Topic: The Scrying Vessel: Tradition and Magic merge

Piper

Date: 2008-06-29 19:23 EST
The seeming ease of finished pottery or earthenware made in the traditional way belies the enormous amount of work and skill, of intuition and hard labor that has gone into its creation. First, the clay must be mined from the earth at sites a considerable distance from the place Piper now called home, and often accessible only on foot.

Two weeks earlier, after having discussed the special vessel Mister Ithraides required, Piper had walked to her favored spot for collecting clay and meticulously dug out the red medium. It was then carried back to the cart and eventually pulled home over the rough and rocky terrain of the northern realm.

In its original form the clay was rocky and slate like, and large chunks were broken up to manageable size. It was then cleaned thoroughly by sifting and winnowing to get rid of all unwanted matter, such as twigs and pebbles. With a stone, it was crushed and pulverized. Temper, in the form of clay potsherds, sometimes hundreds of years old, was hand-ground to a fine powder, called Grog, and added to the clay to bind, strengthen, and prevent it from shrinking and cracking.

It could take many days to create the proper mixture of ground clay and pulverized potsherd temper. First blending dry, water was gradually added, and more temper, until the right consistency was achieved. This knowledge was acquired by experience and years of working the clay so that it "felt" right.

The scrying vessel was then begun by molding the base in a form called a basket, gourd, or bowl, which would support the bottom of the vessel. She would not use the wheel for throwing this piece. To reduce any chance of leakage, it was going to be built stronger and denser than what could be achieved upon the wheel.

The body was then built up by adding coils of clay that were shaped to the intended form. The length of time it took to build the vessel was longer, as time had to pass between the additions of each coil in order to prevent the sides from falling in. As the vessel's shape was defined and the lid fitted to perfection for an airtight seal, it was smoothed by hand scraping with a gourd, purchased in the market especially for this purpose. After drying to the right hardness, it was again scraped and smoothed with the gourd to its desired thinness, and finally sanded smooth with a stone.

At this stage, the mad, misfit potter prepared the slip—a creamy mixture of fine clay and water. Special fine, white bone-ash clay was used to make the brilliant white slip of pottery, and served as an ideal canvas for the salts that the potter would introduce into the fire. The potter brushed on several coats of this white slip, waiting for it to dry between each coat. After the final coat, it was again sanded with a stone.

The vessel was allowed to dry for four days prior to the firing, with the intent to fire the piece alone on the evening of the full moon. As the day approached, Piper collected the required items along with the velvet pouch of salts.

Piper

Date: 2008-06-29 20:09 EST
Since a kiln cannot be used for general firing of porcelain, stoneware or earthenware after it has been used for salt glazing, Piper traveled back to her old cottage in the glen where an old kiln built just for such a process was located.

With a cart full of orc bones, two days rations of food and a small barrel of spring water (both to drink and add moisture to the kiln) along with the dried vessel tucked into the safety of her arm and held snug against her warm form, she traveled over the rough terrain and reflected quietly over the scrying that Ithraides had mentioned and all of the history behind scrying she had learned in the market from the Fishmongers superstitious wife. Needless to say, she had learned little to nothing useful of what exactly it entailed. Other than whispers of magic and the 'Sight'.

She started the salt firing early in the evening on that Sunday in anticipation of the Full moon, which was to rise the following day. Being in a remote area and the cottage long thought to be abandoned, the kiln could safely be fired overnight to get to mid range temperature before it was then fired to stoneware temperature the next day when the intensity of the heat would be at it's greatest during the full moon.

When the kiln reached the maturation temperature of the clay, Ithraide's salt would introduced into the kiln just as the moon reached its apex in the heavens above. The smallest of her kilns had two salt ports where the salt, packed in small paper sachets, could be thrown in. However for this piece, she wore thick leather gloves to protect her flesh from the dangerously corrosive medium and utilized a long piece of angled iron, which served well to dip the salt deep into the ports and directly into the firebox.

Almost immediately upon introduction, white smoke billowed out from the flue. Moisture added to the salt helped the conversion, but also increased the amount of smoke. Soon, the sky above the Glen was filled with the white smoke. The distinct aroma of the burning orc bones clinging to the pure smoke was inimitable to a learned nose. Purity of the smoke and the evil of the orc bones intertwined on the cool night air.

Exhausted, covered in soot and bone ash, Piper settled onto the lush grass covered ground to lean back upon a fallen log. She watched the process over an unadorned tankard of wine that would later be exchanged for spring water when the sun replaced the moon.

It would take about 8 hours for it to fire and then another 12 hours for it to cool off. By Tuesday evening, the vessel would be finished and ready for delivery.

http://i204.photobucket.com/albums/bb143/PiperTippet/ItraidesOilVessel.jpg