold, calls for much pati-
ence. By the time one gets to the bottom shelves, either kneeling
on a pad, or lying prostrate on the flues working sideways try-
ing to put round pots into square holes, one is tired. From 7
p.m. till 10 p.m. we built up four bungs of io|
and one inch,
central pile of 13 inch saggars, each touching the next, and
forming a wall with a 2^-inch gap at either side to allow a
passage of flame to the cold wings. On the top were the open
fired bottles and jars rising to within a few inches of the crown
of the ai'ch, and in the very front of all we rnade a buttress Of
old bats eighteen inches high to protect the lowest saggars
from the brunt of the heat. Eventually, by Close on midnight the
doorway was blocked up and clammed, the bldyr-holes Opened
to let off steam from the raw clay, and the iron framework
^ A small electric light on a lead, protected by a wire cage, may be
used in preference if current is available.
246
 OIL FIRED STONEWARE
put in position and screwed moderately tight to prevent lateral
expansion.

Stoneware Oil Firing

Then we lit up a slow fire to burn unattended all night. This
was done by inserting a short length of |-inch iron pipe through
a small hole above the main fire-mouth, through which a steady
drip of paraffin could fall at the rate of one drop per second on
to a thick log beneath. To the iron pipe was attached a rubber
hose with a funnel inserted at the other end which led to a five-

gallon tank with a regulating tap. This fuel gave a flame about
twelve inches long, sufficient to warm up the whole kiln and
chimney by the next morning.
You are already familiar with our former wood firing of this
kiln, so it may interest you to hear what we have done to make
the change over to atomi2ed oil, and the results obtained. Some
structural alterations to the fire-mouth, furnace or combustion
chamber, and to the flues leading into chamber I have had to
be made. The fire-mouth has been reduced in size from 150
square inches to 16 square inches to suit the narrow flame of
blown oil instead of logs, and the firebars and ash pit have been
abolished.^ In their place a wedge of firebrick has been con-
structed from the central flues projecting towards the burner in
order to divide the heat and divert it to the two wings. These
alterations, together with new brickwork for the flues, have
been made with the most refractory materials obtainable from
the Morgan Crucible Company. We experienced some trouble
at first because the intense and persistent play of burning oil
melted ordinary firebrick. At one stage the front wall of the kiln
threatened to collapse when several pillars of solid bricks form-
ing flues simply trickled away, but the cone-built dome of the
furnace stood firm, the bonding was sound, and the whole mass
of bricks were fused together by many previous firings, so we
J
In forced draught combustion the atmosphere is not controlled by
a secondary air .supply but by the adaptation Of direct air pressure to
•the'flowof oil.'
247
 THE WORKSHOP
were able to make replacements before anything worse than
bad cracks had occurred.
The problem of how to apply oil-burning exercised us for

several years. First of all we experimented to see how far was

it

possible to employ drip-fed paraffin as it is used for the Ameri-

can Revelation kilns. Our conclusion was that only the pull of a
tall chimney or a fan would produce full combustion of the
liquid fuel. Without this strong draught, and beyond a certain
maximum, the oil turned into uncombusted smoke. The effect,

moreover, of an induced draught would tend to increase the

speed of the flames beyond the requirements of slowly maturing
celadons. Bright, hard glazes are the result. After much expert
advice, and the examination of many types of burners and fans,
we decided upon the Massey oil burner and the Keith
finally

Blackman two-stage high efficiency fan. The blades of these

fans rotate at a great speed within their iron casings, and to
deaden the irritating high-pitched whine we made a concrete
box for ours in the side of the fire-pit close to the kiln mouth.
Free air is sucked in through a perforated hay-box and comes
out again under a pressure of 1 -inch water gauge, and is con-
ducted to the burner through a double piece of inner tube of a
small car tyre securely wired at each end. On the burner there
are taps controlling the supply of air and oil and a mechanism
for cleaning the jets without stopping the firing. The burner
works on a swivel, and we have mounted it on a concrete post in
front of the fire-mouth with a clearance of less than an inch.
The flame burns oxidized or reduced at any length between one
and six feet, but, as with any gaseous combustion within a con-
stricted space, the length of superheated flame is gradually
extended over the whole area. Sometimes there is a difficulty in
starting these atomizers from cold. The problem is to turn a
liquid which will not burn by itself into a gas which when com-
bined intimately with the oxygen in the air, will burn fiercely.
When the metalwork of the burner and the kiln surfaces are
cold this does not readily take place, and we find the best way is
248
 OIL FIRED STONEWARE
to play the spray of cold oil on to burning rags or shavings in
the mouth of the kiln. Very soon the spray volatilizes into a
vapour and proper combustion begins.
At first we had a little difficulty in learning how to regulate
the air and mixture to get similar results to those obtained by
oil

the larger and gentler flames from wood. As far as the kiln and
the pots are concerned the same principles of firing hold good.
The severity of the oil blast ensures a much quicker rise of
temperature, and more difficult to distinguish between
it is

oxidation and reduction by the appearance of the flame and

smoke from blow-holes and chimney. Reduction is indicated by
far less smoke from oil than from wood, and even in our kiln,
where the chimney is very short, considerable restraint has to be
used to avoid flashed firing of glazes. After the long struggles
we have experienced in obtaining white heat with wood, it is a
great relief to have this sense of reserved power, but it has to be
used with discretion. Instead of the twenty-five to thirty hours,
the time has been reduced to from fifteen to twenty, and the hard
labour of cutting and stoking has almost been eliminated. We
now burn on an average 105 gallons of Distoleum D light fuel
oil supplied by Shell Mex at 6 d. per gallon, and three cwt. of
thin deal per firing, as against a former two tons of wood, at
approximately the same cost. As a rule burners are designed to
spray crude oil, which, when necessary, is rendered more fluid
by preheating. Different pressures of air or steam and various
devices whereby the oil particles are broken up as much as
possible are. employed, besides the Primus system of heating
paraffin till it forms a gas before introducing air pressure. These
are all engineering problems, the application of which is outside
the province of the average studio potter.
On Wednesday morning we removed the drip-feed and
started the firing proper at 6 a.m, with the flame cut down to the
minimum. After a couple of hours it was increased to t-wo feet,

and at the end of four hours two tongues of flame, each abou t
four feet long, were just beginning to lick the flues to right and
249
 THE WORKSHOP
left By the end of the fifth hour a dull red could be
of the divide.
seen creeping up the back wall of chamber I and we considered
it safe gradually to increase to maximum. By noon the whole

chamber was red and we then closed the two blow-holes.

During the morning we cleared up all the paraphernalia of
packing, boards, glaze tubs, brushes, biscuits and left-over
pots. After that we got out the last kiln logs and began to fill in
the new one, which I am enclosing in its completed form. By
four o’clock the colour seen through a half open blow-hole was
bright orange, and we began to watch for the fall of cone i

(i ioo° C.). This took place at $

p.m., as usual on the protected
side, but was followed within half an hour by the cone on the
other side. Thereupon we increased the oil flow to give a re-
ducing atmosphere, and directed the jet slightly more over to

the left-hand side of the kiln. At seven o’clock we could see the
iron glazes beginning to shine on some of the pots, and at 9
p.m. cone 7 on the right had begun At to bend.we this point

cut off a little oil and returned to oxidation. Very soon cone 7
on the right had squatted, and cones 8 on the right and 7 on the
left were bending. Again the flame was directed more to the left

and we hooked out the first test ring. The glaze was, well melted
and the fracture of the clay showed reduced grey right through,
For some while the blow-hole stoppers had been left half open
to give an indication of atmosphere. Peering through the gaps
the oxidized flame was no more than a bluish haze pouring over
the tall incandescent pots but not preventing us from seeing
what was going on as soon as the eyes got accustomed to the
intensity of light. I have no doubt it would be wise to wear dark
glasses, but the need to see what is happening to the glazes as
freely as possible overrides prudence. The light is not as power-
ful as the blue flame of the acetylene welder, and, so far as we
know, none of us has suffered from this practice^ At this stage
we also took out a rjbg from the left side of the kiln, but the
glaze, though partially meltedbwas clotted and opaque. We
could see by poking an iron wire close to the pots that some of
250
 — ' ,

THE WORKSHOP
them were less shiny on the side away from the flame. Cone 9,
standing on the top of the central bung, had just begun to bend,
however, so we directed the blower almost entirely to the left
wing, and in another half-hour cone 8 was down and cone 9
bending on both sides, and the remaining test rings gave excel-
lent indications of a good firing. Since the kiln has always had a
tendency to pull to the right, we continued firing gently to the
left until ten o’clock, then we shut the blow-holes, reduced the
furnace heat still further, and pulling out the side stoke-hole
stopper began to feed chamber II with three pieces of thin
wood on each side, when the flames died down at the
restoking
blow-holes every few minutes. The second chamber already
looked a very good colour and responded immediately, and
within half an hour 1100° C. was registering. The double
danger now was of reduction on the one hand and a too fast
firing on the other. The temperature continued to rise very

rapidly, so we took out a couple of loose bricks at the bottom of

the chimney to let in cold air and to reduce the draught, and
kept up a continuous light stoking, avoiding the black spurts of
smoke from the blow-holes which indicate reduction. By mid-
night the glazes facing the flames had begun to shine, but the
temperature in chamber I had dropped to an orange heat and the

rise in chamber II was slowing up, so we put one brick back in

the chimney and slightly increased the flow of oil . At one o’ clock

cone 7 was down on both sides, and the test rings, instead of
being grey, were buff, and the glazes nearly done. The interior
of the second chamber at this stage was a wonderful sight, much
more dazzling than the reduced heat of the first— clear-cut white
flames over the molten glazes enlivened by the play of shooting
wood sparks. By two o’clock, after twenty hours of stoking, the
firing was done, and we shut off the oil, clammed up the fire-

mouths, closed the blow-holes, cleared away all wood and other
inflammable matter from near the kiln, and went to bed tired
butnot exhausted as in the old days.

252
COOLING AND UNPACKING THE STONEWARE KILN

OPENING THE KILN

On Thursday we slept late and only came to have a look at
the kiln in the middle of the morning. There was still a dull red
glow in both chambers. A precautionary search was made with
a basting brush and a lighted candle whose suddenly deflected
flame would act as a sure indication when held close against the
kiln that cold air was being sucked through a fine crack. Then
we closed all the dampers between chamber II and the chim-
ney as an extra .precaution before having a look into the kiln
through the blow-holes. It was too dark to see very much, so we
screwed up sheets of newspaper and threw them in amongst the
pots on the top shelf where they soon caught alight and gave us
some idea of the colour and quality of the glazes. The pots were
sufficiently hot not to be damaged by the sudden flames. Things

looked good, although the glazes in the second chamber were

far less shiny than they had appeared at the close of the firing.
But we were not sorry except for a fear that a few of them might
be a little too matt and underdone on the side away from the
fire.

