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How TO MAKE INDIAN AND
OTHER BASKETS.

By GEORGE WHARTON JAMES

AUTHOR OF

INDIAN BASKETRY,

THE GRAND CANYON OF THE COLORADO RIVER IN ARIZONA,
THE INDIANS OF THE PAINTED DESERT REGION,

ETC., ETC.

' "1903

HENRY MALKAN,
1 William Street, New York.

IBM

- ^-*

HOW TO MAKE INDIAN AND OTHER BASKETS.

INTRODUCTION.

Just now the making of Indian and other baskets is a fad. Like
all other fads it will have its day and then die. But unlike many fads
there is something in the making of baskets that will keep the art
alive, when those who practised it merely as a fad have forgotten that
they ever were interested in it.

It is singularly appropriate that I, the son of my father, should
write a treatise on basket making. The earliest remembrances of my
life are connected with that art, as my father was a basket maker, not
simply a trader in baskets, but personally a skilled workman himself.
My oldest brother, too, learned the art and was a good workman.

Well do I remember, as a child, a season when coal was dear and
scarce, as during the recent Eastern coal strike. My father, always
a man of originality, rose at once to meet the occasion, and made a
mixture of coal dust and the thick ends or "nubbins" cut from the
ends of new splints or "weavers" introduced into the coarse kinds of
baskets.

We used the old-fashioned English grates, and after a fire of coals
was well alight my father would take a coal scuttle full of this mix-
ture which he called "backing," and throw it up on the top of the fire
and well back into the throat of the chimney. In half an hour or less
it would be a bed of fire, throwing its grateful heat into the cold room
and cheering all who came within its influence.

Two of his workmen were father and son, named Fields. The
young man was "Lige," and into my youthful ears he used to pour his
tales of woe at the hardships of a basket-maker's life. In the making
of some of the larger and coarser baskets the bottoms, after being
started, were pinned through the center with a large steel bodkin to
a heavy flat board, and, treading on the work itself the weavers were
woven in, the worker bending down almost double over the work.
When I bent over for a few minutes my childish back seemed to be
broken, and when I asked Lige how ihe could endure it for hours at a
time his solemn asseveration was that "he'd had his backbone taken
out," or he never could do it.

After I came to the United States the work of the Paiuti Indians
soon arrested my attention, and I began the studies which culminated
two years ago in the publication of my "Indian Basketry."

Now that the work of Basket Making is being taken up in earnest,
I wish to do my share in helping it along by making a book of helpful
instructions and hints that will be worthy the dignity of the subject.

It has been my purpose in arranging the following pages to intro-
duce all the stitches, practically usable, from the simplest to the most
complex. The earlier lessons, of course, are for children, but it will do

HOW TO MAKE INDIAN AND OTHER BASKETS.

HOW TO MAKE INDIAN AND OTHER BASKETS. 7

no harm to adults to do the work here outlined. The skill and dext-
erity thus gained will be exceedingly useful in the later work.

A variety of materials has been introduced purposely, to show what
may be done and to 'Stimulate to personal investigation and experi-
ment. Teachers should encourage their pupils to try every possible
material. Thus invention is stimulated, and not only may valuable dis-
coveries be the result, but individual thought and expression are
secured.

Let me at the outset say that the divisions of the subject are purely
arbitrary. It does not necessarily follow that the coil weave is harder
than the mat weave because the latter comes first in the book. It was
necessary to make some divisions, and these were thought the best
for the purpose in view.

In this work I have tried to suggest to the teacher how to make
the subject more interesting to her pupils. Put human interest into
any subject and it enlivens it. A pile of rocks means little to an un-
imaginative child, but tell that same child that this pile was once a
castle, peopled by lords and ladies, who lived in stirring times ; who
achieved things ; who went forth to war with all pomp and ceremony,
and returned flushed with victory or sad and despondent through de-
feat ; that it was a place where children were born, educated, married
and died; where lovers, true and false, walked and plighted their troth;
indeed, where all the events that go to make up life transpired, and the
lifeless pile is transformed into a palpable living entity, or, at least,
into an object from which imagination may conjure countless fascinat-
ing and interesting pictures.

It is this thought that should animate every teacher and worker in
basketry. In going out to choose materials let the children feel as the
Indian felt ; let them select as the Indian did. Teach them the value of
failure. That failure means endeavor, and endeavor persisted in is
never failure. That the Indian had to learn everything in that way.
She had no other teacher than experience, and that knowledge gained
by experience is sure and certain, while what we read or are told may
be inaccurate or positively false.

Let the child experiment in the drying, dyeing, and general prepara-
tion of the material; let him make his own selections; let him deter-
mine what is best adapted for this basket and for that. Stimulate his
inventiveness in the use of materials, and dyes, and their preparation
and in the shape, design, and weave of his baskets. Show him that all
progress comes that way. Let him know that while he is doing this
experimenting he is following exactly the plan of Edison, and Gray,
and Bell, and Lowe, and others of our great inventors who have given
us telephones, telegraphs, electric cars, water gas, and the thousand
and one things that mean our progressive civilization.

For material for these pages I have ransacked everything I could
find. Where possible, I have given full credit for everything bor-
rowed. If I have failed to do so I gladly apologize and in later edi-
tions will make the necessary acknowledgements or corrections if
some kind reader will call my attention to them.

Especially do I wish to thank Mr. John Sheridan Neligh, director
of the Industrial School of Columbus, Ga., and, as far as I can learn,
one of the first, if not the first, teacher of basketry in the schools of the

HOW TO MAKE INDIAN AND OTHER BASKETS.

United States, for original suggestions, baskets to photograph, and
help given in a variety of ways. And these thanks also include his
helpful wife.

My grateful acknowledgements are also tendered to Miss Annie

FIG. 3. CORN HUSK POPPY BASKET, DESIGNED

AND MADE BY MARGARET C. WHITING,

DEERPIELD, MASS.

Firth, from whose "Cane Basket Work" I have bodily taken much
valuable material. I hope in return Miss Firth will find as much in
my suggestions that she can avail herself of for English readers. If
she can, I assure her she is most heartily welcome.

Miss Mary White's "How to Make Baskets'' has also been drawn
from.

Miss M. B. Hyde, of Teachers' College, Columbia University, has
been most generous in her helpfulness. For all the photographs of

HOW TO MAKE INDIAN AND OTHER BASKETS.

work made by the students at the college and the major part of the
chapter on dyes I am indebted to her, and the practical character of
her work will prove a boon to all my readers.

In these lessons' I have begun with the simplest materials and
work. The purpose is to give to the solitary student every advantage
for self training and to every teacher suggestions which will aid in her
work with children. To any person the exercises will be helpful.

PIG. 143. SPOKES TURNED UP FOR SIDES.

There are five simple methods of work, all of which it is well to under-
stand. These are distinguished by the following names: I. The mat.
II. The plait. III. The net. IV. The coil. V. The \veb. While
in some regards these five methods overlap each other, I have deemed
it best to discuss each one separately.

The two chapters respectively on The Choice and the Preparation
of Materials may be skipped or not as the reader desires.

PIG. 4. FANCY SPLINT BASKET.
Courtesy Hyde Exploring Expedition, New York.

HOW TO MAKE INDIAN AND OTHER BASKETS. I I

CHAPTER II.

THE SPIRIT IN WHICH BASKET MAKING SHOULD BE

APPROACHED.

Browning well wrote :

"Not on the vulgar mass called work
Must judgement pass."

There is more in life than the mere outward expressions of it we
call "work," and in the work of basket-making much will depend upon
the motive, the spirit, in which it is approached and done. The true
imitator of Indian work or, perhaps, it would be better to say, the
true worker desirous of emulating Indian work must approach it in
the true Indian spirit and this I have endeavored to describe in my
larger book on Indian Basketry. Suffice it to say here that the basket
to the uncontaminated Indian meant a work of art, in which hope, aspi-
ration, desire, love, religion, poetry, national pride, mythology, were
all more or less interwoven. Hence the work was approached in a
spirit as far removed from that of mere commercialism, passing whim
or fancy, as it was from that of levity, carelessness, or indifference.

There was an earnestness of purpose, a conscientiousness of en-
deavor in the gathering of the materials, their preparation, their liar-
moniousness, and then in the shape, the design, the weave, the tout
ensemble, that made basket-making to the old Indians almost an act
of religion.

It was a perfect exemplification of the idea suggested by the good
poet Herbert, I believe, who said something of the sublimity of the
right sweeping out of a room.

Xow all this is the veriest nonsense to the person who is merely
making baskets for "the money there is in it," or "because it is quite
the rage," and such people had better read no further. But to the
emotion-full, sentient, poetic of my readers the ideas given will clearly
illuminate what follows. The attitude of mind and heart in the
basket-maker clearly should be : If the poor uncivilized Indian thus
felt when she approached her work, should not I, the product of a
higher civilization, at least feel as/ much ?

If she sought to present the highest she saw in Nature in the most
perfect fashion, should not I also seek to do the same ?

An affirmative answer then compels a study of Indian Basketry
form?, designs, colors and weaves. This will produce a growing love
for them. From this the natural process will be a reference of the
Indian work to their original source, viz., Nature herself. And in Na-
ture the true inspiration will be found. The Indian's forms are natu-
ral ; her designs are natural ; her colors are natural ; her weaves are
natural ; with all the perfection added of conscientious art.

This at once eliminates the hideous and grotesque in shape, de-
sign, color and weave. There are no fanciful forms, impossible de-
signs, glaring, inharmonious colors, inadequate weaves. Simplicity

HOW TO MAKE INDIAN AND OTHER BASKETS.

is the keynote, and upon this the triad and gamut naturally are
built. Diversity without end, variety illimitable, effects incalculable.
yet all based upon natural simplicity.

Begin then by training yourself, your children, your pupils, to love
the simple in nature. Learn to imitate in form, design and color the

FIG. 5. SPLINT AND SWEET GRASS FAN.
Courtesy Hyde Exploring Expedition, New York.

simple things. Banish the hideous, the grotesque, the unnaturally
complex from 1 your line of observation, and your work will gradually
take upon itself the character, the grace, the dignity, the power that
come from purity and simplicity.

HOW TO MAKE INDIAN AND OTHER BASKETS. 13

Elsewhere, too, I have shown the marvellous personality of the
basket. How that each one has a significance in shape, design and
color all its own. This personality cannot be deciphered by reading
from elements as in hieroglyphics, but can be learned only from the
weaver's own lips. In your work endeavor to follow this Indian idea.
Make your basket the exponent of something within yourself, then the
shape, the design, the colors will all mean something more to you than
what merely shows on the outside. You can thus make the basket your
poem, your sculpture, your painting, your cathedral, as the Indian

FIG. 6. BASKETS OF SPLINT AND SWEET GRASS.
Courtesy Hyde Exploring Expedition, New York.

has done. Thus work and worker are both ennobled and there are
given to the world more things of beauty to be "joys forever," and
whose "loveliness will increase and never pas* into nothingness."

The pleasure of such achievements as this who can tell, and the
moral uplift as desire and endeavor are crystalized into actuality, who
can estimate?

Thus the basket becomes a factor in moral and spiritual develop-
ment, as well as a useful aid in training towards manual dexterity
and skill.

HOW TO MAKE INDIAN AND OTHER BASKETS.

CHAPTER III.

CHOICE OF MATERIALS.

Here, as elsewhere, the method of the Indian is the best to follow,
if one would get the real value out of basket making. Though trade
and barter were common with the primitive Indians, it was not to trade
that the weaver looked for her basket-making materials. She had no
store to which she could go and purchase cane, raffia or willow ready
dyed and done up in bundles to her hand. She must find the materials
in her own environment. So with eyes a-down, senses alert, she set

FIG. 7. BASE OF BASKETS SHOWN IN FIG. 6.
Courtesy Hyde Exploring Expedition, New York.

forth to seek for splints, filling and dye. The Hopi found the willow,
the yucca and a desert grass called wu-u-shi. The Mono found the
willow, the red bud, the squaw-grass, the root of the tule, the martynia.
The Haida found the cedar bark and spruce root ; the Poma slough
root, sweet gras-s, maiden hair fern stem. Thus each locality yielded
to its weavers the materials' required for the exercise of their art
Now while it is not essential that white weavers of baskets should
closely confine themselves to material they personally gather, some
of the chief benefits that should accrue from basket-making are lost
if they do not largely do so. The powers of observation are stimu-
lated, knowledge of local materials gained, and, where the art is used

HOW TO MAKE INDIAN AND OTHER BASKETS. 15

to help the poor commercially, hitherto useless material is converted
into a financial benefit, which is a new and direct gain to the commu-
nity.

There are few really useless things under the sun, and the (history of
all commercial growth is largely the detailing of how the useless was
converted into the useful by invention, imagination and skill. This
principle should be applied to this art.

In some instances there can be but little question that the location
of materials for the pursuit of the art of basket weaving has deter-

FIG. 8. SWALE GRASS TRAY, DESIGNED AND
MADE BY GERTRUDE ASHLEY, DEERP1ELD, MASS.

mined the settlement of a tribe of people. The Chemehuevis, for in-
stance, have a tradition which clearly points in a measure in that direc-
tion. We know that among civilized races habitat is largely determined
by commercialism. The miner locates i>n the desert, canyon or moun-
tain camp because there he finds the precious metal. The cattleman
lives near the range where his cattle roam ; the foundryman near the
foundry which employs him ; the clerk near the store in which he is
engaged.

HOW TO MAKE INDIAN AND OTHER BASKETS.

So the Indian woman's voice was naturally raised in favor of a
location where her basket-making material was easiest obtained.

This hint can be made interesting by teachers of the art, in stimu-
lating the imagination of the child. It can also be used to excellent

FIG 9.

RED BIRD BASKET,
MADE BY MADELINE T. WYNNE,
DEERFIELD, MASS.

AND

advantage in field trips. It gives a zest and purpose to a ramble to
feel there is an object in view.

"On this trip let us imagine ourselves Indian women and Indian
children going out to hunt grasses or other material for basket-
making. We will do this for several weeks, and then as the result of
our explorations we will decide where we, as Indians, should pitch our
permanent camp."

HOW TO MAKE INDIAN AND OTHER BASKETS. \J

Put such a thought as this into the mind of child or adult and it
gives added pleasure to outdoor rambling.

Then the incalculable benefit in the necessary stimulation of the
powers of observation that will come from such trips should not be
overlooked. This, the highest faculty in true education, should ever
be kept in exercise. He is a benefactor in the highest, fullest sense
who trains another to habits of observation.

Experimentation follows observation in this field. For, when one
thinks that he has found a material that is suitable either for weaver,
filling or dye, it must be tested.

FIGS. 10 AND 11. CHETEMACHE MATS.
Courtesy Hyde Exploring Expedition, New York.

Selection of the best next follows, and thus both senses and brain,
are healthfully exercised and stimulated.

And this is not merely good for a child. Many a nervous, dyspep-
tic, broken-down adult would find new life and health in doing what
I have here suggested. Out of doors ! Out of doors ! Into God's
pure air, sunlight and odors. There is His chemical labratory where
health, vigor, power are hourly being manufactured. Get out into the
fullness of it. Breathe in it ; drink it in ; absorb it in. Fill up lungs,
blood, nerves and brain with pure life and health, throw physics to
the dogs, send melancholia and depression to the devil, defy the demon
of dyspepsia and come back into the world of men and women con-
scious of strength and power to do what you will.

H
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PH
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HOW TO MAKE INDIAN AND OTHER BASKETS. 19

CHAPTER IV.
THE PREPARATION OF MATERIALS.

Personal experimentation should be the keynote in the mind of
every adult who seeks to gain the greatest good from basket-making.
"I will know for myself! 1 will experiment and test and find out
everything that can be found out as to the resources of my neighbor-
hood that can be utilized in this work." With all our scientific know-
ledge we cannot improve upon the methods and results of the Indians,
except, perhaps, in the matter of speed. Their dyes are unfading;
their colors perfectly beautiful, appropriate and harmonious, their
material as perfect as- it can be made. In "Indian Basketry," pages
72 to 85, I gathered together much information as to materials used by
the Indians, and methods of preparation. In that chapter the student
will find many suggestions that may aid her in utilizing the material
df her own section. One thing, however, she -may be sure of, viz., that
wherever an Indian has been over the ground, in the work of that In-
dian will be found the very best basket-making material of thai region.
The Indian's judgment may be relied upon, even though her meth-
ods may be bettered. For her selection is the result, possibly, of cen-
turies of practical experience and therefore, at the outset it will be well
to see, if you have any Indian workers in your locality, what they
have been in the habit of using in their basketry work. If it be true,
as most of us firmly believe, that he is a benefactor who makes two
blades of grass grow where but one grew before, it is equally true that
he is a benefactor who finds a use for that which has hitherto been
deemed useless. To teach others how a useless weed may be con-
verted into a commercial commodity is to create wealth, and among
the poor and needy, wealth means added cojnfort and happiness. By
following the suggestions given in this chapter every teacher may en-
large the sphere and scope of her benefactions. The following list
makes no pretention to completeness. It is merely suggestive, and to
stimulate the weaver to find out what she can use from her own
locality. \Yhen any new material, not named here, is found I shall
be obliged if a sample be sent to me. to Pasadena, California, with its
local and Indian name, its habitat, habit or growth, quantity, how pre-
pared and any further particulars that may be of interest.

It must not be supposed that familiarity with and skill in the use
of one material can be transferred at will to some other material!.
Each material demands personal study and use. One who has
learned how to use willows cannot immediately work in reed or rat-
tan, and yucca strands need very different handling from squaw grass
or pine needles. In this diversity the true student will find pleasure.
The overcoming of difficulties exercises the faculty of invention.

Care should be taken, and a caution given to children, to avoid the
grasses with saw-toothed or other sharp edges. One may be cut sev-

HOW TO MAKE INDIAN AND OTHER BASKETS.

FIG. 13. SPLINT AND SWEET GRASS BASKETS.
Courtesy Hyde Exploring Expedition, New York.

HOW TO MAKE INDIAN AND OTHER BASKETS. 21

erely if careless in handling such grasses, and there are plenty of
other materials without using these that may do injury.

COCKLE-BUR. The much-despised and hated cockle-bur may
be used as a stimulant of the child's imagination in the beginning of
his work. These burs can be found anywhere, and when the children
have gathered them they can be shown in one lesson how that, by
sticking them together, a form can be created. Then it is well to
leave them to their own imagination, allowing them to create any
&hape they may desire.

RAFFIA is ideal weaving material for the untrained fingers of be-
ginners or the weak fingers of children. It is soft and flexible and
easily handled. As strength and digital dexterity increase stronger
materials can be used, especially as they afford so much greater oppor-
tunity for the exercise of skill and artistic effort.

Raffia is the native name given to a Madagascar palm of the tribe
Lepidocaryeae, a^ type of the sub-tribe Raphieae. It has a long leaf,
over 50 feet in length, and thus the tree is often from 60 to 70 feet
high to the tips of the leaves. The material purchased from the seed
stores is the epidermis of the leaf stripped on both sides. The leaf
itself is very brittle, and would be useless for this work, but the fibre
stripped from its outside is tough and pliable. It is tied in long hanks,
and was originally shipped to France and England to be used mainly
as florists' twine, for tying up fruit trees and other gardening pur-
poses. With their native economy the French, and then the Germans,
began to use it in connection with cane and reed in the manufacture
of sma'll baskets, and when the revival of the art of basketry reached
England, the workers there at once perceived its adaptability and
seized upon it as an excellent and ideal weaving material for beginners.
Its long strands are from one and a half to two feet in length, and it is
thus much preferable to the shorter splints of the Indian. For, to the
teacher who has a large number of children to direct, it is a compajra-
tively easy task to see that each pupil has her needlefull of raffia,
whereais in the use of the shorter splints of the Indian much time would
be occupied and patience exhausted in rethreading or reinserting these
short and soon used up lengths.

RATTAN is one of the most popular of basket-making materials
because it is long, light, tough, flexible and fissile. The recent awak-
ening to the importance of basketry has brought rattan into marked
prominence. It is a palm of the genus Calamus, majnly found in the
East Indies. Sometimes it attains the astounding length of 500 feet,
climbing the tallest trees, falling in festoons, and again ascending, and
seldom exceeding an inch in thickness. The rattan of China and
Japan is of the genus Raphis, and is known as ground-rattan. It
grows erect in dense tufts.

Prepared for commerce rattan is stripped of its leaves and bark,
and is put up into bundles of round cane or flat strips, numbered from
i to 15. No. i, being the finest, is the most expensive. Nos. 2, 3, and
4 are common sizes, Nos. 5 and 6 being used for the coarser work.

The BAMBOO 'holds an important place in the list of basket-
making materials. It grows in all warm countries, though the Bam-
busa, the chief type, is found only in Southern and Eastern Asia. It
is an arborescent grass, growing to the height of 20, 50 and even 120

HOW TO MAKE INDIAN AND OTHER BASKETS.

HOW TO MAKE INDIAN AND OTHER BASKETS. 23

feet, with a diameter, in the larger speeies, of from 4 to 8 inches. Both
leaves and stems are used in basketry work, though rattan is more
common in America for general purposes.

The PALAI family affords much material for basketry, as has
already been shown, one species alone, the Bamboo-palm, Raffia vini-
fera, giving the raffia now so largely used.

The leaves of the palmetto (Sabal palmetto), a tree growing from
20 to 35 feet high, and of the dwarf palmetto (S. adansoni), are peeled
and make excellent material for wrapping splints, and also for splints
for the mat weave work herein described.

Good splints are made from the BUCK-EYE (Aesculus), several
kinds of which are well adapted to this purpose, the wood being white,
soft, spongy and easily worked.

The wood splints of commerce are purchased in long, wide strips.
To prepare these for basket work two cutting implements are used,
elsewhere pictured. The broad strip is placed inside the grooves of the
"sheer," which has three or more tiny but sharp knives protruding
from its base. As the splint is drawn through the cutter, it is cut into
the desired width, the knives being set by gauge and screw.

Where mo cutter is to be had the strips may be made with scissors,
but this rs a slow and laborious task.

The BULLRUSH (Scirpus) of different species may be largely
used in basketry. The special kind (S. lacustris), whose tall, smooth,
bluish-green, round stems are seen projecting above the water in
lakes, ponds, pools and rivers, dries well and is excellent for many
purposes. In California the Scirpus Tatora is called tule, and the root
of this has a cuticle of a rich, brown color, which is used by the Cahuil-
la Indians as wrapping splint for their coiled ware.

A grass that can be used is SENECA-GRASS, sometimes also
known as holy-grass and vanilla-grass.

The ingenious teacher will find many ways of using CORN
HUSKS, even as the Indians do, though, of course, nothing durable
can be expected from such perishable material.

SWEET GRASS is largely used in some parts of the United
States and Canada for the making of simple and pretty baskets. It is
properly Zostera, a type of a tribe of aquatic plants which grow im-
mersed in shallow bogs and other waters. A chapter is devoted to
sweet grass weaving.

In the South there grows in va'st quantities the LONG MOSS,
(Tillandsia usneoides) whose dense pendulous tufts drape the trees.
This moss is largely used for the 'stuffing of mattresses, and can be
used for filling for the inner coil of baskets.

BROOM CORN (Sorghum Vulgare) also makes excellent filling
for the inner coil, and is much cleainer and better than the moss.

LONG PINE NEEDLES. From Virginia to Texas there grows
along the coast a pine which has spiculae or needles from ten to twelve
inches in length. The>se needles dry easily and are well adapted
either for material for the inner coil of coiled baskets, or as unwrapped
coils sewed together as illustrated elsewhere, and even for weavers.

Pine needles, longer or shorter, are found throughout the whole
country and children should be encouraged to do the best they can
with such as they can find. The Southern variety referred to above

HOW TO MAKE INDIAN AND OTHER BASKETS.

FIG. 15. SPLINT BASKETS.
Courtesy Hyde Exploring Expedition, New York.

FIG. 16. REED BASKETS MADE AT DEERFIELD,

MASS.

HOW TO MAKE INDIAN AND OTHER BASKETS.

is the long-leafed pine (pinus palustris), and is generally known as the
Georgia pine.

Arrangements have been made for the gathering of abundant quan-
tities of these long pine needles and a sample bunch will be sent by
mail free on receipt of twenty-five cents.

The MARTY NT A is a plant capable of cultivation in any part of
the country. A small package of seeds can be purchased for twenty-
five cents, whiclh will grow enough for a small class. An effort is
being made by The Basket Fraternity to secure these seeds for sale.
It must be gathered when the pod is at its blackest. Gathered too
soon it is greenish; too late, the black is rusty and poor. When

FIG. 17. WEAVER
SPLINT CUTTER.

FIG. 18. FOUNDATION SPLINT CUTTER.

picked at the right time the black is perfect, and all the designs of the
Pima, Apache and Havasupai baskets are worked out with it.

In Australia and New Zealand grows the pimelea, a slender branch-
ing shrub with tough, stringy bark. This bark is prepared and the
fibre used for textile purposes.

All lovers of the fine basketry of Northern California know the
rich black wrapping splint of the twined basketry. This is* the stem
of the Adiantum pedatum, the MAIDEN HAIR FERN.

There are some pliant species of SMILAX (S. Pseudo China),
known as bull-brier, which are used in basket-making.

The fibre of the cocoanut, called COIR, could be so prepared as
to make a fairly good wrapping splint for coiled work.

The SILK GRASS of British Honduras, which is the same as
the pita of Central America, is a valuable fiber produced principally
from' the Bromelia Sylvestris, a kind of wild pineapple, though the
name pita is given indiscriminately to the fibre obtained from the

HOW TO MAKE INDIAN AND OTHER BASKETS.

FIG. 25. RAFFIA BOUND PICTURE FRAMES.
Work of Students, Teachers' College, New York.

HOW TO MAKE INDIAN AND OTHER BASKETS. 27

various species O'f Agave. This is also known as henequen, or sisal
hemp, and is largely used for making ship's cajbles, as it resists damp-
ness better than the simple hemp.

There are two or three species of WILLOW that are largely cul-
tivated for basket-making. In Europe the Almond-leafed willow
(Salix Amygdalkia) and especially the Golden Willow or osier (S.
Vitellina) are used for this purpose. Most of the coarse basketry
of England is made from this latter species, and the finer work is made
by splitting the willow into splints and using them for wrapping, as
do the California and other Indians.

Somehow the words "Sisal Willow" have come into use in
basketry. I am free to confess I do not know what the Sisal Willow

FIG. 160. DEERFIELD STRAW BASKETS.

is and shall be glad to be enlightened. The Century Dictionary gives
Sisal grass and Sisal hemp, which is the fibre of the agave ixtli or
henequen, but I can find no reference to Sisal Willow.

Mat splints, especially when made of palmetto or similar material,
are made more pliable by slight soaking and then running between the
thumb and dull edge of shears.

Other materials will be found referred to in later pages showing
the infinite variety the ingenious teacher may utilize.

