Practical Basketry

by Anna A. Gill

PREFACE

Basketry is one of the oldest and most valuable of the crafts. As far back as the time of the Israelites we read of its usefulness in offering sacrifices. Of necessity it was born, and in its infancy was made into simple forms, but very soon its importance to man was so duly felt and appreciated that new forms took shape, and its uses were so extended that the early basket makers vied with one another in producing pleasing work and in discovering new and various kinds of materials to put into it.

Though the Chinese and Japanese have sent us, for long years, marvelous things of beauty, it is to our American Indian that we owe our debt for beauty and artistry of this industry; for industry it is.

It seems quite impossible to me to write on basketry without mentioning the Indian and his connection with it, for we can very safely call him the master artist of basket work. In its history, and a romantic one it is, the Indian figures first

and last. The Indian woman was never satisfied with the materials just at hand; she sought for and tried all kinds, in season and out of season, and she chose, unerringly, the best. Her patience was without limit in her experiments in materials, dyes and weaves, with the result that her basketry is the peer of any in the world. Her sample work was nature—and into every line of her basket she wove a meaning symbolical of something in particular.

Serious study of Indian basketry would serve both as an inspiration and stimulation to better work: its intricacy, its poetry and its artistry would be a revelation, and give a fuller understanding of a people so sadly misunderstood.

Basketry was used by the primitive Indians in carrying water. When there was a scarcity, and careful conservation was necessary, the basket was the article used as a conveyance. Some of the California Indians up to this day use their baskets successfully as cooking utensils, while the bassinet, made out of basketry, was, and is still, used by the Indian to hold the papoose.

Basketry is an important factor in the promotion of education. Its wide influence is felt not only in the class room but in homes, settlement work, blind institutions, asylums, in fact in institutions of all

kinds. The importance and influence of basketry is being recognized now and the work is being carried on in earnest. Within the past five years it has made a great jump and in most institutions where manual training has been introduced, basket making has attained a prominent place in the training of the child.

Basket work is a valuable aid in the character building of the child, for, through it can be given lessons in patience, perseverance and concentration, while truth and honesty can be effectually impressed on the worker, resulting in the gradual though steady developing of the will power.

Our reorganized school systems show what a specific educational value manual training has, not alone in the manual skill which the child attains, but also in the mental, moral and economic values which it gains.

The desire to construct and create is strong in childhood, and here in basketry will be found an astonishing aid in inspiring such desire and in developing constructive ability. Children, especially boys, find it fascinating and it is a work which appeals to them in all their moods; frequently when they are unable to do any other kind of school work they turn with delight to basketry.

The child who works steadily over a basket, and may have it to weave and reweave many times before completing it satisfactorily, is not only receiving a valuable lesson in patience and thoroughness, and gaining much experience which will be of inestimable value later on in this particular work, but he is being trained into an efficient workman of the future.

Basket making, which handwork the children love best to do, not only develops their judgment, makes keen their observation, makes them discriminating, but it has a stimulating effect upon their minds and awakens in them the desire to put forth their best efforts. Hanging baskets, scrap baskets, trays, etc., mean something more to them than a piece of basket work done merely because of its utility. Instinctively they recognize the true intrinsic value of the work and that they are real workers, but also it is the beauty and the surprises in basketry development that has its strong and attractive appeal for them.

Owing to the simplicity of basketry the work is being generally accepted. The child of seven or eight years may make a simple mat and basket and find it play work, while the older child may make beautiful useful baskets and trays for the home.

Originality in the child has full play and should always be encouraged since the field of work in this ground is abundant; and he should never be discouraged, no matter how loose the weaving may be nor how crude it may look: he will soon be able, through comparison, to discover his mistakes and correct the poor work.

I would suggest that children be permitted to criticise their own and each other’s work.

The celebrating of the holiday seasons can be nicely carried out in the manual training period when the making of birthday gifts, Christmas trays, Easter baskets, sewing baskets, hanging baskets and scrap baskets can be appropriately introduced. Try this suggestion, and watch the happiness of the child who makes gifts for his loved ones.

Sequence in basketry should be followed carefully with beginners, and although it will be impossible to give in detail all the steps included in the subject, the most essential and important will be given, with many suggestions in models for advanced workers.

In conclusion, just a word to the special class teacher of backward, defective, and the backward or defective delinquents. The course presented in

this book may be used in the sequence given or adapted just as is necessary to the class of children taught. Most of the models here demonstrated have been successfully taught to children in the backward delinquent class and have been a means of promoting, mentally and morally, the welfare of the child; directing his miscontrolled energy into proper channels, besides making his school life a brighter and happier one.

