A circular emblem with a stylized design, possibly resembling a sun or a wheel, in the center, surrounded by a border of smaller circles. --- THE BASKETRY BOOK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . White background with no visible content. A collection of woven baskets, including a large cylindrical basket at the top, a smaller round basket in the middle, and two rectangular baskets with decorative patterns at the bottom. UNIV OF CALIFORNIA VARIETY OF BASKETS SHOWING WHAT CAN BE MADE WITH REED THE BASKETRY BOOK TWELVE LESSONS IN REED WEAVING BY MARY MILES BLANCHARD MASTER CRAFTSMAN OF REED BASKETRY UNIV. OF CALIFORNIA NEW YORK CHARLES SCRIBNER'S SONS 1914 TS910 85 Corrages, 1914, by CHARLES SCRIBNER'S SONS Published November, 1914 TO VINU AMPORTIACO A circular stamp with a shield design and the text "C. SCRIBNER'S SONS" around the edge. CONTENTS INTRODUCTION XI CHAPTER I MATERIALS, TOOLS, PREPARATION 3 CHAPTER II FUNDAMENTAL WEAVES 6 CHAPTER III BASE 16 CHAPTER IV WORK-BASKETS. (MODELS 1, 2, AND 3) 21 CHAPTER V BASKETS WITH SIMPLE HANDLES. (MODELS 4, 5, 6, AND 7) 29 304771 vi CONTENTS CHAPTER VI LILY-SHAPE FLOWER BASKETS WITH HANDLES. (MODEL 8) . . . . . . . . . . . . . . . . . . . . . 36 (DEMONSTRATING VARIATIONS OF A MODEL BY DIFFERENT WEAVES) CHAPTER VII FLOWER BASKETS. (MODELS 9, 10, 11, AND 12) . . . . . . . . . . . . . . . . . . . . . 48 (DEMONSTRATING VARIATIONS OF A MODEL BY DIFFERENT MEASUREMENTS) CHAPTER VIII CANDY BASKETS WITH AND WITHOUT LIDS. (MODELS 13, 14, 15, AND 15°) . . . . . 55 CHAPTER IX INDIAN CENTRES . . . . . . . . . 62 VIOLET BOWL. (MODEL 16) . . . 68 TABLE JARDINIERES. (MODEL 17) 69 CHAPTER X SCRAP BASKETS. (MODEL 18) 72 CONTENTS vii CHAPTER XI SCRAP BASKETS. (MODELS 19 AND 20) . . . . . . . . . . . . . . . . . . 79 CHAPTER XII OVAL BASE . . . . . . . . . . . . . . . . . . . . . . . . . . 84 OVAL BASKETS. (MODELS 21 AND 22) . . . . . . . . . . 87 CHAPTER XIII CULLING-FLOWER BASKETS. (MODEL 23) . . . . . . 90 LARGE GATHERING BASKET. (MODEL 24) . . . 92 CHAPTER XIV TABLE OF WEAVES. . . . . . . . . . 94 TABLE OF COILS. . . . . 97 SCALE OF MEASUREMENTS FOR MODELS GIVEN IN THE TWELVE LESSONS. 98 TABLE OF BORDERS. 99 CHAPTER XV ANSWERS TO QUESTIONS. 101 1 ILLUSTRATIONS Variety of Baskets Showing what Can Be Made with Reed Frontispiece Figure I. Tools 4 Figure II. "Weaver" 10 Figure III. Four-Spoked Base 18 Figure IV. Base 20 Figure V, Model 1 22 Figure VI, Models 4 and 5 30 Figure VII, Models 6 and 7 34 Figure VIII, Model 8 38 Diagram No. o. Base with Thirteen Spokes page 37 Diagrams No. 1 and No. 2 42 Diagrams No. 3 and No. 4 43 Diagrams No. 5 and No. 6 44 Diagrams No. 7 and No. 8 45 Diagrams No. 9 and No. 10, Handle-Bar 46 Figure IX, Models 9, to, II, and III 50 Diagram No. II. Inserting Split Handle-Bars page 50 Diagram No. II. Winding a Split Handle 52 Figure X, Models 13, 14, 15, and $15^{\circ}$ ix X ILLUSTRATIONS Diagram No. 13, No. 14, No. 15 Diagram No. 16. Indian Centre No. 1. Sixteen Spokes Diagram No. 17. Indian Centre No. 2. Sixteen and one half Spokes Diagram No. 18. Indian Centre No. 3. Sixteen Spokes Diagram No. 19. Indian Centre No. 4. Twenty-four Spokes Diagram No. 20. Figure XI, Models 16 and 17 Diagram No. 21. Correct and Incorrect Base Spokes page Diagram No. 22. Correct Side Spokes Diagram No. 23. Correct and Incorrect Side Spokes Figure XII, Model 18. Scrap Basket Figure XIII, Models 19 and 20 Diagram No. 24. Diagram No. 25. Winding of Intersection of Needles and Threads in an Oval Base Diagram No. 26. Right Side of an Oval Base Diagram No. 27. Under Side of an Oval Base Diagram No. 28. Separating Spokes in an Oval Base page Figure XIV, Models 21 and 22 Figure XV, Models 23 and 24. PAGES PAGE 60 64 64 65 65 67 68 73 74 74 76 80 84 85 86 86 86 88 92 INTRODUCTION BASKETRY is one of the most ancient of crafts and probably the origin of all the textile arts of the world. The process of interweaving twigs, seeds, or leaves is practised among the rudest nations of the world; and as it is one of the most universal of arts, so also does it rank among the most ancient industries. Authorities on the subject declare that there has never been a tribe in any part of the world that has not employed some mode of making baskets, and that all the weaves in use at the present day have their origin in baskets made by our savage ancestors. A craft of such antiquity is naturally of surpassing interest. The ancient Britons appear to have excelled in the art of basket making, and the shields of the ancient warriors and also their huts were made of wicker-work; and their boats of the same material, covered with skins of animals, attracted the notice of the Romans. Herodotus mentions boats of this kind on the Tigris and Euphrates. Among many uncivilized tribes of the present day baskets of a superior order are made and applied to various useful purposes. xi xii INTRODUCTION The North American Indians prepare strong, water-tight baskets from roots. The Indians of South America weave baskets equally useful from fronds of their native palms, while the Hottentots of South Africa are as skilful in using reeds and the roots of plants, and display great adroitness in the art of basket weaving. The Chinese and the Japanese excel in the appli- cation of bamboo in the weaving of baskets and the making of furniture, and their products are of un- equalled beauty and finish. In England and America the value of manual training is being recognized, and basketry is taking an important place. The art has proved itself ca- pable of immense development. New shapes as well as new designs in weaving are constantly suggesting themselves, and the most advanced teachers find that there is a great deal in the craft yet to be learned. A thorough and steady training of twelve months is necessary to become proficient, and three years to acquire sufficient accuracy and speed (training the eye for shaping and the hand for regular and even weaving) to be able to fill correctly orders for special designs, and to reproduce models from specified measurements. George Wharton James has given us the thought that each basket has a significance in shape, design, and color all its own, and suggests that in our work INTRODUCTION xiii we follow the Indian idea of making the basket the exponent of something within ourselves; then the shape, design, and colors will all mean something more to us than what merely shows on the outside. Train yourselves to imitate in form the simple things, and find your true inspiration in nature. To be proficient in this task one must be persevering, accurate, neat, and capable of making the hand obey the mind. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . THE BASKETRY BOOK . UNIV OF CALIFORNIA CHAPTER I MATERIALS, TOOLS, PREPARATION 1. MATERIALS. Rattan, imported from the East Indies, is used exclusively in the making of reed baskets. It comes to us from the manufacturer in round or flat strips of various sizes, ranging from No. 00 to No. 75, the former being the finest and also the most expensive reed. The reed can be purchased at basket factories in most of our large cities, or from retail dealers, in bales weighing from one pound to one hundred pounds. It is advisable to buy not less than five pounds of each required number and increase accordingly. The different sizes can be procured from the following addresses: The American Rattan & Reed Mfg. Co., Norman and Kingsland Avenues, Brooklyn, N. Y. The New England Reed Company, 9 to 17 Green Street, Boston, Mass. 2. TOOLS. (1) Sloyd knife or penknife. (2) Side cutters or pliers. (3) Pincers. (4) Winding awl. (5) Awl. (See Fig. III.) (6) Tape measure. 3 THE BASKETRY BOOK (7) Foot rule. (8) Pencil. (9) Good-sized tin dish pan. (to) Rubber finger-guards (when the skin becomes tender). 3. WINDING AWL. This tool cannot be purchased in hardware stores, but a machinist can make it by taking an awl, a trifle smaller than an ordinary lead-pencil, flattening the end (as in Fig. I) and curving this end slightly upward. This instrument will be found invaluable in saving wear and tear on the hands, and in curving a weaver close to a spoke, where it is impossible to use the fingers. 