In their preparation most of the common grasses will dry if put in
a warm but shady place, and kept turned over every day. A little ex-
perience will soon demonstrate the best method of "curing."

HOW TO MAKE INDIAN AND OTHER BASKETS.

CHAPTER V.
DYES : HOW TO MAKE AND USE THEM.

At the outset let it be understood fully that this is not presented as
anything more than a chapter of suggestion and hints. Explicit di-
rections in so subtle and elusive a matter as dyeing is not to be expect-
ed in a book of this character.

In the first place, second, third and every other place, fix firmly
and forever in your minds that aniline dyes are " anathema " to ajll
true basketry lovers. They are the " accursed things " which bring
sorrow into the camp of the faithful. Do not touch them. Discourage
their use in others.

Vegetable dyes are softer in tone, more harmonious, more perma-
nent, and better in accord with basketry work. The loud trumpet
notes of aniline color do not -suit such soft and flexible work as bas-
ketry. Never until the white man of no artistic taste perverted and
led astray the Indian with aniline dyes did he make mistakes in color.
Hence to get rhe true conception of color one has but to study the
old baskets. And who that has done this has not felt the charm and
delight of sweet, tender, exquisite melodies ; of soft, delicate, restful
harmonies in these masterpieces' nay mistresspieces of ancient
work ?

In this chapter I desire to stimulate each thoughtful and earnest
student to the endeavor to reach what these wild weavers reached. We
know 'somewhat of their methods, and they cannot be improved upon.
In "Indian Basketry" I have said something about them, and the chap-
ter on colors is well worth another reading in connection with these
hints. Also, if you have in some long forgotten closet a copy of your
great-grandmother's old recipe book, get it out, and, ten to one
you will find wonderfully suggestive helps there, reminding you of the
days when your ancestors spent many hours over the dye pot or tub.
To learn to dye well is a liberal education in many things. So begin
with determination and courage. Remember that experience will
widen your horizon and enlarge your capacities. Thus a valuable
and interesting discovery may be made. Miss White tells of "one bas-
ket-maker who found in the purple iris a dye almost as deep as its
own blossoms. The faded flowers are full of the purple liquid, and,
when they are rubbed on rattan, color it a beautiful shade which is
quite as fast as most dyes."

Hence, experiment in every way. If you are preparing a red, and
happen to 'have some other dye at hand, mix in a little of it, and test
the result. Just as an artist experiments in color on his palette board
and thus finds what he wants, so may you.

As a rule all materials and dyes need a mordant. This is to "fix"
the dye. In "Indian Basketry" I tell of some Indian mordants. Alum
is a good ordinary mordant and can be had, cheaply, anywhere. As a
general principle, however, chemistry teaches that where you have
an acid dye it is well to have an alkali mordant, and when an alkali
dye an acid mordant. Experiment will soon teach the value of this.

HOW TO MAKE INDIAN AND OTHER BASKETS. 2Q

Miss \Yhite suggests the use of a solution of three ounces of alum
dissolved in a quart of water. Miss Hyde prefers much less, prefer-
ably about fo-ur ounces to two gallons of water.

When the alum is well dissolved place the liquid in a small tub
and soak the material to be dyed in it for fully two hours. This allows
the fibre of the raffia or rattan to take up the mordant, and thus pre-
pares for the permanent fixing of the dye a thing much to be desired.

Inj the making of dye here are a few hints as to material. YEL-
LOW. Gather St. John's wort (hypiricum perforatum), the stems,
leaves and flowers, which can be found growing everywhere on the
roadside. This gives a light yellow that is very pleasing.

Saffron can be bought from the druggists, and is easy to handle.
This gives a bright yellow.

Onion skins give a dull yellow that is> very satisfactory.

GREEN. Indigo, to be purchased of any druggist, gives the color
for blue, but it must be confessed it is difficult to handle without ex-
perience. Miss Hyde found Chase's Recipe Book give her help.
Learners will find that indigo will not dissolve in water. Sulphuric
acid will dissolve it, but the acid will rot the material to be dyed. So
before the materials are immersed, the acid must be neutralized by
the addition of soda. The sulphuric acid is poured on the indigo,
drop by drop, and stirred vigorously, causing the liquid to foam in an
alarming manner. There is nothing to fear, however. As> soon as the
indigo is dissolved fully, add water and put in soda until it stops
foaming. Be sure to keep your hands out of this mixture. Use a
stick to stir it with. It is well to make plenty of this mixture, which
keep stirring often. This allows the soda to completely neutralize the
sulphuric acid, and the dye can be used with safety, diluting with water
when used.

RED. Cochineal, though animal, is suggested for a dark, deep
red. Combined with cream of tartar it gives a bright red.

Madder gives a dull red. This can be bought from the druggists
in powder form ; in the South it can be found growing in the fields,
and the root is the part to use.

Cranberries give a dull red, and beets a color similar but more
satisfactory. The poke berry gives a purple red. You will not care
to handle the poke berries as they stain the hands.

ORANGE. Dragon's blood gives a pleasing orange. The powder
can be bought from any druggist. Do not buy it in stick form, as water
will not readily dissolve the stick, and alcohol must be used for the
purpose. The powder is easier to handle.

The powder of Blood Root gives a deep yellow.

BROXVN and PURPLE. Logwood extract gives a fine brown,
and combined with ammonia a good purple.

Butternut bark, though not as strong as logwood gives satisfactory
results if an extra quantity is used. Walnut and hickory nut shells
can also be used with good results. The bark of the maple and
pine both give nice shades of brown, and one will find great pleasure
in experimenting with bark from different trees.

TAN. Sumac leaves, and stems give a good tan, while the fruit
gives a reddish or what might better be termed a light or pink tan.
But this dye is never strong even though a large quantity of the leaves
are used.

30 HOW TO MAKE INDIAN AND OTHER BASKETS.

TIME TO COLLECT MATERIALS. Experience has demon-
strated that the best time to collect these materials is in October or
November, when the seeds and fruit are ripe and the ; sap is well
down in the trunks of the trees. Even in this work one is liable to
stumble upon many interesting facts. For instance, one teacher had
her scholars gather walnut shucks for dyeing purposes, and they secured
a delicious shade of green. Three or four weeks later they again wished
some green dye, and went and gathered more walnut shucks. This
time their green dye came out "brown," and the disappointed children
were unable at first to comprehend the reason for the change. It does
not need much suggesting to show how that to an intelligent teacher
this practically prepared the hearts and minds of her pupils for a val-
uable lesson in natural history. The green coloring matter had gone ;
new matter or changed matter was in its place. Thus observation
and interest are stimulated the first elements of all true education.

TO MAKE THE DYES. For a dye pot a good enamel kettle
is as serviceable as anything. All the materials are to be boiled.
A general proportion to be observed is two ounces to one gallon of
water. This gives a fairly strong dye. It can be diluted, if necessary,
and if found not strong enough can either be boiled down or more
material used.

In u sing beets, put in about five or six large beets to a gallon of
water. If these do not produce the desired color, put in more.

Cranberries, use about one pound to a gallon of water.

Butternut bark, walnut shucks, sumac, poke berries, onion skins,
etc., all that can be held in both hands; a little more will do no harm.

All of the above will generally give their color with a half hour's
good boiling. On the other hand, cochineal needs fully two hours to

C* C? >

produce good results-.

TO DYE THE MATERIAL. First mordant as before described.
Be sure and strain the dye, as if there is any sediment it is liable to
arrest the work of the dye and give irregular color effects.

In every case the dye must be boiling when the material is immersed.
Let it remain in the liquid from 15 to 20 minutes. If this is not
enough (as experience will soon demonstrate), let it remain longer.
Keep turning the material over and over, always using a wooden
stick for the purpose, so that the color evenly reaches: all the parts.

The following is from the pen of Miss Margaret C. \Yhiting, of
the Pocumtuck Basket Society of Deerfield, Mass., a society whose
work in fine basketry other pages of this book will well testify to.
In an early bulletin 'of the Basket Fraternity I hope to publish a
full and detailed account of Deerfield and its work.

"Basket workers, who work in raffia, have only lately begun to
realize the necessity of natural dyes in order to produce good and
lasting color combinations in their designs, and it is a fundamental
need, and no craftsman will continue long to rest satisfied with seeing
his design developed in the loud and vulgar colors that raffia dyed
in chemical or aniline dyes produce. In itself raffia is a material that
is capable of taking on soft and harmonious colors, or of becoming an
offence to the eye. It is fortunate that many individual basket
makers, or groups of workers, are following the exampe of Deerfield.
in either doing their own dyeing in indigo, fustic, madder and copperas,
or employing someone who has skill and time to do it for them. By

HOW TO MAKE INDIAN AND OTHER BASKETS. 3!

these means the dld-fashioned processes of hand-dyeing are being
revived, and far-reaching effects may quite reasonably be hoped for
from the individual dyers who are thus being encouraged. Such an
one is Mrs. Miller, of Brooklyn, whose "Colonial Dyes" of over a
dozen shades and tones of reds, browns, yellows, greens and blues
done in small vats prepared by old rules of tried permanence, are
so pleasing to the eye, tried by the garish modern colors that it is
impossible to be'lieve the future will consent to accept. Quite recently
a modest sale, for a charity, of baskets made by a group of amateur
but skillful basket-makers in a surburban town belonging to Greater
New York, from Mrs. Miller's colors proved the charm possible to

FIG. 135. SIMPLE WEB BASKETS OF RATTAN.
Work of Students, Teachers' College, New York.

obtain from the color harmonies of vegetable dyes. The basket with
a holly design, that which was decorated with a stiff row of tulips,
another that bore trees, whose maker whimsically proclaimed to grow
in "the vale of cedars," and still another developed in orange and
black with a barbaric design in white beads, all show the inspiration
harmonious colors give to the designer, how their mere possession
gives suggestion of patterns and combinations to the eye of a skillful
basket-maker, which her own desire to produce turns to admirable
account. The much lamented decay of good design and of excellence
in ornamental work has been largely helped by the manufactured
dyes ; how great an influence toward the tasteless and tawdry has been
wrought by the invention of aniline colors, who can say?"

HOW TO MAKE INDIAN AND OTHER BASKETS.

CHAPTER VI.

TOOLS AND TERMS USED.

The student should be provided with the follotwing tools : A
needle (about a No. 19 tapestry needle is good to begin with) ; strong
scissors; an awl about four inches long; a small hamimer; a yard
measure and foot rude ; a sharp knife ; a pair of small, flat pliers or
pincers ; a narrow piece of heavy, flat iron or steel that can be used
as a hammer between the spokes of a basket. This should be about
five or six inches long and two inches broad, indeed an old rasp file
will answer the purpose very well. Rubber thimble and finger caps
are useful, when these members are tender.

Cutters for preparing wood splints are used by the Eastern In-
dians. Miss Marie Toxuse, employed by the Hyde Exploring Expe-

FJG. 19. A SPLINT.

FIG 20. SINGLE WEAVING.

FIG. 21. DOUBLE WEAVING.

FIG. 22. PAIRING.

dition, 26 West 23rd street, New York, kindly permitted me to have
the accompanying engravings made from her two cutters. Fig. 18
is adjustable, and can be set by means of the thumb screw and the
brass fillers to cut the splints from an eighth of an inch to an inch
in width.

Fig. 17 consists of a number of knives set at the proper distance
apart for the 'making of splints for weavers.

In both these cutters the broad .splint is inserted, pressed upon
the knives, and then rapidly pulled. With a pair of scissors the
resulting splints are cut to the required length.

A splint, or weaver, or strand is the name given to the strip or

HOW TO MAKE INDIAN AND OTHER BASKETS.

piece of material used for wrapping. The fingers in Fig. 19 hold a
splint.

The warp splints are the ribs, the bones, the framework, the spokes,
the foundation upon which the basket is built up.

The woof splints are the weavers which are wrapped, or twined,
or worked in various ways in and out of the warp splints.

SINGLE WEAVING. This is shown in Fig. 20. The weaver
is placed behind one spoke or foundation rod, and before the next,
thus alternating. It is to pack tightly together this kind of weaving
that the flat piece of iron referred to in the list of tools is so useful.

DOUBLE WEAVING. This- is where two weavers are used
instead of one, see Fig. 21.

PAIRING. (This is where two weavers are used, but one is placed
before, the other behind the same spoke, as in Fig. 22. Then as the

FIG. 23. TRIPLE WEAVE.

FIG. 24. ROPE TWIST.

weavers are taken on to the next spoke twist them so that the lower
weaver takes the place of the upper.

TRIPLE TWIST. This is clearly shown in Fig. 23. Three
weavers are placed behind three consecutive spokes, then each weaver
is brought in succession before two spokes and behind one, being laid
at the same time on the top of the weavers that preceded it. This
weave is used where a break or dividing line in a basket is desired,
either for beauty or strength. It is also used as a border finishing
weave.

ROPE TWIST. This is a variation of the triple weave, though
four or more weavers may be used, see Fig. 24. For starting, four
weavers are placed behind four consecutive spokes, and if one or more
weavers have already been used, they must be included in the four
to make up this twist. Each in its transit to the back of the fourth
spoke must be laid on the top of the other three weaver?.

HOW TO MAKE INDIAN AND OTHER BASKETS.

CHAPTER VII.

HOW TO BEGIN.

One of the first and most important results to be attained is the
familiarizing the student (be he child or adult) with the materials to
be used. Hence the wisdom of following out alii the suggestions
here given, even though the immediate results are not the ones
you individually are seeking. The greater the variety of materials
used, the more readily does one see the possibilities and limitations of
each .

Miss Hyde suggests: "One may combine bristol board with

FIG. 26. RAFFIA WRAPPED ARTICLES.
Work of Students, Teachers' College, New York.

raffia to advantage in teaching little children illustrating the use of
two materials of different degrees of flexibility." In all the following
exercises it is well to dampen the raffia several hours before using.

PICTURE FRAMES. Cut a 6-inch square from bristol board
and from this cut a circle, the radius being three inches. Cut an inner

HOW TO MAKE INDIAN AND OTHER BASKETS.

circle with radius i 1-4 inches, giving a diameter of 2 1-2 inches. This
opening allows for a small picture. Then wrap the board with raffia
in its native color, or dyed, as preferred. A simple loop may be made
of the raffia with which to hang up the frame.

In the making of these picture frames cultivate a senise of propor-
tion. The frame must not be too large for the picture it is to hold ;
nor too small.

Then, too, let the child feel that this frame is to enshrine a picture
that means something to him. It is not simply a frame for any kind

FIG. 28. MAGAZINE HOLDER OF WRAPPED RAFFIA.

of a picture, or merely "a frame anyhow," but it is a frame especially
made for a picture of papa or mamma, or the baby, or some beloved
friend or scene. Thus the heart of the child, as well as its mind and
fingers are engaged in the work. This is the prime element in all
work we designate "artistic."

Other interesting possibilities in this use of materials are suggested
in Fig. 26. Here are a book mark, a napkin-ring, and a toy umbrella, all
made of wrapped raffia. For the book-mark any kind of splint may

HOW TO MAKE INDIAN AND OTHER BASKETS.

El
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CU

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tf
H

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ffi

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O

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HOW TO MAKE INDIAN AND OTHER BASKETS.

be used. Then raffia is wrapped from one spoke to another, as clearly
shown in the engraving. The napkin-ring is made by wrapping the
raffia around a splint or card-board base, circled into ring form, and
then edged with plaited raffia, sewed on. For the umbrella take a
piece of No. 4 rattan. Glue a piece of cork upon one end. Into this
make small holes and glue therein seven lengths of No. i or No. 2 rat-
tan. Then begin to wrap with raffia, giving one twist around each
spoke and going on to the next one. This mode of wrapped weaving
was long ago used by the Mohave Indians in the making of their car-
rying baskets, as. shown in Indian Basketry, page 160, and later in
the chapter on Indian Stitches.

PIG. 30. SIMPLE COILED BASKETS.

Work of Students, Teachers' College, New York.

A SIMPLE BASKET FOR CHILDREN. The coiling of
natural colored raffia and wrapping with a strand of dyed material is
an easy method for children. Take a sufficient number of strands of
raffia to make 1-4 inch coil and wrap with a strand of colored raffia
leaving distances of 1-2 inch between wraps. Coil and sew back and
forth holding the coil to the left, and the stitches should not be noticed.
To finish let the coil gradually diminish.

HOW TO MAKE INDIAN AND OTHER BASKETS.

CHAPTER VIII.

THE MAT WEAVE.

While mat weaving uses the warp and woof in exactly the same
manner as they are used in what I have termed the web weaving, the
material is so different in character, and needs such different handl-
ing, that it is deemed wise to differentiate and give two separate sets
of lessons in their use. The earliest stages of this form of weaving
all kindergarten teachers are more or less familiar with.

MATERIALS REQUIRED. A number of splints of equal
width of paper, wood (such as ash, oak, etc.,) palmetto, etc. A buck-
et or bowl of water, knife, scissors, awl or piercer.

CHECKERBOARD. Take a number of splints of equal length
and width. Place ten or a dozen side by side. This makes the warp.

^ ft J-i ,'.nJ f>- r| ' \a,\' ii-L

FIG. 31. SIMPLE MAT WEAVE,

OPKX. FIG. 32. SIMPLE MAT WEAVE, CLOSED.

Then take same number and weave them, one at a time, over and
under the warp at right angles. This simple checkenvork is the basis
for good work later on.

Figs. 31 and 32 clearly show the simplest forms of this kind of
work. After a little practice in this with coarse splints>, let the pupil
undertake the making of a table mat of any suitable material similar
to Fig. 33. It will be seen that the splints are fine. When it is the
size desired, sew the edges tight with white thread, and then unravel
or split the splints as shown in the illustration.

It is well to gain accuracy and speed in the manipulation of mat
splints, and good exercise will be had by imitating Figs. 34, 35, 36

HOW TO MAKE INDIAN AND OTHER BASKETS.

with weavers of two colors. These weaves can be utilized in the
making of many beautiful baskets later on.

MAT FOUNDATION WORK. Fold all the splints lengthwise.
Take the two long ones, place them side by side, right and left, with
ends reversed. (See Fig. 37.) Take a short splint, open it and fold
around long splint to the right, thrusting splints through the long
splint to the left. Pull tight. The next short splint fold around long

FIG 33. TABLE MAT. SIMPLE MAT WEAVE.

splint to left and through long splint to right. So on alternating, with
as many splints as desired. Pull tight.

FOLDING EXERCISE. .The accordeon fold. Take two
weavers of equal width, holding them with ends at right angles, or fold
one long splint as shown in A, Fig. 38. Fold the perpendicular splint
up over the horizontal one, then the horizontal over the perpendicular,
retaining them at right angles. Back and forth the folds then go
(See C) in the fallowing order: down, from left to right; up, from right
to left ; and so on, taking care that each fold is absolutely even. The
result is the accordeon fold (B, Fig. 38.)

In Figs. 10, 11, 39 and 40 are seen four beautiful specimens of

HOW TO MAKE INDIAN AND OTHER BASKETS.

!!<; 38. ACCORDEON PLAIT. DIAGONAL MAT
WEAVE, ETC.

FIGS. 39 AND 40. CHETEMACHE MATS.
Courtesy Hyde Exploring Expedition, New York.

HOW TO MAKE INDIAN AND OTHER BASKETS. 4!

Chetemache weave. This tribe of Indians lives on Avery Island, La.,
and makes beautiful baskets of a variety of shapes, using splints of pal-
metto.

Their dyes are evidently vegetable and the exquisite color effects
produced are worthy of imitation. The colors are a dull Indian red

PIG. 34.
PATTERN PRODUCED
BY INTERLACING

STRANDS OF
DIFFERENT COLORS.

PATTERN PRODUCED
BY INTERLACING
STRANDS OF
DIFFERENT COLORS.

FIG 36.
ISOLATED FIGURES
PRODUCED BY MODI-
FYING ORDER OF
INTERSECTION.

and black, with the natural greenish-gray of the palmetto. In these
mats, the designs are worked out with different colors. The design is
easily followed and the learner will find it excellent practice to en-
deavor to imitate, and later on, conjure up designs from her own im-
agination. The binding is simple. A flat splint is laid lengthwise

FIG. 37. MAT FOUNDATION WORK.

on the upper edge of the mat, and then sewed on with a fine weaver
as seen in the illustration.

DIAGONAL MAT WEAVE. Take four long splints, Lay two
horizontally and two vertically, under and over as if going to make
ordinary square mat weave, holding in left hand. Take top splint,
oblique or diagonal, fold backwards, bringing edge parallel with the
right edge of the perpendicular splint. Change \vork to right hand,

HOW TO MAKE INDIAN AND OTHER BASKETS.

FIG. 41. SPLINT PICTURE FRAME
FOUNDATION.

FIG. 42.

SPLINT PICTURE
FRAME.

FIG. 43. SPLINT MAT WEAVE BASKETS.

HOW TO MAKE INDIAN AND OTHER BASKETS. 43

fold left splint obliquely, making- its upper edge lie parallel with the
bottom horizontal splint. This crosses right perpendicular splint. Pass
under first folded splint. There are now two perpendicular sets of
splints, and two horizontal, one set to the right, one set to the left.
Work held in left hand, fold upper horizontal downwards as before.
Then left perpendicular folded horizontally as before. Hold now
obliquely and press edges towards center to keep the work evenly,
and proceed, folding as directed, as long as required. (See D, Fig.

38.)

NAPKIN RING. A napkin ring can be made from this strip of
diagonal weaving, tucking in the edges. (G, Fig. 38.)

Another form of napkin ring may be made by leaving a little longer
ends to the diagonally woven strip, bringing them together and then
proceeding to unite them with the ordinary flat mat weave, tucking
in the edges as per the illustration, (F, Fig. 38.)

A beautiful variation of the lower edge of the weaving of a diagonal
band is shown in H, Fig. 38. Here, instead of obliquely folding and
creasing the splint, it is merely twisted in a curve back to the place it
would have had if folded and creased. A little practice will make the
weaver perfectly conversant with this pretty variation.

Cornucopias, boxes, covers, etc., in great variety of shapes and
sizes, may be made upon these principles, one of which is illustrated
in B, Fig-. 43.

PICTURE FRAME. Material required: eight long splints of
one or various colors ; necessary number of short splints.

Prepare foundation as described for Fig. 37. Open up as Fig. 41.
Then insert small splints and fill up the vacant spaces marked I, 2, 3, 4
on Fig. 41. Trim off loose edges and the result is Fig. 42, which can
have cardboard or leather back glued or sewed upon it, with ring
hanger, or easel.

The question of basket size can always be determined with a little
study. In mat weaving the width of splint must be considered. Then
there are practically five sides, viz., bottom, two ends, two sides.
These sizes determined it is easy to cut splints the required length,
taking care, however, to allow two inches or so for turning in (tuck-
ing in) at the edges.

It should never be forgotten that good work of any kind can be
done only with splints of perfectly even width. These even widths
can best be made with the cutter shown in Fig. 18.

In Fig. 43 is shown how this square mat weave may be utilized.
The bottom of A is of mat foundation (simple checkerboard). When
the corners are turned up, the woof splints of the sides can be con-
tinued around the corners and used as the woof splints of the ends.
Where the splints meet they can be tucked in, thus strengthening the
parts. A little practice soon enables one to do this "tucking in" or
"doubling" skilfully.

Fig, 43, C, is the lid for D. It is made same as A. When the
cover is deep enough the upright or warp splints are turned over and
tucked in. A fastener for the cover to the handle of the basket D is
easily made by taking a long splint, folding it around the fourth warp
splint from either end, then wrapping one of the folds with the other in
an oblique wrap, and binding it to the fourth warp splint from the
other end.

HOW TO MAKE INDIAN AND OTHER BASKETS.

The basket D is made in the same way as its cover C, except that
it is deeper. To produce the narrowing together towards the top the
warp splints should be made to taper a little.

The handle is made as follows : Take two pieces of rattan, cane,
willow, or palmetto, the thickness desired and the length the handle is
required to be. For weavers use long mat splints well soaked. Hold
foundation canes in thumb and forefinger of left hand with weavers
under one and over the other. Then wrap around left foundation

FIG. 44. MARKET AND OTHER BASKETS.
Work of Students, Teachers' College, New York.

splint, up between the two, over and around right foundation splint
back between the two, down and around left splint, and so on, alter-
nating over and under,

A little practice will soon teach how to affix to basket, taking care
always to overwrap or tuck in all ends.

Figs. 44 and 45 show a variety of small models of baskets made by
the students at Teachers' College. Excite the interest of children in
forms of baskets in actual use, and then urge them to imitate or re-
produce in minature. The result will be an interesting collection,

showing market baskets, clothes baskets,

grocers

baskets, cotton

HOW TO MAKE INDIAN AND OTHER BASKETS.

baskets, hampers, etc. All these are simple and need no detailed in-
structions further than those already given. The children will readily
overcome the problems involved. Here adaptability to purpose, to
use, can well be exemplified and important lessons given, which will
readily suggest themselves to the teacher, such as : How each basket
is used ; how carried ; what it is to carry ; whether carried by one or
two persona; locality used, etc. Show how environment influences
everything and that the use of different baskets in different localities
for the same purpose is the result of different growths, different meth-
ods of work, etc.

CAXING CHAIRS. To cane chairs is not a difficult art, yet

FIG. 45. MARKET AND OTHER BASKETS.
Work of Students, Teachers' College, New York.

is practically useful, and has a decided value in teaching the handling
of splints. It legitimately comes under the head of mat weaving.

To practice, purchase from a kindergarten suppy house a small,
square frame, in which holes an inch apart are bored. Buy or make
pegs to fit these holes. Cane is coarse, medium, fine, and fine fine. It
must be soaked in water before using. Hold the frame on the
lap top uppermost. Count the holes, top and bottom, and pull a piece
of fine cane up through the center bottom hole, and down through
center top hole, leaving an end two and one-half inchee long. P'jii
peg into both of these holes to keep cane in place. Now bring long end
of cane, at bottom row, up through next hole on the right, keeping

4 6

HOW TO MAKE INDIAN AND OTHER BASKETS.

it flat. Peg it. Take cane now to corresponding hole on top row.
Peg; continue this lacing process until right side of frame is reached,
taking care not to pull the cane tight. Now start to the left of the center
and lace as on the right, but towards the left side of frame. This done,
the frame will be filled with lines of vertical splints. Now put in the
horizontal splints in exactly the same way, working from center to
right and center to left. The frame is now a network of squares.
Now, starting from lower left-hand corner, run a splint to the up-

PIG. 47. CANE TIE.

FIG. 46. CANING A CHAIR.

FIG. 48. CANING A CHAIR.

FIG. 49. WEAVE OF CHAIR CANE.

per right-hand corner and continue these diagonal lines exactly the
same as the vertical ones, working first to the right, then to the left.
At the fourth row from the center, however, actual weaving must be-
gin. The splint must be taken under a cross, over a single splint,
under a cross, over single. (See Fig. 46).

