FIG. 73
Fig. 73
The base spokes of this “Knitting Basket” are of No. 4 reed. The inserted spokes are of No. 3 reed, twenty-two inches long. The weavers are of No. 2 and No. 3 reed.
MODEL 62.—FIG. 74
MOTHER’S SEWING BASKET
Fig. 74
Material
8 spokes No. 5 reed, 7 inches. 62 spokes No. 4 reed, 18 inches. Weavers—No. 4 reed.
Weave a base seven inches in pairing. Insert the spokes, pinch, and turn with an upsetting of four rows 3-rod coil. Bend and hold the spokes outward. Work four inches in plain weave No. 4 reed. Wet the spokes, pinch and bend inward. Weave two inches plain weave. Make four rows triple twist. Complete the basket with the following border: First row, each group of spokes is brought back of the next group to the right and passed out to the front. Second row, each group is passed over the next four groups, back of the fifth group where it is cut off.
MODEL 63.—FIG. 75
LILY BASKET
Fig. 75
Material
8 spokes No. 5 reed, 61⁄2 inches. 62 spokes No. 4 reed, 18 inches. Weavers No. 2 reed. Weavers No. 4 reed.
With No. 1 reed, fasten the spokes with three rows of pairing. Separate into groups of twos, with two rows of pairing. Separate into single groups, with two rows of pairing. Insert two No. 4 weavers and work ten rows in pairing. This makes a 61⁄2 inch base.
Insert the spokes, two spokes each side of the base spokes. Turn up with an upsetting of four rows of triple twist No. 4 reed. The spokes are double and carried double throughout the basket. Hold the spokes so that the basket will slant outward. Weave four inches in plain weave. Wet the spokes and pinch sharply. Bend the spokes inward. Work one row in 3-rod coil. Follow this with fifteen rows in plain weave. Bending the spokes slightly upward, work five rows in triple weave. Cut off one spoke of each group. Complete the basket with the border described under Model 22.
MODEL 64.—FIG. 76
SMALL BARREL SHAPED RUSH BASKET
Fig. 76
Material
8 spokes No. 5 reed, 61⁄2 inches. 31 spokes No. 5 reed, 20 inches. Weavers No. 4 reed. Weavers No. 5 reed. Weavers braided rush.
Make a round bottom six inches in diameter. Insert the 31 spokes and make an upsetting of six rows of 3-rod wale No. 5 reed. Throughout the basket, hold the spokes equal distance apart; weave carefully and evenly.
Prepare the rush for weaving by soaking it in water until it is moist, or wet enough to keep it from cracking. Do not try to weave the braided rush dry as it cracks easily. Slant the spokes outward, introduce the rush and weave eight rows of simple weaving. Wet the spokes well and bend them in. Have the rush moistened and weave six rows, drawing the spokes in, to secure the rounded effect. Introduce three weavers of No. 4 reed, and work five rows of 3-rod wale. Complete the basket with the following border:
First row, each spoke is carried back of the next two spokes to the right and out to the front. Second row, each spoke is passed in front of the next two spokes to the right, and back of the third where it is cut off.
MODEL 65.—FIG. 77
LARGE RUSH SCRAP BASKET
Fig. 77
Material
8 spokes No. 6 reed, 71⁄2 inches. 62 spokes No. 5 reed, 31 inches. Weavers No. 4 reed. Weavers No. 5 reed.
Make a round base seven inches in diameter. Insert the 62 spokes, placing two spokes each side of the base spokes. Weave two rows of triple twist. Turn the spokes sharply upward, weave four rows of triple weave and eight rows of plain weave. Insert three weavers and work two rows of triple.
Soak the rush a few minutes in cold water and with it work fourteen rows in single weaving. Where any ends of rush are joined sew them carefully with fine raffia.
Insert three weavers and make seven rows in triple twist. Throughout the basket each set of 2 spokes is treated as 1 spoke.
Do not cut any of the spokes off. Make a plaited border with the double spokes. The spokes should be held slantingly outward, while weaving, to obtain the desired shape.
