A barcode with "AAAC00674" printed on it. PRACTICAL BASKET MAKING GEORGE WHARTON JAMES  A blank, light-colored page with a subtle texture.  Practical Basket Making  A blank page with a faint shadow or mark near the bottom.  PRACTICAL BASKET MAKING (New Edition. Enlarged and Revised with new illustrations.) BY GEORGE WHARTON JAMES AUTHOR OF HOW TO MAKE INDIAN AND OTHER BASKETS; INDIAN BASKETRY; THE INDIANS OF THE PAINTED DESERT REGION; IN AND AROUND THE GRAND CANYON; THE BLANKETRY OF THE INDIAN; THROUGH KAHNOM'S COUNTRY; WHAT THE WHITE RACE MAY LEARN FROM THE INDIAN; THE INDIANS OF THE COLORADO DESERT; THE HEROES OF CALIFORNIA; THE PREHISTORIC CLIFF DWELLINGS OF THE SOUTHWEST, ETC., ETC. A woven basket. GEORGE WHARTON JAMES 1068 N. RAYMOND AVE., PASADENA, CALIFORNIA UNIV. OF CALIFORNIA PHOTOGRAPHIC PROCESS PHOTOGRAPHIC PROCESS  Fig. 1. A Mono Basket Maker in the Yosemite Valley. A woman in a striped dress sits on the ground, holding a large basket. She wears a wide-brimmed hat and has a basket on her lap. Trees and a stone wall are visible in the background. AMORCILIAO TO, VIMU SALIDMA ZOLITA 

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CONTENTS.

Introduction. 9 Central Histz to Basket Workers. 11 Manufacture of Baskets. 12 Models for Reed Baskets. 14 Sewing Baskets. 17 Easil Suggestions. 32 Basket Making by Mrs. Belle E. Simmons. 34 Easil and Reed Basket Making. General Directions. 37 Basketry Tools. 38 Figure 8 or Navaho Stitch. 60 Basket, by Fred S. Bourgeois. 62 Basketry Tools. 64 Lazy Stitch Basket, by Mrs. White. 65 Basketry Tools. 66 Lazy Stitch Basket, by Miss Nelly Sumner. 69 Basketry Tools. 69 Lazy Stitch Basket, by Mrs. A. M. Marqold. 70 Lazy Stitch Basket, by Mr. A. A. Marqold. 71 Basketry Tools. 71 The Knoo Stitch. 74 A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black and white illustration of a basket weaving scene with various tools and materials. A black  **Books by George Wharton James** **HEROES OF CALIFORNIA.** With illustrations from photographs. 1200. $2.00 net, postage 2 cents. **THE GRAND CANYON OF ARIZONA: HOW TO SEE IT.** With 35 illustrations from photographs. 1200. $1.00 net, postage 1 cents. **IN AND AROUND THE GRAND CANYON OF THE COLORADO RIVER.** With 36 illustrations from photographs on 74-page plates and 27 illustrations in the text. Crown 8vo. $2.00 net, postage 2 cents. **THE INDIANS OF THE FAINTED DESERT REGION.** With 66 illustrations from photographs. 1200. $2.00 net, postage 2 cents. **IN AND OUT OF THE OLD MISSIONS OF CALIFORNIA.** An illustrated history of the missions of California, with 444 illustrations from photographs. 1200. $5.00 net, postage 30 cents. **THE WONDERS OF THE COLORADO DESERT (Deserters California).** A narrative of the life of the deserters of California and its history, pictured and described. With a colored frontispiece, 37 illus., and 1 map. Cloth. $2.50 net, postage 1 cent. Reprint of "The Deserters of California." New Edition. One volume. $2.50 net, postage 5 cents. **TRAVELING THROUGH RAMONA'S COUNTRY.** Fully Illustrated from photographs. 1200. $3.50 net, postage 3 cents. **THE STORY OF SCARGLELLE.** An autobiography of a Song Sparrow. Illustrated. 1200. Cloth. $1.00 net, postage 2 cents. **INDIAN BASKETRY, INCLUDING HOW TO MAKE INDIAN AND OTHER BASKETS FROM PLANTS.** With 375 pages, 351 illustrations. Cloth 8vo. $2.50 net, postage 2 cents. **INDIAN BLANKETS AND THEIR MAKERS.** Fully Illustrated. 1200. $1.50 net, postage 1 cent. **THE PASTORAL LIFE OF JUANITO SERRA.** With notes by George Wharton James. $1.00 net, postage 30 cents. **THE PASTORAL LIFE OF JUANITO SERRA (TRANSLATION).** With notes by George Wharton James. $1.00 net, postage 30 cents. **CALIFORNIA, THE ROMANTIC AND BEAUTIFUL.** Fully Illustrated. 1200. $3.50 net, postage 3 cents. **LIVING THE RADIANT LIFE.** $1.50 net, postage 2 cents. These may be ordered from any bookstore in the world or direct from the author, 1948 N. Raymond Ave., Pasadena, California.  PRACTICAL BASKET MAKING. A set of three woven baskets with intricate patterns. Fig. 1. Fine Baskets of Kilkinit Weaver. A collection of various baskets, including a large plate-like basket, a small bowl, and several other shapes, arranged on a patterned surface. Fig. 2. Fine Baskets of Various California Weavers.  PRACTICAL BASKET MAKING. A collection of basket designs, including circular, geometric, and floral patterns. Fig. 4. Matchina and other Plaques of the Hopi. In the Collection of the Bureau Indian Trading Company, Los Angeles, Calif. A large, intricately designed basket with a flat base and raised sides. Fig. 5. The Celebrated Twelve Apostles Basket. In the E. L. McLeod Collection, Fresno, California.  PRACTICAL BASKET MAKING. INTRODUCTION. For some years interest has been growing in the subject of Indian Basketry. While women have learned to appreciate these artistic creations of the aboriginal woman brain and fingers, and with the increasing demand for them, the manufacture of baskets has become a source of income to her work. Hence for the past few years the art of fine basket weaving has become a distinctly American occupation. It has also been emphasized that the women who make baskets are not only industrious, but they thence thoroughly enjoy the work, and thereby their creative powers are developed to a high degree. There are a score or more types of baskets made by the Indians, but the white woman's endeavors are less ambitious. She confines herself to making the common type of basket, which is called "baskets," and these baskets are by far the most popular, this material easily lends itself to imitation, and hence it is not difficult to obtain a scarcity of the rare Indian baskets at the commensurate prices so highly. In this book I have presented a course of lessons in these varied materials, which, if well followed, will enable the予以 to make useful and beautiful baskets, etc. The title of the book is self-explanatory. It is "Hand-Book of Twined Baskets," because all the baskets described in this volume that is to be known of the art, for such a claim would be preposterous. The author has endeavored to give a complete course of lessons wherein to know how. Some of the lessons have been personally prepared by the author, while others have been selected from various sources. Sample baskets were made in a prize competition offered by the editor of this BASKETRY, and the instructions were written by the bakers themselves. Every one who reads this book will find that he will immediately see that if those who wish to teach themselves basketry will follow the instructions given they will thereby succeed without any other teacher. In this new edition the book has been carefully revised, and enlivened with new illustrations and new lessons on "Indian Basketry." With the author's "How to make Indian and other Baskets" and "Indian Basketry," the practical weaver, however ambitious, will have sufficient material for his instruction. Those who have not had basketry lessons stated above, any fairly self-reliant weaver may begin to weave pretty and useful baskets at the very commencement of her endeavor. 1091 North Raymond Ave. PALADINAE, CALIFORNIA. GEORGE WHARTON JAMIES  PRACTICAL BASKET MAKING. Fig. 7. Shoshone Basket. In collection of E. Mabey, Jr., Los Angeles, Cal. Fig. 8. Southern California Mission Basket. In collection of E. Mabey, Jr. Los Angeles, Cal.  PRACTICAL BASKET MAKING. A FEW GENERAL HINTS TO BASKET WORKERS. Chase raffia so soon as bought by soaking in tepid water for over an hour. Raffia well by setting on up and down. Hang up at the large ends to dry. Blunt needles are generally better than sharp. Thread needles with the dark and hard end of raffia. In sewing keep raffia of one width as far as possible. The evenness of the thread stitches the beauty of the basket largely depends. In sewing move needle as often as possible. The eye is liable to strain then. Dampen the raffia frequently while working. Take out the twick of raffia as you sew. Take a step at a time and do that well. For sure you know what you are going to do next before you proceed. Make haste, but not too fast as you have learned how. Copy a simple basket freely. Make your first basket without any color or design in it. Aim for perfect stitch and perfect shape. In your second baskets keep all you have learned and introduce one color only. Never use high colors. Vegetable dyes are always best. The The most precious Indian baskets here only the softest tones and shades. Do not be a pedant and spell raffia, "raphia." Raphia is the botanical, technical name. Raffia is the common, every- day, popular name. When weaving with raffia keep the fingers slightly moistened. This prevents the catching of the edges and also improves the appearance of the raffia. Before making a basket read what Mrs. Jones says of the cool factor, it will help you to begin well. After weaving a basket it is wise always to dry it well with a cloth. Otherwise it will shrivel when dry after weaving, and thus leave the coiling weave loose and unsightly. 11  PRACTICAL BASKET MAKING. MATERIALS FOR BASKETRY. IMPORTED MATERIALS. It is well for the weaver to know something of the materials she is to use. They are of two classes, imported and native. Rattan and rattan are both imported. The following account of rattan was written by Mr. John H. Latham, in his "Flora of Ceylon," and is taken from the "Ceylon Journal" of the Royal Society of London, Volume 30, Part 1, page 158. Rattan is a plant derived from rattan. Rattan grows best in quality and abundance in the East Indian Islands, where the annual rainfall is one hundred and twenty-eight inches. Rattan is cylindrical in form and consists of a number of long, thin, flexible strips which are used for hanging from the branches in beautiful feaonm. The following list contains some of the different authors as being from fifty to five hundred feet; but the longest specimens that I find on my own property are about forty-five feet high. The largest specimen at the Paris Exposition in 1851. One of these was two hundred and thirty feet and the other two hundred and seventy feet. Some years ago I had a great difficulty to cultivate rattan, and met with success. Long clearings, 10 feet wide, were made leaving a strip of ground between them, and then the plants were planted in the natural state. Next to this another pair of cleared and enclosed strips are made. The seed of rattan, which is about the size of a pen and black in color, was planted at equal distances on the edge of the cleared strip so that they might have room to grow. The young plants were left standing until they were four years old when they were cut down and the straw stripped off the opposite side, while enough for the next year's crop was left on each plant. This process was repeated three times. Then they were left in the unstripped state, so that as the rattan grew it might have something to climb. It grows always towards the sun. One year after planting, the young plants began to grow for four years, when it is cut close to the ground, and from that time they grow up towards the sun. In this way they are cut every year. Large, beautiful leaves, that always face the sun, grow on each plant. These leaves are very useful for making baskets. In these cases [cants] by means of which the rattan plant makes itself fast to the trees, and its hold is so firm, that when the plant is cut it requires no strength to pull it out. The leaves are also used for making baskets by cutting them into strips of its leaves and tie in bundles of convenient length for ship- ping and packing. It is estimated that the revenue from cultivated rattan is $350 to $500 per acre. Rattans were first manufactured in this country about fifty years ago. Seating cane is made from the outside of the rattan and the reed is made from the inner part of the pith of the rattan. The cane which reeds are cut are from occasional size of common throughout to No. 37 A page from a book showing text about basketry materials.  PRACTICAL BASKET MAKING. NATIVE MATERIAL. The North American Indian is the greatest and best basket maker in the world. Eastern readers must not suppose by this I mean the weavers of the sweet grass and split baskets, with which they are familiar, but those who make the baskets of the various materials mentioned in these pages. They found all their material near to their native homes. Surely the civilized American can do the same. There is exten- sive use made of the materials here described. In 1890, or later in 1904, is the report of an interesting meeting of the Primitive Arts Club, but no one has given much attention to the subject of native material. Chief of these is the **wal- nut**, of which Dr. F. Schuyler Mathews thus writes in "Familiar Trees and Their Uses": "**Crack Willow** (Salix fragilis)—One of our largest willows—the crack willow—came to us from Europe. It has become extensively naturalized. Its twigs are largely used in the manufacture of baskets. It was introduced into America about 1750, and had been grown before the Revolutionary War. The willow grows 20 to 72 feet, fast, and under favorable conditions, so long as it is not too often been disheveled by the sweeping willow as an ornamental tree, whose conventional and sober aspect is a poor substitute for the graceful willow that grows wild along streams with its scintillant foliage. The crack willow may be identified by its abiding leaf, which is divided into three leaflets, each having a toothed margin, with the leaf stem, and rather thick, fine teeth. The under side of the leaf is whitish and smooth. The twigs are yellow-green, polished, and very lively in color." To show that care must be exercised to find out the best time for gathering I give herewith what one member of the Basket Fraternity writes: "I have had experience with willows. I gathered some in November, and after hard labor, got them peeled and scraped. Then I began to work on them. I found that they were not so good as they appeared to be. I say "not so good," because they were "nappy"—no "cracky." Later, I asked an old German woman, whose husband was a basket maker, whether she could tell me when it would be expected that they must be gathered when they were "vet"; that is, while the sap was in them. That would be early in the season, or in August, another month to gather the summer's growth just past would be about right." 13  # PRACTICAL BASKET MAKING. August is the best time to gather. They are prepared by boiling or steaming the twigs, thus making the bark more easily removed. Strip this off without scraping. It is well to go to some old-fashioned basket- maker's house and see how they do it. The willows are made into splints by the Indians, who split them with their teeth and then draw them apart with their fingers. Wood Splints or Plats.--These are made by the Indians and also by some of our own people. They take a long, wide strip, and then cut into any size desired by the weaver. A woven basket made by Miss Margaret C. Whiting, Deerfield, Mass. Fig. 1. Corn Husk Papyrus Basket, made by Miss Margaret C. Whiting, Deerfield, Mass. Corn Husks.--These have been woven into baskets by many in- digenous weavers, as will be seen in Fig. 1. Some of the inner husks 14  PRACTICAL BASKET MAKING. have beautiful colors, as reds, purples, pinks, pea green and dark vel- low. These may be used for overarm ornamentation as in the Kilimite weave, or for inner coil material. Cattail.—The cattail or haliaea (several) of different species may be found in many parts of the country. The special kind (S. lacustris), whose tall, smooth, bluish-green, round stems are seen projecting above the water at the edges of ponds and lakes, is especially useful for basketry for many purposes. In California the Salvinia Tatarica is called tule, and the leaves of this plant are used to make a fisherman's float, which is used by the Calamilla Indians as wrapping paper for their food. The ordinary cattail must be gathered before they mature, a time which A Baffia Supposition. varies in different sections of the country. Dry them slowly or they become brittle. They may be braided and so used instead of braided rush. Sweet Grass is largely used in the United States and Canada for the making of simple and pretty baskets. It is properly Zostera marina, but is often called rush. It grows in swamps and in shallow bogs and other waters. It is braided and used largely in this fashion. Hilders Hilde Form Straw—All lovers of the fine basketry of Northern California know the rich black wrapping scent of the twined hilders straw. This is the stem of the *Adiantum pedatum*, the sundial hair form. The black is very dark and shining and the most perfect black known, sur- passing even the murraya. Grassstraw—Many kinds of grass may well be used in basketry. For instance, the weak grasses such as *Juncus* 34-35 made. There can be concluded with reeds and raffia and some pleasing results obtained. 15  PRACICAL BASKET MAKING. Fig. 10. Basket No. 3. Made of 2 pieces of 20-gauge wire. Fig. 11. Basket No. 3. Tied by John Jervis L. McCreary. A basket made of two pieces of 20-gauge wire, with a circular top and a cylindrical bottom. A basket made of two pieces of 20-gauge wire, with a cylindrical shape.  PRACTICAL BASKET MAKING. **MODELS FOR REED BASKETS.** In teaching basketry as in teaching anything else experience counts for more than theory. I have, therefore, had some of the best teachers of the country arrange this model out of lessons and make the models according to their own ideas. The following order will be found to be their experience. Follow this order and you will find a distinct development in your work. You will also find that the models will be made in the right lines. Those who have used these models find that both teachers and those who wish to teach themselves basketry have in them all that can easily be learned by any one who has a desire to learn. Stick to these models and you will make better looking baskets than if you imitate what you see in different ways. MODEL NO. 1.—SCRAP BASKET OR FLOWER POT. The basket shown here shows a very useful plant-plot. It will wear for years, is not as expensive as pottery and if well made is pleasing. It may also be used as a desk scrap-basket, and whether you want to make the desk or left its natural color will be equally pleasing. For this model, you will require a wooden disc or basket-base of at least six inches in diameter, cut from a piece of wood bored twenty-one holes, one-quarter pound metal five reed, one-quarter pound metal three reed, one-quarter pound metal two reed. Let me here say a word in regard to the size of reeds, as later in the course much will be said about reeds of various sizes. The lowest number indicates the smallest size. For instance, number one reed will vary in width, number two is medium size, while number three is coarser, etc. First step—Note that the basket has twenty-one holes, hence every reed must be cut to fit into each hole. This means that no time must be cut. Take special care to cut one end of each reed perpendicularly across so that they will fit into the holes without splitting. Let them stand on edge for a few minutes in rapid water and straighten. Dip the blind end of one of the reeds into the glue, taking care to get just enough glue on the ends of the reeds to hold them together. Then place the reed in the basket base. Repeat this operation until all of the holes have been filled with reeds which make the sides of the basket. In work- ing reeds remember to keep them well moistened. 17  PRACTICAL BASKET MAKING. A woven basket with a round base and slightly curved sides. Fig. 12. Model No. 3. Made by Miss Mary L. McIntyre. A woven basket with a circular top and a flat base. Breed Work Basket. Fig. 13. Inside of Model No. 4. Made by Miss Mary L. McIntyre.  PRACTICAL BASKET MAKING. The second step is known as triple twist. Select three number-three reeds for weavers, and make them as long as possible well moistened. The three weavers are now placed behind three consecutive stakes and with the left hand, twist the first weaver around the two stakes on the left, then with the right hand, twist the other two around the two stakes on the right. This is called the left-hand weaver and its turn is treated exactly as the left-hand weaver. Con- tinuing to weave four turns around the basket, then bring weavers inside one another, and continue until all three are finished. Third step—Select a number three weaver, moisten and start single twist. Place this weaver between two stakes, and when you have finished the triple twist. This is done by placing a weaver behind any given stake, allowing the weave to proceed outwardly along that stake, and then bringing it back into the same place inside the basket and cut back of the next stake. Repeat this operation for five turns, then bring the weaver inside one another, and continue until eight twists are made. Keep in mind the picture of an ordinary flowerpot, which has a hole in the bottom, so that a piece of weaver inside the basket and slip a new weaver in the same space where the old weaver would come out and continue the weaving. Fourth step—Repeat steps one, two, and three until you have four rows at top of the basket. Fifth step—Wait until the basket becomes firm until they will bend easily without breaking. Then place stakes very sharply with curling pins. Take any given stake, bring it to right in front of two stakes, push in a piece of one-quarter inch thick for each row of double twist. Repeat this process with each stake until you have four rows of double twist. Then take a piece of one-quarter inch wide flat rod and tack across the back. Sixth step—Cut the basket by making a mixture of one-third white pine pitch and one-third linseed oil mixed together well. This will make the basket glossy and firm. If colors are desired, apply ordinary wood stain. MODEL NO. 2—MAT. Made by Miss Mary L. McIntrye, of Boston. The next model is a mat (as illustration). In making this we will proceed from simple to more complex forms. First learn how to weave a basket, and the mat is equally as simple when once you have mastered a few points. You may at first be confused by the number of directions given here, but do not worry about it. Just follow the directions closely and bear in mind that you are preparing yourself for something better than this simple mat. When you have learned all round bases are made over or less alike, therefore remember when once you can "open a good center" and make a good mat, the ques- tion of making a good base will be easy. A good base is a great pre- quisite to good basketry so do not give up at trials. If the first at- tempt is not satisfactory, try again, and you will be well repaid for your effort. 19  **PRACTICAL BASKET MAKING.** First step—Cut twelve pieces of number three reed sixteen inches long, eighteen inches wide, and one inch thick. Cut two six reeds, place them on the awl and cut. Move the awl to the right and left a few times making an incision about half an inch long in the six punctured reeds. Puncture the other six reeds in the same manner. Now, with a knife, make the incision in the punctured reeds withdrawing the awl after striking the knife into the wood. This will leave a space between each of the maining two reeds. Be sure the reeds are all the same length from the center to the edge of the basket. The reeds must be dry and you are ready for weaving. Note you may have four sets or quarters of six reeds which are to form the sides of the mat. The punctured reeds should be placed in a horizontal position so that the inserted reeds will be in a vertical position. Second step—Select a suitable number of (two) weavers, moisture them well and lay them on the floor near the middle. Hold one end of the loop firmly in the left hand and twist or roll the other end around your finger until it is about one inch long over set of the six inserted stakes. Here again, we must name our weavers, namely, first weaver being the weaver toward you and the back weaver being the weaver away from you. Now take up one loop across the front row of six vertical stakes and down between the first and second stake on either side of you. Take up another loop across the right hand side of this loop and bring it under both loops and insert it into the next stake on your left. Continue this process of weaving until you have enclosed the four sets or quarters of six stakes. Then take up another loop across the front row of stakes cross each other on the down and up stakes in the S/N/APE space. Third step—Moisten the work and repeat the same method of weaving, working over two stakes once around. Fourth step—Continue this process until all of weaving, sep- arating each stake carefully. Care also should be taken that the stakes remain straight and even throughout this process. Continue this method of weaving (which is called patting) until the woven diameter of the mat is four and one-quarter inches. Moisten each stake carefully by dipping it in water at the front in each of two consecutive spaces. Introduce another weaver in these spaces and continue to weave as before. The first weaver is left-hand weaver to the right in front of two stakes, back of one stake and out in next space. The second weaver now becomes the left-hand weaver to left in front of two stakes, back of one stake and out in next space. After weaving four rows of triple twist, bring all of the weavers to the front row of stakes and continue weaving until you reach your desired length and fasten as follows. Take the left-hand end, bring to the right over two stakes taking a double twist, leaving end at back of mat. Repeat this process with remaining three stakes. Fifth step—Moisten mat and lay on flat surface. Even the spaces by slapping the awl carefully beside each stake changing 50  PRACTICAL BASKETS MAKING. pointed to the right or left as necessary. Point the ends of the stakes sharply, leaving them about two inches long. To complete the mat, take any given stake, bring it to the right, back of two stakes and over one stake and slip down by the side of the third stake. Repeat this operation with each stake, making a double twist at each turn. Cut off the tips of the stakes from the top of the triple twist. Repeat this operation with each stake, making a double twist at each turn. Cut off the tips of the stakes by clipping the awl beside each stake. When the mat is finished, cut off all loose threads and trim off the ends of the stakes. This model will be found useful by all housekeepers as a table mat; etc. In fact, it will serve as a nice mat for the basket and feeder of a pet dog. A similar basket may be made by making two mats having one slightly larger than the other. The smaller mat may be used for a pet basket. The larger mat is placed in front of the larger mat and tied together with bits of raffia or ribbon, so that they may be folded up and left aside. Make a hanger about twenty inches long by braiding strands of cord and fasten by tying through the scallop on both sides. Finish.--The mat may be left in its natural color by giving it a coat of oil varnish or alcoloh or it may be stained with wood stains to any desired color. Reed Work Basket. By Mary L. McIntyre. Fig. 14. Model No. 5. 21  PRACTICAL BASKET MAKING. MODEL NO. 5.