,the ,basket ,maker                     
,,luther ,,weston ,,turner              
,director of ,manual ,training          
,the ,hill ,school                      
,pottstown1 ,pennsylvania               
,illustration3 ,icon                    
,published by                           
,,the ,,davis ,,press                   
,worcester1 ,mass4                      
,reprinted from ,the ,school ,arts ,book
                                        
,copyrighted by                         
,,the ,,davis ,,press                   
,worcester                              
#aiji                                   
,,basketry      ,basketry has been      
called one of the fads of the newest    
education4 ,it was  one of the          
essentials of the oldest education4     
,basketry still holds a  commanding     
position among the arts of men1 even in 
countries called  highly civilized4 ,its
 place in schools is still somewhat in  
dispute1 but  unquestionably it offers  
to children a clean and educative       

handicraft4  ,properly taught1 it       
vitalizes certain periods in history1   
fosters motor  control1 develops        
judgment and taste1 and familiarizes the
 pupil with  one of the ancient and     
honorable occupations of mankind4       
,mr4 ,turner knows his subject          
thoroughly1 having tramped with ,indians
 for  materials1 worked with ,indians   
for processes1 practised with pupils for
  methods1 and studied with specialists 
for tasteful results4 ,the chapters  of 
this booklet appeared first as          
illustrated articles in ,the ,school    
,arts ,book1 beginning in ,april #aije4 
,the demand for them has been so  great 
that the supply of magazines is         
exhausted1 and this reprint is  made to 
meet what is evidently a wide-spread    
demand for first class  instruction in  
the basic principles of this important  
kind of manual  art4                    
,,henry ,,turner ,,bailey               
,,the ,,basket ,,maker                  
,i4 ,,introductory ,,work               

,illustration    ,the fruition of       
thought is expression4 ,thought along   
the lines of manual  training is        
susceptible of expression in many ways  
and through many  mediums4 ,the         
expression of thought through wood and  
iron necessitates a  more or less       
elaborate equipment of tools1 and for   
this reason those  mediums of expression
 are denied younger pupils4 ,but the    
expression of  thought through basketry1
 requires almost no tools 7a knife and  
scratch  awl71 has variety as to form   
and color and almost unlimited          
possibilities in design4    ,it is my   
aim in this booklet to give in simple   
,english and with  illustrations which  
may be comprehended by the youngest     
pupil1 the  results of my thought and   
teaching of basketry4    ,i believe the 
poor results seen in many places are due
 to poor teaching4  ,teachers are not1  
as a rule1 insistent enough at the      
beginning4 ,good  results can only be   
secured by close attention to basic     

details4 ,a pupil  should not be allowed
 to progress who cannot make the bottom 
of a basket  and have it strong and     
closely woven4 ,he must understand that 
no basket  can be firmly made unless its
 foundation is right4    ,the ordinary  
pupil is1 and should be1 an animated    
question mark4 8,why80  8,what for80 and
 8,what makes it do that80 are the ever 
recurring  questions4 8,why do you have 
to have an odd number of spokes with a  
single weaver80 was the first question  
asked in the class this year4    ,in    
order to answer this and many other     
questions which arise1 ,i have  found it
 necessary to devise some means by which
 a verbal explanation  can be           
demonstrated to the satisfaction of the 
dullest pupil4 ,the device  is a small  
piece of board1 any size and thickness1 
on which a circle of  any size is drawn4
 ,the circumference of this circle is   
divided off into  spaces about  of an   
inch apart1 and holes are bored1 into   
which pieces  of willow or reed are     

inserted1 ,fig4 #a4 ,the spacing would  
better not be  equal1 as one hole is to 
contain a peg which may be taken out in 
order  to get an odd or an even number  
of uprights4 ,by this device a pupil can
  answer his own question1 and discover 
much about different weaves4 ,the       
uprights will hereafter be known as     
stakes4 ,figure #b shows the single     
weave with an odd number of stakes4     
,figure #c shows the same with an even  
number4 ,figure #d shows the ,indian    
method of weaving with a single weaver  
and an even number of stakes4 ,when the 
weaver gets around to where it  started1
 it is passed behind two stakes1 and the
 weaving is continued as  before1 the   
weaver passing behind the next two      
stakes on each course4    ,the          
illustrative weaving in this chapter is 
done in colors1 in order  that the      
course of one weaver may be followed    
more easily1 and also to  suggest from  
the beginning the possibilities of      
design and decoration by  the use of a  

combination of plain and colored        
weavers4#a ,if the  essential elements  
of construction1 7the stakes and        
weavers7 are used as  decorative        
features wherever possible1 much of the 
trouble about  decoration and design in 
basketry will be done away with4        
,footnote #a3      ,mr4 ,chas4 ,e4      
,mather1 ,braggville1 ,mass41 has the   
finest variety of    colors for weavers 
which ,i have as yet found4 ,both the   
aniline and    vegetable colors do not  
run while working and they both seem to 
be    permanent4    ,illustration       
,figure #e shows a decorative feature   
made possible by the use of a single    
weaver and an even number of stakes4 ,at
 ,a may be seen the method of  changing 
from one course to another4 ,either two1
 three1 or four rows may  be woven      
before changing courses1 and as many    
courses may be woven as  the design of  
the basket may require4 ,this of course 
is left to the  judgment of the pupil or
 teacher4    ,figure #f shows the double

 or pairing weave 7i4 e4 weaving with   
two  weavers7 and ,figure #g suggests   
the possibilities in decoration1 when   
one  weaver is colored and an even      
number of stakes are used4    ,figure #h
 shows the design when the pairing weave
 is used with an odd  number of spokes  
and also the method of joining weaves in
 either double1  triple or quadruple    
weaving4 ,the end of the new weaver is  
inserted  behind and beside the end of  
the one already woven in1 and the       
weaving  continues as if the weavers    
were continuous4 ,the end of the old    
weaver  can then be cut off flush with  
the outside of the basket1 and the end  
of  the new one flush with the inside4  
,in weaving with two1 three1 or four    
weavers the left hand one of the  group 
is always known as the rear weaver and  
the right hand one as the  forward      
weaver1 and weaving is always done from 
left to right except in  cases of       
special design4 ,such cases will be     
spoken of in a later  chapter4          

,figure #i shows the starting of the    
triple weave4 ,three weavers are put    
behind three consecutive stakes and     
project toward the right4 ,the rear  one
 goes over the other two and in front of
 two stakes1 behind one  stake1 and out 
between the next pair of stakes to the  
right of the  forward weaver4 ,the one  
that was the middle weaver now becomes  
the rear  one1 and it in turn is treated
 as the other rear one was4 ,this       
process  is continued as long as triple 
weaving is needed4 ,always be sure to   
take  the rear weaver and have it come  
out between the pair of stakes to the   
right of the forward weaver4            
,decorative features of triple weaving  
follow3 ,figure #aj shows the result    
when one colored weaver and two natural 
ones are used and the number of  weavers
 7#c7 is equally divisible into the     
number of stakes4 ,each color  forms in 
a vertical stripe4 ,using two colored   
and one natural weaver  gives the same  
result but with a different proportion  

of color4    ,illustration    ,figure   
#aa shows the result when the number of 
stakes is divisible by the  number of   
weavers with a remainder of one4 ,this  
gives the variegated  effect outside and
 the spiral effect inside4    ,figure   
#ab shows the result when the number of 
stakes is divisible by the  number of   
weavers with a remainder of two4 ,this  
gives the variegated  effect inside and 
the spiral effect outside4    ,figure   
#ac shows the starting of the quadruple 
weave4 ,with the decorative  features   
already shown in other weaves1 each     
student can find out for  himself the   
possibilities of this weave by varying  
the ratio of the  stakes to the weavers 
and by using either one1 two1 or three  
colored  weavers4    ,illustration      
,in the next chapter ,i will give a     
detailed description of the             
construction of several mats which      
embody some of the ideas here           
presented1 and shown in the group       
picture1 ,fig4 #ad4                     

