How TO MAKE INDIAN AND 
 OTHER BASKETS. 
 
 By GEORGE WHARTON JAMES 
 
 ii 
 
 AUTHOR OF 
 
 INDIAN BASKETRY, 
 
 THE GRAND CANYON OF THE COLORADO RIVER IN ARIZONA, 
 
 THE INDIANS OF THE PAINTED DESERT REGION, 
 
 ETC., ETC. 
 
 1903 
 
 FRANK M. COVERT, 
 Dealer in Indian Baskets, 
 9 FIFTH AVENUE, NEW YORK. 
 
*i 
 
 Works by George Wharton James. 
 
 INDIAN BASKETRY. 
 
 Third Edition, including "How TO MAKE INDIAN 
 AND OTHER BASKETS." Upwards of 600 illus- 
 trations. Cloth, 8vo., $2.50 net. Postage 250. 
 
 HOW TO MAKE INDIAN AND OTHER 
 BASKETS. 
 
 220 illustrations. 8vo. Cloth, $1.00 net. Postage IDC. 
 
 IN AND AROUND THE GRAND CANYON OF 
 THE COLORADO RIVER IN ARIZONA. 
 
 ioo fine illustrations. Cloth, 8vo., $2.50. 
 
 THE INDIANS OF THE PAINTED 
 DESERT REGION. 
 
 65 fine illustrations. Cloth, 8vo., $2.00 net. Postage 250. 
 
 To be had of any bookseller, or sent by mail 
 
 on receipt ot price by the author, 
 GEORGE WHARTON JAMES, Pasadena, California. 
 
 Soon to be published : 
 MY WILD INDIAN FRIENDS. 
 
 A NEW BOOK OF STORIES OP INDIAN CHARACTER. 
 ALSO 
 
 THE SAGE-BRUSH PARSON. 
 
 A FASCINATING STORY OF THE AUTHOR'S EXPERIENCES AS 
 A MISSIONARY PARSON IN NEVADA. 
 
 ART 
 
TO MY PATH ER 
 
 JOHN JAMES 
 
 ONCE A BASKET MAKER 
 A WORKMAN THAT NEEDED NOT TO BE ASHAMED" 
 
 WHO, THOUGH DEAD, YET LIVETH 
 
 IN MANY REMEMBRANCES OF HIS NOBLE 
 
 AND STRENUOUS LIFE EVER UNSELFISHLY 
 
 AIMED TOWARDS THE HIGHEST GOOD 
 
 OF OTHERS. 
 
 ALSO TO 
 
 JOHN PHILIP SHERIDAN NELIGH, 
 
 ONE OF THE FIRST 
 IF NOT 
 
 THE FIRST 
 
 TEACHER OF BASKETRY 
 IN THE PUBLIC SCHOOLS 
 
 OF THE UNITED STATES 
 
 930948 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 INTRODUCTION. 
 
 Just now the making of Indian and other baskets is a fad. Like 
 all other fads it will have its day and then die. But unlike many fads 
 there is something, in the making of baskets that will keep the art 
 alive, when those who practised it merely as a fad have forgotten that 
 they ever were interested in it. 
 
 It is singularly appropriate that I, the son of my father, should 
 write a treatise on basket making. The earliest remembrances of my 
 life are connected with that art, as my father was a basket maker, not 
 simply a trader in baskets, but personally a skilled workman himself. 
 My oldest brother, too, learned the art and was a good workman. 
 
 Well do I remember, as a child, a season when coal was dear and 
 scarce, as during the recent Eastern coal strike. My father, always 
 a man of originality, rose at once to meet the occasion, and made a 
 mixture of coal dust and the thick ends or "nubbins" cut from the 
 ends of new splints or "weavers" introduced into the coarse kinds of 
 baskets. 
 
 We used the old-fashioned English grates, and after a fire of coals 
 was well alight my father would take a coal scuttle full of this mix- 
 ture which he called "backing," and throw it up on the top of the fire 
 and well back into the throat of the chimney. In half an hour or less 
 it would be a bed of fire, throwing its grateful heat into the cold room 
 and cheering all who came within its influence. 
 
 Two of his workmen were father and son, named Fields. The 
 young man was "Lige," and into my youthful ears he used to pour his 
 tales of woe at the hardships of a basket-maker's life. In the making 
 of some of the larger and coarser baskets the bottoms, after being 
 started, were pinned through the center with a large steel bodkin to 
 a heavy flat board, and, treading on the work itself the weavers were 
 woven in, the worker bending down almost double over the work. 
 When I bent over for a few minutes my childish back seemed to be 
 broken, and when I asked Lige how he could endure it for hours at a 
 time his solemn asseveration was that "he'd had his backbone taken 
 out:," or he never could do it. 
 
 After I came to the United States the work of the Paiuti Indians 
 soon arrested my attention, and I began the studies which culminated 
 two years ago in the publication of my "Indian Basketry." 
 
 Now that the work of Basket Making is being taken up in earnest, 
 I wish to do my share in helping it along by making a book of helpful 
 instructions and hints that will be worthy the dignity of the subject. 
 
 It ha<si been my purpose in arranging the following pages to intro- 
 duce all the stitches, practically usable, from the simplest to the most 
 complex. The earlier lessons, of course, are for children, but it will do 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 7 
 
 no harm to adults to do the work here outlined. The skill and dext- 
 erity thus gained will be exceedingly useful in the later work. 
 
 A variety of materials has been introduced purposely, to show what 
 may be done and to stimulate to personal investigation and experi- 
 ment. Teachers should encourage their pupils to try every possible 
 material. Thus invention is stimulated, and not only may valuable dis- 
 coveries be the result, but individual thought and expression are 
 secured. 
 
 Let me at the outset say that the divisions of the subject are purely 
 arbitrary. It does not necessarily follow that the coil weave is harder 
 than the mat weave because the latter comes first in the book. It was 
 necessary to make some divisions, and these were thought the best 
 for the purpose in view. 
 
 In this work I have tried to suggest to the teacher how to make 
 the subject more interesting to her pupils. Put human interest into 
 any subject and it enlivens it. A pile of rocks means little to an un- 
 imaginative child, but tell that same child that this pile was once a 
 castle, peopled by lords and ladies, who lived in stirring times ; who 
 achieved things ; who went forth to war with all pomp and ceremony, 
 and returned flushed with victory or sad and despondent through de- 
 feat ; that it was a place where children were born, educated, married 
 and died ; where lovers, true and false, walked and plighted their troth; 
 indeed, where all the events that go to make up life transpired, and the 
 lifeless pile is transformed into a palpable, living entity, or, at least, 
 into an object from which imagination may conjure countless fascinat- 
 ing and interesting pictures. 
 
 It is this thought that should animate every teacher and worker in 
 basketry. In going out to choose materials let the children feel as the 
 Indian felt ; let them select as the Indian did. Teach them the value of 
 failure. That failure means endeavor, and endeavor persisted in is 
 never failure. That the Indian had to learn everything in that way. 
 She had no other teacher than experience, and that knowledge gained 
 by experience is sure and certain, while what we read or are told may 
 be inaccurate or positively false. 
 
 Let the child experiment in the drying, dyeing, and general prepara- 
 tion of the material ; let him make his own selections ; let him deter- 
 mine what is best adapted for this basket and for that. Stimulate his 
 inventiveness in the use of materials-, and dyes, and their preparation 
 and in the shape, design, and weave of his baskets. Show him that all 
 progress comes that way. Let him know that while he is doing this 
 experimenting he is following exactly the plan of Edison, and Gray, 
 and Bell, and Lowe, and others of our great inventors who have given 
 us telephones, telegraphs, electric cars, water gas, and the thousand 
 and one things that mean our progressive civilization. 
 
 For material for these pages I have ransacked everything I could 
 find. Where possible, I have given full credit for everything bor- 
 rowed. If I have failed to do so I gladly apologize and in later edi- 
 tions will make the necessary acknowledgements or corrections if 
 some kind reader will call my attention to them. 
 
 Especially do I wish to thank Mr. John Sheridan Neligh, director 
 of the Industrial School of Columbus, Ga., and, as far as I can learn, 
 one of the first, if not the first, teacher of basketry in the schools of the 
 
8 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 United States, for original suggestions, baskets to photograph, and 
 help given in a variety of ways. And these thanks also include his 
 helpful wife. 
 
 My grateful acknowledgements are also tendered to Miss Annie 
 
 FIG. 3. CORN HUSK POPPY BASKET, DESIGNED 
 
 AND MADE BY MARGARET C. WHITING, 
 
 DEERFIELD, MASS. 
 
 Firth, from whose "Cane Basket Work" I have bodily taken much 
 valuable material. I hope in return Miss Firth will find as much in 
 my suggestions that she can avail herself of for English readers. If 
 she can, I assure her she is most heartily welcome. 
 
 Miss Mary White's "How to Make Baskets" has also been drawn 
 from. 
 
 Miss M. B. Hyde, of Teachers' College, Columbia University, has 
 been most generous in her helpfulness. For all the photographs of 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 work made by the students at the college and the major part of the 
 chapter on dyes I am indebted to her, and the practical character of 
 her work will prove a boon to all my readers. 
 
 In these lessons I have begun with the simplest materials and 
 work. The purpose is to give to the solitary student every advantage 
 for self training and to every teacher suggestions which will aid in her 
 work with children. To any person the exercises will be helpful. 
 
 FIG. 143. SPOKES TURNED UP FOR SIDES. 
 
 There are five simple methods of work, all of v^hich it is well to under- 
 stand. These are distinguished by the following names: I. The mat. 
 II. The plait. III. The net. IV. The coil. V. The web. While 
 in some regards these five methods overlap each other, I have deemed 
 it best to discuss each one separately. 
 
 The two chapters respectively on- The Choice and the Preparation 
 of Materials may be skipped or not as the reader desires. 
 
' 
 
 V * 
 
 
 I- 1 
 
 FIG. 4. FANCY SPLINT BASKET. 
 Courtesy Hyde Exploring Expedition, New York. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. II 
 
 CHAPTER II. 
 
 THE SPIRIT IN WHICH BASKET MAKING SHOULD BE 
 
 APPROACHED. 
 
 Browning well wrote: 
 
 "Not on the vulgar mass called work 
 Must judgement pass." 
 
 There is more in life than the mere outward expressions of it we 
 call "work," and in the work of basket-making much will depend upon 
 the motive, the spirit, in which it is approached and done. The true 
 imitator of Indian work or, perhaps, it would be better to say, the 
 true worker desirous of emulating Indian work must approach it in 
 the true Indian spirit and this I have endeavored to describe in my 
 larger book on Indian Basketry. Suffice it to say here that the basket 
 to the uncontaminated Indian meant a work of art, in which hope, aspi- 
 ration, desire, love, religion, poetry, national pride, mythology, were 
 all more or less interwoven. Hence the work was approached in a 
 spirit as far removed from that of mere commercialism, passing whim 
 or fancy, as it was from that of levity, carelessness, or indifference. 
 
 There was an earnestness of purpose, a conscientiousness of en- 
 deavor in the gathering of the materials, their preparation, their har- 
 moniousness, and then in the shape, the design, the weave, the tout 
 ensemble, that made basket-making to the old Indians almost an act 
 of religion. 
 
 It was a perfect exemplification of the idea suggested by the good 
 poet Herbert, I believe, who said something of the sublimity of the 
 right sweeping out of a room. 
 
 Now all this is the veriest nonsense to the person who is merely 
 making baskets for "the money there is in it," or "because it is quite 
 the rage," and such people had better read no furtHer. But to the 
 emotion-full, sentient, poetic of my readers the ideas given will clearly 
 illuminate what follows. The attitude of mind and heart in the 
 basket-maker clearly should be : If the poor uncivilized Indian thus 
 felt when she approached her work, should not I, the product of a 
 higher civilization, at least feel as' much ? 
 
 If she sought to present the highest she saw in Nature in the most 
 perfect fashion, should not I also seek to do the same ? 
 
 An affirmative answer then compels a study of Indian Basketry 
 form's, designs, colors and weaves. This will produce a growing love 
 for them. From this the natural process will be a reference of the 
 Indian work to their original source, viz., Nature herself. And in Na- 
 ture the true inspiration will be found. The Indian's forms are natu- 
 ral ; her designs are natural ; her colors are natural ; her weaves are 
 natural ; with all the perfection added of conscientious art. 
 
 This at once eliminates the hideous and grotesque in shape, de- 
 sign, color and weave. There are no fanciful forms, impossible de- 
 signs, glaring, inharmonious colors, inadequate weaves. Simplicity 
 
12 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 is the keynote, and upon this the triad and gamut naturally are 
 built. Diversity without end, variety illimitable, effects incalculable, 
 yet all based upon natural simplicity. 
 
 Begin then by training yourself, your children, your pupils, to love 
 the simple in nature. Learn to imitate in form, design and color the 
 
 FIG. 5. SPLINT AND SWEET GRASS FAN. 
 Courtesy Hyde Exploring Expedition, New York. 
 
 simple things. Banish the hideous, the grotesque, the unnaturally 
 complex from your line of observation, and your work will gradually 
 take upon itself the character, the grace, the dignity, the power that 
 come from purity and simplicity. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 13 
 
 Elsewhere, too, I have shown the marvellous personality of the 
 basket. How that each one has a significance in shape, design and 
 color all its own. This personality cannot be deciphered by reading 
 from elements as in hieroglyphics, but can be learned only from the 
 weaver's own lips. In your work endeavor to follow this Indian idea. 
 Make your basket the exponent of something within yourself, then the 
 shape, the design, the colors will all mean something more to you than 
 what merely shows on the outside. You can thus make the basket your 
 poem, your sculpture, your painting, your cathedral, as the Indian 
 
 FiG. 6. BASKETS OF SPLINT AND Sv\/EET GRASS. 
 Courtesy Hyde Exploring Expedition, New York. 
 
 has done. Thus work and worker are both ennobled and there are 
 given to the world more things of beauty to be "joys forever," and 
 whose ''loveliness will increase and never pass into nothingness." 
 
 The pleasure of such achievements as this who can tell, and the 
 moral uplift as desire and endeavor are crystalized into actuality, who 
 can estimate ? 
 
 Thus the basket becomes a factor in moral and spiritual develop- 
 ment, as well as a useful aid in training towards manual dexterity 
 and skill. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 CHAPTER III. 
 
 CHOICE OF MATERIALS. 
 
 Here, as elsewhere, the method of the Indian is the best to follow, 
 if one would get the real value out of basket making. Though trade 
 and barter were common with the primitive Indians, it was not to trade 
 that the weaver looked for her basket-making materials. She had no 
 store to which she could go and purchase cane, raffia or willow ready 
 dyed and done up in bundles to her hand. She must find the materials 
 in her own environment. So with eyes a-down, senses alert, she set 
 
 FIG. 7. BASE OF BASKETS SHOWN IN FIG. 6. 
 Courtesy Hyde Exploring- Expedition, New York. 
 
 forth to seek for splints, filling and dye. The Hopi found the willow, 
 the yucca and a desert grass called wu-u-S'hi. The Mono found the 
 willow, the red bud, the squaw-grass, the root of the tule, the martynia. 
 The Haida found the cedar bark and spruce root ; the Poma slough 
 root, sweet grass, maiden hair fern stem. Thus each locality yielded 
 to its weavers the materials required for the exercise of their art 
 Now while it is not essential that white weavers of bajskets should 
 closely confine themselves to material they personally gather, some 
 of the chief benefits that should accrue from basket-making are lost 
 if they do not largely do so. The powers of observation are stimu- 
 lated, knowledge of local materials gained, and, where the art is used 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 15 
 
 to help the poor commercially, hitherto useless material is converted 
 into a financial benefit, which is a new and direct gain to the commu- 
 nity. 
 
 There are few really useless things under the sun, and the (history of 
 all commercial growth is largely the detailing of how the useless was 
 converted into the useful by invention, imagination and skill. This 
 principle should be applied to this art. 
 
 In some instances there can be but little question that the location 
 of materials for the pursuit of the art of basket weaving has deter- 
 
 FIG. 8. SWALE GRASS TRAY, DESIGNED AND 
 MADE BY GERTRUDE ASHLEY, DEERF1ELD, MASS. 
 
 mined the settlement of a tribe of people. The Chemehuevis, for in- 
 stance, have a tradition which clearly points in a measure in that direc- 
 tion. We know that among civilized races habitat is largely determined 
 by commercialism. The miner locates in the desert, canyon or moun- 
 tain camp because there he finds the precious metal. The cattleman 
 lives near the range where his cattle roam ; the foundryman near the 
 foundry which employs him- ; the clerk near the store in which he is 
 engaged. 
 
i6 
 
 li<>\\ TO MAKK INDIAN AND OTHER BASKETS. 
 
 So the Indian woman's voice was naturally raised in favor of a 
 location where her basket-making material was easiest obtained. 
 
 This hint can be made interesting by teachers of the art, in stimu- 
 lating the imagination of the child. It can also be used to excellent 
 
 FIG. 9. TT'E RED BIRD BASKET DE OT ^ 
 MADE BY MADELINE T.' WYNNE, 
 DEERPIELD, MASS. 
 
 advantage in field trips. It gives a zest and purpose to a ramble to 
 feel there is an object in view. 
 
 "On this trip let us imagine ourselves Indian women and Indian 
 children going out to hunt grasses or other material for basket- 
 making. We will do this for severa,! weeks, and then as the result of 
 our explorations we will decide where we, as Indians, should pitch our 
 permanent camp." 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. IJ 
 
 Put such a thought as this into the mind of child or adult and it 
 gives added pleasure to outdoor rambling. 
 
 Then, the incalculable benefit in the necessary stimulation of the 
 powers of observation that will come from such trips should not be 
 overlooked. This, the highest faculty in true education, should ever 
 be kept in exercise. He is a benefactor in the highest, fullest sense 
 who trains another to habits of observation. 
 
 Experimentation follows observation in this field. For, when one 
 thinks that he has found a material that is suitable either for weaver, 
 filling or dye, it must be tested. 
 
 FIGS. 10 AND 11. CHETEMACHE MATS. 
 Courtesy Hyde Exploring Expedition, New York. 
 
 Selection of the best next follows, and thus both senses and brain 
 are healthfully exercised and stimulated. 
 
 And this is not merely good for a child. Many a nervous, dyspep- 
 tic, broken-down adult would find new life and health in doing what 
 I have here suggested. Out of doors ! Out of doors ! Into God's 
 pure air, sunlight and odors. There is His chemical labratory where 
 health, vigor, power are hourly being manufactured. Get out into the 
 fullness of it. Breathe in it ; drink it in ; absoirb it in. Fill up lungs, 
 blood, nerves and brain with pure life and health, throw physics to 
 the dogs, send melancholia and depression to the devil, defy the demon 
 of dyspepsia and come back into the world of men and women con- 
 scious of strength and power to do what you will. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 19 
 
 CHAPTER IV. 
 THE PREPARATION OF MATERIALS. 
 
 Personal experimentation should be the keynote in the mind of 
 every adult who seeks to gain the greatest good from basket-making. 
 "I will know for myself! I will experiment and test and find out 
 everything that can be found out as to the resources of my neighbor- 
 hood that can be utilized in this work." With all our scientific know- 
 ledge we cannot improve upon the methods and results of the Indians, 
 except, perhaps, in the matter of speed. Their dyes are unfading; 
 their colors perfectly beautiful, appropriate and harmonious, their 
 material as perfect as> it can be made. In "Indian Basketry/' pages 
 72 to 85, I gathered together much information as to materials used by 
 the Indians, and methods of preparation. In that chapter the student 
 will find many suggestions that may aid her in utilizing the material 
 of her own section. One thing, however, she may be sure of, viz., that 
 wherever an Indian has been over the ground, in the work of that In- 
 dian will be found the very best basket-making material of that region. 
 The Indian's judgment may be relied upon, even though her meth- 
 ods may be bettered. For her selection is the result, possibly, of cen- 
 turies of practical experience and therefore, at the outset it will be well 
 to see, if you have any Indian workers in your locality, what they 
 have been in the habit of using in their basketry work. If it be true, 
 as most of us firmly believe, that he is a benefactor who' .makes two 
 blades of grass grow where but one grew before, it is equally true that 
 he is a benefactor who finds a use for that wbich has 'hitherto been 
 deemed useless. To teach others how a 'useless* weed may be con- 
 verted into a commercial commodity is to create wealth, and among 
 the poor and needy, wealth means added comfort and happiness. By 
 following the suggestions given in this chapter every teacher may en- 
 large the sphere and scope of her benefactions. The following list 
 makes no pretention to completeness. It is merely suggestive, and to 
 stimulate the weaver to find out what she can use from her own 
 locality. When any new material, not named here, is found I shall 
 be obliged if a sample be sent to me, to Pasadena, California, with its 
 local and Indian name, its habitat, habit or growth, quantity, how pre- 
 pared and any further particulars that may be of interest. 
 
 It must not be supposed that familiarity with and skill in the use 
 of one material can be transferred at will to some other materiajl. 
 Each material demands personal study and -use. One who has 
 learned how to use willow^ cannot immediately work in reed or rat- 
 tan, and yucca strands need very differe-nt handling from squaw grass 
 or pine needles. In this diversity the true student will find pleasure. 
 The overcoming of difficulties exercises the faculty of invention. 
 
 Care should be taken, and a caution given to children, to avoid the 
 grasses with saw-toothed or other sharp edges. One may be cut sev- 
 
20 
 
 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 FIG. 13. SPLINT AND SWEET GRASS BASKETS. 
 Courtesy Hyde Exploring Expedition, New York. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 21 
 
 erely if careless in handling such grasses, and there are plenty of 
 other materials without using these that may do injury. 
 
 COCKLE-BUR. The much-despised and hated cockle-bur may 
 be used as a stimulant of the child's imagination in the beginning of 
 his work. These burs can be found anywhere, and when the children 
 have gathered them they can be shown in one lesson how that, by 
 sticking them together, a form can be created. Then it is well to 
 leave them to their own imagination, allowing them to create airty 
 s-hape they may desire. 
 
 RAFFIA is ideal weaving material for the untrained fingers of be- 
 ginners or the weak fingers of children. It is soft and flexible and 
 easily handled. As strength and digital dexterity increase stronger 
 materials can be used, especially as they afford so much greater oppor- 
 tunity for the exercise of skill and artistic effort. 
 
 Raffia is the native name given to a Madagascar palm of the tribe 
 Lepidocaryeae, a, type of the sub-tribe Raphieae. It has a long leaf, 
 over 50 feet in length, and thus the tree is often from 60 to 70 feet 
 high to the tips of the leaves. The material purchased from the seed 
 stores is the epidermis of the leaf stripped on both sides. The leaf 
 itself is very brittle, and would be useless for this work, but the fibre 
 stripped from its outside is tough and pliable. It is tied in long hanks, 
 and was originally shipped to France and England to be used mainly 
 as florists' twine, for tying up fruit trees and other gardening pur- 
 poses. With their native economy the French, and then the Germans, 
 began to use it in connection with cane and reed in the manufacture 
 of small baskets, and when the revival of the art of basketry reached 
 England, the workers there at once perceived its adaptability and 
 seized upon it as an excellent and ideal weaving material for beginners. 
 Its long strands are from one and a half to two feet in length, and it is 
 thus much preferable to the shorter splints of the Indian. For, to the 
 teacher who 'has a large number of children to direct, it is a compa|ra- 
 tively easy task to see that each pupil has her needlefull of raffia, 
 whereais in the use of the shorter splints of the Indian much time would 
 be occupied and patience exhausted in rethreading or reinserting these 
 short and soon' used up lengths. 
 
 RATTAN is one of the most popular of basket-making materials 
 because it is long, light, tough, flexible and fissile. The recent awak- 
 ening to the importance of basketry has brought rattan into marked 
 prominence. It is a palm of the genus Calamus, majinly found in the 
 East Indies. Sometimes it attains the astounding length of 500 feet, 
 climbing the tallest trees, falling in festoons, and again ascending, and 
 seldom exceeding an inch in thickness. The rattan of China and 
 Japan is of the genuis> Raphis, and is known as ground-rattan 1 . It 
 grows erect in dense tufts. 
 
 Prepared for commerce rattan is stripped of its leaves and bark, 
 and is put up into bundles of round cane or flat strips, numbered from 
 i to 15. No. i, being the finest, is the 'most expensive. Nos. 2, 3, and 
 4 are 'common sizes, Nos. 5 and 6 being used for the coarser work. 
 
 The BAMBOO holds an important place in the list of bajsket- 
 making materials. It grows in all warm countries, though the Bam- 
 bu'sa, the chief type, is found only in Southern and Eastern Asia. It 
 is an arborescent grass, growing to the height of 20, 50 and even 120 
 
22 
 
 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 23 
 
 feet, with a diameter, in the larger species, of from 4 to 8 inches. Both 
 leaves and stems are used in basketry work, though rattan is more 
 common in America for general purposes. 
 
 The PALM family affords much material for basketry, as has 
 already been shown, one species alone, the Bamboo-palm, Raffia vini- 
 fera, giving t ! he raffia now so largely used. 
 
 The leaves of the palmetto (Sabal palmetto), a tree growing from 
 20 to 35 feet high, and of the dwarf palmetto (S. adansoni), are peeled 
 and make excellent material for wrapping splints, and also foir splints 
 for the mat weave work herein described. 
 
 Good splints are made from the BUCK-EYE (Aesculus), several 
 kinds of which are well adapted to this purpose, the wood 1 being white, 
 soft, spongy and easily worked. 
 
 The wood splints of commerce are purchased in long, wide strips. 
 To prepare these for basket work two cutting implements are used, 
 elsewhere pictured. The broad strip is placed inside the grooves of the 
 "slicer," which has three or more tiny but sharp knives protruding 
 from its. base. As> the splint is drawn through the cutter, it is cut into 
 the desired width, the knives being set by gauge and screw. 
 
 Where ino cutter is to> be had the strips may be made with scissors, 
 but this is- a slow and laborious task. 
 
 The BULLRUSH (Scirpus) of different species may be largely 
 used in basketry. The special kind (S. lacustris), whose tall, smooth, 
 bluish-green, round stems are seen projecting above the water in 
 lakes, ponds, pools and rivers, dries well and is excellent for many 
 purposes. In California the Scirpus Tatora is called tule, and the root 
 of this has a cuticle of a rich, brown color, which is used by the Cahuil- 
 la Indians as wrapping splint for their coiled ware. 
 
 A grass that can be used is SENECA-GRASS, -sometimes also 
 known as holy-grass and vanilla-grass. 
 
 The ingenious teacher will find many ways of using CORN 
 HUSKS, even as the Indians do, though, of course, nothing durable 
 can be expected from such perishable material 
 
 SWEET GRASS is largely used in some parts of the United 
 States and Canada for the making of simple and pretty baskets. It is 
 properly Zostera, a type of a tribe of aquatic plants which grow im- 
 mersed in shallow bogs and other waters. A chapter is devoted to 
 sweet grass weaving. 
 
 In the South there grows in vaist quantities the LONG MOSS, 
 (Tillandsia usneoides) whose dense pendulous tufts drape the trees. 
 This moss is largely used for the 'stuffing of mattresses, and can be 
 used for filling for the inner coil of baskets. 
 
 BROOM CORN (Sorghum Vulgare) also makes excellent filling 
 for the inner coil, and is much cleainer and better than the moss. 
 
 LONG PINE NEEDLES. From Virginia to Texas there grows 
 along the coast a pine which has spiculae or needles from ten to twelve 
 inches in length. These needles dry easily and are well adapted 
 either for material for the inner coil of coiled bas'kets, or as unwrapped 
 coils sewed together as illustrated elsewhere, and even for weavers. 
 
 Pine needles, longer or shorter, are found throughout the whole 
 country and children should be encouraged to do the best they can 
 with 'such as they can find. The Southern variety referred to above 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 FIG. 15. SPLINT BASKETS. 
 Courtesy Hyde Exploring Expedition, New York. 
 
 FIG. 16. REED BASKETS MADE AT DEERFIELD 
 MASS. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 is the long-leafed pine (pinus palustris), and is generally known as the 
 Georgia pine. 
 
 Arrangements have been made for the gathering of abundant quan- 
 tities of these long pine needles and a sample bunch will be sent by 
 mail free on receipt of twenty-five cents. 
 
 The MARTYNIA is a plant capable of cultivation hi any part of 
 the country. A -small package of seeds can be purchased for twenty- 
 five cents, which will grow enough for a small class. An effort is 
 being made by The Basket Fraternity to secure these seeds for sale. 
 It must be gathered when the pod is at its blackest. Gathered too 
 soon it is greenish ; too late, the black is rusty and poor. When 
 
 FIG. 17. WEAVER 
 SPLINT CUTTER. 
 
 FIG. 18. FOUNDATION SPLINT CUTTER. 
 
 picked at the right time the black is perfect, and all the designs of the 
 Pima, Apache and Havasupai baskets are worked out with it. 
 
 In Australia and New Zealand grows the pimelea, a slender branch- 
 ing shrub with tough, stringy bark. This bark is prepared and the 
 fibre used for textile purposes. 
 
 All lovers of the fine basketry of Northern California know the 
 rich black wrapping splint of the twined basketry. This is- the stem 
 of the Adiantuim pedatum, the MAIDEN HAIR FERN. 
 
 There are some pliant species of SMILAX (S. Rseudo China), 
 known as bull-brier, which are used in basket-making. 
 
 The fibre of the cocoanut, called COIR, could be so prepared as 
 to make a fairly good wrapping splint for coiled work. 
 