MODEL 66.
OBLONG TRAY
This tray will not only be of use on the dressing table, but will add to its beauty and daintiness; it also serves for an ideal comb and brush tray. Dimensions 91⁄2 inches by 61⁄4 inches.
Material
9 spokes No. 4 reed, 15 inches. 13 spokes No. 4 reed, 15 inches. Weavers No. 2 reed. Weavers No. 3 reed.
Place the 9 spokes in a horizontal position, equal distances apart; or if two pieces of wood, nine inches long, are available, make 9 holes in each piece 3⁄4 inch apart. Through these holes insert the nine 15 inch spokes. This holds the spokes in a firm position and makes the weaving simpler.
Take two pieces of the 15 inch spokes and weave as 1 spoke, one row in simple weaving. Now insert a strand of No. 2 reed and make eleven rows simple weaving, working the first row under and over the same spokes as the two 15 inch spokes are woven.
Weave one 15 inch spoke, weaving from right to left, under the first spoke and over the second. Introduce a No. 2 weaver, and work eleven rows,
beginning under the first spoke and over the second. Weave another No. 4 spoke. Continue in this way, first one No. 4 spoke, and then ten or eleven rows of No. 2 reed, until the thirteen pieces of No. 4 reed are woven. Both ends of the tray should have two No. 4 spokes woven as one. The weaving should now measure 9 inches by 6 inches.
Weave one row of triple twist around the tray. Wet and turn both end and side spokes sharply upward. Make an upset of three rows of triple.
With the spokes moist, weave the following border:
First row, each spoke is brought back of the next spoke to the right and out to the front.
Second row, each spoke is passed in front of next three spokes to the right and back of the fourth where it is cut off.
MODEL 67.
UTILITY BASKET
Material
8 spokes No. 5 reed, 61⁄2 inches. 31 spokes No. 5 reed, 22 inches. Weavers No. 2 reed. Weavers No. 4 reed.
Work a base 61⁄2 inches in the usual way. Insert
the 31 spokes and make an upset of three rows of triple twist. Work nine rows of double weaving No. 2 reed. Introduce three weavers and make two rows of triple. With No. 2 reed, work nine rows more in double weaving. Follow this with two rows of No. 4 reed in triple, twelve rows double, three rows triple, twelve rows pairing No. 4 reed and seven rows No. 4 reed in 4-rod coil.
Complete the basket with the border described under Model 22.
The basket is enameled in white and gold and makes a very pretty effect. The base border and the top of the base are painted in gold.
MODEL 68.—FIG. 78
SCRAP BASKET (OPEN WORK)
Fig. 78
Material
8 spokes No. 5 reed, 9 inches. 31 spokes No. 5 reed, 29 inches. 31 spokes No. 5 reed, 15 inches. Weavers No. 4 reed. Weavers No. 5 reed.
Make a base 81⁄2 inches in double weaving No. 4 reed. Insert the 31 29-inch spokes. Turn sharply upward and make one row of 3-rod coil. Insert
the 31 15-inch spokes and work three rows of triple twist. The spokes are now double and should be held straight. Make eight rows double weaving and four rows in triple. Leave one inch space open. Find the middle of a long weaver, place it around one of the double spokes and weave seven rows in pairing.
Now separate the double spokes into single spokes with two rows triple twist. Leave another inch of open space in the basket. Take the middle of another weaver and, holding the spokes double again, weave four rows in pairing.
Leave an open space of two inches. Weave three rows of pairing. Number the groups 1, 2, 3, 4, 5.
