TS 910 LM3 Copy 1 MANUAL TRAINING REPRINTS SERIES A NUMBER 8 INEXPENSIVE BASKETRY BY WILLIAM S. MARTEN A woven basket with two handles. THE MANUAL ARTS PRESS PEORIA, ILLINOIS Monograph 78 AT WORK ON COILED BASKETS. MANUAL TRAINING REPRINTS Edited by CHARLES A. BENTLEY, Professor of Manual Arts, Bradley Polytechnic Institute, Peoria, Illinois SERIES A NUMBER 4 INEXPENSIVE BASKETRY By WILLIAM S. MARTIN Department of Manual Arts, San Jose, California High School A circular logo with a stylized design, possibly representing a basket or a similar object. THE MANUAL ARTS PRESS PEORIA, ILLINOIS TE 017 318 COPYRIGHT, WILLIAM S. MARTIN, 1912. B C04351338 CONTENTS I. Introduction .................................................. 9 1. Educational Values ........................................... 10 Use of local materials has permanent educational values. Art and moral training values go hand in hand. The economic value is in the varied and practical uses for which the basketry material can be employed. 2. Practical Advantages ......................................... 11 The interest of all, the ease and convenience of handling, the variety of materials easily procured and adaptable to many grades, make it an especially desirable form of work. 3. Equipment ..................................................... 12 4. Materials ...................................................... 13 The great variety of adaptable vegetable fibers, allow for a wide range in the choice of material for the coil. The material for the thread must be especially adaptable to the basket. The school and local conditions will determine the gathering of the materials. The green material must immediately be cured. The use of cane is sometimes necessary, the price of which varies greatly. Varnish gives a desirable finish. The use of raffia is sometimes advantageous. II. Processes of Coiled Basket Construction .................... 17 The necessary steps in the processes of construction. Preparation for the starting. Making the first circle. Taking the second stitch. Taking the third and succeeding stitches to complete the first circle. Adding another circle. Making the regular stitches. Keeping uniform the space between the stitches as the circles get larger. Yying on a new strand of thread. Making the turn. Building up the sides. Porting out handles. Finishing off the top. Polishing. 5 III. Outline for the Coiled Basket Work. ................................................ 36 1. Problems for grades. 2. Sizes of problems. 3. Sizes of details and materials. IV. References—Educational Values of Manual Training. .................. 38 V. Bibliography, Basketry ................................................................. 41 FOREWORD. M OST of the existing treatises on basketball either assume on the part of the reader some knowledge of the processes involved or, by covering a field unnecessarily wide, cumber the individual teacher with material for which he has no practical use. The author of this little book is to be especially commended for limiting himself to a few of the elementary problems that confront every teacher who attempts to deal with basketball in the classroom, and for the skill with which he has presented them to the subject matter. When this material first appeared as a series of articles in the MANUAL TRAINING MAGAZINE it attracted immediate attention. The continued interest and repeated inquiries more than justify its revision and publication in this more convenient form. From a technical point of view the series of photographs constitutes a rather complete record of an attempt to illustrate a sequence of manipulative operations. As has been remarked of them, they are "illustrations which really illustrate." For those who wish to take up the subject for further study, a bibliography is added which is believed to be one of the best in form available for general distribution. —WILLIAM T. BAWDEN. New York City, January 17, 1913. [API_EMPTY_RESPONSE] INEXPENSIVE BASKETRY. I. INTRODUCTION. THE basketry herein described is a result of several years' experience with such work in the South—in the third to the sixth years of the city schools of Durham, North Carolina. It has been successfully carried on at slight expense, and has proved itself to be considerably more valuable than was anticipated. In the illustrations will be seen a number of different kinds of baskets, some of which have been entirely feasible for elementary school work. Educators have become interested in the results of this work, so that teachers from other schools have come to learn the processes in order that they might introduce it in their own communities. In this way the work has lately been extended to a number of school systems through the state. It is extremely beneficial that this development be made known. The illustrations will enable teachers to get this work successfully started in schools where such work is especially adaptable. The appended outline is suggestive of a working plan for the several grades. Special acknowledgement is due Principal William P. Dawkins of the West End School of Durham who so kindly assisted and who made it possible to put the basketry work in its present form in Durham. Thanks are also due Mr. Charles H. Haskins, editor of "The American School Journal," especially Charles Marten, director of Industrial Arts, Jewish Orphan Asylum, Cleveland, Ohio, and Professor P. E. Davidson of the educational department of Stanford University, California. ESSENTIAL VALUES THE MAIN CONSIDERATION. It is a decided advantage for any form of handwork to be inexpensive, but to have a place in the school curriculum it must be hand-work with values that are essential to both the individual and the community. It must be something that children can do because they are interested, and it must be closely related to life outside the school. The special form of constructive work herein described has been tested in the schools. The result shows that children become intensely interested in it, and that it can be vitally connected with their home and community life. From an educational standpoint, any form of handwork besides being easily adaptable to school use, should have values that involve a A page from a book about basketry. 10 INEXPENSIVE BISKETRY consideration of three factors: first, the correlative value of the materials used; second, the development value of the motor training involved; and third, the economic value of the articles made. EDUCATIONAL VALUES. The use of local materials provides for a definite correlation with the other school subjects. A study of the courses of basketry in the schools through the country, when considered with the surroundings of these schools, will reveal that one particular advantage of this constructive work is almost entirely lost sight of. In most cases the materials are obtained from New York or elsewhere, while the valuable materials growing in the immediate vicinity of the school are neglected. In almost every case, too, the children are taught to make baskets at the school. In the Southland, especially in the localities of rich vegetable growth, the many tough grasses, pine needles, and like materials from marsh, field, and wood around the school house and the children's homes, can readily be gathered by the pupils themselves. If the materials in this way are obtained at first hand, rather than gotten from afar, a permanent association of interest is established. The child is easily given a broad knowledge concerning such materials. Their use as a primitive necessity, their relation to food and clothing, their treatment by the plant grower--a study of all such factors give natural correlations with other school subjects