1884] Pitch-pipes and Flageolets. 499 
_ similar in shape to the outline shown in Fig. 10, and the clay 
_ reed, Fig. 10 B, enveloped therein. The dotted lines in Fig. r1 C, 
_ represent the clay reed, Figs. 1 and 4 R (Plate xvr), after the flap 
a Fig. 10 F, has been modeled around it. This, it will be seen, 
divides into two portions a little distance above the narrow end 
ofthe reed, Fig. 11 D, which overlies the sound-hole upon the 
body portion, Fig. 4 S, running to either side and protruding be- 
yond its terminal portion about two and a-half inches. This 
forms the notch into which the body of the pitch-pipe is intro- 
duced, Fig. 11 E (Plate xvi). A view of a section of the clay 
teed, made parallel to its aperture, Fig. 13 (Plate xvr), shows the 
exact size and shape of the air-passage. Specimens of these in- 
struments, which have been detached in sections, suggest that this 
covering of the clay reed by the flap, Figs. 10, F and 11, C} was 
accomplished while the reed was in a semi-dry condition. In 
order to understand the method pursued in joining earthenwares 
that have been made in pieces, it will be necessary to consider 
riefly the processes of our modern potters. Fictile wares, mod- 
eled upon the wheel or lathe, at a certain stage of the drying pro- 
cess possess a greater tenacity than at any other time, until they 
me baked—this is called by potters the green, or semi-dry state. 
While in this condition they are attached to the lathe by a little 
~ Moisture, and turned nicely into the: proper shape. This same 
degree of dryness, which admits of the clay being turned on the 
he, serves for attaching the handles or other appendages to 
a vessels. The parts to be attached, having been prepared, 
are Joined together by meañs of liquid clay (called slip, by the 
Potters), and the seams having been smoothed off and finished by 
aie modeling, are then ready for the kiln, which is to convert 
"i me Say into the hard biscuit. Having thus explained the 
it sth ty sea 3 jointures while the clay is in semi-dry condition, 
ii eod be inferred, as the process of the ancient Mexicans did not 
Pisma differ essentially from those used by our modern 
"either in material or other methods of manufacture, €x- 
the of Course the use of the lathe, that these old potters used 
semi-dry state to cover the clay reed with the clay flap, in 
Order to avoid í x y ik sk 
See Fio. id compressing the air-passage (which is very narrow, 
18: 13, Plate Xvi, where exact size thereof is given), at the 
é The oy 
When covered we in Fig. 11 C (Plate xvr) show the outline of the clay reed 
‘You, Pa protruding end thereof, Fig. ro D (Plate XVI}. 
leh v. 
32 