That afternoon we went for a walk and stayed out for supper
to escape the temptation to go on fiddling with the kiln. Before
going to bed we opened the blow-holes and the uppermost door
blocks to let out some heat, as the temperature was below dunt-
ing point. Next morning we were out before breakfast opening
the doors still two or three pieces to
further and carrying off
examine during the meal. The colours and textures were par-
ticularly fine and we were in a high state of excitement in spite
of the fact that our suspicions that some pots on the left of the
kiln were underdone on one side. This time no saggars had
fallen and the new bats were as straight as a die. The first good
impression was confirmed during the day. All the iron glazes
had come out very well, and the celadons were good this time
although not quite as restrained as the best we have had, A few
25,3
 THE WORKSHOP
of the blues were overdone and the cobalt in its horrible purple

intensity had triumphed over iron, but others, including the

olive-blue teapot,^ were lovely. Despite the use of silica one of
the teapot lids could not be removed; volatilized glaze had
sealed it into its socket. This was just bad luck due to an un-
foreseeable current of flame happening to strike that spot. It
broke when being chipped out despite every precaution. The
cake dishes and meat plates behaved very well. Altogether it
was one of those days which make a potter’s existence worth
while; nevertheless at the end of it, when the pots were all out
and the best of them assembled in a group, I experienced a
sudden depression. This may have been partly due to enerva-
tion from the heat and from general tiredness, but I think every
artist and potter will know what I mean. At any rate it is coun-

terbalanced by realistic self-criticism and various practical

suggestions as to future efforts, which always arise during the
unpacking.
Friday and Saturday were spent in clearing up the debris,
sorting, labelling, pricing, and general stocktaking.

Pricing and Stocktaking

The valuation was the highest for any firing during the year.
This month in chamber I, out of a total of 291 pots and 70 tiles
only 1 5 are refires, or third class, or to be destroyed. About 250
have gone into ordinary stock at an average net value of 5s.,
and 26 may be put aside as show pieces at 2 each. Together
with the plain and decorated files this makes a total of 1 20
against last month’s 5 5. Chamber II produced another 50-
worth which, as I said before, should be regarded as dxtra.

Tke Year s Budget '

At this {)oint I think it may be of some help for you to get an

idea of how our yearly budget is made up. The following is an
approximate copy of last year’s Balance Sheet as accepted by
* See Plate 42.
254
 THE YEAR’S BUDGET
H.M. In3pector of Taxes. I might say in parentheses that our
most disagreeable task of the year is the making up of this
simple page of figures, and that it takes us about a week of late
nights to achieve, even with the help of an accountant. In round
figures the Profit and Loss for last year was as follows:

Dr, Cr.

Materials Local sales (net) £3,00

Wood and oil 30 Sales at agencies and
Haulage 2 exhibitions (gross) 300
Wages 2S Pupils’ fees 33
Exhibitions 25
Advertising 10
Printing and stationery 6
Postages 8
Telephone 5
General 15
Freight 20
Light 6
Rates, taxes, insurance 20
Repairs and renewals 5
Salaries 250
Discounts on gross sales 100
5% Interest on capital 50
Credit balance 30

;£632

The iiiaS wages were for wood cutting and other occasional
rough work, and for help in the showroom during the busy
months.
With regard to Gapital, during the first year out of ari ori-
ginal ;£ 1,000, ;£ sop was spent on buildings and fittings and
20b on equipment, A further jfaoo Was used before sales
balanced running costs which included our salaries. We have
.succeeded in keeping the last £ too as a reserve fund; and at the
end of the fourih year we were able to pay 5 per cent, interest on
the ;^ i ,poo invested. This has meant simple living and hard
work. We are now in our sixth year and are thinking of taking
on a village boy, and we hope to be able to draw a little more
255
 THE WORKSHOP
money out of the pottery before long. It is not a golden prospect,
but it is something to make a living by handcraft against a
background of mass-production, for after all the real satisfac-
tion is in the work.
If at the outset we had been lucky enough to find an adapt-
able workshop, ^^400 less capital might have been sufficient,
butwe were able to rent a cottage between the pottery and the
main road and to turn part of it into a showroom. It is better W
start on a small scale and build up a pottery step by step, rather
than be overburdened by initial expenses and a responsibility

to shareholders who may wish at a later stage to dictate a policy

only too apt to conflict with one’s aesthetic integrity.

THE POTTER’S OUTLOOK

The studio potter who essays to work single-handed under-
takes an arduous and solitary existence and, although this may
be an advantage from a creative point of view, it necessitates a
small output and consequently high prices. This has the usual
effect of divorcing applied art from the ordinary healthy needs
of the community. In contrast, a large team throws the onus of
organization so much on the leader that the artist in him tends
to be subordinated to the business manager. Delegation^ of
authority can only be successful if the business man is sensitive
enough to allow the artist to retain control of all the essentials
which contribute to the beauty of the ultimate pots.
Personal relationships of a group of individual craftsmen are
not easy to resolve. The inability to give and take seems to be
more pronounced than in ordinary human contacts. In the East
; * It is worth observing that the only modern craffcwork, hand- or

machine-made, with any pretensions to real style or beauty, such, for

example, as the Rodier textiles in France, have been produced by an
artist supported, and possibly restrained, by technicians and business
men, or by an, artist who combined in himself all tliree faculties.
,

Admittedly a rare phenomenon, but, in either case, the truth is that

art cannot be subordinated.

256
 THE POTTER’S OUTLOOK
restraining influences of tradition still enable people to work
together as the limbs of a body under a directing mind, but
with us a more highly developed individualism, nowhere more
conspicuous than amongst artist-craftsmen, tends to create an
impatient and critical desire for independence, Experience
prompts me to advise any young potter contemplating sharing
a workshop with othei's to choose untrained local labour.
Likely boys learn the jobs quickly, enjoy them, and readily
form a permanent team if sensibly handled. An older man, such

as Michael Cardew's Elijah Comfort, trained in the pre-War

Winchcombe Pottery making pancheons and flower-pots, is an
asset, for such men know their locality and set a standard of

horse-sense and breadth of treatment necessarily lacking in

art students, In many cases the latter are capable of doing
excellent work under direction, or as moderately free members
of a group which is held together by a living tradition, but
it is quite another matter when they cast off the shackles and
begin to make shapes and patterns of their own. They then
usually join the ranks of the thousands of indeterminate second-
rate artists for which a high industrialism is responsible. It
stands to reason that only rarely does the work of a student ,

from one of the Schools of Art bear the imprint of a character.

It is difficult to advise those whom one feels practically certain
will not achieve genuine originality. In a machine age, artist-
craftsmen, working primarily with their hands, represent a
natural reaction valid as individual expression, and
.
they
should be the source of creative design for mass-production
whether they work in conjunction with industry or not. The
machines, has split :t^^ personality. It has brought
humanity within sight of safety and; leisure
,
for the first time iri

history^ but at this raomeilt fear of a universal disaster is upon

us all, and the only leisure is of the unemployed and of the rich
and idle, because we have not learned how to use art, science,
leisure or real wealth. Instead, we increase the tempo of indus-
trial slavery, and, refusing to distribute money equal in value to
.: :vR .
257''‘ t.P.B.
 '

THE WORKSHOP
saleable goods and madly pursuing escapist pleasure, we allow
under-consumption be described as over-production, and as a
to

consequence the sheer technique of living has overwhelmed life

itself. Under such conditions of national life artists and crafts-

men are obliged to live and work parasitically or precariously

because they have no recognized function. Evidence admitted

by observerson all hands points to the end of an age. Whether
we shall emerge into a time of plenty and a unification of
cultural values after violence, or by slower stages of decay and
it is not for me to say. Not improbably those

who seek the meaning and beauty of life through art may suffer
an eclipse, but meanwhile let us ‘bring out weight and measure
in a year of dearth,’ as William Blake urged amidst the blind-
ness and apathy of early industrialism.

SEGER CONES
(Standard cones about 10° higher)

Bending
Number temperature Colour in Kiln Glazes, etc.
{Centigrade)

Begins to show Soft European enamels.

colour Soft Oriental biscuit.

Raku glaze. Enamels on

metals. Lustres.

Soft glazes. Hard ena-

-mels. Gilding. Some
lustres;;..
 I

Bending
temperature Colour in Kiln Glazes, etc.
{Centigrade)

English slipware.
Dull cherry to j-Majolica. Tin enamel
light cherry [glazes.

Earthenware and soft

china glazes.

{Earthenware biscuit.

Yellowish white
j-Salt glaze Ori-
J
lental
Bonechina biscuit Stone-
White |

Japaneseporce- ware,
lain.
German and Chinese por-
celain.
Intense white
Sevres porcelain.

Bluish white
Copenhagen porcelain.

To convert Centigrade, into Fahrenheit divide by 5, multiply by 9

and add 32.
 .

Appendix

POTTER’S TERMS, TOOLS AND MATERIALS

Acids and bases play a fundamental part in the chemistry of
pottery. Alkalis are basic and boracic acid and silica are
always acid and the predominance of one or the other helps
to determine colour.
Agate ware is made of different coloured clay in strata.
A ir. Primary or secondary as supplied to the burning fuel
Air bubbles.
Alkalis. A general term for compounds of sodium and potas-
sium, often including lime and magnesia, used to cause
bodies and glazes to vitrify, and obtained from salts,
'
" silicates,
spars and vegetable ashes,
Alumina, china clay ox kaolin withstand high temperature,
cause opacity in glazes and diminish fusibility. They are
an essential component of porcelain bodies and fire white.
Ten to forty per cent, is present in most bodies.
A lumino-silicic acid is pure clay substance and melts at cone 36.
Annealing fire. A steady maintenance of temperature at the
end of a firing to distribute an even heat.
Antimony oxide with lead makes a yellow at low and medium
temperatures. With iron oxide a wider range can be ob-
tained. With other fluxes it behaves in the manner of tin
oxide. (See tin-enamelled wares.)
Arminian earth ox bole. An earthy compound of iron useful as
a pigment. Employed by Persians and Turks for uhder-
glaze red pigment and slip.