Hold the second spoke of No. 1 group straight. Cross the first spoke of No. 3 group over the second spoke of No. 2 group, and place it by the side of No. 1 group, where it is held in this position by placing the middle of a weaver around it, and drawing one end of the weaver to the inside of the basket, the other end to the outside of basket. Hold the second spoke of No. 2 group straight, cross the first spoke of No. 4 group over the second spoke of No. 3 group and place it by the side of the second spoke of No. 2 group. This is held in position
by another twist of pairing. Take the first spoke of No. 5 group, cross it over second spoke of No. 4 group, and place it in position by the side of second spoke of No. 3 group, where it is held in position by a twist of pairing. Weave one row of pairing around the basket holding the spokes in this position. The second spoke of each group is held straight, while the first spoke of the third group to the right is crossed over the second group and placed by the side of the first group, where it is held in position by pairing. Two more rows of pairing are woven holding the double spokes side by side. Follow this with three rows of 4-rod coil.
The basket is finished with border described under Model 22.
Make ring handles and place in position on opposite sides of basket.
MODEL 69.—FIG. 79
FANCY SCRAP BASKET
Fig. 79
Material
8 spokes No. 5 reed, 71⁄2 inches. 62 spokes No. 4 reed, 27 inches. Weavers No. 4 reed.
Work a base 61⁄2 inches. Insert the spokes and make an upset of four rows 3-rod coil. The basket
is worked with double side spokes. Hold the spokes straight and weave twenty-nine rows in plain weave. Bend the spokes slightly outward. Weave two rows 3-rod coil, seventeen rows single, two rows 3-rod coil, sixteen rows single and five rows triple twist.
The plaited border completes the weaving of the basket.
Make ring handles and fasten on opposite sides of basket.
MODEL 70.—FIG. 80
ARTISTIC SCRAP BASKET
Fig. 80
This basket is first made, then enameled in white with suggestions of gold.
Material
8 spokes No. 5 reed, 71⁄2 inches. 33 spokes No. 5 reed, 29 inches. Weavers No. 4 reed. Weavers No. 5 reed.
In the ordinary way work a round base seven inches in diameter. Insert the 33 spokes. Make an upset of four rows 3-rod coil. Weave ten rows plain weave, eight rows double, and twelve rows pairing. Introduce three weavers and work three
rows 3-rod coil. The following design is worked in the basket on opposite sides: Number the spokes 1 to 33. The design is inserted between the spokes Nos. 11 to 17 (eleven to seventeen) inclusive, and between the spokes Nos. 27 to 33 (twenty-seven to thirty-three) inclusive. Insert a weaver back of any spoke, which may be called No. 1 spoke, and work one row around the basket in plain weave. In the second and third rows, between the spokes Nos. 11 to 17 (eleven to seventeen) and Nos. 27 to 33 (twenty-seven to thirty-three) the weaver should pass back and in front of the same spokes as in No. 1 row. That is, in the first three rows the weaver should pass back of Nos. 11, 13, 15, 17 spokes, in front of Nos. 12, 14, 16 spokes, back of Nos. 27, 29, 31, 33 spokes, in front of Nos. 28, 30, 32 spokes. In the fourth, fifth and sixth rows the weaver passes back of Nos. 12, 14, 16 spokes, front of Nos. 13, 15 spokes, back of Nos. 28, 30, 32 spokes, in front of Nos. 29, 31 spokes. In the seventh, eighth and ninth rows the weaver passes back of Nos. 13, 15 spokes, in front of No. 14 spoke, back of Nos. 29, 31 spokes, in front of No. 30 spoke. The tenth, eleventh and twelfth rows of weaving pass over and under the same spokes as the fourth, fifth and sixth rows. Likewise the
thirteenth, fourteenth and fifteenth rows correspond to first, second and third rows, which complete the design.
Between Nos. 1 to 10 spokes and Nos. 18 to 26 spokes, the weaving is the simple over and under weave. Owing to insertion of design it is sometimes necessary to pass the weaver back of two spokes to get the correct weave. Follow the fifteen rows of weaving with three rows of triple twist. Bend the spokes inward while making the triple twist. Holding the spokes in the same position work twenty rows plain weave. Follow this with five rows triple twist. Complete the basket with the border under Model 14.