This diagonal weaving must be done in the two ways, viz., from
the lower left corner to the upper right, and from the lower right to
the upper left.

For a binding stitch over the holes, take a splint of binding cane,
wide enough to cover the holes of the edge, inserting one end down
through the hole at one corner. A splint of fine cane is now brought

HOW TO MAKE INDIAN AND OTHER BASKETS.

up through every other hole, across the binding and back again
through the same hole, thus couching it. In finishing off the ends,
which should always be on the under side of tlhe frame, bring the
loose end to the nearest loop. Pass it underneath the loop, draw tight,
then once again, creasing firmly, without any attempt tO' tie. This
will be found to hold securely. (See Fig. 47.)

Everyone is familiar with the octagonal meshed weave of the ordin-
ary cane-seated chair. While doing the work endeavor to have one
of these as a pattern close at hand. The explanations that follow will
then be perfectly simple. The one thing of importance to remember
is that the first row of splints must be put on loosely, for there are six
rows of splints and the later woven rows tighten up to the others.

Sit on a small stool or hassock and tilt the chair forward upon your
lap. Find the center as before described. Put in the splints vertically
and horizontally. Now follow these by putting in another set verti-
cally on top of the first ones and through the same holes. The fourth
row is horizontally put in and must be woven as follows : over one up-
per vertical, under lower vertical, at the : same time pulling the upper
vertical to the right, and going over or under as the case may require,
as shown in Fig. 48. Now begin the diagonal weaving from lower left
corner to upper right corner. These go under and over the hori-
zontal pairs and vertical pairs as shown in Fig. 49. In many chairs
there are little problems in the corners that the good sense of the
weaver will easily solve if he is careful to have a due regard for pro-
portion.

When the diagonal weaving is completed, finish off with the bind-
ing as before described.

FIG. 52. HOOP AND SCHOOL
BAG OF PLAITED RAFFIA.

FIG 53. DOLL'S HAT AND TRAY OF PLAITED
RAFFIA.

48 HOW TO MAKE INDIAN AND OTHER BASKETS.

CHAPTER IX.
THE PLAIT OR BRAID.

Every schoolboy and girl is more or less familiar with the simple
forms of plaiting. To gain digital dexterity it is well to introduce it
into a Course of Basketry. First of all, let the child practice on simple
plaiting with strands of raffia, beginning first with coarse and later
using finer material. To facilitate this place a screw hook in the
wainscoting or on the under side of the work table, on which the
raffia can be placed while plaiting. A little practical experience will
soon demonstrate >how much raffia must be used to obtain a plait of
any given size. When a length of raffia is about to give out, lengthen
it by splicing, not by tying, thus avoiding knots. It is not necessary
to plait the entire length needed before beginning to use the plait. Al-
ternate plaiting and sewing give variety.

To give purpose to the work, stimulate interest by showing how
these plaits can be utilized. In the center of Fig. 50 is the beginning
of a small mat. In this the plaits are coiled flat, with the edges outer-
most and sewed as the coil grows. Above it are two wall pockets, one
with, and the other without, a handle. Below it to the left is one of
another shape. In these three the plaits are flat and sewed edge to edge
with a large darning needle, using for thread a fine strand of raffia.
Sew on one side only, and see that it is closely and evenly done. To
the right and below is a band made by sewing the plaits together.
Under the direction of the teacher this can easily be converted into a
harness, for the boy's own use in playing horses. The saddle girth
above is of braided sisal hemp expressly for that purpose.
Fig. 51 is composed entirely of plaited belts, made of corset lacings.
These laces can be dyed so as to give design in the plait. A little
experimentation will soon show that the design depends entirely upon
how the colored lace is placed at the beginning of the plait. The rings
are ordinary brass rings, covered with the lace, and the bottom belt
shows that tttie ends are utilized for tying.

Both boys and girls can be much interested in this plaiting if the
articles made are converted into playthings, or something useful, for
their own personal use. Belts, bag-handles, toy harness and the like
are easily made from this plaited work.

Fig. 52 shows a hoop of plaited raffia, used by boys and girls in
one of their out-door games, and below is a school-bag, used for car-
rying books, etc.

Fig- 53 sihows a small doll's hat, and a tray, both made of plaited
raffia. All the articles of Figs. 50, 52 and 53 were made by small
children at Mr. Neligh's school in Columbus, Ga.

Figs. 54 and 55 are composed of model hats made by the students
at Teachers' College, Columbia University, New York. They are all
of braided raffia, sewed with the edges outermost.

In the making of these hats seek to draw out the individuality of

HOW TO MAKE INDIAN AND OTHER BASKETS.

each child or student. Let one make a continental hat, another a
colonial, still another a Puritan. A Southern girl will naturally try a
sombrero, whilst a girl from the Dutch regions of Pennsylvania
will make a Dutch farmer's hat. Others will try the Panama, the
Coolie, the Chinese, the outing hat, the policeman's helmet, the poke
bonnet, etc. In army hat>s< of different nations are a score of suggest-
ive shapes, while in the hats of the peasantry of the world a host more

FIG. 50. ARTICLES OF PLAITED RAFFIA, ETC.

of excellent suggestions may be found. To add interest to the work
let the child know something of the wearer of these different kinds
of hats. Here come in opportunities for fascinating little chats on his-
tory, geography, social and domestic customs, the reasons that used to
exist for the different kinds of headgear used in the various regiments
of the ^ame army, etc.

50 HOW TO MAKE INDIAN AND OTHER BASKETS.

Then, too, native taste may be exercised and called into existence
in the choice of a modern outing hat. "If you make a modern hat,
make such an one as you would personally like to wear." This de-
mands personality, individuality, the conscious exercise of choice.
Then try to make a hat that would suit some friend. Remember that
a good milliner in choosing a hat studies, the shape of the face and
head, the color of the hair, the form, etc., of the wearer. Thus she is
able to produce a hat that will harmonize with the individuality of the
wearer.

Figs. 56 and 57 are various baskets of plaited raffia made by the
students of Teachers' College. Various colors are used and pretty

FIG. 51. PLAITED BELTS.
Work of Students, Teachers' College, New York.

effects produced. Firmness of weave, solidity of the basket as a
whole, neatness in sewing the plaits together, harmony of color wihere
it is used, and good shape are all sought after.

Five-stranded plaits of raffia often come in very useful, and the
manner of making is clearly shown in Fig. 58.

HOW TO MAKE INDIAN AND OTHER BASKETS. 51

FIG. 50a. BOTTOM OF DEERFIELD BASKET.

HOW TO MAKE INDIAN AND OTHER BASKETS.

FIG. 54. PLAITED RAFFIA HATS.
Work of Students, Teachers' College, New York.

HOW TO MAKE INDIAN AND OTHER BASKETS.

CHAPTER X.

THE NET.

From page 158, "Indian Basketry," it will be seen that carrying
nets were and are made by the Mission Indians of California. The
Pimas have a carrying basket in which the net is used.

Various materials can be used in this work. Twisted hemp,
rushes, braided raffia, yucca fibre, etc. Even unbraided raffia may be
used. It should be slightly dampened for several hours before using.

PIG. 55. PLAITED RAFFIA HATS.
Work of Students, Teachers' College, New York.

For a netted work or handkerchief-bag, as shown in A, Fig. 61,
secure twelve strands raffia of two colors and a stick about a yard
long and one and one-half inches wide. Hold the stick in any easy
position so that a strand of raffia may be doubled and tied around the

HOW TO MAKE INDIAN AND OTHER BASKETS.

stick, as shown in Fig-. 59. Draw the knot tight. Put on the rest of
the strands in like manner. Separate to about an inch apart, then
knot each strand at about the distance of an inch with the nearest
strand of the next pair. Make even meshes all the way across. Con-
tinue this all the way down for five or six rows, narrowing the meshes

FIG. 56. BASKETS OF PLAITED RAFFIA.
Work of Students', Teachers' College, New York.

towards the bottom. Then slip the knots from the stick, and pro-
ceed to close up the bag by knotting the loose sides together.

At the bottom the whole of the strands are gathered together and
tied with a single or braided strand. The ends are then cut evenly, a
length of plaited raffia put through the upper mesh and tied, and the
bag is complete.

A pretty effect is caused by loosely braiding the strands of two bot-
tom rows of meshes before knotting them.

HOW TO MAKE INDIAN AND OTHER BASKETS.

Another style of bag is made by keeping the meshes of equal size
all the way to the bottom, then joining the two sides, at the bottom,
by matching t)he knots and meshes together and then knitting two
strands from the front and two from the back together for the finishing
row. The ends can then be cut and thie bag is complete.

FIG. 57. BASKETS OP PLAITED RAFFIA.
Work of Students, Teachers' College, New York.

If tassels are desired they may be made of raffia and sewed on.
When the bag is lined with silk or turkey red cotton it is a pretty and
serviceable article.

A twine bag may be made in the same manner as A, Fig. 61, ex-
cept that the meshes must be much smaller, and the number of strands

50 HOW TO MAKE INDIAN AND OTHER BASKETS.

limited to the size of the ball of twine. With a tassel on the bottom,
and tied tightly on the top, the twine allowed to come through one of
the meshes, it can be suspended wherever needed.

In netting with raffia or other materials! an infinite variety of
articles may be made, and all different, as suggested in B, C and D,

FIG. 58. DETAIL OF FIVE
STRAND PLAIT.

FIG, 61. NETTED BAGS OF RAFFIA, ETC.

FIG. 59. STITCH AND
KNOT OF RAFFIA.

FIG. 60. SNIGLE NET MESH.

FIG. 62. NET MESH.

Fig. 61. B is a small netted purse of raffia of fine mesh, using the
single net stitch of Fig. 60.

C is netting the same as described in the work-bag A, but has a
bottom and top of coiled and sewed plaited raffia.

D is a pretty little basket made of a fibre brought from Puerto

HOW TO MAKE INDIAN AND OTHER BASKETS.

Rico. It is composed entirely of fancy stitches, knotted or fastened
as required. These fancy stitches give wonderful variety to basket
work and can be introduced here and there as taste and skill dictate.
These may be imitated from any book of fancy needlework, similar to
Figs. 62 to 66, for which I am indebted to the "Priscilla Needlework

FIG. 63. NET MESH.

FIG. 64. NET MESH.

FIG. 65. NET MESH.

FIG. 66. NET MESH.

Book for 1903." Any of these may be imitated in raffia, yucca
fiber, etc.

A pretty napkin-ring can be made by taking ten curtain rings
about an inch in diameter and covering them with the buttonhole
stitch shown in Figs. 67 and 68. Raffia or any fibre may be used.
When all the rings are covered, overlap them, and then join by passing
a ribbon or five-strand plait of raffia (see Fig. 58) an inch wide,
through, then under and over, as slhown in Fig. 69. The size of rings
may be varied to suit the size of napkin.

HOW TO MAKE INDIAN AND OTHER BASKETS.

HOW TO MAKE INDIAN AND OTHER BASKETS. 59

CHAPTER XI.
THE COIL WEAVE.

The coil is one of the favorite weaves, of the best basket makers in
the world, viz., the Indians of the American West and Southwest. It
is simple and yet capable of large variation, and, when performed by
an artist, is exquisitely beautiful. As Professor Mason has well written:

"Coiled basketry in point of size presents the greatest extremes.
There are specimens delicately made that will pass through a lady's
finger ring, and others as large as a flour barrel ; some specimens have
stitching material one-half inch wide, as in the Pima granaries, and in
o-thers, the root material is shredded so fine that nearly 100 stitches
are made within an inch of space. In form, the coiled ware may be
perfectly flat, as in a table mat, or built up into the most exquisite jar
shape, in design, the upright stitches lend themiselves to the greatest
variety of intricate patterns."

The simplest form of coiled work is shown in Fig. 70. The ma-
terial of the coil may be almost anything capable of being coiled, such
as grass, sweet grass, corn husks, straw, raffia, broom corn, shredded
cat-tail, split willows, etc. The plain mat of Fig. 70 is of raffia, while
the fancy one is of sweet grass, with a center of cedar-bark. Taking
a length of the coil material, it is tightly wrapped with thread, twine,
raffia, or whatever is to be used for sewing. A strong tapestry needle
is needed for the sewing. The coil is then begun, the stitches being
taken just past the proceeding one, as the work progresses. This
gives the even and beautiful spiral effect.

The variation of B, Fig. 70, will be easily mastered. The center
may be birch bark (ornamented, as this is, with colored quills), or of
leather. The first grass coil is sewed to its outer edge. The zig-zag
is introduced and the mat then completed with three rounds of coil.

Great care should be exercised in putting in new material to re-
plenish the coil. Upon this depends the evenness of the work.

Fig. 71 is of coiled trays made by the students of Teachers' Col-
lege. Of these Miss Hyde writes and thus instructs how to make :

They are made of hemp, combined with grasses, sedges, rushes, etc.,
gathered in the immediate neighborhood of New York. Let the chil-
dren go out and gather their own material for these 'simple trays.
Dye the hemp and take an amount equivalent to three-eight inch coil ;
wrap for a distance of three-fourths of an inch, allowing spaces of one
inch between wraps ; then fasten and sew, each time inserting the
needle with point toward you between every wrap, thus giving a radia-
tion from the center as the work progresses. To finish allow the
coil to diminish gradually and make a secure fastening.

Fig. 72 is of a group of mats and baskets made of long pine needles.
They are pretty and useful, and made with comparative ease. D is
an oval mat, made exactly as the mat in Fig. 36, except that an oval
center was first made by bending a strong and thick needle to the

FIG. 71. SIMPLE COILED TRAYS.
Work of Students, Teachers' College, New York.

FIG. 72. PINE NEEDLE COILED BASKETS.

HOW TO MAKE INDIAN AND OTHER BASKETS. 6l

shape required. This was then filled up with darned work, and used
as the basis. It makes an excellent tray for the toilet table, or a mat
for the dinner table.

C is a "cute little hat," circular in shape, decked off with a piece of
ribbon. The top is an inch and a half in diameter, the height two and
a quarter inches, the width of brim three-quarters of an inch, the
diameter of bottom, including brim, three and one-eighth inches.

E and G, Fig. 72, are dissimilar in shape, yet made in the same
way. Each 'has a base of two coils, sewed on after the basket was
elsewhere finished. The handles of G are each of two circular coils,
two and a half inches in diameter, and sewed to the sides-. F is
smaller and the two upper coils are made oval so as to afford two
slight protuberances which act as handles. B is a dainty little basket,
to which A is the lid. It is two and a quarter inches across at the bot-
tom 1 , and the lid is. flanged and fits snug.

When these long pine needles baskets are known they will become
wonderfully popular in a short time.

In the making of all these baskets stimulate the student to stability

FIGS. 73, 74, 75. MANUFACTURE OF SPIRALLY COILED WEAVES.

and firmness. A basket must sit firmly on the table and be tightly
woven. No "wobblety" bottom, and no slovenly work in the sides
will be tolerated. Here are two important things to be attained.

Figs. 73, 74, 75 clearly show the Indian method of making the
simple coiled weave. I quote Lieut. Cushings description: "In the
manufacture of the Havasupai- boiling baskets, which are good ex-
amples of the helix or spirally coiled type of basket, the beginning
was made at the center of the bottom. A small wisp of fine flexible
grass stems or osiers softened in water was first spirally wrapped a
little at one end with a flat, limber splint of tough wood, usually willow.
(Fig. 73.) This wrapped portion was then wound upon itself, the out-
er coil thus formed (Fig. 74) being firmly fastened as it progressed to
the one already made by passing the splint wrapping of the wisp each
time it was wound around the latter through some strands of the con-
tiguous inner coil, with the aid of a bodkin. (Fig. 75.) The bottom
was rounded upward and the sides were made by coiling the wisp
higher and higher, first outward, to produce the bulge of the vessel,
then inward, to form the tapering upper part and neck, into which the
two little twigs or splint-loops were firmly woven."

This su'bject will be found more fully discussed in the chapter on

HOW TO MAKE INDIAN AND OTHER BASKETS.

Indian Stitches, and in my book on Indian Basketry. Scores of ex-
quisite baskets made by this stitch are pictured.

As Professor Mason has shown in his bulletin, there are nine dif-
ferent varieties of coiled basketry which he analyzes and describes as
follows :

"The foundation may be (i) a single stem or rod; (2) a stem with
a thin welt laid on top of it ; (3) two or more stems over one another ;
(4) two stems laid side by '=,ide, with a welt; (5) three stems in tri-
angular position ; (6) a bundle of splints or small stems ; (7) a bundle
of grass or small shreds.

The stitches pass around the foundation in progress (i) interlock-
ing, but not inclosing the foundation underneath ; (2) under one rod

ill // \]

A iJ) B & C

FIG. 76. CROSS SECTIONS OF VARIETIES IN COILED BASKETRY.

of the coil beneath, however many there may be ; (3) under a welt of
the coil beneath ; (4) through splints or other foundation, in some
cases systematically splitting the sewing material underneath. With
these explanations it is possible to make the following nine varieties
of coiled basketry, matting, or bagging:

A. Coiled work without foundation.

B. Simple interlocking coils.

C. Single-rod foundation.

D. Double-stem coil, two rod foundation.

E. Packing inclosed, rod and welt foundation.

F. Packing inclosed, two rod and splint foundation.

G. One rod inclosed, three-rod foundation.
H. Splint foundation.

I. Grass-coil foundation.

K. Fuegian coiled basketry.

These will now be taken up systematically and illustrated (fig. 76).

HOW TO MAKE INDIAN AND OTHER BASKETS.

A. COILED WORK WITHOUT FOUNDATION. Speci-
mens of this class have been already mentioned. The sewing material
is babiche or fine rawhide thong in the cold north, or string of some
sort farther south. In the Mackenzie Basin will be found the former,
and in the tropical and subtropical areas the latter. If a plain, spiral
spring be coiled or hooked into one underneath, the simplest form of
the open coiled work will result. An improvement of this is effected

FJG. 77. DETAIL OF
INTERLOCKING STITCHES.

FIG. 78. DETAIL OF SINGLE-
ROD COIL IN BASKETRY.

FIG. 79. FOUNDATION OF
TWO RODS, VERTICAL.

FIG. SO. ROD AND WELT
COILED WORK.

when the moving thread in passing upward after interlocking is
twined one or more times about its standing part (Fig. 76 A.)

B. Simple interlocking coils. Coiled work in which there may be
any sort of foundation, but the stitches merely interlock without
catching under the rods or splints or grass beneath. This form easily
passes into those in which the stitch takes one or more elements of the
foundation, but in a thorough ethnological study small differences can
not be overlooked (fig. 76 B). Fig. 77 represents this style of workman-
ship on a coiled basket in grass stems from Alaska, collected by Lucien
M. Turner. The straws for sewing merely interlock without gather-
ing the grass roll.

HOW TO MAKE INDIAN AND OTHER BASKETS.

C. Single-rod foundation. In rattan basketry and Pacific coast
ware, called by Dr. J. W. Hudson Tsai in the Poma language, the foun-
dation is a single stem, uniform in diameter. The stitch passes around
the stem in progress and is caught under the one of the preceding coil,
as in fig. 76 C. In a collection of Siamese basketry in the U. S. Na-
tional Museum the specimens are all made after this fashion ; the foun-
dation is the stem of the plant in its natural state, and the sewing is with
splints of the same material, having the glistening surface outward. As

FIG. SI. FOUNDATION OF
THREE RODS.

FIG. 82. FOUNDATION
OF SPLINTS.

FIG. S3. INTERLOCKING
COILS, STRAW FOUNDATION.

FIG. 84. OPEN COIL, INCLOSING
PART OF FOUNDATION.

this is somewhlat unyielding, it is difficult to crowd the stitches together,
and so the foundation is visible between.

In America single-rod basketry is widely spread. Along the Pacific
coast it is found in northern Alaska and as far south as the borders of
Mexico. The Poma Indians use it in some of their finest work. The
roots of plants and soft stems of willow, rhus, and the like are used for
the sewing, and being soaked thoroughly can be crowded together so
as to entirely conceal the foundation (fig. 78).

D. Two-rod foundation. One rod in this style lies on top of the
other ; the stitches pass over two rods in progress and under the upper

HOW TO MAKE INDIAN AND OTHER BASKETS. 65

one of the pair below, so that each stitch incloses three stems in a verti-
cal series. A little attention to fig. 76 D will demonstrate that the al-
ternate rod or the upper rod in each pair will be inclosed in two series
of stitches, while the other or lower rod will pass along freely in the
middle of one series of stitches and show on the outer side. Ex-
amples of this two-rod foundation are to be seen among the Atha-
pascan tribes of Alaska, among the Poma Indians of the Pacific coast,
and among the Apache of Arizona. An interesting or specialized vari-
ety of this type is seen among the Mescaleros of New Mexico, who
us'e the two-rod foundation, but instead of passing the stitch around the
upper rod of the coil below, simply interlock the stitches so that neither

FIG. 85. INTERLOCKING COILS,
SHRED FOUNDATION.

FIGS. 86, 87 AND 88. FUEGIAN COILED BASKET AND DETAILS.

one of the two rods is closed twice. This Apache ware is sewed with
yucca fiber and the brown sterns of other plants, producing a brilliant
effect, and the result of the special technic is a flat surface like that of
pottery (fig. 79). The U. S. National Museum possesses a single piece
of precisely the same technic from the kindred of the Apache on the
lower Yukon.

E. Rod and welt foundation. In this kind of basketry the single-
rod foundation is overlaid by a strip or splint of tough fiber, some-
times the same as that with which the sewing is done ; at others a
strip of leaf or bast. The stitches pass over the rod and strip which
are on top down under the welt only of the coil below, the stitches in-
terlocking. The strip of tough fiber between the two rods which

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5J5

HOW TO MAKE INDIAN AND OTHER BASKETS. 67

serves for a welt has a double purpose strengthening the fabric and
chinking the space between the rods (fig. 76 E and fig. So). This style
of coil work is seen on old Zuni basket-jars and on California examples.
The type of foundation passes easily into forms (fig. 76) C, D, and F.

F. Two rod and splint foundation. In this style the foundation is
made thicker and stronger by laying two rods side by side and a splint
or welt on top to make the joint perfectly tight. The surface will be
corrugated. Tribes practicing this style of coiling generally have fine
material and some of the best ware is so made up.

G. Three-rod foundation. This is the type of foundation called
by Dr. J. W. Hudson bam-tsu-wu. Among the Poma and other
tribes in the western part of the United States the most delicate pieces
of basketry are in this style. Dr. Hudson calls them the ''jewels of
coiled basketry." Surfaces are beautifully corrugated, and patterns of
the most elaborate character can be wrought on them. The technic
is as follows : Three or four small uniform willow stems serve for the
foundation, as shown in fig. 81 ; also in cross section in fig. 76 G. The
sewing, which may be in splints of willow, black or white carex root, or
cercis stem, passes around the three stems constituting the coil, under
the upper one of the bundle below, the stitches interlocking. In some
examples this upper rod is replaced by a thin strip of material serving
fora welt (see fig. 76 F). In the California area the materials for bas-
ketry are of the finest quality. The willow stems and carex root are
susceptible of division into delicate filaments. Sewing done with these
is most compact, and when the stitches are pressed closely together the
foundation does not appear. On the surface of the barn-tsu-wu basketry
the Poma weaver adds pretty bits of bird feathers and delicate pieces
of shell. The basket represents the wealth of the maker, and the gift
of one of these to a friend is considered to be the highest compliment.

H. Splint-foundation. In basketry of this type the foundation
consists of a number of longer or shorter splints massed together and
sewed, the stitches passing under one or more of the splints in the
coil beneath (fig. 82). In the Poma language it is called chilo, but it
has no standing in that tribe. In the Great Interior Basin, where the
pliant material of the California tribes is wanting, only the outer and
younger portion of the stem will do for sewing. The interior parts
in such examples are made up into the foundation (fig. 76 H). Such
ware is rude when the sewing passes carelessly through the stitches
below, in others the splitting is designed and beautiful. In the Kliki-
tat basketry the pieces of spruce or cedar root not used for sewing
material are also worked into the foundation.

I. Grass'-coil basketry. The foundation is a bunch of grass or
rush stems, of small midribs from palm: leaves, or shredded yucca. The
effect in all such ware is good, for the reason that the maker has per-
fect control of her material. Excellent examples of this kind are to
be seen in the southwestern portions of the United States, among the
pueblos and missions, and in northern Africa. The sewing may be
done with split stems of hard wood, willow, rhus, and the like, or, as
in the case of the Mission baskets in southern California, of the stems
of rushes (Juncus acutus), or stiff grass (Epicampes rigidum). (See
fig. 83 and the cross section given in fig. 76 I). In the larger granary
baskets of the Pima a bundle of straws furnishes the foundation,

HOW TO MAKE INDIAN AND OTHER BASKETS.

FIG. 90. COILED RAFFIA BASKTES.

HOW TO MAKE INDIAN AND OTHER BASKETS. 69

while the sewing is done with broad strips of tough bark, as in fig. 84.
In the Fuegian coiled basketry, of which a figure is given, the sewing
is done with rushes, but instead of being in the ordinary over-and-over
stitch it consists of a series of half hitches or buttonhole stitches (fig.
86).

Among the basketry belonging to the grass-coil foundation type
are the Hopi plaques, built upon a thick bundle of the woody stems of
the yuccas, which furnish also the sewing material from the split leaf
(fig. 85). If this be examined in comparison with a style of basketry
found in Egypt and in northern Africa as far as the Barbary states,
great similarity will be noticed in the size of the coil, the color of the
sewing material, the patterns, and the stitches. The suggestion is
here made that this particular form of workmanship may be due to
acculturation, inasmuch as this type of basketry is confined in America
to the Hopi pueblos, which were brought very early in contact with
Spaniards and African slaves.

K. Fuegian coiled basketry. In this ware the foundation is slight,
consisting of one or more rushes ; the sewing is in buttonhole stitch or
half-hitches, with rush stems interlocking. The resemblance of this to
Asiatic types on the Pacific is most striking (fig. 86)."

The student can utilize almost all of these methods in one kind of
work or another, and, when time permits, it is well to experiment in
the various styles with the home materials.

In fig. 89, two different methods of coiled basketry are shown.
Here, after the center has been begun, the new part of the coil is
wrapped for a certain number of stitches, then it is sewed to the pre-
ceding coil, as in A. In B, the same method is followed, with the ad-
dition of a cross stitch over the stitch which binds the two coils to-
gether. The Indians of Kern County occassionally use the former of
these stitches, and my friend, Mr. E. L. McLeod, has some beautiful
specimens of the weaver's art done in this, what he calls, lazy stitch.
It is so-called by him because each stitch is not bound to* the preced-
ing coil as in all their finer work.

B. fig. 90 is another specimen, made by a ten year old boy, of the
coiled lazy stitch. A, is a work-basket of the same stitch. The bot-
tom is two and a half inches in diameter. The diameter increases up
to five inches, and is then decreased until it is 3 1-2 inches at the top.