and begin with things about which the children have some knowledge. When these relations are made the children understand more clearly the means necessary to secure the desired results. This will help the elementary school teacher to vitalize her work. Second: The values in and consequent need of motor training es- pecially in the elementary school are very great. Basketry as a form of motor training in the elementary school is valuable not only because the essential processes are simple, but because they require a very definite training of the judgment in the use of the eye and the hand. From the simple basic processes, they can be made more complex as desired. The development obtained involves the following factors: (1), the deciding upon suitable materials for the work in hand; (2), the getting together of materials; (3), the making of a design; (4), the judging of firm proportioning; (5), the obtaining of beautiful color harmonies, such as those formed by the combination of the soft greens of the rush, or the rich grays and brown of the pine needles, with the INTRODUCTION subdued yellow of the palmetto or cane, and (6), the splendid examples of line rhythm as the stitches move around and outward from the center, and mount around and upward to the top. These are art principles in applied design of a very practical type. A well made basket, evenly stitched, of good proportion and outline is evidence of the artistic merit of this work. In the classroom a few poorly made baskets and a number of well made baskets are good ordinary comparison as examples of what to avoid and what to strive for, with suggestions that one should make the one, and encouragement to strive for the beautiful in the other, will furnish an incentive for the pupils to strive for the highest type of workmanship. Third. The economic value is in the varied and practical uses for which the baskets are made. If the basket made has a definite use in which the children find interesting they will be more likely to put their own selves into the work. Basketry of this kind includes the making of table mats, serving trays, laundry hampers, door mats, fruit trays, baskets for fruit, for church collections, for waste paper and trash, for carrying lunch, for trinkets and jewelry and almost any re- ceptacle for holding or carrying purposes. Such baskets when thoughtfully chosen serve very practical use in the community or in the homes of the children. While these are useful objects they also include the raw materials that lie immediately at hand, they are realizing how to master their own environment. And when this is the making of a commercially valuable article with material that is previously considered of no value, there is involved an important economic aspect. If the school is to prepare the children for doing their share in meeting the social needs of the community, it is important that the children be made to realize that they can do something. With classes such as this provides a definite purpose in the minds of the children toward which their activities are directed. Therefore such activities cannot be aimless. PRACTICAL ADVANTAGES. The interest of all, the ease and convenience of handling, the variety of materials easily procurable and adaptable to many grades, make basketry an especially desirable form of work. From experience with this work in the school room: (1), it has been found to afford equal interest for boys and girls; (2), it is clean, and practically dirt free being needed only when starting the baskets; (3), it is light and easily handled by 12 IX EXPENSIVE B.ISKETRY the younger children; (4), when carefully constructed the baskets are very durable; (5), the native materials furnish a very prolific source of supply so that to the average community the economic advantage of this work is a strongly appealing factor. In some communities, es- pecially the rural ones, this work can be carried on with no expense whatever. In other communities the expense for equipment and main- tenance is very slight. Even in many of the larger cities materials can be obtained very cheaply and thus the cost of transportation at the out- skirts of the city only cost should be that of transportation; (6), since the cured raw material can be piled up and the baskets in the process of construction can be telescoped, but little space is required for storage purposes; (7), the variety of materials obtainable and the various uses to which the baskets may be put, afford a great variety of processes adaptable for the different grinds; (8), the teacher with a minimum of experience in such work can carry it on with satisfactory results. Various materials and types of baskets afford a variety of processes. Numerous processes, more or less explicit, are described in the various books on basketry, many of which contain excellent suggestions for various types of baskets. The discussion that follows will have in mind the various types of baskets, but in order to be definitely clear, the present discussion on processes will deal only with the type of the con- tinuous walled basket. EQUIPMENT. The tools needed are few and very inexpensive. The only tools that are absolutely necessary are scissors or knife, and the needle, for large coils and holes. The needle can be sharp pointed and trimming suit- able for making an opening in the cloth. It can easily be made by the pupils themselves, or enough for the whole class can be made by a few of the boys. A small piece of bone (horse bone is beautiful and of a fine texture), about four inches long, or the handle of a tooth brush, with one end filed to a point, is most satisfactory and lasting. A piece of wood (hard wood is preferable), does the work very well. The point must not be sharp enough to cut. This sharpened point pushed into the 3 Timley: "Practical and Artistic Basketry;" White: "Baskets and How to Make Them;" James: "Indian Basketry;" Turner: "The Basket Maker." INTRODUCTION 13 coil where the stitch is to be, makes an opening through which the material used for the thread is drawn. For the small coiled work, where the material used for the thread is pliable, such as raffia, silkate, or a fine tough grass, a needle with an eye is required. These needles should be fairly large so as not to be easily lost. Those ordinarily used for darn- ing, or "No. 19 Tapestry" needles as used for raffia work, are very desirable. MATERIALS. The great variety of adaptable vegetable fibers allows for a wide range in the choice of materials. The supplies used are mainly de- termined by the available vegetation. A little experimenting with the necessary processes in handling these available materials will be pro- ductive of excellent results. The bulk of the continuous coiled basket is made from the entire length of the plant, and consists up of a great variety of materials, such as the tough rushes and grasses from the marshes and meadows, the long and short needles from the pine trees, the stalks of the oats, rye, and wheat, and even the husk and leaves of the corn, the leaves of the cat-tail, the flags, and the palmetto when split up into fine strips. There are very many materials that can be satisfactorily used. Toughness and length are the most desirable qualities. The materials that are most suitable for this purpose can readily be obtained in large quantities. Avoid, however, the rough edge grasses as they cut the hands. If rushes and grasses are not available, the stalk of the grains--such as the wheat, oats, rye or the hay--can be satisfactorily used. Some one of these, or the parts of the corn, the cat-tails, and the flags, are available in almost any locality. The material for the thread must be especially adaptable to the basketry use; some kind of fiber that is tough and pliable substance is necessary. This we will call the thread. For this purpose the tough flat grasses are most desirable, and often the skin bark stripped from the palmetto, or the long leaves of the cat-tail are suitable. When a suitable material for the thread cannot be obtained from the neighborhood, the commercial cane is best used. For various kinds of baskets other than those made from rushes can be used; thus stems of the maidenhair fern for a rich dark brown through, thin twigs and slender branches of trees such as the cedar, and the red and yellow willow, the splints made from the oak and ash, and the bark and stems of many vines such as the honey suckle. 