The following is a summary of the technical processes of the black-figured and red-figured Athenian vases in the order which our study of the subject has suggested.

I. THE PREPARATION OF THE CLAY

(1) Mixing the requisite ingredients (unless the natural clay was satisfactory).

(2) Washing.

(3) Wedging or kneading.

II. THE FASHIONING OF THE VASE

(1) Throwing.

(2) Turning.

(3) Polishing.

(4) Attaching handles.

III. THE DECORATION OF THE VASE

a. Black-figured Technique.

(1) Application of red ochre over the whole surface.

Traces of the red ochre solution on black-figured vases are not common; so that it is possible that its application was not a regular proceeding.

(2) Preliminary sketch for design.

As this was completely covered by the black glaze afterwards and there are therefore only occasional traces of it now (cf. e.g. FurtwÄngler u. Reichhold, Griechische Vasenmalerei, I, pl. 4), it is uncertain, though inherently probable, that such a sketch was generally made.

(3) Painting of the design, including figures, decorative motives, and backgrounds, in black glaze.

(4) Incision of details.

(5) Addition of purple and white accessory colors.

b. Red-figured Technique.

(1) Application of red ochre over the whole surface.

(2) Preliminary sketch for design with a blunt instrument.

(3) Painting of the design, the decorative motives, and the solid black surfaces.

The process of the figure painting was as follows: the outlines of the figures were indicated outside the spaces intended for them, first with a narrow line, then with a broader contour stripe; then the details within the red silhouette, and sometimes the outlines, were painted in black glaze lines; finally the background was filled in with the black glaze.

(4) Addition of accessory colors if needed.

IV. THE FIRING OF THE VASE

The most important revisions of current theories on the technique of Athenian vases which our treatment of the subject has suggested are:

(1) The use of turning as a regular process applied to the vases after they were thrown. To this operation they owe much of their finish and refinement.

(2) The application of a red ochre pigment on the surface of the vases in their raw state, before they were decorated or fired. It is to this red ochre application that the present orangey color of the Athenian vases is due, as against the pinkish hue shown in the fractures of the clay. Originally, however, this color was even deeper, approaching that of bright red copper.

(3) Both the glaze and the accessory colors were applied when the vases were in leather-hard condition, before any firing. Instead of the two, three, or four firings often assumed by archaeologists, the evidence points to only one fire, after total completion of the vase.

(4) The great majority of Athenian vases were made for actual use, not for votive, decorative, or funeral purposes, as is still often assumed.