,,ii4 ,,weaving ,,foundations           
,illustration    ,the one great aim of  
manual training is to combine judgment1 
a purely  mental function1 and          
execution1 a purely physical one4 ,there
 seems to be  no work so efficient in   
combining the two from the beginning as 
basketry4 ,the material varies so in    
texture that care and judgment are      
required in its manipulation1 and so few
 tools are used that the hand  must do  
all or a greater part of the work4      
,in all teaching the 8character of work0
 should be emphasized rather than  the  
intrinsic value of that which is        
produced by work4 ,the aim should be  to
 have work complete in all its parts1   
relatively perfect#b as to  beauty of   
design and workmanship1 and finished1 in
 so far as the  completed work coming   
from the pupil can show his intention   
and evince  careful and diligent work4  
,footnote #b3      ,i say 8relatively   
perfect0 feeling that while there is    
nothing    absolutely perfect possible  

to the hand of man1 the term may be used
    relatively for whatever makes the   
nearest approach to perfection4    ,in  
manual training work the procedure      
should be from the simple to the        
complex4 ,the teacher should never hurry
 the different stages of the work       
faster than the young mind can go4 ,the 
pupil must comprehend each step4  ,let  
the motto be 8,not ,how much1 but ,how  
well40    ,in order to make use of the  
features of weaving spoken of in the    
first  chapter it will be necessary to  
have a simple problem on which to work4 
,mats of various sizes are useful1 may  
be made beautiful1 and as they  embody  
all the constructive features found in  
the bottom of a basket1  may well be    
taken as the first problem4    ,the     
foundation pieces on which the weaving  
of a mat or the bottom of a  basket is  
done are known as spokes because during 
the weaving1 they  radiate from a common
 center like the spokes of a wheel4     
,illustration    ,a finished mat of the 

simplest construction is shown in       
,figure #a1 ,a4 ,for  this we use an odd
 number of spokes and a single weaver4  
,the material  required is as follows3  
,four pieces of ,no4 #c reed #ab inches 
long1 one  piece #g inches long and a   
weaver of ,no4 #b reed4 ,these are held 
together  in the left hand and grouped  
as shown in ,figure #b4    ,the short   
odd one is between the upper end of the 
two vertical ones and  the horizontal   
pair is behind the vertical group4 ,this
 brings the three  vertical spokes      
above1 and in front of the horizontal   
pair4 ,the weaver  of ,no4 #b reed is   
placed as shown1 ,figure #b1 behind the 
vertical group  and along the top of the
 horizontal pair with its right hand end
  projecting about  of an inch to the   
right of the vertical group4            
,illustration    ,the weaver is then    
brought to the right in front of the    
vertical group1  back and down behind   
the horizontal group1 thereby binding   
its own end  to the spokes4 7,figure #c1

 ,a1 shows the exact position of the    
weaver at  this stage47    ,it next     
comes to the left in front of the       
vertical and below the  horizontal      
group1 and up behind the horizontal     
group to the position  from which it    
first started4 ,it now follows the same 
course once more  until it has been     
around the group twice as shown in      
,figure #c1 ,b3 but  the next time      
instead of coming down across the       
horizontal spokes as  shown in that     
figure1 the spokes are separated and the
 under and over  weaving commences as   
seen in ,figure #d4    ,the left hand   
does the holding and the right hand the 
weaving4 ,be sure  to hold the spokes   
out straight as the weaving is done     
around them in  order that the weaver   
may be made to conform to the spokes1   
and not the  spokes to the weaver as    
shown in ,figure #e1 ,a4 ,figure #e1 ,b1
 shows the  correct method4 ,the spokes 
are approximately in the same horizontal
  plane4    ,illustration    ,when the  

spokes are all the same distance apart  
at the weaving1 hold the  mat down on a 
flat surface1 ,fig4 #f1 and continue the
 weaving until it is  #c inches in      
diameter4 ,figure #f illustrates the    
correct position of the  hands when     
holding the work down on a surface4     
,hold the spokes down with  the left    
hand and weave with the right4 ,this    
figure illustrates the  weaving of a    
much larger mat but the principle is    
exactly the same4 ,if  one weaver is too
 short to bring the weaving to the      
desired size1 join  the weavers as shown
 in ,figure #c1 ,d1 and continue the    
weaving as though  the weaver were      
continuous1 being careful to keep the   
weaving close  together with the left   
hand each time it goes over and under a 
spoke4    ,illustration    ,right at    
this point insist upon the pupils' going
 slowly and weaving  closely4 ,the later
 satisfaction of knowing how to weave   
correctly will  more than offset any    
discouragement at not seeming able to   

produce great  results at once4         
,illustration    ,next cut off the      
weaver long enough to go a little more  
than once around  the circumference and 
overcast the weaving in the following   
manner3 ,as  the weaver comes from      
behind a spoke1 put it over the next    
spoke to the  right and through the last
 row of weaving just before it gets to  
the  following spoke4 ,it then goes     
behind that spoke1 over the next and    
through the weaving1 as before1 just    
before it gets to the next spoke4       
,figure #g shows one stitch of          
overcasting and the second stitch just  
ready to be pulled through4 ,this       
process continues once around1 when the 
weaver is cut off on the back side of   
the last spoke as shown in ,figure  #a1 
,b4 ,finish the mat with an open border1
 ,figure #h1 ,a1 by turning in the  ends
 of the spokes4    ,illustration        
,figure #h shows another 8device0 to    
illustrate the construction of some     
simple open borders4 ,these may be woven

 left-handed or right handed as  is most
 convenient4 ,in 8,a0 one spoke goes in 
front of the next and  inserts just     
before it gets to the third4 ,in 8,b0   
one goes in front of  two and inserts   
just before it gets to the fourth4 ,in  
8,c0 one goes in  front of three and    
inserts just before it gets to the      
fifth4 ,in 8,d10 in  front of four and  
just before the sixth4 ,judgment is     
required to get the  right sized loop4  
,the length of spoke required after     
overcasting can be  found by trial4 ,all
 spokes must be cut the same length1    
sharpened1 and  inserted equally4 ,in   
these borders if the spokes are         
approximately an  inch apart 8,a0 will  
require about #b inches outside of the  
overcasting1  8,b0 about #d inches1 8,c0
 #e to #f inches1 and 8,d0 #f to #h     
inches4 ,these  lengths allow for       
insertion4    ,in ,figure #c1 ,a1 ,b1   
and ,c illustrate another method of     
starting a center  with one weaver4 ,in 
this case two pieces are split in the   

center and the  other two are put       
through them with the odd one inserted  
as shown at ,a4  ,the weaving proceeds  
as by the first method until two courses
 are woven  when1 instead of separating 
the three spokes and beginning the      
single  weaving1 the weaver is reversed 
as shown at ,b and two courses are woven
  the other way4 ,the separation into   
singles then begins as at ,c4 ,this     
method of splitting half of the spokes  
and putting the others through  them is 
the better method of the two as it is   
the less difficult to hold  the group   
while the first two rows are woven4     
,illustration    ,figure #a1 ,b1 shows a
 mat the center of which was started by 
the second  method4 ,the spokes are of  
,no4 #d reed and the weavers of ,no4 #c4
 ,four  spokes are #ab inches long and  
one1 #g inches4 ,the border is          
illustrated  at ,a1 ,figure #h4 ,the    
weaving was #c inches in diameter before
  overcasting4    ,figure #i shows the  
method of starting a center with the    