14 The native materials gathered at any time during the year can be used very satisfactorily. However, they are at their best about the time they reach full maturity in the summer. Some are best before maturity and others when the seed is ripe. Study and experience with the available materials are helpful in obtaining the best results. When gathered at maturity the most of these materials are tough and do not become brittle even when thoroly dried out. On account of this pli- ability it is hardly necessary to dampen when starting a basket, as it is necessary with that gathered at other times. The rush gathered at other seasons, as well as the rush gathered at maturity, will vary greatly in the length or toughness of the more mature growth. The children can readily bring in the materials used in their own baskets, or occasional parties can be made up to go out after school hours or on Saturdays, where it is not feasible to gather the year's supply when the growth is mature, and where there is treecrushing weather or continued wet spells, enough material should be gathered to last over these seasons. The use of wagons for gathering is advisable, but it is not always practicable to use this work. Where large baskets are made in any numbers, a great quantity of the material will be required. A class will often use several two-horse wagon loads during the winter and early spring. It is necessary that the green material be cured, that is dried out, soon after being gathered, else its color will become dark and lifeless, and it will be liable to mold. It may remain a few weeks when it is kept being age, but if it is exposed to sun for a week or two it will become hard baked when it does dry out. The material can be quickly cured in a few hours if put over warm radiators or in ovens, but after such treatment, although suitable for building up the sides of a basket, it is rather brittle for starting one. The drying out should be slow. If the storage space will permit, the best plan is to spread the freshly gathered materials on the floor or on racks in a fairly warm room; or if convenient set it out under a screen porch in light and keep from the green materials while baking a cured grass basket will result. If the pine needles are put in strong sunlight they will become a rich brown color, but if all light is excluded an ashen gray will be the result. The leaves of the palmetto and cat-tail should be gathered before maturity, and split into the required widths before being allowed to dry. The skin bark from the stems of the palmetto should likewise be peeled off before the stem becomes dry. If the buds of the palmetto are separated INTRODUCTION and allowed to dry and bleach in the sun, they can be split with a pin into any desired width. If no native material for the thread is available it will be necessary to resort to the use of raffia or cane. The cane is imported in bale lots of 100 bundles, each bundle containing 1,000 feet. In the quality of the cane, there are four grades, from the best down as follows: All Long Sewed, No. 1, No. 2, and No. 3. For the best, which possesses the No. 1 is very satisfactory. The size or width runs as follows: carriage, superfine, fine fine, fine, narrow medium, medium, common, and binding. For the small baskets the "superfine" is desirable, while for the very large work such as the clothes hamper, or laundry basket, the "common" or "binding" is required. If the cane can be bought in bale lots from the importers in New York City, San Francisco, or other large cities, it may be purchased at a lower price than in bales. For instance the "medium narrow," as used in the waste baskets and work baskets, from the importers costs about $4.00 per bale or at the rate of 40 cents per bundle. This from the retailers costs from 60 to 80 cents per bundle. The prices for the same quality of cane from the various retail houses vary greatly. Some importers will furnish a bale made up of assorted sizes as desired at their regular bale prices. The prices at wholesale range from about $25.00 for the narrowest to about $35.00 for the widest size. Varnish, the last item of maintenance, although not a positive necessity adds greatly to the appearance and wearing qualities of the basket. It protects it from being soiled, keeps it from molding and preserves and enriches the natural colour of the materials. When a foundation material is used for the sewing material, the coil, then called the foundation material, is usually completely covered by the raffia. This form is very common in school work when round reed or a heavy cord is used for the coil. For this work there are a variety of stitches in common use such as "Navajo," "Mariposa," "Lazy Susan," etc. Since these are described in a number of books on basketry and weaving they need not be repeated here. The opportunity for design with the use of colored raffia is one of the advantages of this work. The vegetable dyes made from berries, barks, 2 Tinsley: "Practical and Artistic Baskets." 3 Worst's "Constructive Work." Tinsley's "Practical and Artistic Basketery." 4 Kaap's "Raffia and Reed Weaving." James' "Indian Basket Making." White's "How to Make Baskets." 13 16 INEXPENSIVE BASKETRY leaves, roots, etc., produce most beautiful and harmonious colors. The aniline dyes, such as the "Diamond" dye, are obtained with less trouble, but great care must be taken to secure pleasing harmonies of colors. Excellent suggestions for dyeing with vegetable dyes can be obtained in some of the books on basketry. Raffia comes in several qualities, the price of which varies but little. It is imported in bales of about 220 lbs. made up of hanks from two to five pounds each. The natural color raffia if obtained from the importers costs about 8 cents per pound, but is 15 to 25 cents when purchased at retail. The cost of the colored raffia is somewhat higher than the natural raffia. From the importers in lots of 100 pounds, 10 pounds to a color, it can be obtained at about 25 cents per pound, at retail this will cost from 40 cents to $1.00 per pound. *Ward's* "Constructive Work." *White's* "How to Make Baskets." *James'* "Indian Basket Making." A page from a book discussing basketry materials and techniques. II. PROCESSES OF COILED BASKET CONSTRUCTION. WITH a great variety of materials at hand many baskets in different processes can be attempted, such as work with the coiled material, the process of weaving with reeds, splints or other flat materials, and the work with the weavers and spokes. However, in order to give very definite directions here, the processes that immediately follow will deal only with the continuous coil baskets. In all of these coil baskets with the use of the various materials the processes are essentially the same. With the exception of the starting the processes are very simple. Hereby they may be divided into two parts: first, the making of the coil (the bottom circle of the bottom); second, the adding of new strands (to keep the coil uniform in size); third, the