260
 APPENDIX
Asbolite. The chemical name for the impure earthy cobalt used
by the Chinese for their old underglaze porcelain blues.
Fired in a reduced atmosphere.
Ash,es of trees and plants are used in the Far East as fluxing
agents for high temperature glazes.
Atomized oil. A modern method of combining crude oil with air
under pressure to enable it to burn freely.

Bag or bag wall, A firebrick structure which prevents the intense

heat of the furnace from striking directly on to the wares.
Bait, baiting. A single stoking of a-hiln.
Ball clay. A plastic secondary clay, much used by potters,
which fires white or whitish and withstands a high tem-
perature.
Ball mill. An apparatus for grinding pigments and glazes.
Bank kiln. A type of oriental kiln built on a slope which acts in
lieu of a chimney.
Barium carbonate added in small proportions to a clay will pre-
vent the formation of scum on the surface due to the
,
presence of soluble sulphates.
Barrels of various’ sizes, known as ‘stinkers’, suitable for con-
taining glazes and slips can be obtained cheaply from
brewers.
Baryta, A very fusible alkaline earthy base.
Basalt ware. A hard black biscuit ware for which Wedgwoods
were noted. :

Bats. Burnt fireclay slabs used for kiln shelves, dryers, etc.
Beaker. Atallcsxp.
Bellarmines. Salt-glaze bottles first made in Low Germany in
the fifteenth century. Many of them were stamped; with a
face said to represent Cardinal Bellarmine butwhich may
portray Bacchus,
Bichromate oj potash. Used with zinc oxide and whiting to
make carnation red or pink which withstands high tem-
perature.
261
 . .

APPENDIX
Biscuit. Unglazed fired ware.
Bismuth oxide acts like lead oxide but it is more fusible
Black raku. A thick coarse-textured plumbiferous ware made in
Japan and highly- prized by the Tea Masters.
Blisters. Bubbles formed either in the body or glaze of pots
during firing due to rapid liberation of gases
Blow-holes or vents. Apparatus in the tops of kilns through
which steam can escape during the early part of a firing.
Blowing. The bursting of pots from too rapid a heating.
Body. The clay of which a pot is made.
Bone china. English soft porcelain the low vitrification of which
is due to its content of ox-bone ash. (See phosphates.)

Borax is used as a powerful flux in the composition of many

glazes and frits. Ordinary boracic, or boric, acid contains
nearly 50 per cent, of water and it is advisable to buy cal-
cined or refined boracic acid.
Bottle kiln. A common type of European kiln, generally up-
draught, in the shape of a tapering bottle.
of different thicknesses is used for cutting clays.
Brushes. The best brushes made for painting pottery are
Japanese, and are obtainable through the author at very
moderate cost.

A pile of saggars.

Calcareous clays. Lime-bearing clays or marls are necessary for

:
tin-enamelled wares, and are unobjectionable for sonie
other types of pottery provided the lime is finely subdivided,
To reduce to a powder by heat.
Calcium carbonate, whiting, marble, chalk ox limestone from a
glaze maker’s point of view are approximately the same
thing —^valuable fluxing agents for middle and high tem-
peratures.
Ciz/ijierJ. Wooden sculptor’s calipers are very useful for meas-
uring the diameters of pots especially wLcn throwing lids
and covers. .

262
 APPENDIX
Carbon dioxide. The decomposition of carbonates in a body or a
glaze (e.g. stoneware glazes containing wood-ash) during
a firing liberates bubbles of carbon dioxide gas which erupt
continuously through the melting surface and may if too
violent cause blisters.
Carrageen or Irish moss is a dried seaweed, out of which a syrup
can be made by stewing with water and sieving, which is
useful as a siccative or suspender for slips and glazes.
Cassius purple is a precipitate obtained by mixing the chlorides
of gold and tin. It is used for low and medium temperatures.
Casting. To make shapes by pouring liquid clay intp plaster
moulds.
Celadon. K French name for a certain green applied to a large
family of oriental stoneware and porcelain glazes.
Chalk. See calcium carbonate.
Charging. Packing pottery in a kiln.
Chatter.The vibration of a turning tool on a leather-hard pot
when held in the wrong position.
China. A rather loose expression describing soft-paste porcelains
in general.
China clay. See alumina.
Chinese cobalt.
Chromium oxide withstands high temperatures but is only suit-
able for white bodies as a little iron is sufficient to dirty the

colour. Oxidized, it is yellowish ;

reduced, green or blue-
green. It is also combined with copper for greens and with
iron for black. Intense and stable.
Chun glaze. A thick high-temperature opalescent Chinese glaze
often decorated with a red or purple splash.
C’/flWOTW.g'. The mixture of clay, sand and water with which
kiln doors are basted.
Clay. Certain earths and crushedrockswhen combined with water
form sufficiently cohesive bodies to be made into shapes

called green-ware which when, hardened by fire become

potteiy. Clay is formed by the decomposition of feldspars.
263
 ,

APPENDIX
Cloajn.Kn old word for earthenware still used in Cornwall.
Cloths. The cloths used in a pottery to keep clay damp should
be cotton or linen and of a firm texture, and they may be
preserved from rotting by an occasional soaking in a weak
solution of alum.
Cobalt oxide xs the colouring agent for almost all blues. It stands

the highest temperature and is very powerful in

its effect.

With zinc oxide or alumina sky blues are obtained; with

chromium oxide, greenishy blues; and with manganese
oxide, violet blues. It is best fired oxidized or neutral.
Coiling. An ancient method of building up the walls of pots
with ropes of clay.
Coloothax. Akind of red iron oxide.
Collaring. Reducing the size of the opening of a pot as it spins
on a wheel by compressing the clay with both hands.
Colloidalformation. One of the causes of plasticity in clays.
Combined water. See hygroscopic water.
Combing. A method of decorating the wet surface of a pot with
a blunt-toothed comb made of wood, leather or rubber.
Cones. Seger and standard cones for gauging heat in kilns are
made out of the. constituents of glazes in the form of tall

pyramids which bend and melt at given temperatures.

Copper oxide. Cupric oxide is generally used and yields a variety
of greens and blue-greens according to the flux with which
it is combined; with borax and lead, bright: greens; with
alkalies, turquoise. Cuprous oxide is more suitable for re-
duced copper reds. Copper carbonate is much used in the
East for greens. At high temperatures copper tends to
volatilize and to penetrate clays.
Cornish stone y pegmatite or petuntze is a natural granite with a
high percentage of feldspar. It is the commonest raw flux
formedium and high temperatures, it is combined with
many bodies and it is an essential for porcelain.
Crackle. Decorative and intentional fissures netting the surface
of a glaze.

264
 7

APPENDIX
Crazing. A faulty and unintentional crackling of a glaze.
Cristobalite, Quartz which has been thoroughly heated to high
temperature and has therefore increased in volume by i6
or 1 per cent. Introduced into glaze and body it tends to
prevent crazing.
Crystallization. Crystal formations which take place in some
slowly cooling glazes.
and See copper oxide.

Dampers. Adjustable shutters in kiln flues or chimneys used to

control draught.
Delft. Dutch tin-enamelled earthenware originally made in
imitation of Chinese porcelain.
Devitrification is sometimes caused by crystallization taking
place in glazes which are cooled very slowly. It may also
be observed in early soft glazes, e.g. green Han glazes
developing a silver patina after long burial in tombs.
Dipping. The process of immersing pots in slip or glaze. Double
dipping is an adroit action by which the inside and the

Distortion oi raw shapes takes place when drying is too rapid

;. and unequal, in moulding when the compression of the

clay is unequal and even in thrown wares, e.g. when a
thrown tea-pot spout unwinds during firing.
A tool for mixing slips and glazes.
Down-draught kilns those in which the arrangement of flues
and chimney causes the flames to travel downward over or
between the wares.
The unpacking of a kiln.
Drip feed. A visible method of supplying oil, usually paraffin,
tofurnaces.
Dryer h '^ovQXis, trough, which may be
. artificially heated, in

which liquid clay is hardened.

,

Earthenware. Ail glazed wares with a permeable body,

 :

APPENDIX
Efflorescence^ sulphation or scum is caused before, during or
after firingby soluble salts contained in the body. These
can be neutralized by barium carbonate. At high tem-
peratures such salts may combine with silica in the body
and form a thin skin of glaze, e.g. salt glaze. In lower-
temperature wares moisture may bring out a fresh efflor-

escence after firing. Any sulphur in the fuel, e.g. coal, or

glaze, e.g. galena, is liable toform sulphuric acid and to
combine with such salts, forming sulphates which appear
as white or yellowish spots on the surface of the glaze.
Eggshell glazes. Certain glazes either underfired or with delib-
erately reserved surfaces are described in this way.
Eggshell porcelain. A name loosely given to very thin translu-
cent Chinese or Japanese porcelain made for Europeans.
Electro-magnets are used to extract iron from fluid clays.
Enamels are low-temperature coloured glazes applied over
harder glazes. The term also includes tin-enamels such
as majolica and delft.

Encaustic tiles. Tiles in which the pattern is inlaid with clays of,
another colour than that of the body. ,

English slipware. Lead-glazed pottery, usually on a red body

and decorated with slip by dipping, trailing and sgraffito.
This honest and simple treatment of clay suited the
English temperament and resulted in some of the best
peasant wares in the world.
Another word for slips.
Expression or extrusion is a process by which symmetrical

shapes, pipes, bricks and hollow blocks are made by forc-

ing day through an aperture and cutting it into desired
lengths as it emerges from the die.