 The SILK GRASS of British Honduras, which is the same as 
 the pita of Central America, is a valuable fiber produced principally 
 from the Bromelia Sylvestris, a kind of wild pineapple, though the 
 name pita! is given indiscriminately to the fibre obtained from the 
 
26 
 
 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 *. 
 
 FIG. 25. RAFFIA BOUND PICTURE FRAMES 
 Work of Students, Teachers' College, New York. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 2/ 
 
 various species of Agave. This is also known as henequen, or sisal 
 hemp, and is largely used for making ship's cajbles, as it resists damp- 
 ness better than the simple hemp. 
 
 There are two or three species of WILLOW that are largely cul- 
 tivated for basket-making. In Europe the Almond-leafed willow 
 (Salix Amygdalkra) and especially the Golden Willow or osier (S. 
 Vitellina) are used for this purpose. Most of the coarse basketry 
 of England is made from this latter species, and the finer work is made 
 by splitting the willow into splints and using them for wrapping, as 
 do the California and other Indians. 
 
 Somehow the words "Sisal Willow" have come into use in 
 basketry. I am free to confess I do not know what the Sisal Willow 
 
 FIG. 160. DEERFIELD STRAW BASKETS. 
 
 is and shall be glad to be enlightened. The Century Dictionary gives 
 Sisal grass and Sisal hemp, which is the fibre of the agave ixtli or 
 henequen, but I can find no reference to Sisal Willow. 
 
 Mat splints, especially when made of palmetto or similar material, 
 are ma.de more pliable by slight soaking and then running between the 
 thumb and dull edge of shears. 
 
 Other materials will be found referred to in later pages showing 
 the infinite variety the ingenious teacher may utilize. 
 
 In their preparation most of the common grasses will dry if put in 
 a warm but shady place, and kept turned over every day. A little ex- 
 perience will soon demonstrate the best method of "curing." 
 
28 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 ,. 
 
 CHAPTER V. 
 DYES : HOW TO MAKE AND USE THEM. 
 
 At the outset let it be understood fully that this is not presented as 
 anything more than a chapter of suggestion and hints. Explicit di- 
 rections in so subtle and elusive a matter as dyeing is not to be expect- 
 ed in a book of this character. 
 
 In th-e first place, second, third and every other place, fix firmly 
 and forever in your minds that aniline dyes are " anathema " to ajll 
 true basketry lovers. They are the " accursed things " which bring 
 sorrow into the camp of the faithful. Do .not touch them. Discourage 
 their use in others. 
 
 Vegetable dyes are softer in tone, more harmonious, more perma- 
 nent, and better in aiccord with basketry work. The loud trumpet 
 notes of aniline color do not suit such soft and flexible work as bas- 
 ketry. Never until the white man of no artistic taste perverted and 
 led astray the Indian with aniline dyes did he make mistakes in color. 
 Hence to get the true conception of color one has but to study the 
 old baskets. And who that has done this has not felt the charm and 
 delight of sweet, tender, exquisite melodies ; of soft, delicate, restful 
 harmonies in these masterpieces' nay mistresspieces of ancient 
 work ? 
 
 In this chapter I desire to stimulate each thoughtful and earnest 
 student to the endeavor to reach what these wild weavers reached. We 
 know 'somewhat of their methods, and they cannot be improved upon. 
 In "Indian Basketry" I have said something about them, and the chap- 
 ter on colors is well worth another reading in connection with these 
 hints. Also, if you have in some long forgotten closet a copy of your 
 great-grandmother's old recipe book, get it out, and, ten to one 
 you will find wonderfully suggestive helps there, reminding you of the 
 days when your ancestors spent many hours over the dye pot or tub. 
 To learn to dye well is a liberal education in many things. So begin 
 with determination and courage. Remember that experience will 
 widen your horizon and enlarge your capacities. Thus a valuable 
 and interesting discovery may be made. Miss White tells of "one bas- 
 ket-maker who found in the purple iris a dye almost as deep as its 
 own blossoms. The faded flowers are full of the purple 'liquid, and, 
 when they are rubbed on rattan, color it a beautiful shade which is 
 quite as fast as most dyes." 
 
 Hence, experiment in every way. If you are preparing a red, and 
 happen to have some other dye at hand, mix in a little of it, and test 
 the res-nit. Just as an artist experiments in color on his palette board 
 and thus finds what he wants, so may you. 
 
 As a rule all materials and dyes need a mordant. This is to "fix" 
 the dye. In "Indian Basketry" I tell of some Indian mordants. Alum 
 is a good ordinary mordant and can be had, cheaply, anywhere. As a 
 general principle, however, chemistry teaches that where you have 
 an acid dye it is well to have an alkali mordant, and when an alkali 
 dye an acid mordant. Experiment will soon teach the value of this. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 29 
 
 Miss White suggests the use of a solution of three ounces of alum 
 dissolved in a quart of water. Miss Hyde prefers much less, prefer- 
 ably about four ounces to two gallons of water. 
 
 When the alum is well dissolved place the liquid in a small tub 
 and soak the material to be .dyed in it for fully two hours. This allows 
 the fibre of the raffia or rattan to take up the mordant, and thus pre- 
 pares for the permanent fixing of the dye a thing much to be desired. 
 
 Inj the making of dye here are a few hints as to material. YEL- 
 LOW. Gather St. John's wort (hypiricum perforatum), the stems, 
 leaves and flowers, which can be found growing everywhere on the 
 roadside. This gives a light yellow that is very pleasing. 
 
 Saffron can be bought from the druggists, and is easy to handle. 
 This gives a bright yellow. 
 
 Onion skins give a dull yellow that rs< very satisfactory. 
 
 GREEN. Indigo, to be purchased of any druggist, gives the color 
 for blue, but it must be confessed it is difficult to handle without ex- 
 perience. Miss Hyde found Chase's Recipe Book give her help. 
 Learners will find that indigo will not dissolve in water. Sulphuric 
 acid will dissolve it, but the acid will rot the material to be dyed. So 
 before the materials are immersed, the acid must be neutralized by 
 the addition of soda. The sulphuric acid is poured on the indigo, 
 drop by drop, and stirred vigorously, causing the liquid to foam in an 
 alarming manner. There is nothing to fear, however. As< soon as the 
 indigo is dissolved fully, add water and put in soda until it stops 
 foaming. Be sure to keep your 'hands out of this mixture. Use a 
 stick to stir it with. It is well to make plenty of this mixture, which 
 keep stirring often. This allows the soda to completely neutralize the 
 sulphuric acid, and the dye can be used with safety, diluting with water 
 when used. 
 
 RED. Cochineal, though animal, is suggested for a dark, deep 
 red. Combined with cream of tartar it gives a bright red. 
 
 Madder gives a dull red. This can be bought from the druggists 
 in powder form ; in the South it can be found growing in the fields, 
 and the root is the part to use. 
 
 Cranberries give a dull red, and beets a color similar but more 
 satisfactory. The poke berry gives a purple red. You will not care 
 to handle the poke berries as they stain the hands. 
 
 ORANGE. Dragon's blood gives a pleasing orange. The powder 
 can be bought from: any druggist. Do not buy it in stick form, as water 
 will not readily dissolve the stick, and alcohol must be used for the 
 purpose. The powder is easier to handle. 
 
 The powder of Blood Root gives a deep yellow. 
 BROWN and PURPLE. Logwood extract gives a fine brown, 
 and combined with ammonia a good purple. 
 
 Butternut bark, though not as 'strong as logwood gives satisfactory 
 resudts if an extra quantity is used. Walnut and 'hickory nut shells 
 can also be used with good results. The bark of the maple and 
 pine both give nice shades of brown, and one will find great pleasure 
 in experimenting with bark from different trees. 
 
 TAN. Sumac leaves, and stems give a good tan, while the fruit 
 gives a reddish or what might better be termed a light or pink tan. 
 But this dye is never strong even though a large quantity of the leaves 
 are used. 
 
30 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 TIME TO COLLECT MATERIALS. Experience has demon- 
 strated that the best time to collect these materials is in October or 
 November, when the seeds and fruit are ripe and the sap is well 
 down in the trunks of the trees. Even in this work one is liable to 
 stumble upon many interesting facts. For instance, one teacher had 
 her scholars gather walnut shucks for dyeing purposes, and they secured 
 a delicious shade of green. Three or four weeks later they again wished 
 some green dye, and went and gathered more walnut shucks. This 
 time their green dye came out "brown/' and the disappointed children 
 were unable at first to comprehend the reason for the change. It does 
 not need much suggesting to show how that to an intelligent teacher 
 this practically prepared the hearts and minds of her pupils for a val- 
 uable lesson in natural history. The green coloring matter had gone ; 
 new matter or changed matter was in its place. Thus observation 
 and interest are stimulated the first elements of all true education. 
 
 TO MAKE THE DYES. Eor a dye pot a good enamel kettle 
 is as serviceable as anything. All the materials are to be boiled. 
 A general proportion to be observed is two ounces to one gallon of 
 water. This gives a fairly strong dye. It can be diluted, if necessary, 
 and if found not strong enough can either be boiled down or more 
 material used. 
 
 In using beets, put in about five or six large beets to a gallon of 
 water. If these do not produce the desired color, put in more. 
 
 Cranberries, use about one pound to a gallon of water. 
 
 Butternut bark, wallnut shucks, sumac, poke berries, onion skins, 
 etc., all that can be held in both hands; a little more will do no harm. 
 
 All of the above will generally give their color with a half hour's 
 gogd boiling. On the other hand, cochineal needs fully two hours to 
 produce good results.. 
 
 TO DYE THE MATERIAL. First mordant as before described. 
 Be sure and strain the dye, as if there is any sediment it is liable to 
 arrest the \vork of the dye and give irregular color effects. 
 
 In every case the dye must be boiling when the material is immersed. 
 Let it remain in the liquid from 15 to 20 minutes. If this is not 
 enough (as experience will soon demonstrate), let it remain longer. 
 Keep turning the material over and over, always using a wooden 
 stick for the purpose, so that the color evenly reaches all the parts. 
 
 The following is from the pen of Miss Margaret C. Whiting, of 
 the Pocumtuck Basket Society of Deerfield, Mass., a society whose 
 work in fine basketry other pages of this book will well testify to. 
 In an early bulletin of the Basket Fraternity I hope to publish a 
 full and detailed account of Deerfield and its work. 
 
 "Basket workers, who work in raffia, have only lately begun to 
 realize the necessity of natural dyes in order to produce good and 
 lasting color combinations in their designs, and it is a fundamental 
 need, and no craftsman will continue long to rest satisfied with seeing 
 his design developed in the loud and vulgar colors that raffia dyed 
 in chemical or aniline dyes produce. In itself raffia is a material that 
 is capable of taking on soft and harmonious colors, or of becoming an 
 offence to the eye. It is fortunate that many individual basket 
 makers, or groups of workers, are following the exampe of Deerfield. 
 in either doing their own dyeing in indigo, fustic, madder and copperas, 
 or employing someone who has skill and time to do it for them. By 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 3! 
 
 these means the dld-fashioned processes of hand-dyeing are being 
 revived, and far-reaching effects may quite reasonably be hoped for 
 from the individual dyers who are thus being encouraged. Such an 
 one is Mrs. Miller, of Brooklyn, whose "Colonial Dyes" of over a 
 dozen shades and tones of reds, browns, yellows, greens and blues 
 done in smajl vats prepared by old rules of tried permanence, are 
 so pleasing to the eye, tried by the garish modern colors that it is 
 impossible to believe the future will consent to accept. Quite recently 
 a modest sale, for a charity, of baskets made by a group of amateur 
 but skillful basket-makers in a surburban town belonging to Greater 
 New York, from Mrs. Miller's colors proved the charm possible to 
 
 FIG. 135. SIMPLE WEB BASKETS OF RATTAN. 
 Work of Students, Teachers' College, New York. 
 
 obtain from the color harmonies of vegetable dyes. The basket with 
 a holly design, that which was decorated with a stiff row of tulips, 
 another that bore trees, whose maker whimsically proclaimed to grow 
 in "the vale of cedars," and still another developed in orange and 
 black with a barbaric design in white beads, ail show the inspiration 
 harmonious colors give to the designer, how their mere possession 
 gives suggestion of patterns and combinations to the eye of a skillful 
 basket-maker, which her own desire to produce turns to admirable 
 account. The much lamented decay of good design and of excellence 
 in ornamental work has been largely helped by the manufactured 
 dyes ; how great an influence toward the tasteless and tawdry has been 
 wrought by the invention of aniline colors, who can say?" 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 CHAPTER VI. 
 
 TOOLS AND TERMS USED. 
 
 The student should be provided with the following tools : A 
 needle (about a No. 19 tapestry needle is good to begin with) ; strong 
 scissors; an awl about four inches long; a small hamimer; a yard 
 measure and foot rude ; a 'sharp knife ; a pair of small, flat pliers or 
 pincers; a narrow piece of heavy, flat iron or steel that can be used 
 as a hammer between the spokes of a basket. This should be about 
 five or six inches long and two inches broad, indeed an old rasp file 
 will answer the purpose very well. Rubber thimble and finger caps 
 are useful, when these members are tender. 
 
 Cutters for preparing wood splints are used by the Eastern In- 
 dians. Miss Marie Toxuse, employed by the Hyde Exploring Expe- 
 
 FIG. 19. A SPLINT. 
 
 FIG 20. SINGLE WEAVING 
 
 FIG. 21. DOUBLE WEAVING. 
 
 FIG. 22. PAIRING. 
 
 dition, 26 West 23rd street, New York, kindly permitted me to have 
 the accompanying engravings made from her two cutters. Fig. 18 
 is adjustable, and can be set by means of the thumb screw and the 
 brass fillers to cut the splints from an eighth of an inch to an inch 
 in width. 
 
 Fig. 17 consists of a number of knives set at the proper distance 
 apart for the making of splints for weavers. 
 
 In both these cutters the -broad splint is inserted, pressed upon 
 the knives, and then rapidly pulled. With a pair of scissors the 
 resulting splints are cut to the required length. 
 
 A splint, or weaver, or strand is the name given to the strip or 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 33 
 
 piece of material used for wrapping. The fingers in Fig. 19 hold a 
 splint. 
 
 The warp splints are the ribs, the bones, the framework, the spokes, 
 the foundation upon which the basket is buiilt up. 
 
 The woof splints are the weavers which are wrapped, or twined, 
 or worked in various ways in and out of the warp splints. 
 
 SINGLE WEAVING. This is shown in Fig. 20. The weaver 
 is placed behind one spoke or foundation rod, and before the next, 
 thus alternating. It is to pack tightly together this kind of weaving 
 that the flat piece of iron referred to in the list of tools is so useful. 
 
 DOUBLE WEAVING. This, is where two weavers are used 
 instead of one, see Fig. 21. 
 
 PAIRING. TThis is where two weavers are used, but one is placed 
 before, the other behind the same spoke, as in Fig. 22. Then as the 
 
 FIG. 23. TRIPLE WEAVE. 
 
 FIG. 24. ROPE TWIST. 
 
 weavers are taken on to the next spoke twist them so that the lower 
 weaver takes the place of the upper. 
 
 TRIPLE TWIST. This is clearly shown in Fig. 23. Three 
 weavers are placed behind three consecutive spokes, then each weaver 
 is brought in succession before two spokes and behind one, being laid 
 at the same time on the top of the weavers that preceded it. This 
 weave is used where a break or dividing line in a basket is desired, 
 either for beauty or strength. It is also used as a border finishing 
 weave. 
 
 ROPE TWIST. This is a variation of the triple weave, though 
 four or more weavers may be used, see Fig. 24. For starting, four 
 weavers are placed behind four consecutive spokes, and if one or more 
 weavers have already been used, they must be included in the four 
 to make up this twist. Each in its transit to the back of the fourth 
 spoke must be laid on the top of the other three weaver?. 
 
34 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 CHAPTER VII. 
 HOW TO BEGIN. 
 
 One of the first and most important results to be attained is the 
 familiarizing the student (be he child or adult) with the materials to 
 be used. Hence the wisdom of following out alii the suggestions 
 here given, even though the immediate results are not the ones 
 you individually are seeking. The greater the variety of materials 
 used, the more readily does one see the possibilities and limitations of 
 each. 
 
 Miss Hyde suggests: "One may combine bristol board with 
 
 FIG. 26. RAFFIA WRAPPED ARTICLES. 
 Work of Students, Teachers' College, New York. 
 
 raffia to advantage in teaching little children illustrating the use of 
 two materials of different degrees of flexibility." In all the following 
 exercises it is well to dampen the raffia several hours before using. 
 
 PICTURE FRAMES. Cut a 6-inch square from bristol board 
 and from this cut a circle, the radius being three inches. Cut an inner 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 35 
 
 circle with radius I 1-4 inches, giving a diameter of 2 1-2 inches. This 
 opening allows for a small picture. Then wrap the board with raffia 
 in its native color, or dyed, as preferred. A simple loop may be made 
 of the raffia with which to hang up the frame. 
 
 In the making of these picture frames cultivate a sense of propor- 
 tion. The frame must not be too large for the picture it is to hold; 
 nor too small. 
 
 Then, too, let the child feel that this frame is to enshrine a picture 
 that means something to him. It is not simply a frame for any kind 
 
 PIG. 
 
 MAGAZINE HOLDER OF WRAPPED RAFFIA. 
 
 of a picture, or merely "a frame anyhow," but it is a frame especially 
 made for a picture of papa or mamma, or the baby, or some beloved 
 friend o<r scene. Thus the heart of the child, as well as its mind and 
 fingers are engaged in the work. This is the prime element in all 
 work we designate "artistic." 
 
 Other interesting possibilities in this use of materials are suggested 
 in Fig. 26. Here are a book mark, a napkin-ring, and a toy umbrella, all 
 made of wrapped raffia. For the book-mark any kind of splint may 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 37 
 
 be used. Then raffia is wrapped from one spoke to another, as clearly 
 shown in the engraving. The napkin-ring is made by wrapping the 
 raffia around a splint or card-board base, circled into ring form, and 
 then edged with plaited raffia, sewed on. For the umbrella take a 
 piece of No. 4 rattan. Glue a piece of cork upon one end. Into this 
 make small holes and glue therein seven lengths of No. I or No. 2 rat- 
 tan. Then begin to wrap with raffia, giving one twist around each 
 spoke and going on to the next one. This mode of wrapped weaving 
 was long ago used by the Mohave Indians in the making of their car- 
 rying baskets, as* shown in Indian Basketry, page 160, and later in 
 the chapter on Indian Stitches. 
 
 FIG. 30. SIMPLE COILED BASKETS. 
 Work of Students, Teachers' College, New York. 
 
 A SIMPLE BASKET FOR CHILDREN. The coiling of 
 natural colored raffia and wrapping with a strand nf dyed material is 
 an easy method for children. Take a sufficient number of strands of 
 raffia to make 1-4 inch coil and wrap with a strand of colored raffia 
 leaving distances of 1-2 inch between wraps. Coil and sew back and 
 forth holding the coil to the left, and the stitches should not be noticed. 
 To finish let the coil gradually diminish. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 CHAPTER VIII. 
 
 THE MAT WEAVE. 
 
 While mat weaving uses the warp and woof in exactly the same 
 manner as they are used in what I have termed the web weaving, the 
 material is so different in character, and needs such different handl- 
 ing, that it is deemed wise to differentiate and give two separate sets 
 of lessons in their use. The earliest stages of this form of weaving 
 all kindergarten 1 teachers are more or less familiar with. 
 
 MATERIALS REQUIRED. A number of splints of equal 
 width of paper, wood (such as ash, oak, etc.,) palmetto, etc. A buck- 
 et or bowl of water, knife, scissors, awl or piercer. 
 
 CHECKERBOARD. Take a number of spilints of equal length 
 and width. Place ten or a dozen 'side by side. This makes the warp. 
 
 m 
 
 7 
 
 FIG. 31. SIMPLE MAT WEAVE, 
 
 OPEN. FIG. 32. SIMPLE MAT WEAVE, CLOSED. 
 
 Then take same number and weave them, one at a time, over and 
 under the warp at right angles. This simple checkerwork is the basis 
 for good work later on. 
 
 Figs. 31 and 32 clearly show the simplest forms of this kind of 
 work. After a little practice in this with coarse splints., let the pupil 
 undertake the making of a table mat of any suitable material similar 
 to Fig. 33. It will be seen that the splints are fine. When it is the 
 size desired, sew the edges tight with white thread, and then unravel 
 or split the splints as shown in the illustration. 
 
 It is well to gain accuracy and speed in the manipulation of mat 
 splints, and good exercise will be had by imitating Figs. 34, 35, 36 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 39 
 
 with weavers of two colors. These weaves can be utilized in the 
 making of many beautiful baskets later on. 
 
 MAT FOUNDATION WORK. Fold all the splints lengthwise. 
 Take the two long ones, place them side by side, right and left, with 
 ends reversed. (See Fig. 37.) Take a short splint, open it and fold 
 around long splint to the right, thrusting splints through the long 
 splint to the left. Pull tight. The next short splint fold around long 
 
 FIG 33. TABLE MAT. SIMPLE MAT WEAVE. 
 
 splint to left and through long splint to right. So on alternating, with 
 as many splints as desired. Pull tight. 
 
 FOLDING EXERCISE. ,-Dhe accordeon fold. Take two 
 weavers of equal width, holding them with ends at right angles, or fold 
 one long splint as shown in A, Fig. 38. Fold the perpendicular splint 
 up over the horizontal one, then the horizontal over the perpendicular, 
 retaining them at right angles. Back and forth the folds then go 
 (See C) in the following order : down, from left to right ; up, from right 
 to left ; and so on, taking care that each fold is absolutely even. The 
 result is the accordeon fold (B, Fig. 38.) 
 
 In Figs. 10, n, 39 and 40 are seen four beautiful specimens of 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 FIG. 38. 
 
 ACCORDEON PLAIT. DIAGONAL MAT 
 WEAVE, ETC. 
 
 FIGS. 39 AND 40. CHETEMACHE MATS. 
 Courtesy Hyde Exploring Expedition, New York. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 41 
 
 Chetemache weave. This tribe of Indians lives on Avery Island, La., 
 and makes beautiful baskets of a variety of shapes, using splints of pal- 
 metto. 
 
 Their dyes are evidently vegetable and the exquisite color effects 
 produced are worthy of imitation. The colors are a dull Indian red 
 
 FIG. 34. 
 
 PATTERN PRODUCED 
 BY INTERLACING 
 
 STRANDS OP 
 DIFFERENT COLORS. 
 
 FIG. 35. 
 
 PATTERN PRODUCED 
 BY INTERLACING 
 STRANDS OF 
 DIFFERENT COLORS. 
 
 FIG 36. 
 
 ISOLATED FIGURES 
 PRODUCED BY MODI- 
 FYING ORDER OF 
 INTERSECTION. 
 
 and black, with the natural greenish-gray of the palmetto. In these 
 mats, the designs are worked out with different colors. The design is 
 easily followed and the learner will find it excellent practice to en- 
 deavor to imitate, and later on, conjure up designs from her own im- 
 agination. The binding is simple. A flat splint is laid lengthwise 
 
 FIG. 37. MAT FOUNDATION WORK. 
 
 on the upper edge of the mat, and then sewed on with a fine weaver 
 as seen in the illustration. 
 
 DIAGONAL MAT WEAVE. TTake four long splints. Lajy two 
 horizontally and two vertically, under and over as if going to make 
 ordinary square mat weave, holding in left hand. Take top splint, 
 oblique or diagonal, fold backwards, bringing edge parallel with the 
 right edge of the perpendicular splint. Change work to right hand, 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 FIG. 41. SPLINT PICTURE FRAME 
 FOUNDATION. 
 
 FIG. 42. 
 
 SPLINT PICTURE 
 FRAME. 
 
 FIG. 43, SPLINT MAT WEAVE BASKETS. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 43 
 
 fold left splint obliquely, making its upper edge lie parallel with the 
 bottom horizontal splint. This crosses right perpendicular splint. Pass 
 under first folded splint. There are now two perpendicular sets of 
 splints, and two horizontal, one set to the right, one set to the left. 
 Work held in left hamd, fold upper horizontal downwards as before. 
 Then left perpendicular folded horizontally as before. Hold now 
 obliquely and press edges towards center to keep the work evenly, 
 and proceed, folding as directed, as long as required. (See D, Fig. 
 38.) 
 
 NAPKIN RING. A napkin ring can be made from this strip of 
 diagonal weaving, tucking in the edges. (G, Fig. 38.) 
 
 Another form of napkin ring may be made by leaving a little longer 
 ends to the diagonally woven strip, bringing them together and then 
 proceeding to unite them with the ordinary flat mat weave, tucking 
 in the edges as per the illustration, (F, Fig. 38.) 
 
 A beautiful variation of the lower edige of the weaving of a diagonal 
 band is shown in H, Fig. 38. Here, instead of obliquely folding and 
 creasing the splint, it is merely twisted in a curve back to the place it 
 would have had if folded and creased. A little practice will make the 
 weaver perfectly conversant with this pretty variation. 
 
 Cornucopias, boxes, covers, etc., in great variety of shapes and 
 sizes, may be made upon these principles, ofte of which is illustrated 
 in B, Fig-. 43. 
 
 PICTURE FRAME. .Material required: eight long splints of 
 one or various colors ; necessary number of short splints. 
 
 Prepare foundation as described for Fig. 37. Open up as Fig. 41. 
 Then insert small splints and fill up the vacant spaces marked I, 2, 3, 4 
 on Fig. 41. Trim off loose edges and the result is Fig. 42, which can 
 have cardboard or leather back glued or sewed upon it, with ring 
 hanger, or easel. 
 
 The question of basket size can always be determined with a little 
 study. In mat weaving the width of splint must be considered. Then 
 there are practically five sides., viz., bottom, two ends, two sides. 
 These sizes determined it is easy to cut splints the required length, 
 taking care, however, to allow two inches or so for turning in (tuck- 
 ing in) at the edges. 
 
 It should never be forgotten that good work of any kind can be 
 done only with splints of perfectly even width. These even widths 
 can best be made with the cutter shown in Fig. 18. 
 
 In Fig. 43 is shown how this square mat weave may be utilized. 
 The bottom of A is of mat foundation (simple checkerboard). When 
 the corners are turned up, the woof splints of the sides can be con- 
 tinued around the corners and used as the woof splints of the ends. 
 Where the splints meet they can be tucked in, thus strengthening the 
 parts. A little practice soon enables one to do this "tucking in" or 
 "doubling" skilfully. 
 
 Fig, 43, C, is tihe lid for D. It is made same as A. When the 
 cover is deep enough the upright or warp splints are turned over and 
 tucked in. A fastener for the cover to the handle of the basket D is 
 easily made by taking a long splint, folding it around the fourth warp 
 splint from either end, then wrapping one of the folds with the other in 
 an oblique wrap, and binding it to the fourth warp splint from the 
 other end. 
 
44 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 The basket D is made in the same way as its cover C, except that 
 it is deeper. To produce the narrowing together towards the top the 
 warp splints should be made to taper a little. 
 
 The handle is made as follows : Take two pieces of rattan, cane, 
 willow, or palmetto, the thickness desired and the length the handle is 
 required to be. For weavers use long mat splints well soaked. Hold 
 foundation canes in thumb and forefinger of left hand with weavers 
 under one and over the other. Then wrap around left foundation 
 
 FIG. 44. MARKET AND OTHER BASKETS. 
 Work of Students, Teachers' College, New York. 
 
 splint, up between the two, over and around right foundation splint 
 back between the two, down and around left splint, and so on, alter- 
 nating over and under. 
 
 A little practice will soon teach how to affix to basket, taking care 
 always to overwrap or tuck in all ends. 
 
 Figs. 44 and 45 show a variety of small models of baskets made by 
 the students at Teachers' College. Excite the interest of children in 
 forms of baskets in actual use, and then urge them to imitate or re- 
 produce in minature. The result will be an interesting collection, 
 showing market baskets, clothes baskets, grocers' baskets, cotton 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 45 
 
 baskets, hampers, etc. All these are simple and need no detailed in- 
 structions further than those already given. The children will readily 
 overcome the problems involved. Here adaptability to purpose, to 
 use, can well be exemplified and important lessons given, which will 
 readily suggest themselves to the teacher, such as : How each basket 
 is used ; how carried ; what it is to carry ; whether carried by one or 
 two persons; locality used, etc. Show how environment influences 
 everything and that the use of different baskets in different localities 
 for the same purpose is the result of different growths, different meth- 
 ods of work, etc. 
 
 CANING CHAIRS. To cane chairs is not a difficult art, yet 
 
 FIG. 45. MARKET AND OTHER BASKETS. 
 Work of Students, Teachers' College, New York. 
 
 is practically useful, and has a decided value in teaching the handling 
 of 'Splints. It legitimately comes under the head of mat weaving. 
 
 To practice, purchase from a kindergarten suppy house a small, 
 square frame, in which holes an inch apart are bored. Buy or make 
 pegs to fit these holes. Cane is coarse, medium, fine, and fine fine. It 
 must be soaked in water before using. Hold the frame on the 
 lap top uppermost. Count the holes, top and bottom, and pull a piece 
 of fine cane up through the center bottom hole, and down through 
 center top hole, leaving an end two and one-half inches long. P*i 
 peg into both of these holes to keep cane in place. Now bring long end 
 of cane, at bottom row, up through next hole on the right, keeping 
 
4 6 
 
 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 it flat. Peg it. Take cane now to corresponding hole on top row. 
 Peg ; continue this lacing process until right side of frame is reached, 
 taking care not to pull the cane tight. Now start to the left of the center 
 and lace as on the right, but towards the left side of frame. This done, 
 the frame will be filled with lines of vertical splints. Now put in the 
 horizontal splints in exactly the same way, working from center to 
 right and center to left. The frame is now a network of squares. 
 Xow, starting from lower left-hand corner, run a splint to the up- 
 
 F1G. 47. CANE TIE. 
 