That this book may be of help to the basket maker and that it may bring much success and happiness to the reader is the wish of the author who has spent many happy hours in preparing it.

---

CHAPTER I
EQUIPMENT

Materials

The materials used in making these baskets are rattan or reed, raffia, rush, straw, hemp.

Rattan is a palm which grows wild in India, Japan, China and East India Islands. The rattan seed is black and corresponds in size to a pea. It is a notable fact that, while growing, the rattan always faces the sun. The shoot of this seed grows four years; it is then cut close. The plant produces almost three hundred shoots which are cut annually. These slender shoots attain a length of from three to five hundred feet. They climb the highest trees and hang from them in graceful festoons. It is interesting to see how, like the selfish pumpkin vine, they crowd out any other plant that should happen to be in the way. By small fibres which spring from the joints, they

fasten themselves to the trees, and they hold so tenaciously and have such grip or strength that it requires several men, sometimes as many as a half dozen, to separate and remove them.

The reed is manufactured from the rattan. It has been manufactured in America for about sixty years. There are a number of such manufacturing plants, among which the Wakefield Rattan Company and the New England Company have made splendid reed. Germany and Belgium give us the best reed, while the least desirable quality comes from China.

The outer surface of the rattan is glazed. It is cut in long narrow strips, and is familiar to everyone under the name “cane.” It is used in caning chairs. From the pith or inside rattan, we get the reed known as oval, flat and round, the latter being most extensively used.

The round reed varies in sizes from No. 00 to No. 17; No. 00 being the finest, is used in making the centers of baskets, in finishing handles, and in making very small baskets and trays. Sizes 1 to 5 are used in making ordinary size baskets and trays, 5 and 6 for scrap baskets, 8 and 10 for handle foundations.

The reed comes only in the natural color, but

may be dyed into many beautiful colors either before or after the article is made.

Oval or split reed comes in sizes 5 and 7. This reed makes artistic hanging baskets.

The flat ³⁄₈ inch wide is often used in making foundations for sweet grass baskets, and it also makes durable scrap baskets.

Raffia is the outside covering of the Madagascar palm. It is a light, tough material imported in the natural or straw color, but may be dyed in many beautiful colors. It is sold in bundles or braids of from one to four pounds. Care should be exercised in using this material. It is advisable to keep it in canvas bags or hang it in braids in the class room, as careless handling may cause untidiness or tend to disorder in the class room.

Rush, flat or braided, is imported and sold in the natural and dull green colors. The flat rush is sold by the pound, the braided by bundles or bunches. The braided rush makes a strong scrap basket; it must be soaked before using to prevent cracking. The flat rush is used in making smaller baskets.

Straw is used as a weaver, and can be woven either wet or dry, but it is better to dip it in water a few minutes before using. Round and oval scrap

baskets may be made by combining different colors of the straw with the natural color.

Hemp, which is imported from the Philippine Islands, may be used as a foundation for raffia and sweet grass baskets.

Tools

Very few tools are necessary in basketry, although, to the basket maker, who intends doing much work the following articles are essential: pruning shears, awl, plier, galvanized tub and bucket, measuring stick or rule, knife for splicing the reed. Rubber fingers may be used. For the dyer, rubber gloves and large earthen pots are necessary.

---

CHAPTER II
THE FIRST LESSON

Reed is a brittle material, therefore it must be soaked in water before using. The time required depends on the number of the reed used. No. 00 merely dipped in water can be used successfully. Nos. 1 and 2 can be used after soaking in water ten minutes; Nos. 4 and 5 after fifteen or twenty minutes. Either cold or hot water may be used, the hot water consuming less time to soak the reed than the cold.

No. 4 and No. 2 reeds are commonly used together in ordinary sized baskets. No. 4 for the spokes, which form the foundation upon and around which No. 2, as the weaver, is woven.

The weaving of a round mat or basket is begun in the center and woven out toward the end. It is absolutely necessary that beginners master the fundamental steps, for no basket can be well made that has a poor bottom. In order to avoid this, the mat is practised upon until the art of weaving a good center is accomplished.

The following are the commonest weaves used.

Simple Weaving is the commonest of all and is the continuation of under one spoke and over the next.

Diagram No. 1.—Simple Weaving

Double Weaving, the same as simple weaving only that two weavers are woven together as one.

Diagram No. 2.—Double Weaving

Pairing.—Two weavers are inserted back of two successive spokes and crossed between, then

under weave brought forward each time and made the upper weave. This may be used on an even as well as odd number of spokes.

Diagram No. 3.—Pairing

Double Pairing.—The weave is the same as pairing but two weavers are woven together as one.

