Fig. 102 is a kiln of a different construction. “In it, instead of modelling or moulding bricks for the kiln, the potters, after forming a tolerably round shaft, commenced plastering it three inches thick with clay, prepared for that purpose, leaving a flange twenty inches above the furnace floor to receive the floor of the kiln; a mode of construction unnoticed by me before in these kilns. In the centre was placed an oval pedestal, for the double purpose of dividing the fire and of giving support to the centre of the floor. To attach the pedestal to the back of the kiln, and to shut out the cold air which would lodge in the angle formed by the pedestal being so placed, the angle was filled with coarse materials, which were stopped up with clay, so as to draw the flame more towards the centre, and induce a union with the flame and heat entering the front part of the kiln.” The more usual plan with the potters of this district in packing their kilns was, when the contents had reached the surface of the earth, to form a dome by covering the urns and vases lightly with dry grass, sedge, or the like, and plastering it over with patches of prepared clay, divided by strewing a small quantity of hay between each portion to facilitate removal. In place of this usual process, in this kiln bricks were used of an oblong shape, four inches by two and a half inches, wedge-shaped at one end, with a sufficient curve to traverse the circumference when set edgeways, with the wedge ends lapped over each other. The sides would be thus raised for three or four courses or more, as circumstances might require, and probably be afterwards backed up with loose earth. These bricks were modelled and kneaded with chaff and grain.”[10] The numbers indicate as follows:--1, front of the pedestal supporting the floor of the kiln; 2 2, slopes, probably intended to produce a more uniform heat; 3 3, part of the kiln floor; 4, bricks, before used; 5, area of the furnace; 6, mouth of furnace; 7, wall of kiln; 8, top of the pedestal. The mouth of the furnace, No. 6, was arched over. The ware of the Durobrivian potteries was superior both in style of art and in form and material to that of Upchurch, and has an especial interest over it in the fact that it bears figures and various ornaments in relief, in the same manner as on the Samian ware. The ornament, especially the scrolls, &c., were laid on “in slip.” The vessel, after having been thrown on the wheel, would be allowed to become somewhat firm, but only sufficiently so for the purpose of the lathe. In the indented ware, the indenting would have to be performed with the vessel in as pliable a state as it could be taken from the lathe. A thick slip of the same body would then be procured, and the ornamentation would proceed. [Illustration: Fig. 103. Fig. 104. Fig. 105. Figs. 106 and 107. Fig. 108. Fig. 109. Fig. 110. Representations of Field Sports on Castor Ware.]