ticulation allowed the peaher be contrast a straight line
with a strongly curved ome, a swelling form with a
incurving plane. These chamers of foem alsa served to
mask the peonts of janctuze for the parts of the vise
that were thrown separately on the potter's wheel.

The vases were achecved freehand on the wheel
with only a pait of dividers and a ruler as a guide
There & no evidence that 2 template was used either
to form the vases or to check the measurements ot the
subéle, well proportioned shapes. Efocts have been
nike ta show that these propurhuns were based on
carefully worked oul peometrical ratios, Ratios do ex-
rt, but apparently they were accomplished only by
the artistry of the potters eye and aot by nemerical
formulas.

The production of wheel-mack: potters requires a
high degree of gail dexter sty and a continual aj
Plicahion of artistic judgment The form mest evolve
slowly, but oot tov slowly or it will collapse, and it
bas te be developerd te its final state through a series
of intermediate steps. The teuls of the potter are pri-
marily his nemble Gngers aided by a few sample imn-
plements, There are no complex touls thal can assist
him, The only improverncit en technique that ha
been made over the ancient potter's is the substitution
of an electric motor for the bop who terne| the wheel,
aed thie boy preobsalsly hkl a better job, 2s he had enter
acvurate control of the wheel

FaomM THE STUDY OF REFErsENTATiONs of anmdent
jawters at work and of Attic puttery itself, and with
2 knowledge of modern ceramic practice, it is posible
to recreate the ancient methods of teers te vases
Four reproducing an Attic wee, a hlack-figured kplix was
chosen, as this delicate shape presents all of the prob

lems of throwing, banning aed poiming, and represents

ATTIC REL-POGURET) WASES: eeaphors, bydrias,

the exerliemce of Attic pottery. The photographs which
illustrate this process are not poscd but taken as the
potter worked with the wheel in. motion.

The process of making a vase starts with wolping
of bewting the day tu remowe aig bubbles, to make it
homageneded ven] to get the clay to the peoper work-
ing consastency, A ball of clay is thon centered) om the
rotating wheel and Arily hekd in cupped hands until
it runs true without wobbling. Pressure of the thumb
in the center of the ball of clay forms a thick-walled
ring Which is slowly pulle:| upward between the
thumb aru) fingers, creating a cylinder. The cylender
is nae ceady to be upened into a bored shape, drown
up as a jong tube, Aattened into a plate or closed to
form a sphere, at the pleasure of the potter. This
process concludes the thecwing operation, and the
vase in set aside to harden. The followeng day, when
the clay bas dried tu a firm, leather-hard state, the
vase is centered) upside down on the wherl, As the
wheel otetes, metal, bone o¢ werk! fools are used to

tana" of reine the shape by shaving off unwanted
cay. Then a wet sponge ts used to smoath the vase.
The foot of the vase or edher sections may be theewn
separately, dure) and joined to the beady wt thee wane:
with clay slip (a hme chy ermulsenn). Finally, the
vase, a5 a combine) onét, & tumed and the harslles
are achle:|, The clay must shill be on the somewhat
plastic leather-hard condition when the handles are
applied with « clay slip binder, or they will not ad-
fecry, “Whe vase is now finished wend realy for decorat
ing and Gring.

The marks of the tools used te form the vases were
uswally eradicated by the patter, brut careful examina-
tion will reveal some traces. The incor surface of
vases with relatively narrow necks am] meoaths, sach
as the amphora, pelike and hydria, usually show the

eulya krager, klix, lefts. Collection of doe wethor