pairing weave4  ,at ,a three pieces pass
 through two pieces giving ten spokes4  
,at ,b three  going through three give  
twelve spokes4 ,the split pieces are    
held  horizontally1 and the weaver1     
doubled in the middle1 is started around
  the vertical group above the          
horizontal ones as shown at ,a2 one end 
being in front of the other behind the  
vertical group1 thus forming the  two   
weavers4 ,the front weaver then comes to
 the right across the  vertical group1  
and down behind the horizontal group4   
,the rear one goes  to the right across 
the back of the vertical group and down 
in front of  the horizontal group4 7,b  
shows the weaving at this stage47 ,the  
whole  group of spokes is now revolved  
from right to left until the horizontal 
group becomes vertical1 ,c1 and the     
weaving proceeds as before1 holding  the
 work with the left hand1 weaving with  
the right1 and revolving so  that a     
vertical group is woven over each time4 
,notice that the  revolution is from    

right to left and weaving from left to  
right4 ,in the  illustrated weaving1    
spokes of ,no4 #d reed are used and a   
weaver of ,no4 #b  reed4#c    ,footnote 
#c3      ,it is wise to have the reed   
for the spokes and stakes two sizes     
larger    than the weaver except in     
cases where the bottom is less than     
three    inches in diameter1 when a     
difference of one size is sufficient4   
,when three pieces cross three pieces it
 is necessary to go around the  groups  
three times before separating into      
singles1 ,fig4 #i1 ,d4 ,as soon as  it  
is possible after separating1 get the   
spokes the same distance apart  at the  
weaving4 ,if they are spread apart as at
 ,e1 this can be done in  two courses   
and single weaving can be commenced4    
,take the rear weaver  and bring it over
 one spoke and under the next1 and so on
 once around  until coming to the other 
weaver4 ,f shows it at this stage4      
,notice that  when a course is woven    
once around1 the weaver comes outside of

 the  other weaver and stops4 ,the      
inside one now weaves around until it   
comes  to the same position1 with       
reference to the first one1 that the    
first  one held to it4 ,continue to     
weave first one and then the other1 each
 as  in single weaving1 until the       
desired diameter is reached4 ,overcast  
as  shown in ,figure #aj4 ,the weavers  
are stopped on opposite sides of the    
weaving1 ,a1 and the top one is overcast
 to the other1 ,b4 ,the lower one  is   
then overcast until it comes opposite to
 where the other overcasting  stopped1  
,c4 ,weavers can then be cut off on the 
back side of the weaving4  ,if the      
bottom of the basket is to be woven1 it 
must be crowned slightly1  and the      
weaving may be done over the knee1 as   
shown in ,figure  #aa3;di#jaa4 7,see    
initial47 ,this figure also shows the   
correct method of  holding the hands    
when weaving either a bottom or a small 
mat4    ,illustration    ,illustration  
,figure #ab shows the method of starting

 a sixteen spoke center4 ,four  pieces  
cross four pieces1 and two rows of      
pairing are woven around the  groups of 
fours before they are separated into    
twos1 ,a4 ,two rows are  then woven     
around the pairs before separating them 
into singles1 ,b4 ,when  the desired    
diameter is woven1 overcast as shown in 
,figure #aj4    ,figure #ab1 ,c1 shows  
the method of weaving a center having   
#bj spokes4  ,here five cross five4     
,three rows of pairing are woven around 
the groups  of fives and then a pair is 
separated from each side of the center  
one  of each group1 forming eight pairs 
and four single spokes4 ,these are      
woven around twice and then separated   
into singles4 ,c shows the work  just   
before the separation into singles4     
,the large mat1 ,fig4 #a1 ,c1 with open 
border is made as follows3 ,cut #aj     
pieces of ,no4 #e reed #bc inches long4 
,split five in the center and put  five 
through them4 ,weave center #b inches in
 diameter1 as described in  ,figure #ab1

 ,c1 with a ,no4 #b weaver4 ,cut off the
 weavers on opposite  sides1 ,fig4 #aj1 
,a1 and start with #b ,no4 #c weavers1  
weaving until the  work is #d inches in 
diameter4 ,notice in ,figure #f how the 
left hand  holds the work down to the   
surface and the right hand does the     
weaving4  ,when the weaving is #d inches
 in diameter stop the weaving as before 
and  insert two colored weavers1 weaving
 four rows1 two on each side of the     
spokes4 ,then start the natural weavers 
again and weave until the weaving  is   
seven inches in diameter4 ,overcast as  
shown in ,figure #aj and finish  the    
edge as in ,c1 ,fig4 #h4 ,spokes want to
 be about #g inches long outside  of the
 overcasting and must be sharpened on   
the end and inserted about  #a inches   
into the weaving4    ,whenever the word 
8about0 is used the subject requires the
 personal  judgment of the one doing the
 work4 ,if there is any difference in   
the  texture of the reeds1 always select
 the hardest ones for the spokes and    

use the softest ones for weaving4       
,,iii4 ,,mats      ,this chapter        
contains all that will be said1 in this 
booklet1 about  mats4 ,but let me       
say1--8,not half has been told0 of the  
designs which  might be woven into mats 
and basket covers4 ,read over the first 
chapters  on weaving and then see how   
many designs can be thought out by one  
who  does some thinking for himself4    
,figure #a shows six mats4 ,a and ,b are
 the same diameter1 of equally good     
workmanship1 and are woven with the same
 kind of weaving4 ,so are ,c and  ,d4   
,to be critical1 ,a lacks color4 ,it is 
supplied in ,b4 ,the spirals in ,c  seem
 to be 8in the air10 neither starting   
from anything nor ending  anywhere4 ,in 
,d this is overcome by starting them    
from a band of color  and having them   
die into a similar band1 thus giving    
unity to the whole  design4 ,woven bands
 in poor proportion are worse than plain
 weaving4  ,just enough color must be   
added in the right place to give proper 

tone  and balance4    ,figure #b shows  
another device for illustrating work4   
,this gives the  construction of closed 
borders4 ,the four illustrated are the  
simplest  which can be made4 ,in weaving
 them around the edge of a mat the      
weaving  is started either at the top or
 right hand side and continued around in
  the direction of the movement of the  
hands of a clock4 ,when using these     
borders on a basket the weaving is      
started on the side nearest to you  and 
continues from left to right1 while the 
basket itself is moved from  right to   
left4 ,in ,a and ,b the left hand figure
 shows the starting of the  first row of
 the weaving and the right hand figure  
the finished row4    ,illustration      
,let us suppose the left hand spoke in  
each case is ,no4 #a and that the       
others follow to the right in order4 ,in
 ,a1 ,no4 #a goes behind ,no4 #b and    
out2 ,no4 #b behind ,no4 #c and out2 and
 so on around the circumference1 the    
last spoke going behind ,no4 #a and out 

of the loop left by it in going  behind 
,no4 #b4 ,pull all ends tightly to the  
right1 finishing the first  row as at   
,a1 7left74 ,for the second row1 start  
with any spoke1 put it in  front of the 
next to the right and through the loop1 
into the inside of  the basket just     
before getting to the next spoke4 ,a    
7right7 shows a  portion of the finished
 border4 ,the ends of the spokes are    
next cut off  just inside of the border 
and close to it4 ,in ,b1 in the first   
row each  spoke goes to the right behind
 two and out4 ,in the next row in front 
of  two and through to the inside just  
before getting to the next4 ,in the     
first row of ,c1 each goes behind one   
and out and in the second row1 in  front
 of two and to the inside4 ,in ,d1 each 
goes behind two and out in  the first   
row1 and in front of three and in1 in   
the second row4 ,if the  spokes are     
approximately one inch apart ,a will    
take #c inches outside of  overcasting1 
,b #e inches1 ,c #d inches1 and ,d #f   

