From the mass of paste the potter pinches a small piece. With the palm of her hand she rolls it on a smooth stone until she has a rope of clay smaller in diameter than her little finger and several inches in length. The paste is so strong that she can pick the roll up without breaking it. Starting at one end she begins to coil this rope of clay around and around on itself, just as a snail shell is coiled. As she adds each coil she pinches it to the last one with her thumb and forefinger. When the rope of clay is completely coiled she rolls out another and adds it to the first. Coil after coil she adds until the rough pot is completed. At this point it is merely a long slender rope of clay which has been coiled around and around, up and up, into the desired shape, each coil being carefully pinched to the one below. The spiral nature is very evident and hundreds of evenly spaced thumbprints remain as evidence of the pinching together of coils. [Illustration: Black-on-white pottery Ladle, double mug, mug and bowls] If a cooking vessel is desired the inside of the jar is smoothed carefully but the outside is left rough and corrugated. Nothing is to be gained by smoothing and decorating the outside of a cooking jar for it will soon be blackened with soot. If a water jar, or a bowl is being made, the work is only half done for it must be smoothed and decorated. Very carefully the potter rubs the vessel until the inside and outside are as smooth as she can make them. The vessel is still pliable and by working with her hands and a curved piece of gourd rind she can correct the shape slightly to make up for any mistakes she made in the coiling. At last the vessel is smooth and shapely and the potter is satisfied. She places it in the sun to dry and begins to coil another. After a number of vessels have dried thoroughly in the sun the next step begins. From the mesa top, where it occurs just under the red top soil, the potter has brought a quantity of white clay. A small amount of this is ground up and mixed with water until a white, soupy liquid results. This is the “slip” and it is painted over the entire surface of the vessels giving them a chalky, white covering. Before the slip has dried, each pot is carefully polished with a smooth pebble. Short, brisk strokes are used and the entire surface is polished until it shines. This polishing is a tedious but important step for the smoothness, luster and hardness of the finished vessel depend upon it. At last the pots are ready for the decorations and this is the part the potter likes best of all. It is her opportunity to demonstrate her creative ability. On Mesa Verde pottery the designs are always black, a color that is made from a local plant. Tender shoots of the common beeweed are boiled until a thick, brown liquid results. Pottery designs are painted with this liquid.