--SPOOL BASKET. Take to stakes No. 3 need 20 inches long and pierce 5 with an awl, leaving 5 stakes on the awl, then slip the other 5 stakes through this remaining hole, making a total of 10 stakes (see Fig. 1). Take No. 4 need 20 inches long and leave 5 stakes on the awl, then slip the other 5 stakes through this remaining hole, making a total of 10 stakes (see Fig. 2). Now take No. 5 need 30 inches long and leave 6 stakes on the awl, then slip the other 6 stakes through this remaining hole, making a total of 12 stakes (see Fig. 3). Now take No. 6 need 30 inches long and leave 7 stakes on the awl, then slip the other 7 stakes through this remaining hole, making a total of 14 stakes (see Fig. 4). Now take No. 7 need 30 inches long and leave 8 stakes on the awl, then slip the other 8 stakes through this remaining hole, making a total of 16 stakes (see Fig. 5). Now take No. 8 need 30 inches long and leave 9 stakes on the awl, then slip the other 9 stakes through this remaining hole, making a total of 18 stakes (see Fig. 6). Now take No. 9 need 30 inches long and leave 10 stakes on the awl, then slip the other 10 stakes through this remaining hole, making a total of 20 stakes (see Fig. 7). Now take No. 10 need 30 inches long and leave all the stakes on the awl, then slip the other all the stakes through this remaining hole, making a total of all the stakes (see Fig. 8). Now take No. 11 need 30 inches long and leave all the stakes on the awl, then slip the other all the stakes through this remaining hole, making a total of all the stakes (see Fig. 9). Now take No. 12 need 30 inches long and leave all the stakes on the awl, then slip the other all the stakes through this remaining hole, making a total of all the stakes (see Fig. 10). Now take No. 13 need 30 inches long and leave all the stakes on the awl, then slip the other all the stakes through this remaining hole, making a total of all the stakes (see Fig. 11). Now take No. 14 need 30 inches long and leave all the stakes on the awl, then slip the other all the stakes through this remaining hole, making a total of all the stakes (see Fig. 12). Now take No. 15 need 30 inches long and leave all the stakes on the awl, then slip the other all the stakes through this remaining hole, making a total of all the stakes (see Fig. 13). Now take No. 16 need 30 inches long and leave all the stakes on the awl, then slip the other all the stakes through this remaining hole, making a total of all the stakes (see Fig. 14). Now take No. 17 need 30 inches long and leave all the stakes on the awl, then slip the other all the stakes through this remaining hole, making a total of all the stakes (see Fig. 15). Now take No. 18 need 30 inches long and leave all the stakes on the awl, then slip the other all the stakes through this remaining hole, making a total of all the stakes (see Fig. 16). Now take No. 19 need 30 inches long and leave all the stakes on the awl, then slip the other all the stakes through this remaining hole, making a total of all the stakes (see Fig. 17). Now take No. 20 need 30 inches long and leave all the stakes on the awl, then slip the other all the stakes through this remaining hole, making a total of all the stakes (see Fig. 18). Now take No. 21 need 30 inches long and leave all the stakes on the awl, then slip the other all the stakes through this remaining hole, making a total of all the stakes (see Fig. 19). Now take No. 22 need 30 inches long and leave all the stakes on the awl, then slip the other all the stakes through this remaining hole, making a total of all the stakes (see Fig. 20). Now take No. 23 need 30 inches long and leave all the stakes on the awl, then slip the other all the stakes through this remaining hole, making a total of all the stakes (see Fig. 21). Now take No. 24 need 30 inches long and leave all the stakes on  PRACTICAL BASKET MAKING. A round wicker basket with a flat bottom. Fig. 15. Model No. 6. Made by Miss Mary L. McEntyre. A round wicker basket with a circular pattern on the top. Fig. 16. Model No. 7. Made by Miss Mary L. McEntyre.  take the first weave to the left, being it forward to the right over 3 stakes and out behind the basket, then take the second weave, being it forward over 3 stakes and back of one. Continue this process until you have worked all the stakes on both sides of the basket. Then weave not too close and continue with the remaining three weavers over 2 stakes and back of one for 2 rows, which will complete your upset. Take two NO. 2 weavers and do pairing work until you have worked 14 pairs of weavers. Then take two NO. 3 weavers and work four rows of wale, leaving the finishing ends on the outside of the basket. You are now ready for your border. Take any given stake and turn down one back of one for 3 stakes. Take the left hand stake of the first stake turn down and put it under the right hand stake of the one stake, turning down the back stake standing which is left standing to the left. Care should be taken that the stake turned down should lay parallel to the other stakes, so that when you come to it after eitherwise your border will be uneven. When pairs of weavers are reached already they should be worked in pairs, so that when you reach this process until all the stakes have been turned down. Cut off the ends of the stakes on the outside of the basket with a pair of cutting pliers. **MODEL NO. 5.—WORK BASKET** Take 12 stakes 8½ in. long No. 5 piece. Pierce the reeds and weave the base just as is done in preceding models, weaving 6½ inches. Cut 23 stakes NO. 5, read 3 inches long and insert these stakes as before, but instead of weaving them in pairs, weave each stake and beat flatwise upward close to the base, you are then ready for the upset as mentioned in Model No. 4. After working a row of upsetting by going up and down with each stake, take out one hand weaver, cut off your extreme left hand weaver and work 3 rows of weaving by going up and down with each stake, then take out your extreme right weaver. In this model we have introduced very fine braided rush (which is used in making baskets) in place of reed. This rush you should work 8 rows of single weaving, taking care that it is pressed down firmly as you go along. Insert 3 separate NO. 3 weavers in a consecutive manner around the basket, starting at one point of a stake and back of one stake till you have been around your basket with this weave, then take out your extreme left hand weaver and cut off the weaving point. Notice carefully any straw that you may have and you will see that this straw is always one cold water. Weave now by taking a half way to help us in our weaving action effect. Now come back to our reversing point. Notice carefully and feel how much easier it is to weave than before because you have now worked within two stations of this long stroke. Take your right hand weaver and work it over two stakes and back of one stake and you will notice that the weave comes out in the space beyond the long stroke. Then take the next right hand weaver and work the 24  PRINCIPAL BASKET MAKING same, then the next weaver. You have now reversed your work and are ready to work the second row by beginning with the left hand weaver. You should work 3 rows of wale, but you must remember to reverse in each case, so that you go around your basket, leaving your ends on the inside of the basket. If you find your basket is not quite even in height, take the awl or pliers and rap the weaving lightly to make the weaving all of the same height. You are then ready for your border. Plunge your basket into water for a few moments in order that the stakes may be bent more easily, then bend them over the top of the basket and secure them with both hands of one stake. Take the left hand stake turned down and bring it forward to the right hand stake, then turn it back again and bring it forward to the right hand stake. Repeat this process until you have taken two stakes and brought them forward to the right hand stake. Now take the right hand stake turned down and bring it forward to the left hand stake. Repeat this process until you have taken two stakes and brought them forward to the left hand stake. This always keeps the same even direction. Clip the stakes left on the outside of the basket with a pair of cutting pliers, and your basket is completed. MODEL NO. 6—OVAL BASKET Take 5 stakes 1 inches long No. 5 reed for backbone. Take 12 stakes 7 inches long No. 3 reeds for ribs. Place the 12 ribs and push the 5 reeds firmly through backbone through the short crests which become the ribs of the base. Now you are ready for working out the ribs. The ribs are made by bending up the short crests which are evenly divided by pinching the ribs along the backbone of the base, making them fit snugly against each other, and then inserting backbone stakes. Now take a No. 1 weave and cut it nearly in the middle and dip it in water, then place it on top of a piece of wood, and at one end of the basin. Then cross the double weave to the right obliquity over first pair of ribs and bring across backbone beneath to the second pair of ribs, then cross over to the third pair of ribs, etc., until you reach one end of backbone. Then repeat this process on each side, and so on, until you have used each of these pairs of ribs, then starting by dipping and under another weaving. Now take a long No. 1 weave and double about four feet from the end, then bend it over to form a shoulder, and bring it down to one side and do parting as in the round base three times around the base. Fourteen rounds will make a good size basket. Separate these separate backbone stakes individually, including two outside parts of the spokes, which must be separated to form the shoulders. 23  PRACTICAL BASKET MAKING. The 4 pairs of centre ribs or spokes are to be worked double all the way along the top edge of the basket. No. 3 weave for 3 or 4 rows or until you reach end of round work. Now continue the work with one single weave, working over two and under one until you have reached the end of the round work. Then take that for round comes sharp and only from the shoulder spokes. Cut two stakes No. 4 read 15 inches long and insert them so they will be opposite each other on the outside of the basket. The stakes should all be pointed. Now work a few rows of upstitch in the round work until you have reached the end of the round work. No. 3 weave. Insert one by-stitch at the right hand side of stake No. 3. These are to be worked in a straight line from stake to stake. Take two No. weavers and begin what is called "sewing," which is two or more weavers working together in one row. This is to be continued until this work until you have worked 2 inches. Now take three weavers No. 3 read and work a row of upstitch in the round work. You now reach the border, which is double border. First immerse your basket in water for a moment, then cut off the right hand by-stitch to level of the water and pinch your stakes sideways with a pair of scissors, making them about half an inch wide. Now bring down back of No. 2 and stakes, then take No. 2 stake and bring down front of No. 2 stake, then bring down back of No. 2 stake and bring down front of No. 2 stake, then bring down back of No. 5 and 6 stake. You have now a double border, which is made up of two rows of stakes, one with which you are to border. For the second stroke go back to No. 1 stake, which is down, and bring it in front of stake 3 and back of one stake and repeat this until you reach end of round work, then lay parallel with No. 1 in the same space. Now take No. 2 stake and repeat this stroke until you reach end of round work, then lay parallel with No. 3 stake in same space as before. When you have reached stakes always use the right hand side of the stakes. Now clip the ends of the stakes left on the outside of the basket and shape with your hands slightly, and your basket is complete. MODEL NO. 3 - MADDERA BASKET. Cut ten stakes No. 4 read 8 inches long, puncture and open the center as usual with No. 1 weave. After you have woven about 3 inches, insert one by-stitch at the right hand side of stake No. 1 forward and you will then have two weavers in two consecutive spaces. Now take two weavers and begin what is called "sewing," these consecutive weavers are in consecutive spaces. Take the left hand weaver and work in front of two stakes and back of one stake, just as it was done before, but do not let it come out on top of base. If fine work is desired, weave the base with No. 1 weavers and weave No. 4 stakes between them, leaving a space between each stake for insertion of weaver's hand. Insert one stake on each side of the base stake after cutting each stake close to the base. Remember to cut only every other stake, and then slip it into place by pushing it through both sides until base weaving will slip off. Now, after the new staves have been 26  PRACTICAL BASKET MAKING. Shipped in beside the old ones, slip in two more side by side between each pair of pairs. Then take one pair of stakes, place them on the bottom and turn carefully upward and work three rows of stumps with three wavers Nos. 2, 3, and 4. Work these three rows of stumps to the top of the two pair stakes. Take any given pair of stakes, bring it forward to the right, making the bend of the reeds about 2/3 inches high, bring it back to the left, making the bend of the reeds about 2/3 inches high, then bring it back of one pair of stakes, slipping the ends of the working pair through the working pair of stakes, making the bend of the reeds about 2/3 inches high. Take the next pair of stakes to the right and bring back two of pair stakes, at front two pairs of stakes and back one pair stakes and slip through the working pair of stakes, making the bend of the reeds about 2/3 inches high. Take six stakes, taking care that the pairs brought forward take the same curve as those brought back. If you find that the curve is not correct, as you find that the scallop is not perfectly true, slip your stake a little to make true. Now lay the basket bottom side up on the table and finish all four sides. Take any given pair of stakes and bring back of two pairs of stakes and in front of one pair of stakes and slip through the working pair of stakes. Take the next pair to right and bring it back of two pairs and in front of two pairs of stakes and slip through the working pair of stakes. Continue this until every end of each stake has been used. Note that each pair is turned over, thus giving the same height. Clip the ends from middle and bottom. You will be able to roll this basket back if you wish by pressing the rim all way around backward. If you wish it to stand inverted, press it down all around backwards. One can make almost any shape of a Madderet basket by simply working the stakes in the direction for the shape of the basket desired. MODEL NO. 8. CVAL LUNCH BASKET. Make an oval bottom after the style of model No. 6. The size should be 3 by 10 inches deep by 15 inches long. Cut twenty-seven stumps of No. 4 reed 14 inches long. Point the ends of stakes and insert so as to have space on both ends of basket slightly closer than at the sides. Weave four rows over under one, weave with No. 2 need, cut out two rows over under one, weave with No. 3 need, cut out two rows over under one, weave with No. 4 reed, weave over under one, weave with No. 2 need, cut out two rows over under one, weave with No. 3 need, cut out two rows over under one, weave with No. 4 reed, weave over under one, weave with No. 2 need, cut out two rows over under one, weave with No. 3 need, cut out two rows over under one, weave with No. 4 reed. Work this basket in a similar manner as described above but continue time with returning three weaves over two, under one, for three rows, making a special effort to flare stakes while pulling on these three rows. You are now ready for double basket border. Wet your stakes and finish then very close to water; lay Nos. 1, 2, 3 and 4 stakes behind one 27  PRACTICAL BASKET MAKING. in succession. Take up No. 1 again, bring forward over three and back of one. This brings your No. 1 stake out in No. 6 space. Bring down your No. 2 stake to the right of your No. 1 stake. If rightly done, this stake, No. 5, will come out in same space as No. 1 stake to the right of No. 2 stake. Now take up No. 3 again, bring forward over two and back of one. The reaching No. 5 stake you find two stakes in one space; the longer one, the one to the right, is the one to use. The process described is to be followed until you have made a basket of any size you please, and then again for the second staker. Your border is finished when there is an Fig. 17. Model No. 8. Made by Mr. Hotham. end of a stake in each space of the basket. The next thing is the cover. Make the same as bottom, with the exception of size and style of weave. Make a piece of cloth about four inches wide and long, and the weave should be over two, under one. When you have woven to the required length, insert one end of your cover stake into the first stake, No. 3 spokes about 8 inches long. Insert one on each side of one spoke and one on right side only of next spoke. With these stakes you now make the cover, weaving it through all spokes that are used for the basket. The handle is the next step. Take a piece of No. 7 reel of cloth long; point at both ends. This is called the handle-bow. Insert one end of handle-bow down through weaving beside the 28  PRACTICAL BASKET MAKING. center stake at one side of basket. Bend the bow in the shape you wish for handle and insert the other end of bow beside middle stakes of the other side of basket. The handles should be about as high above cover as the height of the basket, and should be placed so that they will have a little less than width of top of basket. You are now ready to cover the handle with the weave. Take two of your finest reeds, and with point the ends and insert them beside the handle bow, to the left, as basket faces you. Pass the two weavers under the bow from right to left—two times around the handle, then pass them over the handle, and push your weavers, with hook of bow pin, through the wale under second row on opposite side of handle. Now take third reed and place it in center, between the staves already on the bow. Insert your weavers through the wale, under second row on same side of bow as you first started. This weave is called "the center." It is completed by inserting fourth reed from left as basket faces you. Insert weaver as near to bow as possible, and continue weaving until you reach bow, making a two-strand twist about 3 inches long. Bring this around the handle and push ends of weaver through cover, one at each side sixth rib- corresponding to those on which you inserted your first reed. Then pull push one end back to top, over one spoke and through to inside and cut off. Repeat this operation on other side of handle. When all is done, commencing about 1/4 inches up from border of cover at right hand side of basket face, make a turn with both hands around the top of finishing end of bow, and should be at corner of basket and the starting point should be at least 1 inch to left, and the lift should be about 1 inch. MODEL NO. 9. FITCHED WASTE BASKET. 1. Make a round bottom 8 inches in diameter. 2. Cut 31 stakes of No. 5 reeds 12 inches long. 3. Point your stakes and insert them into bottom. 4. Pinch your stakes and turn them upward. 5. Put in a piece of No. 6 cloth under cover, with No. 4 reeds. 6. Cut out the left hand weave and put on two more rows of upset with remaining 3 reeds, over 2, under 1. 7. Gently pull out all loose threads, say from 8 to inches long, insert the first one in any given space and take one stroke to the right along edge of basket face, then take one stroke to left along edge. Insert the next one in the space next to the left of first one and take one stroke to right. Do the same thing with rest of ends. Leave at least 1 inch between rows. 8. Put on 1 inch of plain weaving No. 3 reeds. 9. Take up the short ends left outside, one after the other, and take 29  PRACTICAL SACKET MAKING. one stroke to the right on top of plain weaving and one space to the right of the under stake, then take another stroke outside again. 10. Weave another inch of plain weaving. 11. Put up two rows of stakes again and take another stroke with them, on top of each row of plain weaving. 12. Put on two rows of 3 tool wide No. 4 reeds. 13. Cut 3½ by-stakes 5 inches long, No. 5 reeds. Point them and in- sert over the stakes already put up. 14. Cut 3½ by-stakes 7 inches long, No. 6 reeds. Point them and in- sert over the stakes already put up. 15. Make a straight hitch ¼ inches high. You do this by taking a Fig. 8. Model No. 5 Made by Mr. Haskeler. soft No. 5 weaver, double in the middle, pass the loop around any given pair of stakes ¼ inches high and give one twist to your fishing weaver--holding one part of same in each hand. In giving the twist you pass the weaver through the stake on which it is resting, under the inside weaver, which is held in right hand. Take care to hold your stakes firmly in position, after having made twist, with thumb and first finger of left hand, and with forefinger of right hand, pass the weaver over the next set of stakes to be fished. You treat all the stakes in same manner. When all have been treated, you pass the outside weaver to 30  PRACTICAL BASKET MAKING the inside of basket through the route which binds first set, and brings out inside weaver on top of fish between the twait and second stake. The first weaver, which you have passed inside through first loop of fish, forth with the second weaver of fish in second space. You now have two weavers sticking out. 20. Insert a third weaver into third space and proceed to put on one row of wale. 21. Put on 1/3 inch red sole with No. 3 reeds. Slowing is necessary. 22. One row of wale while. 23. V., pitch 1/3 inch high. This is similar to step 1 excepting that instead of placing the left hand side right hand side by -- by stake--L first set and left hand stake of second set and bind them together in the center of the basket. 24. One row of wale. 25. One row of wale. See drawing like No. 17 step. 26. A 1/3 inch cross one inch. In starting this stitch you take right at first point of the stake and then turn back to right hand side. The left hand stakes on the outside and right hands sides on the inside. 27. One row of wale. 28. One row of weavers slant wale. To do this you cut 4 weavers with No. 3 reeds. The length to be once and a third circumference of basket, but not more than three inches long. These weavers are divided into three parts which are treated as three single rods. 29. Two rows of one wale. 30. Make top cap level off, up by stakes close to wale and wet and pitch your stakes. 31. Put on five part front border. Cut No. 5 no weave, one and one half inch long, and put on each side of basket, making two weavers at one end. 32. Place a weaver to the inside of basket on top of wale. Take a weaver from the other side of basket and place it on top of wale. Repeat this operation with all four weavers and to inside of basket in front of No. 5 stake, take a weaver from the other side of basket and place it on top of wale in front of No. 5 stake, on top of all weavers you have just passed in, bring down first stake so as to lay beside your return stroke. The left end of this stake is placed over the left hand side of basket and left inside set comes out in same space on top, and No. 5 stake comes down in same space on bottom, and No. 6 stake comes down in same space on bottom, and No. 7 stake comes down in same space on bottom, and No. 8 stake comes down in same space on bottom, and No. 9 stake comes down in same space on bottom, and No. 10 stake comes down in same space on bottom, and No. 11 stake comes down in same space on bottom, and No. 12 stake comes down in same space on bottom, and No. 13 stake comes down in same space on bottom, and No. 14 stake comes down in same space on bottom, and No. 15 stake comes down in same space on bottom, and No. 16 stake comes down in same space on bottom, and No. 17 stake comes down in same space on bottom, and No. 18 stake comes down in same space on bottom, and No. 19 stake comes down in same space on bottom, and No. 20 stake comes down in same space on bottom, and No. 21 stake comes down in same space on bottom, and No. 22 stake comes down in same space on bottom, and No. 23 stake comes down in same space on bottom, and No. 24 stake comes down in same space on bottom, and No. 25 stake comes down in same space on bottom, and No. 26 stake comes down in same space on bottom, and No. 27 stake comes down in same space on bottom, and No. 28 stake comes down in same space on bottom, and No. 29 stake comes down in same space on bottom, and No. 30 stake comes down in same space on bottom, and No. 31 stake comes down in same space on bottom, and No. 32 stake comes down in same space on bottom, and No. 33 stake comes down in same space on bottom, and No. 34 stake comes down in same space on bottom, and No. 35 stake comes down in same space on bottom, and No. 36 stake comes down in same space on bottom, and No. 37 stake comes down in same space on bottom, and No. 38 stake comes down in same space on bottom, and No. 39 stake comes down in same space on bottom, and No. 40 stake comes down in same space on bottom, and No. 41 stake comes down in same space on bottom, and No. 42 stake comes down in same space on bottom, and No. 43 stake comes down in same space on bottom, and No. 44 stake comes down in same space on bottom, and No. 45 stake comes down in same space on bottom, and No. 46 stake comes down in same space on bottom, and No. 47 stake comes down in same space on bottom, and No. 48 stake comes down in same space on bottom, and No. 49 stake comes down in same space on bottom, and No. 37 Stake comes down in same space on bottom, and No. 50 stake comes down in same space on bottom, and No. 51 stake comes down in same space on bottom, and No. 52 stake comes down in same space on bottom, and No. 53 stake comes down in same space on bottom, and No. 54 stake comes down in same space on bottom, and No. 55 stake comes down in same space  PRACTICAL BASKET MAKING. Fig. 30. - Banded Green Rush Basket. Fig. 31. - Banded White Rush Basket. Fig. 32. - Bongo Basket.  