4. PREPARATION. The reed is received from the manufacturer in long skeins and must be drawn out one reed at a time from the loop end. The heavier material, which is to form the ribs or spokes of the basket, should be cut into lengths of the required number of inches, while the smaller reed, or "weavers," should be wound into circles about a foot in diameter, the ends being twisted in and out several times to prevent unwinding. The reed must lie in tepid water for ten minutes before using it. When pliable, pour the water off and use the reed while it is still moist; when dry, cut while using, place in water again, but reed that lies in water too long become brittle. The spokes, which have already been cut to the required length, should be placed in any vessel that will take their UNIV. OF CALIFORNIA 4 3 2 1 FIGURE I. A. Small cutting pliers. B. Pincers. C. Wire cutters. 1. Small Lobster pincers. UNIV. OF CALIFORNIA MATERIALS, TOOLS, PREPARATION 5 length without bending and allowed to soak five minutes before using. 5. DEFINITIONS. "Spokes." The reeds which form the framework, viz.: ribs of the base or sides of the basket. (a) Base Spokes. Spoke used in the base. (b) Side Spokes. Spokes used in the sides of a basket. (c) Initial Spoke. The spoke behind which the first weaver is placed. (d) For convenience the spokes to the left of the initial spoke will be termed $X$, $Y$, $Z$; the initial spoke No. 1 and the spokes to the right of this spoke No. 2 and No. 3. (e) "Weavers." The reed or reeds woven over and under the spokes. These must necessarily be smaller in size than the spokes. (f) The weavers will be designated by the same terms as the spokes behind which they start, viz.: Weaver starting behind the initial spoke is weaver No. 1. (g) "Strokes" is the distance a weaver is carried in one movement, either in front or back of the spokes. CHAPTER II FUNDAMENTAL WEAVES 6. The eight fundamental weaves (Fig. II) will be developed in the lessons following, and can only be acquired by thoroughly understanding each weave as it is explained in the lesson. Make a practice of referring to this chapter, as the different weaves come into play, until each weave becomes second nature to you. (1) "Over and under." (2) "Double over and under." (3) "Japanese weave." (4) "Double Japanese." (5) "Pairing." (6) "Triple weave." (7) "Curl." (8) "Arrow." 7. GENERAL RULE. Weave from left to right. 8. OVER AND UNDER. (Fig. II, 1.) In front of one spoke and back of one. (a) One Weaver. When there is an odd number of spokes, the weave is placed behind a spoke and carried in front of the next spoke, thus alternating over and under around the basket. 6 FUNDAMENTAL WEAVES 7 (b) **Two Weavers.** When there is an even number of spokes, carry the first weaver once around the basket, stopping in front of the spoke to the left of the initial spoke, i. e., spoke $Z$ ($\geq D$). Insert a second weaver behind this spoke, or spoke $Z$, and carry it around the basket, allowing the second weaver to pass back of the spokes that the first weaver passed in front of, and in front of the spokes that the first weaver passed back of, and so continue the weave by carrying each weaver separately around the basket; keeping the first weaver always ahead of the second weaver, to prevent crossing. 9. **Double Over and Under.** (Fig. II, 2.) In front of one spoke and back of one. This weave is exactly the same as "over and under," except that two weavers are carried as one. (a) Two weavers carried twice when there is an odd number of spokes. These two weavers are placed behind the same spoke and carried in front of the next spoke, thus alternating over and under around the basket. (b) Four weavers carried as two pairs when there is an even number of spokes. Place two weavers behind the same spoke, and carry this first pair once around the basket, stopping in front of the spoke to the left of the initial spoke. Insert a second pair of weavers behind this spoke (i. e., the one to the left of the initial spoke) and carry them around the basket and so continue by carrying each pair of weavers separately around the basket; keeping the first pair of weavers always ahead of the second pair, to prevent crossing. 8 THE BASKETRY BOOK 10. JAPANESE WEAVE. (Fig. II, 3.) In front of two spokes and back of one. One Weaver. This weave cannot be used where the number of spokes is divisible by three. 11. DOUBLE JAPANESE. (Fig. II, 4.) In front of two spokes and back of one. Two weavers carried as one where the number of spokes is not divisible by three. Place the two weavers behind the same spoke and carry them as one, in front of two spokes and back of one. 12. PAIRING. (Fig. II, 5.) In front of one spoke and back of one. Two Weavers. This weave can be used on an odd or even number of spokes. Two weavers are placed behind two consecutive spokes. The weaver to the left, each time, is carried in front of one spoke and back of one, allowing it to cross on top of the weaver to the right. "Pairing" differs from "over and under" in the fact that, in pairing, the weaver to the left, or back weaver, each time crosses over the front weaver (i.e., weaver to right), while in "over and under" the weavers never cross each other. 13. TRIPLE WEAVE. (Fig. II, 6.) In front of two spokes and back of one. Three Weavers. This weave can be used on an odd or even number of spokes. Three weavers are placed behind three consecutive spokes and each weaver (beginning with the FUNDAMENTAL WEAVES 9 weaver to the left) is brought, in succession, in front of two spokes, and back of one, allowing it to cross on top of the two weavers to the right. 14. Notice the similarity between "pairing" and "triple weave." In pairing, two weavers are used, and each weaver in turn passes over one weaver, and two spokes come into play. In triple, three weavers are used, and each weaver in turn passes over two weavers, and three spokes come into play. 15. Coil. (Fig. II, 7.) A coil is one row of heavy weaving around the basket, resembling a rope twist. It is a variation of the triple weave, though four or more weavers may be used. (a) Three-Rod Coil. Three weavers: In front of two spokes and back of one. (b) Four-Rod Coil. Four weavers: In front of three spokes and back of one. (c) Five-Rod Coil. Five weavers: In front of four spokes and back of one. 16. The following rule is imperative: ALL COILS MUST BE REVERSED AND LOCKED. 17. Reversing a Coil. Example—Three-Rod Coil Three Weavers. Each weaver measuring six inches longer than the circumference of the basket. In front of two spokes and back of one. 10 THE BASKETRY BOOK In beginning a coil allow at least two inches of each weaver on the inside of the basket. The weavers are carried around the basket as in triple weave, stopping before the initial spoke. For convenience, we will mark these three spokes (to the left of the initial spoke) $X$, $Y$, $Z$, and number the initial spoke and the two to its right 1, 2, 3. At this point the weaving is to be reversed, as follows: Carry the weaver passing back of spoke $Z$ (i. e., the right-hand weaver) in front of spokes 1 and 2 and back of spoke 3. (Fig. II, 7.) The weaver back of spoke $Y$ passes in front of spokes $Z$ and 1 and back of spoke 2. (Fig. II, 7.) The weaver at $X$ passes in front of spokes $Y$ and 2 and back of spoke 1 (i. e., the initial spoke). Explanation: In this case you reverse the weaving; that is, instead of carrying the left-hand weaver, you carry the right-hand weaver, and, if the coil is completed correctly, the left-hand weaver will finish behind the initial spoke and the other two weavers behind spokes 2 and 3. (Fig. II, 7.) Notice that behind these three spokes there is the beginning of a weaver and the ending of a weaver. These three pairs must be locked. 18. LOCKING A COIL. Behind each of these three spokes we have the beginning of a weaver and the ending of a weaver, which we shall designate as "beginning weaver" and "ending weaver." With the left hand hold the "beginning weaver" back of spoke 3, inward and away from the spoke, and with the right hand draw the "ending weaver" FUNDAMENTAL WEAVES II back of the spoke 3 and under the coil to the outside of the basket, so that the two weavers lie flat, side by side. Continue the same with the two weavers at spokes 2 and 1. Trim the three weavers on the outside of the basket with a very slanting cut close to the coil; likewise the three on the inside of the basket. 