Faience, A French name for the tin-enamelled earthenware

made at the Italian town of Faenza under the influence of
Hispano-Moi'esque wai*es. Also loosely applied to glazed
i
earthenware in gena'al.
266
 APPENDIX
Fans. Electric fans are generally used for producing a forced
draught for atomizing crude oil. Ours at St. Ives is made
by Messrs. Keith Blackman Ltd., 27 Farringdon Avenue,
London, E.C. 4.
Fat clays. Highly plastic days as opposed to lean clays.
Feather combing. A method of decoration in which a fine point
is lightly drawn across superimposed slips of different
colours in the wet state.
Feldspar. An opaque white rectangular crystal found in granite
which melts between 1200° and 1300° C. It is extensively
used for bodies and glazes. When it loses its alkaline con-
tent through decomposition it becomes china clay and is

thus the origin of most potter’s clays. There are two types,
orthoclase and albite.
Ferric and ferrous oxides. Red ferric oxide (FcjOj) is almost
infusible in an oxidised atmosphere, but both it and black
magnetic iron oxide (Fe304) turn to the ferrous state in a

reduced atmosphere. Ferrous oxide (FeO) however, is more

effective as a colouring agent for reduced effects such as
celadons. It acts as a flux. The iron oxides are the most
important in ceramics and provide the potter with reds,
yellows, browns, black, green and blue according to com-
bination, atmosphere and temperature.
Fettle. To fvoi&h or smooth the surface of leather-hard clay.
Filter press. An apparatus, consisting of fabric bags held in a ?

compressible frame, for squeezing the water out of slip and

reducing it to a solid form.
Firebox or focrnace. The. part of the kiln into which fuel is fed
and in which the actual combustion takes place,
are distinguished irora pure cldys on the one hand by
F'frer&jy.s'

a somewhat higher percentage of fluxes, and from siliceous

refractory clays, on the other, by a lower percentage of free
silica. They are usually found below coal seams. They
withstand high temperatures and are yellow or grey in
colour.
267
 APPENDIX
Fh'eclay cement. A mixture of dry fireclay and waterglass for
mending saggars, kiln cracks, etc.
Fireclay mortar for the building of kilns should be made of the
same material as the brickwork, viz. grog, in a finely
powdered form with just sufficient day added to it as a
binder.
Firing. The burning or stoking of a kiln.
Flaking or scaling of raw slips and glazes during the process of
drying is due to insufficient contraction in the materials of
which they are composed. In fired glazes, dust, grease or

rough texture on the surface of the clay may prevent a

proper adherence.
Flambi glazes are those Chinese glazes on porcelain and stone-
ware, or Western imitations of them, in which copper is

used in a reduced atmosphere to produce reds, purples and

chocolate hues (e.g. ‘mule’s liver’, etc.).

Flatware. Dishes, plates, saucers, bowls, etc., are known in the

potteries by this name to distinguish them from hollow
ware.
Flinty <M.e%y from the north coast of France, calcined and
ground to a fine powder, is extensively used by potters as
a means of introducing silica into both bodies and glazes.
Flues. The passage ways for flames in kilns either between
chamber and chamber, or chamber and chimney.
Fluorite or fluorspar, which is a combination of fluorine and
calcium, is sometimes used as a flux. It is more fusible than
feldspar. Volatilization is apt to take place at high tem-
peratures.
Flux. A material which will cause over-glaze colours to vitrify.
Fluxing agents. Materials, such as lead, borax or lime, which
form chemical compounds and vitrify with other more re-
fractory substances, like clay, silica and certain metal
oxides.
which remains chemically
F'ree silica. Silica in clay or glaze

uncombined with other elements

268
 APPENDIX
Frits ai'e widely used in the manufacture of commercial glazes.
They are made by melting a mixture of silica and alkaline
salts and finely gidnding the glassy substance. For small
quantities this may be done in a crucible or saggar in an
oxidized kiln firing, the saggar being withdrawn by tongs
through a doorway and the melted contents emptied into
cold water to shatter the mass previous to grinding.
Fusible clays are those which not only vitrify but lose their
shape at or below 1200° C. Certain of those which contain
iron oxides are used in the orient as stoneware glazes.

Galena. Lead sulphide. A

ground lead ore used from
finely
early times for glazing red and brown earthenwares.
Gilding. Overglaze gilding is done by mixing a small propor-
tion of flux (in the East red iron enamel is employed) with
impalpable gold dust and some gum arable and painting
on the surface of high temperature glazes. After firing to
about 800° C. the gold is burnished. Liquid gold chloride
may be treated in the same way.
is

Glows.
also used. Silver dust
Glost firing. Glaze firing.
A local word for the embers of a wood
. ^ fire.

Melting point 1045° C. See gilding. In chloride form it

colours glazes from rose to purple, resists high tempera-
tures, but is costly. With tin chloride it makes cassius

purple but often disappears at temperatures above

1100° C.^
Granite, One of the commonest kinds of igneous rock contain-
ing quartz, mica and feldspar in various proportions.
The decomposition of its feldspar is the origin of most
.clays.

Greenware.UxSrQ^^-gott&xy.
Gres. French for stone'ware.
Greybeards.S^thtl\xo:mmes,
Grog. Powdered burnt fifeclay of varying degrees of fineness
usuallymade from old saggars, crucibles, etc.
' '

269 ,
 APPENDIX
Gum arabic. A natural tree gum used in the East as a siccative
with over-glaze enamels.
Gum tragacanth may be used as a siccative for slips and glazes.
Gypsum. Plaster of Paris, calcium sulphate or sulphate of lime.
The objection to the use of plaster of Paris in glazes is the
evolution of sulphuric oxide at high temperatures. It is

very susceptible to damp.

Hard paste, or true, porcelain is made of china clay, feldspar or

Cornish stone and other natural materials and is fired at

over 1 300° C.
Heavy spar or barium sulphate is sometimes used in fine stone-
ware bodies and glazes as a fluxing agent in place of Cor-
nish stone.
Hispano-moresqiie wares. The tin-enamelled and lustre-painted
pottery introduced into Spain by the Moors in the Middle
Ages.
Hollow ware in distinction from flat ware is a trade term for
those pots which are narrower at the mouth than at their
main convexity.
Hovel. The brick structure which encloses a bottle-necked kiln.

Hygroscopic water. Water chemically combined with clays

which can only be expelled at 400° to 500° C.

Impermeability. In pottery this indicates those bodies which

have been rendered non-porous by vitrification.
Induced draught. Pthh terra applies to the current of air pro-

: duced by a suction fan. These are being increasingly used

in the chimneys of industrial kilns to give a greater control
'

'of draught.':

Iridium oxide, -ssrhich. is highly infusible, is used alone as an

underglaze black pigment.
Iron is the naost useful of all metals to the potter as a colouring
agent- in clays, pigments and glazes. It withstands high
temperatures and adds cohesion to bodies. At low and
270
 ' .

APl’ENDIX
middle temperatures it yields yellows, browns, reds, and
blacks, and at higher temperatures greens, blues, browns,
rust and black according to combination and atmosphere.
Ironstone Following the discoveries of Wedgwood and
others a fine hard earthenware was designated by this
name.

Japanese porcelain is usually fired at a somewhat lower temper-

ature than Chinese porcelain, 1320° C. as against 1350° C.
Production in any quantity did not commence until the
seventeenth century. The technical finish is usually better
but its character throughout is softer.

Jigger s.nd jolley. A jigger is an adjustable arm which holds a

profile pressing soft clay into or onto a plaster mould as it

revolves on a jolley or power-driven spindle. A large pro-

portion of commercial wares are made by this process of

mechanical throwing known as ‘jiggering and jolleying’

Joggle. The natch or key in a plaster mould to ensure correct
adjustment of parts.

Kaki. A Japanese word meaning persimmon applied to opaque

rust-brown stoneware glazes.
Kaolin. anglicized form of the Chinese word for china

clay,
Kieselgukr. A light mineral powder containing minute shell
forms used as a non-conductor of heat and also for making

. clay porous.
Kneading. The process of mixing plastic clay to a homogeneous
texture by hand or foot.

Lagging. Materials used for insulating kilns. Kieselguhr, asbes-

tos, wood ash, sand.
Lamellar clays. The microscopic pancake formation which is a
characteristic of plastic clays.
271:
 APPENDIX
Lawns or screens. Bronze wire gauzes employed for sieving slips
and glazes. .

Lead, as galena or lead ore (usually an impure lead sulphide),

red lead, litharge or massicot (lead monoxide) and white
lead (a basic carbonate), have all been extensively em-
ployed as fluxing agents for low and medium temperature
glazes from early times.
Lead poisoning. Lea,d is a dangerous poison and its use in pow-
der form whereby it can be breathed into the lungs should
be carefully safeguarded. In this respect galena is the least
objectionable. The metal fluxes at 326° C.
Levigation. The method of refining clay by carrying it in a
current of water which deposits the finer particles at suc-
cessive removes from source.
Lime, calcium oxide, is seldom used in glazes on account of its
solubility in water.
Limestone or chalk (limestone powder) is quite satisfactory for
stoneware glazes, but carbonate of lime in the form of whit-
ing, marble, Paris white or Spanish white are generally
used as fluxing agents over a wide range of temperatures.
All these forms of lime are very infusible by themselves.
See lead.
Long or fat clay. Plastic clay as opposed to short, lean or non-
plastic clay. ;

Lug, A kind of protuberance or knob used as a handle.

Lustre. A form of decoz'ation, chiefly on tin-enamelled wares,
obtained by the application of a thin skin of certain metals
in liquid form to the surface of a glaze ,
which is subse-
quently fired in a low reducing atmosphere.
Luting. The joining of leather-hard surfaces of clay with slip.
Lynn.Mnd. A pure form of quartzose sand.

Magnesia. An alkaline earthy base used as a fluxing agent. It is

more refractory than lime. Strontia is less refractory and
Baryta still less.

272
 .

APPENDIX
Magnetic iron or iron spangles (Fe 304) resists high tempera-
tures better than red iron oxide (FegOg).
Magnetic purification. A means of extracting particles of iron
from liquid clay by means of electro-magnets
Majolica. The name given to Italian tin-enamelled pottery,
being a corruption of the name of the island of Majorca.
This stanniferous faience developed under the combined
influence of Near-Eastern and Hispano-Moresque wares.
The della Robbias were its chief protagonists in the
fifteenth century.
Manganese oxide mixed with iron compounds gives to clays
a brown to black colour which resists high temperatures.
As a pigment and in glazes it yields browns and violet-
purples, the former in boracic and the latter in alkaline^
glazes.
Marble. See limestone.
Marbled ware. The effect of marbling is obtained by superim-
posing coloured slips on leather-hard*’pots by pouring or

and subsequent shaking or jogging which causes

trailing
the colours to run into one another in an irregular manner.
Marls. Clays which contain a considerable proportion of lime.
Master moulds The plaster shape from which repeated copies of
a mould can be taken.
Matt glazes. Those of which the fired surface is dull, due to a

deliberate composition of the glaze.

Mica. A constituent of granite and of china clay the minute
lamellar particles of which add plasticity to the clay with-
out other harmful effect.

See feldspar.
Mufifle. The chamber or box within a kiln which pro-
fireclay
tects certain wares from the direct action of the kiln gases.