 FIG. 46. CANING A CHAIR. 
 
 FIG. 48. CANING A CHAIR. 
 
 FIG. 49. WEAVE OF CHAIR CANE. 
 
 per right-hand corner and continue these diagonal lines exactly the 
 same as the vertical ones, working first to the right, then to the left. 
 At the fourth row from the center, however, actual weaving must be- 
 gin. The splint must be taken under a cross, over a single splint, 
 under a cross, over single. (See Fig. 46). 
 
 This diagonal weaving must be done in the two ways, viz., from 
 the. lower left corner to the upper right, and from the lower right to 
 the upper left. 
 
 For a binding stitch over the holes, take a splint of binding cane, 
 wide enough to cover the holes of the edge, inserting one end down 
 through the hole at one corner. A splint of fine cane is now brought 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 47 
 
 up through every other hole, across the binding and back again 
 through the same hole, thus couching it. In finishing off the ends, 
 vvhkh should always be on the under side of tihe frame, bring the 
 loose end to the nearest loop. Pass it underneath the loop, draw tight, 
 then once again, creasing firmly, without any attempt to* tie. This 
 will be found to hold securely. (See Fig. 47.) 
 
 Everyone is familiar with the octagonal meshed weave of the ordin- 
 ary cane-seated chair. While doing the work endeavor to have one 
 of these as a pattern close at hand. The explanations that follow will 
 then be perfectly simple. The one thing of importance to remember 
 is that the first row of splints must be put on loosely, for there are six 
 rows of splints and the later woven rows tighten up to the others. 
 
 Sit 011 a small stool or hassock and tilt the chair forward upon your 
 lap. Find the center as before described. Put in the splints vertically 
 and horizontally. Now follow these by putting in another set verti- 
 cally on top of the first ones and through the same holes. The fourth 
 row is horizontally put in and must be woven as follows : over one up- 
 per vertical, under lower vertical, at the 'same time pulling the upper 
 vertical to the right, and going over or under as the case may require, 
 as shown in Fig. 48. Now begin the diagonal weaving from lower left 
 corner to upper right corner. These go under and over the hori- 
 zontal pairs and vertical pairs as shown in Fig. 49. In many chairs 
 there are little problems in the corners that the good sense of the 
 weaver will easily solve if he is careful to have a due regard for pro- 
 portion. 
 
 When the diagonal weaving is completed, finish off with the bind- 
 ing as before described. 
 
 FIG. 52. HOOP AND SCHOOL, 
 BAG OF PLAITED RAFFIA. 
 
 FIG. 
 
 DOLL'S HAT AND TRAY OF PLAITED 
 RAFFIA. 
 
48 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 CHAPTER IX. 
 THE PLAIT OR BRAID. 
 
 Every schoolboy and girl is mure or less familiar with the simple 
 forms of plaiting. To gain digital dexterity it is well to introduce it 
 into a Course of Basketry. First of all, let the child practice on simple 
 plaiting with strands of raffia, beginning first with coarse and later 
 using finer material. To facilitate this place a screw hook in the 
 wainscoting or on the under side of the work table, on which the 
 raffia can be placed while plaiting. A little practical experience will 
 soon demonstrate 'how much raffia must be used to obtain a plait of 
 any given size. When a length of raffia is about to give out, lengthen 
 it by splicing, not by tying, thus avoiding knots. It is not necessary 
 to plait the entire length needed before beginning to use the plait. Al- 
 ternate plaiting and sewing give variety. 
 
 To give purpose to the work, stimulate interest by showing how 
 these plaits can be utilized. In the center of Fig. 50 is the beginning 
 of a small mat. In this the plaits are coiled flat, with the edges outer- 
 most and sewed as the coil grows. Above it are two wall pockets, one 
 with, and the other without, a handle. Below it to the left is one of 
 another shape. In these three the plaits are flat and sewed edge to edge 
 with a large darning needle, using for thread a fine strand of raffia. 
 Sew on one side only, and see that it is closely and evenly done. To 
 the right and below is a band made by sewing the plaits together. 
 Under the direction of the teacher this can easily be converted into a 
 harness, for the boy's own use in playing horses. The saddle girth 
 above is of braided sisal hemp expressly for that purpose. 
 Fig. 51 is composed entirely of plaited belts, made of corset lacings. 
 These laces can be dyed so as to give design in the plait. A little 
 experimentation will soon show that the design depends entirely upon 
 how the colored lace is placed at the beginning of the plait. The rings 
 are ordinary brass rings, covered with the lace, and the bottom belt 
 shows that tfhe ends are utilized for tying. 
 
 Both boys and girls can be much interested in this plaiting if the 
 articles made are converted into playthings, or something useful, for 
 their own personal use. Belts, bag-handles, toy harness and the like 
 are easily made from this plaited work. 
 
 Fig. 52 shows a hoop of plaited raffia, used by boys and girls in 
 one of their out-door games>, and below is a school-bag, used for car- 
 rying books, etc. 
 
 Fig. 53 shows a small doll's hat, and a tray, both made of plaited 
 raffia. All the articles of Figs. 50, 52 and 53 were made by small 
 children at Mr. Neligh's school in Columbus, Ga. 
 
 Figs. 54 and 55 are composed of model hats made by the students 
 at Teachers' College, Columbia University, New York. They are all 
 of braided raffia, sewed with the edges outermost. 
 
 In the making of these hats seek to draw out the individuality of 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 49 
 
 each child or student. Let one make a continental hat, another a 
 colonial, still another a Puritan. A Southern girl will naturally try a 
 sombrero, whilst a girl from the Dutch regions of Pennsylvania 
 will make a Dutch farmer's hat. Others will try the Panama, the 
 Coolie, the Chinese, the outing hat, the policeman's helmet, the poke 
 bonnet, etc. In army hats of different nations are a score of suggest- 
 ive shapes, while in the hats of the peasantry of the world a host more 
 
 FIG. 50. ARTICLES OF PLAITED RAFFIA, ETC. 
 
 of excellent suggestions may be found. To add interest to' the work 
 let the child know something of the wearer of these different kinds 
 of hats. Here come in opportunities for fascinating little chats on his- 
 tory, geography, social and domestic customs, the reasons that used to 
 exist for the different kinds of headgear used in the various regiments 
 of the 'Same army, etc. 
 
5O HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 Then, too, native taste may be exercised and called into existence 
 in the choice of a modern outing liat. "If you make a modern hat, 
 make such an one as you would personally like to wear." This de- 
 mands personality, individuality, the conscious exercise of choice. 
 Then try to make a hat that would suit some friend. Remember that 
 a good milliner in choosing a hat studies the shape of the face and 
 head, the color of the hair, the form, etc., of the wearer. Thus she is 
 able to produce a hat that will harmonize with the individuality of the 
 wearer. 
 
 Figs. 56 and 57 are various baskets of plaited raffia made by the 
 students of Teachers' College. Various colors are used and pretty 
 
 PIG. 51. PLAITED BELTS. 
 Work of Students, Teachers' College, New York. 
 
 effects produced. Firmness of weave, solidity of the basket as a 
 whole, neatness in sewing the plaits together, harmony of color wtfiere 
 it is used, and good shape are all sought after. 
 
 Five-stranded plaits of raffia often come in very useful, and the 
 manner of making is clearly shown in Fig. 58. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 FIG. 50a. BOTTOM OF DEERFIELD BASKET. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 FIG. 54. PLAITED RAFFIA HATS. 
 Work of Students, Teachers' College, New York. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 53 
 
 CHAPTER X. 
 
 THE NET. 
 
 From page 158, "Indian Basketry," it will be seen that carrying 
 nets were and are made by the Mission Indians of California. The 
 Pimas have a carrying- basket in. which the net is used. 
 
 Various materials can be used in this work. Twisted 'hemp, 
 rushes, braided raffia, yucca fibre, etc. Even unbraided raffia may be 
 used. It should be slightly dampened for several hours before using. 
 
 FIG. 55. PLAITED RAFFIA HATS. 
 Work of Students, Teachers' College, New York. 
 
 For a netted work or handkerchief-bag, as shotwn in A, Fig. 61, 
 secure twelve strands raffia of two colors and a stick about a yard 
 long and one and one-half inches wide. Hold the stick in any easy 
 position so that a strand of raffia may be doubled and tied around the 
 
54 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 stick, as shown in Fig. 59. Draw the knot tight. Put on the rest of 
 the strands in like manner. Separate to about an inch apart, then 
 knot each strand at about the distance of an inch with the nearest 
 strand of the next pair. Make even meshes all the way across. Con- 
 tinue this all the way down for five or six rows, narrowing the meshes 
 
 FIG. 56. BASKETS OF PLAITED RAFFIA. 
 Work of Students', Teachers' College, New York. 
 
 towards the bottom. Then slip the knots from the stick, and pro- 
 ceed to close up the bag by knotting the loose sides together. 
 
 At the bottom the whole of the strands are gathered together and 
 tied with a single or braided strand. The ends are then cut evenly, a 
 length of plaited raffia put through the upper mesh and tied, and the 
 bag is complete. 
 
 A pretty effect is caused by loosely braiding the strands of two bot- 
 tom rows of meshes before knotting them. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 55 
 
 Another style of bag is made by keeping the meshes of equal size 
 all the way to the bottom, then joining the two sides at the bottom, 
 by matching tlhe knots and meshes together and then: knitting two 
 strands from the front and two from the back together for the finishing 
 row. The ends can then be cut and the ba>g is complete. 
 
 FIG. 57. BASKETS OF PLAITED RAFFIA. 
 Work of Students, Teachers' College, New York. 
 
 If tassels are desired they may be made of raffia and sewed on. 
 When the bag is lined with silk or turkey red coitoni it is a pretty and 
 serviceable article. 
 
 A twine bag may be made in the same manner as A, Fig. 61, ex- 
 cept that the meshes must be much smaller, and the number of strands 
 
5O HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 limited to the size of the ball of twine. With a tassel on the bottom, 
 and tied tightly on the top, the twine ^allowed to come through one of 
 the meshes, it can be suspended wherever needed. 
 
 In netting with raffia or other material'Si an infinite variety of 
 articles may be made, and all different, as suggested in B, C and D, 
 
 FIG. 58. DETAIL OF FIVE 
 STRAND PLAIT. 
 
 FIG. 59. STITCH AND 
 KNOT OF RAFFIA. 
 
 FIG 61. NETTED BAGS OF RAFFIA, ETC. 
 
 FIG. 62. NET MESH. 
 
 Fig. 61. B is a small netted purse of raffia of fine mesh, using the 
 single net stitch of Fig. 60. 
 
 C is netting the same as described in the work-bag A, but has a 
 bottom and top of coiled and sewed plaited raffia. 
 
 D is a pretty little basket made of a fibre brought frotm Puerto 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 57 
 
 Rico. It is composed entirely of fancy stitches, knotted or fastened 
 as required. These fancy stitches give wonderful variety to basket 
 work and can be introduced here and there as taste and skill dictate. 
 These may be imitated from any book of fancy needlework, similar to 
 Figs. 62 to 66, for which I am indebted to the "Pristilla Needlework 
 
 FIG. 
 
 NET MESH. 
 
 FIG. 66. NET MESH. 
 
 Book for 1903." Any of these may be imitated in raffia, yucca 
 fiber, etc. 
 
 A pretty napkin-ring can be made by taking ten curtain rings 
 about an inch in diameter and covering them with the buttonhole 
 stitch shown in Figs. 67 and 68. Raffia or any fibre may be used. 
 When all the rings are covered, overlap them, and then join by passing 
 a ribbon or five-strand plait of raffia (see Fig. 58) an inch wide, 
 through, then under and over, as 'stfiown in Fig. 69. The size of rings 
 may be varied to suit the size of niapkin. 
 
 \ 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. . 59 
 
 CHAPTER XI. 
 THE COIL WEAVE. 
 
 The coil is one of the favorite weaves of the best basket makers in 
 the world, viz., the Indians of the American West and Southwest. It 
 is simple and yet capable of large variation, and, when performed by 
 an artist, is exquisitely beautiful. As Professor Mason has well written : 
 
 "Coiled basketry in point of size presents the greatest extremes. 
 There are specimens delicately made that will pass through a lady's 
 finger ring, and others as large as a flour barrel ; some specimens have 
 stitching material one^half inch wide, as in the Pirna granaries, and in 
 others, the root material is shredded so fine that nearly 100 stitches 
 are made within an inch of space. In form, the coiled ware may be 
 perfectly flat, as> in a table mat, or built up into the most exquisite jar 
 shape, in design, the upright stitches lend thennselves to the greatest 
 variety of intricate patterns." 
 
 The simplest form of coiled work is shown in Fig. 70. The ma- 
 terial of the coil may be almost anything capable of being coiled, such 
 as grass, sweet grass, corn husks, straw, raffia, broom corn, shredded 
 cat-tail, split willows, etc. The plain mat of Fig. 70 is of raffia, while 
 the fancy one is of sweet grass, with a center of cedar-bark. Taking 
 a length of the coil material, it is tightly wrapped with thread, twine, 
 raffia, or whatever is to be used for sewing. A strong tapestry needle 
 is needed for the sewing. The coil is then begun, the stitches being 
 taken just past the preceeding one, as the work progresses. This 
 gives the even and beautiful spiral effect. 
 
 The variation of B, Fig. 70, will be easily mastered. The center 
 may be birch bark (ornamented, as this is, with colored quills), or of 
 leather. The first grass coil is sewed to its outer <edge. The zig-zag 
 is introduced and the mat then completed with three rounds of coil. 
 
 Great care should be exercised in putting in new material to re- 
 plenish the coil. Upon this depends the evenness of the work. 
 
 Fig. 71 is of coiled trays made by the students of Teachers' Col- 
 lege. Of these Miss Hyde writes and thus instructs how to make : 
 
 They are made of hemp, combined with grasses, sedges, rushes, etc., 
 gathered in tihe immediate (neighborhood of New York. Let the chil- 
 dren go out and gather their own material for these isimple trays. 
 Dye the hemp and take an amount equivalent to three-eight inch coil ; 
 wrap for a distance of three-fourths of an inch, allowing spaces of one 
 inch between wraps ; then fasten and sew, each time inserting the 
 needle with point toward you between every wrap, thus giving a radia- 
 tion from the center as the work progresses. To finish allow the 
 coil to diminish gradually and make a secure fastening. 
 
 Fig. 72 is of a group of mats and baskets made of long pine needles. 
 They are pretty and useful, and made with comparative ease. D is 
 an oval mat, made exactly as the mat in Fig. 36, except that an oval 
 center was first made by bending a strong and thick needle to the 
 
FIG. 71. SIMPLE COILED TRAYS. 
 Work of Students, Teachers' College, New York. 
 
 FIG. 72. PINE NEEDLE COILED BASKETS. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 6l 
 
 shape required. This was then filled up with darned work, and used 
 as the basis. It makes an excellent tray for the toilet table, or a mat 
 for the dinner table. 
 
 C is a "cute little hat," circular in shape, decked off with a piece of 
 ribbon. The top is an inch and a half in diameter, the height two and 
 a quarter inches, the width of brim three-quarters of an inch, the 
 diameter of bottom, including brim, three (and one-eighth inches. 
 
 E and G, Fig. 72, are dissimilar in shape, yet made in the same 
 way. Each has a base of two coils, sewed on after the basket was 
 elsewhere finished. The handles of G are each of two circular coils, 
 two and a half inches in diameter, and sewed to the sides.. F is 
 smaller and the two upper coils are made oval so as to afford two 
 slight protuberances which act as handles. B is a dainty little basket, 
 to which A is the lid. It is two and a quarter inches across at the bot- 
 tom 1 , and the lid is. flanged and fits snug. 
 
 When these long pine needles baskets are known they will become 
 wonderfully popular in a short time. 
 
 In the making of all these baskets stimulate the student to stability 
 
 FIGS. 73, 74, 75. MANUFACTURE OF SPIRALLY COILED WEAVES. 
 
 and firmness. A basket must sit firmly on the table and be tightly 
 woven. No "wobblety" bottom, and no slovenly work in the sides 
 will be tolerated. Here are two important things to be attained. 
 
 Figs. 73, 74, 75 clearly show the Indian method of making the 
 simple coiled weave. I quote Lieut. Cushing's description : "In the 
 manufacture of the Havasupai boiling baskets, which are good ex- 
 amples of the helix or spirally coiled type of basket, the beginning 
 was made at the center of the bottom. A small wisp of fine flexible 
 grass stems or osiers softened in water was first spirally wrapped a 
 little at one end with a flat, limber splint of tough wood, usually willow. 
 (Fig. 73.) This wrapped portion was then wound upon itself, the out- 
 er coil thus formed (Fig. 74) being firmly fastened as it progressed to 
 the one already made by passing the splint wrapping of the wisp each 
 time it was wound around the latter through some strands of the con- 
 tiguous inner coil, with the aid of a bodkin. (Fig. 75.) The bottom 
 was rounded upward and the sides were made by coiling the wisp 
 higher and higher, first outward, to produce the bulge of the vessel, 
 then inward, to form the tapering upper part and neck, into which' the 
 two little twigs or splint-loops, were firmly woven." 
 
 This subject will be found more fully discussed in the chapter on 
 
62 
 
 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 Indian Stitches, and in my book on Indian Basketry. Scores of ex- 
 quisite baskets made by this stitch ^re pictured. 
 
 As Professor Mason has shown in his bulletin, there are nine dif- 
 ferent varieties of coiled basketry which he analyzes and describes as 
 follows : 
 
 "The foundation may be (i) a single stem or rod; (2) a stem with 
 a thin welt laid on top of it ; (3) two or more stems over one another ; 
 (4) two stems laid side by -side, with a welt; (5) three stems in tri- 
 angular position ; (6) a bundle of splints or small stems ; (7) a bundle 
 of grass or small shreds. 
 
 The stitches pass around the foundation in progress (i) interlock- 
 ing, but not inclosing the foundation underneath ; (2) under one rod 
 
 FIG. 76. CROSS SECTIONS OF VARIETIES IN COILED BASKETRY. 
 
 of the coil beneath, however many there may be; (3) under a welt of 
 the coil beneath ; (4) through splints or other foundation, in some 
 cases systematically splitting the sewing material underneath. With 
 these explanations it is possible to make the following nine varieties 
 of coiled basketry, matting, or bagging: 
 
 A. Coiled work without foundation. 
 
 B. Simple interlocking coils. 
 
 C. Single-rod foundation. 
 
 D. Double-stem coil, two rod foundation. 
 
 E. Packing inclosed, rod and welt foundation. 
 
 F. Packing inclosed, two rod and splint foundation. 
 
 G. One rod inclosed, three-rod foundation. 
 H. Splint foundation. 
 
 I. Grass-coil foundation. 
 
 K. Fuegian coiled basketry. 
 
 These will now be taken up systematically and illustrated (fig. 76). 
 
HOW TO MAKE INDIAN AND OTHER BASKETS, 63 
 
 A. COILED WORK WITHOUT FOUNDATION. Speci- 
 mens of this class have been already mentioned. The sewing material 
 is babiche or fine rawhide thong in the cold north, or string of some 
 sort farther south. In the Mackenzie Basin will be found the former, 
 and in the tropical and subtropical areas the latter. If a plain, spiral 
 spring be coiled or hooked into one underneath, the simplest form of 
 the open coiled work will result. An improvement of this is effected 
 
 FIG. 77. DETAIL OF 
 INTERLOCKING STITCHES. 
 
 FIG. 78. DETAIL OF SINGLE- 
 ROD COIL IN BASKETRY. 
 
 FIG. 79. FOUNDATION OF 
 TWO RODS, VERTICAL. 
 
 FIG. 80. ROD AND WELT 
 COILED WORK. 
 
 when the moving thread in passing upward after interlocking is 
 twined one or more times about its standing part (Fig. 76A.) 
 
 B. Simple interlocking coils. Coiled work in which there may be 
 any sort of foundation, but the stitches merely interlock without 
 catching under the rods or splints or grass beneath. This form easily 
 passes into those in which the stitch takes one or more elements of the 
 foundation, but in a thorough ethnological study small differences can 
 not be overlooked (fig. 76 B). Fig. 77 represents this style of workman- 
 ship on a coiled basket in grass stems from Alaska, collected by Lucien 
 M. Turner. The straws for sewing merely interlock without gather- 
 ing the grass roll. 
 
6 4 
 
 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 C. Single-rod foundation. In rattan basketry and Pacific coast 
 ware, called by Dr. J. W. Hudson Tsai in the Poma language, the foun- 
 dation is a single stem, uniform in diameter. The stitch passes around 
 the stern in progress and is caught under the one of the preceding coil, 
 as in fig. 76 C. In a collection of Siamese basketry in the U. S. Na- 
 tional Museum the specimens are all made after this fashion ; the foun- 
 dation is the stem of the plant in its natural state, and the sewing is with 
 splints of the same material, having the glistening surface outward. As 
 
 FIG. 81. FOUNDATION OF 
 THREE RODS. 
 
 FIG. 82. FOUNDATION 
 OF SPLINTS. 
 
 FIG. 83. INTERLOCKING 
 COILS, STRAW FOUNDATION. 
 
 FIG. 84. OPEN COIL, INCLOSING 
 PART OF FOUNDATION. 
 
 this is somewhat unyielding, it is difficult to crowd the stitches together, 
 and so the foundation is visible between. 
 
 In America single-rod basketry is widely spread. Along the Pacific 
 coast it is found in northern Alaska and as far south as the borders of 
 Mexico. The Poma Indians use it in some of their finest work. The 
 roots of plants and soft stems of willow, rhus, and the like are used for 
 the sewing, and being soaked thoroughly can. be crowded together so 
 as to entirely conceal the foundation (fig. 78). 
 
 D. Two-rod foundation. One rod in this style lies on top of the 
 other ; the stitches pass* over two rods in progress and under the upper 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 65 
 
 one of the pair below, so that each stitch incloses three stems in a verti- 
 cal series. A little attention to fig. 76 D will demonstrate that the al- 
 ternate rod or the upper rod in each pair will be inclosed in two series 
 of stitches, while the other or lower rod will pass along freely in the 
 middle of one series of stitches and show on the outer side. Ex- 
 amples of this 1 two-rod foundation are to be seen among the Atha- 
 pascan tribes of Alaska, among the Poma Indians of the Pacific coast, 
 and among the Apache of Arizona. An interesting or specialized vari- 
 ety of this type is seen among the Mescaleros of New Mexico, who 
 use the two-rod foundation, but instead of passing the stitch around the 
 upper rod of the coil below, simply interlock the stitches so that neither 
 
 FIG. 85. INTERLOCKING COILS, 
 SHRED FOUNDATION. 
 
 FIGS. 86, 87 AND 88. FUEGIAN COILED BASKET AND DETAILS. 
 
 one of the two rod's is closed twice. This Apache ware is sewed with 
 yucca fiber and the brown stems of other plants, producing a brilliant 
 effect, and the result of the special technic is a flat surface like that of 
 pottery (fig. 79). The U. S. National Museum possesses a single piece 
 of precisely the same technic from the kindred of the Apache on the 
 lower Yukon. 
 
 E. Rod and welt foundation. In this kind of basketry the single- 
 rod foundation is overlaid by a strip or splint of touglh fiber, some- 
 times the same as that with which the sewing is done ; at others a 
 strip of leaf or bast. The stitches pass over the rod and strip which 
 are on top down under the welt only of the coil below, the stitches in- 
 terlocking. The strip of tough fiber between die two rods which 
 

 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 67 
 
 serves for a welt has a double purpose strengthening the fabric and 
 chinking the space between the rods (fig. 76 E and fig. 80). This style 
 of coil work is seen on old Zuni basket-jars and on California examples. 
 The type of foundation passes easily into forms (fig. 76) C, D, and F. 
 
 F. Two rod and splint foundation. In this style the foundation is 
 made thicker and stronger by laying two rods side by side and a splint 
 or welt on top to make the joint perfectly tight. The surface will be 
 corrugated. Tribes practicing this style of coiling generally have fine 
 material and some of the best ware is so made up. 
 
 G. Three-rod foundation. This is the type of foundation called 
 by Dr. J. W. Hudson bam-tsu-wu. Among the Poma and other 
 tribes in the western part of the United States the most delicate pieces 
 of basketry are in this style. Dr. Hudson calls them the "jewels of 
 coiled basketry." Surfaces are beautifully corrugated, and patterns of 
 the most elaborate character can be wrought on them. The technic 
 is as follows : Three or four small uniform willow stems serve for the 
 foundation, as shown in fig. 81 ; also in cross section in fig. 76 G. The 
 sewing, which may be in splints of willow, black or white carex root, or 
 ccrcis stem, passes around the three stems constituting the coil, under 
 the upper one of the bundle below, the stitches interlocking. In some 
 examples this upper rod is replaced by a thin strip of material serving 
 for a welt (see fig. 76 F). In the California area the materials for bas- 
 ketry are of the finest quality. The willow stems and carex root are 
 susceptible of division into delicate filaments. Sewing done with these 
 is most compact, and when the stitches are pressed closely together the 
 foundation does not appear. On the surface of the 'bam-tsu-wu basketry 
 the Poma weaver adds pretty bits of bird feathers and delicate pieces 
 of shell. The basket represents the wealth of the maker, and the gift 
 of one of these to a friend is considered to be the highest compliment. 
 
 H. Splint-foundation. In basketry of this type the foundation 
 consists of a number of longer or shorter splints massed together and 
 sewed, the stitches passing under one or more of the splints in the 
 coil beneath (fig. 82). In the Poma language it is called chilo, but it 
 has no standing in that tribe. In the Great Interior Basin, where the 
 pliant material of the California tribes is wanting, only the outer and 
 younger portion of the stem will do for sewing. The interior parts 
 in such examples are made up into the foundation (fig. 76 H). Such 
 ware is rude When the sewing passes carelessly through the stitches 
 below, in others the splitting is designed and beautiful. In the Kliki- 
 tat basketry the pieces of spruce or cedar root not used for sewing 
 material are also worked into the foundation. 
 
 I. Grass^coil basketry. The foundation is a bunch of grass or 
 rush stems, of small midribs from palmi leaves, or shredded yucca. The 
 effect in all such ware is good, for the reason that the maker has per- 
 fect control of her material. Excellent examples of this kind are to 
 be seen in the southwestern portions of the United States, among the 
 pueblo>s and 'missions, and in northern Africa. The sewing may be 
 done with split stems of hard wood, willow, rhus, and the like, or, as 
 in the case of the Mission baskets in southern California, of the stems 
 of rushes (Juncus acutus), or stiff grass (Epicampes rigidum). (See 
 fig. 83 and the cross section given in fig. 76 I). In the larger granary 
 baskets of the Pima a bundle of straws furnishes the foundation, 
 
68 
 
 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 FIG. 90. COILED RAFFIA BASKTES. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 69 
 
 while the sewing is done with broad strips of tough bark, as in fig. 84. 
 In the Fuegian coiled basketry, of which a figure is given, the sewing 
 is done with rushes, but instead of being in the ordinary over-and-over 
 stitch it consists of a series of half hitches or buttonhole stitches (fig. 
 86). 
 
 Among the basketry belonging to the grass-coil foundation type 
 are the Hopi plaques, built upon a thick bundle of the woody stems of 
 the yuccas, which furnish also the sewing material from the split leaf 
 (fig. 85). If this be examined in comparison with a style of basketry 
 found in Egypt and in northern Africa as far as the Barbary states, 
 great similarity will be noticed in the size of the coil, the color of the 
 sewing material, the patterns, and the stitches. The suggestion is 
 here made that this particular form of workmanship may be due to 
 acculturation, inasmuch as this type of basketry is confined in America 
 to the Hopi pueblos, which were brought very early in contact with 
 Spaniards and African slaves. 
 
 K. Fuegian coiled basketry. In this ware the foundation is slight, 
 consisting of one or more rushes ; the sewing is in buttonhole stitch or 
 half-hitches, with rush stems interlocking. The resemblance of this to 
 Asiatic types on the Pacific is most striking (fig. 86)." 
 
 The student can utilize almost all of these methods in one kind of 
 work or another, and, when time permits, it is well to experiment in 
 the various styles with the home materials. 
 
 In fig. 89, two different methods of coiled basketry are shown. 
 Here, after the center has been begun, the new part of the coil is 
 wrapped for a certain number of stitches, then it is sewed to the pre- 
 ceding coil, as in A. : In B, the same method is followed, with the ad- 
 dition of a cross stitch over the stitch which binds the two coils to- 
 gether. The Indians of Kern County occassionally use the former of 
 these stitches, and my friend, Mr. E. L. McLeod, has some beautiful 
 specimens of the weaver's art done in this, what he calls, lazy stitch. 
 It is so-called by him because each stitch is not bound to the preced- 
 ing coil as in all their finer work. 
 
 B. fig. 90 is another specimen, made by a ten year old boy, of the 
 coiled lazy stitch. A, is a work-basket of the same stitch. The bot- 
 tom is two and a half inches in diameter. The diameter increases up 
 to five inches, and is them decreased until it is 3 1-2 inches at the top. 
 
 C. fig. 90 is the next step in coiled basketry. We have now 
 reached, what we might term, the pure coiled work of the Indian. 
 Though made of raffia, many people looking at the photograph, might 
 easily mistake this for a genuine Indian basket, though, of course, no 
 one but the merest tyro could be deceived if he held the basket in his 
 hands. 
 
