KERAMIC STUDIO 
27 r 
of kick wheel is used to-day in western stoneware potteries, 
but this is operated by a crank and lever. The true kick 
wheel has one shaft only. At the top the wheel head and 
below the kick platform. The latter is a circular plate with a 
heavy rim. It is set on the shaft just within reach of the 
right foot, and this member by a pushing action, more or less 
vigorous, keeps the wheel in motion. The shaft or spindle is 
set in a frame of wood. The lower end is pointed and rests 
in a steel block. The upper end runs in a cast iron collar 
which is slightly tapered. Near the top of the spindle is a 
corresponding taper, and the steel foot can be raised or low- 
ered by a screw so that any wear on the tapering collar can be 
taken up and a steady motion secured. 
On the top of the spindle fits the head. This is remova- 
ble and usually fits on a tapered plug. The head is where the 
work is formed and its structure is important. The profes- 
sional potter uses a head of hard wood or brass, and when his 
work is finished he lifts it off with a pair of shaped frames 
called "lifters." But this leaves a rough unfinished base and, 
besides, requires considerable skill. A simpler method for the 
studio worker is to have a head for the wheel shaped like a 
saucer with the edges nearly upright. To this several wooden 
or plaster discs may be fitted, and when the piece is formed 
the '"bat" may be removed and set aside for the work to dry 
and another one set in its place. It is easy to make plaster 
bats to fit such a head but the plaster is hard to work on for 
a beginner. The clay holds fast to it and cannot easily be 
centered while if soaked to saturation it becomes so slippery 
that the clay will not hold at all. A wood turner will make 
two or three discs of hard wood to fit the head and will devise 
some means to keep them from warping. They must not be 
glued as they are almost constantly wet. In practice we use 
plaster, wetting it just enough for the clay to hold, but never- 
theless it is much harder to work on than wood. The ideal 
head is made of lignum vitae, and if this is cut across the grain 
and about two inches thick there is no fear of warping. A 
drawing of the " kick wheel " is appended and any skilled 
mechanic can make it. If there should be any difficulty it 
can be procured through the publishers of this magazine, 
working drawings can be supplied if desired. The operation 
of the wheel requires some practice and the worker should use 
it regularly for some days before attempting clay. The lower 
disc must be regulated to the height of the foot, and for ladies 
a " rainy day " skirt will be advisable. A flexible soled shoe 
with low heel will make the work easier, tennis shoes are excel- 
lent. Seated now at the wheel in an easy posture the aspir- 
ing "thrower" should endeavor to conquer the details of the 
motion. A slow, steady movement at first. See that the 
touch of the foot is given smoothly in the direction in which 
the wheel is traveling. This direction, by the way, is always 
opposite to the hands of a watch. Now quicken the action. 
Keep it steady and smooth. There must be no jar from the 
kick. The heavy wheel will keep running for some time with- 
out a touch, but the effort must be made to have the foot 
action automatic and involuntary, like the action on a bicycle. 
When this is thoroughly mastered the clay may be taken in 
hand. 
If it be possible to watch a good thrower at work, ten 
minutes study will be worth pages of directions, but even so, 
the principle of the work explained, the understanding will be 
fuller. The experienced workman throws the ball of clay on 
to the wheel while in rapid motion, his left hand catches the 
lump as it touches the wheel and prevents it flying off. Now 
both hands are placed on the clay, and, being held rigid, the 
elbows at the sides, the mass is forced into the center of the 
wheel. Pressed from both sides by the palms of the hands 
the clay rises in a cone. It is pressed down again and allowed 
to rise once more. This is to secure it in position and to 
form a smooth and uniform mass. Now let the wheel slacken 
speed and, touching the top of the cone gently with the finger, 
make a small depression, as the motion continues use thumb and 
finger to pinch the wall thus produced until the shape of a cup 
appears. Now bring up the other hand and with the two 
thumbs and two first fingers compress the base of the little 
cup and lift it entirely away from the rest of the clay. This 
is simply an exercise. Small pieces are much more easily 
made than large, and the first few attempts should be confined 
to making little things and pinching them off. They need 
not be kept but the practice is everything. An attempt to 
make a large piece will assuredly end in disaster, and the 
worker will become discouraged, but little by little the size 
may be increased and confidence will grow. The illustrations 
will give a good idea of the formation of a vase. The main 
difficulty lies in the "spinning up," in making a cylinder of 
clay with thin walls without twisting. If one part be thinner 
than another there is almost sure to arise a twist or spiral in 
the clay. This cannot be worked out and the shortest way is 
to cast the clay aside and take another ball. For the inside 
professional potters use "ribs" or shaped tools of plaster, 
slate or wood. These may be cut to any desired form. The 
rib is held in the left hand and inserted within the hollow 
cone. With this on the inside and the other hand outside 
almost any shape may, with practice, be developed. 
When the piece is formed the bat on which it stands should 
be set aside to harden. It may then be set back again on the 
wheel and the work of finishing begun. 
& *• 
ODD POTTERY 
IN Portugal may be seen some very queer pottery. One 
article represents two oxen ploughing, and another a 
lordly lion with a most extraordinary tail. Clay figures of 
this kind are very popular in Portugal, especially in the rural 
districts, and are regarded with much admiration by the 
peasantry. 
A few noted ethnologists have recently been devoting 
much time to the study of Portuguese folklore, and they 
claim that these pieces of pottery, as well as certain amulets 
which are used for medicinal purposes, have been of consider- 
able service to them in this respect. 
The Portuguese, they point out, cling most conservatively 
to the habits and customs of their ancestors, and as a result 
in many parts of the country may be found to-day the same 
kind of vessels and other articles that were in use centuries 
ago. Naturally, a rich find of this kind is of great assistance 
to those who are studying the country's myths and legends. 
It is said that efforts have been made to introduce clay 
lions with natural tails, but wholly without result. 