Neutral atmosphere theoretically lies half way between oxida-

tion and reduction but in practice it often consists of an
alternation between the two.
L.P.B.
 appendix
Newcastle kiln. The Cassel kiln and some of the Chinese kilns

belong to the same type which consists of a single horizontal

chamber which diminishes in size as it approaches the
chimney.
Nickel oxide is seldom used alone as it gives dirty greens but

combined with iron it is useful for browns and blacks. It

stands high temperatures,*

Nitre^ saltpetre or nitrate op potash. used to provide
potash in glazes, used nowadays to free glazes from, organic
matter.

Ochres.^ siennas and umbers are all natural earths containing

from about 5 per cent, to 1
2 per cent, of iron. Some are
highly plastic and may be used for colouring bodies or as
slips. Calcined they are often useful in stoneware glazes,
especially celadons.
Oil spots. Lustrous metallic markings on dark iron glazes.
C'/ew c/ayr. Porous or sandy textured clays.
Open firing is that in which the flames play through the exposed
wares.
Opening materials. SiXiA, fivcA,%xog or pitchers,
Orthoclase feldspar. Oxieoitvotypts'.

Orthoclase Alhite

Silica -
65 per cent. 68 per cent.
Alumina -
18 per cent. 19 per cent. .

Potash 16 per cent.

—
;

Soda * :
.. 12 per cent, :

Overglase or enamel painting consists in decorating a harder

glazed ware with pigments which are caused to adhere by
a proportion of soft flux. The colour range is very wide.
Oxidation. The firing of a kiln in such a manner that eombus-
,
tion is complete and in consequence the burning gases are
374
 APPENDIX
amply supplied with oxygen which causes metals in clay
and glaze to give their oxide colours.

Parian ware is a soft unglazed porcelain composed of one part

of china clay and two parts of feldspar and it was usually
employed for statuettes which are akin to those made at
Fukien in China.
Pastes. The composite bodies of European porcelains both hard
and soft.
Pdte-sur-pdte. A method of decoration developed in France in
modern times which consists in building up a low relief by
repeated touches with a brush loaded with slip.

Pegmatite. Cornish stone.

Peeling or scaling takes place when the contraction of a glaze
during or even after firing is less than that of the body and
the tension causes the glaze to flake off.

Petrosilex. A mineral found in certain dykes in Ireland which

seems to resemble J apanese Amakusa and Chinese
petuntze.
Petuntjse, See Cornish, stone.
Calcium phosphate, or in piractice ox-bone ash, is

essential to the manufacture of English bone-china paste

which consists of approximately one part of bone ash, one
part of china clay and one part of Cornish stone.
Phosphoric acid IS to be found in the analysis of many oriental
stoneware glazes, especially the older ones, and its presence
as an opacifier is undoubtedly due to the phosphorus con-
tent of Oertain wood ashes. Nettle ash contains over toper
cent.
Awr. Bowl pins and head pins are triangular clay supports used
yinplacirigglostwareinsaggars.-:'
The clays of which tobacco pipes are made consist of
pure clays, marls Or fireclays containing little or no iron.
Pitchers, sherds ov shards consist of fired pottery ground to a
powder. The advantage of introducing them into a body

.
275v;--v: V-:-'
 APPENDIX
instead of grog or silica is in retaining the same composi-
tion whilst at the same time reducing shrinkage.
Placing. Packing pots into a kiln.
Plaster of Paris. See gypsum.
Platinum which stands a very high temperature may be used
for an underglaze grey in the form of a chloride or as an
overglaze metallic colour in the same manner as gold dust.
Porcelain. The word porcelain applies to pottery which is white,
vitrified and translucent.
Potash. One of the two bases commonly known as alkalies.

Natui-ally present in many clays potash may be introduced

to bodies as feldspar and its effect at sufficient heat is to

vitrify the ware. In glazes it may be present in a propor-

tion as great as 25 per cent, as a fluxing agent.The word
applies strictly to potassium oxide but iscommonly used
for potassium carbonate. Potash is obtained from wood
ashes refined in various ways.
Pottery. All articles made of clay, powdered rocks and water
which have undergone the chemical changes produced by
a heat of 600“ C. or more.
Primary clays are the comparatively direct derivatives of the
mother-rock feldspar such as china clay.
Pug mills consist of cylinders open at one end and contracted
at the other containing revolving blades which compress,
cut and mix plastic clays.
pure clay consists theoretically of alumina 39 4 S per cent., silica
‘

46’64 per cent, and water I3’9i per cent., and is called by
chemists alumino-silicic acid.
Pyrometers^ Instruments for measuring the temperature within
kilns of which there are several types, the chief of which are
optical or thermo-electric.
Pyroscopes consist of materials placed in the kiln which change
or melt at definite temperatures. The commionesL of these
are seger and .standard cones. Test or trial pieces with-
drawn for inspection are classed in the same category.
276
 APPENDIX
Qtiartz raised to a red heat, quenched in water and ground to a
powder is a most valuable material to potters both in clays
and glazes. By itself it withstands a very high temperature
but combines readily with fluxes and metal oxides. See
it

and crystobalite.
silica

Queen’s ware. A hard cream-coloured earthenware introduced

by Josiah Wedgwood.

Raku. The name of a very soft lead-and-borax glazed Japanese

ware chiefly used for the Tea Ceremony,
Raw glazes are those which can be applied to green ware.
Red iron oxide. The commonestform of iron used for colouring
bodies, slips and glazes. The brightest red is employed for
oriental overglaze red enamel.
Reduction in contradistinction to oxidation is a condition of
burning gases in a kiln in which combustion is incomplete
or smoky, the carbon present having the effect of reducing
the oxides to their respective metal forms.
Refractory materials are such as will withstand the temperature
needed for making hard porcelain.
Retort carbon av graphite Vayx%Ri\iS. as a substance which ensures
local reduction at high temperatures.
Rib. A tool made of wood, slate or metal used for smoothing the
outer surface of a pot whilst it is being thrown,
r/izy. Long or plastic clay.

Rouge flambd. K¥renQh term much Used to denote copper-red

transmutation glazes,
A liaturaiform of Titanium dioxide known to potters as
‘break up’ because it has this effect upon other colours.

Saddles. props used between plates when packed on edge

in.akilnr'.
Saggars. ¥irecla.Y bokeS in which piots are packed in a kiln and
at the same time protected from the direct action of the

^flames,:
Si 277 L.P.B.
 APPENDIX
Salt, Sodium Chloride is used principally for the process known
as salt glazing. At stoneware temperature it volatilizes
when thrown into a kiln furnace and the soda forms a thin
glaze wherever it comes into contact with silica.
Saltpetre. See nitre.
Sand generally consists of a high percentage of silica, or
broken-down quartz rock, usually containing impurities
such as mica, feldspar, clay and iron. Ordinary builders’
sands are frequently useful for opening low-temperature
or coloured bodies, but for white wares and setting, purer
varieties such as Fontainebleau or Lynn sand should be
used.
Scaling. See flaking.
Screens. See lawns.
Scum. See efflorescence.
Secondary clays, broadly speaking, are primary clays (kaolins)
which have been mixed by natural processes with impurities
such as alkalies, iron oxides, lime and magnesia. They ai'e

usually more plastic than the primaries.

See placing.
Settling. The sedimentary process which causes particles of clay
or glaze suspended in water to sink to the bottom of their
containers.
Sgraffito or sgraffiato. The decoration of leather-hard pots by
scratching through a skin of slip to expose the colour of the
clay below.
Shards or sherds. See pitchers.
Shaving or paring. See taming.
Shrinkage. During the process of drying, clays vary in their con-
traction up to a maximum of about 2 5 per cent.
Shorter lean elccye. Non-plastic clays.

Sienna. See ochre.

Sieves. See layms.-
Silica is one of the most important elements in ceramics; it

serves as a refractory, an opening material in clays and as a

278
 APPENDIX
flux according to circumstances. Amorphous silica, the
decomposition of silicates, combines readily with alkalies.
Crystalline silica, such as quartz, flint and cristobalite is
less easily attacked.

Silver dust. See gilding.

Sinter point. The heat at which a clay ceases to be porous.
S/ky firing. A Japanese method of completing the firing of an
updraught biscuit kiln by inserting slivers of wood into the
top of the kiln.
sup-glaze. A raw glaze containing a fair proportion of plastic
clay.
Slips. Liquid clay.
Slurry . A rough mixture of clay and water.
Smoking is an expression used to describe the slow preheating
of a kiln; it is also used sometimes to mean reduction.
Soaking is an expression describing a steady firing during which
heat penetrates through the wares but does not rise as a
whole.
Soda. The second of the two bases commonly known as alkalies
(see potash).They form fusible compounds with borax and
silica, and special colours to oxides.
give clarity to glazes
Strictly sodium oxide but the word commonly includes the
carbonate. Not to be confused with washing soda. Keep
very dry. A very small proportiori of sodium carbonate
added to a slip will thicken it appreciably and by this means
less water need be used and slip casting in moulds is cbn-

siderably facilitated.
safe, sulphates, chlorides and some silicates of lime,

soda, potash and magnesia. See efflorescence.

Souring. The storage of plastic clay over long periods increases
its plasticity by combining the water more intimately with
the clay, and also by continuing the process of decomposi-
tion whereby the pure clay content is increased. Some clays
alter their cqlour and give off a bad smell.
Magnetic iron. ^
m
 APPENDIX
Spurs Kst cock-spurs. Triangular clay supports for placing glazed
plates, etc., in saggars.

Standard cones.
Standard shelves. The boards in constant use in a pottery for

carrying and storing pots.

Steatite or talc. A soft friable rock with a slight plasticity. It is a
magnesium and has been used in porcelain bodies.
mmm
1 » • silicate

In glazes it makes viscous silicates with a long range of

vitrification.

Stilts. Clay supports for firing glazed wares

Stinkers. A brewer’s term for soured barrels which are sold
cheap in consequence.
Stoneware. Pottery fired to a temperature usually over 1200° C.
at which the body vitrifies.
Sulphation, See efflorescence.

Talc. See steatite.