 Most of the celebrated baskets of the Pocumtuck Society, of Deer- 
 field, Mass., are made in the stitch shown in Fig. 89. I have pleasure 
 herewith in presenting a description of the bajskets illustrated and the 
 work of this Society by Miss Margaret C. Whiting, which will be read 
 with interest and profit. 
 
 "The baskets produced at Deerfield, Mass., show the fundamental 
 traits of sound workmanship and an intelligent use of material, which 
 the other crafts of that little village display; and their example has 
 been a source of encouragement to the production of the good work 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 FIG. 92. COILED RAFFIA BASKETS. 
 Work of Students, Teachers' College, New York. 
 
 FIG. 93. COILED RAFFIA BASKETS. 
 Work of Students, Teachers' College, New York. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. *J\ 
 
 now being done by other groups of village workers in basketry in 
 different localities. In the matter of color the Deerfield workers in 
 raffia have, probably, been of chief public service, for from the first 
 their baskets have owed a good part of their reputation to the natural 
 dyes they employ. With indigo, madder, fustic, copperas and logwood 
 these craftswomien hlave uttered their convincing protest against the 
 crude and vicious color discords of the chemical dyes, and with the 
 varying- shades and tones their old-fashioned dyes offer they produce 
 harmonies the public is quick to value. The Pocumtuck Basket So- 
 ciety, as the raffia workers have named themselves, after the long- 
 gone earliest inhabitants of their valley, have wisely recognized that 
 the Indian, like all masters in art, may not be imitated by those whose 
 taste is sophisticated and minds trained to other and different standards 
 of beauty, and 'have frankly refused to use designs or color combina- 
 tions that belong to the red man's choice. In their designs they pre- 
 fer to work out the themes and harmonies of Nature ; a butterfly, a 
 flower, an animal or even a landscape may serve for suggestion, and 
 the way it is translated into the medium of raffia furnishes the problem 
 for the individual crafts-woman to solve for herself. One large basket 
 woven of the natural colored raffia for a ground color bears two land- 
 scape designs for its decoration ; on one swelling side is seen a group of 
 trees in dull rich greens against a blue sky, a house in red with win- 
 dows and doors in black and a lighter green foreground ; on the oppo- 
 site occurs exactly the same landscape all dark in blues and greens, 
 the house in black and and the upper edge of the roof and trees just 
 touched with the pink reflections from a big pink moon that rises in 
 the pale sky ; it is almost needless to say this is named: "Night and 
 Day." Only a bold designer 'could carry out with success so simple 
 yet complicated a scheme. Another covered basket by the same work- 
 er is made with a useful handle that holds fast the lid on double braided 
 cords ; it is developed in blues with a row of red birds solemnly hopping 
 about its circumference (see Fig. 9). A different temperament has 
 chosen a blackberry for a motive of form and decoration, the seeds 
 being divided on the black surface by dull green lines while the cover 
 with its brown stem for a handle rising from the green calyx, is all 
 black with a row of large dull black beads pointing the edge of the lid. 
 Turn up the basket and one will find, worked with a much finer stitch, 
 a beautifully drawn black-berry flower in white raffia in the black 
 bottom. This charming surprise, slyly prepared for fhe observant, 
 serves a useful purpose, for it lightens the dark interior of the basket. 
 One craftswoman decorates her carefully shaped basket with a nice 
 drawing of white mice on a dull olive background (Fig. 2) ; another 
 chooses the pkcotee pink for chief decoration upon the cover of her 
 shallow bowl, the flower is worked out in red and black upon a white 
 background with a conventional border in the same colors upon the 
 side of t ! he basket (Fig. 14). An individual preference is shown in one 
 worker's use of the swale grasses grown in the meadows about Deer- 
 field (see Fig. 8). She combines their varying lines with colored raffia 
 in large card trays and plaques. Or another weaver produces her 
 effects from the use of color and exquisite stitches in a basket all done 
 in greens, with much thought given to the perfection! of form. The 
 beauty that lies in the natural corn husk when laid smooth in large 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 surfaces is shown in still another basket of a large cylindrical form 
 done in shaded indigo blues for background to four poppy stalks, each 
 rising from two spreading gray-green leaves, and bearing big blos- 
 soms worked from the many4iued pinks of the crepe-like husks (see 
 Fig. 3). 
 
 In choice of shapes the Pocumtuck basket makers cling to the strict- 
 ly useful and simple forms ; a bowl must stand firm on a bottom suffi- 
 ciently large to sustain it, a cover must fit, a handle must be strong 
 or the jury of society will not give its approval. The stitch chiefly 
 
 FIG. 95. WEAVING ON 
 EVEN SPOKES. 
 
 FIG. 94. BOOK MARK OF 
 SPLINT AND WEB WEAVE. 
 
 employed is that which has been dubbed "lazy stitch," and consists 
 of one smooth turn about the coil and a stitch down into the space on 
 the row beneath ; the coil is formed of split or whole reeds, different 
 sizes being chosen to fit the desired effect, and sometimes varied from 
 large to small in the development of a single basket. Wrapped spaces 
 are introduced but are not allowed to interfere with structural 
 strength." 
 
 Figs. 91, 92, 93 are all of coiled raffia baskets made by the students 
 at Teachers' College. Here variety in shape and design were worked 
 out, each weaver seeking to produce the best possible effect. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 73 
 
 CHAPTER XII. 
 
 THE WEB WEAVE. 
 
 iruow come to the most common of all of the basket weaving of 
 civilization, the web. Yet this differs 'from the checkerwork of the mat 
 weaving only in t ! he fact that the warp elements are rigid and the 
 woof is the pliable material. The result is a series of ridges on the 
 surface. Indeed the division into mlat and web weaving is purely arbi- 
 trary. Figs. 20, 21, 22, 23 and 24 show the simple stitches. 
 
 BOOK MARKS. A pretty little book-mark may be made with 
 wooden splints, palmetto, rattan or other material for the foundation 
 and with a long weaver of raffia. One long and three short flat 
 splints are required. Place these as> shown in Fig. 94. Tuck the end 
 of the raffia weaver under between 8 and i. Weave over i, under 2, 
 over 3, under 4, over 5, under 6, over 7, then under 8 and i, over two 
 
 FIG. 96. HOLDING SPOKES 
 AND STARTING WEAVER. 
 
 FIG. 97. DIVIDING INTO 
 SINGLE SPOKES. 
 
 etc. Next round pass under two, one ahead of the first round, and so 
 on, until five or six rounds have been; woven. Tuck the end of the 
 weaver into the piart woven so as to hide and firmly fasten it, and 
 when tips of spokes are cut into points a book mark is ready for use. 
 
 The following exercises will all be useful for later work. 
 
 ODD AND EVEN NUMBER OF SPOKES. It must never be 
 forgotten that proper web weaving can neyer be done with an even 
 number of spokes and a single weaver. To have the woof of one over 
 and one under, uniformly, throughout, there must be an odd number 
 of spokes. The odd spoke may be used in starting, or cam be inserted 
 later. A little practice will soon teach the better way to the student. 
 Where, however, it is essential to use an even number of spokes for 
 the warp, the effect of a single weaver can be obtained by using two 
 weavers, both starting together, one before and the other behind the 
 same spoke, as shown in Fig. 95. A little care at first will soon render 
 one expert in thus using two weavers. 
 
 MAT OR BOTTOM FOR ROUND BASKET. Take eight 
 
74 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 spokes of No. 4 rattan, 14 to 16 inches long, one spoke, 8 or 9 inches 
 long, and a weaver of No. 2 rattan. Hold the eight long spokes as 
 shown in Fig. 96. Then weave under fhe four to the right, over the 
 four at bottom, under the four at left, and so on, making two complete 
 rounds. When the weaver has been placed across each side of the 
 top set of spokes, separate the spokes as shown in Fig. 97 and begin 
 to weave behind and before each spoke separately. This separation 
 must be done with great care and evenness, as strength and beauty 
 both depend upon the way this is done. Weave one row, and it will 
 be found t'toat the weaver comes behind the same spoke with which 
 we begun in the first row. This would spoil the looks of the basket, so 
 the odd spoke is <now inserted as shown in Fig. 98. Sharpen one end 
 and thrust it into the center, underneath. Then turn over and continue 
 
 FIG. 98. INSERTING ODD FIG. 99. RIGHT SIDE OF CENTER 
 
 SPOKE. WITH ODD SPOKE. 
 
 to weave as shown in Fig. 99 until the miat or base is the size re- 
 quired. If it is desired to make a mat of this, finish the last row by 
 binding it as overcasting is done. After placing the weaver under 
 one side and over another, it is passed under the last row of weaving 
 just before it reaches the next spoke. Then pass it around that spoke, 
 in front of the next, under the last row of weaving before next spoke, 
 and so on until the whole edge is bound. Now cut spokes to a point 
 and of even length. Soak ends for a few minutes. Then push spoke 
 No. i down beside No. 2, leaving an open curve as shown in Fig. 100. 
 Run the spoke down as far as possible, the further the better, as 
 strength is thus added, and the appearance of the basket improved. 
 
 OPEN BORDER NO. 2. Another simple border is made, as 
 shown in Figs. 101 and 102, allowing from 11-2 inches to 5 or 6, ac- 
 cording to taste, for the loop. 
 
 In making these borders remember always to soak, for ten or fif- 
 teen minutes, the splints to be bent. Then be absolutely accurate in 
 making everything even, as the beauty of every edge depends upon its 
 evenness. It is well to soak a border after it is made, so as to readily 
 allow its being bent into perfect shape. It will then dry as left. 
 
 STARTING NEW WEAVER. It will often be necessary, as a 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 75 
 
 {weaver runs out, to start a mew one. Leave the end of the last weaver 
 behind a spoke, with about three-quarters of an inch to spare. Cross 
 this with an equal length of the new weaver. (See Fig. 103). Then 
 
 FIG. 100. SIMPLE OPEN BORDER. 
 
 FIG. 101. DETAIL, OF 
 OPEN BORDER NO. 2. 
 
 proceed. When the basket is completed and dry the unnecessary ends 
 may be cut off. 
 
 SPLICING. If it is desired to hide the point of new with old 
 weaver, the two may be spliced as shown in Fig. 104. 
 
 Mr. Neligh informs me that he has found it to be excellent practice 
 to have his pupils make the web weave with raffia. In Fig. 105 are 
 
 FIG. 102. OPEN BORDER NO. 2. 
 
 
 FIG. 103. STARTING 
 NEW WEAVER. 
 
 shown some specimens of the work of his pupils. Pins are firmly 
 fastened into a board, the shape the object is to be. The warp strands 
 of raffia are then tightly tied around these pins, and the woof strands 
 then woven, as in other work. One may use a needle or not as he de- 
 
 FIG. 104. SPLICING WEAVERS. 
 
 sires. When the weaving is done the edges are sown together to make 
 the object desired. 
 
 SIMPLE BASKETS. The student is now ready to make simple 
 
76 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 baskets of the web weave. Use the mat in Fig. 106 as an example. 
 Begin the mat as described in Figs. 96, 97, 98, and 99, finishing off 
 with border as desired. 
 
 The basket below the mat is begun in exactly the same way, but 
 after about an inch of the mat is woven draw the weaver tighter. This 
 
 FIG. 105. WEB WEAVING WITH RAFFIA. 
 
 slightly curves up the spokes and gives the bowl shape desired. As 
 soon as the basket is as large as required it must be finished off with 
 closed border No. i, which will be described in the next chapter. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS, 77 
 
 CHAPTER XIII. 
 INSERTION AND BORDERS. 
 
 Before proceeding further with the chapter on Web-Weaving 
 it is well to gain a full knowledge of insertion and borders. These 
 descriptions are taken from Miss Firth's "Cane Basket Work." "In 
 making open borders where it is necessary to run one spoke down 
 
 FIG. 106. SIMPLE RATTAN BASKETS, WEB WEAVE. 
 W T ork of Students, Teachers' College, New York. 
 
 beside another, the awl must be first inserted to open a passage for 
 the extra spoke, and care must be taken to have a smooth end, or 
 the weaving will be pulled out of place. It is also important to have 
 each spoke double the length of the height of the basket, allowing 
 the extra length necess'ary for the loop at the top. For convenience 
 
78 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 spoke may be cut half an inch beyond the length required for the sides, 
 and extra spokes, a little more than double that length, inserted when 
 the weaving is finished. This will give the appearance of three 
 spokes, and if well varnished will not be likely to get out of place. 
 The extra half-inch must not be cut off the first spoke till the others 
 have been inserted. 
 
 "As the extra length necessary for each -border is given with the 
 directions for working it, one can be easily substituted for another 
 according to taste." 
 
 FIG. 107. DETAIL OF INSERTION. 
 
 FIG. 108. INSERTION. 
 
 Pretty effects are caused by insertion, the details of which will 
 readily be comprehended from Figs. 107 and 108. The spokes of 
 the trellis work of the insertion are finer than the foundation. "This 
 can be used with any border but looks well with open border, Fig. 
 102. The fine starting on the right hand side of a coarse spoke, 
 crossing the open space to 'the next on the right, following it inside 
 
 FIG. 109. OPEN BORDER NO. 3. 
 
 FIG. 110. OPEN BORDER NO. 4. 
 
 the bend till the open space is again reached, where it crosses to the 
 left-hand side of the same -spoke from which it started." 
 
 OPEN BORDER NO. 3. "This is only another variation of the 
 same prinicple, the spokes being cut about 3 inches longer than double 
 the height needed for the sides of the basket. At about 2 inches 
 from the top weave one row of pairing and fasten off ends. An 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 79 
 
 inch farther up start another row of pairing, add three rows of single 
 weaving, and finish with another row of pairing. Proceed as for Open 
 Border No. 2 as far as to the insertion, but instead of inserting the 
 spoke in hand beside the same spoke as in the upper part, miss one, 
 and slip it down beside the next. This border needs careful rmanipu- 
 
 FIG. 111. DETAIL, OF PLAIT. 
 
 FIG. 112. PLAIT. 
 
 lation to keep the -spokes in place. It can be varied according to 
 size of basket and taste of worker." 
 
 OPEN BORDER NO. 4. "This border necessitates double 
 spokes, on which two rows of pairing are worked at any desired 
 distance. See Fig. no. The upper part is done on the same princi- 
 ple as Open Border No. 5," 
 
 SINGLE PLAIT. Each spoke is brought up behind the next, 
 the last being gathered under the first, as shown in Fig. in. For 
 the next row this 'movement is reversed, each spoke being passed 
 down behind the next, the last threaded under the first. When the 
 
 
 FIG. 113. OPEN BORDER NO. 5. 
 
 4 3 2 
 
 FIG. 114. DETAIL OF LAST THREE SPOKES 
 
 work is thoroughly dry, the protruding ends must be cut off as close- 
 ly as practicable. See Fig. 112. 
 
 DOUBLE PLAIT. Insert an extra short spoke beside each of 
 those already in use, and proceed with the two spokes together as 
 in single plait. 
 
 OPEN BORDER' NO. 5. "Take spoke No. I, and at about i 1-2 
 inches beyond the edge of the basket bend it downwards, passing it be- 
 hind No. 2, before No. 3 and behind No. 4, leaving the end at the front 
 
8o 
 
 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 of the basket to form the plait, as just described. Take spoke No. 2, 
 and working on the same principle bring it down behind No. 3, be- 
 fore No. 4, and behind No. 5, agajn leaving the end at the front of 
 the basket. Proceed in this way till all the spokes are down but three 
 (Fig. 113). Take the first of these, bring it down behind the second 
 and before the third. In order to keep the pattern, this must now 
 be threaded from behind under the spoke first used, and spoken of 
 
 FIG. 115. CLOSED BORDER NO. 1. 
 
 FIG. 116. DETAIL OF 
 BORDER NO. 2. 
 
 as spoke No. I. Two upright spokes are still left. Take the first 
 of these, bring it behind the second and thread it before and behind 
 the two spokes first used. One upright spoke is still left, which must 
 be threaded behind and before and behind the three spokes first 
 used, and will complete the pattern. Finish with plait already de- 
 scribed. See Figs, in and 112. Length of spokes needed for bor- 
 der 10 inches. 
 
 CLOSED BORDER NO. i. "This is the same border and worked 
 
 FiG. 117. DETAIL OF 
 CLOSED BORDER NO. 2. 
 
 FIG. 118. DETAIL OF CLOSED 
 BORDER NO. 2. 
 
 in the same way as Open Border No. 5, the difference being that in 
 this case all the spokes are drawn tightly down except the first three, 
 which are left open to leave room for threading the last three through 
 them. The plait will not be necessary. Length of spokes needed 
 for border 6 inches." 
 
 CLOSED BORDER NO. 2. "See that all the spokes are the 
 same length, and proceed as follows : Lay spoke No. I behind spoke 
 No. 2, leaving enough room under it for the insertion of an ordi- 
 nary slate pencil, in order to have space when necessary for thread- 
 ing through the ends of the last spokets at the finishing of the bor- 
 der. Lay spoke No. 2 behind No. 3 (Fig. 116). Pick up No. I, place 
 it before No. 3 and behind No. 4. Take No. 3 (which is still up- 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 8l 
 
 right) bringing it down beside No. I and behind No. 4 (Fig. 117), 
 making one "pair" of ends turned down. The canes forming these 
 "pairs" must each in turn be kept side by side (the longer of the two 
 being to the right) and held perfectly flat under the thumb till the next 
 "pair" is down. Pick up No. 2, bring it before No. 4 and behind 
 No. 5. Take No. 4 (which is still upright), and bring it beside No. 2 
 
 FIG. 119. DETAIL 
 OF CLOSED BORDER NO. 2. 
 
 FIG. 120. DETAIL OF CLOSED 
 BORDER NO. 3. 
 
 and behind No. 5. This will make a second "pair of ends." The 
 longest of the first pair must now be brought before No. 5 (which is 
 still upright) and behind No. 6 (Fig. 118), No. 5 being brought down 
 beside it as before. The shortest of each pair in turn is left to be 
 cut off at the front when the work is finished, or to be threaded 
 through to the inside and cut off there, making the edge still more 
 substantial. Proceed on this principle till all the upright spokes but 
 one have been brought down, and if correctly worked, there will 
 
 nnr 
 
 FIG. 121. DETAIL OF 
 CLOSED BORDER NO. 3. 
 
 FIG. 122. CLOSED BORDER 
 NO. 3. 
 
 always be two pairs of ends after the first pair is started, but never 
 more than two. Take the longer of the first pair, and slip it behind 
 and under spoke No. i, the last upright spoke still left being brought 
 down beside it in the usual way, and passed under the same spoke. 
 Two pairs of ends will still be left. Take the longest of the first 
 pair, lay it in front of and beside spoke No. I (the spoke first used, 
 and which may be marked by a piece of cotton till the worker be- 
 comes familiar with the border), bringing it out to the front under 
 spoke No. 2. Take the longest end of the last pair, bring it in front 
 of and beside spoke No. 2, passing it under No. 3 and the spoke in 
 
82 
 
 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 front of it. Each spoke must be brought to the front immediately 
 above the weaving. Length of spokes needed 8 inches." 
 
 CLOSED BORDER NO. 3.^-''Before attempting this border, 
 the worker will do well to work out No. 2, until familiar with its 
 principles, which are much the same. No. 2 is the simplest of this 
 class ; No. 3 as large as would be needed for any ordinary basket ; 
 
 FIG. 123. DETAIL OF 
 OVAL BASE. 
 
 FIG. 124. DETAIL OF OVAL BASE. 
 
 but the siame kind of border may be worked with three, or four, or 
 more, spokes as easily as with two or five, always remembering 
 that the number of single spokes turned down at the first determines 
 the number of pairs, and that these must never vary till not one up- 
 right spoke is left. In Border No. 3 five spokes are at first turned 
 down, and after the pairs are started there will always be five to work 
 from till the end is reached. 
 
 "Lay spoke No. I behind No. 2 ; No. 2 behind No. 3 ; No. 3 behind 
 
 FIG. 125. SPLIT SPOKE 
 FOR ROUND BASE. 
 
 FIG. 126. SPOKFS THREADED 
 FOR ROUND BASE. 
 
 No. 4; No. 4 behind No. 5 ; No. 5 behind No. 6 (Fig. 120). Pick 
 up No. i and lay it behind No. 7, bringing No. 6 (whicn is still up- 
 right) down beside it (Fig. 121). Pick up No. 2, lay it down behind 
 No. 8, bringing No. 7 (which is still upright) down beside it. Pro- 
 ceed thus till all the spokes are down but one. Take the longest 
 spoke of the first of the five pairs left, bringing it behind and under 
 spoke No. i, the last upright spoke being brought down beside it. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 Five paiirs are still left. Take the longest of the first pair, bringing 
 it beside and in front of spoke No. I and under spoke No. 2. Take 
 the longest of the first of the four pairs left, bringing it beside and in 
 front of spoke No. 2 and under spoke No. 3. In threading through 
 these ends, it must be remembered that the short spokes come out 
 immediately above the weaving and under the roll of spokes which 
 forms the edge. Take the longest of the first of the three pairs left, 
 bringing it beside and in front of spoke No. 3, and under spoke No. 
 
 FIG. 127. WEAVING OF 
 ROUND BASE WITH 
 TWO WEAVERS. 
 
 FIG. 128. ROUND BASE WITH 
 SPOKES IN PAIRS. 
 
 4. Take the longest of the first of the two pairs left, bringing it be- 
 side and in front of spoke No. 4 and under spoke No. 5. Take the 
 long spoke still left, bringing it beside and in front of spoke No. 5 
 and under spoke No. 6. If the two spokes which lie together have 
 been kept lying flat on the edge of the weaving, the border will look 
 even and handsome (Fig. 122). Length of spokes required 10 
 inches. 
 
84 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 CHAPTER XIV. 
 MORE ABOUT BASES. 
 
 In her books Miss Firth gives several methods of making bases. 
 
 OVAL BASE. A simple oval base may be made as follows. Take 
 4 lengths, No. 4 rattan, 24 inches long, 6 lengths, No. 4, 6 inches long 
 and one length, 3 inches long. Place the six short pieces for the 
 width and the long pieces as shown in Fig. 123. The two lower spokes 
 must be placed on the table, and the short ones placed across them in 
 pairs, at intervals of an inch. The lower of these two spokes must be 
 UNDER the center pair, and OVER the pair at each end. The upper 
 spoke must be the reverse of the lower, the short piece being placed 
 above that in the same order as the lower spoke. When the base is 
 finished it will be seen that this short piece forms a middle around 
 which the four spokes are woven. The other two long spokes must 
 be placed in a position exactly reverse to the two first, as in Fig. 124. 
 They must then be pressed closely together, the left hand holding them 
 firmly in their place, while the right weaves with the inside spoke of 
 the two which first used, passing it over the two short ends of the sec- 
 ond pair of long spokes, and under and over and under the three short 
 pairs. The outside spoke must follow, but in reverse order. The sec- 
 ond pair of long spokes must be treated in exactly the same way as the 
 first. 
 
 ROUND BASE WITH DOUBLE WEAVERS. Take 12 
 spokes of No. 4 rattan, six inches long, and a long weaver of No. I 
 rattan. In six of the twelve spokes, make a split in the center about an 
 inch long as shown Fig. 125. Then thread the six unsplit spokes 
 through the split ones. (Fig. 126). Keep flat and cross exactly in 
 center. Take weaver, double it, leaving one end several inches longer 
 than the other. Slip loop of weaver over six of the split spokes, 
 bringing under part of weaver over, and top part under the next 
 six spokes (Fig. 127). Repeat this as described with Fig. 95 until 
 three rounds are made. Be sure that the under weaver is always 
 brought to the top before the top one is taken underneath, to prevent 
 the weavers getting twisted. Now separate spokes into sets of two, 
 (Fig. 128), pulling the spokes well apart to allow room for the weavers 
 to be well pushed down. Then pair around the double spokes for 
 three rounds, after which separate each 'Spoke and pair as in Fig. 129. 
 
 ROUND BASE WITH SINGLE WEAVER. A round base 
 with a single instead of a double weaver may be made by the insertion 
 of an extra spoke after the dividing of the spokes begins. 
 
 OBLONG OVAL BASE. Take 13 spokes of No. 4 rattan, 5 
 inches long, and 5 spokes of No. 4 rattan, 12 inches long. Split the 13 
 spokes in center as before described, and thread them on the 5 spokes 
 as shown in Fig. 130. Put the odd spoke in center of the five. Then 
 allowing half an inch between the spokes, place them as shown in Fig. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 85 
 
 130, but with two spokes together at each end. Double the weaver and 
 place the loop over the double side spokes. Take the underneath part 
 of the weaver and weave down the side, then go back and take upper 
 part of weaver and weave beside it, counting double spokes at end as 
 one spoke. 
 
 Weave holding the base flat on the table, and always from left to 
 right. To do the end take up the base in the left hand, grasping the 
 weavers where they pass the double side spokes. Take the weaver 
 from underneath and bring tightly across the five long spokes, 
 place behind the double side spokes, then put the base flat 
 on the table and weave down the side. Go back, taking up the base 
 again, and take the top weaver behind the five spokes, lay down the 
 base, then weave down the side. Repeat this until you have two 
 weavers crossing the five spokes top and bottom and on either side. 
 Divide the five spokes into 2-1-2. (See Fig. 131). Pair around these, 
 but still weave down the side. When both ends have been divided in 
 this way, take each spoke singly, beginning with the double side spokes, 
 
 FIG. 130. COMMENCING 
 OBLONG OVAL BASE. 
 
 PIG. 129. ROUND BASE WITH SPOKES 
 SEPARATED. 
 
 and pair around each of the nine spokes at either end, but still only 
 weave down the sides. 
 
 Wihen both ends are done, continue weaving straight round with 
 first one we'aver and then the other, but not pairing. 
 
 While doing the base, draw the weaver firmly towards the right, 
 and when doing the ends bring the weaver firmly down between the 
 spokes, which must be drawn as far apart as possible to admit of this 
 being done efficiently. In a well-made base the weaving is always 
 drawn down so firmly that the spokes cannot be seen in between. 
 
 To get the oval bases of the size required, first take the measure- 
 ment across the basket. If this is 4 1-2 inches, and the length is to be 
 8 inches, the spokes across would have to be placed within a distance 
 of 6 inches, measuring from each lot of double spokes at the end. 
 
 The reason of this is, that enough space must be left at either end 
 to allow 2 inches of weaving, as in a base 41-2; inches across there 
 would be 2 inches of weaving on either side, allowing one-half inch for 
 the five spokes down the center. 
 
86 
 
 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 If this rule is followed, the right size can always be counted on, and 
 in the lids of oval baskets it is particularly necessary that the size should 
 be assured before starting. 
 
 OVAL BASE. Another method of making an oval base is to take 
 six 5-inch spokes, four 7-inch spokes and one 4-inch spoke, all of No. 4 
 rattan, with three weavers of No. 2 rattan. Split the six five inch 
 spokes as described in Fig. 125. Thread them on the four seven-inch 
 and the one four-inch spokes, the short one in the center, leaving about 
 half an inch between each of the six. The six spokes are held hori- 
 zontally, and the five are vertical. Start a weaver, back of the vertical 
 spokes and lying along the uppermost horizonal spoke, with the end 
 toward the right. Bring it around in front of the vertical spokes 
 (above the upper horizontal one), then back and down diagonally to 
 the left, coming out below the upper horizontal spoke. Here it is 
 
 mil 
 
 TTrnrnnr 
 
 FIG. 131. OBLONG OVAL BASE. 
 
 brought around in front of the vertical group, back and up diagonally 
 to the left of the vertical spokes and above the first horizontal one. It 
 is then (brought diagonally down in front of the vertical spokes, to the 
 right of them and just above the second horizontal spoke. Next it 
 crosses diagonally down and back of the vertical spokes, to the left of 
 them and below the second horizontal spoke, where it is brought over 
 the vertical ones, back and up diagonally to the left of the vertical 
 spokes, and just above the second horizontal one as shown in Fig. 132. 
 The same process binds the other four horizontal spokes ; making an 
 ornamental cross effect over each one, on the inside of the basket as 
 seen in Fig. 133. After all six horizontal spokes have been bound, the 
 spokes are separated and the weaving begins, and is continued until 
 the size desired is attained. 
 
 BASE OF TWINED WEAVING WITH INSERTED COR- 
 NERS. A base of fine rattan or raffia twined basket, having a pe- 
 culiar way of inserting the spokes at each of the four corners, is shown 
 in Fig. 134. The rubber bands holding three groups of spokes make 
 it more convenient for the maker to manipulate the numerous spokes, 
 as each time around a spoke is inserted at its proper place. When a 
 group is twined with two strands of raffia the rubber band is slipped 
 off the next group and snapped around the set of spokes just finished 
 and so on. Any number of spokes may be inserted according to the 
 size of the base desired. 
 
 Take 12 spokes No. i rattan 10 inches long, 4 short strands raffia 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 8? 
 
 in red, natural and green, and add spokes of r'attan and weavers of 
 raffia as desired. 
 
 Before beginning the work see that the rattan is well soaked in warm 
 water. In fact this basket should be frequently placed under water 
 and the twinings pushed closely toward the center. If the work is 
 tightly done it may be made practically water tight. 
 
 Cross five spokes at right angles to five other spokes and placing 
 a raffia strand across the laid spokes, diagonally bring the strand under 
 neath to the beginning of the diagonal crossing where it is securely 
 twisted. Now cross over to another angle and let one of the halves of 
 raffia pas ; s underneath and the other across the top spokes to the op- 
 posite corner diagonally twisting again. This gives a cross of raffia 
 over the grouped spokes. 
 
