Chapter VI. is made in this way. The design is first drawn on the piece

in pencil. Next it is outlined with firm, sure strokes, using a pointed steel tool, and taking great care not to cut under the edge of the outline, but bevel it, as in other processes. Go over the whole outline of the design again with a boxwood point, making the lines deeper. Then start close to the edge of the outline with the steel tool, which has a flat point, and scrape away from it, cutting as deep as the outline, close to the design, and sloping gradually up to nothing at about half an inch from it. Certain parts of the design may be emphasised by cutting the outline somewhat deeper at those points. Be sure to cut away enough clay about the design to leave it in decided relief, for the glaze softens the edges, and makes them too indefinite if they are not firm and clear in the beginning.

Pierced decorations are particularly good on pottery. Such simple designs as those in Figs. 22, 23, and 24 will be found the most satisfactory.

In planning a pierced decoration for the top of a piece, take care not to start it too close to the rim; three-quarters of an inch or more should be left between the edge and the decoration, otherwise the piercing will weaken the piece.

Outline the design first in pencil, then with firm, clear strokes follow the line with the pointed steel tool. The line is traced a second time still more deeply. All the clay within the outlines is cut out as far as the incision has been made, and then the sharp point of the tool is run through the wall close to the line. While the clay is being cut away with the right hand, the left supports the inner wall of the piece.

When the whole design has been pierced, moisten the finger with water and soften the edges of the decoration, that the glaze may flow freely over it. Decorations in high relief are made as follows: Small lumps of clay, as nearly as possible the consistency of the piece of pottery, are applied to the portions which are to be decorated, and which have previously been criss-crossed with a steel tool, and wet with slip. The design is then moulded with the hands and wooden modelling tools, working the edges close on to the surface of the piece.

The Glaze and How to Apply It