PRACTICAL BASKET MAKING. the basket so that you can work weaver from you again only handle will now be on farther side from you. Take your three strakes, return to opposite end of basket, and lay them down on one side to the other until the handle bow is completely covered. After the first time, you must go through the wale between previous weaver and handle bow. BRAIDED GREEN RUSH WASTE BASKET. Weave a base as described in the seventh model (Madura), and weave a row of 3 strands of rush, No. 6 reed 10 inches long. Put on the upset as before described, working about nine rows in all, pains should be taken to keep the stakes standing erect. After weaving two rows, take out the stakes for five minutes to moisture and keep the rush from cracking, weave ten rows, care shall be taken to keep the stakes upright. If they fall over, otherwise, will not be firm and even. Now work one row of wale with four weavers, No. 5 reed 10 inches long. This will introduce what we call Slew Ware. This is worked exactly as in the single weave, except use three weavers in the place of one weaver. Now arrange the stakes as before described, and put on one stake with three weavers used as one. You have nine weavers working, two rows of wale with four weavers each. Work one row of wale with three weavers used as one. You have six weavers working, two rows of wale with three weavers each. Reverse this work as though it were single and only work one row. Be sure that all the weavers lay partially parallel, leaving ends on the inside of the handle bow. Now work one row of wale. Take the braided rush and unravel a few yards and work three rows of braid which is working two weavers, as is done in the main. Weave one row of wale with No. 3 weavers. Work one row of wale with No. 4 weavers. Work one row of wale with No. 5 weavers. Work ten rows of braided rush, and we might say that the rush stands more firmly at the same time. Take no 3 weavers and work six rows of wale and use the handle bow as is described in model No. 9. WHITE RUSH WASTE BASKET. Cut ten stakes to length No. 5 reed. Open the center as usual, weaving a inch in diameter, after which bring the back weave up and insert another, making three consecutive weavers in three consecutive rows, then close up again by inserting another stake, making diameter 4 inches. Cut forty-one stakes No. 6 reed 24 inches long and insert the stakes as usual one beside each stake and their slip in another stake at right angles to it, making a square hole 1 inch wide, and you may slip these in wherever you find the spaces allow the most space, but do not make any holes too large or too small. Inserting with four weavers No. 3 reed always reversing. Cut off the end 37  PRACTICAL BASKET MAKING. of the left hand weaver and work five rows more of upset with three No. 3 weavers, reversing each time you encircle the basket. Moisten the whole basket with water, and then take one stake in front of two stakes and back of one stake. Repeat this process all through the basket, making sure that the stakes are evenly spaced and even well picked. Take three No. 3 weavers and work five rows of upset with them, reversing each time you encircle the basket. Work in a clockwise direction. Take any given stake and bring to the right back of two stakes, laying it down in the space where it would come out. Bring the next stake down into the space where it would come out. Repeat this same process until all the stakes have been turned down. Take any given stake and bring to the right back of two stakes, take the next stake to the one just used and bring up under two stakes, and so on until all the stakes have been brought up. Apply the fast stake under the loop made by bringing the first stake up under two. For the last stake, take any given stake and bring to the right over every other stake, making crooked heads at every point of wale. Repeat this same process with all of the remaining stakes. You will not need to make a second basket unless you want to make a little hard to pull the stakes through the wale. This is called a Three Part Combination border. You can learn from this plan that there are four small hands worked into this basket. It might say that this is a fancy basket worked at the same time the rush was worked, but it would be difficult to describe what is meant by "fancy" without knowing what kind of head of any colored raphia that you wish, and after the head has been worked or braided, cut it in two pieces and draw the raphia heads in at right angles, making crooked every over every other stake. ROPE WASTE J.BASKET. Cut twelve stakes a inches long No. 3 reed and open a center as in any other basket. After you have woven a center about 4 inches in diameter, take one stake in front of two stakes and back of one stake, making three working weavers of No. 2 or 3 reed, and finish your base as is worked in mode No. 2. This particular stitch is strong and is often used in baskets when a very strong base is needed. The stakes are to be inserted from the base. Cut forty-five stakes No. 6 reed (7 inches long) and insert them in pairs between each pair of stakes, as many as there are pairs of stakes. A more or less inserted on each side of each of the spokes coming from each base stake to balance so as to obtain equal weight. Moisten and plait flattened rush as you would two rows of questioning with four working weavers, reversing each time you encircle the basket. When you reach the end of your rope, balance of the upset four rows with three weavers No. 3 reed, working in front of two stakes and back of one stake, as before described. We will introduce Stale rope into this basket, and we might ask you in starting work to use much care in your weaving, as if the rope is worked too thick your result will not be satisfactory. Take one end 14  Fig. 26. Small Barrel Basket. Fig. 27. Barrel Basket. 35  PRACTICAL BASKET MAKING. of your rope and insert in any given space, bring weaver (rope) in front of each stake, make two rows of four weavers on one stake, back of one stake, in front of two stakes, back of one stake, in front of one stake, back of one stake, and so on the entire way around your basket. You will find that this basket is made up of three parts, we take the work out, as the long stroke (in front of three stakes) should come once, the short stroke (in front of two stakes) should come once, and the short stroke (in front of one stake) should come twice. Work this same combination of strokes with your weaver until you have completed the basket. Keep it kept close and firm all through the basket. Insert three No. 3 weavers and work six rows of wale, reversing each time you encircle the basket. Make sure that you have inserted your weaver as instructed as given in model No. 5. Clip the ends of stakes and the basket is com- pleted. BARREL SHAPED SCRAP BASKET. 1. Make a round bottom 8 inches in diameter in the usual way. 2. Insert thirty-six No. 5 stakes 25 inches long. 3. Finish the stakes, turn them up and put on two rows of four weaver over next three and under one. 4. When the two rows are cut, cut off the extreme left weaver and put on two rows with remaining three weavers, over two, under one. 5. Bytutake with same side stakes 13 inches long—cut to the right of each stake. 6. Weave 17 inches of plain weaving, over one, under one, with two weavers. 7. Two rows of three-eleven wale. 8. One and a half with two weaver slaw. 9. Five rows of plain weaving. 10. Work out a panel of plain three block diamond weaving. To do this divide thirty-fourths into equal parts of each stake starts. Take a No. 5 stake and place any given stake at the right from that point No. 1 stake. As you proceed with this weaver over next three and under one row, weave in the other stake stakes. When half way around you insert another No. 3 weaver, which must pass between the two stakes already woven in order to go to pass your weavers in from Nos. 1-6-10 and 28 stakes without pinching or binding them together. When your weaver does not come in front of the above named stakes, weave in the other stake stakes from behind in the stroke before reaching the block, and skip two again after weaving in these stakes until you reach the end of course. When you have your four block made, that is, go from front to back and from side to side, weave in your weaver and cut a block on each of the following stakies: Nos. 36-71; Nos. 64-91; Nos. 92-126; Nos. 127-160; Nos. 161-194; Nos. 195-228; Nos. 229-262; Nos. 263-296; Nos. 297-330; Nos. 331-364; Nos. 365-400; Nos. 401-434; Nos. 435-468; Nos. 469-502; Nos. 503-536; Nos. 537-570; Nos. 571-604; Nos. 605-638; Nos. 639-672; Nos. 673-706; Nos. 707-740; Nos. 741-774; Nos. 775-808; Nos. 809-842; Nos. 843-876; Nos. 877-910; Nos. 911-944; Nos. 945-978; Nos. 979-1012; Nos. 1013-1046; Nos. 1047-1080; Nos. 1081-1114; Nos. 1115-1148; Nos. 1149-1182; Nos. 1183-1216; Nos. 1217-1250; Nos. 1251-1284; Nos. 1285-1318; Nos. 1319-1352; Nos. 1353-1386; Nos. 1387-1420; Nos. 1421-1454; Nos. 1455-1488; Nos. 1489-1522; Nos. 1523-1556; Nos. 1557-1590; Nos. 1591-1624;Nos. 36  **PRACTICAL BASKET MAKING.** The fourth time the two blocks will come on same stakes as second time. The fifth time the one block to each diamond will come on same stakes as first time. 11. Weave two rows three rod wale. 12. Weave one row three rod and weave. 13. Two rows three rod wale. 14. Wave 1½ inches over two, under 1, weave. 15. Two rows three rod wale. 16. Weave 1½ in over 2, under 1, weave. 17. Four rows of wale. 18. Cut off basketry and put on double basket border as in No. 5. Your weaving are at No. 5, No. 6, No. 7, No. 8, wale and upset rods of No. 4 reeds. The distance at bottom is 6 inches, raised to 12 inches at 6 inches high, and drawn back to 8 inches at top. **THE ETERNAL WASTE BASKET.** 1. Round 8 inches bottom. 2. Insert forty No. 3 reeds, 23 inches long. 3. Five rows of rod wale over four, under one. 4. Weave with No. 4 weave over two, under two, half way around basketry; then turn basketry over and weave; continue this way ten rows--five front and five behind. 5. Cut off your weavers and reharness them so as to form a block between the two blocks of basketry as shown in Fig. 10. This will give you four rows of blocks. This is a panel of Dutch handling. 6. Two rows of four rod wale over three, under one. 7. Weave with No. 4 weave over two, under two, straight arrow-head waling--and at other times right and left hand walking or again, Japan- ese walking--then turn basketry over and weave; continue this way until you have reached the end of the table; when you come to the reverse and weave one row over two, under one; but with this differ- ence that instead of going forward you go backward; when you come to the reverse over the other two working weavers, it is brought forward under the other two weavers. This is equivalent to a wale done left handed. You continue this process until you reach the end of the table, reversing each time. 8. Two rows of four rod wale over three, under one. 9. Weave a double panel of over two, under one weave. 10. Two rows four rod wale, over three, under one. 11. Repeat No. 7. 12. Two rows four rod wale. 13.Another panel of Dutch handling, same as No. 4 step. 14.You weave as many rows of four rod wale over two, under two, as you are required to keep your work from to its 8 inches high from table. 37 338547  PRACTICAL BASKET MAKING. 15. Make a roll with No. 3 reeds. Make this roll as small as you can, finishing with plain roll border, that is, by throwing your stakes in over the top of the roll. POINTS. The wake and crest are of No. 3 reeds. The weaving, including the arrow-head, it done with No. 3 reeds only. The basket is so strong that it is called "The Eternal Basket." SMALL BARREL BASKET. Cut ten stakes 4½ inches long No. 3 reed. Place and open a center as usual and weave 3½ inches. Cut nineteen stakes 4 inches long and insert into the base as usual. Moisten and bend close to the base and put on the top of the basket. Take two stakes in each hand, let left hand weave and work five rows of wale, and we might say that it is not necessary to make any more than five rows of wale, but we would be taken to shoot the stakes outward to give the shape desired. In this basket we have taken two strands of a deep shade of green raffia and one strand of white raffia, and we have woven a double layer of white raffia and three rows with a delicate blue raffia. Now introduce three wovens of white raffia, which will give a good foundation for the basket. Weave these three rows of white raffia to flase your basket a little each time you continue to use it reach the seventh row of white raffia, then take out the first row of white raffia and weave three rows of purling with light blue raffia, three rows purling with light blue raffia and three rows purling with deep green raffia and you will have a beautiful basket. When you have finished weaving all the outside rows, then slip in two more wovens and you will find you have five wovens of white raffia, which will give you a very neat looking ridge by taking the left hand weaving, working in front of two stakes and back between two stakes, and then taking the right hand weaving which is cover. Cut off two left hand leaves, leaving the ends on the inside. Take the left hand weaving of the remaining three wovens and place them on top of the other three wovens on the inside. Moisten and pinch stakes ready for holding. Take any given stake and turn it up at one end and down at the other end until you have turned all the whole number of stakes. Take any given stake and turn up at one end leaving one stake hanging on its own end, and clip, but not too close. COVER. Cut ten stakes No. 3 reed 8 inches long and put them under a center open the center with very fine wire (which do not can produce it). After you have woven about an inch, work two rows of purling with light blue raffia, then take out one row of white raffia and weave three rows with deep green. Work one row of wale with very fine reel and leave another row of wale with very fine reel. Take any given stake and bring it over one stake and under one stake until you have turned all in the same stake. The ends may be clipped, but not too close. For the lift take a piece of No. 3 reed about 0 or 10 inches 38  PRACTICAL BASKET MAKING. long. - Measure and twist slightly, after doubling it in the middle, then take the hoop and slip around the middle reed from the under side of the cover, bringing the two ends on top of the cover. Now take a piece of reed about 3 inches long, and twist it until you have the desired height. Bring the end of red and raffia through the cover around the opposite middle reed and fasten. ROLL TOP GRASS SCRAP BASKET. Make a round bottom 7 inches in diameter, same as that of model 6. 1. Cut No. 4, make a 2 inch long and point them. 2. Insert No. 5 into each other at every corner. 3. Make rolling upturn (that is, without pinching and turning stakes up sharply) with No. 6, No. 7, No. 8, and No. 9 reeds. 4. Insert other four stakes, one on right of each stake. 5. Twist a lot of the grass. That used in model is a fine round rush, from which to make a basket of this kind is best to use Long land. The twist is done by taking about 8 strands of the grass, tie together at thick end, divide in two parts of a strands each, make the end flat and twist it around once, then take another strand and do it at same time passing left hand under right making both parts to be twisted together. 6. Weave four figures in following way. Mark off to stakes; place end of twist in front of fifth stake, go around sixth and out to left, i. e., make a figure eight; then go back to fourth stake and take a stroke to right around third; continue thus until you have gone around tenth stake; then take a stroke to left and go back to first stake; continue to weave right and left, lessening number of strokes by one each time until you reach the center. Do this same thing with the other three parts of the basket. 7. Put on one row of a strand No. 4 wale. 8. Put on one row as you worked No. 6 process. 9. One row of wale. 10. Repeat No. 6 process with opposite sets of stakes. 11. Continue weaving. 12. No. 6 process again with first set of stakes. 13. Two rows of wale. 14. Lead about 6 yards of 3 parts braid with same grass or other material. 15. Weave 3 rows of over one under one, alternating with the braided grass, alternating with a weave of No. 4 reed. 16. One row of wale. 17. Three more rows same as No. 15 process. 18. Three rows of wale. 19. Cut off all but three grass weave. 20. Three rows of wale. 21. Cut off all but one weave. 22. Two rows of wale. 23. Make a roll with over 2 under 1 weave. 24. Finish the roll with over 1 under a short border. This basket should be sheilded. 39  PRACTICAL BASKET MAKING. Fig. 50 Ball Top Grass Basket No. 6. Lily Basket  PRACTICAL BASKET MAKING. **LILY BASKET.** **Rim:** Take 12 spokes of No. 5 reeds 13 inches long. Make the bottom in usual way with 6 spokes. Insert 7 spokes of No. 5 reeds 20 inches long, but do not cut off ends of spokes. Weave 1 or 2 rows of 3 strand pitch, and weave up side of basket to 6 inches, then turn around and weave down to 12 inches. Turn around to bottom, weaving it out to between 11 and 12 inches. Cut off ends of spokes at this point, leaving about 8 inches on each end. Make a round upset with 3 soft No. 3 reeds. The round upset is made by bending the stakes as you weave the upstart instead of pushing and turning them back and forth as you would with the regular spokes when done in the usual way, at least 6 times. Your object now is to weave up to the rim, making a round upset at the top, so that your outer work will meet the inner work evenly. The concave and convex work will be made by weaving in and out of the spokes. Divide your stakes into five parts, 8 stakes in each of four parts and 7 stakes for the fifth. Use No. 2 reeds for weaving. Place the end of your weaving on one stake, and weave over two stakes, around seventh stake inward, bringing out to left and turn around fourth stakes going outward again, then bring out to right and turn around sixth stake and take a stroke to third stake; 3 strokes to right and turn around seventh stake; 4 strokes to right and around second stake; 3 strokes to left and turn around first stake; 3 strokes to right and around seventh stake; to left and around second stake; 3 strokes to right and around third stake; 3 strokes to left and around fourth stake; 3 strokes to right and around fifth stake; to left to fourth stake. Do the same thing with the other 4 parts. Put a yarndark wax, No. 5 reed, on top of all your weaving, and make a figure eight in the plain convex figures. You now fill up the five hollow bottoms in the way you have filled up the tops, making a figure eight over one row of wale. Repeat this style of weave until 5 inches high. You weave in this manner until you reach the top of the basket. When you have reached the top of the inner basket, you may put on a rows of wale, bringing the No. 5 stakes beside the No. 5 stakes, making the former as an outside cover for the latter. Now take No. 4 stakes, inserting extra No. 3 stakes where needed. Make a $1/4$ inch feather stitch over these stakes, making a figure eight in the right hand pair-by-stakes of first set—middle stake of center set—and left hand pair-by-stakes of third part, pass the loop of waver around them both, making a figure eight in the middle set of stakes till all your stakes have been taken in. One row of wale on top of pitch. The next step is a straight $1/4$ compound pitch $1/4$ inch high. The loop of your pitch weave is placed on top of your wale, and makes a perfect circle when you take the two straight pairs of hystriginae, binding them together with pitch weave. Repeat this process until you reach the top of your basket; then take right hand side pair-of hystriginae, and you are now ready for three-quarter round work on top of your basket. Make a $1/4$ inch convex on top of these two sets of stakes, then make two $1/4$ inch convex on top of these two sets of stakes, then make another $1/4$ inch convex on top of these two sets of stakes, then make another $1/4$ inch convex on top of these two sets of stakes, then make another $1/4$ inch convex on top of these two sets of stakes, then make another $1/4$ inch convex on top of these two sets of stakes, then make another $1/4$ inch convex on top of these two sets of stakes, then make another $1/4$ inch convex on top of these two sets of stakes, then make another $1/4$ inch convex on top of these two sets of stakes, then make another $1/4$ inch convex on top of these two sets of stakes, then make another $1/4$ inch convex on top of these two sets of stakes, then make another $1/4$ inch convex on top of these two sets of stakes, then make another $1/4$ inch convex on top of these two sets of stakes, then make another $1/4$ inch convex on top of these two sets of stakes, then make another $1/4$ inch convex on top of these two sets of stakes, then make another $1/4$ inch convex on top of these two sets of stakes, then make another $1/4$ inch convex on top of these two sets of stakes, then make another $1/4$ inch convex on top of these two sets of stakes, then make another $1/4$ inch convex on top of these two sets of stakes, then make another $1/4$ inch convex on top of these two sets of stakes, then make another $1/4$ inch convex on top of these two sets of stakes, then make another $1/4$ inch convex on top of these two sets of stakes, then make another $1/4$ inch convex on top of these two sets of stakes, then make another $1/4$ inch convex on top of these two sets of stakes, then make another $1/4$ inch convex on top  PRACTICAL BASKET MAKING. under 1 weave. The roll finishes with back of one front of two skirt border. Year basket is 10 inches in diameter at base, 12 inches high and 9 inches wide at top, inside measurement. UNFINISHED FITCH WASTE BASKET Cut to stakes 9½ inches long. No. 5 reed, and open a center as usual. The basket is made by weaving the reed as it is worked with single weaving. You can finish weaving the base with a No. 3 weaver. Cut 33 stakes. No. 6 reed, 19 inches long, 2½ inch thick. Fig. 30 Unfinished Fitch Waste Basket make to each base stake, making holes about equalize the spaces around your basket. Finish and turn as small and work 2 rows of upsetting with 4 weavers. Cut off the extreme left hand weaver and weave in the next stake. Cut off the extreme right hand stake 17 inches long. No. 5 reed, and slip one stake on each side of the stakes already in place. Keep the stakes close together but very close. Take 3 No. 2 weavers and weave as with one weaver, going over and under each other, keeping all parallel and straight. Using two or more weavers is called slewing. Care should be taken that the weavers all lie perfectly parallel and work 3½ inches. 47  PRACTICAL BASKET MAKING. Work a row of 3 rod wale and reverse each time around the basket. The next step in this basket is duch work, and we refer you to model No. 9 for fishing. After each fish, always work 1 row of 3 rod wale. After each fish, work a row of 5 rod wale, work 4 rows of 3 rod wale and finish with a border as described in model 9 or any other border may be used. RUSH FLOWER POT. Cut at pieces No. 5 reed 15 inches long. Dip the ends of the stakes in glue and insert the stakes into the holes in the base. Take 3 No. 3 weavers, inserting one in each of 3 consecutive spaces, and work Rush Flower Basket. Pine Baskets. for one row in front of three stakes and back of one stake. This gives a long stroke and its purpose is to cover the wood. Remember to even out the material which is being worked by means of wale going in front of 3 stakes and back of one stake with your left hand. Now take another row of 3 rod wale and insert one on the inside of the basket cut 21 more stakes 15 inches long and insert one stake at the right hand side of each of the other stakes, which will be called a "knot" or "knotting." The knotting is done to keep the rush material which gives strength. Malisten the rush in lukewarm water and wash it well before using it. The amount of water used for the stirrup of the material often changes the amount to be used. Work 4 rows of wale with 3 No. 3 weavers, reversing each time. Be sure that 43  **PRACTICAL BASKET MAKING** The weaving is perfectly even before turning the border. Titch the stakes. For the border take any given stake and number it No. 1. Take No. 2 stake and bring it back of No. 2 stake, bringing it down in the same manner as No. 1 stake was brought down. Repeat this until all stakes have been laid down. Take any one of the ends left on the outside of the basket and bring it to the center of the basket, and weave it through the space between the spokes that have been used, and if they have been slipped through the proper space, there will lie an end of a spoke in its place. This will make the border strong. Clip the ends from the inside, but not too short. For finishing the wood, a piece of flat reel can be tacked on with many nails. This presents a neat appearance. FERN BASKET Cut 32 stakes 7 inches long, No. 5 need. Dig in glaze and insert in base. Take No. 3, no 6, and work one row of wide, working in front of 3 stakes and back of 1 stake for one row only, reversing the work at each end of the basket. Work two rows of narrow, a long stroke. Work a row of ordinary wide, and when this is done, cut a row of narrow, a long stroke, and when this is done, cut a row of ordinary wide, and when this is done, cut a row of narrow, a long stroke. Work three rows of narrow, a long stroke, and when this is done, cut a row of ordinary wide, and when this is done, cut a row of narrow, a long stroke. Work three rows of narrow, a long stroke, and when this is done, cut a row of ordinary wide, and when this is done, cut a row of narrow, a long stroke. Work three rows of narrow, a long stroke, and when this is done, cut a row of ordinary wide, and when this is done, cut a row of narrow, a long stroke. Work three rows of narrow, a long stroke, and when this is done, cut a row of ordinary wide, and when this is done, cut a row of narrow, a long stroke. Work three rows of narrow, a long stroke, and when this is done, cut a row of ordinary wide, and when this is done, cut a row of narrow, a long stroke. Work three rows of narrow, a long stroke, and when this is done, cut a row of ordinary wide, and when this is done, cut a row of narrow, a long stroke. Work three rows of narrow, a long stroke, and when this is done, cut a row of ordinary wide, and when this is done, cut a row of narrow, a long stroke. Work three rows of narrow, a long stroke, and when this is done, cut a row of ordinary wide, and when this is done, cut a row of narrow, a long stroke. Work three rows of narrow, a long stroke, and when this is done, cut a row of ordinary wide, and when this is done, cut a row of narrow, a long stroke. Work three rows of narrow, a long stroke, and when this is done, cut a row of ordinary wide, and when this is done, cut a row of narrow, a long stroke. Work three rows of narrow, a long stroke, and when this is done, cut a row of ordinary wide, and when this is done, cut a row of narrow, a long stroke. Work three rows of narrow, a long stroke, and when this is done, cut a row of ordinary wide, Repeat until all the stakes have been used, and if your work is evenly done you will be surprised to see 44  PRACTICAL BASKET MAKING what a pretty border you have made. Take two pieces of flat wood and tack around the base neatly, and your basket is completed after the base have been trimmed from the inside. 1. SMALL SQUARE HAMPER. 1. Prepare a square board 14 inches thick and 7½ inches wide. Get 4¼ inches round 1 inches long. 2. From this cut four pieces, one near the edge, 11 holes on 3 sides and on the 4th for a No. 4 stake. Leave a 4 inch hole at each corner for the double stakes. 3. Cut 45 Nos. 2 stakes 20 inches long. 4. Glue the stakes and dowels in holes. 5. Spread the boards with glue about 1½ inches and hold them there by means of three slats nailed across top. 6. The bottom is a 3 rod space over, under, with No. 3 rods. 7. 2½ inches of overhang with No. 5 rods. 8. One row 3 rod wall No. 3 rod. 9. One row No. 5 rod. 10. One row good grade. 11. 2½ inches of overhang, No. 1 working No. 2 working. 12. Two rows 3 rod wall, called handle wall. R. At this point you put on the handles. See steps No. 29 and go in middle of basket to make a hole for the handle stake and pull it out from side of basket. 13. Put on the handles to within half inch of top of your dowels. 14. Put on as many rows of wale as required by being your work smooth with top of dowels. 15. In each end put in center of top of each dowel and insert a stake in each one. 16. Make up pinch and pinch stakes. 17. Border with square double border stake. Lay 4 stakes down crosswise of each other bring No. 2 stake forward in front of No. 3 and back to bring No. 4 stake forward in front of No. 5 stake and beside No. 1 no state front of back of No. 6 no stake come down in same way as No. 5 stake but do not go through the first stake made thus when the first space on a new side of basket is reached, the second stake is placed in front of the first stake and then in first space of new side which now contains a stake, a standing stake to left of corner and also laying down side left of corner. Now bring up one by one all the stakes that are not yet in place and put laying down stakes beside and front of rest one you have now five rows of stakes in place and you can see how it will look next stroke you must use the dead stake in first space left of corner; so called dead stake is a stub stake, in this case, has made a stroke and is laid down in front of the last stake that was laid down into space and rest one. No standing stake is brought down with this one it is called a dead stake because it does not make any new space on the old side of basket; it goes in front of corner and two stakes on new side in second space are put in place and two stakes on new side in third space are put in place and two stakes on new side in fourth space are put in place now you take the left hand stake of the which are in front of corner stake out of 3 and back of t 45  PRACTICAL BASKET MAKING. Fig. 20. Clothing Larder Basket. Fig. 21. Storage Hamper. Fig. 22. Knife Basket.  