19. ARROW. (Fig. II, 8.) Two rows of weaving, converging at each spoke, and composed of: (a) 2 rows of "pairing." (b) 2 rows of "three-rod coil." (c) 2 rows of "four-rod coil." Example—Three-Rod Arrow. Three Weavers. Each weaver must measure twice the circumference, as it requires two rows to complete the arrow. The first row of an "arrow" consists of a coil and must be closed but not locked. (Fig. II, 8.) In the second row each weaver, in turn, as it passes in front of the two spokes, is carried under the weavers to the right, instead of on top of them as in the first row. This causes the weavers of the second row to converge with those of the first row at each spoke. Explanation of second row: Hold the two weavers to the right, with the left hand, and draw them up and out toward you, allowing the left-hand weaver to pass in front of two spokes, under these two weav- 12 THE BASKETRY BOOK ers, and back of the third spoke and out. Continue this around the basket, always taking the left-hand weaver until you come to the initial spoke, when you complete the "arrow." This is very different from reversing a coil and must not be confused with same. Completing the "Arrow." Completing the second row of an "arrow," the first weaver ends back of the initial spoke and on the inside of the basket. (Fig. II, 8, X-1.) The second weaver to the left passes in front of two spokes, under the one remaining weaver to the right, and also under the first stroke of the second row of the arrow, ending behind spoke 2 on the inside of the basket. (Fig. II, 8, Y-2.) The third weaver passes in front of two spokes and under the two weavers which compose the first and second strokes of the second row of the arrow, and this third weaver ends behind spoke 3 on the inside of the basket. (Fig. II, 8, Z-3.) In completing the "arrow," keep in mind that the weavers are lacing with the weavers that began the second row and have nothing to do with the first row. That row was completed when the weaving was reversed. 20. RULE. (a) First weaver ends back of the initial spoke. (b) Second weaver laces under-the weaver which passes in front of spoke 2. (c) Third weaver laces under the two weavers that pass in front of spoke 3. (d) In a four-rod arrow, the fourth weaver laces under the three weavers that pass in front of spoke 4. FUNDAMENTAL WEAVES 13 21. DOUBLE WEAVING. Carrying two weavers as one, as: "double over and under," "double Japanese," "double pairing," and "double triple weave." 22. TERMS. (a) Turn of a Basket. The point where the sides of the basket leave the base. (b) Shoulder of a Basket. The turn at the top of a basket. (c) Opening of a Basket. The space included in the border of a basket. (d) Border. The finishing of a basket at the top, formed by the spokes. (e) Mending. The insertion of a new weaver to continue the weave, when the previous weaver has been terminated. (f) Mending Spoke. The spoke behind which the mending is done. 23. MENDING OVER AND UNDER. Allow the short weaver to end behind a spoke. Make a slanting cut on the weaver to the right of the spoke and lay the new weaver back of the same spoke, trimming it on the left-hand side of the spoke. 24. MENDING PAIRING. Same as mending "over and under." 25. MENDING DOUBLE OVER AND UNDER. The method is the same as in single "over and under," but always insert the new weaver below, no 14 THE BASKETRY BOOK matter whether it is the under or upper weaver that is being mended. 26. MENDING JAPANESE WEAVE. Allow the short weaver to end behind a spoke and trim the weaver on the right side of the spoke. Insert the new weaver between the weaving on the right-hand side of the spoke to the left of the mending spoke (25). Carry this new weaver back of the mending spoke, on top of the short end, and to the outside of the basket and continue the weave. Notice that the new weaver comes out just where the short one would have continued. In a model that requires very neat weaving, mend "Japanese weave" like "triple weave" (28). 27. MENDING DOUBLE JAPANESE. Mend as in single "over and under," always inserting the new weaver below, no matter whether it is the upper or under weaver that is being mended. 28. MENDING TRIPLE WEAVE. Trim the weaver to be mended about one quarter of an inch on the right side of the mending spoke (25). With the pincers, pinch this weaver on the left side of the mending spoke, and turn it down in the weaving on the left side of the mending spoke. Insert the new weaver in the weaving on the right side of the spoke to the left of the mending spoke. Pinch close to the weaving and carry the new weaver back of the mending spoke and to the outside of the basket. This process of mending "triple weave" is the neatest method and is used where FUNDAMENTAL WEAVES 15 inside of the basket is desired to be smooth; other-wise "triple weave" may be mended as in "Japanese" mending (26). 29. MENDING A COIL. Allow the short weaver to end back of a spoke. Hold it away from the spoke on the inside of the basket and insert a new weaver to the right of it, close to the mending spoke. Allow the end of the new weaver to pass to the outside of the basket in the space to the left of the mending spoke and thus lock with the short end of the old weaver, so that the two weavers lie flat, side by side. Carry the new weaver back of the mending spoke and to the out-side of the basket. A coil may also be mended as described in 28. 30. MENDING AN ARROW. The method in both rows is the same as mending a coil (29). 31. DIRECTIONS FOR MEASURING A BASKET. (a) Base. The diameter of the under-side of the base without the arrow. (b) Height. Place the basket on a table and take the perpendicular distance between the table and a rule laid across the top of the basket. (c) Opening. The diameters from border to border. (d) Greatest Diameter. The greatest distance between the sides of the basket. CHAPTER III BASE 32. As the base is the starting-point in making baskets and the most important factor, it is wise for the student to conquer this part of the weaving first. Make at least six perfect bases with the correct slope, straight spokes, and with no mistake in the weaving before attempting the sides of the basket. A base that is not correct should be ripped out, the materials resoaked and made over. 33. RULE FOR ROUND BASES. (a) The spokes must radiate from the centre, be an equidistance from each other, and curve downward evenly. (b) The weaving must be executed with equal tension, it must be smooth and very close. Draw the weaver down tight, so that it will press close to the weaving of the preceding row. (c) The curve of a finished base should resemble an inverted saucer. In a four or five inch base, the centre should be three fourths of an inch from the table when the ends of the base spokes rest on the table. (d) The base spokes should be cut one and one half inches longer than the required dimensions of the base. 16 BASE 34- MATERIALS. Eight spokes, six inches long, No. 5 reed. Weavers No. 2 reed. Soak the spokes and reed in tepid water for ten minutes. Place four of the spokes on a block of wood and, with the awl, pierce these four spokes successively in the centre, making a slit about an inch long and keeping them on the awl as seen in Fig. III. These four spokes are called the "needles" and the remaining four the "threads." Make a starting hole in the middle of each thread and push these four-pointed spokes one at a time, through the slits of the "needles," drawing them half-way through the "needles." When one is in place the awl may be removed and the other three inserted. This operation is termed "threading the needles." Holding the ends of the needles in both hands, curve them slightly downward from the centre out; likewise the threads. This helps to direct the spokes in the curve that you wish to weave the base. 35. THE BUTTON OF THE BASE. Select a soft, mellow weaver of No. 2 reed and, with the