Diagram No. 4.—Double Pairing

Two and One Weave.—Simply a weaver

woven in front of two spokes and back of one spoke. This makes a pretty effect in oval reed.

Diagram No. 5.—Two and One Weave

Three and Two Weave.—One weaver woven in front of three spokes and back of two. This weave is used with oval reed and rush, in making scrap baskets.

Diagram No. 6.—Three and Two Weave

Triple Twist or Three-Rod Coil, sometimes called the “Wale” Weave.—Three weavers start back of three consecutive spokes. Beginning with the first spoke to the left and weaving to the right bring the left-hand weaver out in front of the next two spokes, back of the next and out in front. The second and third weavers are treated in the same way, always bringing each weaver in front of 2 spokes and back of the next one. This weave is used mostly in beginning the sides of separate bottom baskets where the spokes are inserted, and in the ending of baskets. It is a strong foundation for borders and handles.

Diagram No. 7.—Triple Twist or Three-Rod Coil

Four-Rod Coil or Rope Twist.—Is woven in a similar manner to the three coil weave except

that the weavers are brought in front of 3 spokes and back of one.

Diagram No. 8.—Four-Rod Coil

Five-Rod Coil.—The weavers are brought in front of 4 spokes and back of 1 spoke.

Diagram No. 9.—Five-Rod Coil

Upsetting.—Simply a strong weave used in turning up a basket. Three rows of a three or

four coil weave are usually used in making an upsetting on a scrap basket.

Slewing.—Two or more weavers used as one in single weaving.

Diagram No. 10.—Slewing

The Sixteen-Spoke Center means sixteen spokes arranged in groups of fours in the following manner: first, four spokes are placed in a vertical position, the next four in a horizontal position over the first four, the remaining eight spokes arranged in diagonal positions, one diagonal four laid over the other diagonal four in an opposite direction. A weaver is placed under the left-hand horizontal group and simple weaving is woven over one group and under another until four rows are completed. The spokes are then separated into groups of twos by bringing the weavers over and under every two spokes instead of four. This may be finished

either in simple weaving with one weaver, or by inserting another weaver, in pairing.

Diagram No. 11.—Sixteen-Spoke Center

In cutting the ends of spokes always cut obliquely to prevent the reed from splitting.

In splitting spokes, the incision must be made carefully in the center of the spoke. Do not make the incision larger than is necessary.

Diagram No. 12.—A Split Spoke

Half of the number of spokes needed should be split in center, and the other half inserted through the incision.

In beginning a new weaver join it to the other weaver by crossing both ends back of a spoke.

Diagram No. 13.—Joining Weavers

---

CHAPTER III
WEAVING BEGUN

MODEL 1.—FIG. 4
MAT WITH OPEN BORDER

Fig. 4

Material

6 spokes No. 4 reed, 19 inches. 1 spoke No. 4 reed, 10 inches. 2 weavers No. 2 reed. 1 strand raffia.

Fig. 1

Fig. 2

Fig. 3

Make an incision in the center of each of 4 spokes as illustrated in Fig. 1. Through these 4 spokes insert the other group of 4 spokes and the short spoke as in Fig. 1. You are now ready for the first step. Place a wet strand of raffia back of the 4 horizontal spokes; pass it over the group of 4 vertical spokes, back of the 5 horizontal spokes, over the lower 4 vertical spokes and back of the first group of horizontal spokes. Separate the groups of fours into groups of twos by bringing the raffia over 2 spokes, under 2 spokes, treating the short spoke as a separate group. Fig. 2. When two rows have been finished, the third and last step is made by weaving the raffia under 1 spoke and over the next,

thus separating each spoke. Fig. 3. After the spokes are well separated, take a piece of No. 2 reed, place it back of a spoke and begin weaving over 1 spoke, and back of the next one, until thirty-two rows of weaving are completed. This will make the mat about 5³⁄₄ inches in diameter. You are now ready for the border.

Open Border No. 1

Allow about 6¹⁄₂ inches for this border. This border is made by placing each spoke back of the next spoke to the right, and pushing it down by the side of this spoke through the weaving.

Diagram No. 14.—Open Border No. 1

Open Border No. 2

Open border No. 2 is made by bringing one spoke back of the next two spokes to the right and pushing

it well down through the weaving, by the side of the spoke.

Diagram No. 15.—Open Border No. 2

MODEL 2.—FIG. 5
MAT WITH CLOSED BORDER

Fig. 5

Material

8 spokes No. 4 reed, 19 inches. 1 spoke No. 4 reed, 10 inches. 1 ring No. 00 reed. 2 rings No. 2 blue reed. 4 rings No. 2 natural reed.