PRACTICAL BASKET MAKING Next standing stake down back of 5. You next take extreme right of 3 stakes in last space; next standing stake – Next take solitary stake; if too short, splice by inserting new stake in front of it. In finishing this step, take one more stake on each side of the border, making the last stake in the finished part of the border, the body of the border. By so doing you should not find much trouble. 19. Now you have your cover. Take a piece of No. 7 cover and 12 pieces No. 6 read about 12 inches long. Measure across the top of each piece to see that they are all exactly alike. If any differ in length, cut off extra or add to make them equal. In the case, you mark off a space on a piece of board 05 inches or the exact width of the top of basket. Place the No. 7 stick on the mark and insert a No. 6 stick at each end of the board, leaving ample intervals between the No. 7 sticks. You now weave up the cover over 1 under 1 with No. 2 or No. 3, weaving over and under outside stick on each side around outside stick and so on. You must keep outside stick covered until you reach the top of the cover, weaving as often as necessary. You do this until your cover is square. 20. Finish cover by splitting a No. 7 or No. 8 reed two in two. This piece is used to make a double cover for the bottom of basket. Both ends of each piece. Cut off the cover stock at one end of cover close to the point where you split it into two pieces. Place one piece of reed –the split No. 8–against the top where sticks have been cut off and mark beating so that when bent to be inserted in the bottom of basket, it will be straight. Beating before bending and inserting the points of bending beside each outside stick inside. 21. You now tie down the bending. Take 2 weavers of No. 3 or No. 4 read about 1 foot long. Pinch one weaver through the cover beside each outside stick, leaving enough length of weaver to pass through cover, leaving equal lengths of weaver to stick out for tie. The other weaver goes through opposite side of cover, leaving enough length to pass through cover, insert the end of weaver through weaving about a few nips of weaving from edge. Bring your weaver over bedding, down to point of insertion and then back over bedding again, keeping your hand holding bedding to weave a times. Fasten the end by weaving in and out a couple times. 22. You now fasten cover to basket by means of hinges made in same way as you finish cover. Insert your tension washer down into basket at each end of cover, leaving enough length to pass through that side of basket which has 12 stakes. This will be back of basket. Now take a staple loop and place it on top of No. 4 reed into sort of staple-shaped loop on the center stay or front side of basket. Another loop is made in same way on the edge of cover at the same time as you are making holes. Now come the pin twist. Take a piece No. 4 read 1 inch longer than No. 4 reed and make a pin twist in it by winding it around itself to avoid breaking, and twist both together into a rope twist about 2 inches long. This is the pin that goes through the staple loop over the cover loop when this has come down through staple loop. 47  PRINCIPAL BASKET MAKING. OBLONG LUNCH BASKET. This is made as the square hamper with the exception of the following points: The dimensions are 4½ inches by 9 inches for the bottom. This is made like the cover of hamper without the finish. The stakes are of No. 2 reeds 15 inches long for the ends and 15 inches for the sides. For the top use No. 3 reeds 10 inches long. The stakes are put in as round baskets. For the bottom to shatter the stakes. This is a term used in basket making. It means to shave, or, in other words, to cut out about one-half of the thickness of your stake at the end that goes through and connects with another stake. In this case you shatter the stakes about 1 inches from the end, that is, about half way down the length of the stake. Then you will have a real. You insert the shanked end of the stakes through the bottom from outside in. When you reach the end of the stake, turn it over on its side; bring up the stake into position with right hand so that it will rest firmly on upper edge of outside stick and bring down third end of stake to left hand and push it into place. Repeat until all stakes are in, keeping the end to rest on bottom. Bring up second stake in same way, butting in to first stake and holding it in place with right hand while you are fastened by weaving into bottom. Four rows of 3 rod weave. Put 3 inches over, under 2. Top weaving with 3 rows of wide. Same border as for square hamper except that you do not weave around. They are fastened in with the upset. You will find it to your advantage to cut out about one-half of the top so that the upset will hold them better. Place your basket about 1 inch off table. Use an old member of every stick so as to have a center one for handling, and a cover which can be lifted off and replaced when cover is in the center. The upset and wales with No. 3 reeds. The weaving with No. 2 reeds. KNIFE BASKET. Dimensions: 8 x 11 inches bottom, 3 inches high inside. Inside 3¾ inches deep, outside 4½ inches deep. Bottom is 6½ inches long. These are tucked in a board simply and in a chest apart. You weave with No. 2 reeds, No. 3 reeds for sides and No. 4 reeds for diamond diamond in the sides as described in barrel shaped waste basket. The open and wales are made with No. 3 reeds. The stakes are of No. 2 reeds. The sides are shanked as elsewhere described in oblong lunch basket. The bow is in the double basket square hound. When the basket is full, take out one side stake and replace it with a small bottom. The width should be same as depth of bowst, inside, and the length should be same as width of bowst. The partition is fastened by a ties in bottom and tie at each end of basket. A handle is made on top of partition. The most suitable handle is given in model #8. It should be about 3 inches wide and 1½ inches high. 4  PRINCIPAL BASKET MAKING. FLOWER BASKET. DESIGNED BY MISS M. L. McINTYRE. Cut eight stakes #4 Reed 6 inches long. Find the middle of four stakes by measuring half and slip the remaining four stakes through the four punctured reeds. Take a very pliable #1 Reed and encircle the four-quarters once around the base of the basket with a little space between them. Work cut 5 stars in the bottom of the basket, as follows: Note how hand is used to carry the back weaver diagonally across each quarter. Divide each quarter into halves and bring the back weaver to the front by dividing the first quarter into halves, carrying the weaver diagonally across each half. Carry the back weaver up in the same space and carry this diagonal across all quarters to the next half of the third quarter. When each of the four quarters have been divided, cross the Fig. 33. Flower Basket, made by Miss Mary L. McIntyre. complete course of base diagonally from corner to corner, and you will discover the 5 stars in the base of the basket. Drop one weaver and proceed by weaving over two stakes and back of one stake with one weaver. This is a very simple process, but care must be taken as a mistake may be made very easily; also bear in mind that as the spines increase in size, so should also be increased until the diameter of the base is 5½ inches. 49  PRACTICAL BASKET MAKING Cut thirty-two staves # 3. Reel 15 inches long, very jointed, and moisture well. Cut off every other stave around the base very close to the weaving and insert a new stake on each side of each stake pushing them into the basket until they are quite tight. Mounts and bend the stakes sharply upward. Work one row at a time, making sure that all the stakes are straight and have no back of one stave as usual. When once around drop one weaver, leaving end inside of basket and with one weave continue by working in front of the basket until you reach the other end where you will have 14 inches in height. A five-stake basket uses the "single plait" which is worked as follows: Moisten sticks and pitch well. Take any given stake numbering it # 1, and place it in the first open space. Insert another stake in the same space as a stake in the same manner. (Do not bend these staves too closely.) Take # 1 stake, bring to the right, passing it into first open space to inside of basket; then bring it to the right into the next open space to inside of basket; bring # 2 stake to the right into the next open space to inside of basket; bring # 3 stake to the right into the next open space to inside of basket; etc., until you have brought down the last stake. Repeat this process until you have brought down the last standing stake. You have now entered into the double plaiting. This is done by bringing one stake to the left and leaving both stakes down parallel. Repeat this process until you have brought down the last standing stake. Note the two sets of three reeds on the outside of basket and one set of three reeds on the inside of basket. The first set of three reeds which were the first two reeds turned down. Take the two left-hand reeds of this set and turn them up over top of the first set of three reeds of basket. Find the second loose loop which was the second stake turned down and slip the left-hand reed of this (the) loop over top of the third stake turned down. Now you have left three pairs of reeds on inside of basket. Bring the left-hand reed over top of the right-hand reed so that it covers beside the one diagonal reed which is alone. The next step is to bring one stake through by pulling it up through the single scale's hole. By doing this you have formed the double scale to complete the outside of the border. Now take this same scale and repeat this operation on all four sides of inside of basket. Finish the remaining pairs exactly the same. You will note that there are only two loops in each side of basket. These are now brought to the right one stake and down through to outside of basket. For handle of basket cut two pieces #6 Reel 16 inches long. Paint the reeds well and force them well into sides of basket after they are painted. The next step is to pierce the reeds forming the base at either side of the handle, as shown in diagram No. 2, and insert a weaver. If working the basket usually made use of a Pivotal Hook, see Handi-Work where it is explained how to make a Pivotal Hook, but if you do not have such a hook, use a pair of scissors or a pair of shears instead. In either case, when cutting through wood always cut with your teeth forward toward your body while working Basket Making. When making baskets, always work from bottom up, carrying forward one finger below points which are mentioned in above directions. 29  PRACTICAL BASKET MAKING. and seek a well. Draw the weaver through the puncture in the han- dle from the middle to the edge, and then draw him through the border and around one of the hale-reeds carrying the weaver across to the opposite hale-reed and around it; then back to the op- posite hale-reed and around it, and so on, until the entire space has been filled with the weaving. When all the holes have been filled, the two ends of the hale-roads are bound together. A set of blocks may be produced by laying two extra pieces of hale-road across each other at right angles, and then making a re- gular binding weave. When the opposite side of the arch has been reached repeat the same method of weaving and fasten the weaver by passing it through a hole in each of these pieces of hale-road, and then through another hole and through the weaving for two or three strokes. The top of this basket is finished off by combining brown and mahogany wood-stains, or it may be left in its natural color, but should be given a coat of shellac. SERVING TRAY. DRESSED BY MISS M. L. McINTYRE. Below is given a serving tray frame. This tray is 13 inches in diameter and is so made that the base decoration is interchange- able. Cut forty-three stakes #4 Reed 13 inches long. The stakes should be well moistened and one end dipped into a lot of good glue. Serving Tray Miss Mary L. McIntyre, Boston, Mass. and forced well into the holes of the tray frame. Next select four #3 weavers, moisten well and place the four weavers in each of four consecutive spaces and draw them through the first hole in each hand- weaver. Then bring them out in front of two stakes carrying the weaver through first open space to inside of tray, then back of two stakes and forth to next open space, etc., until all four weavers are completely with each weaver until one inch has been woven. Also make one 51  PRACTICAL BASKET MAKING. that there is the same number rows of weaving all the way around the tray as there are on the outside of the model. The tray is bordered by using the flat-plait border described in model called Flower Basket which should be followed very closely. Should you desire to make a basket with a different color, mix a paste from the outside instead of pairs as described in the Flower Basket. The paste may be made by mixing white and yellow paint with a cloth and polishing by rubbing briskly with a dry cloth or brush. The brass handles may then be added, also the little rubber nails, which give the appearance of a flower pot. The surface should have any polished surface on which it may be used. Fancy cretonnes, embroidery-cottons, and other materials may be used for this purpose. Handmade trays may also be made by using plain wooden tray-haves, but the same directions for the handling should be followed. The finish may be left entirely to the taste of the maker. RAPPITA SUGGESTIONS. In the hands of a thoughtful worker raffia is a very flexible mate- rial, capable of being used in many different ways. In the accom- panying illustrations are some practical suggestions of useful and ornamental articles. Embroidery Work. Crochet Work. 52  PRACTICAL BASKET MAKING. Embellished Work. Apache Basket Palattingwa Basket 53  PRACTICAL BASKET MAKING. SCRAP BASKET OF RATTAN, WITH BAND OF BRAIDED RAFFIA AND COLORED RATTAN Made by Miss Belle Robinson, Teacher of Basketry in the Indian- apolis Young Women's Christian Association. Dimensions---11 inches high; 6½ inches across the bottom; 7 inches across the mouth; 3½ inches high to the turn where it is 34 inches in circumference. Scrap Basket by Miss Belle Robinson, Indianapolis, Ind. Materials---About 5 mittens---No. 1: 20 weavers---No. 5 (white); 3 weavers---No. 3 (dull purple); 3 weavers---No. 3 (yellow brown); (for coloring which directions are given elsewhere)---10 yards braided raffia (natural color); 1 yard of No. 22 silk; 45 yards of spokes---No. 5; one 24-inch spoke---No. 5; sixteen 22-inch spokes---No. 5. 54  PRACTICAL BASKET MAKING. A split cane is made of the eight 4½-inch, the one 2½-inch spokes and twined weave, and the remaining ten spokes 3 inches in diameter. Insert the sixteen remaining spokes. Weave (twined) until 6½ inches in diameter, then soak thoroughly and turn the spokes rather sharply with their points upward, and secure them by a few stitches only, and when once secured at the proper angle, need not be soaked again until 5½ inches in diameter. This consisted of two rows of paired weaving, plain weave until it is Woven Raffia Pillow, Work from Hysans Normal School, Hysans, Mass. 1¼ inches high. Then three ribbons of quadruple weave and six rows plain weave; then three ribbons of quadruple weave and six rows yellow brown rattan; five rows plain weave—dull purple rattan; nine rows plain weave—branded rattan; five rows plain weave—dull purple rattan; three rows of quadruple weave—dull purple rattan; three ribbons of quadruple weave—natural rattan; three ribbons of quadruple weave; two rows of 55  PRACTICAL BASKET MAKING. paired weaving when it should measure 93/4 inches high and 34 inches in circumference. Soda the spokes thoroughly, if the basket has been left a good shape so far, it may be turned upside down in a large bucket of hot water and soaked only to the last weaving. A woman wearing a patterned dress and a light-colored cardigan, sitting on a woven basket. She is holding a piece of cloth in her left hand. MERCEDE NOLASQUÉZ, A PALATINO BASKET Weaver, SOUTHERN CALIFORNIA. Crush the spokes over as nearly flat as possible and weave five rounds more at each end, then turn the basket right side out. Run weaves, keeping the spokes still flat, when it should measure eight inches across. Border.--First row--each spoke back of next spoke to the right, and out; second row--under two spokes to the right; third row--over two spokes to the left. Dyes.--These are described in the chapter on dyes. 56  PRACTICAL BASKET MAKING. RAFFIA AND REED BASKET MAKING. GENERAL DIRECTIONS. There are many and various articles that can be used in coiled weaves of raffia and reed, but the following are the most useful of all these. Needles.—An assortment is useful if a variety of baskets can be made. Buy a paper each of Nos. 8, 10, and 12, blunt and sharp. You will save time by having them ready when needed. Preparing the Raffia.—Soak in boiling water for an hour or more without stirring. Rinse thoroughly. Hang up and allow to dry slowly. Preparing the Reed.—Soak in boiling water for an hour or more without stirring. Hang up and allow to dry slowly. Leaving the Raffia to Work with.—Soak this end in hot water for an hour or more until soft and pliable; they dry with a cloth. Fig. 33. Hois Sacred Meal Plateau, made of Yucca Splints and Grass Inner Coil. Threading Needles.—There is a right and a wrong end of the raffia. The right end, which is the one that is used first, is the one that is darker and harder than the other. This is the end cut from the parent stem just before working if raffia is soaked and wiped, or wrapped in a damp cloth while drying. Beginning Actual Work.—Sharpen the point of the reed, tapering about six inches, just as you sharpen a lead pencil. Now bend the root on the left hand near the pointed end, and hold it firmly. Hold the reed firmly in the left hand near the pointed end, and the 57  PRACTICAL BASKET MAKING piece of reed, beginning at the heel, under the thumb. Beginning about three-quarters of an inch from the heel, take one end of the reed, wind one strand of reeds to the point. The point should then be bent back, so that the two strands will be on opposite sides, and fastened in this position by taking a stitch firmly around the outer reed. Holding the cell in the left hand, wind the reeds once around the cell, making a short stitch with the needle through the center of the cell, then making another long stitch. Be sure that these stitches are made with equal tension. When the reed is called to make the basket larger one can make the Hopst stitch, as shown in Figure 8, which is the Lany stitch or others that will be described later. The Hopst Stitch.--This is shown in Fig. 33 as just the Indians use it. In making this stitch, first make a short stitch under and then over and under cell forward, down and back between the two, making the figure 8. Thus it will be seen that each cell is covered twice over with this stitch. This stitch is sometimes used for fig- ing out a design where a different color is to be used. The colored piece is placed under the first stitch and then brought up beneath the cell before it begins. At first this is a little confusing, but prac- tice soon makes it easy. The Lany Stitch.--Wind reeds once around the outer coil, then once around inner and under, and continue this alternate short and long stitch until all cells are filled. This stitch is called the Lany- stich may be made, as for instance, taking two short and long, three short and one long etc. To Splice Reeds--When necessary to splice the reed, wet and shave Fig. 34. Method of Making Figure 8 Stitch. The Fig. 8 stitch is a white woman's invention. No Indian was ever known to use it. Fig. 2 shows how it is made. The thread passes over the outer coil and under the inner coil, then over and under coil forward, down and back between the two, making the figure 8. Thus it will be seen that each cell is covered twice over with this stitch. This stitch is sometimes used for fig- ing out a design where a different color is to be used. The colored piece is placed under the first stitch and then brought up beneath the cell before it begins. At first this is a little confusing, but prac- tice soon makes it easy. The Lany Stitch.--Wind reeds once around the outer coil, then once around inner and under, and continue this alternate short and long stitch until all cells are filled. This stitch is called the Lany- stich may be made, as for instance, taking two short and long, three short and one long etc. To Splice Reeds--When necessary to splice the reed, wet and shave Fig. 35. Splicing Weavers. the end of both old and new piece, or cut out from both so that they will fit together, as shown in Fig. 60. Bind tightly with small piece  PRACTICAL BASKET MAKING. of raffia or thread and if necessary sew through several times in order to insure stability. To Splice—When your needle seeds reproducing with raffia, wind the new thread two or three times very firmly over the old thread, a little ahead of the stitch you are making, so that as you continue to new the stitches will cover the point. Introducing Design.—At first it is best to work with but one color. When you have become proficient in working with one color, use Space, rather than number of stitches, controls design. It is not so much a matter of how many stitches you make as of the amount of space a certain part of the design occupies. Fill up this space with raffia, even stitches showing how many there are. Some weavers cut out the spaces in the pattern before they begin to weave, and when they are ready to introduce the design they place these "dum- mies" in their basket. This method is not recommended. Introducing the Colored Stitches.—This is done exactly as if you were using a new medallion of raffia. When white raffia is to be again intro- duced, it is not necessary, however, to cut off the colored, except if the design calls for it. The colored raffia is placed on top of the reed and sew over it, thus hiding it until it is again needed. In choosing your reed you again remind you that in the Figure 8 stitch your colored threads cover two coils, for the upper and lower part of the S. Figure accordingly for your design. The Shape of the Basket.—Thus, of course, has been thoroughly de- scribed by Mr. W. H. H. Smith, who says: "If perfectly upright baskets are required, the coils are placed absolutely one above another. If not, they may be placed at any angle desired." In this case your coil must be just a little outside of directly even, and move according to the rapidity with which you wish the basket to expand. To make a neck or a handle, simply place your coil on top of another or under one coil a little inside of the coil below. Putting on the Border.—Point the reed just as at the beginning. Trim over the last row with a simple stitch over and over, sewing into the next row with a simple stitch. To Begin on Oval Basket.—Prepare reed and raffia as in any other basket. Decide on length of bottom. Bend reed so as to give desired length. Bend slowly or may break. If it split the spool can be cov- ered with cloth. Now hold reed in left hand, short piece downwards, as in Fig. 34. Wrap enough raffia around end of reed to make smooth and even. Now begin to make a stitch, drawing both ends together closely as the stitching proceeds. 59  PRACTICAL BASKET MAKING. BASKET, BY FRED S. BOUGHTON, PITTSFORD, N. Y. This basket is made of the Figure 8 stitch. Materials required—Red raffia, ¼ skein; natural raffia, 2 skeins; gray raffia, nearly 1 skein; No. 2 rattan, 5 cents worth. The star in the bottom of the basket is of a blue gray color, the rest Basket Made by Fred S. Boughton, Pittsford, N. Y. Fig. 37. Basket Made by Fred S. Boughton, Pittsford, N. Y. of the bottom being of the red of the white berry. The ground work of the sides is of natural colored raffia with figures of the red. Size.—The bottom is seven and one-half inches across (7½) and the top eleven and one-half inches (11½). The basket is three inches high. The center of the bottom up to where the red height is ten coils. From that point to the base of the plant is thirteen coils. The plant is made of two rows of star points, each row having one stitch of red up to about thirty-eight stitches between the extreme points. 60  PRACTICAL BASKET MAKING. There are eighteen niches of gray between the first stitches of red, decreasing gradually to one on each side of the branching figure in the side; the branching figure begins first, the first part a stem beginning with two niches of red and continuing up five coins, when the branching begins. The first stitches of the large pieces are put in on the next coil at equal distances from each other, and continue up to twenty-one coins one stitch up to thirty. The stem of the branching figure is two stitches wide and extends up to the top of the figure, but does not show except where the spaces of white are put in on each side of it. The first The Celebrated Ramblesale Basket branch is one inch across, two coils broad and at equal distances on each side of the stem. Above this branch are two squares of white, two coils wide, one square above the upper points of the first branch on each side, and are three quarters of an inch wide. Below these squares are two coils broad, enclosing the squares of white in the centre. The next branch is an inch broad (including stem) and two coils up, with two squares of white above that they are enclosed by two coils broad. Between these are two inches across two coils up, meeting the squares of white. Between the last squares of white and the border is a coil of red one inch wide, which is continued round all the red points. The whole is finished with a border two coils up old red. 64  PRACTICAL BASKET MAKING. THE REINDEER BASKET. (Made by Mrs. E. A. Hayes, 33 Alton Place, Brookline, Mass.) Though the photographer has made it appear like a plaque, it is really, with a diameter of inches high, 35 inches around the top, 17 inches around the bottom. The stitch used is the figure 8, made over No. 4 reeds. Materials used.--One lb. natural raffia, ¼ lb. dark brown, ¼ lb. black. The Reindeer Basket, made by Mrs. E. A. Hayes, Brookline, Mass. Fig. 38 62  PRACTICAL BASKET MAKING. LAZY STITCH. With illustrative baskets made by Mrs. J. H. White. This is a popular stitch, and derives its name from Mr. E. E. McLeod, of Bakersfield, Cal., in describing one of the baskets of his fine collection. It is very doubtful whether this name for this stitch was ever heard by an Indian. The Kern County and other Indian weavers (Monos, A woven basket with diamond patterns. Fig. 30. Waste Basket, made by Mrs. J. H. White. Paintis and Yokuts) say it is used because of its beauty. When a basket is not required to hold liquids it is quite common, especially when a large quantity of material is used. Starting the Basket.—Begin exactly as described in General Direc. 63  PRACTICAL BASKET MAKING. taces. As soon as the start of the tiny coil for the bottom is made we are ready for the lazy man's basket, simply a long and short stitch. The long stitch goes over two coils, the short over but one. It is a rapid way to make a basket, and one that will please all who like baskets. The stitches are taken towards you or from you. Some Indians work one way, some the other. Follow whichever method you find to be most prac- tical. Dimensions of the Basket.