pincers, crush the fibre about twenty inches from one end, so that the weaver can be turned back on itself without breaking. Place the spokes before you with the concave side down and one end of the needles pointing toward you. With the left hand pick the spokes up, having the thumb and back of your hand above and the fingers underneath the spokes. The "needles" will be vertical or parallel with your body and the "threads" horizontal. With A diagram showing how to thread a loom. 18 THE BASKETRY BOOK the right hand place the crushed point of the weaver in the outer left-hand angle, where the "threads" meet the "needles" (Fig. III, a), placing the long end of the weaver in front of the vertical spoke or "needles" and the short end underneath. With index finger and thumb of the right hand draw the long end of the weaver down in the outer right-hand angle (Fig. III, b), holding it in place with the middle finger of the left hand and bringing short weaver back of the "needle," up to the outer right-hand angle (Fig. III, b) and on top of the long weaver just carried down. Turn the spokes to the left, so that the "threads" are now pointing toward the body and the "needles" horizontal. Move the position of the left hand each time you turn the base, always having the thumb and back of the hand on top, with the thumb resting on the centre of the spokes and the fingers underneath. Carry the short weaver in front of the "threads," close to the "needles" and down at the third angle (Fig. III, c), which is now in the position of 3 in the plate, holding it underneath with the middle finger of the left hand. Bring the long weaver under the thread, and up at angle $c$, on top of the short weaver just taken down. Turn the spokes to the left and carry the long weaver in front of the "needles" and down at angle $d$, and bring the short weaver back of the "needles" and up at angle $d$, on top of the long weaver just taken down. Turn the spokes to the left and carry the short weaver in front of the threads and down at angle $a$, and bring the long weaver back of the threads and BASE up at angle $a$, on top of the short weaver just taken down. This completes one circuit of the button, and you continue the weave until you have made four complete circuits and have four weavers crossing the two sets of "needles" and the two sets of "threads." (Fig. III, 3.) This forms the button of the base, and, when woven correctly, the short weaver passes down in the last angle and the long weaver, which is underneath, is brought up between the two spokes to the left of this angle instead of at the angle. (Fig. III, 3.) The spoke to the left of the long weaver is the initial spoke of the base. (Fig. III, 3.) 36. THE WEAVING OF A BASE. Japanese weave (10), in front of two and back of one, is the most practical weave for bases. The spokes of the base must now be separated as in Fig. IV, 1. This separation must be done with the greatest care and evenness, bearing in mind that the spokes must radiate from the centre at an equal distance from each other and also must have a gradual downward curve. The winding awl will be found most helpful in the first few rows of a base, as a spoke that tends to lie above or below the other spokes can be brought into position with this tool. As soon as they are separated, draw down tight between the spokes, using the winding awl in the first few rows, and draw the weaver close to the weaving of the preceding row. By the time the third row is woven, the spokes should be evenly separated. 20 THE BASKETRY BOOK As you carry the weaver each time in front of two spokes and down between the spokes, with the index-finger of the right hand endeavor to give the weaver a slight curve down and in toward the centre, so that it will curve under the spoke rather than merely pass back of it. This curving of the weaver can only be mastered by practice, but it is essential in all weaving as it not only adds strength and beauty to the weaving but prevents the weaver from standing out from the weavers of the preceding row. Do not for-get with every stroke down, in the first few rows of the base, to use your winding awl and press the weaving as close to the button as possible. As you weave, curve the base slightly downward. Continue the Japanese weave until the diameter of the basket is about three and three quarters (3 3/4) inches. Stop the weave at the initial spoke and turn the base over. Lace the weaver under the weaver of the preceding row that crosses the spoke and cut it off, allowing about an inch, so that it will not pull out. With a slanting cut, trim any weavers underneath may stick out where you mended. Refer to mending of Japanese weave (26) when a new weaver is needed. Do not trim the base spokes until you are ready to weave the sides of the basket. Make a second base and, if it proves stronger, a better curve and smoother weaving, rip the first one out, soak the weavers, and make it over. Continue this until you have six perfect bases. UNIV. CALIFORNIA FIGURE IV. BASE 1. The spokes of the base are ground. 2. Base weave completed. 3. Side circle separated by a horizontal arrow. 15 CHAPTER IV WORK-BASKETS 37. WORK-BASKET I, MODEL 1. DIMENSIONS Base......................... 4½ inches. Height........................ 4 inches. Opening...................... 9½ inches. MATERIALS 8 base spokes............. No. 5 reed, 6 inches long. Weavers.................... No. 2 reed. 32 side spokes............. No. 4½ reed, 18 inches long. Weavers.................... No. 3 reed. Weave base as described in paragraph on bases (34-36). 38. Soak side spokes five minutes and with a knife sharpen the ends that are to be inserted in the base with a long slanting cut of about an inch. Turn the base upside down in your lap, trim one spoke at a time of the base spokes, as close to the weaving as possible, pressing the pliers tight against the weaving as you cut. Insert two of the side spokes (No. 4½) on either side of the base spoke, having first run the awl down along the spoke to open the way and push the spoke down to the button. 22 22 THE BASKETRY BOOK Should any of these spokes prove soft, reject them and replace them with hard ones, as one soft spoke in a basket may ruin a model. Continue around the base until each spoke has been bi-spoked with two spokes of No. 3 reed. 39. SEPARATING THE BI-SPOKES IN A BASE BY MEANS OF A THREE-ROD ARROW. These side spokes must now be separated an equal distance apart before turning the basket. This is accomplished by a three-rod arrow (19). (See Fig. IV, 3.) Select a soft weaver of No. 3 reed, measure the circumference of the base, allowing an inch over, double the length and cut two weavers of equal length from soft reed. These three weavers, each twice the circumference of the base, will make the arrow. Place both hands on the inserted spokes on your lap with face or right hand to the left. Select any spoke and run one of the weavers close down in the weaving on the right side of the spoke, pinch it close to the weaving, and allow it to lie on the top of the base. Mark this spoke with a pencil mark or string, as it is the first or initial spoke of the arrow. Insert a second weaver in the same way on the right side of the spoke to the right, and the third weaver to the right of the third spoke, pinch and draw on top of base. Carry each left-hand weaver in succession in front of two spokes and under the third, allowing it to pass on top of the other two weavers. See directions for making an arrow (19), and follow them accurately, remembering as you weave to separate the spokes an equal distance apart. UNIV. OF CALIFORNIA FIGURE V. MODEL I UNIV OF CALIFORNIA WORK-BASKETS 23 Reverse the first arrow in the row at the initial spoke, and make the second row of the arrow with great care. This part of the weaving will be difficult for a beginner, but must be mastered at the start as it is essential to separate the side spokes before attempting to turn the basket; trim the weavers on the wrong side with a slanting cut. **40. TURNING THE BASKET.