Tea Bowls, usually thick and without handles, used in
Tea Ceremony.
the Japanese
Tea dust glase. and greenish iron stoneware glaze.
Tenmoku. A lustrous-black iron stoneware glaze sometimes
running to a red rust on the thinner parts.
Terra-cotta. Low-fired unglazed coloured ware including most

,
primitive pottery.
A more metallic and broken version of tenmoku.
Throwing. The process of shaping cylindrical forms by hand
with plastic clay upon a potter’s wheel.
Tin-enamelled wares. Towzrds the eleventh century the Moors
introduced this ware into Spain . The glaze is whitened and
opacified with tin oxide and the body is calcai*eous. Colours
and lustres are applied over this enamel and the former are
sometimes reglazed with lead.
Titanium. Gives yellow tints as an underglaze colour. See rutile.
Trailing. A method of decorating leather-hard pots with thick
slip squeezed out of arubber bulb with a bone or quill nozzle.
, ,
’

280
 APPENDIX
Transfer printing. In made on
this process transfer prints are

the ware from paper embossed with patterns

biscuit
printed in ceramic colours from engravings or lithographs.
Treading clay. In primitive areas clay is still kneaded by the
pressure of the bare human heel and in Japan it is claimed
to be the best method.
Trials or tests. Small pieces of clay with pigment and glaze
upon them which can be withdrawn from a kiln during the
firing as a guide to temperature and atmosphere.
Turning. Shaving and paring leather-hard clay from the walls
or feet of pots on a lathe or potter’s wheel.

Umber. A natural ferruginous earth. See ochre.

Uranium oxide stands high temperatures and gives a yellow
underglaze pigment when oxidized, green or black when
i-educed. In moderately oxidized lead glazes it yields a
bright orange yellow.

Warping of pots both whilst drying and in the kiln takes place
from approximately the same cause—unequal heating and
consequent shrinkage.
Water iti clzy is of two kinds, the water of formation eliminated
by drying, and chemically combined water which can only
be driven off at between 350° G. and 700° C,
W aterglass ot sodium silicate is used mixed with dry fireclay
powder to repair refractories.
Wax resist. By pointing pottery with hot wax, or wax and
paraffin, surfaces may be reserved from the adherence of
slip, pigment and glaze as a means of decoration
Weathering. The exposure of unrefined clay to the action of the
elements, which improyes its quality.

Wedging. A method of cutting, beating and reversing a mass of

clay to expel air and to make the whole homogeneous.
/Mif. Lead carbonate. See lead, ;

Whiting. Carbonate of lime. See lirnestone.

281' '::i.
 APPENDIX
is dry resinous red pine
Wood fuel The best fuel for wood firing
Deal makes a very
and used throughout the Far East.
is
bought cheaply.
good substitute when it can be

In spite of
oxide is somewhat fusible at high temperatures
oxides. It dis-
its whiteness it
modifies the colour of other
remains suspended in siliceous
solves in boracic acid but
glazes.
 ,

Index

Accent in form, 227 Bachofer, Ludwig, 39

Accidentals in pottery, 24, 179, Ball clays, 45, 36, 59, 156, 177,
216 219
Agents, 214, 220-1 — null, see Pot mill
Air, 205-6, 2x5, 240 Bamboo, 90, 107, xoS
Air pockets, 71 Banding, 121. 122
Alkali, 44, 159, 160 Barium, 129, 167
Alkaline salts, 164 Barrels, 143
Alum, 53 Baryta, 164
Alumina, 44. 159, 161, 162, 168, Base cracks, 243
173, 203. 240 Basket pots, 64
Alumino-silicic acid, 44, 62 Basting, 197, 212, 240, 253
Amakusa, 6r Bats, 218-19, 222, 236, 246, 253
Ameya, 31 — biscuit fired, 49, gS
Ammonia,, 1 42 — plaster,
99
Annamese pottery, 39 —- wooden, 79, 80, 82
Antimony oxide, 131, 151 Beating, X07
Applied ornament, xo8 Bellarniines, German, 4, 34, 109,
Artist-craftsman, 13, 257 141,203
Arts and crafts, 6,26 Berlin porcelain ,41
Asahi Pottery, 186 Billington, Dora, 26
Asbestos, 192 Binns, C. F., 98
Asbolite, see Chinese cobalt Biscuit, 18 1, 195-7, 200-3, 208-9,
Ash pit, 188, 189, 200, 201, 204, 214, 2x7, 238, 250
247.':', Biscuits, 220, 229, 243
Ash, vegetable, 133, 135, 136, Blake, William, 36, 258
137, 142, rS9, 161-2, 166-8, Bleihished pots, 218, 225
170-5, iSi, 188, 192, 201, 241, Blow holes, 185-8, 194, 2x2, 246,
245 249, 250-3
Askham, 205 Blow lamp, 241, 244
Asymmetry, 29, loi, 102 Blue and white porcelain, 117,
Atmosphere in kilns, 127, 163, 120
180, 183-S, i93> 195. 200, 205, Blue pigments, 129
206, 212, 218, 241, 247, 250, Board of Education, 235
25T Boards, 79, 222, 250
Atomization, 205 ,
Bonding, 247
Atomizer, 248 :
Bone china, 41, 61, 132
 INDEX
Borax, 127, 133, 136, 141, 149, Cazin, 13
150. 154. 176 Celadon, 36, 133, 137, 138, 139,
Borers, 90 165, 166, 167, 175, 193, 217,
Borocalcite, 176 226-7, 231-3. 240, 248, 253
Boron, 161 Central School of Arts and Crafts,
Bottger, 40, 137 II
Bottles, naiTOW^necked, 225 Centring, 71, 229
Bonrry, Emile, 130, 204 Cha-no-yu, 4, 8
Bow: pottery, 41 .
Chapelet, 6
B.P. and Shell Mex Co., 205 Characters, Chinese, 105
Bracken ash, 240, 245 Charcoal, 139, 160, 195, 204, 211
Bristol pottery, 41, 120 Chartres Cathedral, 11
British-Roman kilns, 196 Chatter, 82
Brokencolour, 128, 130, 132 Chelsea pottery, 41, 141, 142
Brown pigments, 130 Chimneys, 181, 184, 186, 189,
Brushes, 104, 105, 118-21, 250 190, 191, 193. 201, 204, 205,
Brushwork, 117-21, 229, 237 238, 247-9, 251-3
Bubbles in glazes, 153, 202, 228, China clay, 41, 44, 57, 60, 61, 62,
245 no, 127, 129, 130, 140, 165-7,
Budget, 254 172, 173, 177, 219
.
Bungs, 246 — stone, see Cornish stone
Bursting, 197, 199, 239 Chinese 218
ink,
Burton, William, 6 — painting, 125
— Joseph, 24, 132 — porcelain, late, 10
— stoneware glazes, origin, 135-7
Calciningi 128, 177 Ching dynasty, 39, .142
Calcium carbonate (see Lime) ,
Ching tS ChSn, 36
Callipers, 76, 91 Chlorides, 161, 162'
Camberwell, 11 . .
Chlorine fumes, 203
Camphor, 121 Chojiro, 31 ,
’

Candles, 253
'
Chrome oxide, 130
Cantonese potters, 108 Chuck, 82, 83, 84, 226
. Carbon, 128,138 . Chiin glaze, 173, 240 ,

Carbonates, 16 1, 162 Clamming; 212, 240, 246

Carbon monoxidey 161 Clay, 43, 46, 47, 48, 50, 55, 56, 58
— retort, 211 59. 71. 73. 84, 96, 97. 98, 100,
Carborundum, 218, 245 107,127,134,214,218,219
Cardew, Michael, 57, 155, 157, — absorbent, 75
201, 234, 257 — 215, 218-9
bin, ,

Carolina clays, 62 — calcareous,

57
Carrageen (Irish moss), see Sea- — 60
fusible, 59,
— lumps, 74
,

weed
CarriSre, 13 - nomplastic,
m84
59,
,
.

Casting, 93 — plane, 97, 99,

Catalogue, 237 '

, — 217
plastic, 59, 78,

284
 INDEX
Clay, red, 58-9, 60-1, 99, 127, Copper, 58, 127, 129, 131, 136,
156, 160 138, 139, 140, 150, 153, 154,
— refractory, 99, 216 156, 161, igi, 240
— sandy, 145-6, lyg, 192 — red glaze, 175
— soured, 48 ^
— red, underglaze pigment, 129
— storage,
48 Corbusier, 14
— 60
tests, Core, biscuit, 87
Cloths, 71, 92, 209, 236 Cornish stone, 41, 44, 61, 99, 140,
Coagulation, 245 165, 168, 245
Coal, 202, 204, 238 Crackle, 30, 151, 165, 172, 176,
— 204 gas, 177,217
— sandy, 204 Cracks, 80
Cobalt Chinese, 39, 40, 128, 129, Craft shops, 220
130,154,212,254 Crazing, 57, 151, 176, 177
— oxide, 58, 127, 134,. 140, 151, Cristobalite, 176
154,156,212 Crystallization, 168, 170
Cochin China (Kochi), ware, 31, Cupboards, 215, 222, 226-7,
36 238,243
Coiling, 64-5, 75, 96, 223 Cupric oxide, 127
Coke, 139, 204, 206, 238 Cuprous oxide, 127, 175
Colcothar, 128 Cut facets, no
Coleshill Pottery, 163 Cutting off, 79
Collaring, 73 Cuttmg thread, 79, 80
Colloidal lubrication, 45, 50
Combed slipware, 33, 110-13, 115 Damp, 197, 199, 201, 207
Cbmbined moisture, 201 Dampers, 187-8, 203, 212, 215,
Combing, 229 238, 251, 253
Combustion, 138, 188-9, 200-1, Damping, 92-3
247,248,249. Decanting, 160
Combustion chambers, 191 Decoration, 20, 101, 107, 214, 225,
Combs,: 108 '

. 330, 237
Comfort, Elijah, 257 Delaherche, 13
Cones, 166-75, 188, igg, 211, 216, Delft, 4, 41. 120
217, 232, 239, 247, 250-2, 258- Designer, a new type, 21
' '

Dipping, 130, 145, 146, 232, 235,

“ slotted, 192-3 245. .

