against the inner surface, prevents indenting or cracking, and, by offering a more or less nonresisting surface, assists in thinning and expanding the clay.  After the upper part of the bowl has been thus completed the potter sits on her feet and haunches, with her knees thrust forward from her.  Again and again she moistens her paddle and discoidal stone, and continues the spanking process until the entire bowl of the pot is shaped.  It is then set in the sun to dry —­ this time usually bottom side up.

After it has thoroughly dried, both the inner and outer surfaces are carefully and patiently smoothed and polished with a small stone, commonly a ribbon agate.  During this process all pebbles found protruding from the surface are removed and the pits are filled with new clay thoroughly smoothed in place, and the thickness of the pot is made more uniform.  The vessel is again placed on its supporting base in the sun, and kept turned and tilted until it has become well dried and set.  Two and sometimes three days are required to bring a pot thus far toward completion, though during the same time there are several equally completed by each potter.

There remains yet the burning and glazing.  Samoki burns her pots in the morning before sunrise.  Immediately on the outskirts of the pueblo there is a large, gravelly place strewn with thin, black ash where for generations the potters coming and going have completed their primitive ware.  Usually two or more firings occur each week, and several women combine and burn their pots together.  On the earth small stones are laid upon which one tier of vessels is placed, each lying upon its side.  Tier upon tier of pots is then placed above the first layer, each on its side and each supported by and supporting other pots.  The heat is supplied by pine bark placed beneath and around the lower layer.  The pile is entirely blanketed with dead grass tied in small bunches which has been gathered, prepared, and kept in the houses of the potters for the purpose.  The grass retains its form long after the blaze and glow have ceased, and clings about the pile as a blanket, checking the wasteful radiation of heat and cutting out the drafts of air that would be disastrous to the heated clay.  As this blanket of grass finally gives way here and there the attending potters replenish it with more bunches.  The pile is fired about one hour; when sufficiently baked the pots are lifted from the fire by inserting in each a long pole.  Each potter then takes a vessel at a time, places it red hot on its supporting base on the earth before her, and immediately proceeds, with much care and labor, to glaze the rim and inside of the bowl.  The glaze is a resin obtained in trade from Barlig.  It is applied to the vessel from the end of a glazing stick —­ sometimes a pole 6 or 7 feet long, but usually about a yard in length.  After the rim and inner surface of the bowl have been thoroughly glazed the potter begins on another vessel —­