After the spokes are arranged for weaving, take a short strand of 00 reed, fasten and separate the spokes. Weave 1³⁄₄ inches with 00 reed, then with No. 2 natural reed, weave six rows. Follow this with six rows of blue, then change to natural,

and weave eleven rows natural, then with the blue reed, weave nine rows, change to natural, and finish the weaving with six rows of natural color reed. Complete the mat with the following closed border:

Diagram No. 16.—Closed Border No. 1 (Part 1)

Diagram No. 17.—Closed Border No. 1 (Part 2)

Closed Border No. 1

Weaving to the right, carry one spoke back of the next spoke and out to the front; proceed in this way until every spoke is placed in this position.

The last spoke is pushed back and under the first one. For the second row of this border, place the first spoke, which had been brought back of the second, in front of the third spoke and back of the fourth spoke. Continue in this manner until the row is finished. Be careful to draw all the spokes tight, leaving just space enough for the preceding spoke to pass through.

MODEL 3.—FIG. 6
BASKET FOR MOTHER’S BUTTONS

Fig. 6

Material

8 spokes No. 4 reed, 16 inches. 1 spoke No. 4 reed, 9 inches. 2 rings tan reed. 2 rings natural color reed. 1 strand of raffia.

The bottom of this basket is begun just like the mat. After the spokes are separated with the raffia, begin the weaving, and weave until a base three inches is woven, then weave two rows with a weaver of the tan reed. This completes the bottom of the basket. Wet the spokes well and with a plier press them hard and turn them up. With the same weaver continue the weaving until seven rows

have been woven up the side. During the weaving hold the spokes firmly and straight. Change the weave now to the natural color and work twelve rows, then with another ring of tan reed complete the weaving of the basket with nine rows. Finish the basket with Open Border No. 2.

Bands of tan, combined with the natural color and woven over brown spokes, make a very pretty effect.

MODEL 4.—FIG. 7
BASKET FOR PENCILS

Fig. 7

The second basket for the beginner is the pencil basket, much like the first, with sides higher and with a closed border. This basket is woven all in the natural color and then painted in gold.

Material

6 spokes No. 4 reed, 15 inches. 1 spoke No. 4 reed, 8 inches. 4 No. 2 weavers. 1 strand of raffia.

In a similar manner, as illustrated in Fig. 4, make a base 2³⁄₄ inches. Turn the sides up sharply and weave 3¹⁄₂ inches. Complete with Closed Border No. 1.

MODEL 5.—FIG. 8
BASKET FOR SPOOLS

Fig. 8

This basket is woven in the natural color and afterwards dipped in brown dye. It makes a useful holder for spools.

Material

8 spokes No. 3 reed, 14 inches. 1 spoke No. 3 reed, 8 inches. Weavers No. 1 and No. 2 Reed.

With No. 1 reed, weave a base four inches. Press the spokes with the plier until soft. Turn them sharply upward and hold them straight. With No. 2 reed weave the sides 1³⁄₄ inches. With the spokes well soaked, press and hold them in towards the center of the basket. Continue the weaving, drawing the weaver tightly, until five rows are woven. Complete basket with the following border:

Closed Border No. 2

For the first row of this border, place each spoke back of the next one, weaving to the right, and bring it out to the front. For the second row, each weaver is brought in front of the next 2 spokes and back of the next spoke or—numbering the spokes

1, 2, 3, 4, 5:—No. 1 spoke is brought back of No. 2 spoke, in front of the third and fourth spokes, and back of the fifth spoke, where it rests. Continue in this manner until all the spokes are woven in position. This border makes a decidedly pretty effect.

Diagram No. 18.—Closed Border No. 2

MODEL 6.—FIG. 9
TOOTH-BRUSH HOLDER

Fig. 9

This little curved basket is woven with brown reed over natural color spokes. The border is of the natural color reed being a continuation of the spokes.

Material

8 spokes No. 3 reed, 15 inches. 1 spoke No. 3 reed, 8 inches. Several rings No. 2 brown reed. 1 strand brown raffia.

Weave the center of this basket with brown raffia to carry out the same effect as the brown reed.

Weave 1¹⁄₄ inches with raffia. With a No. 2 brown weaver continue the weaving until a base 2¹⁄₂ inches is woven. After the sides are turned up, continue weaving up the sides, drawing the spokes gradually outward toward the weaver, until the basket measures 2¹⁄₂ inches high. Continue the weaving, drawing the weaver tightly and pressing the spokes in toward the center, until 1³⁄₄ inches more are woven. The basket should now have a slightly rounded effect. The diameter of basket should now be about three inches. The basket is curved outward in the following manner. Work the spokes outward and press them down toward the side of basket; hold firmly and continue the weaving in an easy manner. When nine rows of weaving are finished, complete the basket with Closed Border No. 1.