** Turn the basket over and pinch the spokes very close to the weaving of the arrow. Select four weaves of No. 3 reed. A basket can be turned best from the base by a four-rod coil (158, 17), and, as a rule, it takes three rows of coils to turn the spokes at a right angle from the base, as in Fig. V. Insert these four weavers at four consecutive spokes, marking the first one to the left as the initial spoke of the base. Hold the base with the concave or under side toward your body. The bi-spokes are now to be turned, each one in its order, at right angles to the base. As you carry each left-hand weaver in front of three spokes and back of one, guide the direction of the three spokes so that they turn perfectly evenly and are the same distance apart, and direct them to form the same angle with the base. The turning of a basket is one of the most important features of basket weaving. Reverse the weaving at the initial spoke to complete the coil but do not lock as in a single coil, remembering that when a coil is followed by a second one the locking is omitted. Make a second and finally a 24 THE BASKETRY BOOK third coil, reversing each time at the initial spoke. At the end of the third coil the spokes should be turned as in Fig. V. Cut out the fourth weaver and continue in triple weave (13) for three quarters of an inch. You will notice at the initial spoke that the weavers in the first two rows of the triple weave pass immediately one on top of the other, making a slight blemish in the weaving, but it is wiser not to reverse the triple weave at this initial spoke as it tends to make a depression in the weaving at this point of the basket. Cut out the third weaver, and weave one and five eights inches of "double Japanese weave" (11), carrying the two weavers as one. At the beginning of this weave the weaver at the initial spoke passes in front of two spokes and back of the third, while the weaver to the right of it passes over one spoke and under one, which brings the two weavers under the same spoke, and now the "Japanese weave" can be done correctly. Finish this weave as you began, one weaver back of the initial spoke and the second to the right of it. Introduce third weaver and continue in "triple weave" (15), one on top of another within the top of the weaving with a four-rod locked circle (15b, 17–18). The diameter of the basket should measure ten and one half inches. 41. BORDER NO. 1 MADE IN THREE ROWS. Soak the spokes and crush them very close to the weaving, and make the following border: First Row. Take any spoke, as No. 1, and carry it to the right and back of Nos. 2 and 3 close to the weaving and to the outside of the basket. No. 2 is WORK-BASKETS 25 brought back of Nos. 3 and 4, and so on around the basket. Do not draw the first two spokes of the border too close, for when the circuit is being completed the last two standing spokes must lace under the first two spokes laid down and come to the outside of the basket. **Second Row.** Each spoke in turn is carried in front of three of the original standing spokes and on top of the spokes to the right of it and inside of the basket, under the first row of the border, not drawing the first three spokes in this row too tight, as the last three must pass over them. This row forms a heavy coil on the outside rim of the basket and can be made to lie more evenly by running the palm of the hand around the basket. The spokes now are all on the inside of the basket. **Third Row.** Carry each spoke in turn on top of the two spokes to the right and down under the third, carrying one spoke clear across the basket and placing the last two spokes in the row with the first two spokes of the third row laid down. Be careful in finishing this row not to confuse the last two strokes with any of the strokes in the first row. To make it easier insert your awl or a little piece of reed back of the first stroke in this third row as a mark, when you come to lace in the last two spokes. The diameter of your basket should now measure about nine and one half inches. Trim each spoke neatly with a slanting cut on the right-hand side of the spoke it passed under in the third row. 26 THE BASKETRY BOOK 42. In weaving great care must be taken to keep the spokes in correct position, in reference to the base and each other. This is a most difficult part of basket weaving and can only be acquired by close attention to the two rules following: First. The spokes must all have the same slope from the base as each spoke comes into play so that it does not push in or bend out farther than the spokes on either side of it. Second. Keep the spokes an equal distance from each other. Continue to produce this model until you have a firm basket, with straight spokes, even weaving, and the specified measurements. This model may be reproduced in a smaller size by using a smaller base. 43. WORK-BASKET, MODEL No. 2. DIMENSIONS

Base	5¾ inches.
Height	3½ inches.
Opening	3½ inches.

MATERIALS

8 base spokes	No. 5 reed, 7 inches long.
Weavers	No. 2 reed.
32 side spokes	No. 4½ reed, 18 inches long.
Weavers	Nos. 2 and 3 reed.

Weaving. Four-spoke base (34-36) five and three quarters inches. Bi-spoke with thirty-two side spokes (38), and separated with a three-rod arrow (39). WORK-BASKETS 27 Pinch and turn with two rows of a four-rod coil (40). Three rows of triple weave (13). Six rows of over-and-under weave (88), using two weavers as the number of spokes is even. Four-rod arrow (19-20d). One inch of double over-and-under weave (86), using four weavers of No. 2 reed. And finish with a four-rod coil locked (15b, 17-18). Border No. 1 (41). See Work-Basket No. Y.

44. BOWL-SHAPED BASKET, MODEL No. 3.
Base.	4 inches.
Height.	4 inches.
Opening.	8 inches.
Diameter.	9 inches.

Do not pinch the spokes at the base but make a gradual curve from the base like a bowl, until your diameter is nine inches, then curve inward until the diameter is eight inches. Select your own weaves. 45. QUESTIONS. One. What part of the weaving is designated by the term “Burton”? Two. Holding the base spoke in the first position, that is, needles parallel to the body, which spoke becomes the initial spoke of the base? Is it a needle or one of the threads? Three. Of what use is the arrow in the base? Four. What does bi-spoking mean? 28 THE BASKETRY BOOK Fine. What is the difference between a three-rod coil and triple weave? Six. What two distinct features in weaving determine a coil? Seven. When a coil is followed immediately by a second one, what part of the weaving of a coil is omitted? Eight. What is the long stroke in “Japanese weave”? Nine. Describe how “double Japanese weave” is begun? Ten. What two fundamental principles of weaving characterize the position of the spokes in a basket? CHAPTER V BASKETS WITH SIMPLE HANDLES Rule. Baskets with handles must always be made on an even number of spokes. 46. MODEL No. 4. BOWL-SHAPED BASKET, WOUND HANDLE. DIMENSIONS Base. 4½ inches. Height. 4½ inches. Opening. 8½ inches. From coil at base to coil at border four and a half inches (by tape measure). MATERIALS 8 base spokes. No. 5 reed, 6 inches long. Weavers. No. 2 reed. 32 side spokes. No. 4½ reed, 16 inches long. Weavers. No. 3 reed. Weave base as directed in lesson No. 1 (34-36), sharpen the side spokes and insert in the base, separating them with a three-rod arrow on the right side of the base (30). In turning this basket at the base the side spokes are not crushed, as in the previous models, but are turned gradually, making what is known in basketry as a bowl-shaped turn, the same as the turn in basket No. 3 of the second lesson (44). 30 THE BASKETRY BOOK Turn the base face downward and make a four-rod coil (locked) of No. 3, turning each spoke as you pass over it slightly upward. This coil gives the basket something to rest on and helps to direct the spokes into the correct slope from the base. **Weaving the Basket.** Proceed with one and one half inches of "over-and-under weave," using No. 3 reed (use two weavers always on an even number of spokes, (6), one and one half inches of "double Japanese" (15b, 17), No. 3 reed; one and one half inches of "triple weave," using No. 3 reed; finish with a four-rod locked coil, using No. 3 reed (15b, 18). **Border.