 Now begin to twine the two strands of raffia from the outside in 
 
 FIG. 132. DETAIL FIG. 133. DETAIL OF 
 
 OF CENTER OF CENTER OF 
 
 OVAL BASE. OVAL BASE. 
 
 toward the center, over one, under one, carefully unpacking each stitch 
 as the twist is made. Fig. 135 Page 126 of "Indian Basketry" shows 
 method of this twined effect. 
 
 Weave around three or four times with uncolored raffia and then 
 bending one of the extra spokes of rattan in half lay it snugly at the 
 bend in the angle of the crossed spokes. It thus makes two new 
 spokes. Twine the raffia over each of the two new spokes and snap 
 a rubber band over the first group of six. Care must be exercised so 
 that the crossed spokes always lie flat until the base is well started. 
 When the twining crosses to the next angle another spoke is bent in 
 half and again fastened to its place. This group is .now securely held 
 with another rubber band and thus continue with the remaining spokes, 
 letting the raffia continue for a stitch or two beyond a corner before 
 changing to a differently colored strand. 
 
 Looping the colored raffi'a over a spoke and separating each end, 
 begin to twine with both colored and uncolored until a corner is 
 reached ; now drop and clip the raffia not needed and twine in the cor- 
 ner spoke with the colored raffia. Twine around as many times as this 
 colored raffia lasts. 
 
 As the work increases extra spokes must be inserted, and these 
 are cut the length of the angle where they are to be placed. When 
 
88 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 the base is the desired diameter stop adding spokes and gather three of 
 the grouped spokes into one and then shape the basket as desired. 
 Any shaped basket may be formeji from this base, four sided, round 
 or flat." Finish off by folding down the ends of the spokes and add a 
 coil of three or four rattans the length of the circumference of the open- 
 
 FIG. 134. BASE OF TWINED WEAVING WITH INS ERTED CORNERS. 
 
 ing and with the raffia sew over and over edge, all the way around, se- 
 curely fastening the ends by hiding them under three or four of the 
 twined stitches. 
 
 This basket is closely allied to the Alaskan baskets, but is unique 
 in its method of enlarging For these directions I am indebted to Mrs. 
 John P. S. Neligh, of the Industrial School, Columbus, Ga. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 8q 
 
 CHAPTER XV. 
 WEB WEAVING CONTINUED. 
 
 We now return to the making of baskets by the web weave. The 
 two baskets on the right of Fig. 106 are now to be described. For the 
 upper one take eight spokes of No. 4 rattan 14 inches long, and weavers 
 of No. 2 rattan. Start the base as described in either Fig. 96 or Fig. 
 125. Make the base the size desired, then turn up the foundation 
 spokes, weave the sides and finish oft" with one of the closed borders. 
 
 The lid is made in exactly the same way as the base, finishing the 
 border with the rope twist. 
 
 The bottom basket to the right is made in the same manner. 
 
 Fig. 135 is of .more 'simple web weave baskets made by the students 
 at Teachers College. The one to the left and the upper one are both 
 made of No. 2 rattan for both spokes and weaver. Begin the base as 
 already described. Turn up foundation spokes for the sides, weave 
 as high as desired and finish off with closed border No. 2. 
 
 The covered basket with the handle is equally easy to make. Be- 
 gin as before described, turn up, as soon as base is as large as required, 
 taking care that the angle of the sides is evenly preserved. Finish 
 with simple closed border. Make the lid in like fashion. The handle 
 is of three long strands of rattan, doubled and twisted while pliable. 
 
 A pretty basket is shown in Fig. 136. For the base take six spokes 
 of No. 2 rattan, about two and a half inches long. Make base as de- 
 scribed in Figs. 96 or 125. When woven up to the end of spokes take 
 15 pieces of finer rattan, and thrust into base by the side of the spokes, 
 inserting the extra ones so as to have all the spokes as near equidistant 
 as possible. Now soak for a few .minutes. When pliable bend up 
 for sides, weave plait of straw or any other material either miade or 
 purchased until the sides are as high as desired. 
 
 Then proceed to make closed border No. i as described in Fig. 115. 
 The lid is made in same way as base or using both splint and plait 
 for weavers. To fasten lid and basket together take piece of finest 
 rattan, loop through lid and border of .basket, then twist, making an 
 open loop for handle about an inch across. Then thread one end of 
 handle splint through basket and lid one Way and the other way. 
 Where they meet tuck in ends and basket is complete. 
 
 WEB WOVEN BIRD NEST. Take 24 spokes of No. 2 rattan 
 for foundation. Make base, drawing weavers tightly, so that bottom is 
 convex. When about 6 inches across, turn up foundation spokes for 
 sides, and proceed to weave as before, drawing weavers tight so that 
 the sides close in towards the top. When the side is about an inch 
 and a half high cut short two of the spokes and turn in as for a closed 
 border. Then continue to weave, leaving open space where these 
 spokes were, turning the weaver back around the spoke on each side 
 of the open space. W T eave up in this way for about an inch and a 
 quarter, then bridge the space by bending the two end spokes 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 9! 
 
 over the space. Now rapidly draw the top together, working in two 
 of the spokes instead of one, until it is impossible to weave higher. 
 Leave the ends of the spokes irregular so as to let the top of the nest 
 appear like 'a bundle of twigs. Place in a tree, and do not be surprised 
 if the following nesting time a pair of birds takes possession. 
 
 BASKET WITH FANCY BASE. Fig. 138 shows an unfinished 
 basket from which, however, the student may gain a few ideas. In 
 making the photograph I failed to notice that it was somewhat out of 
 shape. The base is made as any ordinary mat, inserting new spokes 
 as desired, until it is about 8 inches in diameter, woven so tightly that 
 the (bottom is convex. Now insert double spokes for fancy base and 
 weave about an inch and a quarter finishing it by any form of closed 
 border desired. 
 
 Now use fancy plaited straw as a weaver for the sides and weave 
 as high as des ; red, say five inches. Finish with a simple border as 
 shown to the left, or as desired. 
 
 Fig. 139 shows two small wood splint baskets of a type much sold 
 in Europe. The foundation spokes may be of palmetto, wood splints 
 or rattan, and twelve, fourteen! or sixteen in number. A. Fig. 139 
 shows the arrangement of the base. First lay the spokes star shape as 
 shown. Then sew around edges with a piece of thread to hold them in 
 place. Bend spokes up for sides, taking care to do it evenly. If an 
 even number of spokes is kept, the weaving must proceed as described 
 with Fig. 95. If an extra odd spoke is introduced a single weaver will 
 do. 
 
 When "the basket is as high as desired turn, down and tuck on the 
 inside of basket all the spokes. Then wrap with a broader splint, 
 like overcasting, thus making a secure binding. 
 
 The handle is formed by thrusting a piece of rattan the size de- 
 sired, with a wide splint above it, down to the base, through the weav- 
 ing, and then wrapping as described for the binding, staking care to 
 tuck the ends in as far as possible. Some prefer to make the handle 
 before binding the top, us'ng a weaver long enough to 1 wrap both 
 handle and top. This adds strength and gives fewer ends to care for. 
 
9 2 
 
 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 93 
 
 CHAPTER XVI. 
 SPLINT AND SWEET GRASS BASKETS. 
 
 These are most popular baskets, hence it is deemed appropriate to 
 give full particulars as to the methods of weaving- a variety of those 
 generally preferred. The photographs were all made from the as- 
 sortment of the Hyde Exploring Expedition, 26 West 23rd Street, 
 New York, where Miss Marie Toxuse, an Abenaki Indian, is en- 
 gaged as weaver and teacher. 
 
 In these descriptions it will be seen that the mat, plait, twined and 
 web weave are all utilized. Most of the baskets are easy to make 
 and any ordinary student can make them from the descriptions given. 
 
 In starting the base of a splint basket place a small board, on which 
 the work is to be done, on the lap. Then, one by one, place the 
 splints in order as shown in Fig. 140, taking care that Jthey are equi- 
 distant and regular at the edges. 
 
 Now, take the weaver in the right hand, and, thrusting the end 
 between two of the spokes, hold it firmly with the left hand (see Fig. 
 141), while with the right the weaver is worked in and out of the 
 spokes, pulling it as tightly as possible. Exercise great care in 
 keeping the spokes firmly pressed upon the board, or they will be 
 pulled out of place. 
 
 As soon as the weaver has been (taken around once it will be nec- 
 essary (in order to have the weaver go under the spokes in the second 
 round, over which it went in the first round), to take the weaver over 
 two spokes as shown in Fig. 142. This must be done, each time 
 round. When as many rounds are woven as necessary, take each 
 spoke and bend it up to form the foundation for the sides, when 
 it will appear as Fig. 143, and is now ready for the weaving of the 
 sides. 
 
 SPLINT BASKETS. Fig. 15 contains five articles made solely 
 of splints, except the book mark. This is composed of one spoke, 
 ten inches long, and seven others about 2 1-2 'inches long. All the 
 small spokes are cut so as to be very narrow in the center and widen 
 out towards the edge. They are placed across each other in a circle, 
 held firmly, amd bound with three or four rows of simple web weav- 
 ing. Then using twined weaving the spokes are covered as much as 
 required. The stitch is finished off by tying the sweet grass. The 
 ends of the spokes may be cut as desired, either rounded, pointed 
 or V shaped. 
 
 For the napkin ring take one wood splint 7-8-inch wide, and two 
 3-8-inch wide. Then take a narrow wood splint weaver and web 
 weave the three splints together, twining the weaver around the 
 edges and returning from side to side. Cut the broad splints the 
 length required, and, as the weaving continues, bend into the ring 
 form', tuck in the edges of the foundation splints and complete the 
 weaving. Now take a 7-8-inch wide colored splint, and thread on the 
 
FIG. 141. INSERTING WEAVER IN SPLINT BASE. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 95 
 
 outside of the ring, under three and over two, making a bow by 
 lacing back and forth and tucking in the end. The spiral ornament- 
 ation for the edges is made by taking a 3-8-inch wide splint, colored, 
 thrusting it under one of the weavers, then wrapping around the 
 spiral shape, missing one weaver, drawing under the next, twisting 
 again, missing a weaver, and twisting again over the next and so on. 
 
 The diagonal mat weave basket in the left corner is made as is the 
 one described elsewhere. Two colors of splints are used and the 
 handles are of plaited sweet grass, sewed with strong thread to the 
 sides. 
 
 The square basket is simple mat weave for the bottom, and web 
 weave for the sides and top, the edges being strengthened by turning 
 in the foundation spokes, then binding strong splints around the rims. 
 
 For the hand basket take one splint 5-8-inch wide and two 1-2- 
 inch wide, and about 3 feet long. Then 15 splints about 26 inches 
 long and i -2-inch wide. Make of these a mat foundation, putting 
 the three splints lengthwise and the 15 across ait right angles. Now 
 turn up for sides and web weave with splints any size smaller than 
 i -8-inch. When witfrn three and a half inches of the top, web weave 
 with four rows of splints (or rather, two double rows), the splints 
 to be 6-8 of an inch wide. Curl a third splint into each double row 
 as described immediately for Fig. 4. Them finish with one row of 
 narrow splint, strengthen the rim inside with stout splint, and out- 
 side with sweet grass and bind with a narrow splint. The handles are 
 of splints i -8-inch wide twisted with narrower splint and tied to the 
 edge of the basket. 
 
 CLOTHES HAMPER OF SPLINTS. Fig. 4 is a large fancy 
 basket of splints, made by Abenaki Indians of Pierreville, Canada, 
 and presented to Mr. T. F. Barnes, editor "The Papoose," New York 
 City. It is 2 feet 9 inches in height, i foot 8 inches in diameter at 
 the top and four or five inches less at the bottom. The base is of 
 extra strong wood splints, arranged as Fig. 140, and the side splints 
 are also extra strong. The first n : ne rows of weaving on the sides 
 are of doubled splints, 3-4 of an inch wide. The under of these two 
 splints is woven under one and over one of the side spokes as in all 
 ordinary weaving, but the upper splint, in taking the "over" stitch, 
 instead of being pulled tight, is left looped. The arrangement of the 
 loops :s such that the loops of the second row come over the spokes 
 of the row beneath. Thus the loops alternate in the rows. 
 
 Following this set of nine rows of looped stitches is a belt of weave 
 made with ordinary white splints, about i -8-inch wide, under two and 
 over two. The next belt is of one splint, colored, nearly an inch and 
 a half wide. Then another belt of narrow white spl : nts. Now a 
 belt of six splints of three colors, two of green, two red, two purple. 
 (I am not commending the color scheme, which is simply hideous, in 
 thus particularizing the colors.) In each of these three pairs of rows, 
 three splints are used instead of two. The use of the extra third 
 spl : nt is to get the "curl" shown in the design. In inserting the 
 weavers put in two for the bottom row and follow with one in the 
 row above, so that it alternates,, with the lower one over the founda- 
 tion spokes. When the upper weaver of the lower row comes from 
 under the spoke, curl it back and up under the next spoke in the 
 row above. Now curl it down and under the next spoke in the bot- 
 
9 6 
 
 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 F.G. 140. BEGINNING BASE OF SPLINT BASKET. 
 Courtesy Hyde Exploring- Expedition, New York. 
 
 FIG. 142. JUMPING TWO SPOKES. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 97 
 
 torn row, and so on until the complete round is made. Each pair 
 of rows is woven in like manner. 
 
 This belt of "curled" weave is followed by weaving belts above it, 
 similar to those below it, as shown by the design. At the top, four 
 rows. of plain simple weaving gives firmness. Then the spoke splints 
 are bent at right angles and six or seven rows of weaving taken upon 
 this portion, which thus forms a kind of shelf or rim. The founda- 
 tion splints are now turned upright again and a row of the "loop" 
 weave with inch-wide splints made, after which it is finished off with 
 three strong splinits inside and one colored one outside, wrapped 
 around and bound on with small white splints. The finishing border 
 is of these same splints wound under and over and looped as will 
 clearly be seen in the design. 
 
 The lid isi composed (as is the base) of splints that broaden as they 
 reach the periphery. Two or three rows of narrow weavers fix the 
 spokes in position. Two rows of loop weave and then the spokes are 
 curved down, and eleven or twelve rows of narrow splinlt weave 
 taken. Then the splints are bent out and split, each splint thus form- 
 ing two. One single row of plain weave with a wide splint and five 
 of loop weave, followed with three narrow splint weave, and the 
 spokes are turned under, and, when the handle is wrapped on the top, 
 the lid is complete. 
 
 SWEET GRASS FAN. Fig. 5 is a sweet grass and splint 
 foundation fan. The splints are cut so as to be very narrow in the 
 center and widen rapidly towards the edge. This can readily be seen 
 by looking at the fan in Fig. 5. Place the splints crossed for the 
 center, as the simple splints of Fig. 140. Then with a single strand 
 weave under and over for five or six rows. ,Now take two strands 
 and use the "twined" weave or pairing, as described in Figs. 22 and 
 134. The sweet grass must be dampened and pressed closely into 
 position as each row is woven. When within an inch of the edge 
 {weave two or three rows with plain white narrow splint. Now trim 
 the foundation spokes as shown in Fig. 5, and, taking narrow splint 
 weavers loop the border, fastening it to the last row of splint weave, 
 which has been well anchored by fastening it below. For a handle, 
 take a stout wooden splint, loop, and tuck well under the sweet grass 
 down one of the foundation spokes. Upon this place lengths of sweet 
 grass. Then wrap tightly as shown in Fig. 5, fastening off the end 
 by tightly wrapping and tucking in. 
 
 SPLINT AND SWEET GRASS BASKETS. In Fig. 6 four bas,- 
 kets of splints and sweet grass are shown. In the bottom one to the 
 left the base is composed of simple mat foundation, five splints each 
 way. These are turned up for the sides and twined weaving of sweet 
 grass composes the woof. Wlien the desired height is attained, the 
 spokes are turnied down and tucked in. Then the rim is strengthened 
 inside with a colored splint, and outside with a row of sweet grass, both 
 of which are bound on with a narrow splint as is clearly seen in the en- 
 graving. The lid is made of five broad and two narrow splints, the 
 latter at the sides. On these are woven twined rows of sweet grass, 
 and the edges bound as is the rim of the basket. The former is 
 affixed to the latter by lacing the binding of the basket to that of the 
 lid. A small wrapped loop is affixed to both basket and lid. 
 
 The only difference between the basket at the bottom to the 
 
FIG. 144. BASKETS OF SPLINT AND SWEET GRASS. 
 Courtesy Hyde Exploring Expedition, New York. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 99 
 
 right and the one just described is that after a few rows of sweet grass 
 are twined into the sides one wide and two narrow splints are intro- 
 duced. The wide splint is woven, one um-der, one over, as in all 
 ordinary web weaving. But the two small splints which together 
 are about 1-8 of an inch wider than the broad splint on which they 
 rest are crossed from bottoim to top under every other spoke, form- 
 ing a little nipple or elevation between the spokes. Then more 
 twined sweet grass completes the sides, which are bound as before 
 described. The lid is made in like manner. 
 
 The round basket of Fig. 6 is composed of even splints about half- 
 an-inch wide and laid as shown in Fig. 140. 
 
 Three or four rows of simple web weave at the. outer edge of the 
 base tighten the spokes. They are then turned up for the sides and 
 
 FIG. 145. SPLINT AND PLAITED SWEET GRASS BASKETS. 
 Courtesy Hyde Exploring Expedition, New York. 
 
 sweet grass twined in up to the top. Then the spokes are turned 
 in, and the ,rim strengthened with other splints and bound with a 
 narrow splint. 
 
 The lid, however, i made quite differently. For this the spokes 
 must be very narrow in the center and broaden towards the edges. 
 They are then woven with twined sweet grass until the lid is the 
 size erf the basket, or a trifle larger. The spokes are now turned 
 down, and the twining continued until the flange of the cover is as 
 deep as required. The spokes are then turned in, the edge strength- 
 ened by a suitable splint and bound as before. The handle is fas- 
 tened to a loop which is held secure by being taken under the sweet 
 grass of the under side of the lid in several places. 
 
 The method of making the handkerchief basket in Fig. 6 will be 
 described in a later Bulletin of the Basket Fraternity. 
 
 Fig. 7 shows the bases and lids of the baskets of Fig. 6, and a study 
 of them will make the foregoing instructions much more clear. 
 
 The carrying basket of Fig. 144 is of mat weave and web weave, 
 
I(X) 
 
 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 FIG. 146. SPLINT AND PLAITED SWEET GRASS B ASKETS. 
 Courtesy Hyde Exploring Expedition, New York. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. IOI 
 
 using plaited sweet grass, plain splints, and the curl weave to give 
 ornamentation. Take four splints about 23 inches long, and 3-8 of an 
 inch wide. Cross these in simple mat weave with twelve similar 
 splints, 1 8 inches long. Turn these up for ends and sides. First hold 
 together with one row of simple splint weave. Then take 
 two plaits of thickly plaited sweet grass and proceed to 
 web weave. Now we take three weavers an inch wide and 
 a long plait of extra thick plaited grass. Make two rows 
 of ordinary web weave with two of these wide splints. Loop 
 the plait and bind to the side by twisting or curling the third wood 
 splint around the plait, under a foundation splint, over the plait, under 
 the upper part of the next foundation splint, and so on alternating the 
 wrapping of the curled splint around the foundation splints exposed 
 by the upper and lower of the two broad weavers. Now continue the 
 weaving of the sides with six rows of plain web weave and six row's 
 of double plaited sweet grass as before. Turn down and tuck in the 
 foundation spokes, strengthen the edges or rim with a stout splint 
 inside and sweet grass outside, and then bind with narrow splint. The 
 handle is composed of a heavy triple plait of sweet grass, fastened to 
 the sides with an ordinary wood splint, the ends being looped as 
 shown in the figure. 
 
 The work basket of Fig. 144 is made essentially in the same man- 
 ner. The base, however, is formed as shown in Fig. 140, The 
 edges of the base are made tight with four or five rows of simple 
 splint web weave. The spokes are then turned up for the sides. 
 Weave five rows of finely plaited sweet grass; two of narrow splint. 
 Then two I I -4-inch wide splints, with the third for the curling and 
 wrapping around the plait of sweet grass as described in the carry- 
 ing basket. This is followed with a splint 5-8-inch wide, web woven, 
 the rim being strengthened and bound with wood splints. 
 
 The lid requires the splints narrow in the center and widening out 
 to the edges. When the spokes are in place, fasten by six or eight 
 rows of ordinary web weaving with sweet grass. Then twine weave 
 sweet grass for an inch and a quarter, after which introduce the 
 broad splints, the ithick plaited sweet grass and the curl as on the 
 sides. Then complete the top of the lid with six or eight rows of 
 web weave, using thickly plaited sweet grass for weaver. When 
 the lid is the right size to fit the basket, turn the spokes down, and 
 complete the weave with the plaited sweet grass until the flange is 
 the size desired. Then strengthen and bind the edge as before de- 
 scribed. 
 
 In Fig. 13 the top basket is a very pretty creation in plaited sweet 
 grass. In both top and bottom the foundation spokes are narrow 
 in the center widening towards the edge. They are first woven in 
 web weave with narrow wood splint for about ten rows, then com- 
 pleted with plaited sweet grass, the edge of the lid being turned down, 
 woven with plaited sweet grass, strengthened and bound as before 
 described. 
 
 In the basket itself, after the turning up of the sides, the weaving 
 for about an inch is composed of plaited sweet grass. Then three 
 i -4-inch splints are woven, web weave, and the rim strengthened and 
 bound with simple wood splints. 
 
102 
 
 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 The diagonal handkerchief basket is composed of diagonal mat 
 weave, the corners being turned over and doubled and then twined 
 with plaited sweet grass. The lid is of simple twined plaited sweet 
 grass, made as the lid described in tog. 6. 
 
 Fig. 145 shows the top and bottom or a basket and lid of a splint 
 and plaited sweet grass basket. The base is formed as shown in 
 Fig. 140, the edges being woven with nine or ten rows of splint web 
 weave. The foundation spokes are then turned up for the sides, and 
 the weaving done with twined weave, using plaited sweet grass for 
 weaver. Strengthen the edge and bind as elsewhere described. 
 
 For the lid the splints must be narrow in the center and widen- 
 ing towards the edge. After laying out the spokes the first inch or 
 
 FIG. 147. MADEIRA BORDER NO. 2. 
 
 FIG. 148. MADEIRA BORDER NO. 2. 
 PAIRING FOR PLAIT. 
 
 so may be simple web woven with narrow splints or plain sweet 
 grass. Then twine weave with plaited sweet grass, until the lid is 
 the right size, turn down the foundation spokes, finish the weave un- 
 til the flange is of the desired size, then strengthen edge and finish 
 off. 
 
 In Fig. 146 the square basket is made of mat foundation, using 1-2- 
 inch wide splints. Turn up for the sides and twine weave with 
 plaited sweet grass. Strengthen the rim with stout splint inside and 
 and sweet grass outside and bind with narrow splint. 
 
 The lid is made as the one in Fig. 6 and laced on as there described. 
 The handle is of heavy plaited sweet grass. 
 
 The round basket has a base as described in Fig. 140 six or seven 
 rows of simple web weaving with narrow wood splint holding it firmly 
 together. Turn up sides and twine weave with plaited sweet grass. 
 When within an inch of top web weave with 3-4-inch wide wood 
 splint, then strengthen and bind rim as elsewhere described. The lid 
 is made as the round lid of Fig. 6. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. IO3 
 
 CHAPTER XVII. 
 FANCY BORDERS. 
 
 MADEIRA BORDER NO. i. Allow four inches for this border. 
 It is very simple, and suitable for violet baskets and small candy-bas- 
 kets of various kinds. 
 
 "To make it, the spokes should all be double, as it has a much pret- 
 tier effect when they are so. It is not necessary, however, to have 
 the spokes double throughout the basket, which may be worked in the 
 ordinary way with singtle spokes, allowing the four inches for the 
 border, and then, when the weaving is finished, inserting beside each 
 spoke an extra one of six inches, the extra length being pushed into 
 the basket. 
 
 "Treat all the double spokes as one, and now take one lot of double 
 spokes behind the next lot, in front of the next, and leave the ends on 
 the outside of the basket. 
 
 "Repeat this round, drawing all the spokes closely down except the 
 first, which must be left a little loose, as the last spokes are threaded 
 through to complete the border. 
 
 "When the last two lots of double spokes are reached, proceed in 
 the same way behind one, in front of one only, the first sooke, 
 after being taken behind one, is threaded over the next spoke which 
 is turned down, and the last is inserted first .behind and then in front 
 of the next two spokes already turned down. 
 
 To finish, the ends are all cut off neatly, the further side of the 
 spoke against which they rest." 
 
 MADEIRA BORDER NO. 2. Allow spokes of eight inches for 
 this border, and use double spokes of No. 4 rattan or triple ones of 
 No. i. 
 
 For the sake of brevity, although many spokes may be used, they 
 will be treated as. one in the descriptions. 
 
 Be careful not to draw the first spokes down close to begin with; 
 they must be left open, so that when you come to the finish you have 
 room for inserting the last spokes. 
 
 "Take one spoke behind one, i>n front of one, behind one, in front 
 of one, and leave the end on the outside of the basket (Fig. 147). 
 
 "Repeat this round, threading the last spokes through the spokes 
 already turned down, on the same principle as for the preceeding 
 border ; only in this there will be more to thread through. Do not 
 draw the spokes down too closely, as the border should be about one 
 inch in depth. 
 
 "When this first part is done, turn the basket upside down to do 
 the plait around the edge. Take one spoke in a close curve behind the 
 next and bring the end down against the border (Fig. 148). 
 
 "It is necessary to keep this plait very close to the basket, so as 
 each spoke is brought round the next it should be held firmly in its 
 place by the left hand, and the hold should be shifted round as each 
 
104 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 spoke is used. Finish by threading the last spoke through the loop 
 of the first. 
 
 "Now go round again, curving one spoke beneath the next in the 
 same way, only now the spokes curve round to make the other side 
 of plait. When the last spoke has been threaded through the loop 
 of the first, the plait is finished, and the ends must be cut off neatly. 
 Care should be taken in doing this that the ends of the spokes are 
 left long enough to go over the next spoke." 
 
 MADEIRA BORDER NO. 3. Materials required "Allow 8 
 inches for this border, and use three spokes of No. 2 rattan together. 
 Depth of border without plait, 11-2 inches. 
 
 'Take one spoke behind two, in front of two, behind two, in front 
 of one, leaving the end outside the basket. Repeat this round until 
 only seven upright spokes remain. 
 
 "The first of these, after going behind and in front of the next six 
 in the usual way, will be the first to be taken behind the first spoke 
 turned -down, the others following in their course. 
 
 "Do the plait in the same way as for "Madeira Border No. 2." 
 
 MADEIRA BORDER NO. 4. Allow spokes of 14 inches, and 
 use No. i rattan. Use three spokes together. Depth of border with- 
 out plait, three inches. 
 
 This is a very light and graceful border. It must not be spread 
 out, therefore it is necessary to keep the spokes straight to the top, 
 and then to bend them to interlace with other spokes. 
 
 Great care is needed to keep a nice straight edge round the top 
 of the border. If uneven the effect of the basket is quite spoilt. 
 
 Take one spoke behind three spokes, in front of two, behind two, in 
 front of two and behind one, leaving the end outside for the plait. 
 
 Repeat this round, measuring occasionally to keep the border 
 of the correct depth. 
 
 Finish off with the plait as described for the preceeding borders 
 This border is worked o/n the outside of the basket." 
 
 MADEIRA BORDER NO. 5. Allow spokes of 16 inches and 
 use No. 4 rattan, two spokes together. 
 
 "Take one spoke behind three spokes, in front of three, behind 
 three, in front of two, behind one, in front of one, leaving the end 
 outside. 
 
 If the edge of the border, behind three and in front of three ; if 
 kept close together it has the effect of a double ridge or twist. 
 
 Finish off on the same principle as for the preceeding borders, and 
 -plait the ends. 
 
 This border is worked on the inside." 
 
 CYCLE BORDER. Allow spokes of six inches. This border 
 is called the "Cycle," as it is used on the cycle baskets ; but it is 
 very useful on many other kinds, principally those which have lids, 
 as it is flat outside and the ends are all cut off neatly inside. 
 
 "Take one spoke in front of two spokes, behind one, in front of two, 
 a.nd push the end well down inside. 
 
 This is fini'shed oar the same principle as the "Madeira Borders," 
 the last spokes being threaded through the turned-down spokes in 
 their order. Thus, when only five upright spokes are left, the first 
 of these will be taken in front of two, behind one, and then, to pass 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 105 
 
 in front of two again, it will be takeni in front of the last upright spoke 
 and the firslt one turned down, and through the loop of this it must 
 be threaded to the inside ; all the other spokes will then be threaded 
 through in their places. 
 
 In starting this border, the first spoke must not be drawn close 
 doww to the weaving, but room should be left for the end spokes to 
 be threaded through. After the first two spokes have been used, 
 
 FIG. 149. COMMENCING 
 FLAT PLAIT BORDER. 
 
 FIG. 150. FLAT PLAIT 
 
 BORDER SECOND 
 POSITION OF SPOKES. 
 
 draw the border down as firmly as possible, as- the closer the spokes 
 come together the handsomer the border will look when finished. 
 
 When a pupil is efficient in this border six inches for spokes will 
 be sufficient." 
 
 FLAT PLAIT BORDER. Use for this No. 6 or 7 rattan. Al- 
 low spokes 13 inches long, but they must not be more than 1-2 inch 
 apart. 
 