Confucianism, 39 —^double, 145

Consistency of slips and glazes, Dishes, large, 202
55 Distortion, i n
Contraction, 56, 98, 209, 230 Distribution, 219
^ allowance, 76 Dolly, 48, 49, 245
Cookworthy, 41 Domes,
184, 193-4
Cooling, 201, 212 Doulton, 3, 6, 34
Co-operative pots, 224, 235 Draught, 194, 197, 211-12. 216,
Copenhagen, 13, 41 248, 252
 1 9

INDEX
Firing, duration, 194
Drawings of pots, 222
Dribbling, 76, 87
— open, 179, 203
Fishley, Edwin, 157
Drip-feed, 201, 248, 249
Flaking, 53, 199
Dripped glaze, 145 211
218- Flambe glazes, 6, 37,
Drying, 49, 92, 93. 99, 182,
Flame-ways, 19
19, 228 ,

Flanges, 91
Dunting, 179, 197. 212, 239, 253
Flatware, 210
Dust, 199 I <15. idS, 176, 240
Flmt, 99.134,

Efflorescence, 164, 210

— glass, 150
Florida ball clays, 62
Egg-shell porcelain, 210
Flowingof glazes, 165
Electric current, 179, 204 191,
180, 184, 186, 189,
— elements, 206 Flues,

— magnets, 48 194, 206, 216, 239, 247

Fluting, 108, 109
Eler’s ware, 45 130,
Fluxing agents, 127, 128,
Embers, 179, 188, 197, 239
240-1,159,161,168,171
Embossing, .107, no
^42, I53, Foot, 22, 23, 24, 74, 78, 84, 90, 92,
Enamels, 37, I33.
225, 241
154. 195. 200
English mediaeval pottery, loi
— ring, 85, 86, 209

English slipware, 133, 141

— 87
rule, 76,
Freightage, 213
Engobes, see Slip
Frits, 130, 134, 141, 149, 150, 152,
Engraved rollers, no
— and washed biscuit, 1 17 153, 154, 177, 202
Fuel, 204, 251
Eutectic, 159, 165
'
Fugina pottery, 158 ,

Expansion,, 192
Funori, see Seaweed
Furnace, 184-7, 191, 201—4, 212
Fairie, J ames, 61
Furze, 202
Fans, 193, 215, 239, 247-9. 252-3
Fusibility, 149
Feather-combing, 113,114
Fusible clays, 45
Feldspar, 44, 59, 61, 62, 134, 140,
159,163,165-7,170-5,241
Gainsborough, Thomas, 121
Feldspathic alkaline glazes, 168
Galena, 144, 155, 156, i57, 201-2
Ferns, 160
Ferric oxide, 127, 164
— glazed ware, 32, 158
Gas, 179, 204-5, 214, 248
Ferrous oxide, 127, 164
Fettling, 225, 241
Gas Light (fe Coke Go., 205
Gengis and Kublai Khan, 11
. Filter press, 47
Geometric design, 42
Firebars, 181, 188-9, 204, 247
Glazes, 127, 128, 131, 142, 153
Fireclay, 56, 97, 99, 152, 192, 196,
207-8, 211-12
— coloured, 174, i75 ,

Fircmouths, 197. 201, 204, 212,

— on glaze, 126,
147
247-8, 252
— raw, 210, 231
145, 157,

Firing, 179, 1S6, 188, 194, 197. ,

: — tubs, 218, 241, 245, 250
^

Glazing, 214, 245

202, 214
 INDEX
Glazing, greenware, 144 Impurities, 44, 45, 46, 47, 48, 128,
Glost firing, 128, 236 135. 137- 140
— slipware, 2 qi Incandescent Heat Co., 205
'Glows’, 202 Indenting, 107
Gold, 155 Individualism, 257
Gosu, see Chinese cobalt Industrialism, 257
Graeco-Buddhist inspiration, 39 > Inlay, 58, 109, no
Granite, 140 Inuyama ware, 155
Grass, 160, 179 Irish moss, 15
Graving, 108, 109, 116, 224, 226 — potting clays, 61
Gray and Co., 3 Iron, 45, 48, 58, 127, 128, 129-31,
Grease, igg 135. 137. 139. 151. 156. 139,
Greek vase horizon, 234 161, 164, 166-71, 174, 200,
Green-hard pots, 225 212, 222, 224, 229, 231, 232,
Green pigments, 129-30 240,253
Greybeards, see Bellarniines Iron-bearing clay, 1 3 3 , 1 3 9, 1 5 6

Grinding, 128, 142, 165 Iron glazes, 168-71

— by hand, 129 Irregularity, 147, 199
Grog, 56, 59, 84, 97, no, 152, 181 Isu tree ash, 1 61
191, 196, 207, 222
Gropius, 14 Jade, 36
Gum arabic, 155 Japanese craft movement of to-

Gut, double twisted, 79, 225 day, 7

Hagi ware, 241 *KaM’, 137, 168, 170, 171, 193,

Hakeme’. (brushed slip), 115 217, 242
Hamada, Shoji, 27, 33, 104, 128, Kamogawa stone, 152
KaoUn (see China clay), 44, 62
135. 136, 13% 148, 153. 138,
194,211,232 Karatsu ware, 1 15, 241
Handles, 88, 89, 90, 210, 231, 237, Kawai, Kanjiro, 17, 18, 137
243 Kenya, 30
— pulledj 230 Kenzan, Ogatu, 29, 30, 131, 138,
Hah dynasty pots, 38, 101, 135, 149. 150
137 Ki^elguhr, 192
HiSpano-Moresque pots, 4, 119, Kiln, binding, 187, 192, 196, 212
'120, ^142 — doors, 188, 239, 246
Holland, Charles, 57 Kilns, 178-212. 214, 216
Honyaki,35 —
: bank, or climbing, 180, 184,
Hoop-iron ring, 80 186,187,189
Hovel, 184 — bottle, 180, 181, 183, 196, 201
Hypocaust, 93 — constructions and proportion,
189,190,191-2
Illustrated Catalogues, 220 - — downdraught, 181—2, 184, 186
Imitative realism, 103 —^ Drakenfeldt, 204-5
Imperfections, oriental, 85, 146 — electric, 27, 206, 214
 . J

INDEX
Kilns, foundations of, 191 Lung Ch’uan celadon, 133
— furniture of, 191, 203, 207 Lustre, 119, 142, 212
205-6
gas, . Luting, 75, 96, 108
— Grafton, 206
.
:

— 250, 251
logs, Magnesia, 48, 133, 159, 161, 162,
— 104-5
oil, 240
— Kevelation, 104-5,248 Magnetic iron oxide, 128, 130
— -slieds,2i4 Majolica, 120
— 106
tunnel, .
Mahin and Co., 3
— up-draught, iSx-2, 202
156, Manganese, 127, 129, 130, 140,
— Vyse, 205 151, 154, 156, 161, 165, 175.
Kingdom of beauty, 7, 9 232,245 .

1
Kneading, 48, 51, 52, 71 — glaze, 175
' Knobs, go; 92, 230 Marbling, 114
f Marls, 57
‘Kobo’ (mother of ore), 135
•'i'lf*' Korai, 95, no Martin Brothers, 6, 34
Korea, 284-6 Marx, Karl, 10
f Korean celadons, 4, 39, 40, 85 Mashiko, 104, 137, 211
Koyetsu, 28, 29 Mass-production, 85, 12I, 256,
Kublai Khan, 39 257
Matsubayashi, T., 186-7, ^90
Lacquer, 218 Matt glazes, 172, 173, 203
Lagging, 192 Measuring, 75
Lambeth pottery, 120 Medici ware, 40
Lancastrian Pottery, Royal, 75 Meissen Pottery, 40, 41
Large plates and bowls, 82 Melting points of metals, 128
Laufer, Berthold, 136 Mending, 208
Laws of proportion and com- Mexican pottery, loi
position, 23 Mica, 62, 179
Lead, 127, 130, 131, 133, 136, Michael Angelo, 36
141,: ISO, 152, 153, 175 - ^ Ming, 4, 5, 24, 39, 40, 62, 85, 135,
— glaze, 41, 147. i49i i53i I55 X42, 209
Minton pottery, 3
,

-poisoning, 150 ,

Leathers for finishing, 82, gr, 107 Modelling, 95, 107

Lids, 91, 202 Mohammedan influences, 39, 40,
Lime, 48, 58, 133, 159, 161, 162, .
106, iig '

166-75 Molecular attraction, 48

Lime-free water, 47 Mood or nature of a pot, 1 8, 1 2 2,

Limestone, 240 ,
'.218, ,237

Lips, 22, 73, 74, 76, 77, 78, 90, Morgan Crucible Co., 218, 247 '...

111,197,210,227,230 Morgan. William de, 6, 34

Litharge, 150, 156 Morris, William, i, 14

'Liu li’, 136 Mortar, 193, 212

Lomax, Charles J., 33 Mother-rock, 44, 140 .

Loyang, 38 . .Motoring roads, 213 1

 : 6

INDEX
Moulds, 64, 87, 93, 93, 98, 108, .
Packing cases, aig
214,236,237, 241 Painted decoration, 85
— basket, ipS
.

Painting, 232, 237

— biscuit,
95 Paper patterns, 1 16
Muffles, 30, 152, 156, 195-6, 199- Paraffin, 201, 204, 214, 244, 247,
205 248
Murray, Staite, 17 Parian ware, 62
Paris Exhibition 1867, 6
Naphtha, 121 Pfite sur Pfite, 1 1
Needle cutter, 73, 223 Pattern, loi, 102, 103, 105, 106,
Nestorians, 38 120,141,234,237
Neutral atmosphere, 139 — painting, 121, 122, 123
Nickel oxide, 129 Pearson & Sons, E. J. & J., fire-
Nigeria, 64 clays, 56, 235
Nobunaga, Oda, 31 Pegmatite, 44 (see Cornish stone)
Non-porosity, 34 Pdre d'EntrecolIes, 36
Non-conduction, 192-3 Perforations, 90
Persian pots, early, 4, 40, 119
Office -work, 214 Petun'ze, 61, 140
Oil, 120, 148, 179, 204-6, Petrosilex, 61
217, 218, 242, 248, 249, 250, Pevsner, N., 4
231, 252 Phosphoric acid, 159, 161, 162
— burner, Massey, 248 Picasso, Pablo, 14
— firing, 247, 248 Pick-hammer, 217
Oil-SpOt glazes, 168 Pigments, 127, 128, 157, 168, 229,
Okakura, Kakuzo, 4i; :
232 .