Diameter of bottom	7 inches
Diameter at the top	6 inches
Circumference at the same point	34 inches
The circumference of the upper rim	29 inches
Height of basket	11½ inches

Material Required.—This is approximately as follows:

No. of reeds	100
No. of brown reeds	50
No. of black reeds	50
No. of red reeds	50
No. of light Indian red reeds	50
No. of dark Indian red reeds	50
No. of white reeds	50

The colored rafters was dyed with vegetable dyes and was procured from the Arts and Crafts rooms, Hingham, Mass. Decide upon the size of your basket by cutting out a piece of paper the size and shape of the basket. Then outline upon it the design required. This will act as a guide as you proceed. The first line of stitches is placed on the outside when the second coil is reached; the long stitches are placed over the corresponding short ones excepting those which are to be used for widening purposes. The purpose of widening as the coil grows larger, and, therefore, requires a larger number of stitches to cover it. Widening is done by placing two long stitches over one short one. I find it best to work always from the right to the left. Continue this until the entire basket has been preveded of the size desired for the bottom, viz., 7 inches. Making the Sides.—The sides of the basket are made by placing the reeds in such a manner that they may be worked into a circle perpendicularly so that each end shall be held exactly above the last row of stitches. The innermost row of stitches must be worked so that they should be held above and a little outside of the row last made, and to diminish the circle or to shape the basket inward the reed should be held above and a little below. Introducing the Color.—Place the colored rafters under the inside of the basket, and then place them in their proper places on both sides. The colored rafters should be carried inside the stitches halfway down the reed except at places where it is desired that the color should ap- pear, and these places can be taken with in its designs re- quired. In this way many colors can be used at one time, the colors not used in any stitch being concealed under it. Finishing Off.—Put the edge on the basket as given in General Directions, and then you can as possible begin to experiment on different colors and styles of finish. 84  PRactical Basket Making THE MAIDEN-HAIR FERN BASKET, LAZY STITCH. The basket here pictured was made by one of the best weavers of New England, Mrs. M. G. Jones, 13 Landacre St., West Roxbury, Mass. She kindly sent me a sketch of the basket and directions for the making of this basket. She writes: "The following description may seem to be rather long, but I have found that many who have picked out her instruction from books, and thus taught herself to do basket work, have been disappointed with the results." It will be well for weavers to compare these instructions with what I have written in the General Directions. Materials: 100 strands of No. 3 oz.; Raffia, Natural, 2 oz.; raffia, green, 1 oz.; raffia, seal brown, 12 strands. Size of basket.-Diameter of bottom, 6 inches; height, 3/4 inches; circumference of largest part, 3/45 inches; diameter of top, 6/5 inches. Maiden Hair Fern Basket, made by Mrs. M. G. Jones. Select a pliable reed--try it two or three inches from the end, to find if it bends easily when held between thumb and forefinger; then dip in warm water--longer in cold water. Hold it firmly in left hand about ten inches from working edge, and draw it several times between thumb and forefinger until it becomes pliable. Reeds curl naturally in one direction; take advantage of that in pre-paring the reed for weaving. Draw it first from right to left, then left to right, beginning about an inch back from the end, cutting it at slight grad- ual curve toward the working edge. Divide the raffia into two strands. Thread a No. 8 blunt tapestry needle with one of the strands. Take the prepared reed in the left 65  PRACTICAL BASKET MAKING. hand with the prepared point toward the right hand. Place the knot- end of the reed on the left hand, and draw it through the first two inches from the end—hold it firmly with left thumb and finger. Now wrap the shirving much of reed smoothly, over and over—from you to within about three inches of the knot-end. This wrapping is to keep the reed from breaking or splitting. Now turn back just the amount that was wrapped, and place the point of the prepared part of the reed. Turn it again and again until the shaped part has been reduced to a point. Then take up the reed at the knot-end, but not too far from it. The rolling of the thin part of the reed makes a button of very proper size to the reed. Keep it in smallest space possible, and roll it around the button once or twice, then over and over (bringing the needle up from below) two or three times until all the reed is rolled into a neat little ball. Now take up the reed over the button with the regular figure 8 stitch—then—Wrap the raffia over the button round, round, round, until you have made a neat little upper round—over the upper round—toward you—back again from between the button and upper round. This time, lacing the needle up through one hole of each stitch, you will find that you can make it at first. Continue thus, until you have worked around the button to where it is necessary to make another button. Then take out one side button, take one stitch ahead between the two reeds, and you are started on the continuation of your work. Be careful to do this catch stitch firmly to its place, by hand, not from the needle's eye, as that wears and breaks the raffia too much. Be sure that all stitches are even in length, and that they are placed evenly. It may be drawn into the next stitch, giving a rough look to the work. In taking the first regular stitches in the button, cut the reel, a little big, this way—that is, cut off a little more than half of its diameter exactly to the coil. Do this for every stitch while the coil is small and work smoothly. When you come to where it was commenced, it is better to take one stitch less, to fill it, than to make it too large. It is well to leave a little space between each stitch. If the raffia has not filled the center of the button, and if by pressure of thumb nails the raffia cannot be pressed to fill the space, settle down your work. When a new thread of raffia is required, be sure that the last stitch of the old raffia is left off on the lower half of the figure 8 stitch, then the needle is brought under both edges of this stitch and through the needle, thread again with new. Take up the basket ready to sew. Draw up a little more than half of your thread through this stitch. On the left hand, place the end of the new raffia over all—hold them with your fingers as shown in figure 10—and bring up with your left hand. Now take these new raffia, and wrap the upper round, toward you— twice, the second wrapping to close close up to the last stitch of this old raffia—then carry them down under this old raffia and wrap them. Work two stitches, before loosening the firm hold on the raffia—then— carry them down under this old raffia and wrap them—then tighten stronger by sewing over these several regular stitches, then cut them off. To introduce color, start the same as new piece of raffia. Carry the natural raffia along under the colored raffia, until it is 66  PRACTICAL BASKET MAKING. needed again, when, put under the color, and bring out the other; al- ways leave off stitches on the lower part of the figure 8 stitch as a new color is brought up, and bring out the old one, and so on, towards you (for the upper part of the figure 8 stitch) it brings into use and keeps in place the color. To shape the basket always start along the line up from where the coil was commenced, and for this reason, after working an inch or two the shape of the basket will be seen, and by taking a piece of paper with a hinting of colored ruffia, to readily locate the place where colors should begin, the sides turned up and the basket finished. The worker is to hold the outside of the basket toward her. This basket it to flow. Sew a few inches along the reed as usual—then Fig. 41. Baskets by Miss Nelly Sutton, Detroit, Mich. press the reed upward, to flare very slightly—and so on, every few inches. This gives a more symmetrical shape for a beginner than to raise it all at once. When the first coil has been made and it has been reached, begin, at the right place (along the line up where the coil was commenced), and sew a few inches straighter up—the next time around, straighter still, and so forth until you have reached your desired height. Then press the reed slightly inward and so on for several times around, when you can press it inward almost flat, if it will conform to proportion and symmetry. Doing this will give you a good basket that will not be too flabby around to finish off a basket, slant the upper part of the last reed for two or 67  PRACTICAL BASKET MAKING. A black and white photograph of a woven basket with a lid. The basket is circular with a textured pattern on the exterior. The 6th. Figure of woven Basket, by Mrs. Milne. Fig. 63. Jewelled Basket, with Cover, by Mrs. Milne, Rutland, Vt. P. 108  PRACTICAL BASKET MAKING. three inches, down to a point, making sure that the point is in line with the beginning of the coil. The last few stitches can be sewed over and over, until they are quite tight and neat. The design on this basket was taken from nature. A leaf of maidenhair fern was pressed, a section sewed on paper, and placed before the worker to do the best she could with it. LAZY STITCH BASKETS. By Miss Nelly Sutton, 415 Woodward Ave., Detroit, Mich. The accompanying photograph of baskets represents a bowl-shaped basket made of No. 2 reed and raffia in natural color and dark brown. The stitch is the "lazy stitch." The basket is 41/2 inches deep and 9 inches wide. The other basket is done in the same colors on a No. 4 reed in plaque stitch. I sewed some twine in with the reed to sew to. JEWEL BASKET. Made by Miss Ella M. Ballance, Quinn Building, Rutland, Vermont. Size of basket—Diameter, at inches; height, at inches. Material used.—No. 2 reed, raffia, natural olive green and seal brown. This basket is made of two pieces of No. 2 reed. The first piece (lazy stitch), with natural raffia, which is split twice (more if the pieces were very large), twenty-one coils complete the bottom; for the last coil, cut a piece of raffia about three-eighths inch wide. This piece for the side is made, for one coil, when the diamond design is commenced. For the design the stitches are divided as follows: first coil: one stitch natural; two coils: one stitch natural; one coil: two stitches green; three coils: one stitch green; four coils: one stitch green; five coils: one stitch green; six coils: two stitches natural; seven coils: all natural. Then five coils "lazy stitch," and eight coils "lazy stitch" completes set of half diamonds. The cover is commenced with a spider's web in green; then two coils lazy stitch in green; then two coils lazy stitch in natural; then four coils lazy stitch, which are followed by eight coils lazy stitch in natural; four coils lazy stitch, natural with green; seven coils lazy stitch in green. This completed cover is repeated around the basket. The pattern is a repetition of the diamond pattern employed in bottom of basket, the finish being one coil of twine with natural raffia. Lining of green silk shade lighter than raffia.  PRACTICAL BASKET MAKING. LAZY SITCH BASKET. Made by Mrs. F. A. Mangold, 614 E. 10th Ave., Denver, Colo. Dimensions.—Bottom diameter, 5 inches; top diameter, 3½ inches; middle diameter, 3 inches (at 6½ inches high); height, 9½ inches; weight, 8 lbs. Materials used.—10 lengths of No. 2 cord; 1 bunch of raffia, nat- ural; 2 bunches of raffia, rot; 1 bunch of raffia, black. A lazy stitch basket made by Mrs. F. A. Mangold. Fig. 35. Lazy Stitch Basket by Mrs. F. A. Mangold, Denver, Colo. Make bottom as in General Directions, using the lazy stitch. When it is of the required size begin pattern where you begin to turn basket up. Mark off seven divisions and take first two stitches in black, then two in natural raffia at each division. Turn basket up and continue with natural raffia to next division, and proceed as before. When four rounds like this have been made, move forward two stitches, thus forming the spiral. Stich off top in black. 70  PRACTICAL BASKET MAKING. LAZY STITCH WORK BASKET. Made by Mr. A. A. Dodds, 325 Lexor Ave., New York. Dimensions--It is 6 inches in diameter at the base and nine at the top, and 5 inches high. Materials--No. 3 red, one pound of natural raffia, ½ pound of brown, and ¾ pound of green. Make the bottom as in General Directions until you have 20 cells, or a half inch in diameter. After turning up the sides continue until you have five reeds up from the base. Then thread the needle with green and sew around Fig 44 Inner Basket by Mr. A. A. Dodds, New York. twice. Then use brown for four, natural for three, brown for four and natural for eleven for two sections. You will need 18 cells of this reed. Then use two stitches for each leg and go around five times for the legs. The width of the body is eight stitches of brown. The third time for the head, then make two stitches on right and one on left between each body. After first time take one stitch on right and one on left between each arm and continue until all the arms meet the body 13 rounds farther up. For the neck 3 stitches of brown for two rounds, 5 for the head 2 rounds, and 7 for the toes around with green, and 2 with the natural, and the basket is complete. 71  PRACTICAL BASKET MAKING. LAZY STITCH WITH SOFT INNER COIL. With illustrative baskets made by Mrs. Charlotte Wilkinson, 86 E. 4th St., Corning, N. Y. In the Lazy Stitch baskets here described the material of the inner coil has been used--a soft material which can be woven with a wide variety of substances; generally whatever is most convenient and best adapted to their purpose. While weaves are valid, or wide grades of materials. Fig. 45. Lazy Stitch Basket, with Soft Inner Coil, by Mrs. Charlotte Wilkinson, Corning, N. Y. There is no difference in the method of making the stitch. It only requires a little different mind on the part of the weaver to see the soft nature of the coil. Also the weaver must see that as the material decreases the size of the stitches will also decrease, and vice versa. Size of Basket--Top, 6 inches in diameter; bottom, 5 inches in diameter; coils, 5/16 inch in diameter; circumference of largest part 39 72  PRACTICAL BASKET MAKING. \textit{nches}; height, 15 inches; diameter of neck, smallest part, 4½ inches; it is not more than 6 inches circumference to draw in for the basket. Starting with the basket frame, make five holes in the bottom of the radius, firmly, wind the end with radii for about an inch. Then make the but- ton coil as tightly as possible. Now wind the coil, say five times, then fasten it by winding the radii around it. (It will be noticed that Mrs. Wilkinson does not make one short and two long stitch, but two short and one long. See the photograph for the result.) Four coils from the center, divide the basket into four parts and begin by winding them in a circle. Wind the first three coils in orange, then the width of orange and blue together, putting orange on each edge. The fourth coil is made of blue and white, making the same as first row. This makes a neat little figure for the bottom. For The Sides.--Follow General Directions. In making the turn to shape the bottom it should be done so gradually that it won't make the basket too tight. After this is done, wind three coils of white to shape for the sides. Three coils plain weaving will make it ready for the next row. Divide the circumference into seven equal parts, beginning seven half diamonds. The center is all blue bordered, with two threads of orange between each diamond. The rest of the basket is all orange. On top of this figure make a whole row of blue, then a row of orange. The first row of blue is made by winding three times around the outside then two blue, two green, widening the figure with red, and black in center row, for three rows, making a little figure of black in center of diamonds. The second row of blue is made by winding three times and three times diamond-shaped figures of black and red. The top diamond looks very different from the lower one, using the same color of cloth only making the blue the most prominent instead of the red. Narrowing for the Neck.--This is done by following the reverse process except that it is worked in a circle. Make a circle of cloth round the neck seam, weaving it firmly into place. The next coil press in still further until the basket is narrowed to the required shape. The Neck.--This is made by keeping three coils about even, one each side and one in the middle. The neck is made up of four colors, natural color, divided in sections by two stitches, each of orange, blue, green and black. The Top.--The top is finished with four complete coils of color. First red, then orange, then green, then blue, flaring as described. The top is finished by winding a small circle at its base called the shoulder, as will be seen from the illustration, consists of four com- plete coils. The first is blue, next orange, next green, next red. Finishing.--The basket is finished off with a point; then finish as per General Directions. I have given Mrs. Wilkinson's color scheme as she describes it, but cannot commend it. 73  PRACTICAL BASKET MAKING. THE KNOT STITCH. This has sometimes been called the Lace Stitch, and the Mariposa Stitch, but the Mariposa Indians never used it, as far as I can learn, hence it is merely a special name for this stitch. Starting the Basket—Begin exactly as described in General Directions. The Knot Stitch.—There is really very little difference between this stitch and the Lazy Stitch or the figure 8, except that in this it is best to wind the upper thread around the lower one three times before going up between the two coils and then down again between them. Then cross over this stitch to the right, going down between the two coils and then up again between them. Then cross over this stitch to the left, going down between the two coils and then up again between them. Then cross over this stitch to the right, up, back of crossed stitch, and over again. This is made the knot stitch. It is simply changing of the long stitch at the beginning of each row into a short stitch. The number of rows and design of any of the other coil stitches. Fig. 46. Method of Making the Knot Stitch. Color is introduced in this stitch as in the other stitches. See General Directions, not forgetting that each stitch goes over each coil under, and that it is not the number of stitches that count much as much as the space to be filled with color. The color should be chosen according to your design in the color chosen regardless of the number of stitches. Mrs. Batchelder and pictured in Fig. 47. For an Oval Basket.—This weave is well adapted for such a basket as pictured in Fig. 48. Material required.—5 ounces No. 4 reed; 2 ounces black raffia; 24 ounces natural raffia. Measure off about 6 inches of the reed, and after soaking in hot water until dry, bend so that the main length of reed and the measured off place lie side by side. Carefully lay out the reed on the frame 3/4" apart with equal width. This is important, as the beauty of a basket of this nature depends largely upon the perfection of the stitch. 74  PRACIYAL BASKET MAKING. Beginning to 12 inches--Take the best root in your left hand, so that short end comes next to the long end of the basket. Now begin wrapping, with the long end of your raffia (not the middle end), towards you, over the basket, and then under it, until the whole length of the weaving is covered or splitting is covered. Now make one lace Stitch, which consists of a short stitch over one reel, and a long stitch over both reels. Now proceed to make two more lace Stitches, each one being equal to half the size required. For rounding up the side, introduction of color, etc., see General Directions. BASKET OF MIXED STITCHES. RAFFIA CRISP BASKET. By Mrs. Alice M. Batchelor, Exeter, N. H. Materials needed--One-half pound per No. 4, six ounces natural raffia, two ounces old blue, one-half ounce black, the colors being vegetable dye. From start to finish there are one hundred and three rows of weaving. The center, which forms the bottom of the basket, is at starting point. Wear a No. 4 reel, when pliable coil so the center will be half an inch thick. When you have made four rows of weaving, take a new figure 8 stitch, going from one side to the other to fill in the hole having four stitches on each side. Hold the reel firm and sew four stitches on each side of this new figure 8 stitch. Col raffia round the reel until it reaches her first four stitches; sew now another figure 8 stitch, filling in the hole between these four stitches even distance apart (until the raffia once over the reel after every ninth row). Then take a new figure 8 stitch, filling in the hole between the fourth row, make three stitches, then col these three stitches, having the coil same length as the three stitches (this is lazy stitch), continue to end of row. Eleventh row, two stitches above the third, coil between. Twelfth row, two stitches below third row. Thirteenth row, two stitches above one coil between. Increase stitches on every row until they meet all round, then decrease again to number given in diagram. We have now reached the twenty-fourth row. This is sewed in the figures shown in diagram. See these stitches very close together, sewing very tight on each side and making them square. The next row is sewed by pulling out further as you near the four corners for we are beginning to make the bottom square. Cut two pieces of No. 4 reel four inches long; cut--the end of each tapering to a point. When the reel is sewed round, let the next one come from this point and make a square corner. Then cut another reel in very slightly cut on the outer edge to make it turn more square; the reel being sewed in this way I then cut four more points for each piece as before mentioned corner thus making a square. With this row in finished we have an 8½-inch square for bottom of basked. 75  PRINCIPAL BASKET MAKING. We are now ready to make the sides. Hold the reel on top of the preceding row and make one blue stitch over two, one red every eight and one-half inches, and sew same as in the beginning of basket. Third row, one blue stitch begins, making groups of three stitches with coil over two stitches. Fourth row, two stitches over three. Fifth row, one blue stitch over four. Sixth row, two over one. Seventh row, one blue stitch between each two. Eighth row, two between each, with one blue stitch between each two stitches in preceding row excepting in the corners. Ninth row, two blue stitches each side of corner, one white Basket of Mixed Stitches, by Mrs. Batchelder, Exeter, N. H. stitch, coil, make one blue stitch each side of every other blue one in preceding row, and sew same as in beginning of basket. Tenth row, corner three over two of blue, coil white until you come to the one blue stitch which you coiled over in preceding row, make 16  PRACTICAL BASKET MAKING. two blue stitches, both with white to next one blue stitch over which make two blue (repeat) stitches, then one blue stitch over each white stitch. Eleventh row, corner, blue four over three, cell white until next first blue stitch over each white stitch. Make these stitches every half inch on side over the stitch. Twelfth row, corner blue five over four, cell white, make a stitch with a white thread between each blue stitch. Thirteenth row, corner blue six over five, cell white, make a white stitch between each blue stitch. Fourteenth row, corner blue seven over six, cell white to second stitch in preceding row, make one blue stitch with cross stitch each side, cell white to center of preceding row, make one white stitch between each blue stitch. Each side of stitch, cell white to next, make two blue, cell white to next, make two white stitches between each blue stitch. Then make three groups of two blue cross stitches, two groups of two white cross stitches. Fifteenth row, corner one white, one blue, one white. (The first white is exactly in the corner.) Cell white to center of preceding row, make one blue cross stitch, cell white, make one white stitch between each blue stitch (repeat). Sixteenth row, corner one white, one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in preceding row (repeat), cell white to center of preceding row, make one blue cross stitch over two in succeeding Seventeenth and eighteenth rows are cut at corners but hold firmly (the reef before hand). Corner five cells clockwise; nine cells clockwise stitches over nine cells clockwise; ten cells clockwise stitches over ten cells clockwise; twelve cells clockwise stitches over twelve cells clockwise; fourteen cells clockwise stitches over fourteen cells clockwise; sixteen cells clockwise stitches over sixteen cells clockwise; eighteen cells clockwise stitches over eighteen cells clockwise; twenty-four cells clockwise stitches over twenty-four cells clockwise; thirty-two cells clockwise stitches over thirty-two cells clockwise; forty-eight cells clockwise stitches over forty-eight cells clockwise; sixty-four cells clockwise stitches over sixty-four cells clockwise; eighty-one cells clockwise stitches over eighty-one cells clockwise; ninety-six cells clockwise stitches over ninety-six cells clockwise; hundred and twenty-five cells clockwise stitches over hundred and twenty-five cells clockwise; hundred and fifty-six cells clockwise stitches over hundred and fifty-six cells clockwise; hundred and seventy-seven cells clockwise stitches over hundred and seventy-seven cells clockwise; hundred and ninety-nine cells clockwise stitches over hundred and ninety-nine cells clockwise. Remarks—The old hobo this basket I dyed last spring while ex- perimenting with dye of various colors. I find that the design is very well photographed for it is origi- nal. I have never made or seen a hobo like this. The shape and design are both original. The design does not appear as hoboine in the photograph as it is in the original. THE HOPI STITCH. With illustrative hucket by Mrs. Alice F. Rollins. 320 E. 14th St. Minneapolis, Minn. This stitch is exactly the same as main principle as the Havaanpa stitch used by the Hopi Indians. It is made by making a double and single aide yucca fiber. Instead of the harsler willow splints. The Hopi uses  PRACTICAL BASKET MAKING. for the filling of the inner coil the stems of a native broom corn. The white weaver may use any plant that she finds in her immediate neighborhood. Some most wonderful effects can be obtained by the use of plants that plague by this weave, as will be further shown by the illustrations. To begin the basket make a button coil as described in General Direc- tions and in the descriptions of the Haukamap atchis, filling the coil with A Hopi woman weaving a basket. Fig. 48. Kuchy-rang-o, the Hopi Weaver. as much soft material as you desire. In Fig. 48 Kuchy-rang-o, the Hopi weaver, is shown in work of her basket making character. The white weaver, however, uses a needle of threaded raffia instead of the bone, which is used by the Hopi. The button of the coil made, the weaver brings her raffia around the coil, taking care to see that it lies flat on the grass, and that it is drawn 75  PRAGNAT BASKET MAKING. as tight as possible. Now, turning the basket over she thrusts the needle through the upper edge of the raffia, and draws the thread tight and then makes another wrapping of her raffia thread, sews through the coil again, and so on, till the bottom. To introduce Color.--Sew the natural raffia a few coils further than needed to make the basket, and then sew a few coils of colored raffia, sewing over the natural raffia and thus binding it tightly in place. When you wish to abstruse the color and go back to natural, or some other color, do so. Making the Design.--In the flat plaques of the Hopi's geometrical designs used are most marvellous in their variety and interesting diversity. Every possible combination has been worked out by these inventive Hopi Stitch Basket, by Mrs. Alice F. Roffino, Minneapolis, Minn. Fig. 49. Hopi Stitch Basket, by Mrs. Alice F. Roffino, Minneapolis, Minn. ous people. Suggestions can be taken from these pages. Decide on the size you wish the plaque to be, then cut a sheet of paper to correspond with your design. The paper should be cut out exactly as desired, draft upon them the design to be copied, and as the work progresses copy it carefully and accurately. For other than a flat plaque follow General Directions. Mrs. Roffino's basket is made entirely of raffia, and the following is but one example of her work: Material.--Raffia, white or uncolored, 34 pound; raffia, brown, 34 pound; 1 crewel needle, No. 2. 79  PRACTICAL BASKET MAKING. This basket is made by trimming the raffia weaver around a coil of raffia and sewing into each stitch below the sole. The beauty of this basket depends upon the uniform size of the coil, the straightness of the stitches, and the neatness of the finish. To start the basket select enough raffia to make the coil $j\frac{3}{4}$ of an inch in diameter, putting the large ends together. Dampen the raffia and insert a pin through both ends between the channs and fingers of the left hand. Cut thus even. Thread the needle with white thread and sew a few stitches. Place at the end of the broken raffia along the end of the coil and wind around you for a few inches. Then cut off the raffia and trim it to an even line as small a ring as possible. Coil to the left, twine around the coil once and sew into the channs below, pulling the raffia through, the coil from the free end. When all are sewn, trim off any excess raffia that is needed to keep the coil uniform. Sew in this way until you have 3 coils. Now take up one of these coils and place it on your lap. Take a white strand from the coil. Sew with the white raffia until you have 6 stitches. Then change to the brown and sew a row, then sew a row of the white. This finishes the bottom of the basket, which should be perfectly flat. Now take up another coil and proceed in exactly the same manner to the bottom and sew a row or white beginning the side of the basket. Double back on itself and sew a row of white. Change to brown and begin the pattern at any point of division as follows--Sew 6 stitches of the brown, then 7 stitches of the white, turn 6 stitches of the brown, then 7 stitches of the white, turn 6 stitches of the brown, then 7 stitches of the white, etc., until you reach a point where you have changed from brown to white. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Repeat until you have begun at any point desired. Third row, this is made as the second row but only there are 4 stitches instead of 5. The first stitch is placed in a hole in one of the brown stitch below and ending a little to the left with white stitches in the middle. Fourth row, this has 5 brown stitches, 5 white stitches, 3 brown stitches, then white stitches to the next figure. Fifth row, this has 6 brown stitches, 5 white stitches, then 6 brown stitches with white stitches to the next figure. Sixth row, this has 6 brown stitches, 4 white stitches, then 7 brown stitches with white stitches to the next figure. Seventh row, this has 7 brown stitches with all figures having 6 rows, then sew with the white to within 6 inches of the first figure. Seventh now, figure started again. Now sew 3 brown stitches, then 3 white stitches, then 3 brown stitches, then 3 white stitches, then 3 brown stitches, then white edging to within 6 inches of the next figure. 