 "Turn down three spokes sharply to the outside of the basket (Fig. 
 149). Hold the second and third in the left hand, and with the right 
 
 FIG. 151. FLAT PLAIT IN PROGRESS, 
 WITH PORTION OF FINISHED BORDER. 
 
 FIG. 152. FLAT PLAIT 
 BORDER FINISHED. 
 
 hand bring No. I spoke in a curve over the other two, and place 
 it between the first two upright spokes ; bring down the first upright 
 spoke beside it. Repeat this with the second and third ispokes ; then 
 there will be three spokes inside and two spokes outside. Take the 
 first from inside, and bring it down beside the third spoke outside 
 (Fig. 150). Be careful in doing this not to draw the spoke too tightly 
 from the outside. 
 
 Now proceed to plait as follows : Take the first spoke from outside, 
 place between the nex,t two upright spokes, bring the first spoke from 
 inside between the same upright spokes to outside, then draw the 
 first upright spoke down beside it. 
 
 When the double spokes are reached they must be used together 
 
io6 
 
 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 as one spoke both inside and outside the basket ; and when the triple 
 spokes are reached the two longer ones must be used together as one. 
 leaving the short spoke to be cut off afterwards. When the last up- 
 right spoke has been turned down there will be two lots of double 
 spokes inside and three lots of triple spokes outside." 
 
 Take three twos out of the three threes, and pass them under the 
 three that were first turned down. 
 
 This brings five lots of double spokes to the inside of the basket 
 (see Fig. 151). Take first two lots and thread through as shown 
 in Fig. 151. Then take the longer one of these, and, first threading 
 it just through the first single spoke, that it may lie flat beside that, 
 
 FIG. 153. SPLINT AND TWINED BASKETS. 
 Work of Students, Teachers' College, New York. 
 
 follow the course of the first single spoke under the black spoke to 
 where it passes through to the outside of the basket, thus making it 
 double like the others. 
 
 There are four other double spokes, and these must all be treated 
 in the same way as the first double spoke. 
 
 In finishing this border the principle is to make all the single spokes 
 used in starting double to agree with the rest of the border. To do 
 this the longer one of each of the double spokes inside the basket 
 is used to follow out their course. 
 
 Take the first double spokes from the inside and thread through 
 the place shown in Fig. 151. Now take the longer of these and 
 thread one up through the single spoke, so that it may lie flat beside 
 that ; then follow its course under single spoke No. 3 and then to the 
 outside. 
 
 The other four double spokes must be used in the same way to 
 finish the border (which is shown complete in Fig. 152). 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 107 
 
 CHAPTER XVIII. 
 A FEW BASKETS. 
 
 SPLINT AND TWINED BASKETS. I<n .F/fe. 153 are two 
 neatly made baskets, in which additional spokes are added for base 
 and sides when needed. Start the base as described in Fig. 140. 
 Pair or twine weave with raffia six or eight rounds, then insert new 
 spokes and continue the twined weaving until base is size desired. 
 Bend up spokes and proceed with the twined weaving, introducing 
 bands of color according to taste. Bind the top with natural or col- 
 ored raffia as shown. 
 
 In Figs. 154 and 155 are shown a rush, silk-lined, Kensington col- 
 lar basket, a raffia collar box and a splint basket. 
 
 THE KENSINGTON BASKET. A. Fig. 154. This is made of 
 rush or tule, though the long leaved pine may be used. Procure 
 six yards of double twining material, raffia is good, and six bunches 
 of tule or rush 14 or 15 inches in length and 21 single lengths to 
 the bunch. Tie these securely at the middle and then tie together 
 flat radiating froim a center. See A. Fig. 155. Take a twining 
 weaver and about an inch from the center proceed to twine over 
 HX or sevan until a flat circle is formed by bringing the twining 
 around to the place of beginning. Now taking care to twine around 
 three only, miake a larger circle an inch from the first twined circle. 
 Continue to twine a second time round to make the base firm and 
 fiat. Now having secured a firm base it is desired to shape the side 
 of basket. About an imch from the outside circle, twine around 
 three rays until you come around to the pdace of beginning. See 
 that this twining is equidistant from the base, and that the wall 
 slants outward from edge of base. 
 
 An inch above this, twine around the groups of three all the way 
 round to the last place of beginning, first letting a group cross over 
 another group, under, and to the left. This gives a fancy effect and 
 affords a place for decorating with ribbon as seen in the plate. 
 
 Above this about the same spaced width a final twining is made. 
 An extra twining or three strand twisting over a coil gives ad- 
 ditional strength to the edge. 
 
 The short ends of the rays are finished bending a first group of 
 three over a group to the left under the next group. And so on in 
 succession until the edge is finished. 
 
 Then line with fancy silk or other material. 
 
 Examples of this twined weave are shown in Figs. 133, 136, 137, 
 Indian Basketry, and in Figs. 156 and 157 herewith. 
 
 COLLAR BOX. Fig. 1546. To make this knotted stitch bas- 
 ket take a length of No. 7 flat rattan. Form a loop, at one end, the 
 desired diameter or oval of the basket. Tie together with weaver 
 of raffia. Then begin the knot stitch, spirally coiling the flat rat- 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. IOQ 
 
 tan- as the weaving progresses. Bring the edges of the rattan as close 
 together as possible. Take the raffia over two bands of the rattan. 
 
 Then make a "button-hole" stitch and, over two again, then the 
 button-hole loop again, knotting carefully and tightly. When once 
 round see that the next stitch goes between the stitches already on 
 the first part of the work. Continue sewing until all of cane is used 
 and finish with double button-hole stitch. The bottom is made by 
 stringing web strands from end to end and holding them in place 
 by woof strands placed an inch apart. Overcast the two woof strands 
 together to hold them taut. 
 
 The cover to the box is a button-holed band of flat rattan with a 
 woven, top made by stringing web strands of raffia one way and 
 weaving closely across the web with raffia. 
 
 THE ASH SPLINT BASKET. Fig. 1540. Take eight yards 
 narrow splint, green and white; four yards I -4-inch green splint; 
 1 8 3-8-inch wide splints, 20 inches long and two yards 3-8-inch white 
 splint. 
 
 Make base as shown in Fig. 140, fastening spokes in place with 
 raffia or fine splint. 
 
 Then make another base same size as the first and place it above 
 the first, letting the rays of the lower mat come between the rays 
 of the upper mat. Twine the two together with a stout strip of ash 
 splint very narrow. Now take two of the I -8-inch weavers (a green 
 and a white), and, securing the ends, weave over owe, under one, fill- 
 ing a wall one inch high. Spread the spokes of the basket on a 
 flat surface, bottom up, and weave in more of the narrow splint for 
 about one and a half inches. Now carefully secure the ends of the 
 weavers. Take up the basket and place it before you right side up. 
 Bend all the spokes upward from the salver-like rim. (The splints 
 should always be moist when- bending is done). Take a wide length 
 of ash the same width as spoke and weave in over one under one for 
 the beginning of final wall. Use three broad bands in this way and 
 then finish off with six rows of two colored twining. The final 
 weaver to be a broad length of splint. 
 
 Fold over the outer spokes, and tuck under twinings on the inside 
 to keep them in place. Cut off the alternate rays even with top of 
 basket 
 
 Ornament with narrower bands of colored splint by overlaying the 
 broad bands. 
 
 The two-toned effect shown in the plate was made by running green 
 spokes on the upper base before twining. 
 
 The ornamental banding is made by slipping the colored ray back 
 of and over weave and slipping the end again in place along its un- 
 derlying spoke. See Fig. 154. 
 
 The edgeing rim around the bottom is an over and over weaving 
 around the edge of the batse two times round, with a fourth inch 
 strap of darker splint. 
 
 After cutting away the holding bands of raffia or cord and model- 
 ing the basket may be considered finished. But if used for sewing a 
 lining of silk may add to its value. 
 
 DIAGONAL MAT BASKETRY. In an earlier chapter this 
 branch of weaving was fully presented. A very common and useful 
 
no 
 
 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 pair of objects which may as well be home woven as bought are pic- 
 tured in Fig. 158. These are 
 
 WRISTLETS OR CUFF PROTECTORS. These may be made 
 of tule, of palmetto or any flat and reasonably firm material. Pro- 
 ceed as in ordinary diagonal weave. The top border is made with a 
 double fold. 
 
 On page 65 "Indian Basketry," Fig. 60 is a Hopi Yucca Basket 
 made on this diagonal mat weave, as is also the large basket to the 
 left on page 83. Fig. 107, page 108, shows a Hopi weaver at work on 
 this weave. 
 
 On page 120 "Indian Basketry," Fig. 124, is shown a Pueblo In- 
 dian mat. Using this as a pattern a little care will enable the student 
 to make one similar to it. The main portion is of simple mat con- 
 struction over two and under two. Then about twenty rows of web 
 weaving, the outer edge being bound, completes the mat. 
 
 TOY CHAIR. On an earlier page (Fig. 27), a toy chair is pic- 
 
 PIG. 156. SURFACE EFFECTS 
 OF TWINED OPEN WORK. 
 
 FIG. 157. CROSSED WARP 
 TWINED WEAVING. 
 
 tured. This dainty and pretty little toy, which is also a useful adjunct 
 to a toilet table as a ring holder, can easily be .made with a little 
 patience. Materials are, two lengths of No. 4 rattan for front legs, 
 2^ inches long. Rear legs and back are made from one piece, about 
 13 inches long, soaked and bent into desired shape. Insertion for back 
 is piece of No. I rattan, 6^4 inches long. 
 
 Make two rings, one 2,y 2 inches in diameter, the other 2 inches. 
 Cut four pieces of rattan, same size, and nail the two rings together. 
 It should not be forgotten that in making the rings the joints should 
 be spliced perfectly, as shown in Fig. 104. Now wrap the two rings 
 with raffia (Fig. 27). Tack legs and back to the rings. The bottom 
 is made of a ring, cross- wrapped with raffia so as to fit perfectly, and 
 then tacked or sewed in. 
 
 THE MAGAZINE HOLDER, Figs. 28 and 29, is made as follows : 
 Detail of Magazine Holder i. Main frame 22 inches long, 2 pieces; 
 2. Center frame, one piece, 20 inches long; 3. Bottom brace for main 
 and center frames, two pieces, 2^4 inches long; 4. Bottom brace for 
 side frame, two pieces, 6^ inches long; 5. Wooden base, made from 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. Ill 
 
 old box lid, 7 inches long, 3 inches broad. In the middle of each end 
 saw out a hole large enough to allow center frame to rest snugly 
 within. 6. Bottom brace for center frame, one piece, 6^ inches long; 
 7. Wire scroll, wrapped with twisted raffia, four pieces ; 8. Ornamented 
 frame for main frame, made as follows : Take two pieces of rattan 
 6^8 long and two pieces 1^4 inches long. Tack the long pieces to 
 the ends of the short pieces and thus make a frame make two of 
 these. Then wrap them with strands of raffia, tying them in the center, 
 
 FIG. 158. WRISTLETS OR CUFF PROTECTORS. 
 
 as shown. 9. Brace for ends, two pieces, split thick cane or rattan, 
 3*4 inches long. 10. Handle, one piece, No. 5 rattan, 14 inches long. 
 
 Thoroughly soak Nos. i, 2. Bend into shape required. Then wrap 
 with wide raffia, Nos. I, 2, 4, 9 and 10. 
 
 To put together. Tack 6 to 5 ; tack the ends of 10 to 6 ; put 2 into 
 end holes of 5, with ends below wood an inch and a quarter. Tack 
 at holes to 5. Tack 10 to points where they cross 2. Tack 8 to i, for 
 both sides, also 4 to i. Tack 4 to 5. Tack 9 to 5. Tack 3 to i and 2, 
 then wrap with raffia, binding 3 at both ends to i. The wire scrolls 
 may now be sewed in with raffia, or tacked through the raffia to the 
 rattan or wood of the frame. This latter method, however, is not wise, 
 as the tack soon pulls out from the raffia. It is better sewed. 
 
 FLUTED FLOWER BASKET Get 14 pieces of No. 8 rattan, 
 6 inches long; 56 of No. 2 green rattan, 21 inches long; 56 of No. 2 
 green rattan, 19 inches; 32 of No. 2 green rattan, 16 inches; 112 of 
 No. 2 green rattan, 15 inches; 2 pieces No. 16, 48 inches. 
 
 With the fourteen pieces No. 8 rattan make an ordinary round 
 base with an even number of spokes measuring 5 inches across. 
 
112 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 Cut off the ends of the spokes and insert the fifty-six spokes of No. 
 2 green rattan, 21 inches, placing one spoke on either side of the one 
 spoke in base. Turn the spokes upright. Now do three rows of 
 triple twist with No. 2 white cane. Then twenty-nine rows of plain 
 weaving. 
 
 Now insert the fifty-six spokes of 19 inches, placing two beside 
 each two, and pushing them right down to the base of the basket (Fig. 
 
 FIG. 159. BASKETS FROM THE PHILIPPINES. 
 
 164). Pair round once, dividing all the spokes into twos, excepting 
 four lots of four spokes, which remain undivided. 
 
 These four spokes are at equal distances round the basket. Take 
 the center spoke of each group of seven in the base, and you will get 
 the right spokes at the side. 
 
 Between each of these lots of four spokes there will be twelve 
 double spokes. The four spokes must be left upright, but the twelve 
 
 FIG. 164. SECTION OF FLUTED FLOWER BASKET. 
 TURNING DOWN SPOKES. 
 
 must be bent down to the outside of the basket to form the curve, press- 
 ing them down most sharply in the center of each twelve (Fig. 165). 
 When this has been done do nine rows of plain weaving. 
 
 Border Insert the thirty-two spokes of 16 inches, placing two 
 beside the next lots of two spokes on either side of the four undivided 
 spokes, so that each curve has four lots of double spokes added to it. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 Pair round once to divide into twos, still keeping the central side 
 spokes undivided. Do eight rows of weaving. Insert the 112 spokes 
 
 FIG. 165. 
 
 SECTION OF FLUTED FLOWER BASKET. 
 CURVE PARTLY WORKED. 
 
 of green rattan, placing two beside each two round the basket. Pair 
 round once, dividing all the spokes into two, in readiness for the 
 
 FIG. 166. FLUTED FLOWER BASKET. 
 
 FIG. 167. STARTING SQUARE 
 WORK BASKET. TURNING 
 WEAVER ROUND 
 
 CORNER SPOKES. 
 
 border, the depth of which is 3^ inches. (All the pairs of spokes are 
 used together as one, and for the sake of brevity will be spoken of as 
 
114 
 
 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 one.) Take one piece in front of three spokes, behind two, in front 
 of two, behind one, in front of one, and leave behind. Repeat this 
 round. This border is worked on top of the basket, the spokes being 
 curved from left to right. 
 
 Now turn the basket upside down and pair round once, taking two 
 lots of double spokes together each time, and keeping the row of pair- 
 ing even with the edge of the weaving. 
 
 When this is done plait round as described for "Madeira Borders," 
 using four spokes together to plait with. 
 
 Handle Sharpen the ends of the two pieces of No. 16 rattan and 
 
 FIG. 168. SQUARE WORK 
 BASKET, WOOD BASE. 
 
 FIG 169. STARTING LID 
 OF SQUARE BASKET. 
 
 push two ends down beside one lot of four spokes on the inside of the 
 basket. Twist the two pieces of rattan round each other, and push 
 the ends into the basket at the opposite side. 
 
 Take two pieces of No. 2 rattan, thread both ends from inside round 
 the handle cane just below the border, draw the four ends to equal 
 lengths and twist round the handle to the opposite side ; thread through 
 to the outside two pieces on either side of the handle cane, cross these, 
 and weave a short way round the basket (Fig. 166). 
 
 SQUARE WORK BASKET WITH WOODEN BASE Mate- 
 rials Required A square wooden base, 7^2 inches across. Forty-four 
 
 FIG 170. TURNING WEAVER 
 AROUND LAST SPOKE. 
 
 FIG. 171. DETAIL OF 
 TWISTED HANDLE. 
 
 spokes of No. 6 rattan, 13 inches; nineteen spokes of No. 6 rattan, 16 
 inches; four spokes of No. 13 rattan, 4 inches; two pieces of No. 13 
 rattan, 12 inches; one piece of No. 13 rattan, 7 inches; twenty-nine 
 spokes, 1 6 inches, for the lid. 
 
 Insert the forty-four spokes through the holes in the wooden base, 
 leaving 2^2 inches below. 
 
 Do the border in front of one, behind one, in front of one, leaving 
 end inside. All this must be worked underneath the wooden base. In 
 doing this, start the border when about six spokes have been inserted, 
 and then continue the work round, putting in a few spokes at a time. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 115 
 
 Turn the base up, and place the long spokes into position. 
 
 Do three rows of triple twist, and then place a piece of No. 13 
 rattan (4 inches), in each corner, beside the corner spoke. The two 
 must be used together as one. Do four rows of single weaving. 
 
 When the round weave goes behind the double corner spokes it 
 must be taken round them again; but when the weave comes on the 
 outside, this is not necessary (Figs. 167 and 168). 
 
 Do one row of flat colored rattan. (This cannot be twisted round 
 corners.) Do two rows of plain weaving; one row of triple twist; 
 six rows of flat colored rattan ; one row of triple twist ; two rows of 
 plain weaving; one row of flat colored; and four rows of single 
 weaving. 
 
 Border "Cycle" Border. In front of two spokes, behind one, in 
 front of one, leaving end inside. 
 
 With the ends do the plait in the same way as explained for "Made- 
 ira Borders." 
 
 To make this basket of a good shape it is necessary to keep an equal 
 distance between each spoke; the corner spokes should be pulled out- 
 wards, while those on either side are pushed in. 
 
 The piece of No. 13 rattan at each corner must be cut evenly with 
 the weaving before the border is done. 
 
 The two pieces of No. 13 rattan (12 inches) can now be inserted 
 for handles. 
 
 Sharpen the ends and push them into the basket beside the fourth 
 spokes (counting from either end) and at the second row of triple 
 twist. Take a piece of No. 2 cane, thread round the handle cane just 
 below the triple twist, place a piece of flat colored cane over the top 
 of the handle, and then twist the ends of the No. 2 cane round it, with 
 spaces of about y? inch between each twist. To finish, thread the ends 
 through to the inside, cross them, and weave a few inches on either 
 side. 
 
 Lid Twenty-nine spokes, 16 inches. 
 
 If correctly worked this basket should measure 8 inches across ; the 
 lid, therefore, will be 7^ inches, as it fits inside the basket, resting on 
 the plaited border there (it is shown in Fig. 168). 
 
 Allowing y? inch on either side for the border round it, this brings 
 the measurement of the center square of lid to 6y 2 inches. 
 
 Take two spokes of 16 inches and place flat on the table together; 
 fold a strand of No. 2 cane and put the loop over the spokes 4^2 inches 
 from the nearest ends (Fig. 24). 
 
 Place another spoke flat on the table about J4 inch further on and 
 pair round. Continue to place the spokes and pair them, keeping them 
 in their places with the left hand, until a piece is done measuring 6 1 /* 
 inches (fifteen spokes), the last spokes being double (Fig. 25). 
 
 Turn this over from right to left, so that when flat on the table the 
 weaving will continue from the left hand side, and the shorter end of 
 the spokes will still point towards the work. 
 
 Take the two weaves round the double spokes at the end, one going 
 under and the other over, and then do another row of pairing, keeping 
 it in a straight line. When the other end is reached turn it over as 
 before, and, leaving one weave out (leave an end of about i inch), 
 bring the other back, and weave across the spokes ; turn it over and 
 
Il6 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 weave back again. Every second row of weaving must be taken twice 
 round the double spokes at the ends. 
 
 When two outside rows of plain weaving have been done (counting 
 in the ordinary way the number of times one weaver crosses the same 
 spoke), the first side spoke must be woven in. 
 
 Take a spoke of 16 inches and, leaving an end of 4^2 inches, weave 
 down in place of the weaver; then take the weaver over or under the 
 spoke and weave down the side. 
 
 Do two rows of single weaving with one piece of flat cane, leav- 
 ing about y 2 inch over at either end. Insert one spoke by weaving it in 
 in the ordinary way; four rows of weaving, one spoke; repeat; one 
 piece flat green; two rows weaving; one spoke; four plain weaving; 
 one spoke ; four weaving, one spoke ; two weaving, one flat ; two weav- 
 ing, one spoke ; four weaving, one spoke ; four weaving, one spoke ; 
 two weaving, one flat, one spoke ; four weaving, one spoke, one flat ; 
 two weaving, one spoke ; two weaving, two pairing. 
 
 Xow weave in a spoke at either side next to the pairing, then do 
 two rows of pairing round the lid, catching in the ends of the flat cane 
 with the spokes to which they are nearest, and dividing the double 
 spokes at each corner. This pairing must be kept as close as possible 
 to the weaving, or the lid will have a very untidy appearance. 
 
 Border In front of two, behind one, in front of one. 
 
 Handle (on top) One piece of No. 13 rattan, 7 inches. 
 
 Get the center of the lid, and with a piece of wire secure one end 
 of the rattan against the third and fourth spokes, counting from the 
 side. 
 
 Bend the rattan in a half-circle, and secure the other end in the same 
 manner on the opposite side. Place a piece of colored rattan over the 
 top of it, and twist the strand of No. 2 rattan round it in the same way 
 as the side handles ; sew the lid on with flat cane at the back, and in 
 front just in the center and directly under the border of the basket, 
 form a loop by threading a weaver around a few rows of the weaving ; 
 take the ends inside the basket, cross them, and weave each end a short 
 way round the basket. Bind the loop with flat cane, make another 
 loop to catch over the first; bind this also with fine flat cane, and a 
 short piece of No. 13 rattan tied to the side of the basket, to slip 
 through the under loop, will fasten it securely. 
 
 BASKET WITH TWISTED HANDLE HAVING INTER- 
 LACED ENDS Miss White thus describes the method of making 
 this basket. Materials for Basket Eight 2O-inch spokes of No. 4 
 rattan, one n-inch of No. 4 rattan, six weavers of No. 2 rattan. For 
 handle, one length No. 4 rattan. 
 
 A bottom is woven 2^4 inches in diameter, on eight and a half 
 2O-inch spokes, which are then thoroughly wet and bent upward with 
 a slight flare. When two weavers have been used, the spokes are flared 
 more decidedly, and when two more have been woven in this way, 
 the spokes are drawn in while using the remaining two weavers. The 
 edge is then bound off and finished with the simple border described 
 in the directions for a basket with a twisted handle in the first part of 
 the chapter. 
 
 Handle A length of No. 4 rattan which has been soaked until 
 pliable is cut into four pieces and then separated into pairs. These 
 are bent into loops at about ten inches from one end of each and! 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 117 
 
 knotted in this way. The loops are held firmly where the short end of 
 each comes against the long end (making sure that the short ends are 
 on the same sides of the loops), one in each hand of the worker, who 
 passes one loop through the other, bringing the ends of the loop through 
 which it passed over it, which makes the loop uppermost on one end 
 of the knot and on the other the ends, see Fig. 171. The short ends 
 are now crossed one under a long end and one over (as shown in Fig. 
 171), and brought together. The long ends are also brought together 
 making a knot like Fig. 172. This knot is placed about half way be- 
 tween the top and bottom of the basket, with the long ends turning up. 
 
 FIG. 172. DETAIL OF 
 TWISTED HANDLE. 
 
 FIG. 173. OBLONG CARRYING BASKET. 
 
 T 
 
 FIG. 174. COMMENCING 
 
 HANDLE OF 
 KEY BASKET. 
 
 FIG. 175. BINDING HANDLE 
 OF KEY BASKET 
 COMMENCING. 
 
 The short ends are finished off by weaving one to the right over and 
 under several spokes and the other to the left. The long ends are 
 twisted together for about twelve inches, and are then made into 
 another knot copied from the first one, for, although the process cannot 
 be the same, it is so simple that one can easily follow its coils. This 
 knot is placed on the opposite side of the basket from the first one and 
 attached in the same way. 
 
 OBLONG CARRYING BASKET Materials required five 
 spokes of No. 8 rattan, 18 inches; nineteen spokes of No. 8 rattan, 7 
 inches; fifty spokes of No. 8 rattan, 18^ inches; weave with Nos. I, 
 3 and 40 flat. 
 
 Make an ordinary base, nineteen spokes across five, measuring 16 
 by 6 inches. Use No. 2 rattan. Insert the fifty side spokes, putting 
 one on either side of the five long spokes at each end. 
 
Il8 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 Turn up and do three rows of twist No. 3 rattan ; thirteen rows of 
 plain weaving; eight rows of flat rattan (colored) and round rattan 
 alternately; twelve rows of plain weaving; one row of pairing. 
 
 Border "Loop," 2 inches high. See Fig. 102. 
 
 Handle Length of handle according to taste. Put on in the same 
 way as described for the "Key Basket," the result being shown in Fig. 
 
 KEY BASKET Materials required Spokes of No. 3 rattan, 
 colored and white. Oblong wooden base. Thirty-six spokes of No. 3 
 rattan, n inches. Two pieces of No. 13 rattan, 16 inches. Weave 
 with No. i rattan, colored, and forty flat. 
 
 Put the thirty-six spokes through the holes in the wooden base, 
 leaving 3 inches below for the foot, and tie the longer ends together. 
 Round the foot do four rows of plain weaving and border, behind one, 
 in front of one ; leave the end inside to be cut off afterwards. 
 
 Now turn the basket up and do two rows of triple twist and twenty- 
 
 FIG. 177. SHALLOW OVAL BASKET. 
 
 FIG. 176. BINDING HANDLE 
 OF KEY BASKET 
 FINISHING. 
 
 two rows of weaving, using one white and one colored weaver alter- 
 nately. 
 
 In making this basket great care is necessary to get it a nice shape 
 with a sharp angle at each corner. In order to do this keep the corner 
 spoke pulled outward and press the one on either side well in. 
 
 Also be careful to keep an even distance between each spoke. If 
 this is not done, and the spokes are drawn together in some parts, or 
 allowed to get wider in others, the basket will become uneven, and 
 the shape will be spoilt. 
 
 Handle Insert the two pieces of No. 13 rattan, one piece on either 
 side of the center spoke in the side (as shown in Fig. 174), carry over 
 the basket, and insert in the same way on the opposite side. 
 
 Get a long strand of No. 40 flat rattan, and begin by threading one 
 end from the inside to the outside beside the handle cane and just be- 
 neath the border. Pull the end out until it is long enough to be 
 carried on top of the handle to the opposite side and 4 inches over. 
 
 Cross it on the outside (as in Fig. 175), take it over the handles 
 to the opposite side, and repeat the cross on the outside ; leave the end 
 sticking up against the handle cane. 
 
 Now with the long end of rattan bind neatly round the handle and 
 flat rattan together, keeping one round of rattan just meeting the next, 
 and winding tightly. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 119 
 
 When the handle has been bound round as close to the border as 
 it can be, cut the flat rattan, leaving an end of 3 inches. 
 
 Without unwinding any of the rattan, loosen it by twisting it round 
 in the opposite way to that in which it was wound. When loose enough 
 for about six rings up, push the end up and pull out between the 
 rings (Fig. 176). Twist the rattan back again, and pull the end of 
 it until quite tight; then cut off neatly. 
 
 SHALLOW OVAL BASKET Materials required Willow 
 spokes the thickness of a slate pencil. Rattan may be substituted. Of 
 
 FIG. 178. INSIDE VIEW. 
 STARTING HANDLE 
 OF OVAL BASKET. 
 
 FIG. 179. OUTSIDE VIEW. 
 
 these take five of 19 inches, thirteen of 13 inches and fourteen of 4^ 
 inches long. Then ninety- four of No. 7 rattan, 19 inches, three of No. 
 16 rattan, 30 inches. Weave with 3, 4, 6, 16 and 40 flat rattan. 
 
 Split the thirteen willows in the center and thread onto the five 
 of 19 inches. Weave like an ordinary oval base until twenty rows of 
 weaving with No. 3 rattan have been done. 
 
 Add the fourteen spokes, seven at either end, placing one beside 
 each of the five long spokes and the first of the double side spokes. 
 
 FIG. 180. BINDING HANDLE 
 OF OVAL BASKET. 
 
 FIG. 181. FINISHING HANDLE 
 OF OVAL BASKET. 
 
 Now do two rows of triple twist to divide the spokes with No. 4 
 rattan, and continue weaving until the base measures 18 by 12 inches. 
 
 Cut off the ends of the spokes, and insert the ninety- four spokes 
 of No. 7 rattan, one on either side of each spoke, except the center one 
 at each side. Turn up sharply and do two rows of triple twist, taking 
 each spoke singly. Do seven rows of single weaving; three rows 
 (straight round) of flat rattan; and six rows of weaving. 
 
 Border "Flat Plait." See Figs. 149 to 152. 
 
 Handle Place one piece of No. 16 rattan down beside the center 
 side spoke and one piece beside the first spoke on either side; repeat 
 on the opposite side. Thread a piece of No. 40 flat round the center 
 handle rattan from the inside just below the border. 
 
 Leave one end several inches long, and with the other weave to 
 
120 
 
 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 and fro between the three spokes until eighteen rows cross the center 
 one (Figs. 178 and 179). In doing this the short end must be caught 
 in beside one of the handle canes. 
 
 Now continue to bind over the top of the handle (Fig. 180), taking 
 
 FIG. 182. FINISHING 
 
 OFF THE FLAT 
 RATTAN IN BINDING 
 A HANDLE. 
 
 FIG. 183. WASTE PAPER BASKET 
 
 all three canes together until within 6 inches of the border, when the 
 weaving is continued as in Fig. 181. 
 
