244 
KERAMIC STUDIO 
been left after clipping, atomizing, brushing or any other mode 
of glazing. Without this precaution the piece and the bat 
would get stuck and in parting them violently, one would risk 
losing or at least seriously damaging the piece. As in the first 
case, and in every case for that matter, the bat should be well 
washed with the infusible powder. 
p-^i 3rd. Placing requires special care when the piece, Avhether 
of narrow or large base, is covered with flowing glazes. Then 
it should rest some distance from the bat on a small cylindrical 
column (Fig. 59) resembling a ring about | of an inch thick. 
and the height of which varies according to the more or less 
flowing tendencies of the glaze. This height will be from | 
of an inch to as much as 2 or 2\ inches. The little columns 
will receive the excess of glaze. They are thrown on the wheel 
and it is absolutely necessary to use the same material of which 
the vase is made, because of the shrinkage which would be 
different if two different materials were used and might cause 
the piece to fall from its support. The little column is strongly 
washed under its base and especiallj^ on top on the part which 
is in contact with the vase. 
4th. Placing becomes an art when the piece is of such a 
shape that the flowing glaze must cover it everywhere as in 
the case of my vases made from fruit forms (Fig. 60). The 
supi^orting mi;st be done so that after firing, the vase will be 
detached without accidents from the excess of glaze in which 
it is steeped. To do this, I make a bat of the same material 
and the same diameter as the piece to be fired. This bat is 
strongly washed, and on the wash, I place at equal distances, 
3, 4 or 5 small truncated cones f to ^ inch high, the points of 
r^-t/f 
^^ ^m//////////////)/////?/^/////^^^ 
which are washed. On these cones the vase stands (Fig. 61). 
The glaze flows on to the cones and from the cones to the bat, 
and the bat having the same shrinkage as the vase there is no 
displacement of the latter . When taken out of the kiln, it is 
easy to detach it from the points without any damage. 
In the first case there is no loss of pieces; in the second very 
little is caused by the placing. In the third case losses reach 
30%. In the fourth they reach the disastrous proportion of 
50%, because the vases being balanced on 3, 4 5 or 6 small 
coknnns, if the least displacement of the bung occurs, the 
equilibrium is destroyed and the piece falls (Fig. 93). This 
77,V n O Example of a piece which has fallen during the firing. These three 
^ ''&> • VJ pieee.s stuck to each other and to the bats, form one mass and can 
not be parted without breaking them. Every care had been talten in 
the placing. 
easily happens as porcelain shrinks in the proportion of 10% 
of the natural height (Fig. 62); gres shrinks 12%. To this 
shrinkage must be added the movement of shrinkage in the 
])lacing material and the tendency of the kiln to yield to the 
])ressure of combustion gases. One should understand that in 
the kiln everj^thing plays, works, moves; and if the setter has 
not used the plumb line or has not an experienced ej^e, the rushes 
of heat from a too rapid firing may act on the piles of saggers 
so as to shake the vases like a ginger bread house. 
f.^.6j 
Fig. 62 
It will be seen that everything contrilDutes t(j the destruc- 
tion of the works of bold ceramists, if the3' do not display in 
their fight against the fire a good deal of skill and thoughtful 
patience. But all these precautions will readily occur to the 
mind of a^man who risks in the fire six month of artistic work 
and all the money conring from former sales. 