MODEL 71.—FIG. 81
FATHER’S WASTE PAPER BASKET
Fig. 81
Material
8 spokes No. 5 reed, 8 inches. 31 spokes No. 5 reed, 28 inches. Weavers No. 4 reed. Weavers No. 5 reed.
Make a seven inch base No. 4 reed. Insert the 31 spokes and turn up with five rows of upsetting No. 5 reed. Weave fifteen rows single weaving.
Insert four weavers and work four rows, each weaver passing in front of three spokes and back of one spoke. From the beginning hold the spokes outward. In plain weave, work twenty-six rows. Wet the spokes well now and bend them in. Introduce three weavers and work three rows of triple twist. Drop two weavers and work eleven rows in plain weaving. The weaver should be drawn tightly from now on. Weave two rows in 3-rod coil. Drop two weavers and work sixteen rows in plain weaving. Wet the spokes again and with the plier press the spokes well and bend them outward for a slight flare. Work seventeen rows in plain weave. Bend the spokes down and make three rows of triple twist No. 5 reed. Finish with the following border:
First row, place each spoke back of the next spoke to the right.
Second row, carry each spoke over the next 3 spokes and down to the outside of basket where it rests under the fourth spoke. Cut off the ends sharply.
CHAPTER XIII
A FEW WORDS ON DYEING
The art of dyeing has been of interest to the peoples of all nations and in all ages. History shows us that just so soon as man’s covering or clothing, the furs and skins of animals, was discarded for wool, linen or cotton materials, just so soon was the desire or want for colors made manifest. Man began the study of coloring, of staining and dyeing; he experimented, and in his new need he worked to reproduce the reds, the purples, the blues and the yellows of nature’s exquisite canvas, with what success and failure we have a fair knowledge.
Nothing appeared too small or too unimportant to put in use in order to gain the desired results. Vegetables, fruits, plants, barks of trees and sometimes ludicrous mixtures were part of the workings for this purpose, all of which did meet with rewards—for dyes and beautiful colors were discovered.
From the plant indigoferae was obtained a blue stain, known as indigo. Specimens of dyeing found in the Egyptian tombs show examples of
indigo dye. This plant (indigoferae) grows and is industriously and profitably cultivated in South America and India. It was imported by the Romans from India, getting its name from that country. Two other important dyestuffs discovered in the early ages were saffron, which gives yellow shades, and madder-root, or to be more specific, the roots of madder, which produces brown and purple shades.
Thus was obtained and supplied the blue dye from vegetable or plant life; and from animal life came the most beautiful red dyes.
Cochineal, lac and kermes better known as “grain colors” and called so because of their general resemblance to grain, are really the dried bodies of insects, minute in size, called “cocci” berries, which lived and thrived on certain kinds of bushes and trees and which, after months of care, were taken from their berths and dried.
These dyestuffs, used of course with a mordant, produce beautiful shades, which are fast to water and light.
Perhaps no greater nor more remarkable changes have been made in any industry than in that of dyeing, for, the saving of labor, energy, time and money by the use of modern chemical agencies is
of a magnitude not easily appreciable. New ways have completely supplanted the old. This revolution was due to the accidental discovery of mauveine by Sir William Henry Perkin, who by this and his later experiments enriched the world with one of its most important discoveries. After his discoveries became known great factories sprang up throughout Europe manufacturing coal-tar dyestuffs, shortly producing the “Basic dyes.” Perkin’s discovery served as a stimulus to other chemists, who, working unceasingly, soon produced quantities of dyestuffs, which are designated as “Aniline Colors.”
Though progress has been made and the discoveries have simplified greatly the processes of dyeing, this does not mean that experimenting has ceased. By no means. Today interested and enthusiastic workers are anxiously and patiently experimenting, and hoping to find something new; perhaps they will, or it may be you, who, through your experimenting, will uncover to the world a new wonderful dyestuff.
In preparing raffia for work, take care to shake it well. You will find that the best and easiest way to make it take the dye will be to soak it over night. If this is not practicable then soak it at
least three hours. Dissolve the dye in vinegar—the dye bath should be warm.