 When the border is reached, the end of the flat rattan must be 
 
 FIG. 184. SQUARE BASKET. vVEAVING SIDES. 
 
 FIG. 185. SECTION SQUARE 
 
 BASKET WITH 
 STRAIGHT CORNER. 
 
 threaded round the center handle rattan just beneath it, and the end 
 pushed up against one of the canes and then cut off (Fig. 182). 
 
 Fig. 176 shows how the handle ought to look when finished. 
 
 WASTE PAPER BASKET Materials required Twelve spokes 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 121 
 
 of No. 13 rattan, 12 inches ; forty-eight spokes No. 7, 27 inches. Weave 
 with Nos. o, i and 2 rattan. 
 
 Weave the base in the ordinary way (see Figs. 125 to 129), until it 
 is 9 inches across. Then insert the forty-eight spokes as usual, and 
 turn them up; after so doing weave ten rows of triple twist and six 
 rounds of two colors to make the check pattern (Fig. 183). Work 
 until you have three checks : one row of triple twist ; twenty-two rows 
 of plain weaving ; one round of triple twist. Now do your check pat- 
 tern again ten rounds of triple twist. Finish with plaited border 
 (Fig. 183). 
 
 The handles can be put on at discretion. 
 
 SQUARE WORK BASKET WITH WOODEN BASE Ma- 
 terials Required One board for base, 6 inches square; 38 spokes 
 of No. 6 rattan, 16 inches, 2 spokes No. 6, 10 inches ; 2 spokes of No. 
 6, 6 inches. For handle, 22 inches No. 16 rattan. 
 
 Insert the handle in holes made for it in the wooden base, and at 
 
 FIG. 187. METHOD OP HOLDING 
 BASKET WHEN WEAVING SIDES. 
 
 FIG. 186. PLAITED HANDLE. 
 
 ij/2 inches from each end make a sharp bend. Insert spokes for sides 
 in wooden base, leaving 6 inches below the wood. Above the wooden 
 base weave one row of r-ope twist, counting the handles as spokes. For 
 this 4 lengths of No. i rattan, two of 36 inches (to be cut off when the 
 twist is finished) and two longer, will be needed. Start the weavers on 
 a side of the base which has not a handle through it. The two longest 
 are carried on for a row of pairing, after which turn the base upside 
 down and finish the foot before proceeding with the sides. Weave 
 singly (see Fig. 20) with two weavers, the number of spokes being 
 even, taking each weaver three times around, six times in all. The 
 handle must be still counted as a spoke. Bend spokes outward and 
 continue weaving for eight more double rows, sloping the foot to taste. 
 Insert a short spoke close beside handle to be used in its stead for 
 weaving the border. Finish with Closed Border No. 2. 
 
 Now turn the basket right side up, weave singly, see Fig 184, for 
 half an inch, insert new weaver of dyed raffia or -attan and weave one 
 inch, then another half inch or inch in natural color. Put a ten-inch 
 
122 
 
 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 spoke close to each side of the handle, to be used in its stead in weaving 
 border, and finish with Closed Border No. 2 or Open Border No. 2 
 according to taste. If for a workbasket, line with silk to taste. 
 
 PLAITED HANDLE. A handle that is very easy to make is 
 shown in Fig. 186. Where this handle is desired one of the spokes 
 must be left long enough to form the handle. When the sides of the 
 basket are woven insert two other spokes, one on each side of this .long 
 spoke, and plait as shown. These may all be doubled, if preferred, 
 making a three-plait with two spokes instead of one. On finishing the 
 plait the ends must all be pointed and thrust as far down to the base 
 on the other side of the basket as possible, plenty of rattan being left 
 for this purpose. 
 
 METHOD OF HOLDING BASKET WHEN WEAVING 
 SIDES. Fig. 187 clearly shows the base finished, the spokes twined 
 up and all ready for the sides. Now place the basket on smooth board, 
 thrust a small awl through the base into the board. The awl thus acts 
 as a pivot on which the basket may be moved while the side weaving 
 progresses. 
 
 FIG. 187a. KLIKITAT BASKET IN FROHMAN COLLECTION. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 I2 3 
 
 CHAPTER XIX. 
 FINISHING OFF A BASKET. 
 
 In all raffia work care should be taken to cut off loose ends as the 
 weaver progresses with her work. In rattan, splint, willow and other 
 ware small fibers will split off from the work, and these can be either 
 singed off or rubbed off with fine sandpaper. In singeing be careful 
 not to scorch the basket. 
 
 While the work is damp it can easily be twisted into shape, hence, 
 before it is allowed to dry, one should correct all irregularities. See if 
 the shape is as it should be ; especially examine the loops of the border 
 
 FIG. 188. YAKUT AT GOOD LUCK RATTLE BASKETS, IN FROHMAN COLLECTION. 
 
 and see that they are all of the same size; make the bottom flat and the 
 lid to fit. Things of this nature seem small, yet upon them often 
 depends the difference between a poor and a good basket. 
 
 Dyeing, I think, should always be done before the basket is made 
 while the materials are still unformed. Only in this way can designs 
 be worked out. If, however, the weaver desires baskets of one color, 
 it may be as well to dye the completed work. If so, follow the methods 
 suggested in the chapter on dyes. 
 
 Those who desire to varnish or polish their boskets may find recipes 
 in Miss White's "How to Make Baskets " 
 
FIG. 189. OLD COILED BASKETRY IN THE 
 COLLECTION OF H. E. SARGENT, JR. 
 
 IN 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 125 
 
 CHAPTER XX. 
 
 HOW TO MAKE INDIAN BASKETS. 
 
 It is well for all students of basketry to learn how the Indian has 
 produced the wonderful results that make her basket work so famous. 
 At the very outset we are confronted by the magnitude of the subject. 
 Even in the mechanical work the Indian showed a fertility of invention 
 and a skill in execution little short of marvellous, hence in this chapter 
 nothing but practical hints can be given, which, however, will suffice 
 to start the earnest student upon the true pathway. Of the poetry and 
 religion woven into Indian baskets I can here say nothing. In my 
 larger book I have fully discussed this phase of the subject, and he who 
 
 FIG. 191. COARSE CHECKER- 
 WORK OR MAT WEAVE. 
 
 FIG. 192. TWILLED WEAVING. 
 
 would work intelligently cannot do better than "read, mark and in- 
 wardly digest" what is there written. 
 
 In what follows I have done little more than quote what that dis- 
 tinguished savant and sweet-spirited gentleman, Professor Otis T. 
 Mason, Curator of the Division of Ethnology of the United States 
 National Museum, has written in his "Directions for Collectors of 
 American Basketry." 
 
 CHECKERWORK BASKETRY. This is practically the mat 
 weave of the preceding pages. Many North Pacific Coast as well as 
 Atlantic Coast and Canadian Indians use this weave. Splints of every 
 imaginable kind of material are used for this work, and the warp is 
 the same as the weft. Indeed it is practically impossible to tell the 
 one from the other (see Fig. 191). 
 
 TWILLED BASKETRY. A variation of the mat weave is that 
 which Professor Mason calls by this name. The fundamental technic 
 of this work is in passing each strand of the woof over two or more 
 warp strands, thus producing a twilled effect as seen in Figs. 192 and 
 193. 
 
126 
 
 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 "The North Americans of antiquity were very skillful in administer- 
 ing the twilled technic. From examples reproduced by W. H. Holmes 
 it will be seen that in the ancient weaving of the Mississippi Valley, 
 in its southern portions, the weft would not pass over the same number 
 of warp elements that it passed under. On the specimen shown (Fig. 
 194) the weft goes over one and under three, or the opposite, each 
 time and each way." The Fijians make remarkable baskets by com- 
 binations of this weave. In this country the Chetamaches show mar- 
 vellous ingenuity in the working out of designs in this weave by vary- 
 ing the laying of the splints and the use of different colors. Scores of 
 designs may be made by the curious, but it is doubtful if one can be 
 invented that these Indians have not long known. (See Figs. 10, n, 
 39 and 40). 
 
 The ordinary WICKER WORK web basketry of civilization is 
 Indian work, the finest specimens being the plaques of the Hopis, 
 
 FiG. 193. TWILLED WEAVING. 
 
 FiG. 19 (. TWi-NEJJ WEAVING 
 IN TWO COLORS. 
 
 made only at Oraibi, and specimens of which are found in "Indian 
 Basketry," Figs. 165 and 167. 
 
 WRAPPED WEFT. This type of weaving was employed by the 
 Mound Builders of the Mississippi Valley, and is still used by the 
 Mohaves. A rigid hoop is sustained by four uprights, all rigidly 
 affixed at the bottom. The warp extends from the top to the bottom, 
 firmly fastened to the hoop at the top and the rigid members at the 
 bottom. The weft, of twine or yucca fiber, is fastened to one of the 
 rigid uprights and then wrapped once around each wrap element, con- 
 tinuing in a coil until the top is reached. The process is clearly shown 
 in Figs. 195 and 196. 
 
 TWINED WEAVING. This is the most intricate and elegant of 
 all woven work. Professor Mason thus writes of the varieties of 
 twined weaving as follows : 
 
 "Twined work has a set of warp rods or rigid elements, as in 
 wickerwork; but the weft elements are commonly administered in pairs, 
 though in three-ply twining and in braid twining three weft elements 
 are employed. In passing from warp to warp these elements are twisted 
 in half-turns on each other so as to form a two-ply or three-ply twine 
 or braid. According to the relation of these weft elements to one 
 another and to the warp, different structures result as follows : 
 
 i. Plain twined weaving, over single warps. 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 I2 7 
 
 2. Diagonal twined weaving or twill, over two or more warps. 
 
 3. Wrapped twined weaving, or bird-cage twine, in which one 
 weft element remains rigid and the other is wrapped about the cross- 
 ings. 
 
 4. Latticed twined weaving, tee or Hudson stitch, twined work 
 around vertical warps crossed by horizontal weft element. 
 
 5. Three-ply twined weaving and braiding in several styles." 
 
 i. PLAIN TWINED WEAVING This primitive mode of weav- 
 
 FIG. 194. 
 
 TWILLED WEAVING PRESSED ON ANC IENT 
 POTTERY OF ALABAMA. 
 
 ing requires a set of warp elements arranged parallel to each other. 
 Two splints or weavers compose the woof and they are twisted with a 
 half turn around each warp stem. The Aleut and Haida baskets in 
 Fig. 198 are made in this weave, which is clearly shown in Fig. 197. 
 Other examples will be found illustrated in "Indian Basketry." 
 
 2. DIAGONAL TWINED WEAVING. The only difference 
 between this style and the plain is in the manner the woof weavers 
 cross the warp strands. ''The technic consists in passing over two or 
 
 FIG. 195. WRAPPED WEAVING 
 OF THE MOHAVES. 
 
 FIG. 196. WRAPPED WEAVING 
 
 FROM A MOUND 
 
 IN OHIO. 
 
 more warp elements at each half turn; there must be an odd number 
 of warps, for in the rest round the same pairs of warps are not in- 
 cluded in the half turns. The ridges, therefore, on the outside, are 
 not vertical as in plain twined weaving, but pass diagonally over the 
 surface." (See Fig. 199). 
 
 The esuwas, or water bottles, of the Havasupais are made in this 
 style, (see Fig. 222 Indian Basketry), and many of the fine baskets of 
 the Pomas are also made in a similar manner. 
 
 Fig. 200 "shows how, by varying the color of the weft splints and 
 
128 
 
 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 changing from diagonal to plain weaving, the artist is enabled to con- 
 trol absolutely the figure on the surface/' 
 
 3. WRAPPED TWINED WEAVING. In this weave one ele- 
 
 FIG. 198. APACHE, KLIKITAT, ALEUT AND HAIDA BASKETS IN 
 THE FROHMAN COLLECTION. 
 
 ment of the twine is passed horizontally along .the upright warp stem, 
 generally on the inside, while the other is wrapped around it and 'the 
 upright warp, as seen in Fig. 201. The variation of one row of stitches 
 
 FIG. li9. DIAGONAL 
 TWINED WEAVING. 
 
 FIG. 200. VARIETY OF TWINED 
 WORK OUTSIDE. 
 
 inclining to the right and the other to the left is caused by the weaver's 
 wrapping from above or below. When the rows of these stitches are 
 forced closely upon one another the effect is as in Fig. 202, which is the 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 129 
 
 exact method followed by the Neah Bay weavers. (For example, see 
 Fig. 255 Indian Basketry). 
 
 Fig. 203 "shows a square inch of the inside of a basket, with plain 
 twined weaving in the two rows at the top; plain twined weaving in 
 which each turn passes over two warp rods in four rows just below. 
 
 FIG. 201. WRAPPED 
 TWINED WEAVING. 
 
 FIG. 202. NEAH BAY WEAVING 
 WRAPPED, TWINED. 
 
 In the middle of the figure, at the right side, it will be seen how the 
 wrapped or Neah Bay twined work appears on the inside, and in the 
 lower right-hand corner is the inside view of diagonal twined weaving. 
 In the exquisite piece from which this drawing was made, the skillful 
 woman has combined four styles of two-ply twined weaving. On the 
 
 IG. 205. THE TI WEAVE 
 OF THE POMAS. 
 
 FIG. 203. TWINED WEAVING, INSIDE. 
 
 outside of the basket these various methods stand for delicate patterns 
 in color." (See Fig. 200). 
 
 4. LATTICE TWINED WEAVING. It is believed that this 
 form of weave is confined to the Pomas. It is described in "Indian 
 Basketry," page 99, under the name of the Ti Weave. "The ti (pro- 
 
130 
 
 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 nounced tee) twined weaving consists of four elements (a) the up- 
 right warp of rods, (b) a horizontal warp crossing these at right 
 angles, and (c, d) a regular plain twined weaving of two elements, 
 holding the warps firmly together. (See Fig. 205). Baskets made in 
 this fashion are very rigid and strong, and frequently the hoppers of 
 mills for grinding acorns, and also water-tight jars are thus con- 
 structed." 
 
 5. THREE-PLY TWINED WEAVING. "Three-ply twined 
 
 FIG. 206. THREE-PLY BRAID AND 
 TWINED WORK, OUTSIDE. 
 
 FIG. 207. DITTO, INSIDE. 
 
 weaving is the use of three weft splints and other kinds of weft ele- 
 ments instead of two, and there are four ways of administering the weft, 
 viz. : a. Three-ply twine, b. Three-ply braid, c. Three-ply, false em- 
 broidery, Tlinkit. d. Frapped, Skokomish. 
 
 (a) THREE-PLY TWINE (Figs. 206 and 207). In this technic 
 the basket weaver holds in her hand three weft elements of any of the 
 kinds mentioned. In twisting these three, each one of the strands, as 
 
 a 
 
 FIG. 208. Td REE-PLY BRAID, 
 OUTSIDE. 
 
 DITTO, INSIDE. 
 
 it passes inward, is carried behind the warp stem adjoining; so that in 
 a whole revolution the three weft elements have in turn passed behind 
 three warp elements. After that the process is repeated. By referring 
 to the lower halves of Figs. 206 and 207 the outside and the inside of 
 this technic will be made plain. 
 
 On the outside there is the appearance of a two-ply string laid 
 along the warp stems, while on the inside the texture looks like plain 
 twined weaving. The reason for this is apparent, since in every third 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 13! 
 
 of a revolution one element passes behind the warp and two remain in 
 front. 
 
 (b) THREE-PLY BRAID. In three-ply braid the weft elements 
 are held in the hand in the same fashion, but instead of being twined 
 simply they are plaited or braided, and as each element passes under 
 one and over the other of the remaining two elements, it is carried 
 
 FIG. 210. THREE-PLY AND 
 PLAIN TWINED WORK. 
 
 FIG. 211. 
 
 TWINED WEAVING. 
 
 inside a warp stem. This process is better understood by examining 
 the upper parts of Figs. 206 and 207 and 208 and 209. On the surface, 
 when the work is driven home, it is impossible to discriminate between 
 three-ply twine and three-ply braid. The three-ply braid is found at 
 the starting of all Poma twined baskets, no matter how the rest is built 
 up. 
 
 Fig. 210 shows a square inch from the surface of a Hopi twined jar. 
 
 FIG. 212. FRAPPED 
 TWINED WORK. 
 
 The lower part is in plain twined weaving ; the upper part is in three- 
 ply twine." 
 
 "(c) THREE-PLY, FALSE EMBROIDERY. "In Tlinkit basketry 
 the body is worked in spruce root, which is exceedingly tough. The 
 ornamentation in which mythological symbols are concealed consists of 
 a species of false embroidery in which the figures appear on the outside 
 of the basket but not on the inside. In the needlework of the civilized 
 
132 
 
 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 woman the laying of this third element would be called embroidery, 
 but the Indian woman twines it into the textile while the process of 
 basket making is going on; that is, when each of the weft elements 
 passes between two warp rods outward, the colored or overlaid element 
 
 FIG. 215. WASHOE BASKET 
 IN FROHMAN COLLECTION. 
 
 FIG. 216. YOKUT BASKET 
 IN FROHMAN COLLECTION. 
 
 is wrapped around it once. Straws of different colors are employed 
 (Fig. 211). 
 
 (d) FRAPPED BASKETRY, Skokomish type. An interesting 
 modification of this Tlinkit form of overlaying or false embroidery 
 occurs occasionally among the Poma Indians under the name of bog 
 or bag, and it is fully explained and illustrated by James Teit in his 
 Memoir on the Thompson River Indians. In this Thompson River 
 
 FIG. 217. YOKTT BASKET 
 IN FROHMAN COLLECTION. 
 
 FIG. 218. POMO BAM TUSH WEAVE 
 IN FROHMAN COLLECTION. 
 
 example the twine or weft element is three-ply. Two of them are spun 
 from native hemp or milkweed, and form the regular twined two-ply 
 weaving. Around this twine the third element is wrapped or served, 
 passing about the other two and between the warp elements, and then 
 the whole is pressed down close to the former rows of weaving. On 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 133 
 
 the outside of this bag the wrapping is diagonal, but on the inside the 
 turns are perpendicular. The fastening off is coarsely done, leaving 
 the surface extremely rough. I am indebted to Dr. Franz Boas for the 
 
 FIG. 219. YOKUT DANCE BASKET 
 IN FROHMAN COLLECTION. 
 
 FIG. 220. DECORATED YOKUT 
 
 BOTTLE-NECK IN 
 FROHMAN COLLECTION. 
 
 use of Mr. Teit's figure. This combination is extremely interesting. 
 The author says that it "seems to have been acquired recently through 
 intercourse with the Shahaptins." A little attention to the stitches will 
 
 FIG. 221. KLIKITAT IMBRICATED WORK. 
 
 show that the bags and the motives on them are clearly Nez Perces or 
 Shahaptian, but the wrapping of corn husk outside the twine are not 
 done in Nez Perces fashion, but after the style of the Makah Indians 
 of Cape Flattery, who are Wakashan (Fig. 212)." 
 
134 
 
 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 Of Coiled Basketry I have already quoted Professor Mason's clear 
 analysis. The following pictures show a variety of specimens of coiled 
 work, largely from the Frohman collection, Portland, Ore. 
 
 Fig. 189 shows some beautiful specimens of old coiled work gath- 
 ered by Mr. A. E. Sargent, Jr., in Arizona and New Mexico. They 
 are all Apache baskets, the weave of which is described in ''Indian 
 Basketry." Fig. 190 is of new White Mountain Apache baskets in 
 
 FIG. 222. IMBRICATED BASKETRY 
 WORK OP THOMPSON 
 
 RIVER INDIANS. 
 AFTER JAMES TE1T. 
 
 Mr. Sargent's collection. The whole five are most beautiful specimens, 
 with striking designs. 
 
 Fig. 215 is a Washoe basket in the Frohman collection. The weave 
 is of the coiled variety, and the design is similar to that of Maidu 
 pine cone design. (Fig. 322 Indian Basketry). 
 
 Figs. 216 and 217 are Yokut baskets of good shape, weave and de- 
 
 FIG. 223. IMBRICATED COiLEJ 
 WORK, CALLED vi^!KITAT. 
 
 sign. The latter has a circle of dancers and of the rattlesnake dia- 
 monds. 
 
 Fig. 218 is a good specimen of the Bam Tush Poma weave, fully 
 explained on page 96, "Indian Basketry." 
 
 Figs. 219 and 220 are both fine Yokut baskets, the latter being a 
 bottle neck, with a circle of dancers on the flange, and with quail 
 plumes as an additional decoration on the rim. 
 
 KLIKITAT BASKETRY. As a frontispiece in "Indian Basketry" 
 are seen two Klikitat basket weavers at work. Their .materials are, 
 
HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 135 
 
 for the foundation, cedar or spruce root, while the sewing is done with 
 the outer and tough portion of the root. In Fig. 221 the detail of this 
 imbricated method of weave is shown. Strips of cherry bark, cedar bast 
 and grass stems, dyed with Oregon grape, are added as ornament. 
 "The strip of colored bark or grass is laid down and caught under a 
 passing stitch; before another stitch is taken this one is bent forward 
 to cover the last stitch, doubled on itself so as to be underneath the next 
 stitch, and so with each one it is bent backward and forward so that 
 the sewing is entirely concealed, forming a sort of "knife plaiting." 
 In some of the finer old baskets in the National Museum, collected 
 
 EG. 224. POM A SHU-SET WEAVE BOWL AND BURDEN BASKET IN FROHMAN COLLECTION. 
 
 
 
 sixty years ago, the entire surface is covered with work of this kind, 
 the strips not being over an eighth of an inch wide. Mr. James 
 Teit describes and illustrates this type of weaving among the Thomp- 
 son River Indians of British Columbia, who are Salishan. The body 
 of the basket is in the root of Thuja gigantea, and the ornamentation 
 in strips of Elymus triticoides and Prunus demissa (Fig. 222). 
 
 Imbrication is one of the most restricted of technical processes. 
 Eells says that some women in every tribe on Puget Sound could pro- 
 duce the stitch, and he names the Puyallups, Twanas, Snohomish, 
 Clallam, Makah, Skagit, Cowlitz, Chehalis, Nisqualli, and Squaxon. It 
 is understood that here it is a modern acquirement. It is the native art 
 of the Klikitat, Yakima, and Spokanes, all of whom are of the Shahap- 
 tian family. The Thompson River Indians, who are Salishan, have' 
 long known the art." 
 
136 
 
 HOW TO MAKE INDIAN AND OTHER BASKETS. 
 
 CHAPTER XXI. 
 
 BIBLIOGRAPHY. 
 
 Firth, Annie, 
 
 Cane Basket Work, First Series. 
 Cane Basket Work, Second Series. 
 
 L. Upcott Gill, 170 Strand, London. 
 James, George Wharton, 
 
 Indian Basketry. 
 
 Henry Malkan, New York. 
 The Indians of the Painted Desert Region. 
 
 Little, Brown & Co., Boston, Mass. 
 Knapp, Eliz. Sanborn, 
 
 Raphia and Reed Weaving. 
 
 Milton Bradley Co., Springfield, Mass. 
 
 FIG. 225. DECORATED SHT-BCJ, THE SUN BASKETS OF THE POM AS IN FROHMAN COLLECT] 
 
 Mason, O. T., 
 
 Directions for Collectors of American Basketry. 
 
 Part P, Bulletin of the U. S. Nat. Museum, No. 39. 
 Purdy, Carl, 
 
 Pomo Indian Baskets and Their Makers. 
 
 Los Angeles, Calif., 1902. 
 Stearns, Martha Watrous, 
 
 A School Without Books. 
 
 Review and Herald Pub. Co., Battle Creek, Mich. 
 White, Mary. 
 
 How to Make Baskets. 
 
 Doubleday, Page & Co., New York. 
 
THE BASKET FRATERNITY. 
 
 UCH a demand exists for a means of 
 communication between, and source of 
 information among basket lovers that 
 THE BASKET FRATERNITY has been 
 organized by George Wharton James. 
 
 It has a large charter membership from its start. The charter 
 roll will remain open until the end of 1903. 
 
 Its only conditions for membership are that you are interested in 
 Indian or other baskets, and send your Fraternity fee of one dollar. 
 
 Do you want a loan collection of fine Indian Baskets in your 
 town or village ? 
 
 Then join The Basket Fraternity and get nineteen others to do 
 so, and the collection will be sent to you without charge. 
 
 
 
 Do you want a lecture on Indian Basketry ? 
 
 Read page 4 and you will see how it may be had. 
 
T 
 
 HE BASKET FRATERNITY is a society of basket lovers, 
 organized for the purpose of bringing together those who have 
 felt the charm and fascination of Indian basketry. 
 
 ITS OBJECTS ARE : 
 
 1. To form a means of communication between basket lovers 
 throughout the world. 
 
 2. To collect reliable and accurate knowledge of Indian weavers' 
 methods and work. 
 
 3. To photograph aboriginal weavers and make a collection of said 
 photographs. 
 
 4. To seek in every way to revive the art and prevent its dying out 
 among the Indians. 
 
 5. To discourage among the Indians the modern commercial 
 methods, which encourage the making of baskets merely for sale, 
 foster the use of aniline dyes, alien designs, hastily prepared materials 
 and crude workmanship. 
 
 6. To encourage the opposite of the spirit referred to above : to seek 
 to retain the love for good and artistic work ; to banish aniline dyes, 
 and restore the use of native dyes, native shapes and designs, carefully 
 prepared materials and artistic work. 
 
 7. To seek to influence the Indian department of the United States 
 Government to earnestly endeavor to work to this end among all the 
 agents, superintendents and teachers in its service, and to require all 
 young Indian girls to learn the art as part of their school training. 
 
 8. To make a national collection of typical baskets of every weave 
 and style to be found throughout the world, but especially and 
 primarily of baskets made by the aboriginal tribes of North America. 
 This collection to be placed in some suitable location where it will be 
 accessible at all times to basket lovers, and especially for the pleasure 
 and study of members of this fraternity. 
 
 9. To organize a ''traveling library" of veritable typical Indian 
 baskets and send these as required to members of the fraternity for 
 study and exhibition. Such a collection of basketry is already made, 
 and is ready for its travels on call from those entitled to it. 
 
 10. To arrange for the gathering and distribution of Indian mate- 
 rials for basket weaving which shall be sold to members of the 
 fraternity at as near cost as possible. 
 
 11. To prepare a set of stereopticon slides, with accompanying 
 lecture, which will be loaned on payment of a small fee to any member 
 of the fraternity. To prepare such slides also for sale. 
 
 12. To distribute among its members photographs or engravings of 
 fine and typical baskets of all makes, and of representative Indian 
 weavers. 
 
 13. To disseminate information among its members relating to the 
 art and the objects of the fraternity. 
 
 14. To secure the ends aimed at in Sections 12 and 13, to prepare, 
 and issue quarterly an illustrated bulletin of general or specific 
 interest to basketry lovers and collectors and to send this bulletin, 
 when issued, free to all members of the fraternity. 
 
15. To arrange for lectures on Indian basketry when and where 
 possible, either to members of the fraternity or to outsiders desirous 
 of knowing of its work ; to organize classes for the teaching of 
 basketry, and to enlarge the circle of those who know and love good 
 basketry work. 
 
 1 6. To promote the organization of classes for the teaching of 
 basketry in orphan asylums, prisons, poor houses, insane asylums and 
 other eleemosinary establishments, in order that easy and simple 
 employment may be found for the unfortunate which will help relieve 
 the harmful monotony of their lives. 
 
 17. To set in motion all possible machinery for the creating of 
 markets for baskets so made, as well as the baskets made by the Indians, 
 in order that their makers may derive as much financial benefit as 
 possible from their labors. 
 
 The fraternity fee is $1.00 per year, payable on application. En- 
 trance may be made at any time during the year. In return for this 
 fee the members of the fraternity are assured that they will receive : 
 
 1. The four bulletins, issued quarterly, referred to in Section 14. 
 The first of these is a beautifully illustrated hand-book entitled 
 
 "How to Make Indian and Other Baskets," by George Wharton 
 James, author of "Indian Basketry," and originator of The Basket 
 Fraternity. 
 
 The second is in preparation and will be entitled ' ' Living Indian 
 Weavers." It will comprise fully twenty portraits of typical Indian 
 weavers, with descriptive accounts of their work. It will be issued 
 April i. 
 
 The third bulletin will be entitled "Typical Indian Basket Shapes," 
 and will contain not less than twenty plates of exquisitely shaped 
 Indian baskets. It will be issued July i. 
 
 The fourth bulletin will be entitled ' ' Typical Indian Designs, ' ' and 
 will contain fully twenty illustrations of baskets of superior design. 
 It will be issued October i. 
 
 2. Whenever twenty members of the fraternity, living in one town 
 or section, unite in asking for the loan of an Indian basketry col- 
 lection, it will be sent to them on guarantee of its safety and the 
 payment of freight charges both ways. 
 
 Forms of application for such a loan will be sent on request. 
 
 3. Whenever fifty members of the fraternity petition for a lecturer, 
 and will guarantee a small fee and necessary expenses, one will be 
 sent, in order to further the work of the fraternity. 
 
 1 1 The headquarters of The Basket Fraternity is Pasadena, California, 
 where the nucleus of the national collection and the ' ' traveling 
 libraries ' ' of Indian baskets are located. 
 
 Address all communications and make all P. O. Orders payable to 
 
 THE BASKET FRATERNITY, 
 STATION A, 
 
 PASADKNA, CALIFORNIA. 
 
 Forms of application for membership will be sent on request. The 
 first bulletin will be forwarded as early as possible after receipt of the 
 fraternity fee of one dollar. 
 
INDEX. 
 