** Crush the spokes (41). First row back of two spokes and out, second row in front of three and in under first row, third row over two spokes and down. 47. **HANDLE.** The handles given in this lesson are very simple and used only on small baskets, but if a beginner masters them and understands the principle, the more elaborate ones will be acquired with greater ease. There are three essential points to be considered in the handle: (a) The size of the handle-bar must correspond with the size of the basket. (b) The height of the handle must correspond with the height of the basket. (c) The two ends of the handle-bar must be inserted at two spokes in the basket that are exactly opposite each other; and these two spokes must be one or other of the two side spokes inserted between the two middle needles in the base or the two middle threads. UNIV. OF CALIFORNIA FIGURE VI. MODELS 4 AND 5 UNIV OF CALIFORNIA BASKETS WITH SIMPLE HANDLES 31 48. MATERIALS. Handle-bar............ No. 8 reed, 21 inches long. Weavers................ No. 3 reed. With a long stroke of the knife cut one side of the end of the handle-bar into a point about two inches long, making it perfectly smooth. Cut the other end in the same manner, taking care to pare both ends on the same side of the bar. Insert these ends down beside the spoke selected in the basket, carefully weaving the way with an awl. Press the bar down two and a half inches between the weaving; the other end of the bar is inserted in the same way beside a spoke exactly opposite the spoke at which the first one was placed. This makes the foundation handle. 49. Select a pliable weaver of No. 3 reed and with it measure the height of the handle-bar from border to border, allowing two inches over. Take three times this length for one weaver and cut a second one. (a) Insert these two weavers under the coil at the top of the basket, and to the right of the spoke holding the handle-bar, and draw these two ends through to the inside of the basket for at least two inches. Carry them back of the handle-bar to the left and under the coil to the outside of the basket, and in front of the next spoke to the left to the inside of the basket, and trim the ends off. This fastens the ends of the weavers and must always be done before attempting to wind the handle. (b-1) Take up the two long weavers on the out- 32 THE BASKETRY BOOK side of the basket and carry them to the left up over the border across the handle-bar and wind them around the bar at regular intervals about two and a half inches apart. On reaching the other side, insert the two weavers under the coil on the outside of the basket to the right of the handle-bar and draw them through to the inside of the basket. (b-2) Bring the two weavers up on the right side of the bar and curve them around the bar, allowing the weaver to the left to fall downward and lie close to the first row of winding on the handle-bar just completed; the weaver to the left must lie close to the right one and above it. Carry these weavers back over the bar to the other side as close to the first winding as possible. On reaching the other side where the winding started, instead of taking the weavers to the right of the bar insert them under the coil and to the left of the handle-bar and then draw them through to the inside of the basket. This gives two pairs of weavers, one on each side of the bar. (b-3) Carry the weavers, now on the inside of the basket, back of the handle-bar and up on the right side of the bar, and bring them to the outside of the bar curving the weavers down to meet the winding already on the bar, so that the weaver to the right falls next to the winding on the bar, and the left one is close to it and above it. On reaching the other side, carry the weavers under the coil and to the left of the handle-bar, and draw them through to the inside of the basket and fasten these ends as in beginning of winding, by taking them to the right, back of bar, and to outside of 1 BASKETS WITH SIMPLE HANDLES 33 basket under the coil, and in and out over one or two spokes to the right. 50. Before the reed dries out, singe the ends over a lamp or gas-stove, being careful not to hold the basket too close. **51. MODEL NO. 5: JAPANESE HANDLE.** DIMENSIONS Base.................................................. 4⅜ inches. Height................................................. 4⅜ inches. Opening.............................................. 9⅛ inches. MATERIALS 8 base spokes............................... No. 5 reed, 6 inches long. Weavers............................................. No. 2 reed. 32 side spokes................................. No. 4½ reed, 15 inches long. Weavers............................................. No. 3 reed. Weave base as directed in lesson No. 1 (34-36), separate side spokes with three-rod arrow (39). Crush spokes and turn directly up with three rows of four-rod coils (40), remembering that a coil followed immediately by another one is not locked. In the fourth row carry one weaver under instead of over each weaver following, thus making an arrow with the third coil (39). Lace the weaving at the initial spoke to complete the arrow. Cut out three of the weavers, and with one weaver at the initial spoke, weave two inches of the "single Japanese weave" (10); at this point the diameter should measure seven and one half inches. Measure the circumference and take four weavers 34 THE BASKETRY BOOK of No. 5, twice this length, and make a four-rod arrow (19-20), weave one and one fourth inches of "double over-and-under weave" (9), carrying four weavers, two as one, as the spokes are of even number. Complete the basket with a four-rod coil (19-20) of No. 4½ reed. 52. BORDER NO. 2. Crush the spokes, first row in front of three spokes, and in; second row over two spokes and down. 53. JAPANESE HANDLE See directions for handle under model No. 4 for preparing the handle-bar (47). Select a pliable weaver and measure twice the height of the bar from border to border, allowing fully eight inches over. Crush the middle point in this weaver, and from the inside of the basket draw one end to the outside under the coil to the right of the bar, and the other end to the outside under the coil to the left of the bar. Draw the two ends tight so that the crushed part lies close to the bar. Cross these weavers, carrying the right-hand one over the border to the left of the bar, and likewise the left-hand one to the right. Crossing these back of the bar, bring them to the top and under again, and so on at equal intervals to the other side of the basket. Take them on the outside of the border and under the coil to the inside, where they are crossed underneath. The ends are shortened off by bringing each end out across a spoke and inside the basket, where the ends are trimmed. UNIV. OF CALIFORNIA FIGURE VII, MODELS 6 AND 7 UNIV. OF CALIFORNIA BASKETS WITH SIMPLE HANDLES 35 54. FIG. VII, MODELS 6 AND 7. The two models in Fig. VII are given without the measurements. The students are to reproduce them proportionately, choosing their own measurements. 55. QUESTIONS. Eleven. What constitutes a four-spoke base? Twelve. Can a handle basket be made on an odd number of spokes? Thirteen. Give the reason for your answer to question twelve. CHAPTER VI LILY-SHAPE FLOWER BASKETS WITH HANDLES 56. FIGURE VIII, MODEL NO. 8. This lesson demonstrates how a model may be varied by the use of different weaves. 57. NEW PROPOSITIONS. No. 1. Base with thirteen spokes. No. 2. Colonial weave. No. 3. Bellefonte weave. No. 4. Two-ply weave. 58. BASE WITH THIRTEEN SPOKES. Thread three spokes with three needles. Make a button of three winds. Pare an extra spoke three fourths the length of the other ones to a point and insert it between two of the threads, well down into the button, not allowing it to pass beyond the opposite edge of the button. Separate these thirteen spokes an equal distance apart, using the "Japanese weave" (to). 