regular stitching (which includes the keeping of a uniform space between the stitches); fourth, the adding of a new strand of thread (which requires the tying of a flat knot); fifth, making the turn and building up the sides (according to the required design); sixth, putting in the handles (when necessary); seventh, making a hole in the top and building up of the last coil; eighth, polishing (the rubbing in of the varnish). The best problem to begin the teaching of this form of basketry is the flat table most suited with silkinate or a fine cord. This is because the flat tying necessary in entering a new strand of the thread material, and the turning up of the side can be eliminated. The attention can then be directed simply to starting, and also to regulation of the size of the coil and space between the coils. The use of which the basket is put will of course determine the size and shape, and the size will determine to some extent the materials to be used as well as the size of the coil and the space between the stitches. This regulation of the size of the coil, the spacings, and the stitches requires a very definite training of judgment. PREPARATION FOR THE STARTING. In starting a class in this form of basketry clear, and positive dictation for the first step is necessary. It is a decided advantage to have this first step mastered by every one in the class. If the material for 17 13 INEXPENSIVE BASKETRY FIG. 1. STARTING THE COIL. NEEDLE AND MATERIAL FOR THREAD IN RIGHT HAND. FIG. 2. STARTING THE COIL. END OF THREAD MATERIAL INSERTED BETWEEN STRANDS OF COIL. PROCESSES 49 FIG. 3. STARTING THE COIL. THREAD MATERIAL WRAPPED AROUND THE COIL. FIG. 4. STARTING THE COIL. POINT OF NEEDLE THRUST THRU THE COIL TO MAKE AN OPENING FOR THE THREAD. 20 INEXPENSIVE BASKETRY A close-up of a hand holding a bundle of thin, light-colored sticks tied together with a white string. The background is blurred. FIG. 5. STARTING THE COIL--SHARPENED END OF THREAD INSERTED IN OPENING MADE BY NEEDLE. A close-up of a hand holding a bundle of thin, light-colored sticks tied together with a white string. The background is blurred. FIG. 6. STARTING THE COIL--THE TIE PROCESSES 23 the coil is not pliable the strands used to begin the basket must be dampened. If they are stiff and brittle it will be impossible to bend them into a good shape. The number of strands to make up the coil is determined by the size of the basket. A small basket such as the lunch basket, colier box, or table tray of course require few strands of the material (perhaps a quarter of a inch diameter), while the large dishes and plates require a large number (perhaps three-eighths or one inch in diameter). To start with, and until the first circle is completed, the coil should be less than full size (about two-thirds), else the center will be somewhat hard to round up into good shape. Hold these strands, suitable for starting, in the left hand with the long free ends pointed away from the worker, as shown in the illustrations. Hold the needles and the material for the thread in the right hand, and arrange them as in Fig. 1. First pass the end of the thread, that has not been sharpened, in between the strands of the coil, as in Fig. 2. Then wrap the thread two or three strands around the coil, as in Fig. 3. Three strands around should be used in the large baskets as it makes the coil very much firmer and less liable to come loose when making the first stitches. To make the tie, which is really the first stitch, place the point of the needle on top of one of the strands at a distance from the middle of the coil. Let the point of the needle protrude from the side of the coil past the loop of thread, as in Fig. 4. In doing this the thread must be kept taut, else it will come apart easily and have to be re-arranged. Put the sharpened point of the thread thru this opening, as in Fig. 5, and pull it up tight, as in Fig. 6. The tie (the first stitch), is now completed. Occasionally a beginner will take this stitch from the wrong direction, backward, as in Fig. 7, which makes it impossible to proceed further until this mistake is corrected. THE STITCHES TO COMPLETE THE FIRST CIRCLE. The second stitch is made almost like the first. Force the point of the needle inside the loop of thread at the side of the coil, as in Fig. 8. Put the thread thru this opening and pull it up tight, as in Fig. 9. Notice that the thread is looped around the coil a little distance from the first stitch before being pulled through; thus a mistake is produced. A mistake frequently made is to loop the thread around the coil at a distance too far from the first tie, as in Fig. 10. The third stitch is made in the same way as tho second one. The thread is entered alongside the previous stitch, but in pulling the thread 22 INEXPENSIVE BISKETRY FIG. 7. THE WRONG WAY TO MAKE THE TIE. FIG. 8. INSERTING THE NEEDLE. FIG. 9. MAKING THE TIE. FIG. 10. THE SECOND LOOP OF THE THREAD TOO FAR FROM THE FIRST MAKING THE COIL CURVE TOO ABRUPTLY. PROCESSES 23 A close-up view of a hand holding a bundle of thin, light-colored strips of material. The hand appears to be manipulating the strips, possibly tying them together. FIG. 11. SHOWING POSITION OF THIRD LOOP IN RELATION TO ONE AND TWO. A close-up view of a hand holding a bundle of thin, light-colored strips of material. The hand appears to be manipulating the strips, possibly tying them together. FIG. 12. THE FOURTH LOOP AND THE END OF THE COIL TURNED UP. A close-up view of a hand holding a bundle of thin, light-colored strips of material. The hand appears to be manipulating the strips, possibly tying them together. FIG. 14. NEEDLE IN POSITION TO TAKE LAST STITCH FROM THE CENTER. 24 up right it is held with the forefinger, so that it loops itself around the coil a little farther from the second stitch, as in Fig. 11. By pulling and keeping the thread taut the tendency will be to curve the coil around preparatory for the first circle. This curving should be The coil after the fourth stitch. Fig. 13. The coil after the fourth stitch. helped along somewhat by bending with the fingers. The next stitch is entered alongside of the previous one (this is important) and looped a little farther around on the coil, as can be seen in Fig. 12. The pulling of the thread taut will now tend to bring the short ends of the coil up at right angles with what is to be the bottom surface of the basket. The braiding coming up from this point is shown in Figs. 8a, 11 to 15. These ends, the projecting part of which are later cut off even with the bottom surface of the basket, form the very center of the basket as shown in the illustrations. By repeating this stitch six or eight times, always entering each stitch alongside of the previous stitch and always looping each successive stitch a little farther around on the coil from the starting point, the first circle of the basket will be completed. Fig. 13 shows the progress made after the fourth stitch is taken, and Fig. 14 shows the needle in position ready to take the last stitch from the center. Our first step is now completed. **PROCESSES** 25 **MAKING THE REGULAR STITCHES.