C. fig. 90 is the next step in coiled basketry. We have now
reached, what we might term, the pure coiled work of the Indian.
Though made of raffia, many people looking at the photograph, might
easily mistake this for a genuine Indian basket, though, of course, no
one but the merest tyro could be deceived if he held the basket in his
hands.

Most of the celebrated baskets of the Pocumtuck Society, of Deer-
field, Mass., are made in the stitch shown in Fig. 89. I have pleasure
herewith in presenting a description of the baiskets illustrated and the
work of this Society by Miss Margaret C. Whiting, wihich will be read
with interest and profit.

"The baskets produced at Deerfield, Mass., show the fundamental
traits of sound workmanship and an intelligent use of material, which
the other crafts of that little village display; and their example has
been a source of encouragement to the production of the good work

HOW TO MAKE INDIAN AND OTHER BASKETS.

FIG. 92. COILED RAFFIA BASKETS.
Work of Students, Teachers' College, New York.

FIG. 93. COILED RAFFIA BASKETS.
Work of Students, Teachers' College, New York.

HOW TO MAKE INDIAN AND OTHER BASKETS. Jl

now being done by other groups of village workers in basketry in
different localities. In the matter of color the Deerfield workers in
raffia have, probably, been of chief public service, for from the first
their baskets have owed a good part of their reputation to the natural
dyes they employ. With indigo, madder, fustic, copperas and logwood
these craftswomen hiave uttered their convincing protest against the
crude and vicious color discords of the chemical dyes, and with the
varying shades and tones their old-fashioned dves offer they produce
harmonies the public is quick to value. The Pocumtuck Basket So-
ciety, as the raffia workers have named themselves, after the long-
gone earliest inhabitants of their valley, have wisely recognized that
the Indian, like all masters in art, may not be imitated by those whose
taste is sophisticated and minds trained to other and different standards
of beauty, and have frankly refused to use designs or color combina-
tions that belong to the red man's choice. In their designs they pre-
fer to work out the themes and harmonies of Nature ; a butterfly, a
flower, an animal or even a landscape may serve for suggestion, and
the way it is translated into the medium of raffia furnishes the problem
for the individual craftswoman to solve for herself. One large basket
woven of the natural colored raffia for a ground color bears two land-
scape designs for its decoration ; on one swelling side is seen a group of
trees in dull rioh greens against a blue sky, a house in red with win-
dows a<nd doors in black and a lighter green foreground ; on the oppo-
site occurs exactly the same landscape all dark in blues and greens,
the house in black and and the upper edge of the roof and trees just
touched with the pink reflections from a big pink moon that rises in
the pale sky ; it is almost needless to say this is named "Night and
Day." Only a bold designer could carry out with success so simple
yet complicated a scheme. Another covered basket by the same work-
er is made with a useful handle that holds fast the lid on double braided
cords ; it is developed in blues with a row of red birds solemnly hopping
about its circumference (see Fig. 9). A different temperament has
chosen a blackberry for a motive of form and decoration, the seeds
being divided on the black surface by dull green lines while the cover
with its brown stem for a handle rising from the green calyx, is all
black with a row of large dull black beads pointing the edge of the lid.
Turn up the basket and one will find, worked with a much finer stitch,
a beautifully drawn black-berry flower in white raffia in the black
bottom. This charming surprise, slyly prepared for the observant,
serves a useful purpose, for it lightens the dark interior of the basket.
One craftswoman decorates her carefully shaped basket with a nice
drawing of white mice on a dull olive background (Fig. 2) ; another
chooses the piccotee pink for chief decoration upon the cover of her
shallow bowl, the flower is worked out in red and black upon a white
background with a conventional border in the same colors upon the
side of the basket (Fig. 14). An individual preference is shown in one
worker's use of the swale grasses grown in the meadows about Deer-
field (see Fig. 8). She combines their varying lines with colored raffia
in large card trays and plaques. Or another weaver produces her
effects from the use of color and exquisite stitches in a basket all done
in greens, with much thought given to the perfection of form. The
beauty that lies in the natural corn husk when laid smooth in large

HOW TO MAKE INDIAN AND OTHER BASKETS.

surfaces is shown in still another basket of a large cylindrical form
done in shaded indigo blues for background to four poppy stalks, each
rising from two spreading gray-green leaves, and bearing big blos-
soms worked from the many4iued pinks of the crepe-like husks (see

Fig- 3)-

In choice of shapes the Pocumtuck basket makers cling to the strict-
ly useful and simple forms ; a bowl must stand firm on a bottom suffi-
ciently large to sustain it, a cover must fit, a handle must be strong
or the jury of society will not give its approval. The stitch chiefly

FIG. 95. WEAVING ON
EVEN SPOKES.

FIG. 94. BOOK MARK OF
SPLINT AND WEB WEAVE.

employed is that which has been dubbed "lazy stitch," and consists
of one smooth turn about the coil and a stitch down into the space on
the row beneath ; the coil is formed of split or whole reeds, different
sizes being chosen to fit the desired effect, and sometimes varied from
large to small in the development of a single basket. Wrapped spaces
are introduced but are not allowed to interfere with structural
strength."

Figs. 91, 92, 93 are all of coiled raffia baskets made by the students
at Teachers' College. Here variety in shape and design were worked
out, each weaver seeking to produce the best possible effect.

HOW TO MAKE INDIAN AND OTHER BASKETS.

CHAPTER XII.

THE WEB WEAVE.

We iniow come to the most common of all of the basket weaving of
civilization, the web. Yet this differs from the checkerwork of the mat
weaving only in the fact that the warp elements are rigid and the
woof is the pliable material. The result is a series of ridges on the
surface. Indeed the division into miat and web weaving is purely arbi-
trary. Figs. 20, 21, 22, 23 and 24 show the simple stitches.

BOOK MARKS. A pretty little book-mark may be made with
wooden splints, palmetto, rattan or other material for the foundation
and with a long weaver of raffia. One long and three short flat
splints are required. Place these as shown in Fig. 94. Tuck the end
of the raffia weaver under between 8 and i. Weave over i, under 2,
over 3, under 4, over 5, under 6, over 7, then under 8 and i, over two

FIG. 96. HOLDING SPOKES
AND STARTING WEAVER.

FIG. 97. DIVIDING INTO
SINGLE SPOKES.

etc. Next round pass under two, one ahead of the first round, and so
on, until five or six rounds have been woven. Tuck the end of the
weaver into the part woven so as to hide and firmly fasten it, and
when tips of spokes are cut into points a book mark is ready for use.

The following exercises will all be useful for later work.

ODD AND EVEN NUMBER OF SPOKES. It must never be
forgotten that proper web weaving can never be clone with an even
number of spokes and a single weaver. To have the woof of one over
and one under, uniformly, throughout, there must be an odd number
of spokes. The odd spoke may be used in starting, or can be inserted
later. A little practice will soon teach the better way to the student.
Where, however, it is essential to vise an even number of spokes for
the warp, the effect of a single weaver can be obtained by using two
weavers, both starting together, one before and the other behind the
same spoke, as shown in Fig. 95. A little care at first will soon render
one expert in thus using two weavers.

MAT OR BOTTOM FOR ROUND BASKET. Take eight

HOW TO MAKE INDIAN AND OTHER BASKETS.

spokes of No. 4 rattan, 14 to 16 inches long, one spoke, 8 or 9 inches
long, and a weaver of No. 2 rattan. Hold the eight long spokes as
shown in Fig. 96. Then weave under flie four to the right, over the
four at bottom, under the four at left, and so on, making two complete
rounds. When the weaver has been placed across each side of the
top set of spokes, separate the spokes as shown in Fig. 97 and begin
to weave behind and before each spoke separately. This separation
must be done with great care and evenness, as strength and beauty
both depend upon the way this is done. Weave one row, and it will
be found that the weaver comes behind the same spoke with which
we begun in the first row. This would spoil the looks of the basket, so
the odd spoke is >now inserted as shown in Fig. 98. Sharpen one end
and thrust it into the center, underneath. Then turn over and continue

FIG. 98. INSERTING ODD
SPOKE.

PIG. 99. RIGHT SIDE OF CENTER
WITH ODD SPOKE.

to weave as shown in Fig. 99 until the mat or base is the size re-
quired. If it is desired to make a mat of this, finish the last row by
binding it as overcasting is done. After placing the weaver under
one side and over another, it is passed under the last row of weaving
just before it reaches the next spoke. Then pass it around that spoke,
in front of the next, under the last row of weaving before next spoke,
and so on until the whole edge is bound. Now cut spokes to a point
and of even length. Soak ends for a few minutes. Then push spoke
No. i down beside No. 2, leaving an open curve as shown in Fig. 100.
Run the spoke down as far as possible, the further the better, as
strength is thus added, and the appearance of the basket improved.

OPEN BORDER NO. 2. Another simple border is made, as
shown in Figs. 101 and 102, allowing from i 1-2 inches to 5 or 6, ac-
cording to taste, for the loop.

In making these borders remember always to soak, for ten or fif-
teen minutes, the splints to be bent. Then be absolutely accurate in
making everything even, as the beauty of every edge depends upon its
evenness. It is well to soak a border after it is made, so as to readily
allow its being bent into perfect shape. It will then dry as left.

STARTING NEW WEAVER. It will often be necessary, as a

HOW TO MAKE INDIAN AND OTHER BASKETS.

[weaver runs out, to start a new one. Leave the end of the last weaver
behind a spoke, with about three-quarters of an inch to spare. Cross
this with an equal length of the new weaver. (See Fig. 103). Then

FIG. 100. SIMPLE OPEN BORDER.

PIG. 101. DETAIL, OF
OPEN BORDER NO. 2.

proceed. When the basket is completed and dry the unnecessary ends
may be cut off.

SPLICING. If it is desired to hide the point of new with old
weaver, the two may be spliced as shown in Fig. 104.

Mr. Neligh informs me that he has found it to be excellent practice
to have hi's pupils make the web weave with raffia. In Fig. 105 are

FIG. 102. OPEN BORDER NO. 2.

FIG. 103. STARTING
NEW WEAVER.

shown some specimens of the work of his pupils. Pins are firmly
fastened into a board, the shape the object is to be. The warp strands
of raffia are then tightly tied around these pins, and the woof strands
then woven as in other work. One may use a needle or not as he de-

FIG. 104. SPLICING WEAVERS.

sires. When the weaving is done the edges are sown together to make
the object desired.

SIMPLE BASKETS. The student is now ready to make simple

7 6

HOW TO MAKE INDIAN AND OTHER BASKETS.

baskets of the web weave. Use the mat in Fig. 106 as an example.
Begin the mat as described in Figs. 96, 97, 98, and 99, finishing off
with border as desired.

The basket below the mat is begun in exactly the same way, but
after about an inch of the mat is woven draw the weaver tighter. This

FIG. 105. WEB WEAVING WITH RAFFIA.

slightly curves up the spokes and gives the bowl shape desired. As
soon as the basket is as large as required it must be finished off with
closed border No. i, which will be described in the next chapter.

HOW TO MAKE INDIAN AND OTHER BASKETS,

CHAPTER XIII.

INSERTION AND BORDERS.

Before proceeding further with the chapter on Web-Weaving
it is well to gain a full knowledge of insertion and borders. These
descriptions are taken from Miss Firth's "Cane Basket Work." "In
making open borders where it is necessary to run one spoke down

FIG. 106. SIMPLE RATTAN BASKETS, WEB WEAVE.
Work of Students, Teachers' College, New York.

beside another, the awl must be first inserted to open a passage for
the extra spoke, and care must be taken to have a smooth end, or
the weaving will be pulled out of place. It is al'so important to have
each spoke double the length of the height of the basket, allowing
the extra length necess'ary for the loop at the top. For convenience

7 HOW TO MAKE INDIAN AND OTHER BASKETS.

spoke may be cut half an inch beyond the length required for the sides,
and extra spokes, a little more than double that length, inserted when
the weaving is finished. This will give the appearance of three
spokes, and if well varnished will not be likely to get out of place.
The extra half-inch must not be cut off the first spoke till the others
have been inserted.

"As the extra length necessary for each border is given with the
directions for working it, one can be easily substituted for another
according to taste."

FIG. 107. DETAIL OF INSERTION.

PIG. 108. INSERTION.

Pretty effects are caused by insertion, the details of which will
readily be comprehended from Figs. 107 and 108. The spokes of
the trellis work of the insertion are finer than the foundation. "This
can be used with any border but looks well with open border, Fig.
102. The fine starting on the right hand side of a coarse spoke,
crossing the open space to the next on the right, following it inside

FIG. 109. OPEN BORDER NO. 3.

FIG. 110. OPEN BORDER NO. 4.

the bend till the open space is again reached, where it crosses to the
left-hand side of the same 'spoke from which it started."

OPEN BORDER NO. 3. "This is only another variation of the
same prinicple, the spokes being cut about 3 inches longer than double
the height needed for the sides of the basket. At about 2 inches
from the top weave one row of pairing and fasten off ends. An

HOW TO MAKE INDIAN AND OTHER BASKETS.

inch farther up start another row of pairing, add three rows of single
weaving, and finish with another row of pairing. Proceed as for Open
Border No. 2 as far as to the insertion, but instead of inserting the
spoke in hand beside the same spoke as in the upper part, miss one,
and slip it down beside the next. This border needs careful manipu-

FIG. 111. DETAIL, OF PLAIT.

FIG. 112. PLAIT.

lation to keep the spokes in place. It can be varied according to
size of basket and taste of worker."

OPEN BORDER NO. 4. "This border necessitates double
spokes, on which two rows of pairing are worked at any desired
distance. See Fig. no. The upper part is done on the same princi-
ple as Open Border No. 5."

SINGLE PLAIT. Each spoke is brought up behind the next,
the last being gathered under the first, as shown in Fig. in. For
the next row this movement is reversed, each spoke being passed
down behind the next, the last threaded under the first. When the

FIG. 113. OPEN BORDER NO. 5.

4321
FIG. 114. DETAIL, OF LAST THREE SPOKEa

work is thoroughly dry, the protruding ends must be cut off as close-
ly as practicable. See Fig. 112.

DOUBLE PLAIT. Insert an extra short spoke beside each of
those already in use, and proceed with the two spokes together as
in single plait.

OPEN BORDER NO. 5. "Take spoke No. i, and at about 11-2
inches beyond the edge of the basket bend it downwards, passing it be-
hind No. 2, before No. 3 and behind No. 4, leaving the end at the front

HOW TO MAKE INDIAN AND OTHER BASKETS.

of the basket to form the plait, as just described. Take spoke No. 2,
and working on the same principle bring it down behind No. 3, be-
fore No. 4, and behind No. 5, again leaving the end at the front of
the basket. Proceed in this way till all the spokes are down but three
(Fig. 113). Take the first of these, bring it down behind the second
and before the third. In order to keep the pattern, this must now
be threaded from behind under the spoke first used, and spoken of

FIG. 115. CLOSED BORDER NO. 1.

FIG. 116. DETAIL OF
BORDER NO. 2.

as spoke No. i. Two upright spokes are still left. Take the first
of these, bring it behind the second and thread it before and behind
the two spokes first used. One upright spoke is still left, which must
be threaded behind and before and behind the three spokes first
used, and will complete the pattern. Finish with plait already de-
scribed. See Figs, in and 112. Length of spokes needed for bor-
der 10 inches.

CLOSED BORDER NO. i. "This is the same border and worked

FiG. 117. DETAIL OF
CLOSED BORDER NO. 2.

=*^~

FIG. 118. DETAIL OF CLOSED
BORDER NO. 2. ,

in the same way as Open Border No. 5, the difference being that in
this case all the spokes are drawn tightly down except the first three,
which are left open to leave room for threading the last three through
them. The plait will not be necessary. Length of spokes needed
for border 6 inches."

CLOSED BORDER NO. 2. "See that all the spokes are the
same length, and proceed as follows : Lay spoke No. i behind spoke
No. 2, leaving enough room under it for the insertion of an ordi-
nary slate pencil, in order to have space when necessary for thread-
ing through the ends of the last spokes at the finishing of the bor-
der. Lay spoke No. 2 behind No. 3 (Fig. 116). Pick up No. i, place
it before No. 3 and behind No. 4. Take No. 3 (which is still up-

HOW TO MAKE INDIAN AND OTHER BASKETS.

right) bringing it down beside No. I and behind No. 4 (Fig. 117),
making one "pair" of ends turned down. The canes forming these
"pairs" must each in turn be kept side by side (the longer of the two
being to the right) and held perfectly flat under the thumb till the next
"pair" is down. Pick up No. 2, bring it before No. 4 and behind
No. 5. Take No. 4 (which is still upright), and bring it beside No. 2

FIG. 119. DETAIL
OF CLOSED BORDER NO. 2.

FIG. 120. DETAIL OF CLOSED
BORDER NO. 3.

and behind No. 5. This will make a second "pair of ends.'' The
longest of the first pair must now be brought before No. 5 (which is
still upright) and behind No. 6 (Fig. 118), No. 5 being brought down
beside it as before. The shortest of each pair in turn is left to be
cut off at the front when the work is finished, or to be threaded
through to the inside and cut off there, making the edge still more
substantial. Proceed on this principle till all the upright spokes but
one have been brought down, and if correctly worked, there will

FIG. 121. DETAIL OF
CLOSED BORDER NO. 3.

FIG. 122. CLOSED BORDER
NO. 3.

always be two pairs of ends after the first pair is started, but never
more than two. Take the longer of the first pair, and slip it behind
and under spoke No. I, the last upright spoke still left being brought
down beside it in the usual way, and passed under the same spoke.
Two pairs of ends will still be left. Take the longest of the first
pair, lay it in front of and beside spoke No. I (the spoke first used,
and which may be marked by a piece of cotton till the worker be-
comes familiar with the border), bringing it out to the front under
spoke No. 2. Take the longest end of the last pair, bring it in front
of and beside spoke No. 2, passing it under No. 3 and the spoke in

HOW TO MAKE INDIAN AND OTHER BASKETS.

front of it. Each spoke must be brought to the front immediately
above the weaving. Length of spokes needed 8 inches."

CLOSED BORDER NO. 3. "Before attempting this border,
the worker will do well to work out No. 2, until familiar with its
principles, which are much the same. No. 2 is the simplest of this
class ; No. 3 as large as would be needed for any ordinary basket ;

PIG. 123. DETAIL OF
OVAL BASE.

FIG. 124. DETAIL OF OVAL BASE.

but the same kind of border may be worked with three, or four, or
more, spokes as easily as with two or five, always remembering
that the number of single spokes turned down at the first determines
the number of pairs, and that these must never vary till not one up-
right spoke is left. In Border No. 3 five spokes are at first turned
down, and after the pairs are started there will always be five to work
from till the end is reached.

"Lay spoke No. i behind No. 2 ; No. 2 behind No. 3 ; No. 3 behind

FIG. 125. SPLIT SPOKE
FOR ROUND BASE.

FIG. 1?6. SPIRT'S THREADED
FOR ROUND BASE.

No. 4; No. 4 behind No. 5; No. 5 behind No. 6 (Fig. 120). Pick
up No. I and lay it behind No. 7, bringing No. 6 (which is still up-
right) down bes ; de it (Fig. 121). Pick up No. 2, lay it down behind
No. 8, bringing No. / (which is still upright) down beside it. Pro-
ceed thus till all the spokes are down but one. Take the longest
spoke of the first of the five pairs left, bringing it behind and under
spoke No. i, the last upright spoke being brought down beside it.

HOW TO MAKE INDIAN AND OTHER BASKETS.

Five pairs are still left. Take the longest of the first pair, bringing
it beside and in front of spoke No. I and under spoke No. 2. Take
the longest of the first of the four pairs left, bringing it beside and in
front of spoke No. 2 and under spoke No. 3. In threading through
these ends, it must be remembered that the short spokes come out
immediately above the weaving and under the roll of spokes which
forms the edge. Take the longest of the first of the three pairs left,
bringing it beside and in front of spoke No. 3, and under spoke No.

FIG. 127. WEAVING OP
ROUND BASE WITH
TWO WEAVERS.

FIG. 128. ROUND BASE WITH
SPOKES IN PAIRS.

4. Take the longest of the first of the two pairs left, bringing it be-
side and in front of spoke No. 4 and under spoke No. 5. Take the
long spoke still left, bringing it beside and in front of spoke No. 5
and under spoke No. 6. If the two spokes which lie together have
been kept lying flat on the edge of the weaving, the border will look
even and handsome (Fig. 122). Length of spokes required 10
inches.

84 HOW TO MAKE INDIAN AND OTHER BASKETS.

CHAPTER XIV.
MORE ABOUT BASES.

In her books Miss Firth gives several methods of making bases.

OVAL BASE. A simple oval base may be made as follows. Take
4 lengths, No. 4 rattan, 24 inches long, 6 lengths, No. 4, 6 inches long
and one length, 3 inches long. Place the six short pieces for the
width and the long pieces as shown in Fig. 123. The two lower spokes
must be placed on the table, and the short ones placed across them in
pairs, at intervals of an inch. The lower of these two spokes must be
UNDER the center pair, and OVER the pair at each end. The upper
spoke must be the reverse of the lower, the short piece being placed
above that in the same order as the lower spoke. When the base is
finished it will be seen that this short piece forms a middle around
which the four spokes are woven. The other two long spokes must
be placed in a position exactly reverse to the two first, as in Fig. 124.
They must then be pressed closely together, the left hand holding them
firmly in their place, while the right weaves with the inside spoke of
the two which first used, passing it over the two short ends of the sec-
ond pair of long spokes, and under and over and under the three short
pairs. The outside spoke must follow, but in reverse order. The sec-
ond pair of long spokes must be treated in exactly the same way as the
first.

ROUND BASE WITH DOUBLE WEAVERS. Take 12
spokes of No. 4 rattan, six inches long, and a long weaver of No. I
rattan. In six of the twelve spokes, make a split in the center about an
inch long as shown Fig. 125. Then thread the six unsplit spokes
through the split ones. (Fig. 126). Keep flat and cross exactly in
center. Take weaver, double it, leaving one end several inches longer
than the other. Slip loop of weaver over six of the split spokes,
bringing under part of weaver over, and top part under the next
six spokes (Fig. 127). Repeat this as described with Fig. 95 until
three rounds are made. Be sure that the under weaver is always
brought to the top before the top one is taken underneath, to prevent
the weavers getting twisted. Now separate spokes into sets of two,
(Fig. 128), pulling the spokes well apart to allow room for the weavers
to be well pushed down. Then pair around the double spokes for
three rounds, after which separate each 'spoke and pair as in Fig. 129.

ROUND BASE WITH SINGLE WEAVER. A round base
with a single instead of a double weaver may be made by the insertion
of an extra spoke after the dividing of the spokes begins.

OBLONG OVAL BASE, take 13 spokes of No. 4 rattan, 5
inches long, and 5 spokes of No. 4 rattan, 12 inches long. Split the 13
spokes in center as before described, and thread them on the 5 spokes
as shown in Fig. 130. Put the odd spoke in center of the five. Then
allowing half an inch between the spokes, place them as shown in Fig.

HOW TO MAKE INDIAN AND OTHER BASKETS.

130, but with two spokes together at each end. Double the weaver and
place the loop over the double side spokes. Take the underneath part
of the weaver and weave down the side, then go back and take upper
part of weaver and weave beside it, counting double spokes at end as
one spoke.

Weave holding the base flat on the table, and always from left to
right. To do the end take up the base in the left hand, grasping the
weavers where they pass the double side spokes. Take the weaver
from underneath and bring tightly across the five long spokes,
place behind the double side spokes, then put the base flat
on the table and weave down the side. Go back, taking up the base
again, and take the top weaver behind the five spokes, lay down the
base, then weave down the side. Repeat this until you have two
weavers crossing the five spokes top and bottom and on either side.
Divide the five spokes into 2-1-2. (See Fig. 131). Pair around these,
but still weave down the side. When both ends have been divided in
this way, take each spoke singly, beginning with the double side spokes,

FIG. 130. COMMENCING
OBLONG OVAL BASE.

FIG. 129.

ROUND BASE WITH SPOKES
SEPARATED.

and pair around each of the nine spokes at either end, but still only
weave down the sides.

When both ends are done, continue weaving straight round with
first one we'aver and then the other, but not pairing.

While doing the base, draw the weaver firmly towards the right,
and when doing the ends bring the weaver firmly clown between the
spokes, which must be drawn as far apart as possible to admit of this
being done efficiently. In a well-made base the weaving is always
drawn down so firmly that the spokes cannot be seen in between.

To get the oval bases of the size required, first take the measure-
ment across the basket. If this is 4 1-2 inches, and the length is to be
8 inches, the spokes across would have to be placed within a distance
of 6 inches, measuring from each lot of double spokes at the end.

The reason of this is, that enough space must be left at either end
to allow 2 inches of weaving, as in a base 41-2 inches across there
would be 2 inches of weaving on either side, allowing one-half inch for
the five spokes down the center.

HOW TO MAKE INDIAN AND OTHER BASKETS.

If this rule is followed, the right size can always be counted on, and
in the lids of oval baskets it is particularly necessary that the size should
be assured before starting.

OVAL BASE. Another method of making an oval base is to take
six 5-inch spokes, four 7-inch spokes and one 4-inch spoke, all of No. 4
rattan, with three weavers of No. 2 rattan. Split the six five inch
spokes as described in Fig. 125. Thread them on the four seven-inch
and the one four-inch spokes, the short one in the center, leaving about
half an inch between each of the six. The six spokes are held hori-
zontally, and the five are vertical. Start a weaver, back of the vertical
spokes and lying along the uppermost horizonal spoke, with the end
toward the right. Bring it around in front of the vertical spokes
(above the upper horizontal one), the>n back and down diagonally to
the left, coming out below the upper horizontal spoke. Here it is

FIG. 131. OBLONG OVAL BASE.

brought around in front of the vertical group, back and up diagonally
to the left of the vertical spokes and above the first horizontal one. It
is then brought diagonally down in front of the vertical spokes, to the
right of them and just above the second horizontal spoke. Next it
crosses diagonally down and back of the vertical spokes, to the left of
them and below the second horizontal spoke, where it is brought over
the vertical ones, back and up diagonally to the left of the vertical
spokes, and just above the second horizontal one as shown in Fig. 132.
The same process binds the other four horizontal spokes ; making an
ornamental cross effect over each one, on the inside of the basket as
seen in Fig. 133. After all six horizontal spokes have been bound, the
spokes are separated and the weaving begins, and is continued until
the size desired is attained.

BASE OF TWINED WEAVING WITH INSERTED COR-
NERS. A base of fine rattan or raffia twined basket, having a pe-
culiar way of inserting the spokes at each of the four corners, is shown
in Fig. 134. The rubber bands holding three groups of spokes make
it more convenient for the maker to manipulate the numerous spokes,
as each time around a spoke is inserted at its proper place. When a
group is twined with two strands of raffia the rubber band is slipped
off the next group and snapped around the set of spokes just finished
and so on. Any number of spokes may be inserted according to the
size of the base desired.