inches4    ,illustration    ,mat ,b1    
,fig4 #a1 is made as follows3 ,for      
material--,eight pieces of ,no4 #e      
rattan #ag inches long and some ,no4 #b 
natural and colored weavers4 ,split     
four of the ,no4 #e pieces and put the  
other four through them4    ,the center 
is started with a colored weaver1 as    
shown at ,e1 ,fig4 #c4  ,double the     
weaver near its center and put the loop 
back of the  horizontal group and to the
 left of the vertical group1 having one 
weaver come to the front above the      
horizontal group and the other to the   
front below it4 ,bring the lower one to 
the right and up diagonally  across the 
vertical group1 and then down behind the
 horizontal group and  to the front4    
,then bring the upper one to the right1 
diagonally across  the vertical group1  
and to the left behind the vertical     
group below the  horizontal4 ,this will 
bring the weavers in the exact position 
shown in  the cut4 ,the whole thing may 
now be revolved until the weavers come  

above the horizontal group1 and the     
weaving may progress according to  the  
directions for a sixteen spoke center   
7,figure #ab1 previous chapter74  ,when 
the spokes are evenly separated into    
singles the weaving should be  about #a 
inches in diameter4    ,cut off the     
weavers on the back side and start a    
natural weaver as shown  in ,figure #d4 
,weave with this until the work is about
 four inches in  diameter1 using the    
decorative feature spoken of in chapter 
,i1 ,fig4 #e1  ,indian method4 ,figure  
#e shows the weaver passing behind two  
spokes in  order that it may start on   
the second row of double weaving4       
,figure #f shows the stopping of this   
weaving and the starting of the band  of
 color4 ,weave five or six rows of the  
color and then two rows of  natural     
weaving4 ,instead of overcasting all    
around as described in the  previous    
chapter1 the weaver may be stopped by   
tucking it through the  last row of     
weaving once1 as shown at ,a1 ,fig4 #g4 

,in ,figure #g notice also  the single  
spiral made by the consecutive crossing 
of two spokes by the  weaver as the     
weaving changes from one course to the  
next4 ,this is a  result of the ,indian 
method of working one weaver with an    
even number of  spokes4 ,if the above   
single overcast of one stitch does not  
seem  satisfactory1 overcast the edge of
 the mat as shown in ,figure #g1 chapter
  ,,ii4    ,mark off the spokes with a  
pencil #d inches from the overcasting   
and  finish with open border1 ,b1 ,fig4 
#h1 chapter ,,ii1 inserting each spoke  
to  the mark4 ,in this way the loops of 
the border can be made the same size4   
,illustration    ,for mat ,c1 five      
spokes of ,no4 #e reed #ag inches long  
pass through five  similar spokes4 ,a   
,no4 #c natural weaver is started either
 as shown in  ,figure #c1 or in ,figure 
#i1 chapter ,,ii1 and woven until the   
spokes are  evenly separated into       
singles4 ,the weaving will then be about
 #b inches  in diameter4 ,lay the work  

on a flat surface1 bring both weavers   
above  the spokes and insert a colored  
weaver between the next two spokes to   
the right1 as shown in ,figure #h4      
,weave with the triple weave until about
  #e inches in diameter4 ,cut the       
colored weaver out and insert a natural 
one in its place4 ,weave two courses of 
natural weaving and stop the  weavers1  
as shown in ,figure #i1 ,a4 ,push them  
down close to the other  weaving4       
7,these are left up in the illustration 
simply to show the  method of insertion 
beside the stakes47    ,with the mat    
still down on a surface1 commence to    
bind off the edge1  ,fig4 #i1 ,b1 using 
close border1 ,b1 ,fig4 #b4 ,the last   
two spokes are put  through the loops   
left by starting the first two1 ,fig4   
#i1 as shown in  ,figure #aj4 ,all are  
pulled tightly to the right1 the second 
row is woven1  pulled tightly1 and the  
spokes cut off on the back side close to
 the  border4    ,figure #aa shows the  
under side before the spokes are cut    

off4 ,notice the  difference in the     
effect of the weaving on the two sides  
and reflect  upon it4 ,you may want just
 that effect sometime as a decorative   
feature4  ,learn to take advantage of   
things that only seem to 8happen so40   
,mat ,d is started the same as mat ,c   
and woven with the same stitch4 ,two    
rows of colored weaving are woven before
 starting the spirals1 and two  rows    
after the spirals are the desired size4 
,the border may be any of  the closed   
borders in ,figure #b4    ,mat ,e is    
made with the thirty-two spoke center1  
illustrated in ,figure #c4  ,the        
following material is required3 ,sixteen
 spokes of ,no4 #f natural reed  #bd    
inches long and weavers of ,nos4 #b and 
#c reed4 ,the weavers are of  three     
tones1 light 7natural71 dark 7colored71 
and a middle value  7colored74 ,eight   
spokes are put through eight spokes1 as 
shown at ,a1  ,figure #c4 ,a ,no4 #b    
weaver of the neutral shade is bent in  
the middle and  the pairing weave is    

started1 as follows3 ,the loop of the   
weaver is put  through the spokes       
between groups #a-h1 ,fig4 #c1 ,a1 and  
the pairing weave  goes diagonally      
around from #a-h to #b-c1 #d-e1 #f-g1   
and from between #f-g  one weaver goes  
across the back of #b-g and out to the  
left below the  horizontal group1 as    
shown1 and the other goes diagonally    
across the  face of #b-g1 between #a-h  
and up behind group #a1 as shown4       
,illustration    ,the weavers next go   
through stages ,b and ,c as follows3    
,the upper one is  brought diagonally   
down across the horizontal group of     
eight and to the  left behind the       
vertical group2 the lower one diagonally
 up1 across the  face of the vertical   
group of eight1 then down behind the    
horizontal  group and to the left across
 the face of the vertical group to the  
position shown at ,c4 ,the pairing weave
 now commences around the groups  of    
eight until two rows have been woven1   
when they separate into groups  of      

fours1 and the weaving continues three  
times around before separating  into    
pairs4 ,it will be found necessary to   
weave around the pairs four or  five    
times before separating into singles4 ,d
 shows the separation into  fours and   
the beginning of the separation into    
pairs4 ,the singles should  be          
sufficiently far apart after five or six
 rows have been woven around  them to   
allow the triple weaving to be          
commenced4    ,up to this stage the     
weaving is all done in the hands1 and   
great care  must be taken to keep it    
close together4 ,every time the weaver  
is put  between two spokes1 from the    
front to the back side1 it must be      
pulled  down with the right hand on to  
the weaving already done1 as shown in   
,figure #ab1 holding the 8tension0 thus 
gained with the middle finger of  the   
left hand until the other weaver is     
brought across it to the front  between 
the same pair of spokes4 ,the weaver    
which has just been brought  to the     