 Chap. I. Introduction 5 
 
 II. The Spirit in which Basket-Making should be Approached. . . 10 
 
 III. Choice of Material 14 
 
 IV. The Preparation of Materials 18 
 
 V. Dyes ; How to Make and Use Them 28 
 
 VI. Tools and Terms 32 
 
 VII. How to Begin 34 
 
 VIII. The Mat Weave 37 
 
 IX. The Plait or Braid 48 
 
 X. The Net Weave 52 
 
 XL The Coil Weave 58 
 
 XII. The Web Weave 73 
 
 XIII. Insertion and Borders 77 
 
 XIV. More about Bases 84 
 
 XV. Web Weaving Continued 89 
 
 XVI. Splint and Sweet Grass Baskets 93 
 
 XVII. Fancy Borders 103 
 
 XVIII. A Few Baskets 107 
 
 XIX. Finishing the Basket 123 
 
 XX. How to Make Indian Baskets 125 
 
 XXL Bibliography 136 
 
 If you desire Amerind Art in 
 WASHOE, PAIUTI OR SHOSHONE BASKETRY 
 
 we can interest you. 
 
 We will loan you for inspection, upon appplication, our photo 
 booklet of fine and beautiful baskets. 
 
 Address THE EMPORIUM, 
 
 CARSON CITY, NEVADA. 
 
 "THE HOME OF THE WASHOE INDIAN." 
 
ILLUSTRATIONS. 
 
 Fig. 
 
 2. 
 
 3. 
 
 4. 
 
 5. 
 
 6. 
 
 7. 
 
 8. 
 
 9. 
 10. 
 11. 
 12. 
 13. 
 14. 
 15. 
 16. 
 17. 
 18. 
 19. 
 20. 
 21. 
 22. 
 23. 
 24. 
 25. 
 26. 
 
 29. 
 30. 
 31. 
 32. 
 33. 
 34. 
 
 35. 
 
 37. 
 
 39. 
 
 40. 
 
 41. 
 
 42. 
 
 43. 
 
 44. 
 
 45. 
 
 46. 
 
 47. 
 
 48. 
 
 49. 
 
 50. 
 
 50a. 
 
 51. 
 
 52. 
 
 53. 
 
 54. 
 55. 
 56. 
 57. 
 58. 
 59. 
 60. 
 61. 
 62. 
 63. 
 64. 
 65. 
 
 Page. 
 Apple Green Basket, Deerfield... 4 
 
 Mouse Basket 6 
 
 Corn Husk Poppy Basket 8 
 
 Fancy Splint Basket 10 
 
 Splint and Sweet Gras's Fan 12 
 
 Baskets of Splint and Sweet Grass 13 
 Base of Baskets shown in Fig. 6.. 14 
 
 fcwale Grass Tray, Deerfield 15 
 
 Red Bird Basket, Deerfield 16 
 
 Chetemache Mat 17 
 
 Deerfield Straw Baskets 18 
 
 Splint and Sweet Grass Bas'kets . 20 
 Picotie Pink Basket, Deerfield .... 22 
 
 Splint Baskets 24 
 
 Reed Baskets, Deerfield 24 
 
 Weaver Splint Cutter 25 
 
 Foundation Splint Cutter 25 
 
 A Splint 32 
 
 Single Weaving 32 
 
 Double Weaving 32 
 
 Pairing 32 
 
 Triple Weave 33 
 
 Rope Twist 33 
 
 Raffia Bound Picture Frames 26 
 
 Raffia Wrapped Articles' 34 
 
 Toy Chair of Wrapped Raffia 36 
 
 Magazine Holder 35 
 
 " ' ' 36 
 
 Simple Coiled Baskets 37 
 
 Simple Mat Weave Open 38 
 
 " Closed 38 
 
 Table Mat 39 
 
 Interlacing Strands of Different 
 
 Colors 41 
 
 Interlacing Strands of Different 
 
 Colors 41 
 
 Isolated Figures Produced by Mod- 
 ifying Order of Intersection 41 
 
 Mat Foundation Work 41 
 
 Accordeon Plait, Diagonal Mat 
 
 Weave, etc 40 
 
 Chetemache Mat 40 
 
 40 
 
 Splint Picture Frame Foundation.. 42 
 
 Splint Picture Frame 42 
 
 Splint Mat Weave Baskets 42 
 
 Market and Other Baskets 42 
 
 Fig. 
 
 Page. 
 
 67. Button Hole Stitch on Ring 
 
 68. 
 69. 
 
 To. 
 
 58 
 Covered Napkin Rings ........". 58 
 
 Simple Coiled Baskets with Vari- 
 ation sg 
 
 71. Simple Coiled Trays 60 
 
 72. Pine Needle Coiled Baskets 60 
 
 73. Wrapping Before Coiling 01 
 
 74. Beginning the Coil .. 61 
 
 75. Detail of Coil 61 
 
 76. Cross Sections of Varieties' in 
 
 Coiled Basketry 62 
 
 77. Detail of Interlocking Stitches 63 
 
 78. Detail of Single-Rod Coil 63 
 
 79. Foundation of Two Rods 63 
 
 80. Rod and Welt Coiled Work 63 
 
 81. Foundation of Three Rods 64 
 
 82. Foundation of Splints 64 
 
 83. Interlocking Coils, Straw Founda- 
 
 tion 64 
 
 84. Open Coil, Inclosing Part of Foun- 
 
 dation 64 
 
 85. Interlocking Coils, Shred Founda- 
 
 tion 65 
 
 86-87-88. Fugeian Coiled Basket and 
 
 Details 65 
 
 Coiled Raffia Baskets ..66 
 
 Caning a Chair 
 
 Cane Tie 
 
 Caning a Chair 
 
 Weave of Chair Cane 
 
 Articles of Plaited Raffia, etc 
 
 Bottom of Deerfield Basket 
 
 Plaited Belts' 
 
 Hoop and School Bag of Plaited 
 
 Raffia 
 
 Doll's Hat and Tray of Plaited 
 
 Raffia 
 
 Plaited Raffia Hats 
 
 Baskets of Plaited Raffia 
 
 Five Strand Plait of Raffia 
 
 Stick and Knot of Raffia 
 
 Single Net Mesh 
 
 Netted Bags of Raffia, etc 
 
 Net Mesh 
 
 90. 
 91. 
 92. 
 93. 
 94. 
 
 95. 
 96. 
 
 97. 
 98. 
 99. 
 
 100. 
 101. 
 102. 
 103. 
 104. 
 105. 
 106. 
 
 107. 
 108. 
 109. 
 110. 
 111. 
 112. 
 113. 
 134. 
 115. 
 116. 
 117. 
 118. 
 119. 
 120. 
 121. 
 122. 
 123. 
 124. 
 125. 
 126. 
 127. 
 
 128. 
 129. 
 130. 
 
 70 
 
 70 
 
 Book M>ark of Splint and Web 
 
 Weave 72 
 
 Weaving on Even Spokes 72 
 
 Holding- Spokes' and Starting 
 
 Weaver 73 
 
 Dividing into Single Spokes 73 
 
 Inserting Odd Spoke 74 
 
 Right Side of Center with Odd 
 
 Spoke 74 
 
 Simple Open Border No. 1 75 
 
 Detail of Open Border No. 2 75 
 
 Open Border No. 2 75 
 
 Starting New Weaver 75 
 
 Splicing Weavers 75 
 
 Web Weaving with Raffia 76 
 
 Simple Rattan Baskets, Web 
 
 Weave 77 
 
 Detail of Insertion 78 
 
 Insertion 78 
 
 Open Border No. 3 78 
 
 Open Border No. 4 78 
 
 Detail of Plait 79 
 
 Plait . .. 7S 
 
 Open Border No. 5 
 
 Detail of Last Three Spokes 
 
 Closed Border No. 1 
 
 Detail of Closed Border No. 2.. 
 
 Detail of Closed Border No. 3.. 
 
 Closed Border No. 3 81 
 
 Detail of Oval Base 82 
 
 Split Spoke for Round Base 82 
 
 Spokes' Threaded for Round Base. 82 
 Weaving of Round Base with Two 
 
 Weavers 83 
 
 Round Base with Spokes in Pairs. 83 
 Round Base with Spokes Separated 85 
 Commencing Oblong Oval Base 85 
 
Fig. Page. 175. 
 
 131. Oblong Oval Base 86 
 
 132. Detail of Center of Oval Base 87 176. 
 
 133. " " " " 87 177. 
 
 134. Base of Twined Weaving with In- 178. 
 
 serted Corners 84 
 
 135. Simple Web Baskets of Rattan.... 31 179. 
 136: Rattan Basket with Plaited Straw 180. 
 
 as' Weaver 90 181. 
 
 137. Web Woven Bird Nest 90 182. 
 
 138. Basket with Fancy Base 92 
 
 139. Splint Web Weave 92 183. 
 
 140. Base of Splint Basket 96 184. 
 
 141. Inserting Weaver in Splint Base.. 94 185. 
 
 142. Jumping Two Spokes 96 186. 
 
 143. Spokes Turned Up for Sides 9 187. 
 
 144. Baskets of Splint and Sweet Grass. 98 
 
 145. Splint and Plaited Sweet Grass 188. 
 
 Bas'kets 99 189. 
 
 146. Splint and Plaited Sweet Grass 190. 
 
 Baskets 100 191. 
 
 147. Madeira Border No. 2 102 
 
 148. Madeira Pairing for Plait 102 192. 
 
 149. Commencing Flat Plait Border.. . .105 193. 
 
 150. Flat Plait Border Second Position 194. 
 
 of Spokes 105 195. 
 
 151 Ditto in progress, with Portion 196. 
 
 of Finished Border 105 197. 
 
 152. Flat Plait Border, Finished 105 198. 
 
 153 Splint and Twined Baskets 106 199. 
 
 154. Collar Baskets of Rush, Raffia 200. 
 
 and Splint 108 201. 
 
 155. Bases' of Fig. 154 108 202. 
 
 156. Surface Effects of Twined Open 
 
 Work 110 203. 
 
 157. Crossed Warp, Twined Weaving... 110 205. 
 
 158. Wristlets or Cuff Protectors Ill 206. 
 
 159. Baskets from the Philippines 112 
 
 160. Deerfield Straw Baskets 27 207. 
 
 164. Section of Fluted Flower Basket. 208. 
 
 Turning Down Spokes 112 209. 
 
 165. Ditto. Curve Partly Worked 113 210. 
 
 166. Fluted Flower Basket 113 211. 
 
 167. Starting Square Work Basket. 212. 
 
 Turning Weaver Round Corner 215. 
 Spokes 1 113 216. 
 
 168. Square Work Basket, Wood Base. 114 217. 
 
 169. Starting Lid of Square Basket. .. .114 218. 
 
 170. Turning Weaver Around Last 219. 
 
 Spokes 114 220. 
 
 171. Detail of Twisted Handle 114 221. 
 
 172. Ditto . 117 222. 
 
 173. Oblong Carrying Basket 117 
 
 174. Commencing Handle of Key Bas- 223. 
 
 ket 117 
 
 Binding Handle of Key Basket, 
 
 Commencing 117 
 
 Ditto, Finishing 118 
 
 Shallow Oval Basket US 
 
 Starting Handle of Oval Basket- 
 Inside 119 
 
 Ditto Outside 119 
 
 Binding Handle of Oval Bas'ket. ..119 
 
 Finishing ditto 119 
 
 Finishing off the Flat Rattan in 
 
 Binding a Handle 120 
 
 Waste Paper Basket 120 
 
 Square Basket Weaving Sides.... 120 
 Section ditto with Straignt Corner. i^u 
 
 Plaited Handle 121 
 
 Method of Holding Basket When 
 
 Weaving Sides 121 
 
 Yakutat Rattle Baskets 123 
 
 Old Coiled Basketry 124 
 
 White Mountain Apache Baskets. 124 
 Coarse Checkerwork on Mat 
 
 Weave 125 
 
 Twilled Weaving 125 
 
 Ditto 126 
 
 Ditto, Pressed on Ancient Pottery. 127 
 Wrapped Weaving of the Mohaves 1 127 
 
 Ditto, from a Mound in Ohio 127 
 
 Twined Weaving in Two Colors 126 
 
 Apache. Klikitat, etc., Baskets.... 128 
 
 Diagonal Twined Weaving 128 
 
 Variety of Twined Work, Outside. 128 
 
 Wrapped Twined Weaving 129 
 
 Neah Bay Wrapped Twined Weav- 
 ing 129 
 
 Twined Weaving, Inside 129 
 
 The Ti Weave of the Pomas 129 
 
 Three Ply Braid and Twined Work, 
 
 Outside 130 
 
 Ditto, Inside 130 
 
 Three Ply Braid, Outside 130 
 
 Ditto, Inside 130 
 
 Three Ply and Plain Twined Work.131 
 
 Overlaid Twined Weaving 131 
 
 Frapped Twined Work 131 
 
 Washoe Basket 132 
 
 Yokut Basket 132 
 
 Ditto 132 
 
 Poma Bam Tush Weave 132 
 
 Yokut Dance Basket 133 
 
 Yokut Bottle-Neck Basket 133' 
 
 Klikitat Imbricated Weaving 133 
 
 Imbricated Basketry Work of 
 
 Thompson River Indians 134 
 
 Imbricated Coiled Work, Called 
 Klikitat 134 
 
FHOHMAN TRADING Co 
 
 ALASKA, CALIFORNIA 
 AND NORTHERN 
 
 INDIAN BASKETS 
 
 AND CURIOS. 
 
 WHOLESALE 
 
 AND 
 
 PORTLAND. QBE. RETAIL - 
 
 SEND TEN CENTS FOR ILLUSTRATED CATALOGUE. 
 
CALIFORNIA 
 
 A REGION OF WONDERS, 
 
 TOURISTS WILL FIND THE MOST PICTURESQUE LANDS 
 
 ALONG THE ROUTES OF THE 
 
 SOUTHERN PACIFIC 
 
 Through Texas, New Mexico, Arizona, Old Mexico, 
 to Peerless California, 
 
 WHERK GOLF, TENNIS, POLO, COACHING, RIDING, 
 DRIVING, FISHING, HUNTING, BOATING, BATHING, 
 CAN BE ENJOYED 
 
 EVERY DAY IN THE YEAR. 
 
 Two NEW DAILY TRAINS NEW ORLEANS TO CALIFORNIA. 
 SUNSET LIMITED (HOTEL ON WHEELS) 
 
 PACIFIC COAST EXPRESS. 
 
 Passenger Steamers Between New York and New Orleans, 
 
 Fast Time. Superb Service. Excellent Cuisine. 
 
 For Free Illustrated Pamphlets, Maps, and Time Tables, I^owest Rates, Railroad, Steamer, and 
 Pullman Tickets, Baggage Checked, and all information, address 
 
 L. H. NUTTING, General Eastern Passenger Agent, 
 
 349 Broadway or \ Battery Place, New York. 
 E. O. McCORMICK, P. T. M., SAN FRANCISCO, CAL. 
 b. F. B. MORSE, A. P. T. M., HOUSTON, TEXAS. 
 
MORE BASKETS AND 
 HOW TO MAKE THEM 
 
 BY MARY WHITE 
 
 success of Miss 
 White's first volume 
 has led to this companion 
 work, which treats of more 
 advanced basket-making. 
 Shapes and weaves of 
 greater beauty and intricacy 
 are described, with new ap- 
 pliances, unusual materials, 
 the making of hats and 
 chair seats and number- 
 less other matters about 
 many of which the readers 
 of the initial volume have 
 written 1 for information. 
 
 CONTENTS 
 
 I. Centres and Weaves. 
 II. Flower Baskets. 
 
 III. Baskets for Practical Use. 
 
 IV. Hanging Baskets. 
 V. Square Baskets. 
 
 VI. How to Rush Seat Chairs. 
 VII. Raffia and Palm Leaf Hats. 
 Raffia Basketry. 
 Palm Leaf Basketry. 
 A Few Hints on Dyeing. 
 
 VIII 
 
 IX 
 
 X 
 
 XI. Unusual Materials. 
 
 PRICE, net, $1.00. 
 
 DOUBLEDAY, PAGE & CO. 
 
 34 UNION SQUARE, EAST, NEW YORK 
 
HOW TO MAKE 
 
 BASKETS 
 
 BY MARY WHITE 
 
 FIFTH EDITION 
 
 THE great interest in Indian baskets has 
 drawn new attention to the art of basket- 
 making, with the result that basketry has 
 found immediate favor, not only in schools 
 and training classes, but as a most attractive 
 pastime and means of occupation among 
 grown people as well. This little manual is 
 the only guide to the work. Miss White 
 describes in detail the few necessary imple- 
 ments and materials, and then tells how to 
 weave, first the simpler forms, next the more 
 difficult patterns, and finally the complicated 
 and beautiful work for which the Indians 
 were once famous, but which is now rapidly 
 becoming a lost art. 
 
 CONTENTS 
 
 Material, Tools, Preparation, Weaving; 
 Raffia and Some of its Uses ; Mats and 
 their Borders ; the Simplest Baskets ; 
 Covers ; Handles ; Work Baskets ; Candy 
 Baskets ; Scrap Baskets ; Birds' Nests ; 
 Oval Baskets ; the Finishing Touch ; 
 How to Cain Chairs ; Some Indian 
 Stitches ; What the Basket Means to 
 the Indian. 
 
 PRICE, -net, $1.00 
 
 DOUBLEDAY, PAGE & COMPANY 
 
 34 UNION SQUARE, EAST, NEWYORK 
 
HOW TO MAKE RUGS 
 
 BY CANDACE WHEELER 
 
 ILLUSTRATED, PRICE net, $1.20. 
 
 THIS admirably clear little volume gives specific instructions for 
 the weaving of rugs, drawn from the author's own experience 
 in spreading this valuable home industry. The healthy modern 
 movement toward the hand-made things of daily use in the home 
 is one in which Mrs. Wheeler has had a leading part, and this 
 book will be found exceedingly valuable and suggestive to all who 
 are interested in such work. 
 
 CONTENTS. Rug Weaving ; Woven Rag Portieres ; the Pattern ; Woolen 
 Rugs; Dyeing; Cotton Rugs; Ingrain Carpet Rugs; Linsey Woolsey ; 
 Neighborhood Industries. 
 
 BY THE SAME AUTHOR, 
 
 PRINCIPLES of HOME DECORATION 
 
 PRICE, net, $1.80. 
 
 A STUDY of beauty in house interiors, based upon principles of art. It 
 will undoubtedly be a helpful book to decorators, but its chief field will 
 be among the thousands of home-seekers whose range of experiment has not 
 been wide enough to warrant successful practice. 
 
 DOUBLEDAY, PAGE & COMPANY 
 
 34 UNION SQUARE, EAST, NEW YORK 
 
FIVE THOUSAND SOLD ON PUBLICATION 
 
 PRACTICAL COOKING 
 A N D S E R VI N G 
 
 BY JANET McKENZIE HILL 
 
 "Cookery," said Yuan Mei, the Brillat-Savarin of China two 
 hundred years ago, " is like matrimony two things served to- 
 gether should match." And again: "Into no department of 
 life should indifference be allowed to creep into none less than 
 cookery." 
 
 PHE accumulated gastronomic knowledge of 
 A many centuries and the best modern domestic 
 science have alike been drawn upon by Mrs. Hill, 
 of the Boston Cooking School, in her new book, 
 " Practical Cooking and Serving." The first 5000 
 were sold on publication, because it is practical, 
 and tells everything a housekeeper needs to know 
 about the selection, preparation and serving of 
 food. There are 200 helpful photographic illus- 
 trations, in color and black and white. The book 
 contains 730 pages and is strongly bound in alumi- 
 num cloth, u>bich may be washed. 
 
 PRICE, net, $2.00 
 
 DOUBLEDAY, PAGE & COMPANY 
 
 34 UNION SQUARE, EAST, NEW YORK 
 
THE INDIANS 
 
 OF THE PAINTED 
 DESERT REGION 
 
 By GEORGE WHARTON JAMES 
 
 Author of "In and Around the Grand Canyon of the 
 Colorado River in Arizona," "Indian Basketry," etc. 
 
 A PEAK OF EROSION IN THE PETRIFIED FOREST 
 
 With 1 6 full-page pictures and 50 half-page illustrations from 
 photographs Crown Svo Decorated cloth $2.00 net 
 
The Indians of the Painted Desert Region 
 
 THIS book like its author's valuable work on the 
 Grand Canyon is the result of experience, of 
 personal adventures and hardships in a journey over 
 the Western desert, fraught with many dangers on account 
 of sudden storms and absence of shelter, besides scarcity 
 of water. Mr. James visited various Indian tribes and has 
 written about them in his own agreeable and entertaining 
 style, giving a picture which will be quite new to every one. 
 
 The first Indian tribe visited was the Hopis; a large portion 
 of the book is devoted to this interesting tribe. Much of their 
 domestic life as the author describes it is surely unique. The 
 women instead of talking about "Women's Rights " have for 
 ages possessed them ; the men weave the women's clothing 
 and knit their own stockings, and the women build their own 
 homes and invite their husbands to marry them. A chapter is 
 given to the religion of the Hopis. Each act has a religious 
 significance : they have some beautiful religious ceremonies, 
 accompanied by songs, and one especially beautiful is sung in 
 honor of the birth of every child. 
 
 Mr. James also writes of the ill-treatment which our 
 country has inflicted upon the Navahoes, who were placed 
 upon reservation without water or fuel, and with no soil fit 
 for cultivation. When the author first visited the Navahoes, 
 the chief ordered his daughter to "shampoo" the stranger's 
 head. This is considered a great luxury, one Indian divorcing 
 his wife because she declined to shampoo his head. 
 
 The worst insult that it is possible to offer to a Wallapais 
 Indian is to throw her long hair away from her face, but this 
 the author had to do when he photographed these Indians. 
 
 The chapter upon the legends of the Havasupais is fascinat- 
 ing and the book is full of romantic and picturesque Indian 
 love. An entire chapter is devoted to the Hopi snake 
 dance, and there is much interesting information about Indian 
 basketry and blanket weaving. 
 

The Indians of the Painted Desert Region 
 
 The illustrations are faithful ( reproductions of the beautiful 
 series of photographs taken by the author or by his special 
 artist who accompanied him, and consist of sixteen full-page 
 and fifty half-page plates. Accurately portraying the country, 
 industries, religious rites, and personal appearance of the 
 Navaho, Hopi, and Havasupai Indians, they are a most 
 valuable addition to the text. Some of the subjects, espe- 
 cially several of those showing the famous "Snake Dance," are 
 unique, the Indians generally objecting to the photographing 
 of some of the ceremony. 
 
 CONTENTS 
 
 INTRODUCTORY 
 CHAPTER 
 
 I. THE PAINTED DESERT REGION. 
 II. DESERT RECOLLECTIONS. 
 
 III. FIRST GLIMPSES OF THE HOPI. 
 
 IV. THE HOPI VILLAGES, AND THEIR HISTORY. 
 V. A FEW HOPI CUSTOMS. 
 
 VI. THE RELIGIOUS LIFE OF THE HOPI. 
 VII. THE HOPI SNAKE DANCE. 
 VIII. THE NAVAHO AND HIS HISTORY. 
 IX. THE NAVAHO AT HOME. 
 
 X. THE NAVAHO AS A BLANKET WEAVER. 
 XI. THE WALLAPAIS. 
 XII. THE ADVENT OF THE WALLAPAIS. 
 
 XIII. THE PEOPLE OF THE BLUE WATER AND THEIR HOME 
 
 XIV. THE HAVASUPAIS AND THEIR LEGENDS. 
 
 XV. THE SOCIAL AND DOMESTIC LIFE OF THE HAVASUPAI. 
 XVI. THE HAVASUPAIS' RELIGIOUS DANCES AND BELIEFS. 
 BIBLIOGRAPHY 
 
 LITTLE, BROWN, & CO., PUBLISHERS 
 254 Washington Street Boston, Massachusetts 
 
AN IMPORTANT NEW BOOK DESCRIBING THE MOST 
 STUPENDOUS SCENE ON THE AMERICAN CONTINENT 
 
 In and Around the Grand Canyon 
 of the Colorado River in Arizona 
 
 By GEORGE WHARTON JAMES 
 
 Illustrated with thirty full-page plates and seventy 
 pictures in the text 8vo Cloth Price, $3.00 
 
 CROSSING THE COLORADO TO THE SHINUMO. 
 
 THE volume, crowded with pictures of the marvels and 
 beauties of the Canyon, is of absorbing interest. Dramatic 
 narratives of hairbreadth escapes and thrilling adventures, 
 stories of Indians, their legends and customs, and Mr. 
 James's own perilous experiences, give a wonderful personal interest 
 in these pages of graphic description of the most stupendous natural 
 wonder on the American Continent. Philadelphia Public Ledger. 
 
TEMPLES AND BUTTES TO THE EAST FROM THE GRAND SCENIC DIVIDE. 
 
IN & AROUND THE GRAND CANYON 
 
 A veritable storehouse of wonders. Boston Advertiser. 
 
 There is a ring of actuality about this book. Outing, New 
 York. 
 
 The Grand Canyon has never before received such an 
 exposition either with pen or camera. Literary World. 
 
 He has told his story in so fascinating a manner that one 
 feels almost within sight and sound of the great canyon. 
 
 San Francisco Bulletin. 
 
 The most thorough description of the Grand Canyon of 
 the Colorado and its surroundings to be found anywhere. 
 
 Chicago Tribune. 
 
 He has not been content to describe the wonders in his 
 own words, but from historical records, from the notes of 
 explorers and discoverers, and from the accounts of Indian 
 natives, white hunters, miners, and guides, he has quoted 
 freely wherever he could find matter of interest and value. 
 Argonaut, San Francisco. 
 
 An illustrated work of which too much can scarcely be said 
 in praise. The Grand Canyon is one of the world's won- 
 ders, and this volume is the most thorough and satisfying 
 presentation of its many rugged attractions thus far offered. 
 
 San Francisco Chronicle. 
 
 There is probably no man in the country who is better 
 qualified for the writing of such a book than Professor 
 James. . . . Too much cannot be said in praise of his 
 work. Arizona Daily Journal- Miner, Prescott, Arizona. 
 
 Will be the standard with reference to the main features 
 historic, scenic, and scientific of the Great Canyon of the 
 Colorado. . . . Legend and tradition are drawn upon for the 
 dramatic effect and local color, so that in many respects 
 the book possesses a charm peculiarly its own. . . . One of 
 the typical books of the great West. Brooklyn Standard Union. 
 
 
IN & AROUND THE GRAND CANYON 
 
 CHAPTER CONTENTS 
 
 I. THE COLORADO RIVER AND ITS CANYONS. 
 II. EXPLORATIONS FROM THE TIME OF THE SPANIARDS (1540) 
 TO MAJOR J. W. POWELL (1869). 
 
 III. EXPLORATIONS BY MAJOR J. W. POWELL (1869-72). 
 
 IV. LATER EXPLORATIONS. 
 
 V. FLAGSTAFF, THE SAN FRANCISCO MOUNTAINS, THE CLIFF AND 
 
 CAVE DWELLINGS, AND THE DEAD VOLCANOES. 
 VI. FROM THE SANTA FE RAILWAY TO THE CANYON BY STAGE. 
 VII. To THE CANYON BY RAILWAY, AND A FEW PRACTICAL SUG- 
 GESTIONS TO THE TOURIST. 
 VIII. FIRST IMPRESSIONS. 
 IX. WHAT DOES ONE SEE ? 
 X. ON THE RIM. 
 XI. THE GRAND VIEW TRAIL. 
 XII. THE BRIGHT ANGEL TRAIL. 
 
 XIII. Two DAYS' HUNT FOR A BOAT IN A SIDE GORGE NEAR 
 
 THE BRIGHT ANGEL TRAIL. 
 
 XIV. THE MYSTIC SPRING TRAIL. 
 
 XV. THREE DAYS OF EXPLORING IN TRAIL CANYON WITH THE 
 
 WRONG COMPANION. 
 
 XVI. MR. W. W. BASS AND HIS CANYON EXPERIENCES. 
 XVII. THE SHINUMO AND ITS ANCIENT INHABITANTS. 
 XVIII. PEACE SPRINGS TRAIL. 
 XIX. LEE'S FERRY AND THE JOURNEY THITHER. 
 XX. JOHN D. LEE AND THE MOUNTAIN MEADOW MASSACRE. 
 XXL UP AND DOWN GLEN AND MARBLE CANYONS. 
 XXII. THE OLD HOPI TRAIL. 
 
 XXIII. THE TANNER-FRENCH TRAIL. 
 
 XXIV. THE RED CANYON AND OLD TRAILS. 
 XXV. GRAND CANYON FOREST RESERVE. 
 
 XXVI. THE TOPOCOBYA TRAIL AND HAVASU (CATARACT) CANYON. 
 XXVII. THE HAVASUPAI INDIANS AND THEIR CANYON HOME. 
 XXVIII. HAVASU (CATARACT) CANYON AND ITS WATERFALLS AND 
 
 LIMESTONE CAVES. 
 
 XXIX. AN ADVENTURE IN BEAVER CANYON. 
 XXX. THE GEOLOGY OF THE GRAND CANYON. 
 XXXI. BOTANY OF THE GRAND CANYON. 
 
 XXXII. RELIGIOUS AND OTHER IMPRESSIONS IN THE GRAND CANYON. 
 XXXIII. PHOTOGRAPHING THE GRAND CANYON. 
 BIBLIOGRAPHY OF THE GRAND CANYON REGION. 
 
 LITTLE, BROWN, & CO., Publishers 
 
 254 WASHINGTON STREET, BOSTON 
 

 
 
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