Take 12 spokes No. i rattan 10 inches long, 4 short strands raffia

HOW TO MAKE INDIAN AND OTHER BASKETS. 87

in red, natural and green, and add spokes of r'attan and weavers of
raffia as desired.

Before beginning the work see that the rattan is well soaked in warm
water. In fact this basket should be frequently placed under water
and the twinings pushed closely toward the center. If the work is
tightly done it may be made practically water tight.

Cross five spokes at right angles to five other spokes and placing
a raffia strand across the laid spokes, diagonally bring the strand under
neath to the beginning of the diagonal crossing where it is securely
twisted. Now cross over to another angle and let one of the halves of
raffia pass underneath and the other across the top spokes to the op-
posite corner diagonally twisting again. This gives a cross of raffia
over the grouped spokes.

Now begin to twine the two strands of raffia from the outside in

FIG. 132. DETAIL
OF CENTER OF
OVAL BASE.

FIG. 133. DETAIL OF
CENTER OF
OVAL BASE.

toward the center, over one, under one, carefully impacking each stitch
as the twist is made. Fig. 135 Page 126 of "Indian Basketry" shows
method of this twined effect.

Weave around three or four times with uncolored raffia and then
bending one of the extra spokes of rattan in half lay it snugly at the
bend in the angle of the crossed spokes. It thus makes two new
spokes. Twine the raffia over each of the two new spokes and snap
a rubber band over the first group of six. Care must be exercised so
that the crossed spokes always lie flat until the base is well started.
When the twining crosses to the next angle another spoke is bent in
half and again fastened to its place. This group is now securely held
with another rubber band and thus continue with the remaining spokes,
letting the raffia continue for a stitch or two beyond a corner before
changing to a differently colored strand.

Looping the colored raffia over a spoke and separating each end,
begin to twine with both colored and uncolored until a corner is
reached ; now drop and clip the raffia not needed and twine in the cor-
ner spoke with the colored raffia. Twine around as many times as this
colored raffia lasts.

As the work increases extra spokes must be inserted, and these
are cut the length of the angle where they are to be placed. When

HOW TO MAKE INDIAN AND OTHER BASKETS.

the base is the desired diameter stop adding spokes and gather three of
the grouped spokes into one and then shape the basket as desired.
Any shaped basket may be formed from this base, four sided, round
or flat. Finish off by folding down the ends of the spokes and add a
coil of three or four rattans the length of the circumference of the open-

FIG. 134. BASE OF TWINED WEAVING WITH INS ERTED CORNERS.

ing and with the raffia sew over and over edge, all the way around, se-
curely fastening the ends by hiding them under three or four of the
twined stitches.

This basket is closely allied to the Alaskan baskets, but is unique
in its method of enlarging. For these directions I am indebted to Mrs.
John P. S. Neligh, of the Industrial School, Columbus, Ga.

HOW TO MAKE INDIAN AND OTHER BASKETS. 8g

CHAPTER XV.
WEB WEAVING CONTINUED.

We now return to the making of baskets by the web weave. The
two baskets on the right of Fig. 106 are now to be described. For the
upper one take eight spokes of No. 4 rattan 14 inches long, and weavers
of No. 2 rattan. Start the base as described in either Fig. 96 or Fig.
125. Make the base the size desired, then turn up the foundation
spokes, weave the sides and finish off with one of the closed borders.

The lid is made in exactly the same way as the base, finishing the
border with the rope twist.

The bottom basket to the right is made in the same manner.

Fig. 135 is of -more simple web weave baskets made by the students
at Teachers College. The one to the left and the upper one are both
made of No. 2 rattan for both spokes and weaver. Begin the base as
already described. Turn np foundation spokes for the sides, weave
as high as desired and finish off with closed border No. 2.

The covered basket with the handle is equally easy to -make. Be-
gin as before described, turn up, as soon as base is as large as required,
taking care that the angle of the sides is evenly preserved. Finish
with simple closed border. Make the lid in like fashion. The handle
is of three long strands of rattan, doubled and twisted while pliable.

A pretty basket is shown in Fig. 136. For the base take six spokes
of No. 2 rattan, about two and a half inches long. Make base as de-
scribed in Figs. 96 or 125. When woven up to the end of spokes take
15 pieces of finer rattan, and thrust into base by the side of the spokes,
inserting the extra ones so as to have all the spokes as near equidistant
as possible. Now soak for a few minutes. When pliable bend up
for sides, weave plait of straw or any other material either made or
purchased until the sides are as high as desired.

Then proceed to make closed border No. i as described in Fig. 115.
The lid is made in same way as base or using both splint and plait
for weavers. To fasten lid and basket together take piece of finest
rattan, loop through lid and border of basket, then twist, making an
open loop for handle about an inch across. Then thread one end of
handle splint through basket and lid one way and the other way.
Where they meet tuck in ends and basket is complete.

WE I', WOVEN BIRD NEST. Take 24 spokes of No. 2 rattan
for foundation. Make base, drawing weavers tightly, so that bottom is
convex. When about 6 inches across, turn up foundation spokes for
sides, and proceed to weave as before, drawing weavers tight so that
the sides close in towards the top. When the side is about an inch
and a half high cut short two of the spokes and turn in as for a closed
border. Then continue to weave, leaving open space where these
spokes were, turning the weaver back around the spoke on each side
of the open space. Weave up in this way for about an inch and a
quarter, then bridge the space by bending the two end spokes

HOW TO MAKE INDIAN AND OTHER BASKETS.

.-*"

, ,.

W" " ;

jj ii))li ' ::

t t

HOW TO MAKE INDIAN AND OTHER BASKETS. gi

over the space. Now rapidly draw the top together, working in two
of the spokes instead of one, until it is impossible to weave higher.
Leave the ends of the spokes irregular so as to let the top of the nest
appear like a bundle of twigs. Place in a tree, and do not be surprised
if the following nesting time a pair of birds takes possession.

'BASKET WITH FANCY BASE. Fig. 138 shows an unfinished
basket from which, however, the student may gain a few ideas. In
making the photograph I failed to notice that it was somewhat out of
shape. The base is made as any ordinary mat, inserting new spokes
as desired, until it is about 8 inches in diameter, woven so tightly that
the .bottom is convex. Now insert double spokes for fancy base and
weave about an inch and a quarter finishing it by any form of closed
border desired.

Now use fancy plaited straw as a weaver for the sides and weave
as high as desired, say five inches. Finish with a simple border as
shown to the left, or as desired.

Fig. 139 shows two small wood splint baskets of a type much sold
in Europe. The foundation spokes may be of palmetto, wood splints
or rattan, and twelve, fourteen or sixteen in number. A. Fig. 139
s-hows the arrangement of the base. First lay the spokes star shape as
shown. Then sew around edges with a piece of thread to hold them in
place. Bend spokes up for sides, taking care to do it evenly. If an
even number of spokes is kept, the weaving must proceed as described
with Fig. 95. If an extra odd spoke is introduced a single weaver will
do.

\Vhen 'the basket is as high as desired turn down and tuck on the
inside of basket all the spokes. Then wrap with a broader splint,
like overcasting, thus making a secure binding.

The handle is formed by thrusting a piece of rattan the size de-
sired, with a wide splint above it, down to the base, through the weav-
ing, and then wrapping as described for the binding, (taking care to
tuck the ends in as far as possible. Some prefer to make the handle
before binding the top, us : ng a weaver long enough to wrap both
handle and top. This adds strength and gives fewer ends to care for.

HOW TO MAKE INDIAN AND OTHER BASKETS.

HOW TO MAKE INDIAN AND OTHER BASKETS. 93

CHAPTER XVI.
SPLINT AND SWEET GRASS BASKETS.

These are most popular baskets, hence it is deemed appropriate to
give full particulars as ito the methods of weaving- a variety of those
generally preferred. The photographs were all made from the as-
sortment of the Hyde Exploring Expedition, 26 West 23rd Street,
New York, where Miss Marie Toxuse, an Abenaki Indian, is en-
gaged as weaver and teacher.

In these descriptions it will be seen that the mat, plait, twined and
web weave are all utilized. Most of the baskets are easy to make
and any ordinary student can make them from the descriptions given.

In starting the base of a splint basket place a small board, on which
the work is to be done, on the lap. Then, one by one, place the
splints in order as shown in Fig. 140, taking care that Ithey are equi-
distant and regular at the edges.

Now, take the weaver in the right hand, and, thrusting the end
between two of the spokes, hold it firmly with the left hand (see Fig.
141), while with the right the weaver is worked in and out of the
spokes, pulling it as tightly as possible. Exercise great care in
keeping the spokes firmly pressed upon the board, or they will be
pulled out of place.

As soon as the weaver has been ,-taken around once it will be nec-
essary (in order to have the weaver go under the spokes in the second
round, over which it went in the first round), to take the weaver over
two spokes as shown in Fig. 142. This must be done, each time
round. When as many rounds are woven as necessary, take each
spoke and bend it up to form the foundation for the sides, when
it will appear as Fig. 143, and is now ready for the weaving of the
sides.

SPLINT BASKETS. Fig. 15 contains five articles made solely
of splints, except the book mark. This is composed of one spoke,
ten inches long, and seven others about 21-2 inches long. All the
small spokes are cut so as to be very narrow in the center and widen
out towards the edge. They are placed across each other in a circle,
held firmly, and bound with three or four rows of simple web weav-
ing. Then using twined weaving the spokes are covered as much as
required. The stitch is finished off by tying the sweet grass. The
ends of the spokes may be cut as desired, either rounded, pointed
or V shaped.

For the napkin ring take one wood splint 7-8-inch wide, and two
3-8-inch wide. Then take a narrow wood splint weaver and web
weave the three splints together, twining the weaver around the
edges and returning from side to side. Cut the broad splints the
length required, and, as the weaving continues, bend into the ring
form, tuck in the edges of the foundation splints and complete the
weaving. Now take a 7-8-inch wide colored splint, and thread on the

FIG. 141. INSERTING WEAVER IN SPLINT BASE.

HOW TO MAKE INDIAN AND OTHER BASKETS. Q5

outside of the ring, under three and over two, making a bow by
lacing back and forth and tucking in the end. The spiral ornament-
ation for the edges is made by taking a 3-8-inch wide splint, colored,
thrusting it under one of the weavers, then wrapping around the
spiral shape, missing one weaver, drawing under the next, twisting
again, missing a weaver, and twisting again over the next and so on.

The diagonal mat weave basket in the left corner is made as is the
one described elsewhere. Two colors of splints are used and the
handles are of plaited sweet grass, sewed with strong thread to the
sides.

The square basket is simple mat weave for the bottom, and web
weave for the sides and top, the edges being strengthened by turning
in the foundation spokes, then binding strong splints around the rims.

For the hand basket take one splint 5-8-inch wide and two 1-2-
inch wide, and about 3 feet long. Then 15 splints about 26 inches
long and i -2-inch wide. Make of these a mat foundation, putting
the three splints lengthwise and the 15 across ait right angles. Now
turn up for sides and web weave with splints any size smaller than
i-S-inch. When within three and a half inches of the top, web weave
with four rows of splints (or rather, two double rows), the splints
to be 6-8 of an inch wide. Curl a third splint into each double row
as described immediately for Fig. 4. Them finish with one row of
narrow splint, strengthen the rim inside with stout splint, and out-
side with sweet grass and bind with a narrow splint. The handles are
of splints i -8-inch wide twisted with narrower splint and tied to the
edge of the basket.

CLOTHES HAMPER OF SPLINTS. Fig. 4 is a large fancy
basket of splints, made by Abenaki Indians of Pierreville, Canada,
and presented to Mr. T. F. Barnes, editor "The Papoose," New York
City. It is 2 feet 9 inches in height, i foot 8 inches in diameter at
the top and four or five inches less at the bottom. The base is of
extra strong wood splints, arranged as Fig. 140, and the side splints
are also extra strong. The first nine rows of weaving on the sides
are of doubled splints, 3-4 of an inch wide. The under of these two
splints is woven under one and over one of the side spokes as in all
ordinary weaving, but the upper splint, in taking the "over" stitch,
instead of being pulled tight, is left looped. The arrangement of the
loops is such that the loops of the second row come over the spokes
of the row beneath. Thus the loops alternate in the rows.

Following this set of nine rows of looped stitches is a belt of weave
made with ordinary white splints, about i -8-inch wide, under two and
over two. The next belt is of one splint, colored, nearly an inch and
a half wide. Then another belt of narrow white spl ; nts. Now a
belt of six splints of three colors, two of green, two red, two purple.
(I am not commending the color scheme, which is simply hideous, in
thus particularizing the colors.) In each of these three pairs of rows,
three splints are used instead of two. The use of the extra third
splint is to get the "curl" shown in the design. In inserting the
weavers put in two for the bottom row and follow with one in the
row above, so that it alternates with the lower one over the founda-
tion spokes. When the upper weaver of the lower row comes from
under the spoke, curl it back and up under the next spoke in the
row above. Now curl it down and under the next spoke in the bot-

9 6

HOW TO MAKE INDIAN AND OTHER BASKETS.

P.G. 140. BEGINNING BASE OF SPLINT BASKET.
Courtesy Hyde Exploring Expedition, New York.

FIG. 142. JUMPING TWO SPOKES.

HOW TO MAKE INDIAN AND OTHER BASKETS. 97

torn row, and so on until the complete round is made. Each pair
of rows is woven in like manner.

This belt of ''curled" weave is followed by weaving belts above it,
similar to those below it, as shown by the design. At the top, four
rows of plain simple weaving gives firmness. Then the spoke splints
are bent at right angles and six or seven rows of weaving taken upon
this portion, which thus forms a kind of shelf or rim. The founda-
tion splints are now 7 turned upright again and a row of the "loop"
weave with inch-wide splints made, after which it is finished off with
three strong splinits inside and one colored one outside, wrapped
around and bound on with small white splints. The finishing border
is of these same splints wound under and over and looped as will
clearly be seen in the design.

The lid is> composed (as is the base') of splints that broaden as they
reach the periphery. Two or three rows of narrow weavers fix the
spokes in position. Two rows of loop weave and then the spokes are
curved down, and eleven or twelve rows of narrow splint weave
taken. Then the splints are bent out and split, each splint thus form-
ing two. One single row of plain weave with a wide splint and five
of loop weave, followed with three narrow splint weave, and the
spokes are turned under, and, when the handle is wrapped on the top,
the lid is complete.

SWEET GRASS FAN.- Fig. 5 is a sweet grass and splint
foundation fan. The splints are cut so as to be very narrow in the
center and widen rapidly towards the edge. This can readily be seen
by looking at the fan in Fig. 5. Place the splints crossed for the
center, as the simple splints of Fig. 140. Then with a single strand
weave under and over for five or six rows. Now take two strands
and use the "twined"" weave or pairing, as described in Figs. 22 and
134. The sweet grass must be dampened and pressed closely into
position as each row is woven. When within an inch of the edge
{weave two or three rows with plain white narrow splint. Now trim
the foundation spokes as shown in Fig. 5, and, taking narrow splint
weavers loop the border, fastening it to the last row of splint weave,
which has been well anchored by fastening it below. For a handle,
take a stout wooden splint, loop, and tuck well under the sweet grass
down one of the foundation spokes. Upon this place lengths of sweet
grass. Then wrap tightly as shown in Fig. 5, fastening off the end
by tightly wrapping and tucking in.

' SPLINT AXD SWEET GRASS BASKETS. In Fig. 6 four bas-
kets of splints and sweet grass are shown. In the bottom one to the
left the base is composed of simple mat foundation, five splints each
way. These are turned up for the sides and twined weaving of sweet
grass composes the woof. When the desired height is attained, the
spokes are turned down and tucked in. Then the rim is strengthened
inside with a colored splint, and outside with a row of sweet grass, both
of which are bound on with a narrow splint as is clearly seen in the en-
graving. The lid is made of five broad and two narrow splints, the
latter at the sides. On these are woven twined rows of sweet grass,
and the edges bound as is the rim of the basket. The former is
affixed to the latter by lacing the binding of the basket to that of the
lid. A small wrapped loop is affixed to both basket and lid.

The only difference between the basket at the bottom to the

FIG. 144. BASKETS OF SPLINT AND SWEET GRASS.
Courtesy Hyde Exploring Expedition, New York.

HOW TO MAKE INDIAN AND OTHER BASKETS. 99

right and the one just described is that after a few rows of sweet grass
are twined into the sides one wide and two narrow splints are intro-
duced. The wide splint is woven, one under, one over, as in all
ordinary web weaving. But the two small splints which together
are about 1-8 of an inch wider than the broad splint on which they
rest are crossed from bottom to top under every other spoke, form-
ing a little nipple or elevation between the spokes. Then more
twined sweet grass completes the sides, which are bound as before
described. The lid is made in like manner.

The round basket of Fig. 6 is composed of even splints about half-
an-inch wide and laid as shown in Fig. 140.

Three or four rows of simple web weave at the outer edge of the
base tighten the spokes. They are then turned up for the sides and

FIG. 145. SPLINT AND PLAITED SWEET GRASS B ASKETS.
Courtesy Hyde Exploring Expedition, New York.

sweet grass twined in up to the top. Then the spokes are turned
in, and the rim strengthened with other splints and bound with a
narrow splint.

The lid, however, is made quite differently. For this the spokes
must be very narrow in the center and broaden towards the edges.
They are then woven with twined sweet grass until the lid is the
size of the basket, or a trifle larger. The spokes are now turned
down, and the twining continued until the flange of the cover is as
deep as required. The spokes are then turned in, the edge strength-
ened by a suitable splint and bound as before. The handle is fas-
tened to a loop which is held secure by being taken under the sweet
grass of the under side of the lid in several places.

The method of making the handkerchief basket in Fig. 6 will be
described in a later Bulletin of the Basket Fraternity.

Fig. 7 shows the bases and lids of the baskets of Fig. 6, and a study
of them will make the foregoing instructions much more clear.

The carrying basket of Fig. 144 is of mat weave and web weave,

100

HOW TO MAKE INDIAN AND OTHER BASKETS.

FIG. 146. SPLINT AND PLAITED SWEET GRASS B ASKETS.
Courtesy Hyde Exploring Expedition, New York.

HOW TO MAKE INDIAN AND OTHER BASKETS. IOI

using plaited sweet grass, plain splints, and the curl weave to give
ornamentation. Take four splints about 23 inches long, and 3-8 of an
inch wide. Cross these in simple mat weave with twelve similar
splints, 18 inches long. Turn these up for ends and sides. First hold
together with one row of simple 'splint weave. Then take
two plaits of thickly plaited sweet grass and proceed to
web weave. Now we take three weavers an inch wide and
a long plait of extra thick plaited grass. Make two rows
of ordinary web weave with two of these wide splints. Loop
the plait and bind to the side by twisting or curling the third wood
splint around the plait, under a foundation splint, over the plait, under
the upper part of the next foundation splint, and so on alternating the
wrapping of the curled splint around the foundation splints exposed
by the upper and lower of the two broad weavers. Now continue the
weaving of the sides with six rows of plain web weave and six rows
of double plaited sweet grass as before. Turn down and tuck in the
foundation spokes, strengthen the edges or rim with a stout splint
inside and sweet grass outside, and then bind with narrow splint. The
handle is composed of a heavy triple plait of sweet grass, fastened to
the sides with an ordinary wood splint, the ends being looped as
shown in the figure.

The work basket of Fig. 144 is made essentially in the same man-
ner. The base, however, is formed as shown in Fig. 140. The
edges of the base are made tight with four or five rows of simple
splint web weave. The spokes are then turned up for the sides.
Weave five rows of finely plaited sweet grass ; two of narrow splint.
Then two i i -4-inch wide splints, with the third for the curling and
wrapping around the plait of sweet grass as described in the carry-
ing basket. This is followed with a splint 5-8-inch wide, web woven,
the rim being strengthened and bound with wood splints.

The lid requires the splints narrow in the center and widening out
to the edges. When the spokes are in place, fasten by six or eight
rows of ordinary web weaving with sweet grass. Then twine weave
sweet grass for an inch and a quarter, after which introduce the
broad splints, the thick plaited sweet grass and the curl as on the
sides. Then complete the top of the lid with six or eight rows of
web weave, using thickly plaited sweet grass for weaver. When
the lid is the right size to fit the basket, turn the spokes down, and
complete the weave with the plaited sweet grass until the flange is
the size desired. Then strengthen and bind the edge as before de-
scribed.

In Fig. 13 the top basket is a very pretty creation in plaited sweet
grass. In both top and bottom the foundation spokes are narrow
in the center widening towards the edge. They are first \voven in
web weave with narrow wood splint for about ten rows, then com-
pleted with plaited sweet grass, the edge of the lid being turned down,
woven with plaited sweet grass, strengthened and bound as before
described.

In the basket itself, after the turning up of the sides, the weaving
for about an inch is composed of plaited sweet grass. Then three
i-4-inch splints are \voven, web weave, and the rim strengthened and
bound with simple wood splints.

IO2

HOW TO MAKE INDIAN AND OTHER BASKETS.

The diagonal handkerchief basket is composed of diagonal mat
weave, the corners being turned over and doubled and then twined
with plaited sweet grass. The lid is of simple twined plaited sweet
grass, made as the lid described in Fig. 6.

Fig. 145 shows the top and bottom or a basket and lid of a. splint
and plaited sweet grass basket. The base is formed as shown in
Fig. 140, the edges being woven with nine or ten rows of splint web
weave. The foundation spokes are then turned up for the sides, and
the weaving done with twined weave, using plaited sweet grass for
weaver. Strengthen the edge and bind as elsewhere described.

For the lid the splints must be narrow in the center and widen-
ing towards the edge. After laying out the spokes the first inch or

FIG. 147. MADEIRA BORDER NO. 2.

FIG. 148. MADEIRA BORDER NO. 2.
PAIRING FOR PLAIT.

so may be simple web woven with narrow splints or plain sweet
grass. Then twine weave with plaited sweet grass, until the lid is
the right size, turn down the foundation spokes, finish the weave un-
til the flange is of the desired size, then strengthen edge and finish
off.

In Fig. 146 the square basket is made of mat foundation, using 1-2-
inch wide splints. Turn up for the sides and twine weave with
plaited sweet grass. Strengthen the rim with stout splint inside and
and sweet grass outside and bind with narrow splint.

The lid is made as the one in Fig. 6 and laced on as there described.
The handle is of heavy plaited sweet grass.

The round basket has a base as described in Fig. 140 six or seven
rows of simple web weaving with narrow wood splint holding it firmly
together. Turn up sides and twine weave with plaited sweet grass.
When within an inch of top web weave with 3-4-inch wide wood
splint, then strengthen and bind rim as elsewhere described. The lid
is made as the round lid of Fig. 6.

HOW TO MAKE INDIAN AND OTHER BASKETS. 103

CHAPTER XVII.
FANCY BORDERS.

MADEIRA BORDER NO. i Allow four inches for this border.
It is very simple, and suitable for violet baskets and small candy-bas-
kets of various kinds.

"To make it, the spokes should all be double, as it has a much pret-
tier effect when they are so. It is not necessary, however, to have
the spokes double throughout the basket, which may be worked in the
ordinary way with single spokes, allowing the four inches for the
border, and then, when the weaving is finished, inserting beside each
spoke an extra one of six inches, the extra length being pushed into
the basket.

''Treat all the double spokes as one, and now take one lot of double
spokes behind the next lot, in front of the next, and leave the ends on
the outside of the basket.

"Repeat this round, drawing all the spokes closely down except the
first, which must be left a little loose, as the last spokes are threaded
through to complete the border.

"When the last two lots of double spokes are reached, proceed in
the same way behind one, in front of one only, the first swoke,
after being taken behind one, is threaded over the next spoke which
is turned down, and the last is inserted first -behind and then in front
of the next two spokes already turned down.

To finish, the ends are all cut off neatly, the further side of the
spoke against which they rest."

MADEIRA BORDER NO. 2. Allow spokes of eight inches for
this border, and use double spokes of No. 4 rattan or triple ones of
No. i.

For the sake of brevity, although many spokes may be used, they
will be treated as. one in the descriptions.

Be careful not to draw the first spokes down close to begin with ;
they must be left open, so that when you come to the finish you have
room for inserting the last spokes.

"Take one spoke behind one, in front of one, behind one, in front
of one, and leave the end on the outside of the basket (Fig. 147).

"Repeat this round, threading the last spokes through the spokes
already turned down, on the same principle as for the preceeding
border ; only in this there will be more to thread through. Do not
draw the spokes down too closely, as the border should be about one
inch in depth.

"When this first part is done, turn the basket upside down to do
the plait around the edge. Take one spoke in a close curve behind the
next and bring the end down against the border (Fig. 148).

"It is necessary to keep this plait very close to the basket, so as
each spoke is brought round the next it should be held firmly in its
place by the left hand, and the hold should be shifted round as each

IO4 HOW TO MAKE INDIAN AND OTHER BASKETS.

spoke is used. Finish by threading the last spoke through the loop
of the first.

"Now go round again, curving one spoke beneath the next in the
same way, only now the spokes curve round to make the other side
of plait. When the last spoke has been threaded through the loop
of the first, the plait is finished, and the ends must be cut off neatly.
Care should be taken in doing this that the ends of the spokes are
left long enough to go over the next spoke."

MADEIRA BORDER NO. 3. Materials required "Allow 8
inches for this border, and use three spokes of No. 2 rattan together.
Depth of border without plait, i 1-2 inches.

Take one spoke behind two, in front of two, behind two, in front
of one, leaving the end outside the basket. Repeat this round until
only seven upright spokes remain.

"The first of these, after going behind and in front of the next six
in the usual way, will be the first to be taken behind the first spoke
turned down, the others following in their course.

"Do the plait in the same way as for "Madeira Border No. 2."

MADEIRA BORDER NO. 4. Allow spokes of 14 inches, and
use No. i rattan. Use three spokes together. Depth of border with-
out plait, three inches.

This is a very light and graceful border. It must not be spread
out, therefore it is necessary to keep the spokes straight to the top,
and then to bend them to interlace with other spokes.

Great care is needed to keep a nice straight edge round the top
of the border. If uneven the effect of the basket is quite spoilt.

Take one spoke behind three spokes, in front of two, behind two, in
front of two and behind one, leaving the end outside for the plait.

Repeat this round, measuring occasionally to keep the border
of the correct depth.

Finish off with the plait as described for the preceeding borders
This border is worked on the outside of the basket."

MADEIRA BORDER NO. 5. Allow spokes of 16 inches and
use No. 4 rattan, two spokes together.

"Take one spoke behind three spokes, in front of three, behind
three, in front of two, behind one, in front of one, leaving the end
outside.