59. COLONIAL WEAVE. In front of two spokes and back of two spokes; one weave. This weave can be used in baskets where the number of spokes, when divided by four, leaves a 36 LILY-SHAPE FLOWER BASKETS 37 remainder of 2 (i. e., 18, 22, 26, 30, 34, 38, etc.). Change the weave by passing under one spoke; this is done as follows: Weave over two and back of two until there are two strokes over every two sets of spokes. Then change the weave by bringing the weaver under one spoke instead of two spokes, and A diagram showing a weaving pattern with extra spokes inserted between regular spokes. NEEDLES NEEDLES DIAGRAM O. BASE WITH THIRTEEN SPOKES proceed as before, over two spokes and back of two spokes, changing each time when the point is reached where three strokes would pass over any two spokes, if such change were not made. Explanation, to Spokes Row 1. Start with weaver back of spoke No. 1, pass weaver over Nos. 2 and 3, under Nos. 4 and 5, over Nos. 6 and 7, under Nos. 8 and 9, and over Nos. 10 and 1. Row 2. Pass weaver under Nos. 2 and 3, and over Nos. 4 and 5, under Nos. 6 and 7, over Nos. 8 and 9, under Nos. 10 and 1. 38 THE BASKETRY BOOK Row 5. Pass weaver over Nos. 2 and 3, under Nos. 4 and 5, over Nos. 6 and 7, under Nos. 8 and 9, over Nos. 10 and 1. Row 4. Pass weaver under Nos. 2 and 3, over Nos. 4 and 5, under Nos. 6 and 7, over Nos. 8 and 9, and under No. 10 only. This changes the weave in row No. 5 to—over Nos. 1 and 2, under Nos. 3 and 4, over Nos. 5 and 6, etc. Keep the basket damp, and press the weaving down, giving it a kink. 60. MENDING COLONIAL WEAVE. Allow the short weaver to end back of a spoke on the inside of the basket; holding it away from the spoke, draw the new weaver from the inside of the basket to the outside, splicing it with the old weaver and carrying it back of the mending spoke and through two spokes for the line the old weaver naturally would have taken. Trim the new weavers on the outside of the basket with a slanting stroke close to the left of the mending spoke. 61. BELLEFONTE WEAVE. In front of one spoke and back of three; one weaver. This weave can be used in baskets where the number of spokes when divided by four will leave a remainder of two (i. e., 18, 22, 26, 30, 34, 38, etc.). Explanation : Every other spoke is left out of the weaving. This weave should be used only for bands not more than three inches in width. The spokes that are left out must be picked up by a four-rod arrow or col (19–202, 15–18). Mend as in "over-and-under weave" (23). UNIV. OF CALIFORNIA FIGURE VIII, MODEL 8 1. Baskets with different spokes. 2. Colored ware. 3. Tumuli ware. 4. Tumuli ware. TO VINI CALIFORNIA LILY-SHAPE FLOWER BASKETS 62. TWO-PLY WEAVE. In front of two spokes and back of two spokes; four weavers. This weave can be used in baskets with any number of spokes. Explanation: Four weavers are inserted back of four consecutive spokes, each in turn carried over two spokes, and back of two spokes. Mend as in "triple weave," hiding the ends (38). 63. There are two important things to be remembered in weaving baskets with handles: (a) All baskets requiring handles must be woven on an even number of spokes, so that there are the same number on either side of the basket between the two spokes exactly opposite each other, where the handle is to be placed. (b) The handle-bar must be inserted in the basket along the spoke that runs from the middle needle or middle thread of the button in the base and not from the corners of the button. 64. MODEL NO. 8. DIMENSIONS Base.................3½ inches. Height..............6 inches. Opening.............9½ inches. MATERIALS 6 base spokes, No. 5 reed (or a 3-spoke base), 5 inches long. 1 base spoke, No. 5 reed (and 1 extra spoke), 4 inches long. 26 side spokes, No. 4½ reed, 20 inches long. 40 THE BASKETRY BOOK Weavers, Nos. 2, 3, and 3½ reed. Handle-bar, No. 10 reed, 24 inches long. Basket weaver endeavors as far as possible to have in round models twice as many side spokes in a bas- ket as there are base spokes, in order that each spoke may be bi-spoked. The model used in Fig. VIII is woven on twenty- six side spokes, and a three-spoke base, with one ex- tra spoke inserted in the button to give thirteen base spokes. Cup the base with the usual downward slope. Trim the base spokes, one at a time close to the weaving, and insert the twenty-six side spokes, bi- spoking each base spoke, having previously sharp- ened the side spokes as directed in lesson on Work- Basket No. 1 (§8). Crush the side spokes close to the weaving and omit separating them with an arrow as in the pre- vious lessons. Turn the side spokes directly at right angles to the base, using four rows of a four- rod coil and making an arrow of the last coil (§1). Each basket in Fig. VIII is turned in this same man- ner with No. 3 reed. 65. BASKET NO. 1. Weave in "single Japanese weave" (10) with No. 3 reed, until basket measures two inches from base. Weave in "double Japanese weave" (11) with No. 3 reed, until the basket measures three and one half inches from base. Weave in "two-ply weave" (62) with No. 3½ reed, until basket measures six inches from base. LILY-SHAPE FLOWER BASKETS 41 66. BASKET No. 2. Weave in "over-and-under weave" (8b) with No. 3 reed, until the basket measures two and one half inches from base. Weave a "four-rod arrow" (19-20d) No. 3½ reed. Weave in "two-ply weave" (62) No. 3½ reed, until the basket measures six inches from base. 67. BASKET No. 3. Weave in "colonial weave" (59) No. 3 reed, until basket measures three inches from base. Weave a "four-rod coil" (15b-18) No. 3½ reed. Weave in "two-ply weave" (62) No. 3½ reed, until the basket measures six inches from the base. 68. BASKET No. 4. Weave in "Bellefonte weave" (61) No. 3 reed, until the basket measures two and three quarters inches from the base. Weave a "four-rod arrow" (19-20d) No. 3½ reed. Weave in "two-ply weave" (62) No. 3½ reed, until the basket measures six inches from the base. 69. Each basket in model 8 measures five inches in diameter at the beginning of the "two-ply weave." From this point in the weaving the basket must be woven our gradually like a lily so that when the height measures (with a tape measure) six inches from the base to the top of the weaving, the diameter of the opening is nine and one half inches. 70. COMMERCIAL BORDER No. 1. Wet the spokes and crush them close to the weaving. 42 THE BASKETRY BOOK DIAGRAM No. 1. 1. LAY DOWN TWO SPOKES. (a) Select any spoke (No. 1) and carry it back of the next spoke to the right, and to the outside of the basket, holding it with the left hand. (b) Lay the next spoke (No. 2) allowing it to pass back of the spoke to its right, and to the outside of the basket. Two spokes are now laid down. DIAGRAM No. 2. 2. (a) Carry the first laid-down spoke (No. 1) in front of the first standing spoke (No. 3) to the right, and (b) across the second laid-down spoke (No. 2), and (c) back of the second standing spoke (No. 4) to the outside of the basket, (d) holding both laid-down spokes (Nos. 1 and 2) with the left hand. With the right hand bring the first spoke now standing (No. 3) back of the next standing spoke (No. 4), and to the outside of the basket, allowing it to lie parallel, and close to the laid-down spoke (No. 1) previously carried back of this spoke (No. 4); in other words, the third spoke has been laid down. At this point of the border there is a single laid-down spoke (No. 2) passing to the outside and in front of the now first standing spoke (No. 4), and a double set of laid-down spokes (Nos. 1 and 3) passing to the outside in front of the now second standing spoke (No. 5). The two standing spokes to the right will be termed first and second spokes throughout the border. UNIV. OF CALIFORNIA 24 25 26 1 2 3 4 5 6 7 8 DIAGRAM NO. I 23 24 25 26 1 2 3 4 5 6 7 8 DIAGRAM NO. 2 UNIV. OF CALIFORNIA A diagram showing a vertical line with numbered segments 22, 23, 24, 25, and 26. There are also horizontal lines intersecting the vertical line at various points. DIAGRAM NO. 3 A diagram showing a curved line with numbered segments 1, 2, 3, 4, 5, 6, and 7. The segments are connected by loops and twists. DIAGRAM NO. 4 LILY-SHAPE FLOWER BASKETS 43 **DIAGRAM No. 3.