** As soon as the first circle is completed it is well to add a few strands to the coil. By continually adding a few strands as the work progresses, the coil should be gradually built up until the desired size is attained, and then continued by adding just enough strands to keep it of an even size. After completing the first circle the stitches of the second circle will cross, or be brought upon the adjoining stitches already made in the first circle. Fig. 15 shows the needle in position for the first stitch after leaving the center, and Fig. 16 shows this first stitch pulled up right. Notice here and in other illustrations how the thread strand crosses the adjoining stitch on the inner circle. This crossing (or catching) avoids any danger of getting loose or slipping. Notice also that the needle is passed through the basket at a point near the middle of it. This kind of stitch, continued until the basket is completed, is simply made by forcing the point of the needle about midway between the part of the coil adjoining and thru the stitch crossing it, as shown in Figs. 15 and 16. When the second or third stitch of the second circle is made the projecting ends can be trimmed off even with the bottom surface of the basket, as in Fig. 17. **UNIFORM SPACING OF STITCHES.** The space between the stitches will be governed by the size of the basket. Toward the center the stitches will necessarily be close together, but as they move from center to edge of basket they will become larger, so the stitches will get further apart. Wherever the spaces between the stitches grow wider than they should be, the number of stitches must be increased. If the number of stitches is doubled in making one circle around, that is, if an extra stitch is taken at every regular space between stitches on the inner circle they will be somewhat too close together. An extra stitch taken at every other (alternate) space, for two complete circles around, will make them more evenly spaced and at the same time make the spaces more evenly divided. Fig. 18 shows the stitches in the process of being increased. Another half circle around will complete the doubling up process. Since these extra stitches are not caught upon stitches of the inner adjoining circle, the spaces are likely to become uneven. If this happens they must be arranged evenly with the fingers. This process of doubling the number of stitches will have to be repeated a number of times before the bottom is completed. A diagram showing a basket with a series of stitches being made. 26 INEXPENSIVE BASKETRY FIG. 15. NEEDLE IN POSITION FOR FIRST STITCH AFTER LEAVING THE CENTER. FIG. 16. THE STITCH PULLED UP TIGHT. PROCESSES 27 FIG. 17. PROJECTING ENDS AT CENTER TRIMMED OFF EVEN WITH BOTTOM SURFACE OF BASKET. FIG. 18. METHOD OF INSERTING EXTRA STITCHES. 28 INEXPENSIVE BASKETRY A woven basket with a tassel hanging from one side. FIG. 19. BOTTOM OF BASKET COMPLETED, SHOWING SPACING OF STITCHES. A close-up of a woven basket with a flat-loop knot tied around its rim. FIG. 20. THE FLAT-LOOP KNOT. PROCESSES 29 as shown in Fig. 19. Special care must be taken that the spaces between the stitches are very regular and of right width, just before turning up the sides of the basket; for it is this spacing that must continue all the way up the sides of the basket. See Figs. 23 and 24. The thread must be kept drawn taut always if a solid firm basket is to be obtained. If the coils are held in correct position with reference to each other, the bottom of the basket can be made perfectly flat. TYING ON A NEW STRAND OF THREAD. When entering a new piece of thread a loop knot perfectly flat is desired, as in Fig. 20. This knot is very simply made. The first step of this knot is shown in Fig. 21. The new strand of thread is shown black for the sake of clearness. Slip one end of the new thread through the middle of the coil next to the last stitch taken. Now take the most central stitch of the inner circle and pass over it, as shown in Fig. 21, by showing off this new thread so that it slipped under the last stitch taken, on the outer circle as shown. Notice that this free end is pointed away from the free ends of the coil. This end is not pulled up tight but a loop is left formed between the inner and outer circles of the coil. The next step to complete the tie is shown in Fig. 22. First bend back and slip thru this loop the end of the new thread pointing inward. Then the end of the old thread is brought back between the inner and outer circles as seen in Fig. 21, is brought back between the inner and outer circles and entered also thru this loop pointing outward. Fig. 22 shows this done and ready to be pulled up tight. This is done simply by pulling on the long end of the new thread. The result should be a perfectly flat knot as in Fig. 20. With a little care this can be pulled down between the coils so as to be hidden from view. MAKING THE TURN. The turning up of the basket is made by holding the coil in the desired position and fastening it there by pulling the thread up tight, as in Fig. 23. Any desired shape can be built up in this way. A perfectly square corner can be made if desired by simply fastening the coil directly on top or at right angles to the bottom of the basket. 30 INEXPENSIVE BASKETRY A close-up view of a hand tying a basket with twine. The hand is holding the basket's rim while the other hand pulls on the twine. FIG. 21. FIRST STEP IN TYING THE KNOT. A close-up view of a hand pulling on the twine to tighten the knot in a basket. The basket is held by another hand. FIG. 22. THE KNOT READY TO BE PULLED UP TIGHT. PROCESSES 11 FIG. 23. STARTING TO BUILD UP THE SIDE OF THE BASKET. FIG. 24. BUILDING UP THE SIDE OF THE BASKET. 12 INEXPENSIVE BASKETRY BUILDING UP THE SIDES. To secure a good, smooth, even shape to the sides, practice and care are necessary. If the outline is not shaping up in just the desired way, if it is too large or too small, it will be necessary to tear down the few coils that are wrong and then correct to the desired shape. To try to correct it by forcing it into shape without rebuilding the coils that are wrong will result in a badly shaped basket. A woven basket with handles. FIG. 25. COMPLETED BASKET. When handles are needed they must be spliced in where desired when the basket is being built up. They should stand any amount of hard pulling. If great care is not taken they will in time pull out. They must be so well spliced that only by tearing out the coils of the basket will it be possible to loosen them. For the large baskets a rope or heavy cord woven in with the rush running completely around the basket is sometimes desirable. PROCESSES 33 A collection of woven baskets and containers, including a large cylindrical basket, several oval-shaped baskets, and smaller circular baskets. The baskets vary in size and shape, with some having a textured surface. The 26th. PRODUCTS FOR THE GRADES: TABLE BASKET, SERVING TRAY, COLLAR BOWL, WORK BASKET, WASTE BASKET, ETC. 34 INEXPENSIVE BISKETRY FIG. 27. OFFICE WASTE BASKETS. FRANCESSES When the basket is built up to the desired height simply let the rush run out without entering any new strands, and the top will be finished level. It is well to reinforce the top with a double stitch. This is made by running an extra circle of stitches all the way around, backwards. Fig. 29. PART OF WORK OF ONE SCHOOL, THIRD TO SIXTH YEAR. that is in the direction opposite to that in which the basket was stitched up. This double stitch can be seen clearly in Fig. 25. The last end of the thread is fastened by simply running the thread back in and out again several times close to where the last stitch was taken. This makes a very secure tie. The polishing is the rubbing in with a stiff brush of one or two coats of ordinary varnish. Altho this is not necessary it is very desirable because it increases the strength and serviceability as well as greatly enhances the appearance of the basket. III. OUTLINE. COLLED BASKET WORK. I. Problem for grades. Third Grade. 1. Table Mat. Fig. 26. 2. Tray for carrying glasses. Fig. 26. Fourth Grade. 1. Work Basket. Fig. 26. 2. Collar Basket or Box with lid. Fig. 26. 3. Nut Holder. Fig. 26. (Supplementary.) 4. Fruit Tray. Fig. 26. (Supplementary.) 5. Serving Tray. Fig. 26. Fifth Grade. 1. Trash Basket. Figs. 26, 27. 