MODEL 7.—FIG. 10
BARREL SHAPED FANCY BASKET

Fig. 10

This basket is woven over green spokes, with green bands about an inch from the top and bottom

of basket. Green rings may be made for handle.

Material

8 spokes No. 4 green reed, 20 inches. 1 spoke No. 4 green reed, 11 inches. Weavers No. 2 natural. Weavers No. 2 green. 1 strand green raffia.

Weave a center, and separate the spokes with green raffia. With No. 2 natural reed weave a base 3¹⁄₂ inches. Turn the sides up and drawing them outward weave ten rows. Change the reed to No. 2 green and holding the spokes in the same manner, weave a band of green ⁷⁄₈ inch wide, then a band of the natural color 1¹⁄₂ inches wide.

Change the reed now to green. Hold the spokes well in toward the center and draw the weaver tightly. Work a band of green one inch and finish the weaving with one inch of natural reed. Complete the basket with the following closed border:

Closed Border No. 3

As in the Closed Border No. 1 and No. 2, run each spoke back of the next spoke on the right and out to the front. The second row is woven by placing each spoke in front of the next three

spokes to the right and back of the sixth. Weave each spoke in this way until the row is completed.

Diagram No. 19.—Closed Border No. 3

MODEL 8.—FIG. 11
NO. 1 JARDINIERE

Fig. 11

This flower pot covering basket is made of the natural reed. It may either be dipped in any shade of dye or stained. The one illustrated was dipped in dye when completed.

Material

8 spokes No. 4 reed, 18 inches. 1 spoke No. 4 reed, 10 inches. Weavers No. 2 reed.

Weave a bottom 4¹⁄₄ inches. The sides are made by holding the spokes outward until 4¹⁄₂ inches are woven. This makes the diameter of the

basket 4³⁄₄ inches. To obtain the outward slanting effect point the spokes straight out towards the weaver, and, after weaving four rows turn and hold the spokes slantingly upward. Finish this weave with six more rows. Complete the basket with the Closed Border No. 2.

MODEL 9.—FIG. 12
MATCH TRAY

Fig. 12

This little basket may either be used for holding matches or tooth picks. It is woven in No. 2 natural reed over a small drinking glass, with No. 00 as weaver. When finished, stain in old rose “Easy Dye” diluting the dye to get the tint desired.

Material

5 spokes No. 2 reed, 10¹⁄₂ inches. 1 spoke No. 2 reed, 6 inches. 2 Weavers No. 00 reed. Handle—2 strands No. 00 reed, 24 inches.

Weave a base 1¹⁄₈ inches with No. 00 reed. Turn sharply upward and continue weaving until fifty-one rows of single weaving are woven. Be careful to keep the spokes straight and to weave closely. Complete the tray with Closed Border No. 1.

Make the ring handles one inch in diameter and attach to the basket under the border.

---

CHAPTER IV
SEPARATE BOTTOM BASKETS

Separate bottom basket: the bottom of the basket is made separate from the sides, the latter being made by inserting spokes between the weaving, after the bottom is finished, and attaching them with an upsetting of three, four, or five rod coils. A bottom with an even number of spokes is woven with two weavers in pairing, or with three in triple twist.

MODEL 10.—FIG. 13
DESK UTILITY BASKET

Fig. 13

Material

8 spokes No. 4 reed, 5 inches. 31 spokes No. 2 reed, 10 inches. Weavers No. 2 Natural and No. 2 Green.

Make a bottom five inches. For the sides insert the thirty-one spokes in the bottom, one inch from edge. Place each spoke by the side of a base spoke. Turn up sharply and with three green weavers, make two rows of triple twist in this manner.

Place each of the three weavers back of a consecutive spoke, and beginning with the first weaver to the left, place it in front of the next two spokes to the right, back of the next spoke and then out to the front. Treat the other two weavers the same way, bringing each weaver in front of two spokes, back of one and out to the front. Continue this until two rows are woven.

With No. 2 natural reed weave 2¹⁄₂ inches, holding the spokes so as to get a very slight outward effect, then with thirteen rows of weaving, draw the spokes inward to obtain the rounded effect. Finish the weaving with two rows of triple twist in green, and complete the basket with the following border: First row, each spoke is placed back of the next spoke to the right and out; second row, each spoke is placed in front of three spokes to the right and in back of the next spoke, where it rests.

MODEL 11.—FIG. 14
COVERING FOR SMALL FLOWER POT

Fig. 14

Material

8 spokes No. 4 reed, 5 inches. 34 spokes No. 2 reed, 18 inches. No. 2 natural reed used as weavers. No. 3 natural reed used in triple twist.