80  PRACTICAL BASKET MAKING. Eighteen row, this has 3 brown stitches, 3 white stitches, 15 brown stitches, 3 white stitches, 2 brown stitches then white stitches to the next pattern. Ninth row, this has 3 brown stitches, 4 white stitches 15 brown stitches, 4 white stitches 3 brown stitches, with white stitches to the next pattern. Tenth row, same as ninth row, with 3 brown stitches, 5 white stitches, 14 brown stitches, 5 white stitches, 3 brown stitches. Eleventh row, same as tenth row. Twelfth row, same as eleventh row. Thirteenth row, beginning with the bottom, sew 29 stitches, the last one coming over the last one of the bottom stitches in the row below. Fourteenth row, same as thirteenth row. Fifteenth row, then 5 brown stitches over 3 brown stitches then 2 white stitches to the next figure. Sixteenth row, sew 15 stitches of the brown, having 5 stitches in the middle of the 15 stitches directly over the 6 brown stitches sewed in the fourteenth row. Then sew two white stitches between these figures. Seventeenth row - a brown stitch directly above the middle of the 15 brown stitches in the fifteenth row. Repeat until all figures are finished. Now sew 2 rows of white raftie. When within 2 inches of the point end cut it off to point and join it on as shown in the illustration. (The Thirteen and Fourteen rows are not shown.) The illustration shows being 8 inches in diameter at the bottom and 10 inches at the top.) Repeat this process until you have made a basket which is made as follows: Thread the needle with brown raftie (not too fine). Hold outside of the basket towards you and sew through the top of each stitch. Then turn basket inside out and sew through the bottom of each stitch. This will give you a basket which is in fifth advance of starting point. By sewing backward and forward in this way we get the braided effect, as shown in Fig. G3. THE HAVASPAUI STITCH. This is one of the commonest of the coil stitches used by the Indians, but most white weavers have ignored it for the easier and A diagram showing how to make the Havaspaui Stitch. Fig. G3. St. How to Make the Havaspaui Stitch. white woman's Figure S Stitch and the Lazy Stitch. Fully fourths of all coiled baskets made by the Indians are made by this weave. 81  PRactical Basket Making. The Havanese are an interesting people. Their name is made up as follows: "Hava," meaning water, and "nese," per "the people of the Blue River." In my books entitled "In and Around the Grand Canyon" I have written that "I have had some idea of their life and moreover picturesque home." Preparing the Material.--For the inner material of the coil the Indian uses a piece of bark, which is split into two parts, and generally the latter. For wrapping the coil, splits of willow, made by splitting the willow into three equal parts and then shaving down the pith side, are most commonly used. The bark is split with a knife, and the white paper may prepare these materials if she will agree to go to a trade fair. The use of bark for making baskets is a practice which will soon become familiar. Her work will then more nearly approximate real Indian work than ever yet attained. Making the Coil.--The coil is made in two ways, one as it clearly shows how this is done, no matter whether the material of the inner coil be a strip of horse straw or reed, or two or more fine willows. Here it will be observed that the coil is wrapped but once, and thus instead Fig. 53. The Herring Bone Finishing Stitch. of circling the lower coil as well as the new one, as in the Figure 8 Stitch, a hole is made with the awl through the upper part of the lower coil, and then through the upper part of the new coil, and then through again on each side of the hole. This stitch is called a "herring bone stitch." Continuing the Coil.--This is shown in Fig. 52, where the wrap- ping split circles the enter coil and is threaded through the lower one by means of a single stitch. Inserting Colored Splints.--There are two methods of accomplishing this. The first is to draw the natural thread through the pierced hole, and then to insert a colored splint under this thread and over the natural thread, bring the colored splint, leaving a small end inside the basket. When the basket is finished these ends are cut off as close as possible. The other method is one followed often by the Southern Califor- nian Indians. A long length of natural thread is passed through several holes in the same manner as before described. Then another thread is passed through the same hole at the end of the old thread, and then another thread is passed through all holes in this way until under the split that wraps the coil, then making one end of a part of the inner coil pass under this stringing until a colored cloth or cloth is inserted between one or two straws or reeds, which are then tied together tightly and then cut off close. Finishing Bins Fine.--The form of this which is fully told in Indian Basketry, pages 109 and 110. It is made by a single split which is passed under the sewing of the last coil and then drawn over 24  PRACTICAL BASKET MAKING. Is and back over. It is then passed under again, upware and forward, first to advance of the basket, and then back over and forward, as one coils a kite string, this beautiful braided finishing stitch is produced. It is not only beautiful; its usefulness is manifest when it is known that it can be made by any one in several years more of hard work than it finished in the ordinary method. OPEN POMA STITCH. I prefer to call this open Poma stitch than give it an Indian name that is somewhat mischievous. There are quite a large number of different stitches, which are described in detail in my Indian Basketery. These I have selected for the purpose of illustrating the Basketry. The baskets here to be described can be made of three bams for the inner cell, or of grasses, corn Fig. 53. Swale Grass Tray, by Gertrude Ashley, Deerfield, Mass. hunks, or raffia or whatever the taste and skill of the weaver may desire. The swale grass is found growing in the swales or terraces of Ashley, of Deerfield, Mass., of swale grass found in the home fields, 83  PRACTICAL BASKET MAKING. curled and prepared by the weaver herself. There is great scope for beauty and make-up in basket-making, and I give the descriptions I have taken from an article published in House Beautiful for March, 1924, by Mrs Mary Evans Francis, who has made some of the most beautiful baskets ever seen in this country. "The beginner will find it easier, in a first attempt at basket-making, to use a large piece of material, such as a piece of cloth or grass with matsil, since a dozen of the fine strands are needed to fill the sail needle, or stout needle, and grasses and matsil may become hopelessly tangled. In making a basket of this kind, it is advisable to begin with the first basket, one of too difficult shape must be chosen, and the form kept simple until the skill has been acquired. The following is a pencil outline of the basket and keeping the drawing to view. "Each basket is formed of a continuous coil of grass, which is started in the same way as the matting, but is continued by the frequent addition of a few spears of grass. The method of sewing is very simple. The needle is passed through the grass at the end closest together. The sewing material is joined by a flat knot tied so that it will not appear on the surface of the basket. "To make a button, take a medium-sized bundle of grass and dampen it slightly so that it will be pliable. From this draw down a long strand of grass, and then commence the beginning of the coil of which the basket is built. Having threaded a needle with a strand of grass, pass it through the grass at one end, then holding the grass firm in the left hand wind the raffia closely around the grass ten times, as shown in Fig. 55. This is to form the very center of the button, and must be A diagram showing how to prepare for the button. Fig. 55. Preparing for the Button. carefully pulled upon itself, as in Fig. 56, bringing the short end under-neath, and letting the free end of the coil pass toward the left. In putting the needle in for the first stitch the raffia passes over the top A diagram showing how to make a button. Fig. 56. Making the Button. of the coil and the needle is inserted diagonally through the coil under the first winding thread. 24  PRACTICAL BASKET MAKING. "After the coil has been sewn around once or twice in this manner the stitches will be seen to interlock in curved lines radiating from the center, which is the most important feature of the basket. Continue the sewing until at most three inches in diameter, when the work must be stopped, and the coil must be turned over on its side. The bottom of the basket and must be kept flat, or slightly raised in the center. When it is necessary to insert more grass, in order to keep the coil of uniform thickness, the work must be continued (see illustration). Fig. 53. The Bottom of the Basket. open the free end of the coil close to the last stitch and place a few stalks of grass inside the coil, pushing them back firmly, and taking care that their ends do not show on the surface. Now turn the work so that the free end of the coil is on your left hand, and the coil passes toward the right. Bring the needle back under this coil and continue to overhaul weaving. In this way, the outside of the basket is begun. If a slender grass is used, the coil must be stiffened by using on its inner side a layer of straw or rush, or other similar material, which remains through the winter in stiff, brown groups by waysides and in neglected fields. In one case, where this purpose was attempted, in the first month after planting, all the stakes taken out of those in whose last row are below ground level were broken, but afterward the weaving proceeds exactly as before. If a thick grass is used, it may be necessary to leave some of the coil till the stakes be broken, and each stitch must be tightly drawn with a little pressure. If a very thick grass is used, it is advisable if taken, that the work may be firm. It is impossible, even from the most slender grasses, to make baskets of great firmness if they are drawn too tight. A good basket is made by using a medium grass with course grasses; in a coil one-half to one inch in diameter, a scrap-basket may be built up with but an amount of pressure or hard usage can damage the rigidity of its structure." 85  PRACTICAL BASKET MAKING. "YOUR PLACE OR THE BASKET." "The first few rows of the outside of the basket are brought out in a gentle flare from the bottom, and the succeeding rows are built up until the basket resembles Fig. 8A. From this point gradually bend Fig. 8A. Making the bowl. the coil inward as it is sewn. The modeling of the basket is done entirely with the fingers as the work proceeds. The free end of the coil should never be held down near the sewing as we twisted, as pupils may not understand that they must always keep their hands in upright and imperfect forms where should have curves and symmetry. "When the coil has been brought around a sufficient number of times, the free end is folded back over itself, and placed on top of the preceding row while placing each stitch. See it around once to make sure that it is properly shaped before continuing with which to finish the basket. From the inside of this shortened coil can be seen how it is made. The remaining coils are half the remaining grass, and sew the end of the coil firmly down inside the basket, finishing the edge smoothly so that there is no inequality of out- line. When all are finished, cut off all loose ends, trim should be discarded in sewing, and manila used in its place, as the floor of the basket will be covered with it. "Ornament--When an ornamentation in contrasting color is desired, it must be kept in mind that designs should be adapted to the material in hand. For instance, if a basket is to be made for a dish, platter, or tray, which they are to decorate. Where a design is to be put in, e.g., by using a piece of cloth or paper, cut out a pattern and place it on the larger and pushed under the coil. After taking a stitch, so head this in, the bank is laid on the outside of the grass coil, and the sewing process continues until all are finished. The last row is worked over the top of the coil, bringing grass again to the surface. In the follow- ing rows this work is continued as before, the ornamentation being built into the basket as the coil is sewn. 86  PRACTICAL BASKET MAKING. **PINE NEEDLE BASKETS.** By Mrs. J. P. S. McIege, Coleridge, Ga., also an interview with Mrs. McIege, of West Point, Ga. It may practically be said that Mrs. McIege, of West Point, Ga., is the origin- ator of the pine needle basket. She has made baskets of this kind for years and tell exactly how she does her work that has made her so well known. The following is a brief account of her method of making these baskets and of her experi- ment with the needles. Somehow new are the pine needle baskets, so dainty, bewitchingly beautiful and so woody. They are most unique, as the needles form the beauty of the basket. They are just what they were meant to be; they only claim to be pine needle baskets of modest brown, and seem to say: "I am not a pine needle basket--no, no, and unpretentious." I modestly stand for what I am--a Pine Needle Basket. No decorative border or design is necessary to make them beautiful; it is enough to enhance the beauty of my self lied brown that Mother Nature knows so well how to bring about it. I was born by glints of sunlight, blown about by misty showers, and have been surrounded by the soft caress of wandering swain who gathered wildflowers along the wooded trails scat- tered over the hillsides. The good resiny odored receptacles are sure to win a way into the hearts of all, for they bring back the good old days among the pines. And here is a basket which will remind you of those long ago days in the deep dark forest in whose somber depths lie those long straws, being colored green by the sap which flows through them. These straws are far prettier baskets than those cured in mother's green. In our work we prevent the light from entering by covering them with a cloth or placing them in paper bags in shady places, on the mouth side of the building, turning them over several times until they are well cured. To make a basket take three straws, tie three straws, just as they are picked from the tree or ground. You will find a sort of a shape formed by the three straws when you turn under at the tip of lighter color will not be used and proceed in any coiled basket. To those less experienced in basket making I might add: Take the three straws in your left hand, then with a linen carpet thread--same 87 Pine Needle Basket Fig. 30. Pine Needle Basket.  PRACTICAL BASKET MAKING. color as the needles—begin to wind around the straws back at inch or so from the end, wind three times then pass the end of the thread over the straw, and then wind two more times. This is done as you wind. Now cross the ends of the straws, make your first seed cloth, and then proceed to make the second seed cloth by placing the needle under each thread in center, having the needle point curve up toward the top of the basket. The basket is now ready. As the center enlarges insert more straws, hiding the ends in the cloth. By examining the needles you will find a right and wrong side—i.e., a point where one side is higher than another. The finished side is outermost. The following is my basket dependents largely upon making it right out as well as the exactness of stitch and evenness of the size of the basket. I have found that many people do not know how to tell me she considered it necessary for her to practice on mine baskets before expecting to make one good on her own account. The following is a transcript of a stereographic interview with Mrs. McVee: "Can you tell me why you use five straws to use the plane needles?" "The necessity, during the war, when we had to make everything. The wipers brought up longleaf pine needles and that suggested making baskets. I made them for my husband and he went to work and made a hut. That was the first thing I made with pine needles. Then I made a bed for my husband and his material, or pine needles, coming to hand suggested the work. Then I made all my friends fancy baskets, pin tacks, etc., of pine needles." "The next thing I did was to make a basket for my father, using three needles or straws to the coil. I sewed it with last spool of thread I had left. Then I made a basket for my mother's good of bread bought on the plantation. After that we split it there from the straw." How long did you continue making these pine needle baskets? "I made hats for my father, my brother and one for myself—just a hat for me. I also made a basket for my sister which I intended to make them for other people, and was offered ten dollars for a hat, but she refused it because she didn't want to give it off." How long did you keep up this pine needle work? "Not long. I really don't remember, but not longer than a year; perhaps only six months." Just fancy work for the season? "Occasionally some neighbor or friend would want a little basket, and if I had any time available at that time, all during the year after, I found out about it. Then I didn't do any more until about five years ago, when I used it up completely." You must have had passed from me, or was discontinued until five or six years ago. Yes, when it was suggested as a pastime for my grandchildren." It was revived by having some pine needles sent to you. "Yes," the needles were sent to me for soft pillows and then the children began making baskets. They were very good at making baskets. I began by telling the children stories about how a lady 83  PRACTICAL BASKET MAKING. made lots of the pine needles during the war, and they asked if they could make some for me. I told them that I got a needle and thread and began making little souvenir baskets." How did you get into the basket circle? That is, making baskets your- self and selling them? "That was through the Woman's Club. Mrs. Johnson became very much interested. She wanted me to make some to display at a fair of Pine Needle Basket with Cover Fig. 60. Pine Needle Basket with Cover. the Woman's Club of Georgia, and I sat up night after night and made some and sent up. I had only about five or six days to make them." She accidentally saw the 18th baskets and admired them, and gave you inspi- ration to make more. "Yes, on short time. Soon I received another enthusiastic request for the Arts and Crafts Banquet. I made up then about two dozen." New ideas. "Nearly all of them were sold--all but one or two. I really made them as a hobby, but I have found that people who want to use a good deal of Georgia wire grass and pine needles together. I would like to make more, but I am afraid that I will not be able to sell with no view of selling them at all. I have scattered them around among my friends and family. Then I had quite a number on hand last Christmas 89  FRACTURAL BASKET MAKING. and sent them to the Christian Woman's Exchange at New Orleans, thinking it would be a good thing. I have been filling orders all along. I have sold this summer, since July, about 800 baskets. They vary in size and shape, ranging in price: "Yes! All shapes and sizes. I have never sold even a small basket below 75 cents, usually $1.00. The highest I have obtained is $2.00, then the lowest is $1.25. What do you think of this finish? Will you describe the basket you sent to your sons? "That basket was made of dark pine needles and the decoration was made of millet. The lid has a center finish." (See engraving.) Please see those two little baskets in the picture. "The smaller one the straws were just broken for curing in the sun. Fig. 60. Fine Needle Baskets by Mrs. McAfee. It was an exceptionally odd feature of nature - I suppose they were in a certain stage of condition. Some cured light, some a little brownish and others a dark brown. I suppose the dark browns were nearer matured. The hot sun had given them a peculiar coloring. This freakish curing gave the effect of rockwood coloring." I am not sure that I understand what you mean by "cutting" paper over a part of it and having a part exposed, to bleach or white the pine needles so as to make them more attractive. "Yes, I have been told so, but have not tried it myself. I mean to try it the next fresh needles I get. An old negro told me that by pour-" 90  PRactical Basket Making. Boiling water over the needles every day and leaving them out in the sun for three days before they are ready to use, so that they would bleach. She said she knew someone did in during the war. You know we used to bleach palmnuts. The curling of the pine needles makes them look like the leaves of a palm tree. "What is a basket?" What do you think is the best process? The best process is to cut the trees you want them green, to gather them when green and pull them from the limb, cut the shank end off and spread them on newspapers in the shade—not much light. I usually put them in the shade where I can see them—everywhere I can find room. When I want the brown leave the brown needles on the limbs and cut up the limbs and place them in the sun. They won't get brown after they are pulled off from the limb." Then, when they are cured on the branch that was given them a brown color. "Yes, but it is a slow process. They don't cure quickly, I leave the limbs in the shade until they are dry, then I take them over until they seem to have taken on the color they are going to take." Then when you want something real brown you have to take to the woods? Yes, I do. I go into the woods and cut down limbs from the trees and lain on the ground a long time. Those not satisfied to leave them in the shade for a long time will put them in a barrel and water will deepen the tones, but I am a firm believer in the natural color." Now, please tell us the necessary things to begin a basket—what thread to use, what kind of wood to use, how to make it. "I think mercerized cotton is best for experienced hands, or 'Aunt Lydia's' thread is good. It is made by taking cotton and putting it in the mill. I use the color that seems to harmonize best with the coloring in the pine needle. Then I take a piece of string about two inches long and thread it with a pin through each needle. Such basket and the little wax that is on the thread gives it a polish." Another way is to use a piece of cloth that is taken to be lined oil and sponge the needles lightly, then rub vigorously with a cloth, taking care that you don't rub away the symmetry of the radiating stitches we break the delicate friends. Before beginning a basket I plunge the needles in scalding water and let them stand until they are affected to them. Dampen again if inclined to break when sewing them. Fig. 62. Pine Needle Baskets. 97  PRACTICAL BASKET MAKING "Hi I am going to work at once I soak some of the needles in the hot water before I begin to soften them, as well as remove the resin. In sewing I use an ordinary needle, but when making a large one is apt to cut the strings. I maintain the needles until I have worked about one hundred stitches each day, and after that use them dry, thus making the basket much firmer." Tell how these needles must be used. To make a basket of the pine plume and insert that into the coil, putting it from the center of the coil, always keeping the polished side of the pine plume uppermost. This will give a difference in the appearance of the basket if you do not keep the polished side of the needle to the outside or decorative part of the basket." Now let us proceed. "From the center I make the stitches just as close as I can to show any of the needle between the stitches, then let them radiate. When this is done, I take out all of my needles except one. That spoils the holes, but it is necessary to make a firm basket. The extra stitches are made on the bottom or hidden surface; never in the wall of the basket." How about taking stitches when you want to insert a new thread? When you want to insert a new thread, first put your hand under the coil and then pass it through the next lower stitch to the right side, then back across that thread around the stitch, letting the drawn thread fall down over your hand. Then take up another stitch. I pass the needle through last stitch made and pull it under the coil, so that it will not come out again. Now take up another stitch, let it cross over the thread and hold it under the coil. The regularity of this work depends upon keeping the space between each stitch equal, and the coil of equal thickness. The symmetry of the stitches is more easily gotten by passing the needle through two stitches instead of one. Of course, a basket maker must always have an ideal mind in before beginning his work. "Yes, no mere basket abstractions are permissible to good basketry. I always make a drawing and follow that." How do you finish the basket? "I tie the ends together rather than to cut it off." "As a final word, pull your stitches tight, letting the thread pass between the finger and thumb, and compel yourself to see that each coil is well made and in perfect harmony with all that has gone before." 92  PRACTICAL BASKET MAKING. BAM TUSH WEAVE. As I have shown in India, basket weaving is one of the finest arts in the world is made by the Poms--the people of the Red Earth--who live in Northern California. Their work is delicate and fine, exquisite and beautiful, and they have a great deal of skill in their art, which is subject to use, and general harmony. As a rule the workmanship is per- fect, but there are some who are so poor that they cannot make a good white weaver compares the best head of her work with the work of a Poms weaver that she must feel the immeasurable superiority in this field of the Indian basket weaver. The white weaver may know nothing of the meanings attached to the designs she cannot perceive that they are not only beautiful but also express a human need of the aborigine in the way of a meal that was not met by the white man's food supply. She has no idea of the use of a wash-bowl, a hat, a granary, a carrapil, a carrier basket, a water holder, a cooking vessel, a stew-pot, a platter, a game-hunt plaything, a muslin-bowl, a treasured basket, or any other thing that is used by the Indian. These and scores of other uses, the baskets was put to. And, as the Indians in the East have been taught to make baskets for their own use, poetic, artistic, and ethical devices within themselves demanded play, they made baskets for their own use. They did not make them for sale; besides months of prize thought and study, were expended with reckless lavishness upon these baskets. Every particle of suitable or likely material was used. The basket was made to suit its use in its weaving, and then the beautiful in textures and shells were taken out and added to it. The basket was made for its own use and itself. As I have written elsewhere, and often, though in diverse words, these baskets are made for their own use by the Indian weavers. They are at once their poets, their painters, their sculptors; their cathedrals; their musical instruments; their temples; their courtyards. The term "basket" commonly used is equivalent to our word "stake" or "spoke." It gets its origin from "ham," the grapevine, which was the chief material used in making baskets for the Poms' grave. Rattan or reed supplies us with "baskets" ready prepared. **Material Required:** Two ounces No. 1 reed, 2 ounces natural rattan, ½ ounce natural raffia. **Size of Basket:** Fifteen inches long, six inches across the bottom, 8 inches across the top. **Method:** There are three ways of making the base, and I shall explain all these three methods and leave the weaver to take her choice; assuring her that all the methods are good, all are practical, and all will produce good baskets. No. 1 Method.--Take 12 tams or spokes of No. 1 rattan, no inches long, and a long weaver of natural rattan. In six of the twelve spokes 93  PRACTICAL BASKET MAKING. Make a split in the center about an inch long, as shown in Fig. 63. Then thread the six unsplit bars through the split ones (See Fig. 64). Fig. 63. Split Bars for Round Base. Keep flat and even center in the center. Take raftle thread, double it, twine it around the top bar, and then around the top bar over six of the split spokes, bringing under part of raftle woven over, and top part under the next six spokes, as shown in Fig. 65. Repeat Fig. 64. Bars Threaded for Round Base. Weave the strands for base. Fig. 65. Round Base with Spokes in Place. This until all rounds of weaving are made, noting the raftles as a double weave. Be sure that the inner weave is always brought to the top before the top one is taken underneath, to prevent the weavers getting caught between them (See Fig. 66). After making three rounds, pull the spokes well apart to allow room for the weavers to be well placed on each spoke (See Fig. 67). Make two more rounds, after which separate each spoke and pair, as shown in Fig. 67. Weave as closely as possible. The bottom is now well shaped. As the ends are reached, cut off the raftle threads at this point length, sharpening the point and thrusting into the center by the side of any other spoke or pair, so that they may be left to be woven between it and its neighboring spoke. No. 2 Method.-Cut eight bars of No. 1 reed, 20 inches long. Take 94  PRACTICAL BASKET MAKING. four of these, laying them alongside each other on a table or other flat and solid surface. Now with a thread of natural raffia weave under and over the center of the bams, as shown in Fig. 60, making a square of webbing, and then spreading out the two ends of this into another square. Now place these two squares one above the other right angles, with the two long ends of raffia meeting, as shown in Fig. 70, so that they will form a cross, and then spread out the two layers of raffia, and weave around all the eight bams as tightly as possible for three inches, as shown in Fig. 71. Then take a piece of raffia and insert two in each of the corners, spreading them enough to allow the weavers to pass through them, as shown in Fig. 72. Insert two in each of the four corners, spreading them enough to allow the weavers to pass through them, as shown in Fig. 73. Now spread out all the bams, as in Fig. 67, and proceed. Do not forget to inserting new bams to sharpen them, so that they push easily against each other when weaving the bams already in use. An awl or etcher can be used to make place for it. Fig. 68 Fig. 67. Round Base with Bams Separated. Method of Inserting Bams at Corners. No. 3 Method.—This was fully described in How to Make Indian Baskets (Vol. I.), and is reproduced here at any price unless this is any other method (see Fig. 74). Take 12 spokes no. 1; read the length required, 4 short weavers radii, 5 long weavers radii. Cross five spokes at right angles to five other spokes and place a raffia between them, as shown in Fig. 75; then take a second spoke beneath to the beginning of the diagonal crossing where it is securely twisted by the first spoke; then take a third spoke beneath and across the top spoke to the opposite corner diagonally—twist again. This gives a cross or raffia web at each corner. Now begin to twine the two strands of raffia from the outside in toward the center of each corner, twisting each strand while the twist is made. When you have completed this work, untwist the extra strands of raffia in half lay it simply at the bend in the angle of the crossed spokes. It thus makes two new spokes. Twine 93  PRACTICAL BASKET MAKING. The rafters over each of the two new spokes and snug a rubber band over the first group of spokes, so that the uppermost spoke always lies flat until the base is well started. When the turning movement is commenced, the base will be found to be held in place by its ten- tention to its place. This groups is now securely held with another rubber band, and thus continue with the remaining spokes, twirling around the base. As the work increases extra spokes must be inserted, and these are cut on the diagonal, so that they may be inserted at right angles. When the base is the desired diameter stop adding spokes and gather three of the ground spokes together, and twist them round the base. A rim shaller may be formed from this base, four sided, round or flat. Size of the Base--This, of course, depends entirely upon the size your basket is to be. From Fig. 72 the shape of the rim-tish bowl is Fig. 69. Preparing Slums for Base. Fig. 70. Slums at Right Angles for Base. seen. The bottom of this basket, which requires 25-inch bases, is a little over 2½ inches below the upward splicing begins. It is largely a matter of individual taste, and it will generally be found that a rim twelve inches in diameter is about right for most baskets. Splicing Weavers--If you have an opportunity of looking at a genuine rim-tish Pocah stock basket you will see that every stitch is ex- actly alike, and that all the weavers are of one length. The weavers are all of the same width. This point must be particularly noted. When a new weaver is introduced into a basket it is placed on top of the old weaver, leaving an end about an inch long to take the basket. New weavers with threads lying together until the new thread is well engaged with the old one are not good weavers. Cut off two stitches to the under side of the basket. Trim off waste ends when convenient, and then proceed to weave in new weavers. Introducing the Color.