One-man shows, 220 : ,

Pike's sUicebus ball clay G.F.S.,
Opacifyers, 127, 160 163,166,171-3,175
Organic life in clays, 47 _
.
'

Pinched pots, 96
Oribe ware, 241 Pine, 238
Oval shapes, 81 Pin-holes, 147, igg, 200, 235
Overfiring, 197 'Pitchers', 59, 176
Overglaze enamels, 28 Pitchers, English, 32
Oxidation, 4I, 127, 129, 138, I39, Plaster of Paris, 49, 92, 93, 95,
153, 164, 166-75, 179, 1S6, 188, 109,238
193. 195. 200, 202, 210-11, 231, ‘Plasticity, 44, 47, 56, 62
238, 241, 2x8, 249, 250,' 251 Plates, 241
Oxides, 34, 127, 12S. 151, 153, Pleydell-Bouverie, Katherine,
154, 165, 172, 212 : i6r, 163, 164
Oxygen, 127, 138, 139, 156, 188, Plymouth pottery, 41
248 Polishing clay, 84
Porcelain, 28, 36, 37, 42, 43, 61,
Packing, 184, 194, 197, 200, 203, 62, 75, 85, 92, 128, 131, 133,
204, 210, 211, 214, 218, 245, 139, 140, 154, 183, 200, 206-10
24.6 ,
— glaze, 172, 173

289
 1 1 1

INDEX
Porosity, 15 Resoftening clay, 236
Porous bricks, 192 Rib, 82, 223, 327
Portable kiln, 30 Rice straw ash, 130, 240
Potash, 45, 48, 159. 161-75 Ri-cho, 4
Pot mill, 143, 165 Ri dynasty porcelain, 40
Potter’s wheel, 66, 67, 68, 69, 70, Rikiu, 31
74,87,222 Ring brides, 196
Pottery, planning of, 214, 315 Rococo influence, 41
— site, 213 Rodier, 256
Pouring, glaze or slip, 145, 147 Rolling pin, 98
Power wheels, 127 Rolls-Royce Phantom, 2
Preheating, 206, 249 Roman decoration, 39
Pressing, 241 Royal College of Art, 1
Pressure, 205-6, 21 Rubber Stamps, 116
Pricing, 254 Rutile, 134
Primary clays, 44, 140
Primitive pottery, 21 Sadler, A. L., 4
Profiles, wooden, 74, 82 Saggars, 137, 141, 152, 156, 184,
Proto-porcelain, 34 192, 194, 196, 197, 201, 202,
Pug mill, 50 207-11, 215, 216, 219, 236, 238,
Pure clay, 44 246. 253
Pyrometers, 188, 211 Saggar clay, 56, 219
making, 223
Quartz, 57, 6r, 64, g8, 99, iio, — rings, 211, 223
130,131,134,150,153-5,165- tops, 223
76, 181, 191, 208, 217, 240 Sagging, 210, 228
St. Francis of Assisi, 8 ,

Radiation, 192 St. Ives, 1-87, 189, 211, 214, 221

Railways, 213 'Sale or return’, 220
Raku, 28, 133, 141, 151, 152, 179, Salt, 133,203
181, 191, 195, igg, 200 alkaline,218
— bodies, 55, 56 — glaze, 6, 34, 133. 134. 136, 141.
— Kichizaemon, 32 203
Raw pots, 188, 197, 199-200, 201, Sand, 46, 39, 97, 98, 150, 181,
204 191, 208-10, 212, 222, 225, 239,
Read, Herbert, 2 241
Reduction, 127, 128, 129, 130, Satsuma ware, 155
138, 139, 153. 166-75,
164, Scaling, III, 157, 176
184-6, 193( 200-2, 206-7, 210- School pottery, 46, 98, 180
II, 212, 233, 241, 245, 248, 249, Scraping, 107
250, 251, 252 Screens, 99
Reeds, 160 Scum, 164, 174
Refiring, 194 Seals, 99, 100, 109, no, 116, 225,
Refractory clays, 45, 191 226,
—
.
'

Reglazing, 244 roller, no

 1

INDEX
Seaweed, 151, 157 Slip, trailing, 33, 112. 114, 147
Secondary clays, 45 — ware, 4, 28, 33, 34, 181, 202
Sediment, 174 Slurrj% 48, 49, 239, 240
Seger, 137 Smalt, 13
Seto, 210 ‘Snakes’, 203, 208, 217, 243
— yellow glaze, 174 Soaked heat, 202
Settling, 55, 147, 201, 203, 245 Soda, 45, 48,433, 136, 168
Sevres, 13, 41, 179 Sodium, 161
Sgraffito, 146, 229 Soft-paste porcelain, 40, 41, 42,
Shelves, kiln, 98 , 194, 197, 209, 141
210. 215, 216, 217, 219, 238, Soot, 197
239,245.246 .
Souringof clay, 48, 52
Sherds, 59, 131, 179, 180 Specific gravity, 55, 228
Shibuig Splashed glaze, 145, 147
Shino ware, 241 Splitting, 46
Show room, 214, 256 Spode, 12, 41, 121
Shrinkage, 46, 176, 243 Sponges, 107, 1 1 7, 146
Siamese pottery, 39 Spots on glazes, 164
Siccatives, 116, 142, 147, 151, igg Spouts, go, 92, 230, 237
Side-stoking, 238 Spraying, 130, 143, 147, 232
Sienna, 45 Spurs, 225
Sieves, 47, 49, 142, 143, 157. 16°. — marks, 225
163,215,228 — quartz, 85
Silica, 44, 46, 127, 133, 136, 149, Spyhole, 181, 202, 215
753. 159, 160, 161, 162, 165, Squatting tendency, 75
170,: 176. 203-4, 218, 240, 243, Stacking, 197, 242
254/ Stamping, log, 225, 226
164
Silicates, Stamps, rubber, loi
SUver, 135 Steam pressure, 249
Simpson, Ralph, 33 Stencils, loi, 116, 148, 229
Siphoning, 143 Stiffeners, glaze, 127
Size, 151, 245 Stilts, 202, 225
Skipping, 25 ‘Stinkers', sea Barrels
'Sky-fmingV 197 Stockroom, 214
Slag, 60 :
Stock-taking, 254
Slice cutting; 96, 97 Stokeholes. 184, 186-9, 191, 194
'Slices,236 ,7,, 200,213,240,252
Slip, 47, :48. 49.: 50. 53 . 54. 55. Stoneware, 28; 36, 37, 45, 33 ]

:
:58, 88,;:9 97, iio, iii,: Ii2y 183, 203, 206-7, 214, 219, 225
1 13-15, 1 16, 127, 130, 144, 150,

157, 212, 2,14, 228, 229, 232,

— 31
biscuit,

235.236,237 — body, 59, 222,

241
;^ ^uge, i44,:i72i 228 — glazes, 138, 159, 212, 243
.'^g]aZe,'i45'7;; — porcellaneous, 35
--- lubrication, 75, 89 ; ,
,
Storage of clay, 52
 ;

INDEX
Stourbridge fireclays, 56, 222 Throwing, 22, 65, 66, 70-83, gi,
Straw, 160, 161 95,214,226
—
.

Strips of clay, 209 in sections,

75
Stroke production, 124 —
^
222
tools,
Students, 214, 235, 257 — speed, 222
Studio potter, 43, 158, 213, 214, 235 237
Tiles, 97, 98, 219,

224, 256 — English medieval, 32

Sulphates, 161, 162, 164 Tin-enamels, 41, 119, 120
Sulphur, 178, 201, 202 Ting ware, 135
Sulphuration, 156 Tin oxide, 127, 129, 134. 136, 175
Sulphuric acid, 156, 164 Tinslime, 231
Summer Courses, 235 Toby jugs, 142
Sung, 4, 5, 6, 13, 14, 16, 24, 36, Toft, 12, 33, 58, 1 13
38, 39, 41, 42, 62, 95, loi, ro8, Tokunabe pottery, 65
116, 120, 122, 132, 135, 145, Tomimoto, K., 33, 102, 196, 221
146,225 Tongs, long-handled, 30, 199, 206
Surface texture, 97, 98 Touch, 124
Suspenders, see Siccative Tradition, 257
Synthesis of East and West, 16 Traditional pattern painters, 104
Syrian pots, 4 Tragacanth, gum, 113, 151
Trailer, 229
Talc, 176 Trailing, glaze, 145
Pang, 4, 14, 24, 38, 62, loi, 136. Transfers, loi, izo, 121, 126,
137. 145. 235 Travellers,: 221
— tomb figurines, 95 Trimming toolSi 73
Taoism, 38, 135 Troughs, clay, 49, 50
Tea-bowls, 8, 63, 85, 146, 195 Truropotteiy, Ii3> 155/ 201-2 ,'; ,

. ;

Tea^dust glaze, 168, 170 Turning, 69, 83^ 84, 95, 107, no,
Tea-master.s, Japanese, 4, 8, 28, 225,226,243
31, 132, 152 T'zu-chowware, 5, 122
Tea pots, 87, 90, 104, 105, 233,
237 Umber, 45, 218 ^

Tearoom, 213 Umbrella spoke, 90

Tea, Tire Book of, 4 Underfiring, 197
Tea used with Chinese cobalt, Underglaze stonew:are pigments,
129
'

i'27,'I47.:;.:';V.;
Teirin, 31 Unglazed surfaces of pots, 132,
Templates, 97 133, 211
‘Teninoku’, 137, 145, iC8, 170, Unpacking, 214, 219, 243, 253
171, t93, 217,231 Uranium oxide, 174
‘Tessha’, 168, 170, 171, 193
Test Idlns, 46, 240, 244 Viking ornament, 235
— rings, 18S, 211, 236, 239, 250. Viscous glazes, 130
,
252 Visitors, aig, 226, 237
Thimbles, 223 Vitrifiable clays,, 45, 177, 212
 INDEX
Vitrification, 45, 212 Wind, 193-4, 228, 251
Volatilization of glaze, 199, 200, Wire, 96, 97
Z08, 254 Wood, 238, 239, 247, 249, 251,
Vyse, Cliarles, 205 252
— firing, 141, 163, 164, 183, 1S7,
Wads, 217, 227, 236 194, 197, 207
Warping, 46, 93, 99, 197, 207, 241 — automatic.
firing, 189, igo
Washing, 128 — fuel,
179, 180, 186, 1S7, 189,
Water, chemically combined, 56 194-7, 201-4
— glass, 208, 243 Worcester, Royal, 3, 142
Wax resist, 126, 146, 148, 231, Workshop, 213-58
232, 240 — criticism, 227
Weather, 251 Wren, Henry and Denise, 64, 206
Weathering, 47, 48 Wrotham pottery, 33
Wedging, 48. 50, 52, 71, 219
Wedging table, 51 Yanagi, Soetsu, 7, 9, 105
Wedgwood, 3, 5, 12 ,
Y-hsingware, 45
Winchcombe pottery, 202, 257 ‘Ying’ and ‘Yang’, 106
‘Window-picture', in Ying-ching ware, 5, 38
Wire, 51, 71, 73, 79 Yuan dynasty, 122
— brass, 223, 225 Yiian glaze, see Chiin
Wheat straw and husk ash, 130
Wheel, 227, 229 Zen Buddhist philosophy, 29
White lead glaze, 30 Zinc oxide, 127, 129

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