2. Collar Box. Fig. 26. 3. Jardiniere. Fig. 26. (Supplementary.) 4. Paper Basket for desk. Fig. 26. (Supple- mentary.) Sixth Grade. 1. Laundry Hamper for soiled clothes. Fig. 25. 2. Trinket or Jewelry Basket. Fig. 26. (Sup- plementary.) 3. Collar Box, Fig. 26. (Supplementary.) 4. Lunch Basket, Fig. 25. (Supplementary.) 5. Hanging Flower Basket. (Supplementary.) II. Sizes of Problems. 1. Clothes Hamper or Laundry Basket, 18"x20" diam., 24"x20" high—large coil. 2. Work Basket, 9"x10" diam., 3"x13" high—medium coil. 3. Fruit Tray, 10"x12" diam., 10"x high—medium coil. 4. Trash or Waste-Paper Basket, 10"x11" diam., 12"x13" high—medium coil. 5. Serving Tray, 14"x15" diam., 1"x13" high—medium coil. 6. Desk Basket, 8"x9" diam., 5"x6" high—medium coil. 7. Table Mat, 6"x12" diam.—fine coil. 8. Tray for carrying glasses, 6"x7" diam., 1"x13" high—fine coil. 9. Trinket or Jewelry Basket, 5"x6" diam., 21"x3" high—fine coil. 14 OUTLINE 10. Collar Box with lid, 6"×7" diam., 3"×4" high—fine coil. 11. Lunch Basket with lid, 7"×8" diam., 4"×5" high—fine coil. 12. Collection Basket, 7"×8" diam., 2"×2" high—fine coil. III. Sizes of details and materials. 1. Space between stitches. About 1" space between stitches with large coil. About 3/4" space between stitches with medium coil. About 3/8" or 1/2" space between stitches with fine coil. The size of the coil will regulate the space between the stitches. 2. Coils. Large coils about 3/4" or 3/4" diameter. Medium coils about 3/8" or 1/2" diameter. Fine coils about 1/4" or 1/4" diameter. 3. Materials. Use binding cane or material of similar strength with large coils. Use medium narrow cane or material of similar strength with medium coil. Use superfine cane or silkatine with fine coils. IV. REFERENCES. EDUCATIONAL VALUES OF MANUAL TRAINING. Adler, Felix: Educational Value of Manual Training in Public Schools. New England Catholic, October, 1907, Vol. IX, pp. 365-368. Secretary. Bagley, Wm. C.: Educational Values. MacMillan Co., N.Y., 1911, 267, p. $14.00. A discussion of the values of the several subjects of the curriculum. Baltsiv, Wm. A.: Industrial-Social Education. Allen Bradley Co., Springfield, 1903, 147 p. $1.50. Balthz, T. W.: The Value of Manual Training in the United States. Manual Training Magazine, October, 1907, Vol. IX, pp. 10-22. Berry, T. W.: Pedagogy of Educational Handicraft. Blackie & Son, Ltd. 1909. Binns, Chan S., and Rufus E. Marland: Principles of Educational Woodwork. E. P. Dutton & Co., New York, 1906, 316 p. Discussion of motor training, interest and attention. Bolton, F. E.: Principles of Education. Scribners, N. Y., 1910. Ch. 21 on Motor Expression. Boon, V.C.: The Psychology of Skill. University of Montana Publications in Psychology, Vol. I, Dec. 1908, 188 p. Booth, E. R.: Philosophy of Manual Training. J. E. A. Proceedings, 1935, pp. 73-74. Brown, J. S.: The Function of Manual Training. School Journal, July 6, 1907. A discussion of the value of manual training to the child. Brown, G. P.: The Educational Value of Manual Training. Proceedings of Dept's of Education for the Year Ending June 30th, 1895 And In C.S. Bureau of Education Circular of Information, No. 2, 1899. Bryan, Wm. L.: The Development of Voluntary Motor Ability. Amer.Journal of Psychology, Vol. XV, pp. 253-264. Burk, Frederick: The Relation of Activity to Accesory in the Development of the Nervous System and of Movements. Pedagogical Seminary, Vol VI, pp. 2-44. Chambers, W.G.: The Significance of Motor Activity in Primary Education. Jour., ed.Pol., Vol.XVIIlI, pp. 166-84. Chanelier, W.E.: A Theory on Motives, Ideals and Values in Education. Houghnion, Mifflin & C.S., N.Y., 1907. Clark, M.A.: The Importance of Manual Training in the Public Schools. Proceeding Eastern Manual Training Ass'n., 1905. A discussion of social oc-cupation as a basis of the course of study. Cravshaw, F.D.: Manual Arts for Vocational Ends. Manual Arts Press, Peoria, Ill., 1908. Cravshaw, F.D.: Practical and Educational Manual Training in the Public Schools. Manual Training Magazine, Jan., 1906, Vol. 7, pp. 90-92. Currie, Hensley: Pedagogical Seminary, 1893-94 pp. 45-453.. An extensive discussion on the activity and development of motor areas of the brain during childhood. 38 **REFERENCES** 39 Davenport, Eugene: Education for Efficiency. $1.00. De Garmo: Interest and Education. MacMillan, N. Y., 1905. Ch. VI, on Motor Training. Dewey: The Child and the Curriculum. University of Chicago Press, 1902. 46 n. Dewey, John: School and Society. University of Chicago Press. 1900. $1.00. Dewey, John: Place of Manual Training in the Elementary School. *Manual Training*, Vol. I, No. 1, pp. 1-8. Dewey & Rumson: Elementary School Record. (Nine monographs). University of Chicago Press. Paper $1.25, cloth $1.75. Out of print. Dewey, Ed. G.: The Survival of the Fittest in Manual Training. *Educ. Rev.*, Vol. XXIII, No. 3, pp. 31-91. Donaldson: Growth of the Brain. Ch. XVII. Scribners Sons. $1.30. Dopp, Katherine E.: The Place of Industries in the Elementary School. Univer- sity of Chicago Press. Paper $1.25, cloth $1.75. Ely, Frederick: Value of Manual Training in Education. *Education*, Vol. XVIII, pp. 491-495. Firth, Arthur A.: Sweeping Shod. *Manual Training Magazine*, Vol. 5, Apr. and July, 1897; and *The Light* of modern educational theory. Fleming, David: The Educational Value of Manual Training. *Manual Training* Magazine, October, 1894; Vol. 12, pp. 1-8. Hall, G.: Stadley: Adolescence. Vol. I. Ch. III, on Growth of Motor Power and Function. D. Appleton Co., N.Y., 2 Vol. $7.50. Hall, G.: Stankey: Some Criticisms of Manual Training and Physics with Sup- ported Examples on Manual Training Magazine, July, 1893; Vol. 3, pp. 139- 200. Halleck, R.P.: Education of the Central Nervous System. MacMillan Co., N.Y., 1897; Vol XI on Manual Training. Hauser, J.: Art Instruction in the United States. $5.00. Hauser, J.: P.T.: Twenty-one Years of Manual Training. *Manual Training Maga- zine*, Vol XII, Feb., 1941; pp. 6-7. Hauser, J.: P.T.: The Art Teacher's Statement of Ideals. *Report of Eastern Art Teachers' Assn.*, 1904-65, and Education, Nov., 1905. Hauser, J.: P.T.: The Relation of the Manual Arts to the Curriculum. *Yearbook of Connecticut Teachers' Assn.*, 1906-7. Harris, W.T.: Intellectual Values in Toolwork. N.E.A., Proc., 1899; pp. 92-94. Harris, W.T.: T.L.: The Psychology of Manual Training. Proceedings, Dept. of Superintendence, A.E.I., 1889; and U.S Bureau of Education, 1889; Cir- culations of the Department. Henderson, C.H.: Philosophy of Manual Training. *Proc.* Sci., Mon., 1893; Vol. 53; pp. 345-59; 722-83; and Vol 46; pp. 48-62; and 799-814. Henderson, C.H.: Spirit of Manual Training. *Proc.* Sci., Mon., 1893; Vol. 35; pp. 437-47. Judd, Chan H.: A Typical Form of Manual Development. *Jour.* of Ped., Vol. XVII; pp. 297-304. Judah, Chan H.: Sensory and Motor Training. *Teachers' Monographs*, N.Y., Oct., 1893; Vol I; No. 4; pp. 104-9. A page from a book titled "References" with a page number "39". 40 INEXPENSIVE BISKETRY Kent, E. B.: Constructive Interest of Children. Pub. by Teachers College, Colum- bia Uni., New York, 1907. 