Over the 8 spoke center weave a base in pairing, 4¹⁄₂ inches in diameter. Separate 34 spokes in groups of twos, and considering each group of spokes as one spoke, insert them in base. One spoke in base will have a group placed each side of it, making 17 spokes. Attach the sides to base with an upset of two rows of rope twist. Work eighteen rows in double weave. The spokes are now flared slightly outward and five more rows complete the weaving.

The basket is finished off with No. 2 Closed Border. Continue the use of the two spokes as one throughout the border.

MODEL 12.—FIG. 15
STRIPED SEWING BASKET

Fig. 15

The following three baskets are given to show how colored reed may be introduced and the effective result.

Material

10 spokes No. 4 brown reed, 5¹⁄₂ inches. 21 spokes No. 4 natural reed, 15 inches. Weavers No. 2 natural reed. Weavers No. 2 brown reed. Weavers No. 4 brown reed. Handle—2 pieces No. 5 brown reed, 8 inches.

Over a 10 spoke center, weave in pairing, six rows in natural color, change to brown and white, and weave four rows in pairing, change the weave to natural and complete the bottom which should be five inches in diameter. After inserting spokes for the sides, weave an upset in two rows of wale weave. Place a natural color weaver back of one spoke and weave one row around, stopping at the spoke where the weaving was begun; back of the spoke, to the right of the one where the first weaver was placed, insert the brown weaver and weave around until the first weaver is reached. Continue this weave, first the natural then the brown, holding the spokes all the time slightly up and outward. Do this until thirty-eight rows of weaving are finished, nineteen of each color, alternating white and brown stripes. Finish the basket with two rows of triple twist and the following border. First row, each spoke is brought back of the one to the right and out, second row each spoke is brought in front of next three to the right and in back of the fourth spoke.

Handle

Place one end of an 8 inch spoke well down by the side of one of the spokes in the basket.

Place the other end down the basket leaving about a three inch space between the ends. To the left of the handle place a brown weaver by the side of the inserted end of handle, bring it up over the handle on the outside, and weave three twists around the handle about an inch apart; bring the weaver over the handle to the inside of basket, down under the triple and out to the front. Follow the twist around the handle with the weaver until the handle is completely covered. End the weaver by bringing it up from the inside of the basket between the handle and down through the border and triple twist where it is lost amid the weaving.

MODEL 13.—FIG. 16
SEWING BASKET IN DOUBLE WEAVING

Fig. 16

Material

10 spokes No. 4 natural reed, 5¹⁄₂ inches. 21 spokes No. 4 natural reed, 18 inches. Weavers No. 2 natural reed. Weavers No. 2 brown reed. Weavers No. 4 brown reed. Handle—2 pieces No. 5 brown reed, 8 inches. 3 weavers No. 2 brown reed.

Make a five inch base. Fasten the sides with an upset of two rows brown triple. The sides of this

basket are woven in double weaving, one weaver of brown, the other of natural color. Eighteen rows of slewing with two rows of brown triple finish the weaving of the basket. Hold the spoke slightly out and up while weaving. Complete the basket with border described in preceding sewing basket. Handle is made as in preceding basket.

MODEL 14.—FIG. 17
SEWING BASKET IN CHECK EFFECT

Fig. 17

Material

8 spokes No. 4 reed, 7 inches. 32 spokes No. 4 reed, 17 inches. Weavers No. 4 natural reed. Weavers No. 2 natural reed. Weavers No. 2 blue reed.

Make a base 6¹⁄₂ inches. Insert the spokes for sides and weave two rows of triple twist in No. 4 natural reed. The sides of this basket are woven in blue and white in the checker design, in the following way:

With No. 2 light blue reed, weave one row, stopping at the spoke to the left of where the weaver was inserted; back of this spoke, insert a natural color weaver and weave one row around meeting the first weaver. Continue the weaving now with

the blue weaver, work in this way, first with blue reed, then with natural color, until eight rows are woven—you now have a striped effect of four rows in blue and four in white. In order to get the checker effect, the weave must now change. Bring each weaver back of two spokes at the end of the eighth row of weaving. If the weaving is correct the ninth row of weaving, which is in blue, will be woven under and over the same spokes as the eighth row, which is white. The ninth row is the beginning of the new group of weaving. Continue this weaving until you make five or six checks. The weaving should now be four rows of blue, four of white, four blue, four white, four blue, which gives a prominence to the blue, and makes a decidedly artistic piece of work.

During the weaving the spokes should be held in an outward direction. Follow this with two rows of triple twist and border described as follows:

Plaited Border

This border is especially appropriate for large baskets and trays. Allow thirteen inches for this border, spokes ³⁄₄ inch apart.