front must now be pulled down1 as shown 
in ,figure #ac4 ,the tension  is still  
held with the middle finger of the left 
hand until the weaver1  shown in ,figure
 #ac1 is put back between the next pair 
of spokes to the  right4    ,if a little
 care is given to this matter of        
8tension0 the weaving can be  very      
closely done4 ,cut off the ,no4 #b      
weaver on the back side and take  three 
dark ,no4 #c weavers and insert1 as     
shown in ,figure #ad1 holding the  ends 
of the weavers with the left hand until 
two or three stitches are  taken4 7,this
 ,figure shows natural weavers1 in order
 to more clearly  illustrate the        
starting of the triple weave47 ,the work
 is now held down  on a flat surface1 as
 shown in ,figure #ae4 ,weave two rows  
of dark and  then cut out two of the    
dark weavers and insert natural ones in 
their  places1 weaving eight rows of    
triple weaving4 ,cut off all three      
weavers  and start the weaving the other
 way1 inserting the new weavers1 as     

shown  in ,figure #af4 ,these push down 
into the weaving1 to the right of and   
beside the spokes1 and are brought      
behind the spokes and out where the     
others stopped4 ,do not get the colors  
mixed4 ,weave eight rows the other  way 
and then cut the two natural ones out1  
inserting two dark ones in  their       
places1 and weaving two rows to form the
 outer band4 ,cut off all  three weavers
 and insert the ends as shown in ,figure
 #i1 ,a4 ,then start  three natural     
weavers and weave the three outer rows  
to form the outer  band of natural      
color4 ,start these as in ,figure #af   
and end them as in  ,figure #i1 ,a4     
,illustration    ,illustration          
,figure #ag shows the mat1 about eleven 
inches in diameter1 ready to close  the 
border4 ,use border ,c1 ,fig4 #b1       
starting at the top4 ,this design may   
be known as the 8,indian arrow head0    
design4    ,by finishing the edge of mat
 ,c1 ,fig4 #a1 illustrated in the       
previous  chapter1 a mat similar to ,f1 

,fig4 #a1 of this chapter would be the  
result4    ,the design is shown on a    
basket illustrated in ,figure #ad1      
chapter ,i1 at  ,a4    ,at ,b1 ,figure  
#ad1 chapter ,i1 the same ideas carried 
further give the  8,lightning ,flash0   
design4                                 
,,iv4 ,,the ,,simplest ,,basket         
,illustration    ,the first small basket
 is but little more difficult to make   
than the  first mat4 ,the spokes are a  
little longer to allow for turning up1  
and  are of the same sized reed4        
,figure #a shows the successive steps in
 the construction of the simplest       
basket4 ,the weaving is started as in   
,figure #b1 chapter ,,ii1 and is        
continued until it is about #a inches in
 diameter1 when the spokes are  turned  
up and become stakes4 ,a glance at      
,figure #a1 a1 will show why all  the   
stakes do not stay in a perpendicular   
position the first time the  weaver goes
 around them4 ,figure #a1 b1 shows the  
weaver twice around and  the stakes all 

standing erect4    ,the future shape of 
the basket is determined at this point  
in the  weaving4 ,if a straight1        
perpendicular-sided basket is wanted1   
,fig4 #a1 e1  give the weaver tension   
enough to hold the stakes upright after 
three or  four rows of weaving4 ,if a   
straight1 flaring-sided basket is       
wanted1  ,figure #b1 a1 do not give the 
first rows of weaving so much tension1  
thereby allowing the stakes to flare4   
,in weaving all straight-sided  baskets1
 after the stakes stand at a            
satisfactory angle1 be very careful  to 
see that the weaver has no tension      
whatever4 ,personal taste and good      
judgment are the factors which determine
 the angle of the flare4 ,if a          
curved-sided basket is wanted1 ,fig4 #b1
 b1 start with the stakes quite         
flaring1 and keep an even tension on the
 weaver as the weaving  progresses and  
until the desired curve is woven in4    
,always remember that  tension on the   
weaver will bring the stakes together4  

,figure #c shows the  correct method of 
holding a small basket during the       
weaving of the  sides4    ,illustration 
,when the basket is woven to the desired
 height1 overcast the weaving  around   
the stakes just as it was done around   
the spokes of the mat4 ,this  process   
was described and illustrated in chapter
 ,,ii1 ,fig4 #g4 ,the basket  may then  
be finished satisfactorily by using     
either border1 a or b1  chapter ,,ii1   
,fig4 #h4 ,make the stakes long enough  
to push through the  weaving1 as shown  
in ,figure #a1 d4 ,this will stiffen the
 sides of the  basket1 and give it a    
more finished appearance4 ,after all the
 stakes are  pushed through1 get the    
curves and loops of the border all      
regular in  outline and the same height 
either by measurement or by turning the 
basket bottom side up on a flat surface 
and making all the loops touch  the     
surface4    ,figure #d1 a1 b1 and c1    
illustrates another simple and very     
effective  construction4 ,the bottom is 

made with the pairing weave as described
 and  illustrated in chapter ,,ii1 ,fig4
 #i4 ,four reeds cross four reeds1 thus 
giving sixteen spokes4 ,when the bottom 
is woven to about two inches in         
diameter1 turn up the spokes as at a1   
bringing the weavers to the  outside4   
,behind these two and beside a stake1   
insert a third weaver as  shown at b1   
and weave three rows of triple weaving1 
chapter ,i1 ,fig4 #i4  ,stop this       
weaving by pushing each weaver down     
behind and beside a stake  and out      
through the bottom of the basket4       
,figure #d1 c1 shows the three  weavers 
as they stick out below the bottom of   
the basket4#d ,commence  the single     
weaving by the ,indian method1 chapter  
,i1 ,fig4 #d1 and continue  it until the
 desired height has been woven4 ,insert 
two more weavers and  weave three rows  
of triple weaving before making the     
border4 ,notice the  bands formed by    
this triple weaving4    ,footnote #d3   
,if the weaving is too tight to admit of

 pushing the weavers down    beside the 
stakes1 use a common scratch awl to make
 room for them4 ,one    cannot use the  
awl too freely in closing borders and   
making handles4    ,illustration    ,the
 border may be closed by one or the     
other of the closed borders  illustrated
 in chapter ,,iii1 ,fig4 #b4 ,for small 
baskets1 c is the best  closed border ,i
 have found4 ,for baskets #e to #g      
inches in diameter b is  best1 and for  
those up to #h or #i inches use d4      
,when the single weaving is used for the
 main body of the basket1 and  bands of 
triple weaving are used at the top and  
bottom1 a pleasing  variety of designs  
may be made by weaving either the bands 
of colored  weavers and the body of     
natural ones1 or vice versa4    ,figure 
#e illustrates the consecutive steps in 
the making of the twisted  handles shown
 in the lower row of ,figure #d4 ,the   
illustrative work is  wound around a    
piece of wood which takes the place of  
the upper edge of  the basket4 ,a piece 

of #d reed is inserted beside the stakes
 on opposite  sides of the rim as shown 
at ,figure #d;e4 ,this forms the        
foundation of the  handles1 shown on f  
and j4 ,for the other baskets in ,figure
 #d two pieces  are used4 ,one is       
inserted beside a stake on one side of  
the basket1 and  the other just opposite
 beside another stake4 ,these are then  
curved over  and inserted beside the    
third and fourth stake from where they  
were  first inserted1 thus forming the  
semi-circular foundation on which the   
twisting is done4    ,illustration    ,a
 reed1 wet until very pliable1 is now   
inserted to the left of the right  hand 
side of the foundation reed1 ,fig4 #e1  
,i4 ,this is now twisted three  times   
around the foundation reed1 and comes to
 the outside of the  basket1 as shown at
 #b4 ,it is now put through to the      
inside of the  basket1 outside of the   
foundation reed1 just below the closed  
border1#e  and brought to the front just
 below the first twisting1 as shown at  