78 p. See also Yearbook of Council of Superinten- ders of Municipal Arts. Kenyon, W. J.: Manual Training. Education, Vol. 25, pp. 45-80. Kenyon, W. J.: The Development of Manual Training. Reprint from the School Journal, Mar. 21, 26, and Apr. 4, 1903. Kirpatrick, E. A.: The Individual in the Making. Houghton, Mifflin & Co., Boston, 1903. Koepelink, P.: Manual Training and Brain Work. Nineteenth Cent., 1910. Vol. 27, pp. 456-7. Larsson, Gustav: School in America. Manual Training Teacher, Mar., 1907. A discussion of the aim and value of school. Larsson, Gustav: Development of the Individuality of the Child through School. Proceedings, Eastern Manual Training I.a.n., 1902. McMurray, C. H.: The Child may be Educated to the Value of Manual Train- ing. Proceedings, N.E.A., 1903. Murphy, Jas. P.: The Educational Bearings of Manual Training. Proceedings, Eastern Manual Training I.a.n., 1903. O'Shea, M.V.: The Nature of Learning in the Primary Grades. ManuMills, N.Y., N.Y., 1906. Chs. 4-5 on Manual Activities. Payne, B. R.: Is Mind Training as new today? Educator's School Rev., May, 1906. A new prose method formula in manual training. Payne, B. R.: How much training may be made Educative. School Rev., June, 1906. Pearson, H.C.: Fundamental Principles of Manual Training in the Primary Grades. Proceedings, Eastern Manual Training I.a.n., 1903. Piggott, H.L: Manual Training and Mental Development. Manual Training Teacher, Dec., 1906. Richardson, A.W.: The Thought Side of Manual Training. Manual Training Revue, Vol. 3, pp. 67-79; Jan., 1902. Richardson, A.W.: From the Practical to the Intellectual in the School. Proceeding, N.E.A., 1902. Richardson, A.W.: The Function of Handwork in the School. Teachers College Record, Nov., 1900, pp. 1-14; 30c Richardson, C.R.: Manual Training a Subject or a Method of Instruction. Edn. Rev., Vol. XXIVII.pps. 369-74; 1904 Salmon, Uton: The Theory of Educational Silver. Silver Burdett Co., Boston, $1.25$ Shinn, V.L: Experiential Aspects of the Municipal Arts. Yearbook of Council of Superintendents of Municipal Arts, 1906; pp. 28-35; see also Yearbook of Council of Superintendents of Municipal Arts for 1908; see also Yearbook of Council of Superintendents of Municipal Arts for 1910; see also Yearbook of Council of Superintendents of Municipal Arts for 1912; see also Yearbook of Council of Superintendents of Municipal Arts for 1914; see also Yearbook of Council of Superintendents of Municipal Arts for 1916; see also Yearbook of Council of Superintendents of Municipal Arts for 1920; see also Yearbook of Council of Superintendents of Municipal Arts for 1922; see also Yearbook of Council of Superintendents of Municipal Arts for 1924; see also Yearbook of Council of Superintendents of Municipal Arts for 1926; see also Yearbook of Council of Superintendents of Municipal Arts for 1928; see also Yearbook of Council of Superintendents of Municipal Arts for 1930; see also Yearbook of Council of Superintendents of Municipal Arts for 1932; see also Yearbook of Council of Superintendents of Municipal Arts for 1934; see also Yearbook of Council of Superintendents of Municipal Arts for 1936; see also Yearbook of Council of Superintendents of Municipal Arts for 1938; see also Yearbook of Council of Superintendents of Municipal Arts for 1940; see also Yearbook of Council of Superintendents of Municipal Arts for 1942; see also Yearbook of Council of Superintendents of Municipal Arts for 1944; see also Yearbook of Council of Superintendents of Municipal Arts for 1946; see also Yearbook of Council of Superintendents of Municipal Arts for 1948; see also Yearbook of Council of Superintendents of Municipal Arts for 1950; see also Yearbook of Council of Superintendents V. BIBLIOGRAPHY. BASKETRY. Andes, Louis Edgar, Praktische Handbuch für Karikblücher, 1857. (Harr- leben's Chemisch-technische Bibliothek.) Austin, M. Basket-Maker. Atlas, 91-2314, Feb., Vol. Barber, Harriette E., Basketry, Educational Book Monthly, 1-304-16, April '99. Barrett, Samuel H., The Basketry of the Pomo. Berkeley, The University Press, 1906. (University of California publications in American archaeology and ethnology, Vol. 7, No. 2.) Basketry and the Tree Basket. [Journal of the Basket Fraternity, for lovers of Indian baskets and other good things; G. W. James, editor.] Pasadena, California: Vols. 1, 2; Jan., '01--Oct., '04. Beard, A. B., How to Weave a Split Basket. Woman's Home Companion, 11:36. 44. --- May Basket. Good Housekeeping, 8-15-69, May, '09. Boas, Franz, The Decorative Arts of the Indians of the North Pacific Coast. Bulletin, American Museum of Natural History, Vol. IX, Part X, '1937. Brigham, Leonard C., Baskets of Black Cat Smokings. Ladder Stone Journal, 27:31, Aug., '16. Brigham, William T., Man and Basket weaving of the Ancient Hawaiian Denshers of Kauai Island. The Basket and the Other Pacific Islanders. Honolulu, Bishop Museum Press, 1906: $3.00. Brown, C. S., Art of Indian Basketry. Catholic World, 83-52-39, Oct., '94. Buchman, J. M., Indian Basket Work About Puget Sound. Overland, n.s., 3: 51-806-11, May '04. Carpenter, Helen M., How Indian Baskets are Made. Casuallatina, 29:63; '40s. Chambersley, Arthur Henry and Ella V. Dobbins, Jane Langley, H. D. Cas- heday, Basketry, Clay, and Paper Weaving for the Elementary Grades. San Fran- cisco, Whittaker & Ray, 1905: $0.50. Cheesman's Basketry Designs by Indians of Mendocino County, California, U. S. National Herbarium, 1902. Connor, J. T., Basket Weaver of San Fernando. Overland, n.s., 31:28-31, Jan., '98. Dixon, Roland Barrage, Basketry Designs of the Indians of Northern Cali- fornia. Bulletin American Museum of Natural History, Vol. XVII, Part I, pp. 1-12, 1902. The Shasta. Bulletin American Museum of Natural History, Vol. XVIIT Part V., '907. 41 42 # INEXPENSIVE BASKETRY **The Northern Maidu.** Bulletin, American Museum of Natural History, Vol. XVIII, Part III, 1905. *Doorey, George A., Indians of the Southwestern.* Published by the A. T. & S. F. R. R., 1903. Emmons, G. T., Backery of the Tiitgek. Memoriee, American Museum of Natural History, Vol. XXVII, No. 1, 1906. Eppendorf, Lina, Handicraft Construction. Brooklyn, N. Y., 1908, $1.30$. Farrand, Livingston, Basketry Designs of the Salish Indians. Memoriee, American Museum of Natural History, Vol. II, Part V, 1906. Firth, Frank, Come Basket Work. London, U. U. Gill, 1901; $5.00$. Scribner's, $8$.00. Schroeder, P. E., Life and Culture of the Hapa. University of California Publications, Vol. I, No. I, 1905-96. Coulton, J. W., Indian Basketry as Decoration. Harper's Bazaar, 35-46-71, Sept., '01. Hasheek, Paul N., Basket Work of the Kiitsi. London: Cassell, 1902; $6.30$. Haywood, Emma, Basket Work. Harper's Magazine for Women and Girls; September, 1907. Henderson, J. W., The Art of Modern Basketry. Calcutta: Macmillan & Co., 1907; $24-27-4$, Sept., 1907. Holton & Bollois, Industrial Work for Public Schools. Rand, McNally & Co., Chicago; $3$.00. James, George Wharneon, Indian Basketry, and How to Make Indian and Other Basketry. New York: Henry Maikun, 1902; $2$.50. Indian Basketry. Ossining; 36-177-36; May, '01. How to Make Indian and Other Basketry. New York: H. Maikun; $1$.00. Indian Basketry in House Decoration... Chautauqua; 35-59-24; Sept., '01. Indian Basketery--Its Poetry and Symbolism. N. E. A., Journal of Proceedings and Addresses; 1905; pp. 644; 5. American Indian Basket Work.. International Studio; 29-34-46; Aug., '03; October '03. The Indians of the Painted Desert Region. Boston: Little, Brown & Co.; '03. Johnson, Eleanor H., Basketry in Mexico.. Ossining; 54-214-20; Nov., '08. Kisel', Mary Lois, System of Basketry Technical Science; 58-92-34; Dec., '24; v9. American Indian Basket Work.. Science; n.s.; 25-28; May '24; '78'. Knapp, Elizabeth M., Cotton and Raphia and Reed Weaving.. Springdale, Mass.; Milton Bradley, 1901; $6$.30. Kreberd, Alfred Lewis, Basket Designs of the Indians of Northwestern California.. Berkeley: University Press; 1905. University of California publications in American Archaeology and Ethnography.. Ethnography of the Cakchilla Indians.. University of California Publications in Anthropology.. Lanter, Lucy W., Come Cropping for Children.. New York: Pitman and Sons; 1908 BIBLIOGRAPHY 43 MacDowell, E. W., Alaskan Indian Basketry. Alaskan Steamship Co., Seatle, 1906. Mason, Cyrus T., Basket Work of the North American