Insert 4 spokes which should be one inch longer than the spokes of the basket. Place each

spoke by the side of each of 4 border spokes. This makes four groups of 2 spokes each. Number these groups 1, 2, 3, 4. Bend down towards the outside of basket No. 1, 2, 3 groups. Take No. 1 group pass it over Nos. 2 and 3 groups, in front of No. 4 group, and back of the next spoke which is No. 5 spoke. Bend down No. 4 group towards the outside of basket. Place No. 2 group over No. 3 and 4 groups, and back of No. 6 spoke. Bring No. 1 group, which is back of No. 5 spoke, to the outside of basket, by crossing it over No. 2 group between No. 5 and No. 6 spokes. Now bend down No. 5 spoke by the side of this group. Pass No. 3 group over the two groups on the outside of basket, and up between the two upright spokes. No. 2 group is brought to the outside of basket by crossing it over No. 3 group between No. 6 and No. 7 spokes. Bend down No. 6 spoke by the side of this group. No. 4 group is woven in same manner as No. 2 and 3. After the fourth group is woven, you should have one group of 2 spokes on the inside of basket and three groups of 3 spokes each on the outside of basket. Continue the border by weaving two of each group of 3 spokes, lying on outside of basket, over the next two groups on the outside of basket, in front of the first upright spoke, and back of the second where it rests until next group

is woven. The first inside group now is drawn to the outside of the basket by crossing it over this group between the two upright spokes. The first upright spokes are always bent down to the outside of basket by the side of this group. When all the groups are woven in this manner, there should be 1 spoke from each group facing the outside of basket, and four groups of 2 spokes each on the inside of basket where the border is completed. Cut all the spokes closely.

The first three groups of spokes at the beginning of the border should not be drawn tight, enough space should be left to allow the last three groups of the border to pass through them easily. The remainder of border should be woven tightly and close to the basket.

MODEL 15.—FIG. 18
GREEN AND WHITE BASKET

Fig. 18

This little basket is a very convenient receptacle for holding loose threads or scraps while sewing.

Material

8 spokes No. 4 natural reed, 5¹⁄₂ inches. 31 spokes No. 2 natural reed, 10 inches. Weavers No. 3 green reed. Weavers No. 2 green reed. Weavers No. 2 natural reed.

Through an 8 spoke base, five inches wide, insert the 31 spokes. Weave two rows green triple, follow this in double weave using green and natural reed. Weave seven rows. Change to single weaving, using two weavers, and weave fourteen rows in the striped effect showing green and white stripe. Complete the weaving with two rows green in triple effect and the following border:

Reversed Rope Border

Each spoke of the first row is brought back of the next spoke to the right and out. In the second row each spoke is brought back of the next spoke and out, showing a rope effect with spokes on outside.

MODEL 16.—FIG. 19
FANCY SEWING BASKET, NO. 1

Fig. 19

The basket is woven, over a 16 spoke center, entirely of No. 2 reed. The spokes and triple twist are of brown reed while the remainder of the basket is woven in the natural color.

Material

16 spokes No. 2 brown reed, 26 inches. Weavers No. 2 brown reed. Weavers No. 2 natural reed.

Over the 16 spokes weave a base in pairing four inches in diameter. In the first three rows, consider each group of fours as one spoke, then separate the group of fours into groups of twos with seven rows of pairing. Consider each group of 2 spokes as 1 spoke throughout the base. The base should now be four inches in diameter. Turn the spokes with an upset of three rows of triple twist No. 2 brown reed.

Holding the spokes slightly up and outward, weave the basket two inches high. Now drawing the weaver tightly and pushing spokes inward toward center of basket weave twelve rows of single weaving. Finish with three rows of triple twist No. 2 brown reed. When this is completed take each spoke, and bring it out back of the next spoke to the right and down through the three rows of triple twist. Holding the spoke firmly, pass it through the three rows of triple twist at the base of the basket. Continue this with each group of spokes, which will show the striped effect on outside of basket. When all the spokes have been pulled through the triple twist at bottom of base, turn the basket upside down, and if the open border at the top of the basket is even, you are ready to complete

the border at base of the basket. This border serves as a little stand for the basket.

Border

Weaving to the right, each spoke is woven in front of the next spoke and back of the second spoke to the right where the end is cut off.

Fig. 20

---

CHAPTER V
HANDLES AND LIDS

MODEL 17.—FIG. 21
SMALL CARRYING BASKET IN STRIPED EFFECT

Fig. 21

This little basket, in the striped design of blue and white with blue handle, was made by a little 10-year-old boy of the defective delinquent class.