If the edge of the border, behind three and in front of three ; if
kept close together it has the effect of a double ridge or twist.

Finish off on the same principle as for the preceeding borders, and
plait the ends.

This border is worked on the inside."

CYCLE BORDER. Allow spokes of six inches. This border
is called the "Cycle," as it is ivsed on the cycle baskets ; but it is
very useful on many other kinds, principally those which have lids,
as it is flat outside and the ends are all cut off neatly inside.

"Take one spoke in front of two spokes, behind one, in front of two,
and push the end well down inside.

This is finished on the same principle as the "Madeira Borders,"
the last spokes being threaded through the turned-down spokes in
their order. Thus, when only five upright spokes are left, the first
of these will be taken in front of two, behind one, and then, to pass

HOW TO MAKE INDIAN AND OTHER BASKETS.

105

in front of two again, it will be takem in front of the last upright spoke
and the first one turned down, and through the loop of this it must
be threaded to the inside ; all the other spokes will then be threaded
through in their places.

In starting this border, the fir sit spoke must not be drawn close
down to the weaving, but room should be left for the end spokes to
be threaded through. After the first two spokes have been used,

FIG. 149. COMMENCING
FLAT PLAIT BORDER.

FIG. 150. FLAT PLAIT

BORDER SECOND
POSITION OF SPOKES.

draw the border down as firmly as possible, as the closer the spokes
come together the handsomer the border will look when finished.

When a pupil is efficient in this border six inches for spokes will
be sufficient."

FLAT PLAIT BORDER. Use for this No. 6 or 7 rattan. Al-
low spokes 13 inches long, but they must not be more than 1-2 inch
apart.

'''Turn down three spokes sharply to the outside of the basket (Fig.
149). Hold the second and third in the left hand, and with the right

FIG. 151. FLAT PLAIT IN PROGRESS,
WITH PORTION OF FINISHED BORDER.

FJG. 152. FLAT PLAIT
BORDER FINISHED.

hand bring No. I spoke in a curve over the other two, and place
ic between the first two upright spokes ; bring down the first upright
spoke beside it. Repeat this with the second and third spokes ; then
there will be three spokes inside and two spokes outside. Take the
first from inside, and bring it down beside the third spoke outside
(Fig. 150). Be careful in doing this not to draw the spoke too tightly
from the outside.

Now proceed to plait as follows : Take the first spoke from outside,
place between the next two upright spokes, bring the first spoke from
inside between the same upright spokes to outside, then draw the
first upright spoke down beside it.

When the double spokes arc reached they must be used together

io6

HOW TO MAKE INDIAN AND OTHER BASKETS.

as one spoke both inside and outside the basket ; and when the triple
spokes are reached the two longer ones must be used together as one.
leaving the short spoke to be cut off afterwards. When the last up-
right spoke has been turned down there will be two lots of double
spokes inside and three lots of triple spokes outside."

Take three twos out of the three threes, and pass them under the
three that were first turned down.

This brings five lots of double spokes to the inside of the basket
(see Fig. 151). Take first two lots and thread through as shown
in Fig. 151. Then take the longer one of these, and, first threading
it just through the first single spoke, that it may lie flat beside that,

FIG. 153. SPLINT AND TWINED BASKETS.
Work of Students, Teachers' College, New York.

follow the course of the first single spoke under the black spoke to
where it passes through to the outside of the basket, thus making it
double like the others.

There are four other double spoke s>, and these must all be treated
in the same way as the first double spoke.

In finishing this border the principle is to make all the single spokes
used in starting double to agree with the rest of the border. To do
this the longer one of each of the double spokes inside the basket
is used to follow out their course.

Take the first double spokes from the inside and thread through
the place shown in Fig. 151. Now take the longer of these and
thread one up through the single spoke, so that it may lie flat beside
that ; then follow its course under single spoke No. 3 and then to the
outside.

The other four double spokes must be used in the same way to
finish the border (which is shown complete in Fig. 152).

HOW TO MAKE INDIAN AND OTHER BASKETS.

CHAPTER XVIII.
A FEW BASKETS.

SPLINT AND TWINED BASKETS. In Fig;. 153 are two
neatly made baskets, in which additional spokes are added for base
and sides when needed. Start the base as described in Fig. 140.
Pair or twine weave with raffia six or eight rounds, then insert new
spokes and continue the twined weaving until base is size desired.
Bend up spokes and proceed with the twined weaving, introducing
bands of color according to taste. Bind the top with natural or col-
ored raffia as shown.

In Figs. 154 and 155 are shown a rush, silk-lined, Kensington col-
lar basket, a raffia collar box and a splint basket.

THE KENSINGTON BASKET. A. Fig. 154. This is made of
rush or tule, though the long leaved pine may be used. Procure
six yards of double twining material, raffia is good, and six bunches
of tule or rush 14 or 15 inches in length and 21 single lengths to
the bunch. Tie these securely at the middle and then tie together
flat radiating from a center. See A. Fig. 155. Take a twining
weaver and about an inch from the center proceed to twine over
six or seven until a fiat circle is formed by bringing the twining
around to the place of beginning. Now taking care to twine around
three only, make a larger circle an inch from the first twined circle.
Continue to twine a second time round to make the base firm and
flat. Now having secured a firm base it is desired to shape the side
of basket. About an inch from the outside circle, twine around
three rays until you come around to the pdace of beginning. See
that this twining is equidistant from the base, and that the wall
slants outward from edge of base.

An inch above this, twine around the groups of three all the way
round to the last place of beginning, first letting a group cross over
another group, under, and to the left. This gives a fancy effect and
affords a place for decorating with ribbon as seen in the plate.

Above this about the same spaced width a final twining is made.
An extra twining or three strand twisting over a coil gives ad-
ditional strength to the edge.

The short ends of the rays are finished bending a first group of
three over a group to the left under the next group. And so on in
succession until the edge is finished.

Then line with fancy silk or other material.

Examples of this twined weave are shown in Figs. 133, 136, 137,
Indian Basketry, and in Figs. 156 and 157 herewith.

COLLAR BOX. Fig. 1546. To make this knotted stitch bas-
ket take a length of No. 7 flat rattan. Form a loop, at one end, the
desired diameter or oval of the basket. Tie together with weaver
of raffia. Then begin the knot stitch, spirally coiling the flat rat-

' / />O' ' <* ,

fa
O

i i

fa
fa
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tf

fa
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M

HOW TO MAKE INDIAN AND OTHER BASKETS. 109

taiv as the weaving progresses. Bring the edges of the rattan as close
together as possible. Take the raffia over two bands of the rattan.

Then make a "button-hole" stitch and, over two again, then the
button-hole loop again, knotting carefully and tightly. When once
round see that the next stitch goes between the stitches already on
the first part of the work. Continue sewing until all of cane is used
and finish with double button-hole stitch. The bottom is made by
stringing web strands from end to end and holding them in place
by woof strands placed an inch apart. Overcast the two woof strands
together to hold them taut.

The cover to the box is a button-holed band of flat rattan with a
wove>n< top made by stringing web strands of raffia one way and
weaving closely across the web with raffia.

THE ASH SPLINT BASKET. Fig. i5 4 C. Take eight yards
narrow splint, green and white; four yards I -4-inch green splint;
18 3-8-inch wide splints, 20 inches long and two yards 3-8-inch white
splint.

Make base as shoAvn in Fig. 140, fastening spokes in place with
raffia or fine splint.

Then make another base same size as the first and place it above
the first, letting the rays of the lower mat come between the rays
of the upper mat. Twine the two together with a stout strip of ash
splint very narrow. Now take two of the I -8-inch weavers (a green
and a white), and, securing the ends, weave over owe, under one, fill-
ing a wall one inch high. Spread the spokes of the basket on a
flat surface, bottom up, and weave in more of the narrow splint for
about one and a half inches. Now carefully secure the ends of the
weavers. Take up the basket and place it before you right side up.
Bend all the spokes upward from the salver-like rim. (The splints
should always be moist when bending is done). Take a wide length
of ash the same width as spoke and weave in over one under one for
the beginning of final wall. Use three broad bands in this way and
then finish off with six rows of two colored twining. The final
weaver to be a broad length of splint.

Fold over the outer s pokes and tuck under twinings on the inside
to keep them in place. Cut off the alternate rays even with top of
basket.

Ornament with narrower bands of colored splint by overlaying the
broad bands.

The two-toned effect shown in the plate was made by running green
spokes on the upper base before twining.

The ornamental banding is made by slipping the colored ray back
of and over weave and slipping the end again in place along its un-
derlying spoke. See Fig. 154.

The edgeing rim around the bottom is an over and over weaving
around the edge of the bate two times round, with a fourth inch
strap of darker splint.

After cutting away the holding bands of raffia or cord and model-
ing the basket may be considered finished. But if used for sewing a
lining of silk may add to its value.

DIAGONAL" MAT BASKETRY. In an earlier chapter this
branch of weaving was fully presented. A very common and useful

HOW TO MAKE INDIAN AND OTHER BASKETS.

pair of objects which may as well be home woven as bought are pic-
tured in Fig. 158. These are

WRISTLETS OR CUFF PROTECTORS. These may be made
of tule, of palmetto or any flat and reasonably firm material. Pro-
ceed as in ordinary diagonal weave. The top border is made with a
double fold.

On page 65 "Indian Basketry," Fig. 60 is a Hopi Yucca Basket
made on this diagonal mat weave, as is also the large basket to the
left on page 83. Fig. 107, page 108, shows a Hopi weaver at work on
this weave.

On page 120 "Indian Basketry," Fig. 124, is shown a Pueblo In-
dian mat. Using this as a pattern a little care will enable the student
to make one similar to it. The main portion is of simple mat con-
struction over two and under two. Then about twenty rows of web
weaving, the outer edge being bound, completes the mat.

TOY CHAIR. On an earlier page (Fig. 27), a toy chair is pic-

FIG. 156. SURFACE EFFECTS
OF TWINED OPEN WORK.

FIG. 157. CROSSED WARP
TWINED WEAVING.

tured. This dainty and pretty little toy, which is also a useful adjunct
to a toilet table as a ring holder, can easily be made with a little
patience. Materials are, two lengths of No. 4 rattan for front legs,
2.y 2 inches long. Rear legs and back are made from one piece, about
13 inches long, soaked and bent into desired shape. Insertion for back
is piece of No. I rattan, 6^4 inches long.

Make two rings, one 2. l / 2 inches in diameter, the other 2 inches.
Cut four pieces of rattan, same size, and nail the two rings together.
It should not be forgotten that in making the rings the joints should
be spliced perfectly, as shown in Fig. 104. Now wrap the two rings
with raffia (Fig. 27). Tack legs and back to the rings. The bottom
is made of a ring, cross-wrapped with raffia so as to fit perfectly, and
then tacked or sewed in.

THE MAGAZINE HOLDER, Figs. 28 and 29, is made as follows :
Detail of Magazine Holder i. Main frame 22 inches long, 2 pieces;
2. Center frame, one piece, 20 inches long; 3. Bottom brace for main
and center frames, two pieces, 2^4 inches long; 4. Bottom brace for
side frame, two pieces, 6$/ s inches long; 5. Wooden base, made from

HOW TO MAKE INDIAN AND OTHER BASKETS.

Ill

old box lid, 7 inches long, 3 inches broad. In the middle of each end
saw out a hole large enough to allow center frame to rest snugly
within. 6. Bottom brace for center frame, one piece, 6-Hs inches long;
7. Wire scroll, wrapped with twisted raffia, four pieces ; 8. Ornamented
frame for main frame, made as follows : Take two pieces of rattan
6% long and two pieces i% inches long. Tack the long pieces to
the ends of the short pieces and thus make a frame make two of
these. Then wrap them with strands of raffia, tying them in the center,

FIG. 158. WRISTLETS OR CUFF PROTECTORS.

as shown. 9. Brace for ends, two pieces, split thick cane or rattan,
3*4 inches long. 10. Handle, one piece, No. 5 rattan, 14 inches long.

Thoroughly soak Nos. I, 2. Bend into shape required. Then wrap
with wide raffia, Nos. I, 2, 4, 9 and 10.

To put together. Tack 6 to 5 ; tack the ends of 10 to 6 ; put 2 into
end holes of 5, with ends below wood an inch and a quarter. Tack
at holes to 5. Tack 10 to points where they cross 2. Tack 8 to I, for
both sides, also 4 to i. Tack 4 to 5. Tack 9 to 5. Tack 3 to I and 2,
then \vrap with raffia, binding 3 at both ends to i. The wire scrolls
may now be sewed in with raffia, or tacked through the raffia to the
rattan or wood of the frame. This latter method, however, is not wise,
as the tack soon pulls out from the raffia. It is better sewed.

FLUTED FLOWER BASKET Get 14 pieces of No. 8 rattan,
6 inches long; 56 of No. 2 green rattan, 21 inches long; 56 of No. 2
green rattan, 19 inches; 32 of No. 2 green rattan, 16 inches; 112 of
No. 2 green rattan, 15 inches; 2 pieces No. 16, 48 inches.

With the fourteen pieces No. 8 rattan make an ordinary round
base with an even number of spokes measuring 5 inches across.

112

HOW TO MAKE INDIAN AND OTHER BASKETS.

Cut off the ends of the spokes and insert the fifty-six spokes of No.
2 green rattan, 21 inches, placing one spoke on either side of the one
spoke in base. Turn the spokes upright. Now do three rows of
triple twist with No. 2 white cane. Then twenty-nine rows of plain
weaving.

Now insert the fifty-six spokes of 19 inches, placing two beside
each two, and pushing them right down to the base of the basket (Fig.

FIG. 159. BASKETS FROM THE PHILIPPINES.

164). Pair round once, dividing all the spokes into twos, excepting
four lots of four spokes, which remain undivided.

These four spokes are at equal distances round the basket. Take
the center spoke of each group of seven in the base, and you will get
the right spokes at the side.

Between each of these lots of four spokes there will be twelve
double spokes. The four spokes must be left upright, but the twelve

FIG. 164. SECTION OF FLUTED FLOWER BASKET.
TURNING DOWN SPOKES.

must be bent down to the outside of the basket to form the curve, press-
ing them down most sharply in the center of each twelve (Fig. 165).
When this has been done do nine rows of plain weaving.

j> orc i er Insert the thirty-two spokes of 16 inches, placing two
beside the next lots of two spokes on either side of the four undivided
spokes, so that each curve has four lots of double spokes added to it.

HOW TO MAKE INDIAN AND OTHER BASKETS.

Pair round once to divide into twos, still keeping the central side
spokes undivided. Do eight rows of weaving. Insert the 112 spokes

PIG. 165. SECTION OF FLUTED FLOWER BASKET.
CURVE PARTLY WORKED.

of green rattan, placing two beside each two round the basket. Pair
round once, dividing all the spokes into two, in readiness for the

FIG. 166. FLUTED FLOWER BASKET.

FIG. 167. STARTING SQUARE
WORK BASKET. TURNING
WEAVER ROUND

CORNER SPOKES.

border, the depth of which is 3}^ inches. (All the pairs of spokes are
used together as one, and for the sake of brevity will be spoken of as

114

HOW TO MAKE INDIAN AND OTHER BASKETS.

one.) Take one piece in front of three spokes, behind two, in front
of two, behind one, in front of one, and leave behind. Repeat this
round. This border is worked on top of the basket, the spokes being
curved from left to right.

Now turn the basket upside down and pair round once, taking two
lots of double spokes together each time, and keeping the row of pair-
ing even with the edge of the weaving.

_ When this is done plait round as described for "Madeira Borders,"
using four spokes together to plait with.

Handle Sharpen the ends of the two pieces of No. 16 rattan and

FIG. 168. SQUARE WORK
BASKET, WOOD BASE.

FIG. "169. STARTING LID
OF SQUARE BASKET.

push two ends down beside one lot of four spokes on the inside of the
basket. Twist the two pieces of rattan round each other, and push
the ends into the basket at the opposite side.

Take two pieces of No, 2 rattan, thread both ends from inside round
the handle cane just below the border, draw the four ends to equal
lengths and twist round the handle to the opposite side ; thread through
to the outside two pieces on either side of the handle cane, cross these,
and weave a short way round the basket (Fig. 166).

SQUARE WORK BASKET WITH WOODEN BASE Mate-
rials Required A square wooden base, 7^/2 inches across. Forty-four

FIG 170. TURNING WEAVER
AROUND LAST SPOKE.

FIG. 171. DETAIL OF
TWISTED HANDLE.

spokes of No. 6 rattan, 13 inches; nineteen spokes of No. 6 rattan, 16
inches; four spokes of No. 13 rattan, 4 inches; two pieces of No. 13
rattan, 12 inches; one piece of No. 13 rattan, 7 inches; twenty-nine
spokes, 16 inches, for the lid.

Insert the forty-four spokes through the holes in the wooden base,
leaving 2^2 inches below.

Do the border in front of one, behind one, in front of one, leaving
end inside. All this must be worked underneath the wooden base. In
doing this, start the border when about six spokes have been inserted,
and then continue the work round, putting in a few spokes at a time.

HOW TO MAKE INDIAN AND OTHER BASKETS.

Turn the base up, and place the long spokes into position.

Do three rows of triple twist, and then place a piece of No. 13
rattan (4 inches), in each corner, beside the corner spoke. The two
must be used together as one. Do four rows of single weaving.

When the round weave goes behind the double corner - spokes it
must be taken round them again ; but when the weave comes on the
outside, this is not necessary (Figs. 167 and 168).

Do one row of flat colored rattan. (This cannot be twisted round
corners.) Do two rows of plain weaving; one row of triple twist;
six rows of flat colored rattan ; one row of triple twist ; two rows of
plain weaving; one row of flat colored; and four rows of single
weaving.

Border "Cycle" Border. In front of two spokes, behind one, in
front of one, leaving end inside.

With the ends do the plait in the same way as explained for "Made-
ira Borders."

To make this basket of a good shape it is necessary to keep an equal
distance between each spoke ; the corner spokes should be pulled out-
wards, while those on either side are pushed in.

The piece of No. 13 rattan at each corner must be cut evenly with
the weaving before the border is done.

The two pieces of No. 13 rattan (12 inches) can now be inserted
for handles.

Sharpen the ends and push them into the basket beside the fourth
spokes (counting from either end) and at the second row of triple
twist. Take a piece of No. 2 cane, thread round the handle cane just
below the triple twist, place a piece of flat colored cane over the top
of the handle, and then twist the ends of the No. 2 cane round it, with
spaces of about y 2 inch between each twist. To finish, thread the ends
through to the inside, cross them, and weave a few inches on either
side.

Lid Twenty-nine spokes, 16 inches.

If correctly worked this basket should measure 8 inches across; the
lid, therefore, will be 7^ inches, as it fits inside the basket, resting on
the plaited border there (it is shown in Fig. 168).

Allowing y? inch on either side for the border round it, this brings
the measurement of the center square of lid to 6 l / 2 inches.

Take two spokes of 16 inches and place flat on the table together;
fold a strand of No. 2 cane and put the loop over the spokes 4^/2 inches
from the nearest ends (Fig. 24).

Place another spoke flat on the table about y> inch further on and
pair round. Continue to place the spokes and pair them, keeping them
in their places with the left hand, until a piece is clone measuring 6 l / 2
inches (fifteen spokes), the last spokes being double (Fig. 25).

Turn this over from right to left, so that when flat on the table the
weaving will continue from the left hand side, and the shorter end of
the spokes will still point towards the work.

Take the two weaves round the double spokes at the end, one going
under and the other over, and then do another row of pairing, keeping
it in a straight line. When the other end is reached turn it over as
before, and, leaving one weave out (leave an end of about i inch),
bring the other back, and weave across the spokes; turn it over and

Il6 HOW TO MAKE INDIAN AND OTHER BASKETS.

weave back again. Every second row of weaving must be taken twice
round the double spokes at the ends.

When two outside rows of plain weaving have been done (counting
in the ordinary way the number of times one weaver crosses the same
spoke), the first side spoke must be woven in.

Take a spoke of 16 inches and, leaving an end of 4^4 inches, weave
down in place of the weaver ; then take the weaver over or under the
spoke and weave down the side.

Do two rows of single weaving with one piece of flat cane, leav-
ing about l /2 inch over at either end. Insert one spoke by weaving it in
in the ordinary way; four rows of weaving, one spoke; repeat; one
piece flat green; two rows weaving; one spoke; four plain weaving;
one spoke ; four weaving, one spoke ; two weaving, one flat ; two weav-
ing, one spoke; four weaving, one spoke; four weaving, one spoke;
two weaving, one flat, one spoke ; four weaving, one spoke, one flat ;
two weaving, one spoke; two weaving, two pairing.

Now weave in a spoke at either side next to the pairing, then do
two rows of pairing round the lid, catching in the ends of the flat cane
with the spokes to which they are nearest, and dividing the double
spokes at each corner. This pairing must be kept as close as possible
to the weaving, or the lid will have a very untidy appearance.
Border In front of two, behind one, in front of one.
Handle (on top) One piece of No. 13 rattan, 7 inches.
Get the center of the lid, and with a piece of wire secure one end
of the rattan against the third and fourth spokes, counting from the
side.

Bend the rattan in a half-circle, and secure the other end in the same
manner on the opposite side. Place a piece of colored rattan over the
top of it, and twist the strand of No. 2 rattan round it in the same way
as the side handles ; sew the lid on with flat cane at the back, and in
front just in the center and directly under the border of the basket,
form a loop by threading a weaver around a few rows of the weaving ;
take the ends inside the basket, cross them, and weave each end a short
way round the basket. Bind the loop with flat cane, make another
loop to catch over the first ; bind this also with fine flat cane, and a
short piece of No. 13 rattan tied to the side of the basket, to slip
through the under loop, will fasten it securely.

BASKET WITH TWISTED HANDLE HAVING INTER-
LACED ENDS Miss White thus describes the method of making
this basket. Materials for Basket Eight 2O-inch spokes of No. 4
rattan, one n-inch of No. 4 rattan, six weavers of No. 2 rattan. For
handle, one length No. 4 rattan.

A bottom is woven 2^4 inches in diameter, on eight and a half
20-inch spokes, which are then thoroughly wet and bent upward with
a slight flare. When two weavers have been used, the spokes are flared
more decidedly, and when two more have been woven in this way,
the spokes are drawn in while using the remaining two weavers. The
edge is then bound off and finished with the simple border described
in the directions for a basket with a twisted handle in the first part of
the chapter.

Handle A length of No. 4 rattan which has been soaked until
pliable is cut into four pieces and then separated into pairs. These
are bent into loops at about ten inches from one end of each and

HOW TO MAKE INDIAN AND OTHER BASKETS.

knotted in this way. The loops are held firmly where the short end of
each comes against the long end (making sure that the short ends are
on the same sides of the loops), one in each hand of the worker, who
passes one loop through the other, bringing the ends of the loop through
which it passed over it, which makes the loop uppermost on one end
of the knot and on the other the ends, see Fig. 171. The short ends
are now crossed one under a long end and one over (as shown in Fig.
171), and brought together. The long ends are also brought together
making a knot like Fig. 172. This knot is placed about half way be-
tween the top and bottom of the basket, with the long ends turning up.

FIG. 173. OBLONG CARRYING BASKET.

PIG. 172. DETAIL, OF
TWISTED HANDLE.

FIG. 174. COMMENCING

HANDLE OF
KEY BASKET.

FIG. 175. BINDING HANDLE
OF KEY BASKET
COMMENCING.

The short ends are finished off by weaving one to the right over and
under several spokes and the other to the left. The long ends are
twisted together for about twelve inches, and are then made into
another knot copied from the first one, for, although the process cannot
be the same, it is so simple that one can easily follow its coils. This
knot is placed on the opposite side of the basket from the first one and
attached in the same way.

OBLONG CARRYING BASKET Materials required five
spokes of No. 8 rattan, 18 inches; nineteen spokes of No. 8 rattan, 7
inches; fifty spokes of No. 8 rattan, 18^ inches; weave with Nos. I,
3 and 40 flat.

Make an ordinary base, nineteen spokes across five, measuring 16
by 6 inches. Use No. 2 rattan. Insert the fifty side spokes, putting
one on either side of the five long spokes at each end.

HOW TO MAKE INDIAN AND OTHER BASKETS.

Turn up and do three rows of twist No. 3 rattan ; thirteen rows of
plain weaving; eight rows of flat rattan (colored) and round rattan
alternately ; twelve rows of plain weaving ; one row of pairing.

Border "Loop," 2 inches high. See Fig. 102.

Handle Length of handle according to taste. Put on in the same
way as described for the "Key Basket," the result being shown in Fig.

KEY BASKET Materials required Spokes of No. 3 rattan,
colored and white. Oblong wooden base. Thirty-six spokes of No. 3
rattan, u inches. Two pieces of No. 13 rattan, 16 inches. Weave
with No. I rattan, colored, and forty flat.

Put the thirty-six spokes through the holes in the wooden base,
leaving 3 inches below for the foot, and tie the longer ends together.
Round the foot do four rows of plain weaving and border, behind one,
in front of one ; leave the end inside to be cut off afterwards.

Now turn the basket up and do two rows of triple twist and twenty-

FIG. 177. SHALLOW OVAL BASKET.

FIG. 176. BINDING HANDLE
OP KEY BASKET
FINISHING.

two rows of weaving, using one white and one colored weaver alter-
nately.

In making this basket great care*is necessary to get it a nice shape
with a sharp angle at each corner. In order to d6 this keep the corner
spoke pulled outward and press the one on either side well in.

Also be careful to keep an even distance between each spoke. If
this is not done, and the spokes are drawn together in some parts, or
allowed to get wider in others, the basket will become uneven, and
the shape will be spoilt.

Handle Insert the two pieces of No. 13 rattan, one piece on either
side of the center spoke in the side (as shown in Fig. 174), carry over
the basket, and insert in the same way on the opposite side.

Get a long strand of No. 40 flat rattan, and begin by threading one
end from the inside to the outside beside the handle cane and just be-
neath the border. Pull the end out until it is long enough to be
carried on top of the handle to the opposite side and 4 inches over.

Cross it on the outside (as in Fig. 175), take it over the handles
to the opposite side, and repeat the cross on the outside ; leave the end
sticking up against the handle cane.

Now with the long end of rattan bind neatly round the handle and
flat rattan together, keeping one round of rattan just meeting the next,
and winding tightly.

HOW TO MAKE INDIAN AND OTHER BASKETS.

119

When the handle has been bound round as close to the border as
it can be, cut the flat rattan, leaving an end of 3 inches.

Without unwinding any of the rattan, loosen it by twisting- it round
in the opposite way to that in which it was wound. When loose enough
for about six rings up, push the end up and pull out between the
rings (Fig. 176). Twist the rattan back again, and pull the end of
it until quite tight ; then cut off neatly.

SHALLOW OVAL BASKET Materials required Willow
spokes the thickness of a slate pencil. Rattan may be substituted. Of

FIG. 178. INSIDE VIEW.
STARTING HANDLE
OF OVAL BASKET.