#c4  ,follow the first twist back to the
 starting point1 keeping the weaver     
beside the first twist4 ,do not let the 
weaver cross the first one4 ,keep  it   
beside the first at all times4 ,it now  
goes to the inside1 and is put  through 
to the outside to the right of the      
foundation reed1 and brought  up as at  
#d1 and twisted to the left beside the  
first two until it  reaches the point a1
 where the first1 almost universal1     
error is made4  ,the reed should go to  
the left of the one already there1 as   
shown at #e1  then to the inside of the 
basket and up to the front1 as shown at 
#f4  ,twist it back beside the others1  
put it to the inside and again to the   
outside to the right of the second4     
,look out for error b at this point4    
,figure #g is correct4 ,go back and     
forth once more1 and finish as shown at 
#h4 ,figure #i shows the completed      
handle4    ,footnote #e3      ,this is  
not absolute4 ,it may be put through    
much further down if    desired1 say    

two1 three1 or even four rows below the 
border4    ,illustration    ,the secret 
of a good handle is in adjusting the    
ratio of the foundation  weaver1        
diameter of semi-circle1 and number of  
twists so that when the  winding is     
completed the handle will have the      
appearance of a closely  twisted rope4  
,the handle just described has a #a inch
 semi-circular  foundation of ,no4 #d   
reed1 and is bound with ,no4 #b reed    
twisted three  times around to start    
with4 ,winding should always continue   
until the  foundation reed is completely
 covered4 ,figure #e1 c1 shows a handle 
with  a #b inch semi-circular foundation
 of ,no4 #d reed twisted three times    
around with ,no4 #c reed4 ,d has a      
foundation of ,no4 #e reed twisted with 
,no4 #b reed four twists1 and e is      
another1 adapted to a larger basket as  
a bail handle4 ,its dimensions and the  
number of twists are clearly  shown4    
,the foundation is ,no4 #e reed1 and the
 winding weaver is of ,no4 #c4  ,these  

are sufficient to enable one to judge   
the ratio which will give a  good       
handle4    ,in order to take advantage  
of the constructive decorative features 
spoken of in chapter ,i1 it is necessary
 to know how to get the correct  number 
of spokes for any desired diameter of   
bottom1 as the woven  figures spoken of 
in that article are dependent upon the  
ratio of the  number of stakes to the   
number of weavers4 ,when the bottom of a
 basket  is less than #d inches in      
diameter1 it is well to have the stakes 
not  more than  inch apart1 and in those
 from #d to #f inches not more than     
inch apart4    ,it is also my practice  
in making baskets less than #c inches in
 diameter  to have the spokes turn up   
and form the stakes1 and for those      
larger to  cut spokes only long enough  
for the bottom1 and insert one stake    
each  side of each spoke after the      
bottom is woven4 ,this gives twice as   
many  stakes as spokes4 ,when you find  
out the desired size for the bottom of  

the basket1 decide on the number of     
stakes4 ,an illustration or two will    
give you the method of getting this     
number3 ,for instance1 if nine stakes   
were wanted1 have two long spokes cross 
two long spokes and insert one  short   
spoke1 as shown in chapter ,,ii1 ,figs4 
#b1 #c1 and #d4 ,weave the bottom  the  
desired diameter1 and turn up the nine  
spokes as stakes4 ,if eighteen  stakes  
were wanted1 cut spokes as above only   
long enough for the bottom4  ,when it is
 woven insert a stake each side of each 
spoke1 and the result  is eighteen      
stakes4    ,illustration    ,three      
spokes crossing three spokes and turning
 up when the bottom is  woven gives     
twelve stakes1 and if the spokes are cut
 only long enough  for the bottom and a 
stake inserted each side of each one the
 result  will be twenty-four stakes4    
,four crossing four and turning up will 
give sixteen1 and by insertion          
thirty-two4    ,five crossing five and  
turning up will give twenty1 and by     

insertion  forty4    ,illustration      
,then1 again1 if one is not extra       
careful to get the spacing of the       
spokes equal1 it will be found easy1    
when the bottom is partly woven1 to     
insert a stake where two are too far    
apart or to cut out one where they  are 
too near together4 ,this will never be  
noticed when the bottom is  fully woven4
 ,one can easily see that in this way   
one can get any number  of stakes on    
which to weave4 ,by reference to chapter
 ,i1 anyone can find  the ratio between 
stakes and weavers used in making the   
baskets shown in  ,figure #d4 ,all are  
made with the triple weave and colored  
and natural  weavers2 f and j are about 
#a inches in diameter at the bottom1 g  
about  #d inches1 and h and i about #c  
inches4    ,the decorative initial at   
the beginning of this chapter shows the 
adaptation of decorative weavers in     
making a small demijohn4 ,its           
foundation is a quart ,vichy bottle4    
,the weavers used can be easily seen1   

also the proportionate spacing of bands4
 ,the handles are twisted just as  on a 
basket4 ,stakes and handle foundations  
are of ,no4 #d and the weavers  of ,no4 
#b4    ,figure #f shows a small jug     
covered with weaving part way up4 ,this 
was  selected for its outline and       
covered1 because it had a large 8trade  
mark0 glazed upon its surface4 ,the     
baskets shown in ,figure #f will be     
described later4    ,i purposely omit   
detailed dimensions4 ,they should be    
suggested by the  one making the basket4
 ,what would seem correct to me might   
offend  another1 and ,i do not care to  
be misunderstood as wishing to force my 
own taste in matters of proportion upon 
any one else4    ,be yourself fully and 
completely1 and let your work exemplify 
the fact  that you are doing your own   
thinking and simply using the           
information  you acquire as suggestive  
of greater possibilities4               
,v4 ,,circular ,,baskets      ,this     
chapter deals with the construction of  

the basket usually called a  workbasket1
 but it may be taken as typical of all  
circular baskets  without handles4      
,figure ,i1 ,a and ,b1 shows a view     
looking into the  basket4 ,notice that a
 portion of the weaving about the center
 of the  bottom is done with the pairing
 weave1 until the spokes are separated  
sufficiently to allow triple weaving4   
,the bottom is then completed with  the 
triple weaving making it much finer in  
appearance4 ,b shows the  effect of     
using one colored weaver and two natural
 ones4    ,illustration    ,when the    
bottom is woven1 cut four times as many 
stakes as spokes1  one-half colored and 
one-half natural4 ,these stakes should  
be about six  inches longer than twice  
the finished height of the basket4      
,insert one  colored and one natural1 as
 a pair1 each side of each spoke in the 
bottom1 as shown in ,figure ,,ii1 ,a1   
being careful to keep the colored ones  
either to the right or left of the      
natural ones4 ,after turning up these   

stakes weave three rows of triple       
weaving1 and finish this weaving by     
pulling the weavers through1 as shown in
 ,figure ,,ii1 ,b4 ,these three  weavers
 which form the lower band of weaving   
may be of natural or  colored weavers4  
,this of course depends entirely upon   
the ideas one has  concerning the       
appearance of the finished basket4      
,illustration    ,illustration    ,allow
 the stakes to flare a little more than 
is desired in the finished  basket1 as  
the turning over of the stakes draws the
 top in slightly4 ,if  an open space is 
wanted between the bands of triple      
weaving1 weave one  or two rows of flat 
weavers before weaving the second row of
 triple  weavers1 as shown in ,figure   
,,iii1 ,a4 ,this may be cut out after   
the basket  is completed if one desires 
to insert a ribbon4 ,figure ,,iii1 ,b1  
shows a  basket just before the stakes  
are turned and with the space between   
the  two rows of triple weaving filled  
up with single weaving4 ,figure ,,iv1 ,a