** 3. (a) Carry the single laid-down spoke (No. 2) in front of the first standing spoke (No. 4), and (b) across the double set of laid-down spokes (Nos. 1 and 3), and (c) back of the second standing spoke (No. 5), and to the outside of the basket. (d) Lay down the first standing spoke (No. 4), i. e., bring No. 4 back of 5 to the outside, parallel with No. 2. There are now two double sets of laid-down spokes on the outside of the basket, each set made up of a long and a short spoke, with the longer to the right of the shorter one. **DIAGRAM No. 4.** 4. (a) Carry the longer laid-down spoke of the first set (No. 3), in front of the first standing spoke (No. 2), (b) across the second double set of laid-down spokes (Nos. 2 and 4), and, (c) back of the second standing spoke (No. 6) to the outside, and (d) lay the first standing spoke (No. 5) parallel with it. (e) Bring the longer laid-down spoke of the second set (No. 4), in front of the first standing spoke (No. 6) (f) back of the second standing spoke (No. 7) and out, and (g) lay the first standing spoke (No. 6) parallel with it. 44 THE BASKETRY BOOK There are now two single laid-down spokes and two double sets of laid-down spokes passing to the outside of the basket. **General Rule.** Continue around the basket, each time carrying the longer left-hand laid-down spoke (1) in front of the first standing spoke to the right, (a) across a double set of laid-down spokes, (b) back of the next standing spoke to the right and out. (c) Lay the first standing spoke parallel with it. Pay no attention to the shorter laid-down spokes on this first row of the border. DIAGRAM No. 5. **COMPLETION OF THE FIRST ROW OF BORDER.** When the beginning of the border is reached and only one standing spoke remains: (a) Carry the longer laid-down spoke (No. 24) in front of this last standing spoke (No. 26), (b) across the last set of double spokes (Nos. 23 and 25) and, (c) back and out, under the first spoke (No. 1), which was the first laid-down spoke of the border. DIAGRAM No. 6. 6. Carry the last standing spoke (No. 26) back and from the inside out under the first laid-down spoke (No. 1) and parallel with the spoke (No. 24) just drawn under spoke (No. 1) and to the outside of the basket. The last standing spoke has now been laid down. UNIV. OF CALIFORNIA A complex, intertwined line diagram with various colored lines (blue, yellow, red, green) forming a web-like pattern. The numbers 20 to 26 are labeled along the horizontal axis at regular intervals. The vertical axis has numbers 1 to 6. DIAGRAM NO. 5 Another complex, intertwined line diagram similar to the previous one, with various colored lines (blue, yellow, red, green) forming a web-like pattern. The numbers 20 to 26 are labeled along the horizontal axis at regular intervals. The vertical axis has numbers 1 to 6. DIAGRAM NO. 6 TO VIMI AIRMORPHILIC Diagram No. 7 Diagram No. 8 LILY-SHAPE FLOWER BASKETS 45 There are now two double sets of spokes on the outside of the basket, Nos. 23 and 25 and 24 and 26. **DIAGRAM No. 7.** 7. The two longer spokes in each set must be carried in turn in front of the spokes to the right (which is now a laid-down spoke instead of a standing spoke) and back of the next laid-down spoke to the outside of the basket. **Caution.** These spokes must be parallel with the already laid-down spokes and not cross them. (a) Carry the longer left-hand laid-down spoke (No. 25) in front of the first laid-down spoke of the border (No. 1) and (b) across the last double set of laid-down spokes (Nos. 24 and 26). (c) With the winding awl push spoke (No. 1) away from spoke (No. 2), and carry spoke (No. 25) in and back of spoke (No. 2), and to the outside, so that it lies parallel with and in front of spoke (No. 1) but does not cross it. **DIAGRAM No. 8.** 8. (a) Carry the remaining longer laid-down spoke (No. 26) in front of spoke (No. 2), (b) across the two spokes (Nos. 25 and 1) which pass back of spoke (No. 2), and (c) with the winding awl push spoke (No. 2) away from (No. 3) and carry spoke (No. 26) in and back of spoke (No. 3), and to the outside, so that it lies parallel with and in front of spoke (No. 2) but does not cross it. 46 THE BASKETRY BOOK This completes the first row of the border, but to make it more effective and stronger we carry these short spokes to the inside of the basket. DIAGRAM No. 9. 9. Bring each spoke in turn in front of one spoke to the right and back of a second spoke to the inside of the basket, making it lie parallel and in front of the two spokes already passing back of this second spoke. To accomplish this, with the awl make an opening for the spoke to pass through between the spokes that fell back of the second spoke and one spoke that fell in front of it. Trim the spokes carried inside the basket with a slanting cut, which completes the border. 71. HANDLE. To place the handle correctly in a basket woven from a base composed of thirteen spokes, turn the basket upside down and select the side spoke to the left of the extra spoke inserted in the button. Trace it to the border of the basket and insert one end of the handle-bar (previously sharpened) at a point and flatten it on both sides along the left-hand side of this spoke, two and a half inches down in the weaving. To locate the spoke directly opposite this one, select the side spoke at the right of the middle thread that comes from the side of the button containing the three threads and trace this to the border. Insert the other end of the handle-bar along its left side. There will be twelve spokes on each side A diagram showing a coiled wire structure with numbers 19, 20, 23, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90 on various parts of the structure. UNIV. OF CALIFORNIA DIAGRAM NO. 9 HANDLE BAR INSERTED HERE EXTRA BASE SPOKE. INNER CIRCLE-BASE OUTER CIRCLE-BASKET HANDLE BAR INSERTED HERE DIAGRAM NO. IO. HANDLE-BAR 30 VIVO AMOROSO-01 LILY-SHAPE FLOWER BASKETS 47 of the basket between the two spokes holding the handle-bar. See Model No. 4 (49), for winding the handle. DIAGRAM NO. 10, HANDLE-BAR. 72. QUESTIONS. Fourteen. How many spokes, of the total number of spokes used, come into play in the "Belle-fonte weave"? What is the weave? Fifteen. Why is it better to insert the extra spoke in a base containing thirteen spokes among the threads rather than the needles? Sixteen. In "commercial border" (No. 1) give the four distinct strokes that each spoke undergoes in making the border. Seventeen. At one end of a handle-bar in a basket made on a thirteen-spoke base is inserted along the side spoke which leads from the right of the left-hand middle thread (on the side of the button containing the four threads), state what spoke leading from base spoke the other end of the handle-bar should be inserted along. CHAPTER VII FLOWER BASKETS 73. Baskets in Fig. IX demonstrate the variations possible in one model by the use of a graduated scale of measurements. Each basket is turned with three rows of a four-rod coil (15b, 18), using No. 3 reed and making an arrow with the fourth row. 75. SPLIT HANDLE. A split handle consists of two handle-bars of equal length which lie close together across the top but separate as they pass into the basket on either side. Insert the sharpened ends of the two bars along the side spokes leading from the middle needles or threads of the base. Allow two side spokes between the two spokes carrying the handle-bars. Insert the other ends of the two bars alongside spokes directly opposite these, being careful to have the two bars perfectly parallel and each bar measuring the same from the border on one side of the basket up and over to the border on the opposite side. Wet a piece of twine or raffia and tie the two handles firmly in two places where the bars come together. 48 FLOWER BASKETS 49

FIVE THOUSAND BASKETS, FIGURE XIX:
74- MEASUREMENTS OF FLOWER BASKETS, FIGURE IX
NO. OF BASKETS	SIZE (INCHES)	MEASUREMENTS	WEIGHTS	BASKET	BASKET
100	Size 15 inches	Size 15 inches	Size 15 inches	Commentary, No. 1.	No. 1
6	Size 15 inches	Size 15 inches	Size 15 inches	Commentary, No. 2.	No. 2
30	Size 15 inches	Size 15 inches	Size 15 inches	Commentary, No. 3.	No. 3
200	Size 15 inches	Size 15 inches	Size 15 inches	Commentary, No. 4.	No. 4
1000	Size 15 inches	Size 15 inches	Size 15 inches	Commentary, No. 5.	No. 5
2000	Size 15 inches	Size 15 inches	Size 15 inches	Commentary, No. 6.	No. 6

No. of Baskets
(Total)