--This is done exactly as in the foregoing directions for splicing, but if a hand of solid color is required two new weavers should be introduced. Shaping a Basket.--It is best fixed method of doing this. Each weaver will experiment until she finds the way that is easiest and best to her. The accompanying photograph of a Haida woman shows the 96  PRACTICAL BASKET MAKING. Indian method. As soon as the base of the basket is as large as de- sired, she takes a small bowl, filled with sand, and thrusts it firmly into the ground. Then she turns her basket base upside down (with the hams hanging down), and fastens it to a pole, covering the hole with a piece of cloth, and then the place this on top of the pole, so that it will revolve as she weaves. One weaver suggests that a large fruit jar filled with sand, on Fig. 71. Base of Twined Weaving with Inserted Corners. such a small wooden bowl is placed, will answer the same purpose. The Indian weaver can be better as E leaves both hands free for the twining of the weavers. As the enlarging process continues it is necessary to insert more wires, one that is longer than the other, and to twist them care- fully how the Indian has made her basket so rounded or swelled, and 97  PRACTICAL BASKET MAKING. then how she reduces the swell. This is done by taking out-cutting out--some of the bams. Do this at regular intervals, so that the re- duction of the swell will be uniform. Finishing the Top.--This kind of finish is an artfult. Weave the basket as high as you wish to it. Then fasten off the weavers by threading them through the holes in the top of the basket, on the side of one of the bams. Now cut off the ends of the weavers. Soak the whole top of the basket thoroughly and leave overnight to dry. A woman sitting on a stool weaving a basket. Fig. 23. Haida Woman of Masset Wearing a Basket. Then, with a sharp knife, trim off the bams evenly about % of as much above the top row of weaving. This is the exact Poma method. Using Plain Bams.--Sometimes the Indian uses flat bams. The white weaver may do the same if she desires by running her round noils throughout the weave and thus flattening them out. Be careful, however, not to split them. Bands of TW Weave on Bum Tush Basket.--This is a beautiful Poma device for using flat bams. It is made by running a single row of flat bams in weave without a change of color. Fig. 74 shows exactly how 98  PRACTICAL BASKET MAKING. It is done. To introduce one or more rows of it (previously cut) finish off the row of twining reed with the hand. This will be described for finishing off the basket. Now take the ti reed--one that will go completely around the basket--and place it in the desired position. Take the other reed and twist it around the first one, and then any one of the bands and then twisting over and under each band and the ti band make the complete circuit of the basket. Fasten the ends of the Fig. 74. The Ti Weave of the Pomo. (by courtesy C. U. Smithsonian Institution.) weavers by pulling through several of the stitches first made. Cut off the ti band exactly to fit the other end, so that it makes a continuous circle. BAM TUSH BASKET WITH TI BAND. MADE BY MRS. WHITNEY WILLIAMS, Rochester, New York. Size and colors as in the previous basket. Commence the basket with 12 bands or stakes of No. 1 reed, as inches long, adding new stakes as often as necessary to keep the weave close. These are placed on a piece of wood around the ends once after soaking it will not break, and inserting two stakes between two stakes, thus forming two new stakes. When the bottom, which is woven with a slight depression in the center, is finished, proceed to cover it with cloth using one blue and one red weaver. Then weave as follows: Eight rows red and blue alternating with four rows blue and four rows red, as shown at A, B, C, D, as described above; four rows red and blue, fifteen rows natural raffia with three rows red and blue; five rows red and blue; three rows red and blue, another band of natural raffia of ten rows, three rows red and blue, three rows red &i t weave. 99  PRACTICAL BASKET MAKING. After soaking thoroughly the edge is finished by passing one stake under the one to the right and over the next, making the edge as close as possible. (It will be noticed that this is not the regular Poma Bannock finish of the edge, but the result is both pretty and serviceable.) A basket with a striped pattern. Fig. 74. Ram Tush Basket, with Ti Band, by Mrs. Whitney Williams, Rochester, N. Y. INSERTING SHELLS, BEADS AND FEATHERS. All who have looked over the pages of my larger book on Indian Basketry or of this book, will see that among some of the tribes there is a great tendency to extraneous ornamentation. These ornaments are generally in the form of beads, shells, feathers, and other bright metal pendants, etc. The glint and sheen of the brightest feathers, the luster of the most brilliant shells, the rich reds, greens, blues, browns, blacks; the pearly luster of the pearl and shadowy shells; the exquisite crests of the eagle feathers; all these are at the present day used in making baskets that only superlative words can describe. The Moundmakers, the Sunbaskets, the Ceramic bas- kets of the Pueblo Indians, and many others are very exquisite, beautiful, artistic beyond the belief of those who have not seen them. 105  PRACTICAL BASKET MAKING. No white woman can hope to rival these aboriginal masterpiece. She can, however, gain much pleasure and delight in endeavoring to copy them, and thus acquire a knowledge of the art which she has never done before, and at the same time produce results which will be highly satisfactory. **Abalone Shell and Bead Pendants—Fig. 75 is of a Yolo Ceremonial Basket, and herewith are shown the shell and bead pendants. J. L. Hartman, of San Francisco, Deceased, was a great basket maker, and polished shells of any shape or size desired. Beads of medium size and soft colors only should be used. Six or eight beads may be used acc. to fancy. Cut as many six or eight-inch pieces of strong linen carpet thread as you wish to have pendants. Then string the beads on the thread, leaving about an inch free at each end. When ready to weave into the basket wrap the double thread three or four times around the shell, then draw it through with a needle, allowing it to swing easily. Now securely wrap the raffia around the threads on the coil as tightly as possible, thus securing them. If the thread is longer than necessary, cut off the extra length by pulling it after, so that the more it is wrapped over by the raffia the less danger there is of pulling out the thread. **Horn Shell and Bead Pendants—In boring the horn shaped shells from the shell dealers he is sure to see that a hole is bored through them. Cut this hole out with a sharp knife, then take a piece of wire and to secure the shell. Pull the knot in tightly so as to be out of sight. Then thread the cord and bead pendants (beads) through this wire. **Feather Wreath—This is not done at highgrade, as so many people suppose. The simple circle of quail plumes is ornamented with 83  PRACTICAL BASKET MAKING. accuracy, and in some baskets the whole design is worked out with feathers in a most ingenious and perfect fashion. Feathers of the mal- lard duck are used by the Indians, and these are obtained from one's hunter friends, and these are the ones to use. Never dye a feather if you wish to follow the real Indian style. In weaving lay the feather on the warp, and then draw it down over the weft, so tightly with the raffia that the feather cannot possibly be pulled out. The feathers must be kept in place by the weft threads of the designs. The feathers in a Pomo basket often overlap each other. Beads are woven with the same regularity as feathers. The Indian makes his beads of shell, bone, or wood, and they are all open. The white woman buys a good strong linen thread which she uses as a substitute for the raffia. She winds this around the inner coil at one end of the thread around the coil several times, carefully covering and tightening it with the weaving. The thread thus tightly fastened, slip up a bead, and then wind it around the inner coil again and fasten the bead to hang loosely enough not to wear away the thread. If two or more beads are required, wind them together until they cover the bead thread along with the inner coil until the next place where one or more beads are required. THE KLIKITAT WEAVE. Among the Northern Pacific Coast basket weavers few surpass the Klikitat Basket Fig. 76. Klikitat: Alert and Haida Baskets in the Fisherman Collection Klikitats when strength, uniqueness and originality are concerned. The first basket on the left in Fig. 76 and of all the baskets of Fig. 78 132  PRACTICAL BASKET MAKING are of this weave. The inner coil consists of abraded cedar and greene rood, and the wrapping twists are made from the outer portion of the root, which is exceedingly tough. The ornamentation is made of cherry wood. The bakers gain, space, etc., etc., coincide with the Oregon grape. It is this ornamentation that differentiates the Kilkite weave from any other. It is made by placing a strip of cloth over the top where one stitch overlaps another as tiles do when they are laid. But tiles are placed on one another, while the Kilkite weave is placed on one another. The Kilkite has a base of one continuous piece, "plaited" to produce the overlay effect. The Indians make one stitch serve for wrapping the coil and catching on this overlay, and to permit a white wrapper to see her skill if here- with she does not have to use two separate stitches. This makes her cover easier but less effective way. The second stitch is by the abrading practically the Hoji stitch, before described. As the wrapping stitch comes over the coil a strip of the colored bark or grass is laid down on the coil and caught in, as shown in Fig. 72. Before the next coiling stitch is taken this Fig. 72. Inverted Basketry Stitch. (By courtesy U. S. National Museum.) strip is bent forward to cover the last stitch, doubled on itself, and the next coiling stitch is taken in it. This process continues as long as the overlay is desired. The third stitch should be a natural or any suitable material. Wheat straw can be split and used natural color or dyed, split palm leaves, corn husks, native grasses, raffia or native tacks. They can be dyed good colors with dyes made from plants or mineral sources. They should be prepared in long ribbon-like strips, preferably even. The fourth stitch should be a natural or any suitable material three feet and more in length, so any size that the wearer may decide on will be supported by this stitch. The material should be cut into strips about Fig. 73, on the upper right hand corner. This is about twelve inches length; bottom diameter, five inches, and twelve inches across the top. Now take a strip of this material and wrap it around the first stitch and make the basket bottom; turn for the sides. Now it should be repeated until all sides are covered with this material. Then add a top, as well as design, covered with the overlay. This means the introduc- tion of a new material at each end when necessary, and then a return to natural color for the body. First figure out your design and decide how many inverted arrow 103  PRACIICAL BASKET MAKING. points your basket will contain. Then hold the basket in the left hand. Cut off one end of the ribbon, and with the needle make three discon- nected Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now weave three Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take two more Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take four Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take five Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take six Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take seven Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take eight Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take nine Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take ten Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take eleven Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take twelve Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take thirteen Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take fourteen Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take fifteen Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take sixteen Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take seventeen Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take eighteen Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take nineteen Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take twenty Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take twenty-one Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take twenty-two Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take twenty-three Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take twenty-four Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take twenty-five Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take twenty-six Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take twenty-seven Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take twenty-eight Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take twenty-nine Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take thirty Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take thirty-one Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take thirty-two Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take thirty-three Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take thirty-four Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take thirty-five Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take thirty-six Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take thirty-seven Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take thirty-eight Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take thirty-nine Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take forty Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take forty-one Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take forty-two Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take forty-three Figure 8 stitches, holding the ribbons firmly in place until the stitches are secure. Now take forty-four Figure 8 stitches, holding  PRACTICAL RAFFA MAKING. Figure 8 stitches over it, carefully covering it so as to hide and secure firmly. To Make a Lopped-Top Finish--If you desire a lopped-top, as the Kilkittars often do, decide on the number of loops, and, when making the last cut around, carefully snail the reed to be bent, and then bend it back upon itself, so that the point of the loop is at the top and is wrapped and you are ready to close the loop. The first stitches taken over said reed should be very strong, as it is the only thing to break the A basket made by Mrs. W. Williams, Rochester, N. Y. stitches by lifting up the basket by one of the loops, as some careless friend or visitor may do. If an added band is needed or desired above the last loop, take a length of raffa (or any color desired) raffa, and then carefully sewn with a fine raffa thread, the stitches hidden as much as possible, on to the top end. 103  PRACTICAL BASKET MAKING. INDIAN SPLINT BASKET WEAVING. DESCRIPTION OF BASKETS. In every clime the basket weaver has adapted for her purpose what ever nature has provided. In Eastern Canada and along the Atlantic coast region the ash and maple trees have been the most available. These two woods are used in making baskets of all sizes, and have proven into many useful and attractive baskets. Indian baskets are made of splint materials. Stakes or standards, In- dian name, are the stiff splints, 5½ inch or less in diameter. Weavers vary from ¾ inch or less to two or more in width. The ordinary splint is put up in coils varying in length. The stiff splint, ¾ inch wide, is used for the handles of baskets. Sweet grass is used to give odor and variety in the weave. It is used in various sizes of broads as weavers. Fig. 8a. Carrying Weaver Over Two Spokes. MODEL 1.—SMALL CARRYING BASKET. Materials.—to 14-inch stakes; 3 broad weavers; 7 or 8 fine weavers; 10-inch stiff stake (handle). General directions for all spindled basket weaving.—Cut the stakes and straighten them with a file. Make a curve at one end of each stake by bending over the curve of the splint. There is a rough and smooth side to all splints. The 106  A set of four woven baskets, arranged in a square formation. 103  PRACTICAL BASKET MAKING. smooth face has a better finish in white and does not show the grain of the wood as plainly as the rough face does. In laying the stakes for the bottom the rough face is kept uppermost so that it will come on the inside of the basket. The smooth face of each stake should be placed in laying the bottom of any single round basket. Bottom.--Place stakes vertically on the table; place stake 2 at right angles with stake 1; place stake 3 at right angles with stake 2; place stake 4 at right of stake 1; place stake 5 at right of stake 2; place stake 6 at right of stake 3; place stake 7 at right of stake 4; place stake 8 at right of stake 5. Fig. 84. How to place the Stakes for Bottoms. Right of stake 4; place stake 9 at right of stake 5; place stake 10 at right of stake 6. The stakes should be held firmly with the left hand at the center while the weaver passes over them. When weaving one row is completed insert a fine weave under stakes, leaving a short end which is held in place by the left hand. Take the free end of the weaver over this short end and pass it under stakes, taking care not to let the weaver twist, until again arriving at stake 6. Carry the weaver over this short end and pass it under stakes (see Fig. 85). On arrival at stake carry the weaver over stakes 1 and 7. Continue in this way until six rows have been woven, passing the weaver over two stakes at each turn. When the six rows are completed to three or four inches from the top, take up all but one row and draw it towards and towards the center. This holds the rows in place and the end may now be trimmed off shorter still. Stakes for sides are shown in Fig. 86. Insert them close to and close to the rows of weaving. Care must be taken in doing this not to let the stakes break. Insert two fine weaves, one back of each stake and the other in front of each stake, so that they will hold together when both weavers along together. See that the weavers do not cross or twist. Continue for twelve rows of this weaving. 128 Arrangement of Stakes, for Model No. 4. Fig. 84. Arrangement of Stakes, for Model No. 4. Fig. 85. Arrangement of Stakes, for Model No. 4. Fig. 86. Arrangement of Stakes, for Model No. 4.  PRINCIPAL BASKET MAKING. Splicing.--Should a weaver give out it will be necessary to remove or splice it. Do this by taking the old weave over the top of the new weaver on the inside of the basket. Place the new weaver over the old on the last stake crossed by the old weaver and push the end under the projecting edge of the old weave. When the rows of fine weaving are finished (and care must be taken to retain all the stakes) take up the basket and, with a broad knife, which the weavers were started,) insert a broad weaver and weave over and under the stakes until you reach the first row of fine weaving, then two stakes on which it was started. This is to hold it in place. Cut off the weaver close to the last stake crossed. Start back three or four Fig. 86. Spokes Turned up for Sides. stakes and make another hand of this weaving. Follow this with a single row of fine weaver and overlap the ends as in the two preceding rows. Make another row with the broad weaver. This should complete the work, but if any more weaving is required, or if it may be necessary to increase or diminish the number of rows of fine weaving in order to keep the basket in good proportion, 109  PRACTICAL BASKET MAKING. Fig. 87. - The next step is to finish off the top of the basket. Select the outside stakes. These must be under the upper bracal weave passed form the outside stakes. Cut these about two inches long and point. (See Fig. 87.) Bend these stakes over the top to the inside and insert the point under the fine weaving on the same stakes. Cut off all the alter- nate stakes close to the top. Handle. - Point both ends of the handle and insert them on the out- side of each stake over stakes, and push them down under the out- side rows of weaving to the bottom of the basket. The handle should now be inserted into the basket so that it will be necessary to pull the side of the basket. Turn the point back catching in two rows of weaving on each side of the handle. This will make a good fit, and the handle may have to be cut off and the ends rejoined before doing this. The handle may be inserted in another way. Instead of cutting off the ends of the handle, insert them through one end of the handle, and under the weaving on the bottom until the ends are hidden at the center. This will give a better appearance than inserting them too closely. The trouble will lie in pushing the handle over the head. To aid in doing this take a strip of stiff broad weave three or four lines long, and insert it between the two outer stakes on each side of the handle. Put on the same stake on the bottom. The handle can now be pushed down with ease, and when it is in place, turn it around so that it can take out the weave. If the ends of the handle should protrude at the center, they can be pulled up by pulling on one end of the handle and pulled up a little from the top. This will conceal the ends. Care should be taken, when the handle is inserted in this way, not to select any stakes which are loose on the bottom, as the ends could not be caught underneath at the center. Knots. - It will aid greatly to the looks of the basket if a row of fancy weaving is used instead of a row of stakes for holding together stake. Cut two feet of very pliable bracal weave. Pinch the ends, Insert one end of this weave into one stake on each side of the handle, and pass it over on the lowest broad stake. Without twisting bring around the free end and insert it under the next outside stake on the next upper row. Pull it through until it is tight against both sides of this stake. Now insert the end of the weave under the next stake on this side, and pull it through until it is tight against this stake. Continue until all rows of fancy weaving is completed. Keep the knots close in size. Take off any loose or loose ends on the inside of the basket. This little basket may be varied in many ways, by changing the position of stakes or handles, or by using different kinds or rows of both kinds of weavers. Contrasting colors of weavers or of stakes and weavers are effective. 110  PRACTICAL BASKET MAKING. General directions for weaving.--All Indian split weaving, both in round and square baskets, is similar in method to that described in this simple basket. A single weave is always used in weaving the bot- tom of the basket, and two weaves are used on each side of the basket, one on each row. Two fine weavers are used on the sides with the simple over and under weaving. One weaver could be used as on the bottom, but the use of two weaves gives greater strength to the basket. Broad and medium weavers are always cut off on each round both on round and square baskets. Knots may be made in other ways than that described. Insert a bread weave under an outside stake with right hand of weave outward. Curve the ends of the stakes around the outside of the basket with their tips on the same row. This will form a cone-shaped knot, which is a little more secure than a straight knot. The ends of the stakes are apt to split unless a very pliable one is selected and care exercised in forming the points. The knob should be worked into shape by the thumb and finger of the left hand while the right hand holds the stakes. Another kind is formed by inserting a broad or medium weave un- der each stake at the top of the basket, then working it down to the free end under the next outside stake. Draw the weave tight over the pencil. Place a second pencil in front of the weaver. Insert it under the needle of the first pencil and draw it through to make the first pencil and repeat around basket. MODEL 1.--SMALL WORK BASKET. **Materials:**--10—8-inch stakes; 2 fine weavers; 6 broad weavers; 3 broad pliable weavers: "tail," go-inside, for top; 2—deers strands for cover. **Bottom.--** Take ten stakes and weave a bottom similar to that in Model 1. The other ten stakes should now be placed. Starting at any stake place a broad weave under it and draw it tight. Continue around the bottom, placing a new stake at the right of each stake. They are placed so that they will be in line with those below until the first row of weaving is accomplished. Take a fine weaver and in- sert it under one of the first ten stakes. Weave under and over the twenty-four stakes making three rows of weaving and finish off the bottom. **Side walls.--** Now take five stakes for Model 2. Make fifteen rows of fine weaving and five rows of broad. Finish off the basket as in Model 1. **Top.--** Take the stick called for in the materials. These sticks are for strengthening and shaping the basket. They are bound on the in- side of baskets at the top. They are pointed at both ends so that of uni- form length, but they must be bent slightly toward each other, so that they must be kept pointed. To find the required length for any basket take three times its diameter plus four inches for round baskets or six inches for square baskets. Usually the sticks have a flat and a rounded side. Place the flat side against a stake and bend it up to fit snugly against it. Do this re- peatedly, as it will tend to spring out when bent to fit the basket. In- sert one end of the stick under a stake on the upper band on the inside 114  PRactical Basket Making. * * * of the basket. Pass an eight-inch piece of twaver through the basket under the top and in the same manner stake it to the stick in place with this piece of twaver. Proceed around the basket and tie it to the stick on the outside of the basket, making sure that both ends of the stick should overlap. When the stick is securely held in place the basket is ready for binding. No special care need be taken with these strips of twaver, but they should be tied firmly to hold them on. Handle.-If wooden staples (see Fig. 2) are used for handles, push the staple into the basket at right angles to the direction of the handle strands. The mouths should be caught under the stick. Binding.--Take the sweet grass which has been previously soaked in hot water, and cut it into pieces about three inches long. Hold the grass, by the root ends, against the top of the basket, so as to cover the upper band and edge. It is better to start binding in front of the basket, then work back along each side until all is covered in the same place and cause a passage. Pass a fine, tough and even weave under each strand of grass, and continue until all is covered in the grass. Pull this through on the inside until about five inches remain on the outside of each strand. Then pass this through again, and pull between the stick and the upper band and under the next lower band. Now bring over the end last and insert it in front of the next stake to the left, and continue in this manner until all is covered. Repeat this at each stake around the basket. Firmly bind all edges. Left hand hold the basket firmly. With the thumb and forefinger squeeze the sick, grass and top of the basket as tight as possible. The grass should cover the edge neatly. Gently pull out any loose strands which may have been pulled out or break very easily. When the binding is nearly completed cut off the rest of each strand with a sharp knife, leaving only a short stub. Pull out when finished during the binding. Should any strands of grass give out while binding, do not attempt to replace them by pushing them end first into place on the basket. End off all threads in the same way as it was started. Should the weave break while binding, fasten it with a small staple. Rings.--If staples cannot be procured, rings or braided grass may be used for handles. To make a ring, take one end of a two-waver between your fingers and twist it around several times until you have woven four times over two fingers, with both hands, keeping one finger on each side of it. Then take another two-waver, roll it around the coil and pull till end through last turn. This will hold the ring in position until such time which remains, tie this ring to top of the basket. Make a similar ring for the opposite handle. Finish with any of the knob designs. MODEL III. CYLINDRICAL BASKET. Materials.--18- to 20-inch stakes 5-inches wide or to 18-inch stakes 3-inches wide; 16- to 18-inch stakes 3-inches wide or 18-inch stakes not more than 3-inches wide; small bunch of sweet grass. 112  PRACTICAL BASKET MAKING. **Bustum.** Place the twelve stakes in the same manner as the ten described for Model I. Lay one stake on top of the other stake 3, and stake 12 to right of stake 6. Weave enough rows to make the bottom three and one-half inches in diameter. **Stitching.** Make two stakes and weave four rows of fine weaving. Next weave nineteen rows with medium weavers. These must be cut at the end of each row so that they will fit into the next row. Four rows of fine weaving will complete the basket. Turn down the stakes as in Model I. **Handle.** Bind the top as described in the work basket. **Knots.** Above the fine weaving at the bottom there are three rows of fancy knots. Make them as described in the second model. There are five rows of fancy knots at the top. **Handles.** The handles for this basket are made as large in diameter as possible, and are placed at right angles to the sides of the basket, overlap the pointed ends and tie them firmly in place. Start two or three inches back of the joint and cover the hoop with grass. Bind over all around the hoop with grass, leaving a space between the starting end of the binder under the grass and hold over it for several hours until it is well set. Then bind over again, making sure that the upper row of medium weaver and make the tying bowser enough to allow the handle to move freely. **MODEL IV.** **SQUARE BASKET.** **Material.