Some of these pieces have a stopper fitting into the neck by a screw, the worm of which is worked upon it by means of a piece of wood (_stecca_) formed with projecting teeth, the interior of the neck being furnished with a corresponding sunken worm. The details of all these methods are illustrated on the third table of [Illustration: FIG. 1.] [Illustration: FIG. 2.] his atlas of plates. After telling us that the _albarello_ (fig. 2), or drug pot, universally known under that name, is made of different sizes and always of one piece, our author describes the manner of [Illustration: FIG. 3.] [Illustration: FIG. 4.] forming the _Vaso senza bocca_ (fig. 3), a sort of puzzle jug with hermetically fixed cover on the top and an opening beneath the foot, from which an inverted funnel rises inside the body of the vase. To fill it, the piece must be turned upside down and the liquid poured into the funnel below, and may be again poured out at the spout when required, in the ordinary way, the vase having been placed upright. It is hardly necessary to give a list of different forms, but we may follow our author in his description of that set of five, or sometimes nine separate pieces, which, fitting together, form a single vase (fig. 4). These sets, known as “scudella da donna di parto” or “vasi puerperali,” were made for the use of ladies in their confinements, and consist of the following pieces:--(1.) The broth basin or _Scodella_, on raised foot. Over this fits the lid (2), which also does duty as a plate (_Tagliere_) for the roll or slice of bread; inverted over this is the drinking cup. (3), _Ongaresca_, upon the foot of which fits the salt cellar, _Saliera_ (4), surmounted by its cover (5). The particulars of the arrangement of the nine pieces are not given. Single portions of these are to be found in collections, but the present writer is not aware of any one complete set having been preserved. Using either the _mugiuolo_ or the _scudella_, the mass of clay placed upon the disk is revolved by the wheel and fashioned into form with the hands, assisted by variously shaped pieces of flat wood (_stecche_) and moulding tools of iron (_serri_) all of which are figured in Piccolpasso’s designs. The forms of the seggers, _case_ (that is, cases made of fire-clay and pierced with holes, in which the finer wares are baked, being thus protected from dirt or accident in the furnace), and the composition of the clay of which they were made, as also of the _tagli_, _punte_, _smarelle_, _pironi_, &c. variously formed tripods and supports for holding the pieces to be fired, are given us in detail. The clay consists of a mixture of the red earth used for coarser wares and the white, which is reserved for vases and finer pieces.