Aborigines. Washing- ton, Smithsonian Institute, 1853, 1854, 1890. --- Types of American Indian Basketry. Scientific American, 45:57-58, July 28, 10. Malay and Filipino Basketry. Science, n.s., 24:279-70, Dec. 10, 06. Directions for Collectors of American Basketry. Bulletin, American Museum of Natural History, No. XXXIX, Part I. Indian Basketry Studies in a Textile Art Without Machinery. New York, Doubleday, Page & Co., 1904, 2 vols. --- Adjuvant to the Study of Basketry. Science, n.s., 27:350-51, Feb. 28, '03. Jayaw Gila (Mad Waru') : A Malaysian Type of Basket Work. U. S. National Museum, 1909. McKeehan, William H., Arts and Crafts Illustrated in the National Museum Collection. International Studio, 35: sup., 61-63, Aug., 02. Morey, Mrs. T. Vermont, Basket Making. Chicago, Art Craft Institute, '02. Navajo School of Indian Basketry. Indian Basket Weavering. Los Angeles, Whed- on & Co., '02. Nevron, B. E., Some Pretty May Baskets. Ladies' Home Journal, 27:31, May, 10. Ismail, Katharine, Basketry and Weaving in the School. Chicago, A. Flannan, 1904, $0.25. Pepper, George H., The Ancient Basket Makers of Southeastern Utah. Bulletin American Museum of Natural History, suppl. Vol. II, No. IV, April, 1902. Pendleton, J. C., The Art of the Pima Indians. Purdy, Carl, Pima Indian Basketry and Their Makers. Los Angeles, '92. Riley, Mary L., Basketry Among the Indians. Era, 12:391-403, Nov. '03. Stott, Walter H., The Art of the Pueblo Indians in their Basketry. Woman's Age, and N.Y.-Circus. Queensland, Home Secretary's Dept., '98. Sanford, Frank G., Art Crafts for Beginners. Containing chapter on "Ban- ketry," 1904, $0.25. Seguinot-Wilhelmson, Clever Basketry for Summer Work. Ladies' Home Journal, 22:29; Aug., '05. Shulze, Mary A., Reed and Raffia Construction Work in Primary Schools. American Knowledge Series; New York: The Macmillan Co., '98. Steinberg-Martha W., A School Without Books. Review & Herald Pub. Co., Battle Creek, Mich. Stickley, G.A., The Willow Baskets That Show the True Spirit of Handicraft. Cottamian, 1:25; May,'06. Swannell,M., Coil'd Basketry. London; G. Philip & Son; '09; $1.00. Tinsley,Mrs.Rauna Lollins,Praecial and Artistic Basketry.New York, Kellogg; 1914; $1.00. Turner,Louber W., The Basket Maker.Worcester,Mass.; Davis Press, 1909; $0.50 44 **INEXPENSIVE BASKETRY** Walker, Louise, *Farmed Occupations in Weaving*. New York, MacMillan, 1895, $1.00. Walker, M. Louise, *Lesson in Basket-Making*. *Ladies' Home Journal*, 20:25, Aug., '03. White, Mary, *How to Make Baskets*. New York, Doubleday, Page & Co., 1901, $1.00. ---. *More Baskets and How to Make Them*. New York, Doubleday, Page & Co., 1901, $1.00. Baskets at Home. London, C. A. Pearson, 1903, $8.50. Wooden and Willow Ware Trade Review. Devoted to wodeware, wood-working, rattan, reed and willow-ware, baskets, brooms and broom-corn, etc. New York, Cordage Trade Journal, semi-monthly. Woods, L. R. S., *How Indian Baskets are Made*. Delineator, 63:1050-52, Feb., '04. Worre, Edward F., (assisted by Harriette Barber and Mariana Seymour), *Constructive Work*: Its Relation to Number, Literature, History, and Nature Work. Chicago, A. W. Mumford, 1905, $1.00. **MANUAL TRAINING REPRINTS** The persistent demand for certain numbers of the **MANUAL TRAINING MAGAZINE** has made it evident to the publishers that some of the articles in these numbers ought to be reprinted and sold at such a price as will enable teachers to purchase them in quantities for use in their classes. Moreover, it is believed that many of the articles which have appeared in the Magazine, and which are of special value, ought to be reprinted soon after they appear in the Magazine. To supply this evidence, series of the Manual Training Reprints are being issued at irregular intervals. Two series of these reprints have been planned, as follows: Series A—Illustrated articles of special practical value for class use. Series B—Discussions having special permanent value, or such as supply selected data to directors of manual training and to students preparing to become teachers. **REPRINTS NOW READY FOR DISTRIBUTION.** **SERIES A.** No. 1. The Construction and Flying of Kites. By C. M. Miller, Assistant Supervisor of Manual Training, Los Angeles, California. Price 20 cents. No. 2. Coping Saw Work. By Ben W. Johnson, Supervisor of Manual Training, Seattle, Washington. Price 20 cents. No. 3. Selected Shop Problems. By George A. Seaton, Director of Manual Training, Shaw High School, Cleveland, Ohio. Price 20 cents. No. 4. Inexpensive Basketry. By William S. Maries, Department of Manual Arts, High School, San Jose, California. Price 25 cents. 45 Books on the Manual Arts CLAY WORK. By Katherine M. Lester. This book was written by a grade teacher and not worker to help teachers in preparing their pupils for work in the shop. It contains a series of lessons covering the teaching of the several types of clay work suited to pupils in the elementary school. The illustrations show how to make a number of articles of every kind, and the named, named forms, story illustration, architectural ornament, tiles, utensils, etc., are given in detail. The book is illustrated with more than fifty half-tone and line cuts showing processes, designs, and the work of children from ten to twelve years of age. Price, $2.00. HANDICRAFT FOR GIRLS. By Isabelle McGlaflin. A book for girls who have no opportunity for girls in the public schools. Chapters on stiches, fibers and fabrics, cloth and cardboard construction, hookery, dress in its relation to art, etc., have been furnished by well known artists and illustrators. The book is illustrated with many full page and line cuts showing the varied conditions in rural, village or city schools. Price, $1.50. COPING SAW WORK. By Ben. W. Johnson Contains instructions for making a coping saw and a course of work in thin wood that is full of fun for the children, and affords ample means for training in form study, construction, invention and careful work. Has been called "coping saw work" because it is so interesting. SELECTED SHOP PROBLEMS. By George A. Seaton. A collection of sixteen problems in woodworking mainly to meet the needs of boys and girls in the public schools. Each problem has been put in the test and has proven satisfactory to the teacher who designed it and to the pupil who made it. Price, 20 cents. MANUAL TRAINING TOYS. By Harris W. Moore. A practical manual for teachers of manual training which contains forty pages and thirty-five full-page plates of working drawings illustrating art projects. All of the projects are overhanging with "boy" interest, are well adapted to the junior grades and are suitable for use in the home workshop. The text treats of tools and tool processes and gives instructions for making each project described in the plates. THE CONSTRUCTION AND FLYING OF KITES. By Charles M. Miller. This book contains seventy full-page plates of drawings of kites and fifteen figures representing kite flying devices. It is intended to illustrate and describe a kite tournament. Full of interesting suggestions. Price, 20 cents. BEGINNING WOODWORK, At Home and in School. By Clinton S. Van Deusen. A full text book on woodworking including practical processes of elementary benchwork in wood. This description is given through directions for making a few simple benchwork articles suitable either for school or home problem. The book contains twenty-four one hundred sixty-page sketches and two working drawings. Price, $1.00. *Please see the Manual Arts*, a descriptive catalog listing and describing all the standard books, and the text of the recent publications, free on request. The Manual Arts Press, Peoria, Ill. [API_EMPTY_RESPONSE] A brown background with some small dark spots.