3*8 



AMERICAN HOMES AND GARDENS 



November, 1906 





Weighing Out the Different Clays for Mixing 



Pouring " Slip " into the Mould 



colors, green, blue, or others. Next, the vase goes to the 

 artist, from whose hands it receives decoration in flowers, 

 animals, or figures. This painting is done in colored clay, 

 and much skill is required as well as experience in its appli- 

 cation, for the color of the clay changes in the firing, and 

 must be thoroughly understood by the artist. After having 

 been decorated, the piece goes to the drying-room and re- 



fire the ware in a series of small clay boxes, called "seggars." 

 These are filled with the clay vases, standing side by side, 

 and the boxes are then piled in the kiln, one above the other 

 in a tall column, called "bungs." Men place these in posi- 

 tion by climbing up ladders. When the kiln is all ready, 

 the fire is started. The heat is gauged by a pyrometer 

 so accurately that the heat may be gauged within ten de- 



Showing How Seggars are Packed, and Their 

 Arrangement in Kiln 



Removing Vase from the Mould 



mains there until the water has evaporated. It is then 

 placed in the kiln and given the first firing. When it comes 

 out it has been reduced to the biscuit state. 



The kiln is a wonderful place in itself. Within its rough 

 brick walls are placed immature and fragile things which 

 shall eventually become valuable pieces of art, if there be 

 no accident in the firing. The kiln is cleverly arranged to 



grees. The fine glazes require very high temperature, while 

 less heat is needed for what is called the "mat" finish. 



When the ware comes from the kiln after the first firing, 

 it is dipped into a solution called glaze, which is really liquid 

 glass. The piece of ware is then fired again. When taken 

 from the kiln a second time, it is a beautiful piece of pot- 

 tery. 