** - 18 inches stakes, 6 broad weavers, 8 fine weavers, 1 light stick as inch board, 100 feet of twine, 50 feet of furline. (This should be noted, see Fig. G2.) Stitching. - Stitch across corners then with the range face uppermost. Interlace nine stakes with nine others to form a square. Make all the ends equalitd from the square. Leave a slight space between the stakes at each corner to allow for expansion and contraction. Pass a Weaver over and under the stakes entirely around the square to form a circle, then pass a second Weaver around it also. Turn up all the stakes at right angles to the bottom. Weave three rows of broad weaving and six rows with two fine weavers. Weave three rows with one fine weaver and one with two fine weavers. Handle.- Insert the handle as soon as the stakes in the work basket. Turn--Fit--the handle by placing it on top of one stake and on the other stake in its lower half. Bind it at right angles for each corner and tie on both sides of the corner. This stick should rest on the notches of the handle and hold it in place. Bind the top with sweet grass. **MODEL V.** **SQUARE BASKET WITH COVEV.** **Material.** - Stakes, 14 inches thick, 6 broad weavers, 12 inch weav- er, 8 fine weavers, 7 or 8 small stakes, 5 fine weavers, a broad weavers, sweet grass. 113  A woven basket with a handle on the left side. A woven basket with a handle on the right side. A woven basket with a lid on top. A woven basket with a lid on top. Page No. Model No. 6 Page No. Model No. 5 Page No. Model No. 4 Page No. Model No. 3 113  PRACTICAL BASKET MAKING. Arrange the stakes and form the bottom as in Model 4. Turn up the stakes. Weave two rows of broad weave, six rows of fine, two rows of coarse, and one row of narrow. This will make three layers. **Knife.—Two rows of knives are made on the broad hands. They are made similar to those in Model 1 but the knife should be pressed or flattened.** **Note.—The tendency in weaving this basket will be to draw in the threads. Care must be taken each time in turning the corners not to pull the weft out of line. The cover is made by placing the corner stakes in a perpendicular position to the bottom while weaving over and under the stakes.** Cover.—Place the seven-seven-six stakes one way to cover the top of the basket. (If these stakes take away in width from those on the bottom, place them on the outside of the basket.) Place four stakes (fig. 6). Interface the stakes at the middle with four eight-eighth pieces of the broad weave. These pieces should be placed over and under squares. With a fine weaver, weave over and under the stakes and close to one of the broad weavers. When once across turn the cover and weave back on the other side. This will give a good foundation for all rows of weaving. Make all spikes on the under side. While twelve rows of weaving have been completed, place one stake between each pair and place them over the twelve rows. This will bring the fine weaving in the center with two rows of broad on either side. Pull the stakes through until they are tight against each other and then weave one row of fine on each side. This should complete the weaving of the cover. It is desirable to have a cover that is tight and has no loose rows of fine weaving as required. Trim off the broad weavers close to the edge. The cover should now be bound like the top of the basket. The stakes are to be cut and turned down on two ends. When ready to bind, place a narrow weaver on top of each stake and weave a narrow or use a quarter-inch weaver, which should be laid on the outer edge of each stake before starting to bind with a narrow weaver. On two edges of the cover, holes must be bored at regular intervals along their length. These holes may be made with a drill or a coarse needle. The cover may be attached to the basket in either of two ways. Lay the cover on top of the basket so that its front edge is at one corner. Insert one end of the weaver from under side of corner in front of stake and weave around it twice, then insert another stake in front of the corner back stake. Draw both ends through until they are tight against each other and then continue weaving around both stakes from the outside. Continue this across the basket like the facing of a shoe and finish the ends on the inside of the basket. This binding will hold it firmly to the basket without any further effort. The cover may also be attached by making two hinges near the opposite sides of each corner where it meets with the basket cover and basket two or three times in the same hole and keep the ends on this. Make two rings as described in Model 2, one large enough to pass through the other. Attach them to the middle stake of the front edge of the basket at the top, and to the edge of the cover directly over this. 14  PRACTICAL BASKET MAKING. MODEL VI. WASTE BASKET. Materials.—20 3-inch stakes, 5 pounds 34-inch weavers, 20 fine weavers, 1 heavy stick, 42 inches long, 2 bunches of sweet grass, 3½ yards of white cloth, 1 yard of brown cloth. Interlace the stakes so each will form a seven-inch square for the three sides of the basket. Insert the stakes into the ground with their points upward. Weave six rows of broad weave, two rows of fine, seven rows of broad, six rows of fine and ten rows of broad. This makes a basket ten and one-quarter inches high by nine and one-half inches wide by eight and one-half inches deep. The basket is nine inches square at the bottom. Knobs.—Make some knobs on the fifth and sixth hands of broad weave from the bottom. Make three rows of these knobs on the upper hand of broad weave from the bottom. Make two rows on the fifth, sixth, seventh, and eighth rows on the upper end of bands. Top.—Bind the heads as before described at the top. Make two holes in each head to receive a nail for hanging. Fasten the heads on the outside of the basket just above the knobs. Use two or three strands of white cloth for the bridle over twice on a stake, and fasten the weave on the bridle. Paste the braided grass in a zigzag manner on the second and third rows of broad weave from the bottom. Paste in such a way that both the head with a broad weave in the same way as first kind of knobs were made to receive nails for hanging. The weave tight over the grass. A second twist of braided grass could be applied in the same manner just below the upper knobs if desired. Fig 87 Taping of Braided Grass. Fig 95 Shape of Basket for Model No. 8. MODEL VII. HANDKERCHIEF CASE. Materials.—8 3-inch stakes, 7 inch stakes, 20 fine weavers, sweet grass. Interlace the stakes, fourteen each way, like the bottom of a square basket. Arrange the corners so that they may be seen through. New weaves on each end of a stake on the square cover, for twenty-two rows over each other. Paste in such a way that all ends are neat and even. Point the remaining stakes. Insert stake 8 under the weaving on stake 10 under the weaving on stake 6. Insert stake 4 under the weaving on stake 11. Insert stake 12 under the weaving on stake 3. Insert 116  PRACTICAL BASKET MAKING. stake 2 under the weaving on stake 13. Insert stake 14 under the weaving on stake 3. (See Fig. 94.) Repeat this on each set of ends. Pull the stakes out of the weave, and then insert them again close togeth-er. When the four sides are thus made an open square will be formed at the center. Bind this with sweet grass. Make a cover, which Fig. 94. Method of Inserting Stakes for Model No. p. should be large enough to rest on the top of the opening. A small ring attached to the center of the front edge of the cover is needed to com-plete this handkerchief case. Finely braided sweet grass is very suita-ble to use for part of the fine weaving. MODEL VIII TWINE HOLDER Material. Basket, 12 inch wide, to five weavers, 14 inch stake for top. Cover, 12 inches wide, for five weavers, 4½ inch width of finely braided grass, 14 inch stake, 6 strands of grass. Cut one piece of twine for each weaver. (See Fig. 95.) Weave eight rows with a single weaver. The weaving should start one inch from the center. When the eight rows are finished use two weav-ers, then one weaver, and so forth until all are done. There are forty-five more rows of fine weaving. It will be necessary to cut up the fine grass into short lengths before starting this work, so that you can cut one inch of the center of the stakes. When the basket has been woven about half way up, stop and cut the stakes at the center of the bottom. Point one end of each stake toward the center of the basket and lay them back. Cut off the alternate ends. Bend, over and back again, with a face angle of about 45 degrees, and weave through. It is easier to do this before finishing the basket, as it is quite difficult to weave around a corner when it is full of grass. When ready to bind the top cut the between stakes called furl for in the materials lengthwise. Use one-half inside and the other outside in place of a double row. Cover.--Cut the twelve stakes same as for the basket. (See Fig. 95.) Weave with a single weaver for sixteen rows. Then weave eleven rows with two weavers, then nine rows with three weavers, and so forth until all are done. Six rows of fine weave follow the sweet grass. The cover should fit down over about seven rows of weaving on the basket to give the cover effect. The cover 117  PRACTICAL BASKET MAKING. must fit snug. Bind the edge with grass and on the inside use one-half lengthwise of the fourteen-inch cloth twine. Attach the two rings to the basket, and make two small rings with a fine twine for the front of the cover and the basket. This will make three rings, one about one inch in diameter, two rings about one and one-half inches in diameter must be made and attached on top of each other, and the largest ring about three and one-half inches in diameter must not be made. Pass the parts of it through the two small rings on top of the cover. Then bind as in directions No. 3, but do not make the cover so tight as to subject that a ball of ordinary twine may be held inside with room to turn easily. This basket is now completed. DYEING BASKETRY SPLINTS. To dye wire is a difficult art. More letters full of questions come to me upon this subject than any other concerned with basketry. Ex- perimental knowledge is the only safe guide. Try all sorts of anything in this line that you can get not prepared to experiment until you have and again fail as well as succeed, don't try to do anything; go and buy some good material and learn how to use it. You do dye, keep in mind a few principles which I will shortly state. Don't use too much water. Teach yourself to love soft tones rather than high colors. Every native dyed Indian basket you can and therein you will learn how to dye. Experience is the best teacher. If you cannot dye wire and have to talk with your druggist or (see better still, if there happens to be a dealer in herbs—an old fami- lized herbalist—herbs are very good for dyeing, woods, bark, vegetable extracts can be had, and then experiment with these). Find your grandmothers old recipe book and get hints from that. Read "The Art of Dyeing" by Mrs. H. A. H. Hulme. Other Baskets and take the hints given there for further experimentation. Alcohol is a good solvent for water for an hour or so before im- mersing in any mordant or dye. Never boil dye. Bring it to boiling point and let it gently simmer. In buying dyes always ask for such as you get sure you got fresh; not young, but old enough to have been used up once or twice. A tree growing in the West Indies, the latter from the Rhamnus cotinus, an en- tirely new dye. Ratios of red color take quick color, so it need not remain in the dye so long as ruffs. Before dying baskets of anything is somewhat described in Indian Basketry. A number of receipts are in How to Make Indian and Other Basketry by Mrs. H. A. Hulme. While two books, True to Make Baskets and More About Basketry. Brown.—If raffia is soaked in water for a week or two it will take 118  PRACTICAL BASKET MAKING on a light brown shade. Walnut roots and shanks, pinonum bark, alder bark, and the bark of the willow are used for this purpose. Take 1 ounce of the extract of logwood to 1 gallon of water. Let it come to the boiling point. Wash the raffia in warm soapsuds and put in the dye after it has cooled. The color will remain until it is washed out with cold water. Yellow Brown for Rattan.—Sorey five cents worth of logwood chips in 2 quarts of water about 2 minutes. Strain and when it is clear lay the cloth in and leave until it is the desired color. Soak one pound of raffia at the same time and the same method used for both. Miss Belle Robinson, who gives the following recipe for yellow, follows with the next for Dull Purple for Rattan.—Soak the raffia in hot solution in a pot of one pint of water for half an hour. Afterward put the raffia in the logwood dye used for brown and leave until it is the shade desired. Color it with a little of the brown dye. As it is colored in the brown dye, it changes the color of the dye that remains. Wood Brown.—Boil a pound of castor fustic and four pounds camomile wood honey in two gallons of water for half an hour. Add a pint of clear water. Soak while it is hot but do not boil. If it is too high colored, dilute with some of these colors and allow them to cool. Then wash all these colors off each other and allow them to cool. This is sufficient to dye one pound of raffia. Black.—Boil logwood chips in water enough to cover them for 15 or 20 minutes. Make a solution of five parts of the logwood water and ten parts of water. Boil this mixture for half an hour. Remove the raffia; add to the solution four parts of copperas; return the raffia; boil for another half hour. Another Recipe.—Disolve one ounce of extract of logwood in two pints of water, and add a piece of copperas the size of a walnut. It takes only one ounce of logwood to make one pound. Wash and rinse thoroughly after dying, otherwise it will crack. Blue.—Let 25 cents of copperas dissolve in 1 gallon of water. Put this into solution no pounds of raffia and allow it to simmer for 2 hours. Now, make new solutions, boil same amount water with half a pound of copperas; let it simmer for three-quarters of an hour; then simmer for three-quarters of an hour. Remove raffia and slowly add to the solution half a pound of oil tallow. Return raffia; simmer three quarters of an hour; remove raffia; add half a pound oil tallow. Bottle Green.—To two gallons of water add 15 ounces chrome, 3 ounces alum. In another vessel have ready a boiling solution of 3 pounds copperas and 10 pounds camomile wood honey in two gallons of water. First dip the raffia in first solution (the former) and thor-oughly wash it with cold water; then dip it in second solution; remove and soak in the second liquid until the desired color is obtained. Yellow No. 1.—First morethant by soaking raffia in solution of 4 ounces alum to 2 gallons of water. Soak for 2 hours. Then place 119  PRACTICAL BASKET MAKING. about 2 pathfinds of golden rod blossoms (Solidago virga-anser), which should be gathered in October or November, in a light to wash- able basket, and dried in the sun for about twenty minutes. Then place raffia (already marloured) in the solution and let it remain until the raffia is thoroughly wetted. No. 2.—Gather some amount St. John's root (Atriplex Perfora- tum), stems, leaves and flowers are all good; treat as in the foregoing. No. 3.—Soak all roots all night in marl, as in No. 1. Dilute one- ounce of marl with two ounces of water, and pour over the root dust well from the raffia, put into hot dry, simmer, stir until required shade is obtained. No. 4.—Soak as in No. 3. Build 6 handleless ovoid skins in two gal- lons or less of water; strain and allow to simmer. Take raffia from molten drake, drain, place is simmering liquid, stir until color is desired. No. 5.—Soak as in No. 4. Build one common ovoid to a gallon of water. Treat as in No. 4. Orange.—Marl as in No. 3. Dilute one ounce of extract of frutic to two pints of water; add a little cochlearia (extraction will best tell how much), and treat as in No. 5. Red.—A little experimenting with cochlearia marl as in Yellow No. 1 will give interesting results in red. Madder.—Soak madder roots for forty-eight hours. Fraternally seek the following recipe, which she says is excellent: Eight or nine drams; 1 oz. alum; 1 oz. cern of tamar or two lbs. Dissolve alum and cream of tartar and boiling water; add madder roots and boil for half an hour; strain out the solution thus made; then strain very well in cold water. Dissolve the madder roots again with boiling water to make a syrup; purify, concentrate, put in mortar and allow to remain until the required shade of madder is obtained. MODEL INDIAN BASKET DESIGNS. These are twenty in number, especially drawn from model Indian baskets in the collection of Mr. W. H. Wharton. A set of twenty designs is sent post free for $20., or they may be purchased singly for 15 cents each, two for 25 cents. These must be ordered direct from Wharton James, 1099 N. Raymond Avenue, Pasadena, Calif. No. 1.—Model Basket—This basket is fully described in the July, 1903, Basketry, pages 21, 22, etc. It is so inches across the top, 8 inches across the bottom, is bowl shaped, and stands 12 inches high. It was made by Mr. Wharton himself; he used a single piece of wood on which the engraver reduced the plate exactly one half. The weaver, therefore, who has no experience with this kind of basket making, can make it double the size. Fig. 7 shows the basket when seen sideways. 120  **PRACTICAL BASKET MAKING.** Fig. 2 is the view when looking down into the bowl. It will be observed that only one-third of the design is shown in Fig. 2. The other two-thirds are left to the imagination of the reader. This design is as follows: Body in natural cream white; two outer of the three large poles, the middle pole, and the three men are made of the dark red of the woolen cloth. The inner pole is made of the same material as the basket weaver should read its history and learn the full meaning of the designs. No. 2. **Basketry.** **Tramser.** Basket with cover. This is a round basket, with perpendicular sides, same diameter at top as at bottom. The lid is a trifle larger than the basket, in order to allow the flange to be turned up on each side, thus making a good fit. The cover is 3 inches high. The Indian weave is that described in "How to Make Indian and Other Baskets." The color of the weft is made by using very fine figure 8 or lazy stitch if desired. The colors are indicated by the letters A, B, C, D, E, F, G, H, I, J, K, L, M, N, O, P, Q, R, S, T, U, V, W, X, Y, Z. The color shaded to the left is a light red, while that shaded to the right is a brownish shade. No. 3. **Pathimyagam.** Milk-pot Basket.--This is in two colors; the black being used for the bottom of the pot itself; while the white is the natural color of the white woolen cloth. This may be made in any of the coil methods previously described. The size of this basket is 6 inches in diameter, the same as the diagram, viz., 5 inches high and 14 inches in circumference. No. 4. **Fine Yoke's Bottle-cask Basket.--This is in three colors; black and white for the body and cover; and a third color for the red band where shaded. The feathers are plain plumes and are inserted through the weaving. The basket is 4 inches in diameter at the bottom, beautifully shaped and has a height of 1 inch; it is 10 inches in circumference and then gradually decreasing in size until nearly flat at top. No. 5. **Thompson River Carrying Basket.--This figure is half the size of the original basket, which is an oval Thompson River carrying basket made by Mr. Thompson himself. See "How to Make Indian and Other Baskets," page 179 (figs.), and "How to Make Indian and Other Baskets," plate on page 139: "How to Make Indian and Other Baskets." The white woolen cloth was used for this basket because it was too thin for use in making baskets from woolen cloth. The original basket has an almost square bottom, 5 inches across one way and 5 inches the other. This proportion is not quite sharp enough for a basket; but it can be made by cutting out 5 inches and 13 inches. The basket is to be high enough. The design shows that there are two rows of diamonds only at the ends, while there are three on the sides. The body of the basket is in the natural color shown by upright lines on top of each other; while those below are horizontal lines not being designated (in the design only) by the shaded lines from left to right. No. 6. **Poma Shi-Ba Basket.--This beautiful ornamental Shu- Poma is worthy the best endowments of the white weaver. It is a perfect specimen of the art of weaving; it has all the figures of the red-headed woodpecker. The round disks are the warrens made of white 12  PRactical Basket Making. Pieces of shell. The basket is oval in shape (see instructions how to make the shell baskets). It is made of the same material as the Apache (Make Indian and Other Baskets"). The design is in black and white. The illustration is exact size, the length of the basket being 53½ inches and the width 37½ inches. No. 7. **Apache Water Olla**—It can well be understood that, to hold water, this must be a firmly woven piece of basket work. It is in white, with a design in black, which is very simple and pleasing in color. It was made in the Hawaiian weave, but can be imitated in any of the other weaves by making the warp threads about one-third the thickness of the weft threads. The basket is 6½ inches wide at its widest part and 8 inches deep at its deepest part. It is a trifle over 33½ inches in circumference at its largest part and then decreases in the neck until it is but 24 inches in diameter at the neck. No. 8. **Pima Sweetheart Design Basket**—This is one of the commonest of all Pima shapes and designs. From Fig. 1 it will be observed that the design is in black and white, and that it is made by a fairly wide top. The bottom is half 33½ inches in diameter, while the top is 14½ inches in diameter. The colors are white and black, both being natural colors, and they are used in such a way as to give a pleasing effect. No. 9. **Pima Green Freet Design Basket**—This is a bowl shaped basket with a circular base 5½ inches in diameter. At the top it is 16 inches deep, and at the bottom it is only 10½ inches deep. The colors are white and black, the former the natural yellow willow splinter and the latter the large, black or the black of the pine. No. 10. **Yakima Basket**—This is a beautiful basket in white, black, and red. The white and black are indicated in the design, while the red is shaded. Any other colored weavers may be substituted for these, so long as they are harmonious with each other, and true color conceptions of the Indian Weaver as possible. This is a beautiful basket, and one which can be made by any weaver regardless of the basket terminates without any upright continuation, just as shown in the design; yet it is beautiful and perfect. The ornamentation consists of two rows of red stripes on either side of a plain base of red wool and quill plumes. The whole weaver may substitute what she chooses for these decorations, provided they are harmonious with each other. The complete basket measures 24½ inches across and consists of thirteen coils. It then gradually bulges out to a diameter of 28½ inches at its widest part and then narrows down to 24½ inches wide, and the aperture at top is 6 inches across, thus making the complete diameter of the top 33 inches. No. 11. **Romance Star Basket**—Perhaps no basket more ever made in this land has been made than this one because of its unusual interest as has this simple but beautiful basket. Its full history is given in Indian Basketry by Mr. Wm. H. Henshaw (see page 109), published November, 1903. It is an almost flat plate, having a side about half an inch high, above which there are three rows of red wool plumes, then a two flange consisting of four coils of weaving. The shape will better be understood from the profile view of Fig. 2. The colors are the nat- ural white for the body of the basket, red for the plumes, and blue for the flanges. 122  PRACTICAL BASKET MAKING. No. 12. Mono Rattanmake Design Basket. The basket is 64 inches high, 64 inches across the bottom, and 124 inches long. The sides are 3 inches thick, and it is a perfect cone. At the center cell of the bottom is started there are twenty-two cells be- fore the weave begins, and these cells are filled with the material being the weaver to the lower hand of the design. On both bands the inner part of the diamonds are woven in the red of the red band; the diamond itself is woven in white, and the outer part of the diamond is in black. The body of the basket is in the creamy white of the willow. Between each row on either hand there are eighteen cells, and three cells above the upper hand. In making the diamonds it may be well to know that on this first con- struction there are two rows of white, one row of black, one row of green, one row of blue, one row of yellow, one row of brown, one row of orange, one row of light blue, one row of dark blue, one row of grey, one row of red, one row of pink, one row of purple, one row of olive green, one row of greenish blue, one row of greyish blue, one row of greyish green, one row of greenish yellow, one row of yellowish green, one row of yellowish blue, one row of blueish yellow, one row of yellowish brown, one row of brownish yellow, one row of brownish blue, one row of blueish brown, one row of brownish green, one row of greenish brown, one row of brownish grey, one row of greyish brown, one row of brownish orange, one row of orange brown, one row of orange grey, one row of greyish orange, one row of orange green, one row of greenish orange, one row of orange yellow, one row of yellowish orange, one row of yellowish green, one row of greenish yellow. This is a difficult basket to make; and it is hoped that many will find it interesting to try. No. 13. Shaggy Cheeky Basket.—This basket and beautiful basket is 24 inches across the bottom, which is plain weaving without de- sign and consists of nine cells. Then it gradually "beams out" until a hook-shaped curve is formed at the top which then rapidly slopes to the neck which is 42 inches diameter in the top at the bottom and 50 inches diameter at the neck where it is in black. The small design around the neck is in black. The black part of the neck is made by weaving a single strand over and under. The slanted parts of the ears are red wool and the weaver may make use of a dull red brown wool or any color she may desire that is harmonious. There are two rows on each side and two rows on each side. A bow one side and Fig. 8 other. A little thought will make clear how to construct this basket. No. 14. Palatinoing Lined Bird Basket—This basket is a fine specimen of the Palatino's primitive art; leaves at the bottom with the bottom edge being a single strand over and under a single strand, as shown in the larger design. The oval bottom is made as is fully ex- plained in "How to Make Indian and Other Baskets" and "Practical Baskets." The oval bottom is made by weaving a single strand over and under the middle line. In weaving any color may be substituted for the brown used here. The weaver must take care that he does not leave any looking upon the basket from the bottom; hence the birds are fore- shortened so that they do not appear too large compared with those on the love birds. The white oval at the bottom is 37 inches long and the basket stands 4 inches high. It is 15 inches across its longer axis and 13½ inches at its shorter. The border is cut with known ginseng alterna- tives. No. 15. Palatinoing Ohmy Basket.—This basket is of unusual size and yet very useful shape; it can be used as a suggestion to white weavers. It is most useful to place on a desk for pens or pencils etc. 123  PRACTICAL BASKET MAKING and if the size is altered the general idea suggests how a basket may be made with different materials. It is in three colours, black, white and the brown of the root tile. It is a parallelogram, 5½ inches long and 4½ inches wide. The sides and end are all black, but the top and bottom are white. This is the first basket. No. 16. Ancient Ceylon Basket.--This is one of the most interesting old baskets in my collection. I secured it from the great grandnephew of its maker, and it shows clearly the steps of her Sarcophagus. The basket is made of two pieces of bamboo, one down between them, and the many cells present, indicated by the quick lines on the outside, show that they were originally covered with cloth, black and natural white, and is of the Havanese cloth weave. It is 4½ inches across the bottom, to inches across the top, and 4½ inches high. No. 17. Havanese Plaque.--As its name implies this is an almost flat plaque or plate, though it is very slightly rounded as all the plagues of this kind are. It is made of two pieces of bamboo, black and white, and is exceedingly decorative. The size is exact, viz., 16 inches in diameter, and it is covered with the herring bone stitch, described in "Practical Basket Making." No. 18. Palatinean Oval Basket.--This is a beautifully shaped bas- ket, and has been made from a single piece of bamboo. It is all natu- ral, viz., the black of the martynia, the brown of the tile root, and the white of the willow. The oval base is 5½ inches long and four inches wide, and the top is 3½ inches long and 2½ inches wide, or one inch thick. It will be seen, therefore, that the sides widen out little as they approach the top. The weave is the Havanese with a soft cell made of fine threads. No. 19. Meta Grande Basket.--This is an attractive circular bas- ket, 4½ inches deep at the bottom, 4½ inches across the top, and bellied out about an inch from the bottom. It is in black, brown of the tile root, and white, as indicated. No. 20. Hoopa Carrying Basket.--This design is half the natural size. The basket is made from a single piece of bamboo, 4½ inches wide at the bottom, 4½ inches across the top, and 1½ inches high. It is a fine slape for a waste basket. The shaded part of the illustration at the bottom shows how it was made from a single piece of bamboo. The black of the illustration in the circular lines and the design is the brown of the basket. The original is 5½ inches across the bottom and 13½ inches across the top. The height is 14½ inches. 124  THE BASKET FRATERNITY. UCHI a demand exists for a means of communication between, and source of information to the members of The Basket Fraternity that has been organized by George Wharton James. The special advantages of membership in the Fraternity are as follows: By becoming a member of an Indian Basket Loan Collection, by guaranteeing its safety and paying express charges both ways; any five members, on the same conditions, may secure the loan of any one basket; by securing the full set of "Indian Blankets and their Makers," with written lecture. This illustrated lecture can be read by any ordinarily intelligent person. In addition to this, any five members may become members also can secure the full set of Model Indian Basket Designs, described herewith, for one-half the regular price of $5.00, viz., $.50 post-free. The fee for membership is $1.00 per year, which includes a fully paid up subscription to the "Indian Basket" magazine. The magazine, the most distinctively Western magazine in the U.S., and edited by George Wharton James. Correspondence is invited. Address GEORGE WHARTON JAMES, * 208 N Raymond Ave., PASADENA, CALIF.  The Pine-Needle Basket Book BY MRS. M. J. MCAFEE Originator of Pine-Needle Basketry Mrs. McAfee gives a description of the preparation of the materials and the technic employed in the making of Pine-Needle Baskets. Mrs. Edwin Lang illustrates, with pen-and-ink sketches and photographs, the technic and the specimens of Pine-Needle Basketry. Dr. Loy McAfee Ingram introduces the technical part of the book with a remanent sketch of the origin of the craft, with facts, figures and pictures concerning the Long Leaf Pine. The publication of this brochure was born of a desire to perpetuate the unique and beautiful craft of Pine-Needle Basketry. PRICE - $1.00 Address: Mrs. M. J. MCAFEE, Quitman, GA.  100 85 30  A black and white photograph of a person standing in front of a dark background.