FIG. 179. OUTSIDE VIEW.

these take five of 19 inches, thirteen of 13 inches and fourteen of
inches long. Then ninety- four of No. 7- rattan, 19 inches, three of No.
16 rattan, 30 inches. Weave with 3, 4, 6, 16 and 40 flat rattan.

Split the thirteen willows in the center and thread onto the five
of 19 inches. Weave like an ordinary oval base until twenty rows of
weaving with No. 3 rattan have been done.

Add the fourteen spokes, seven at either end, placing one beside
each of the five long spokes and the first of the double side spokes.

FIG. 180. BINDING HANDLE
OF OVAL BASKET.

FIG. 181. FINISHING HANDLE
OF OVAL BASKET.

Now do two rows of triple twist to divide the spokes with No. 4
rattan, and continue weaving until the base measures 18 by 12 inches.

Cut off the ends of the spokes, and insert the ninety-four spokes
of No. 7 rattan, one on either side of each spoke, except the center one
at each side. Turn up sharply and do two rows of triple twist, taking
each spoke singly. Do seven rows of single weaving ; three rows
(straight round) of flat rattan; and six rows of weaving.

Border "Flat Plait." See Figs. 149 to 152.

Handle Place one piece of No. 16 rattan down beside the center
side spoke and one piece beside the first spoke on either side ; repeat
on the opposite side. Thread a piece of No. 40 flat round the center
handle rattan from the inside just below the border.

Leave one end several inches long, and with the other weave to

120

HOW TO MAKE INDIAN AND OTHER BASKETS.

and fro between the three spokes until eighteen rows cross the center
one (Figs. 178 and 179). In doing this the short end must be caught
in beside one of the handle canes.

Now continue to bind over the top of the handle (Fig. 180), taking

FIG. 182. FINISHING

OFF THE FLAT
RATTAN IN BINDING
A HANDLE.

FIG. 183. WASTE PAPER BASKET

all three canes together until within 6 inches of the border, when the
weaving is continued as in Fig. 181.

When the border is reached, the end of the flat rattan must be

FIG. 184. SQUARE BASKET. LEAVING SIDES.

FIG. 185. SECTION SQUARE

BASKET WITH
STRAIGHT CORNER.

threaded round the center handle rattan just beneath it, and the end
pushed up against one of the canes and then cut off (Fig. 182).

Fig. 176 shows how the handle ought to look when finished.

WASTE PAPER BASKET Materials required Twelve spokes

HOW TO MARK INDIAN AND OTHER BASKETS.

IJI

of No. 13 rattan, 12 inches ; forty-eight spokes No. 7, 27 inches. Weave
with Nos. o, i and 2 rattan.

Weave the base in the ordinary way (see Figs. 125 to 129), until it
is 9 inches across. Then insert the forty-eight spokes as usual, and
turn them up ; after so doing weave ten rows of triple twist and six
rounds of two colors to make the check pattern (Fig. 183). Work
until you have three checks : one row of triple twist ; twenty-two rows
of plain weaving ; one round of triple twist. Now do your check pat-
tern again ten rounds of triple twist. Finish with plaited border
(Fig. 183).

The handles can be put on at discretion.

SQUARE WORK BASKET WITH WOODEN BASE Ma-
terials Required One board for base, 6 inches square ; 38 spokes
of No. 6 rattan, 16 inches, 2 spokes No. 6, 10 inches; 2 spokes of No.
6, 6 inches. For handle, 22 inches No. 16 rattan.

Insert the handle in holes made for it in the wooden base, and at

FIG. 187. METHOD OF HOLDING
BASKET WHEN WEAVING SIDES.

FIG. 18fi. PLAITED HANDLE.

1 1/2 inches from each end make a sharp bend. Insert spokes for sides
in wooden base, leaving 6 inches below the wood. Above the wooden
base weave one row of rope twist, counting the handles as spokes. For
this 4 lengths of No. i rattan, two of 36 inches (to be cut off when the
twist is finished) and two longer, will be needed. Start the weavers on
a side of the base which has not a handle through it. The two longest
are carried on for a row of pairing, after which turn the base upside
down and finish the foot before proceeding with the sides. Weave
singly (see Fig. 20) with two weavers, the number of spokes being
even, taking each weaver three times around, six times in all. The
handle must be still counted as a spoke. Bend spokes outward and
continue weaving for eight more double rows, sloping the foot to taste.
Insert a short spoke close beside handle to be used in its stead for
weaving the border. Finish with Closed Border No. 2.

Now turn the basket right side up, weave singly, see Fig 184, for
half an inch, insert new weaver of dyed raffia or rattan and weave one
inch, then another half inch or inch in natural color. Put a ten-inch

122

HOW TO MAKE INDIAN AND OTHER BASKETS.

spoke close to each side of the handle, to be used in its stead in weaving
border, and finish with Closed Border No. 2 or Open Border No. 2
according to taste. If for a workbasket, line with silk to taste.

PLAITED HANDLE. A handle that is very easy to make is
shown in Fig. 186. Where this handle is desired one of the spokes
must be left long enough to form the handle. When the sides of the
basket are woven insert two other spokes, one on each side of this long
spoke, and plait as shown. These may all be doubled, if preferred,
making a three-plait with two spokes instead of one. On finishing the
plait the ends must all be pointed and thrust as far down to the base
on the other side of the basket as possible, plenty of rattan being left
for this purpose.

METHOD OF HOLDING BASKET WHEN WEAVING
SIDES. Fig. 187 clearly shows the base finished, the spokes twined
up and all ready for the sides. Now place the basket on smooth board,
thrust a small awl through the base into the board. The awl thus acts
as a pivot on which the basket may be moved while the side weaving
progresses.

FIG. 187a. KLIKITAT BASKET IN FROHMAX COLLECTION.

HOW TO MAKE INDIAN AND OTHER BASKETS.

123

CHAPTER XIX.
FINISHING OFF A BASKET.

In all raffia work care should be taken to cut off loose ends as the
weaver progresses with her work. In rattan, splint, willow and other
ware small fibers will split off from the work, and these can be either
singed off or rubbed off with fine sandpaper. In singeing be careful
not to scorch the basket.

While the work is damp it can easily be twisted into shape, hence,
before it is allowed to dry, one should correct all irregularities. See if
the shape is as it should be ; especially examine the loops of the border

FIG. 188. YAKTTAT GOOD LUCK RATTLE BASKETS, TN FROHMAN COLLECTION.

and see that they are all of the saire size; make the bottom flat and the
lid to fit. Things of this nature seem small, yet upon them often
depends the difference between a poor and a good basket.

Dyeing, I think, should always be done before the basket is made-
while the materials are still unformed. Only in this way can designs
be worked out. 1 f, however, the weaver desires baskets of one color,
it may be as well to dye the completed work. If so, follow the methods
suggested in the chapter on dyes.

Those who desire to varnish or polish their baskets may find recipes
in Miss White's "How to Make Baskets "

FIG. 189. OLD COILED BASKETRY IN THE
COLLECTION OF H. E. SARGENT, JR.

FIG. 190. WHITE MOUNTAIN APACHE BASKETS IN
THE COLLECTION OF H. E. SARGENT, JR.

HOW TO MAKE INDIAN AND OTHER BASKETS.

125

CHAPTER XX.

HOW TO MAKE INDIAN BASKETS.

It is well for all students of basketry to learn how the Indian has
produced the wonderful results that make her basket work so famous.
At the very outset we are confronted by the magnitude of the subject.
Even in the mechanical work the Indian showed a fertility of invention
and a skill in execution little short of marvellous, hence in this chapter
nothing but practical hints can be given, which, however, will suffice
to start the earnest student upon the true pathway. Of the poetry and
religion woven into Indian baskets I can here say nothing. In my
larger book I have fully discussed this phase of the subject, and he who

FIG. 191. COARSE CHECKER-
WORK OR MAT WEAVE.

PIG. 192. TWILLED WEAVING.

would work intelligently cannot do better than "read, mark and in-
wardly digest" what is there written.

In what follows I have done little more than quote what that dis-
tinguished savant and sweet-spirited gentleman. Professor Otis T.
Mason, Curator of the Division of Ethnology of the United States
National Museum, has written in his "Directions for Collectors of
American Basketry."

CHECKERWORK BASKETRY. This is practically the mat
weave of the preceding pages. Many North Pacific Coast as well as
Atlantic Coast and Canadian Indians use this weave. Splints of every
imaginable kind of material are used for this work, and the warp is
the same as the weft. Indeed it is practically impossible to tell the
one from the other (see Fig. 191).

TWILLED BASKETRY. A variation of the mat weave is that
which Professor Mason calls by this name. The fundamental technic
of this work is in passing each strand of the woof over two or more
warp strands, thus producing a twilled effect as seen in Figs. 192 and
193-

126

HOW TO MAKE INDIAN AND OTHER BASKETS.

"The North Americans of antiquity were very skillful in administer-
ing the twilled technic. From examples reproduced by W. H. Holmes
it will be seen that in the ancient weaving of the Mississippi Valley,
in its southern portions, the weft would not pass over the same number
of warp elements that it passed under. On the specimen shown (Fig.
194) the weft goes over one and under three, or the opposite, each
time and each way." The Fijians make remarkable baskets by com-
binations of this weave. In this country the Chetamaches show mar-
vellous ingenuity in the working out of designs in this weave by vary-
ing the laying of the splints and the use of different colors. Scores of
designs may be made by the curious, but it is doubtful if one can be
invented that these Indians have not long known. (See Figs. 10, n,
39 and 40).

The ordinary WICKER WORK web basketry of civilization is
Indian work, the finest specimens being the plaques of the Hopis,

FIG. 193. TWILLED WEAVING.

FIG. ISC. TU1.NK1J WEAVING
IN TWO COLORS.

made only at Oraibi, and specimens of which are found in "Indian
Basketry," Figs. 165 and 167.

WRAPPED WEFT. This type of weaving was employed by the
Mound Builders of the Mississippi Valley, and is still used by the
Mohaves. A rigid hoop is sustained by four uprights, all rigidly
affixed at the bottom. The warp extends from the top to the bottom,
firmly fastened to the hoop at the top and the rigid members at the
bottom. The weft, of twine or yucca fiber, is fastened to one of the
rigid uprights and then wrapped once around each wrap element, con-
tinuing in a coil until the top is reached. The process is clearly shown
in Figs. 195 and 196.

TWINED WEAVING. This is the most intricate and elegant of
all woven work. Professor Mason thus writes of the varieties of
twined weaving as follows :

"Twined work has a set of warp rods or rigid elements, as in
wickerwork ; but the weft elements are commonly administered in pairs,
though in three-ply twining and in braid twining three weft elements
are employed. In passing from warp to warp these elements are twisted
in half-turns on each other so as to form a two-ply or three-ply twine
or braid. According to the relation of these weft elements to one
another and to the warp, different structures result as follows :

I. Plain twined weaving, over single warps.

HOW TO MAKE INDIAN AND OTHER BASKETS.

127

2. Diagonal twined weaving or twill, over two or more warps.

3. Wrapped twined weaving, or bird-cage twine, in which one
weft element remains rigid and the other is wrapped about the cross-

ings.

4. Latticed twined weaving, tee or Hudson stitch, twined work
around vertical warps crossed by horizontal weft element.

5. Three-ply twined weaving and braiding in several styles."

i. PLAIN "TWINED WEAVING This primitive mode of weav-

FIG. 194. TWILLED WEAVING PRESSED ON ANC IENT
POTTERY OF ALABAMA.

ing requires a set of warp elements arranged parallel to each other.
Two splints or weavers compose the woof and they are twisted with a
half turn around each warp stem. The Aleut and Haida baskets in
Fig. 198 are made in this weave, which is clearly shown in Fig. 197.
Other examples will be found illustrated in "Indian Basketry."

2. DIAGONAL TWINED WEAVING. The only difference
between this style and the plain is in the manner the woof weavers
cross the warp strands. "The technic consists in passing over two or

FIG. 195. WRAPPED WEAVING
OF THE MOHAVES.

FIG. 196. WRAPPED WEAVING

FROM A MOUND

IN OHIO.

more warp elements at each half turn ; there must be an odd number
of warps, for in the rest round the same pairs of warps are not in-
cluded in the half turns. The ridges, therefore, on the outside, are
not vertical as in plain twined weaving, but pass diagonally over the
surface." (See Fig. 199).

The esuwas, or water bottles, of the Havasupais are made in this
style, (see Fig. 222 Indian Basketry), and many of the fine baskets of
the Pomas are also made in a similar manner.

Fig. 200 "shows how, by varying the color of the weft splints and

128

HOW TO MAKE INDIAN AND OTHER BASKETS.

changing from diagonal to plain weaving, the artist is enabled to con-
trol absolutely the figure on the surface."

3. WRAPPED '"TWINED WEAVING. In this weave one ele-

FIG. 19S. APACHE, KLIKITAT, ALEUT AND HAIDA BASKETS IN
THE FROHMAN COLLECTION.

ment of the twine is passed horizontally along the upright warp stem,
generally on the inside, while the other is wrapped around it and the
upright warp, as seen in Fig. 201. The variation of one row of stitches

FIG. 199. DIAGONAL
TWINED WEAVING.

FIG. 200. VARIETY OF TWINED
WORK OUTSIDE.

inclining to the right and the other to the left is caused by the weaver's
wrapping from above or below. When the rows of these stitches are
forced closely upon one another the effect is as in Fig. 202, which is the

HOW TO MAKE INDIAN AND OTHER BASKETS.

129

exact method followed by the Neah Bay weavers. (For example, see
Fig. 255 Indian Basketry).

Fig. 203 "shows a square inch of the inside of a basket, with plain
twined weaving in the two rows at the top ; plain twined weaving in
which each turn passes over two warp rods in four rows just below.

FIG. 201. WRAPPED
TWINED WEAVING.

FIG. 20-2. NEAH BAY WEAVING,
WRAPPED, TWINED.

In the middle of the figure, at the right side, it will be seen how the
wrapped or Neah Bay twined work appears on the inside, and in the
lower right-hand corner is the inside view of diagonal twined weaving.
In the exquisite piece from which this drawing was made, the skillful
woman has combined four styles of two-ply twined weaving. On the

FIG. 205. THE TI WEAVK
OF THE POMAS.

FIG. 203. TWINED WEAVING, INSIDE.

outside of the basket these various methods stand for delicate patterns
in color." (See Fig. 200).

4. LATTICE TWINED WEAVING. It is believed that this
form of weave is confined to the Pomas. It is described in "Indian
Basketry," page 99, under the name of the Ti Weave. : 'The ti (pro-

130

HOW TO MAKE INDIAN AND OTHER BASKETS.

nounced tee) twined weaving consists of four elements (a) the up-
right warp of rods, (b) a horizontal warp crossing these at right
angles, and (c, d) a regular plain twined weaving of two elements,
holding the warps firmly together. (See Fig. 205). Baskets made in
this fashion are very rigid and strong, and frequently the hoppers of
mills for grinding acorns, and also water-tight jars are thus con-
structed."

5. THREE-PLY TWINED WEAVING. "Three-ply twined

FIG. I'm;. TIIKKK-PLY BRAID AXI>
TWINED WORK, (H'TSIDE.

FIG. 207. DITTO, INSIDE.

weaving is the use of three weft splints and other kinds of weft ele-
ments instead of two, and there are four ways of administering the weft,
a. Three-ply twine, b. Three-ply braid, c. Three-ply, false em-

viz.

broidery, Tlinkit. d. Frapped, Skokomish.

(a)' THREE-PLY TWINE (Figs. 206 and 207). In this technic
the basket weaver holds in her hand three weft elements of any of the
kinds mentioned. In twisting these three, each one of the strands, as

FIG. 208. Tn REE-PLY BRAID,
OUTSIDE.

FiG. 209. DITTO, INSIDE.

it passes inward, is carried behind the warp stem adjoining; so that in
a whole revolution the three w T eft elements have in turn passed behind
three warp elements. After that the process is repeated. By referring
to the lower halves of Figs. 206 and 207 the outside and the inside of
this technic will be made plain.

On the outside there is the appearance of a two-ply string laid
along the warp stems, while on the inside the texture looks like plain
twined weaving. The reason for this is apparent, since in every third

HOW TO MAKE INDIAN AND OTHER BASKETS.

of a revolution one element passes behind the warp and two remain in
front.

(b) THREE-PLY BRAID. In three-ply braid the weft elements
are held in the hand in the same fashion, but instead of being twined
simply they are plaited or braided, and as each element passes under
one and over the other of the remaining two elements, it is carried

FIG. 210. THREE-PLY AND
PLAIN TWINED WORK.

FIG. 211. OVERLAID TWINED WEAVING.

inside a warp stem. This process is better understood by examining
the upper parts of Figs. 206 and 207 and 208 and 209. On the surface,
when the work is driven home, it is impossible to discriminate between
three-ply twine and three-ply braid. The three-ply braid is found at
the starting of all Poma twined baskets, no matter how the rest is built
up.

Fig. 210 shows a square inch from the surface of a Hopi twined jar.

FIG. 212. FRAPPED
TWINED WORK.

The lower part is in plain twined weaving ; the upper part is in three-
ply twine."

'( c) THREE-PLY, FALSE EMBROIDERY.- "In Tlinkit basketry
the body is worked in spruce root, which is exceedingly tough. The
ornamentation in which mythological symbols are concealed consists of
a species of false embroidery in which the figures appear on the outside
of the basket but not on the inside. In the needlework of the civilized

132

HOW TO MAKE INDIAN AND OTHER BASKETS.

woman the laying of this third element would be called embroidery,
but the Indian woman twines it into the textile while the process of
basket making is going on ; that is, when each of the weft elements
passes between two warp rods outward, the colored or overlaid element

FIG. 215. WASHOE BASKET
IX FROHMAN COLLECTION.

FIG. 216. YOKUT BASKET
IN FROHMAN COLLECTION.

is wrapped around it once. Straws of different colors are employed
(Fig. 211).

(d) FRAPPED BASKETRY, Skokomish type. An interesting
modification of this Tlinkit form of overlaying or false embroidery
occurs occasionally among the Poma Indians under the name of bog
or bag, and it is fully explained and illustrated by James Teit in his
Memoir on the Thompson River Indians. In this Thompson River

FIG. 217. YOKl'T BASKET
IN FROHMAN COLLECTION.

FIG. 218. POMO BAM TT'SH WEAVE
IN FROHMAN COLLECTION.

example the twine or weft element is three-ply. Two of them are spun
from native hemp or milkweed, and form the regular twined two-ply
weaving. Around this twine the third element is wrapped or served,
passing about the other two and between the warp elements, and then
the whole is pressed down close to the former rows of weaving. On

HOW TO MAKE INDIAN AND OTHER BASKETS.

the outside of this bag the wrapping is diagonal, but on the inside the
turns are perpendicular. The fastening off is coarsely done, leaving
the surface extremely rough. I am indebted to Dr. Franz Boas for the

,< s ;

kS*

FIG. 219. YOKUT DANCE BASKET
IN FROHMAN COLLECTION.

FIG. 220. DECORATED YOKUT

BOTTLE-NECK IN
FROHMAN COLLECTION.

use of Mr. Teit's figure. This combination is extremely interesting.
The author says that it "seems to have been acquired recently through
intercourse with the Shahaptins." A little attention to the stitches will

FIG. 221. KLIKITAT IMBRICATED WORK.

show that the bags and the motives on them are clearly Xez Perces or
Shahaptian, but the wrapping of corn husk outside the twine are not
done in Nez Perces fashion, but after the style of the Makah Indians
of Cape Flattery, who are Wakashan (Fig. 212)."

1^4 S HOW TO MAKE INDIAN AND OTHER BASKETS.

Of Coiled Basketry I have already quoted Professor Mason's clear
analysis. The following pictures show a variety of specimens of coiled
work, largely from the Frohman collection, Portland, Ore.

Fig. 189 shows some beautiful specimens of old coiled work gath-
ered by Mr. A. E. Sargent, Jr., in Arizona and New Mexico. They
are all Apache baskets, the weave of which is described in "Indian
Basketry." Fig. 190 is of new White Mountain Apache baskets in

FIG. 222. IMBRICATED BASKETRY
WORK OF THOMPSON

RIVER INDIANS.
AFTER JAMES TE1T.

Mr. Sargent's collection. The whole five are most beautiful specimens,
with striking designs.

Fig. 215 is a Washoe basket in the Frohman collection. The weave
is of the coiled variety, and the design is similar to that of Maidu
pine cone design. (Fig. 322 Indian Basketry).

Figs. 216 and 217 are Yokut baskets of good shape, weave and de-

F1G 223. IMBRICATED COINED
WORK, CALLED Iv^lKITAT.

sign. The latter has a circle of dancers and of the rattlesnake dia-
monds.

Fig. 218 is a good specimen of the Bam Tush Poma weave, fully
explained on page 96, "Indian Basketry."

Figs. 219 and 220 are both fine Yokut baskets, the latter being a
bottle neck, with a circle of dancers on the flange, and with quail
plumes as an additional decoration on the rim.

KLIKITAT BASKETRY. As a frontispiece in "Indian Basketry"
are seen two Klikitat basket weavers at work. Their materials are,

HOW TO MAKE INDIAN AND OTHER BASKETS.

'35

for the foundation, cedar or spruce root, while the sewing is done with
the outer and tough portion of the root. In Fig. 221 the detail of this
imbricated method of weave is shown. Strips of cherry bark, cedar bast
and grass stems, dyed with Oregon grape, are added as ornament.
"The strip of colored bark or grass is laid down and caught under a
passing stitch ; before another stitch is taken this one is bent forward
to cover the last stitch, doubled on itself so as to be underneath the next
stitch, and so with each one it is bent backward and forward so that
the sewing is entirely concealed, forming a sort of "knife plaiting."
In some of the finer old baskets in the National Museum, collected

FIG. 224. POMA SHU-SET WEAVE BOWL AND BURDEN BASKET IN FROHMAN COLLECTION.

sixty years ago, the entire surface is covered with work of this kind,
the strips not being over an eighth of an inch wide. Mr. James
Teit describes and illustrates this type of weaving among the Thomp-
son River Indians of British Columbia, who are Salishan. The body
of the basket is in the root of Thuja gigantea, and the ornamentation
in strips of Elymus triticoides and Primus demissa (Fig. 222).

Imbrication is one of the most restricted of technical processes.
Eells says that some women in every tribe on Puget Sound could pro-
duce the stitch, and he names the Puyallups, Twanas, Snohomish,
Clallam, Makah, Skagit, Cowlitz, Chehalis, Nisqualli, and Squaxon. It
is understood that here it is a modern acquirement. It is the native art
of the Klikitat, Yakima, and Spokanes, all of whom are of the Shahap-
tian family. The Thompson River Indians, who are Salishan, have
long known the art."

i 3 6

HOW TO MAKE INDIAN AND OTHER BASKETS.

CHAPTER XXI.

BIBLIOGRAPHY.

Firth, Annie,

Cane Basket Work, First Series.
Cane Basket Work, Second Series.

L. Upcott Gill, 170 Strand, London.
James, George Wharton,

Indian Basketry.

Henry Malkan, New York.
The Indians of the Painted Desert Region.

Little, Brown & Co., Boston, Mass.
Knapp, Eliz. Sanborn,

Raphia and Reed Weaving.

Milton Bradley Co., Springfield, Mass.

ftu-

FIG. 225. DECOKATED SHI-BC, THE SUN BASKETS OF THE POMAS IN FROHMAN COLLECTION.

Mason, O. T.,

Directions for Collectors of American Basketry.

Part P, Bulletin of the U. S. Nat. Museum, No. 39.
Purdy, Carl,

Porno Indian Baskets and Their Makers.

Los Angeles, Calif., 1902.
Stearns, Martha Watrous,

A School Without Books.

Review and Herald Pub. Co., Battle Creek, Mich.
White, Mary.

How to Make Baskets.

Doubleday, Page & Co., New York.

THE BASKET FRATERNITY.

rc-.':"-."-T L.".v~-i'f> '^-.r^-'
:r;:~~ ,:'..- ..

a demand exists for a means of
communication between, and source of
information among basket lovers that
THE BASKET FRATERNITY has been
organized by George \Vharton James.

It has a large charter membership from its start. The charter
roll will remain open until the end of 1903.

Its only conditions for membership are that you are interested in
Indian or other baskets, and send your Fraternity fee of one dollar.

Do you want a loan collection of fine Indian Baskets in your
town or village ?

Then join The Basket Fraternity and get nineteen others to do
so, and the collection will be sent to you without charge.

Do you want a lecture on Indian Basketry ?

Read page 4 and you will see how it may be had.

HE BASKET FRATERNITY is a society of basket lovers,
organized for the purpose of bringing together those who have
felt the charm and fascination of Indian basketry.

ITS OBJECTS ARE :

1. To form a means of communication between basket lovers
throughout the world.

2. To collect reliable and accurate knowledge of Indian weavers'
methods and work.

3. To photograph aboriginal weavers and make a collection of said
photographs.

4. To seek in every way to revive the art and prevent its dying out
among the Indians.

5. To discourage among the Indians the modern commercial
methods, which encourage the making of baskets merely for sale,
foster the use of aniline dyes, alien designs, hastily prepared materials
and crude workmanship.

6. To encourage the opposite of the spirit referred to above : to seek
to retain the love for good and artistic work ; to banish aniline dyes,
and restore the use of native dyes, native shapes and designs, carefully
prepared materials and artistic work.

7. To seek to influence the Indian department of the United States
Government to earnestly endeavor to work to this end among all the
agents, superintendents and teachers in its service, and to require all
young Indian girls to learn the art as part of their school training.

8. To make a national collection of typical baskets of every weave
and style to be found throughout the world, but especially and
primarily of baskets made by the aboriginal tribes of North America.
This collection to be placed in some suitable location where it will be
accessible at all times to basket lovers, and especially for the pleasure
and study of members of this fraternity.

9. To organize a "traveling library" of veritable typical Indian
baskets and send these as required to members of the fraternity for
study and exhibition. Such a collection of basketry is already made,
and is ready for its travels on call from those entitled to it.

10. To arrange for the gathering and distribution of Indian mate-
rials for basket weaving which shall be sold to members of the
fraternity at as near cost as possible.

11. To prepare a set of stereopticon slides, with accompanying
lecture, which will be loaned on payment of a small fee to any member
of the fraternity. To prepare such slides also for sale.

12. To distribute among its members photographs or engravings of
fine and typical baskets of all makes, and of representative Indian
weavers.

13. To disseminate information among its members relating to the
art and the objects of the fraternity.

14. To secure the ends aimed at in Sections 12 and 13, to prepare,
and issue quarterly an illustrated bulletin of general or specific
interest to basketry lovers and collectors and to send this bulletin,
when issued, free to all members of the fraternity.