The “Basic Colors” will give satisfaction, but I would suggest in cases where a great deal of work is to be done that the fast acid colors be used.
The color work in basketry plays a very important part as well as a fascinating one. There are numerous ways in which a basket or tray may be touched up, giving a charm to it that is most pleasing to the eye and attractive to the craftsman.
The entire basket may be made first, and then either dipped, allowed to stand in the dye a few minutes, or boiled five to thirty minutes; it may be painted with Easy dye, stained with any desirable furniture stain, varnished and waxed up. The basket may be finished off by using either fine sandpaper, or powdered pumice stone, but in finishing colored baskets, it will be found that singeing will be the most successful method.
Again to have a contrasting color with the natural or two tints of the same color, the reed should be dyed first and then the desired effect worked out.
In dyeing reed allow it to soak in a mordant for two hours. This opens the pores and makes the dye a permanent part of the basket. Three ounces
of alum to one quart of water makes a good mordant for many vegetable dyes.
Beautiful shades of brown, green, blue and red may be obtained by using logwood, indigo, fustic, cutch, madder, cochineal, and copperas. A very pleasing finish is secured by painting or staining the article with Light Oil Finish, combining it with turpentine in whatever proportion desired. Malachite green stain used with turpentine and Light Oil Finish make a very attractive pale green. The alert basket maker, who desires to experiment, must be on the watch in the autumn for natural dyeing material. The leaves and flowers of plants, the bark of trees, berries, etc., may be used most successfully in obtaining very desirable dye, and with patience and care beautiful and delicate shades may be obtained from vegetable dyes.
The following recipes may be used for vegetable dyeing:
Brown
Dissolve two teaspoonfuls of madder in one quart of water. Allow the reed to soak in it five hours.
Yellow Brown No. 1
Soak the reed for several hours in logwood
extract—obtained by boiling logwood chips in water twenty minutes.
Yellow Brown No. 2
Mix in a quart of water two tablespoonfuls of cutch extract, adding one and a half tablespoonfuls of fustic. Boil the reed in this solution for two hours, but test.
Olive Brown No. 1
Dissolve two tablespoonfuls of cutch, two tablespoonfuls of fustic, and one-half spoonful of logwood in a quart of water. Boil the reed two hours in this composition.
Olive Brown No. 2
Boil the material several hours in a composition of one and one-half pounds of walnut bark, five teaspoonfuls of washing soda and one-half cup of rock alum.
Yellow No. 1
A good yellow can be obtained by experimenting with smartweed.
Yellow No. 2
Mordant the reed in a solution of alum, and boil it in an extract of fustic, a half hour.
Green
Mordant the reed in a solution of alum and water, and then dye it in the solution composition—three teaspoonfuls of indigo, a small crystal of copperas, and three pints of water. After the material is removed and washed dip it in a solution of bark extract and water.
Olive Green
Mordant the reed in a solution of two teaspoonfuls of copperas in one quart of water. Boil the reed then in the following solution: To three teaspoonfuls of bark extract in a quart of water, add a half teaspoonful of indigo and a small quantity of logwood.
Indian Red
Dissolve in about a quart of boiling water two tablespoonfuls of cutch extract and a small crystal of blue-stone. Boil the material in this solution until the desired color is obtained.
END
Transcriber’s Note: Blank pages have been deleted. Some illustrations may have been moved, and the list of illustrations modified accordingly. When the author’s preference can be determined, we have rendered consistent on a per-word-pair basis the hyphenation or spacing of such pairs when repeated in the same grammatical context. The publisher’s inadvertent omissions of important punctuation have been corrected. Duplicative book and chapter front matter has been removed.
The following list indicates any additional changes. The page number represents that of the original publication and applies in this etext except for illustrations since they may have been moved.
Page Change
vii 20. Heavy Border 37[69]
42 the nautral[natural] color and then
127 glass should be indentical[identical] in
167 [END]