  and ,b1 shows the method of turning   
over the stakes4 ,the ends are  inserted
 through the outer loops of the triple  
weave three and one-half  spaces to the 
right or left of where the stake itself 
comes through the  upper row of triple  
weaving4 ,by turning to the right or    
left the colored  weaver may be brought 
outside1 regardless of how it may be    
inserted in  the bottom4 ,when the      
colored bands are used it is well to    
have the outer  stake of the colored1 as
 at ,b4 ,the tucking in of the stakes is
 now  continued until all completed when
 the basket is turned bottom side up    
and the loops all made to touch a flat  
surface4 ,great care must be taken  in  
doing this1 as the finished appearance  
of the basket may be greatly  marred by 
lack of attention to this particular    
point4    ,illustration    ,at this     
point decide whether the bottom rows of 
weaving are to be  colored or natural2  
if colored1 cut away the natural weavers
 at the  bottom of the basket1 as shown 

at ,figure ,v1 ,a4 ,next insert three   
weavers  and weave one row of triple    
weaving in order that the remaining     
stakes  may be brought to an upright    
position1 as shown at ,figure ,v1 ,b4   
,the  bottom of the basket is now ready 
to close in4 ,take one upright stake1   
pass it in front of two1 and to the     
inside and let it lay along the  inside 
edge of the bottom2 take each successive
 stake and do the same  thing1 as shown 
at ,figure ,v1 ,b4 ,figure ,,vi1 ,a1    
shows the appearance of  the ends of    
these stakes as they lay along the      
inside edge of the  bottom4 ,this view  
also shows the space which may be used  
for the  insertion of ribbon1 after     
cutting out the filling of flat weavers4
  ,figure ,,vi1 ,b1 shows the appearance
 of the basket when completed with the  
single weaving as a filler between the  
two rows of triple weaving4             
,illustration    ,the basket illustrated
 in ,figure ,,vi1 chapter #d1 was made  
by this  process2 it was eight inches in

 diameter at the bottom and had a twenty
  spoke center4    ,the basket          
illustrated in ,figure ,i1 ,b1 of this  
chapter has a sixteen  spoke center and 
a bottom five and one-half inches in    
diameter4 ,the  height of the loops in  
baskets of this kind is something that  
each  worker must settle for himself4   
,the tendency at first will be to get   
them too high4 ,the combinations of     
color and proportion which may be       
worked out in baskets of this           
description are innumerable4 ,i know of 
no  construction which requires more    
artistic taste and a finer sense of     
correct proportion4                     
,,vi4 ,,elliptical ,,baskets      ,when 
one has attained a certain degree of    
proficiency in making round  baskets it 
is but natural that he should desire to 
make those which are  elliptical in     
shape4 ,the making of these baskets     
presents a problem  which has been      
difficult to solve and the solution of  
which renders  their construction       

practical for school uses4 ,in a        
circular basket1  where an even tension 
is kept on the weaver during the weaving
 process1  the sides come up with an    
even flare but the stakes have a        
tendency to  lean4 ,this is due to the  
constant tension from left to right and 
works  havoc in the construction of     
elliptical baskets4 ,unless great care  
is  taken the upper edge of the basket  
will be shaped like the unfinished  one 
illustrated in ,figure ,,ii4    ,this   
tendency troubled me for a long time    
until ,i noticed that this  warping     
commenced in the weaving of the bottoms 
and increased as the  sides of the      
basket were woven4 ,if the bottoms are  
woven left-handed or  bottom side up1   
without regard to this warping1 and     
then1 after the  stakes are inserted1   
the weaving of the sides proceeds as    
usual1 but  little care need be         
exercised in order to get an even basket
 as shown in  ,figure ,,ii4 ,the warping
 tendency produced by weaving the sides 

offsets  that produced by the           
left-handed weaving of the bottoms4     
,since the discovery of this little     
trick the weaving of elliptical  baskets
 has been a constant pleasure and has   
been carried on with marked  success4   
,figure ,i represents the consecutive   
steps in the construction of  elliptical
 bottoms4 ,cut four spokes of ,no4 #d or
 ,no4 #e reed the length of  the major  
diameter of the bottom1 and as many as  
are desired1 the length  of the minor   
diameter4 ,by analysis it will be seen  
that these bottoms  are half round at   
each end and filled in straight between2
 therefore1  each end requires half as  
many spokes as would be required in a   
round  bottom1 and as many in between   
these as is necessary in order to get   
the  bottom the required length4        
,illustration3 ,figure ,i4    ,another  
important point1--if the spokes on each 
end are to be one inch  apart when the  
bottom is all woven1 the spokes between 
must be a little  more than that        

distance apart as these side spokes     
remain parallel  during the weaving of  
the sides while the end ones radiate    
somewhat with  the flare of the basket4 
,split all the short spokes and string  
them on  the four long ones4 ,take a    
pair of the short spokes and put them   
near  the end of the long ones as shown 
at ,a1 ,fig4 ,i4 ,place a weaver of ,no4
 #b  or ,no4 #c reed1 diagonally behind 
the group from #a to #b and bring it    
diagonally across the front from #b to  
#a1 then back of the group of four  and 
to the left from #a to #c1 parallel with
 the short pair of spokes4  ,next1      
diagonally across the face from #c to #d
 and down behind the short  pair from #d
 to #a4 ,now the winding of the four    
long spokes commences as  shown4 ,this  
should continue for about #a inches1 if 
the end spokes  are to be one inch apart
 when the bottom is finished4           
,illustration3 ,figure ,,ii4    ,bring  
in the next spoke and bind it into its  
place4 ,this binding is so  clearly     

shown as to require no explanation4     
,when all the short single  spokes are  
bound in1 bind in the last pair as      
shown1 turn the bottom and  insert the  
second weaver in order that the pairing 
weave may be started4  ,d1 ,fig4 ,i1    
shows just how this weave is inserted4  
,the weaving process from now on is just
 the same as for that of round  bottoms 
described in the chapter on ,weaving    
,foundations4 ,e1 ,fig4 ,i1  shows the  
proper relative position of the spokes  
at the beginning of the  separation of  
the end ones into singles4 ,if it is    
thought more desirable  to have the     
sides of the bottom a little curved     
rather than straight1  the straight part
 may be filled in after all the spokes  
are separated  into singles4 ,this is   
illustrated1 and is done with the       
colored weavers  in order to show it    
more clearly4 ,this filling in process  
is done with  the single weave1 over and
 under five spokes for the first two    
pieces1  then three1 two and one4 ,if   

this does not round the sides to suit   
the  taste fill in again after one or   
two rows of regular weaving4            
,illustration3 ,figure ,,iii4    ,when  
the bottom is woven1 insert one stake   
each side of each spoke and  weave the  
sides as in the usual way4 ,one can     
easily figure out the  proper number of 
stakes required1 in order to take       
advantage of the  decorative features of
 triple weaving1 in these baskets as in 
the round  ones4 ,figure ,,iii shows    
some elliptical baskets of different    
designs and  proportions as to major and
 minor diameters and also two kinds of  
twisted handles1 small and large4       
,basket ,no4 #c has a bottom with but   
one  single spoke between its ends as   
shown in ,figure ,i1 ,d and ,e4 ,basket 
,no4  #b has two as shown at ,c4 ,basket
 ,no4 #a has three1 and ,no4 #d and ,no4
 #e  have six4    ,the edge finishes are
 all as described in chapter ,,iii1     
,fig4 ,,ii1 ,b1 and  the twisted handles
 are all as described in chapter ,,iv4  