15- To arrange for lectures on Indian basketry when and where
possible, either to members of the fraternity or to outsiders desirous
of knowing of its work ; to organize classes for the teaching of
basketry, and to enlarge the circle of those who know and love good
basketry work.

1 6. To promote the organization of classes for the teaching of
basketry in orphan asylums, prisons, poor houses, insane asylums and
other eleemosinary establishments in order that easy and simple
employment may be found for the unfortunate which will help relieve
the harmful monotony of their lives.

17. To set in motion all possible machinery for the creating of
markets for baskets so made, as well as the baskets made by the Indians,
in order that their makers may derive as much financial benefit as
possible from their labors.

The fraternity fee is $1.00 per year, payable on application. En-
trance may be made at any time during the year. In return for this
fee the members of the fraternity are assured that they will receive :

1. The four bulletins, issued quarterly, referred to in Section 14.

The first of these is a beautifully illustrated hand-book entitled
"How to Make Indian and Other Baskets," by George Wharton
James, author of "Indian Basketry," and originator of The Basket
Fraternity.

The second is in preparation and will be entitled ' ' L,iving Indian
Weavers." It will comprise fully twenty portraits of typical Indian
weavers, with descriptive accounts of their work. It will be issued
April i.

The third bulletin will be entitled "Typical Indian Basket Shapes,"
and will contain not less than twenty plates of exquisitely shaped
Indian baskets. It will be issued July i.

The fourth bulletin will be entitled "Typical Indian Designs," and
will contain fully twenty illustrations of baskets of superior design.
It will be issued October i.

2. Whenever twenty members of the fraternity, living in one town
or section, unite in asking for the loan of an Indian basketry col-
lection, it will be sent to them on guarantee of its safety and the
payment of freight charges both ways.

Forms of application for such a loan will be sent on request.

3. Whenever fifty members of the fraternity petition for a lecturer,
and will guarantee a small fee and necessary expenses, one will be
sent, in order to further the work of the fraternity.

The headquarters of The Basket Fraternity is Pasadena, California,
where the nucleus of the national collection and the ' ' traveling
libraries " of Indian baskets are located.
^ Address all communications and make all P. O. Orders payable to

THE BASKET: FRATERNITY,

STATION A,

PASADENA, CALIFORNIA.

Forms of application for membership will be sent on request. The
first bulletin will be forwarded as early as possible after receipt of the
fraternity fee of one dollar.

INDEX.

Chap. I. Introduction 5

II. The Spirit in which Basket-Making should be Approached. . . 10

III. Choice of Material 14

IV. The Preparation of Materials 18

V. Dyes ; How to Make and Use Them 28

VI. Tools and Terms 32

VII. How to Begin 34

VIII. The Mat Weave 37

IX. The Plait or Braid 48

X. The Net Weave 52

XI. The Coil Weave 58

XII. The Web Weave 73

XIII. Insertion and Borders 77

XIV. More about Bases 84

XV. Web Weaving Continued 89

XVI. Splint and Sweet Grass Baskets 93

XVII. Fancy Borders 103

XVIII. A Few Baskets 107

XIX. Finishing the Basket 123

XX. How to Make Indian Baskets 125

XXI. Bibliography 136

If you desire Amerind Art in
WASHOE, PAIUTI OR SHOSHONE BASKETRY

we can interest you.

We will loan 3-011 for inspection, upon appplication, our photo
booklet of fine and beautiful baskets.

Address THE EMPORIUM,

CARSON CITY, NEVADA.

THE HOME OF THE WASHOE INDIAN."

ILLUSTRATIONS.

Fig

9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28-
29.
30.
31.
32.
33.
34.

36.

39.

40.

41.

42.

43.

44.

45.

46.

47.

48.

49.

50.

50a

51.

52.

53.

54.
55.
56.
57.
58.
59.

Oi.
61.
62.
63.
64.
65.
66.

Page.
Apple Green Basket, Deerfiekl... 4

Mouse Basket 6

Corn Husk Poppy Basket S

Fancy Splint Basket 10

Splint and Sweet Grass Fan 12

Baskets of Splint and Sweet Grass i:
Base of Baskets shown in Fig. 6.. 14

fc.wale Grass Tray, Deerfleld 15

Red Bird Basket, Deerfleld 16

Chetemache Mat 1?

" 17

Deerfleld Straw Baskets 18

Splint and Sweet Grass Baskets . 20
Picotie Pink Basket, Deerfleld 22

Splint Baskets 2

Reed Baskets, Deerfleld 24

Weaver Splint Cutter 25

Foundation Splint Cutter 25

A Splint 32

Single Weaving 3

Double Weaving 32

Pairing 32

Triple Weave 33

Rope Twist 33

Raffla Bound Picture Frames 26

Raffla "Wrapped Articles' 34

Toy Chair of Wrapped Raffia 36

Magazine Holder 35

Simple Coiled Baskets 37

Simple Mat Weave Open 38

" Closed 38

Table Mat 39

Interlacing Strands of Different

Colors 41

Interlacing Strands of Different

Colors 41

Isolated Figures Produced by Mod-
ifying Order of Intersection 41

Mat Foundation Work 41

Accordeon Plait, Diagonal Mat

Weave, etc 40

Chetemache Mat 40

Splint Picture Frame Foundation.. 42

Splint Picture Frame 42

Splint Mat Weave Baskets 42

Market and Other Baskets 42

" 45

Caning a Chair 46

Cane Tie 46

Caning a Chair 46

Weave of Chair Cane 46

Articles of Plaited Raffla, etc 49

Bottom of Deerfleld Basket 51

Plaited Belts 50

Hoop and School Bag of Plaited

Raffia 47

Doll's Hat and Tray of Plaited

Raffia IT

Plaited Raffla Hats 52

Baskets of Plaited Raffla 54

... 55

Fig. Page.

67. Button Hole Stitch on Ring 58

68. " " " 58

69. Covered Napkin Rings 58

70. Simple Coiled Baskets with Vari-

ation 58

71. Simple Coiled Trays 60

72. Pine Needle Coiled Baskets 60

73. Wrapping Before Coiling 01

74. Beginning the Coil 61

75. Detail of Coil 61

76. Cross Sections of Varieties' in

Coiled Basketry 62

77. Detail of Interlocking Stitches 63

78. Detail of Single-Rod Coil 63

79. Foundation of Two Rods 63

80. Rod and Welt Coiled Work 63

81. Foundation of Three Rods 64

82. Foundation of Splints 64

83. Interlocking Coils, Straw Founda-

tion 64

84. Open Coil, Inclosing Part of Foun-

dation 64

85. Interlocking Coils, Shred Founda-

Coiled Raffia Baskets

tion
86-87-XN. Fugeian

Details

89.
90.
91.
92.
93.
94.

Coiled Basket and

Five Strand Plait of Raffia.

Stick and Knot of Raffia

Single Net Mesh

Netted Bags of Raffia, etc...

Xi-t Mesh .

56
56
56
56
56
57
57
57
57

95.

96.

97.

9S.
99.

100.
101.
102.
103.
104.
105.
106.

107.

108.

109.

110.

111.

112.

113.

11 I.

115.

IIU.

117.

118.

119.

120.

121.

122

123'.

124.

125.

126.

127.

128.

65
66

Book Mjark of Splint and Web

Weave 72

Weaving on Even Spokes 72

Holding Spokes' and Starting

Weaver 73

Dividing into Single Spokes 73

Inserting Odd Spoke 74

Right Side of Center with Odd

Spoke 74

Simple Open Border No. 1 75

Detail of Open Border No. 2 75

Open Border No. 2 75

Starting New Weaver 75

Splicing Weavers 75

Web "Weaving with Raffia 76

Simple Rattan Baskets, Web

Weave 77

Detail of Ins< rtiun 78

Insertion 78

Open Border No. 3 78

Open Border No. 4 78

Detail of Plait 79

Plait 7J

Open Border No. 5.

Detail of Last Three Spokes

Closed Border No. 1

Detail of Closed Border No. 2.

Detail of Closed Border No. 3.

79
79
SO
80
80
so

Closed Border No. 3 81

Detail of Oval Base 82

" 82

Split Spoke for Round Base 82

Spokes' Threaded for Round Base. 82
Weaving of Round Bnsc with Two

Weavers 83

Round Base with Spokes in Pairs, s:;

129. Round Base with Spokes Separated 85

130. Commencing Oblong Oval Base 85

Fig. Page. 175.

131. Oblong Oval Base 86

132. Detail of Center of Oval Base 87 176.

133. " " " 87 177.

134. Base of Twined Weaving with In- 178.

serted Corners 84

135. Simple Web Baskets of Rattan.... 31 179.
136: Rattan Basket with Plaited Straw 180.

as' Weaver 90 181.

137. Web Woven Bird Nest 90 182.

138. Basket with Fancy Base 92

139. Splint Web Weave 92 183.

140. Base of Splint Basket 96 184.

141. Inserting Weaver in Splint Base.. 94 185.

142. Jumping Two Spokes 90186.

143. Spokes Turned Up for Sides 9 187.

144. Baskets of Splint and Sweet Grass. 98

145. Splint and Plaited Sweet Grass INN.

Baskets 99 189.

146. Splint and Plaited Sweet Grass 190.

Baskets 100 191.

147. Madeira Border No. 2 102

148. Madeira Pairing for Plait 102 192.

149. Commencing Flat Plait Border. .. .105 193.
150 Flat Plait Border Second Position 194.

of Spokes 105 195.

151. Ditto in progress, with Portion 196.

of Finished Border 105 197.

152. Flat Plait Border, Finished 105 198.

153. Splint and Twined Baskets 106 199.

154. Collar Baskets of Rush. Raffia 200.

and Splint 108 201.

155. Bases' of Fig. 154 108 -in'.

156. Surface Effects of Twined Open

Work 110 203.

157. Crossed Warp, Twined Weaving. . .110 205.

158. Wristlets or Cuff Protectors Ill 206.

159. Baskets from the Philippines 112

160. Deerfleld Straw Baskets 27 207.

164. Section of Fluted Flower Basket. L'lis.

Turning Down Spokes 112 209.

165. Ditto. Curve Partly Worked 113 210.

166. Fluted Flower Basket 113 211.

167. Starting Square Work Basket.

Turning Weaver Round Corner 215.
Spokes' 113 216.

168. Square Work Basket. Wood Base. 114 217.

169. Starting Lid of Square Basket. .. .114 218.

170. Turning Weaver Around Last 219.

Spokes 114 220.

171. Detail of Twisted Handle 114 221.

172. Ditto 117 222.

173. Oblong Carrying Basket 117

174. Commencing Handle of Key Bas- 223.

ket 117

Binding Handle of Key Basket,

Commencing 117

Ditto, Finishing 118

Shallow Oval Basket 118

Starting Handle of Oval Basket-
Inside 119

Ditto Outside 119

Binding Handle of Oval Basket. ..119

Finishing ditto 119

Finishing off the Flat Rattan in

Binding a Handle 120

Waste Paper Basket 120

Square Basket Weaving Sides 120

Section ditto with Straignt Corner. 120

Plaited Handle 121

Method of Holding Basket When

Weaving Sides 121

Yakutat Rattle Baskets 123

Old Coiled Basketry 124

White Mountain Apache Baskets. 124
Coarse Checkerwork on Mat

Weave 125

Twilled Weaving 125

Ditto 126

Ditto, Pressed on Ancient Pottery. 127
Wrapped Weaving of the Mohaves' 127

Ditto, from a Mound in Ohio 127

Twined Weaving in Two Colors 126

Apache. Klikitat, etc., Baskets 128

Diagonal Twined Weaving 128

Variety of Twined Work, Outside. 128

Wrapped Twined Weaving 129

NV.-I ii I !;i \ \Yrappc-d T\\ ined Weav-
ing 129

Twined Weaving, Inside 129

The Ti Weave of the Pomas 129

Three Ply Braid and Twined Work,

Outside 130

Ditto, Inside 130

Three Ply Braid, Outside 130

Ditto, Inside 130

Three Ply and Plain Twined Work.131

Overlaid Twined Weaving 131

Frapped Twined Work 131

Washoe Basket 132

Yokut Basket 132

Ditto 132

Poma Bam Tush Weave 132

Yokut Dance Basket 133

Yokut Bottle-Neck Basket 133

Klikitat Imbricated Weaving 133

Imbricated Basketry Work of

Thompson River Indians 134

Imbricated Coiled Work, Called
Klikitat 134

CENTRA
OHIL

"C. Pi

if si " ' ^

;.-';(. ;..'i, (; ri''^^^Nit, ji' ;.'.;

FROHMAN TRADING Co

ALASKA, CALIFORNIA
AND NORTHERN

INDIAN BASKETS

T- i9O2

AND

CURIOS.

PORTLAND, QBE.

WHOLESALE:

AND

DETAIL -

SEND TEN CENTS FOR ILLUSTRATED CATALOGUE.

CALIFORNIA

A REGION OF WONDERS.

TOURISTS WILL FIND THE MOST PICTURESQUE LANDS
ALONG THE ROUTES OF THE

SOUTHERN PACIFIC

Through Texas, New Mexico, Arizona, Old Mexico,
to Peerless California,

WHERE GOLF, TENNIS, POLO, COACHING, RIDING,
DRIVING, FISHING, HUNTING, BOATING, BATHING,
CAN BE ENJOYED

EVERY DAY IN THE YEAR.

Two NEW DAILY TRAINS NEW ORLEANS TO CALIFORNIA.
SUNSET LIMITED (""TEL m WHEELS,

PACIFIC COAST EXPRESS.

Passenger Steamers Between New York and New Orleans.

Fast Time. Superb Service. Excellent Cuisine.

For Free Illustrated Pamphlets, Maps, and Time Tables, lowest Rates, Railroad, Steamer, and
Pullman Tickets, Baggage Checked, and all information, address

L. H. NUTTING, General Eastern Passenger Agent,

349 Broadway or J Battery Place, New York,

E. O. McCORMICK, P. T. M., SAN FRANCISCO, CAL.
s. F. B. MORSE, A. P. T. M., HOUSTON, TEXAS.

MORE BASKETS AND
HOW TO MAKE THEM

BY MARY WHITE

nPHE success of Miss
White's first volume
has led to this companion
work, which treats of more
advanced basket-making.
Shapes and weaves of
greater beauty and intricacy
are described, with new ap-
pliances, unusual materials,
the making of hats and
chair seats and number-
less other matters about
many of which the readers
of the initial volume have
written for information.

CONTENTS

I. Centres and Weaves.
II. Flower Baskets.

III. Baskets for Practical Use.

IV. Hanging Baskets.
V. Square Baskets.

VI. How to Rush Seat Chairs.

VII. Raffia and Palm Leaf Hats.

VIII. Raffia Basketry.

IX. Palm Leaf Basketry.

X. A Few Hints on Dyeing.

XI. Unusual Materials.

PRICE, net, $1.00.

DOUBLEDAY, PAGE & CO.

34 UNION SQUARE, EAST, NEW YORK

HOW TO MAKE

BASKETS

BY MARY WHITE

FIFTH EDI T I O X

THE great interest in Indian baskets has
drawn new attention to the art of basket-
making, with the result that basketry has
found immediate favor, not only in schools
and training classes, but as a most attractive
pastime and means of occupation among
grown people as well. This little manual is
the only guide to the work. Miss White
describes in detail the few necessary imple-
ments and materials, and then tells how to
weave, first the simpler forms, next the more
difficult patterns, and finally the complicated
and beautiful work for which the Indians
were once famous, but which is now rapidly
becoming a lost art.

CONTENTS

Material, Tools, Preparation, Weaving;
Raffia and Some of its Uses ; Mats and
their Borders ; the Simplest Baskets ;
Covers ; Handles ; Work Baskets ; Candy
Baskets ; Scrap Baskets ; Birds' Nests ;
Oval Baskets ; the Finishing Touch ;
How to Cain Chairs ; Some Indian
Stitches ; What the Basket Means to
the Indian.

PRICE, net, $1.00

DOUBLEDAY, PAGE & COMPANY

34 UNION SQUARE, EAST, NEWYORK

HOW TO MAKE RUGS

BY CANDACE WHEELER

ILLUSTRATED, PRICE net, Si. 20.

HPHIS admirably clear little volume gives specific instructions for
*- the weaving of rugs, drawn from the author's own experience
in spreading this valuable home industry. The healthy modern
movement toward the hand-made things of daily use in the home
is one in which Mrs. Wheeler has had a leading part, and this
bi^ok will be found exceedingly valuable and suggestive to all who
are interested in such work.

CONTENTS. Rug Weaving ; Woven Rag Portieres ; the Pattern ; Woolen
Rugs; Dyeing; Cotton Rugs; Ingrain Carpet Rugs; Linsey Woolsey ;
Neighborhood Industries.

BY THE SAME AUTHOR,

PRINCIPLES of HOME DECORATION

PRICE, net, Si. 80.

A STUDY of beauty in house interiors, based upon principles of art. It
will undoubtedly be a helpful book to decorators, but its chief Held will
lie among the thousands of home-seekers whose range of experiment has not
been wide enough to warrant successful practice.

DOUBLEDAY, PAGE & COMPANY

34 UNION SQUARE, EAST, NEW YORK

FIVE THOUSAND SOLD ON PUBLICATION

PRACTICAL COOKING
AND SERVING

BY JANET McKENZIE HILL

"Cookery," said Yuan Alei, the Brillat-Savarin of China two
hundred years ago, "is like matrimony t\vo things served to-
gether should match." And again: "Into no department of
life should indifference be allowed to creep into none less than
cookery."

^HE accumulated gastronomic knowledge of
many centuries and the best modern domestic
science have alike been drawn upon by Mrs. Hill,
of the Boston Cooking School, in her new book,
' Practical Cooking and Serving." The first 5000
were sold on publication, because it is practical,
and tells everything a housekeeper needs to know
about the selection, preparation and serving of
food. There are 200 helpful photographic illus-
trations, in color and black and white. The book
contains 730 pages and is strongly bound in alumi-
num cloth, which ma\ be washed.

PRICE, net, S2.oo

DOUBLEDAY, PAGE & COMPANY

34 UNION SQUARE, EAST, NEW YORK

THE INDIANS

OF THE PAINTED
DESERT REGION

By GEORGE WHARTON JAMES

Author of "In and Around the Grand Canyon of the
Colorado River in Arizona," "Indian Basketry," etc.

^^^^p^^l

^ff

^JE-'A-r^L -'^^.vr - . . .

-r- '

'
-~ -- '

A PEAK OF EROSION IN THE PETRIFIED FOREST

With 1 6 full-page pictures and 50 half-page illustrations from
photographs Crown 8vo Decorated cloth $2.00 net

The Indians of the Painted Desert Region

book like its author's valuable work on the
Grand Canyon is the result of experience, of
personal adventures and hardships in a journey ov-er
the Western desert, fraught with many dangers on account
of sudden storms and absence of shelter, besides scarcity
of water. Mr. James visited various Indian tribes and has
written about them in his own agreeable and entertaining
style, giving a picture which will be quite new to every one.
The first Indian tribe visited was the Hopis; a large portion
of the book is devoted to this interesting tribe. Much of their
domestic life as the author describes it is surely unique. The
women instead of talking about "Women's Rights " have for
ages possessed them ; the men weave the women's clothing
and knit their own stockings, and the women build their own
homes and invite their husbands to marry them. A chapter is
given to the religion of the Hopis. Each act has a religious
significance : they have some beautiful religious ceremonies,
accompanied by songs, and one especially beautiful is sung in
honor of the birth of every child.

Mr. James also writes of the ill-treatment which our
countrv has inflicted upon the Navahoes, who were placed
upon reservation without water or fuel, and with no soil fit
for cultivation. When the author first visited the Navahoes,
the chief ordered his daughter to "shampoo " the stranger's
head. This is considered a great luxury, one Indian divorcing
his wife because she declined to shampoo his head.

The worst insult that it is possible to offer to a Wallapais
Indian is to throw her long hair away from her face, but this
the author had to do when he photographed these Indians.

The chapter upon the legends of the Havasupais is fascinat-
ing and the book is full of romantic and picturesque Indian
love. An entire chapter is devoted to the Hopi snake
dance, and there is much interesting information about Indian
basketry and blanket weaving.

The Indians of the Painted Desert Region

The illustrations are faithful reproductions of the beautiful
series of photographs taken by the author or by his special
artist who accompanied him, and consist of sixteen full-page
and fifty half-page plates. Accurately portraying the country,
industries, religious rites, and personal appearance of the
Navaho, Hopi, and Havasupai Indians, they are a most
valuable addition to the text. Some of the subjects, espe-
cially several of those showing the famous "Snake Dance," are
unique, the Indians generally objecting to the photographing
of some of the ceremony.

CONTENTS

INTRODUCTORY
CHAPTER

I. THE PAIN-TED DESERT REGION.
II. DESERT RECOLLECTIONS.

III. FIRST GLIMPSES OF THE HOPI.

IV. THE HOPI VILLAGES, AND THEIR HISTORY.
V. A FEW HOPI CUSTOMS.

VI. THE RELIGIOUS LIFE OF THE HOPI.
VII. T'HK HOPI SNAKE DANCE.
VIII. THE NAVAHO AND HIS HISTORY.
IX. THE NAVAHO AT HOME.

X. THE NAVAHO AS A BLANKET WEAVER.
XI. THE WALLAPAIS.
XII. THE ADVENT OF THE WALLAPAIS.

XIII. THE PEOPLE OF THE BLUE WATER AND THEIR HOME.

XIV. THE HAVASUPAIS AND THEIR LEGENDS.

XV. THE SOCIAL AND DOMESTIC LIFE OF THE HAVASUPAI.
XVI. THE HAVASUPAIS' RELIGIOUS DANCES AND BELIEFS.
BIBLIOGRAPHY

LITTLE, BROWN, & CO., PUBLISHERS
254 Washington Street Boston, Massachusetts

AN IMPORTANT NEW BOOK DESCRIBING THE MOST
STUPENDOUS SCENE ON THE AMERICAN CONTINENT

In and Around the Grand Canyon
of the Colorado River in Arizona

By GEORGE WHARTON JAMES

Illustrated with thirty full-page plates and seventy
pictures in the text 8vo Cloth Price, $3.00

CROSSING THE COLORADO TO THE SHINUMO.

volume, crowded with pictures of the marvels and
beauties of the Canyon, is of absorbing interest. Dramatic
narratives of hairbreadth escapes and thrilling adventures,
stories of Indians, their legends and customs, and Mr.
James's own perilous experiences, give a wonderful personal interest
in these pages of graphic description of the most stupendous natural
wonder on the American Continent. Philadelphia Public Ledger.

TEMPLES AND BUTTES TO THE EAST FROM THE GRAND SCENIC DIVIDE.

IN & AROUND THE GRAND CANYON

A veritable storehouse of wonders. - - Boston Advertiser.

There is a ring of actuality about this book. - - Outing, New
York.

The Grand Canyon has never before received such an
exposition either with pen or camera. - - Literary World.

He has told his story in so fascinating a manner that one
feels almost within sight and sound of the great canyon.
San Francisco Bulletin.

The most thorough description of the Grand Canyon of
the Colorado and its surroundings to be found anywhere.

- Chicago Tribune.

He has not been content to describe the wonders in his
own words, but from historical records, from the notes of
explorers and discoverers, and from the accounts of Indian
natives, white hunters, miners, and guides, he has quoted
freely wherever he could find matter of interest and value.

- Argonaut, San Francisco.

An illustrated work of which too much can scarcely be said
in praise. The Grand Canyon is one of the world's won-
ders, and this volume is the most thorough and satisfying
presentation of its many rugged attractions thus far offered.
San Francisco Chronicle.

There is probably no man in the country who is better
qualified for the writing of such a book than Professor
James. . . . Too much cannot be said in praise of his
work. --Arizona Daily Journal-Miner, Prescott, Arizona.

Will be the standard with reference to the main features -
historic, scenic, and scientific of the Great Canyon of the
Colorado. . . . Legend and tradition are drawn upon for the
dramatic effect and local color, so that in many respects
the book possesses a charm peculiarly its own. . . . One of
the typical books of the great West. Brooklyn Standard Union.

IN & AROUND THE GRAND CANYON

CHAPTER CONTENTS

I. THE COLORADO RIVER AND ITS CANYONS.
II. EXPLORATIONS FROM THE TIME OF THE SPANIARDS (1540)
TO MAJOR J. W. POWELL (1869).

III. EXPLORATIONS BY MAJOR J. W. POWELL (1869-72).

IV. LATER EXPLORATIONS.

V. FLAGSTAFF, THE SAN FRANCISCO MOUNTAINS, THE CLIFF AND

CAVE DWELLINGS, AND THE DEAD VOLCANOES.
VI. FROM THE SANTA FE RAILWAY TO THE CANYON BY STAGE.
VII. To THE CANYON BY RAILWAY, AND A FEW PRACTICAL SUG-
GESTIONS TO THE TOURIST.
VIII. FIRST IMPRESSIONS.
IX. WHAT DOES ONE SEE?
X. ON THE RIM.
XI. THE GRAND VIEW TRAIL.
XII. THE BRIGHT ANGEL TRAIL.

XIII. Two DAYS' HUNT FOR A BOAT IN A SIDE GORGE NEAR

THE BRIGHT ANGEL TRAIL.

XIV. THE MYSTIC SPRING TRAIL.

XV. THREE DAYS OF EXPLORING IN TRAIL CANYON WITH THE

WRONG COMPANION.

XVI. MR. W. W. BASS AND HIS CANYON EXPERIENCES.
XVII. THE SHINUMO AND ITS ANCIENT INHABITANTS.
XVIII. PEACE SPRINGS TRAIL.
XIX. LEE'S FERRY AND THE JOURNEY THITHER.
XX. JOHN D. LEE AND THE MOUNTAIN MEADOW MASSACRE.
XXI. UP AND DOWN GLEN AND MARBLE CANYONS.
XXII. THE OLD HOPI TRAIL.

XXIII. THE TANNER-FRENCH TRAIL.

XXIV. THE RED CANYON AND OLD TRAILS.
XXV. GRAND CANYON FOREST RESERVE.

XXVI. THE TOPOCOBYA TRAIL AND HAVASU (CATARACT) CANYON.
XXVII. THE HAVASUPAI INDIANS AND THEIR CANYON HOME.
XXVIII. HAVASU (CATARACT) CANYON AND ITS WATERFALLS AND

LIMESTONE CAVES.

XXIX. AN ADVENTURE IN BEAVER CANYON.
XXX. THE GEOLOGY OF THE GRAND CANYON.
XXXI. BOTANY OF THE GRAND CANYON.

XXXII. RELIGIOUS AND OTHER IMPRESSIONS IN THE GRAND CANYON.
XXXIII. PHOTOGRAPHING THE GRAND CANYON.
BIBLIOGRAPHY OF THE GRAND CANYON REGION.

LITTLE, BROWN, & CO., Publishers

254 WASHINGTON STREET, BOSTON