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Majolica
process |
Step
One: "IL TORNIANTE" (The Potter): |
| In
a process used for centuries, the art of Majolica begins
with a plain lump of refined clay that is slowly brought
to life by "Il Torniante". Masterfully hand-shaping
the raw chunk of clay on a wheel, the potter transforms
it into a vessel, a plate or a large urn. The molded clay
piece is referred to as "In Terra" (Green ware)
and is placed in the open air for natural drying. It dries
to a grayish color, and is ready for its first firing
in the kiln. |
Step
Two: "LA PRIMA COTTURA" (The First Firing): |
| The
naturally dried piece is then loaded into the kiln to
be processed at the "Prima Cottura". The clay
item that emerges from the kiln after this first 750-degree
firing is referred to as "Biscotto" (Bisque),
a baked terracotta piece featuring the typical red color. |
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Step
Three: "LA SMALTATURA" (The Glazing): |
| Once
cooled, the Bisque is dipped into the "Smalto",
a fast drying chalky liquid glaze. This step, while simply
described, represents an important part of the entire
process because the next firing will melt the glaze with
the colors, determining color tones, glazing texture,
and uniform quality of the piece. The chemical composition
of the "Smalto" is complex and every factory
has it's own formula that is kept very secret! The Bisque,
now wholly covered by the white powdery glaze, is ready
for painting. |
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Step
Four: "LA PITTURA" (The Painting): |
| The
painstaking process of painting the Bisque is the essence
of Majolica. The Painter, "Il Pittore", may
paint a decoration freehand, or use a type of pounce,
"Spolvero", to stencil sketches of the design.
This fine powder prevents the colors from spreading and
blurring into each other. The painter must fully understand
the complexities of coloration, as the raw glazes used
for painting all have a very similar Gray/Black tone.
The true and brilliant colors will be produced only after
the finished product emerges from the final kiln firing. |
Step
Five: "LA SECONDA COTTURA" (The Second Firing): |
|
In this final step, the painted item is loaded again onto
the kiln for a second firing at 750-degrees. This delicate
process requires great care to avoid scratching or touching
any item to be fired. Since the painting was done over
the "chalky" Smalto surface, it can literally
be wiped out by a simple touch of a thumb! The final firing
may take up to 24 hours. Prior to loading, the kiln must
be pre-heated at a low temperature. Depending on the size
of the item(s), the ceramics may require up to 12 hours
of firing at a constant high temperature. It is very important
that the "cool-off" period be a "natural"
cooling. The kiln's safe-type door must not be opened
until the temperature is low enough to avoid "thermal
shock", which would literally destroy (crack) the
entire kiln load. |
| Plate realized
with red clay |
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