,a pleasing  decorative feature is shown
 in the large wastebasket in the left   
hand  foreground of ,figure ,,iii4 ,two 
natural and one colored weaver are used 
and the stakes are equally divisible by 
three1 the number of weavers4  ,three   
rows are woven around1 then the green   
weaver changes places with a  white one 
and three more rows are woven4 ,this    
process is kept up until  the desired   
height is reached1 resulting in a spiral
 arrangement of  spots4 ,figure ,,iii   
shows progress in working out some      
simple designs1 ,a  showing a large     
hollow diamond 7as easily made solid74  
,smaller hollow  diamonds would look    
well around an elliptical basket4 ,b    
also shows  hollow diamonds and the     
,indian 8good luck0 symbol4 ,this work  
is done  with the single weave on stakes
 not more than one-half inch apart4     
,many fine designs may be 8worked up0 on
 plotting paper4 ,use paper which  is   
lined off about as far apart as the     
diameter of the weaver to be used  and  

draw vertical lines across this about as
 far apart as the distance  between the 
stakes4                                 
,,vii4 ,,melon ,,shaped ,,baskets       
,illustration    ,a melon shaped basket 
seems to me to be the most fascinating  
of all in  its method of construction4  
,figure ,i shows the material necessary 
with  the exception of the weavers4     
,figure ,,ii shows the method of        
determining  the shape of the slices or 
ribs on which the weaving is done4#f    
,the  material with which the two       
circular ribs are made is stout ash     
splint4  ,take two straight pieces the  
length required for the circumference of
  the circle allowing about             
three-fourths of an inch for lap4 ,these
 may be  fastened together to form the  
two circular rings either by a small    
bent  iron fastener or with fine string4
 ,these rings are then placed in the    
position shown in ,figure ,,iii1 ,no4   
#a1 perpendicular to each other4 ,the   
weaver is then placed behind the        

vertical ring on top of the horizontal  
ring with its ends projecting toward the
 right in the direction of ,a-,b4  ,the 
weaver is then brought over from ,a to  
,d in front of the vertical  ring4      
,footnote #f3      ,,note4--,let ,,aa   
represent the orthographic projection of
 the two rings4    ,from the point x1   
with a radius equal to xy1 draw the     
quarter circle4    ,divide this quarter 
circle into three equal parts from #a to
 y1 and    connect the points of        
division with lines to point x4 ,lay off
 lines    parallel to these one-eighth  
inch apart to represent the space to be 
allowed for the weavers4 ,this will show
 the projection of one side of    the   
basket with the ribs in position4 ,draw 
a quarter circle on the    right hand   
side4 ,from the center line1 at point   
#b1 lay off distances    on this        
quadrant about an inch apart as shown at
 #b-;a-b-c-d4 ,project    these to the  
left on to the line xy1 and with x as a 
center1 continue    these projection    

lines with arcs crossing the center rib1
 as shown4    ,draw chords #d1 #e1 #f1  
#g1 and #h4 ,take a piece of stiff paper
 or of the    material to be used as    
ribs and bend around from #a to #c to   
get the    true length which will be the
 distance #a #b #c as shown above at ,b4
 ,draw    the two center lines at right 
angles1 crossing at #d4 ,lay off        
distances    #d #e1 #e #f1 #f #g1 #g #h 
on either side of #d corresponding with 
the    distances #b;a1 ab1 be1 and cd4  
,on these1 by means of arcs1 lay off    
distances equal to the lengths of the   
corresponding chords #d1 #e1 #f1 #g1    
and #h in the view ,,aa4 ,a curve       
tangent to these arcs shows one contour 
of a rib4      ,if many baskets of this 
size are wanted it will be found        
convenient to    make a pattern for each
 size and mark it properly4 ,if the     
basket    wanted is more than six inches
 in diameter more ribs will be needed1  
and the small lay-out ,c will give the  
proper suggestion4    ,illustration     

,then behind the horizontal ring and up 
to ,b1 in which position it is  shown at
 ,no4 #a4 ,from thence it goes          
diagonally across the vertical ring     
from ,b to ,c and upward behind the     
horizontal1 from ,c to ,a and assumes   
the position shown at ,no4 #b4 ,it now  
goes across from ,a to ,d as before1    
and behind the vertical ring from ,d to 
,c1 below the horizontal2 which         
position is shown at ,no4 #c4 ,from     
there it goes across the vertical ring  
from ,c to ,b1 then behind the vertical 
from ,b to ,a4 ,this method of  winding 
is kept up1 as shown at #d1 #e1 and #f1 
until a little pocket is  formed1 as    
shown at ,e and ,f4 ,this process takes 
place on both ends of  the rings4 ,the  
center ribs on either side are now put  
into this pocket  and the single weaving
 is commenced1 as shown at ,figure ,,iv4
    ,weave three or four rows on one    
end1 then three or four on the other    
end4 ,this weaving1 first on one end and
 then on the other1 must be kept  up    

during the whole construction of the    
basket4    ,illustration    ,in the     
construction of these baskets many will 
place all the ribs in the  pocket at    
once1 but this method of construction is
 too difficult for an  amateur to       
attempt4    ,illustration    ,after     
these two middle ribs have been placed  
in position and three rows  of weaving  
completed1 the other four ribs should be
 tucked into the  pocket on one end and 
the single weaving continued until four 
or five  rows are woven1 as shown in    
,figure ,v4    ,this process has been   
found to be much easier than to place   
the ribs in  both pockets1 because of   
the fact that in weaving on one end the 
other  ends of the ribs are continually 
flying out4    ,after four or five rows 
are woven the other ends of the ribs may
 be  placed in the opposite pocket and  
the weaving continued as on the         
opposite end4 ,great care must be taken 
in the shaping of these ribs to  see    
that there is a proper distance between 

them so that the weaver may  not be     
cramped4    ,the final shape of the     
basket depends almost entirely upon the 
nicety  with which these ribs are       
constructed4    ,illustration    ,if one
 wishes to construct the basket so that 
it will be more than a  half-sphere in  
depth1 it can be easily done by making a
 plan of rings  and ribs of the shape   
wanted and laying out these rings and   
ribs from  that4 ,it may be necessary in
 teaching younger pupils the            
construction of  these baskets for the  
teacher to do the drawing and laying out
 of the  size and shape of these ribs1  
but this process should be thoroughly   
explained4    ,if difficulty is found in
 getting heavy ash splint for the rings 
and  ribs1 they may be easily           
constructed from the hoops of a sugar   
barrel or  even wood from a cheese box1 
both of which must be soaked and        
whittled  down thin1 say to             
one-sixteenth of an inch in thickness4  
,one of the best  melon shaped baskets  

which ,i have seen had its rings and    
ribs  constructed from wood taken from a
 butter box which was about eight       
inches in diameter4 ,too much emphasis  
cannot be placed on the necessity  of   
getting the foundation features of this 
construction absolutely  accurate4 ,this
 is truer of this shape than of almost  
any other4    ,where it seems impossible
 to get either the ash splint or other  
material  spoken of1 ,no4 #h or #aj     
round reed may be split lengthwise and  
used in  the construction of the rings4 
,if these are to be used it will be     
found  necessary to have a greater      
number of ribs on which to weave than   
has  been spoken of previously4 ,it does
 not seem wise1 however1 to attempt a   
melon shaped basket over four or five   
inches in diameter with half round  reed
 as a foundation4    8,think it up a    
little0 and see how broad the field of  
basketry really  may become4            
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,,transcriber',s ,,notes        ,typos  
fixed2 non-standard spelling and dialect
 retained4    ,enclosed italics font in 
underscores4