Material

6 spokes No. 4 natural reed, 20 inches. 1 spoke No. 4 natural reed, 11 inches. Weavers No. 2 blue reed. Weavers No. 2 natural reed. Handle—1 spoke No. 4 natural reed, 20 inches.

Weave a base, with the striped design carried out, 2³⁄₄ inches. Two weavers are necessary to get this effect—one blue, the other of natural color. Weave these two colors in pairing. With the spokes slightly flared outward, weave the sides, in the striped effect, 3¹⁄₂ inches. With two weavers of blue and one of natural, weave two rows of “Wale.” Finish with Open Border No. 2.

Handle

Insert one end of the 20 inch spoke of No. 4 reed down through the weaving, to the right of one of the spokes of the basket. Insert the other end on the opposite side of basket in the same way. Place the end of a blue weaver down, through the weaving, by the side of inserted spoke, twist it over the handle, then under, then over, next under, over, until the end of the handle is reached, thus making nine twists around the handle. The last twist is passed back of the handle, over the triple twist to the inside of the basket, then it is brought to the outside of basket under the triple twist. Following the twists around the handle, the weaver is twirled in this way until the handle is completely covered by the blue weaver. Four rows of this weaving around the basket will cover the entire handle. To fasten the end of the weaver, carry it back of the spoke, between the woven handle, and down through the triple twist, where it is made secure and then cut off.

MODEL 18.—FIG. 22
LITTLE MARKETING BASKET IN GREEN

Fig. 22

This may be used in gathering eggs from the chicken yard or in doing little marketing. It is all

woven in natural color reed and after the basket is completed is dyed.

Material

10 spokes No. 4 reed, 23 inches. 1 spoke No. 4 reed, 12 inches. Weavers No. 4 natural reed. Weavers No. 2 natural reed. Handle—1 spoke No. 5 reed, 26 inches.

Over 10¹⁄₂ spokes weave a base five inches in diameter. Turn up with three rows of No. 4 reed in triple twist. In single weaving, work the sides five inches high giving a slightly rounded effect and widening toward the top. Finish with three rows of triple and the following border.

Numbering the spokes 1, 2, 3, 4, 5, 6, 7, take No. 1 spoke back of No. 2, in front of No. 3, back of No. 4, in front of No. 5, back of No. 6 where it rests; then No. 2 spoke follows in the same way, back of No. 3, in front of No. 4, back of No. 5, in front of No. 6, back of No. 7, where it rests. Each spoke is woven in the same manner until all spokes have disappeared amid the weaving.

Handle

To make the handle firm and strong, insert the ends four and a half inches through the weaving

of the basket. The handle is entirely covered with No. 2 reed as described in preceding basket.

MODEL 19.—FIG. 23
LUNCH BASKET WITH LID

Fig. 23

Material

10 spokes No. 4 reed, 4 inches. 19 spokes No. 4 reed, 13 inches. Handle—1 strand No. 5 reed, 20 inches. Lid—8 spokes No. 4 reed, 18 inches. Weavers No. 4 reed. Weavers No. 2 reed.

Weave a base four inches. Work the sides four inches high. Both the top and bottom of the sides are woven with two rows No. 4, triple twist. Finish with the following border. Number the spokes 1, 2, 3, 4, 5, 6, 7, 8. Turn down the first four toward the outside of the basket. Place No. 1 spoke back of No. 2, No. 2 spoke back of No. 3, No. 3 spoke back of No. 4, No. 4 spoke back of No. 5; now bring No. 1 spoke over No. 2 and No. 3 spokes, in front of No. 5 spoke, over No. 4 spoke, back of No. 6 spoke. Carry No. 5 spoke back of No. 6 spoke and place it by the side of No. 1 spoke. In like manner, run No. 2 spoke over No. 3 and No. 4 spokes, in front of No. 6 spoke, over No. 5 spoke

and back of No. 7 spoke. Place No. 6 spoke back of No. 7 spoke and bring it out to the front by the side of No. 2 spoke. Continue in this manner until all the spokes are woven in the proper position. Be careful to make the border uniform throughout. The diameter of the top of basket should now measure 6³⁄₄ inches.

Diagram No. 20.—Heavy Border

The handle is not completely covered, like the preceding basket, but a small part of the foundation is shown between the twists.

The lid is made similar to that in the preceding lesson except on a larger scale. It should fit closely within the basket. The base when finished should measure 6³⁄₄ inches. It is finished off with a Rope Twist Border. The handle of the lid is a twisted ring made as described in the preceding chapter.

MODEL 20.—FIG. 24
OVAL BASKET WITH LID

Fig. 24

Material

6 spokes No. 3 reed, 21 inches. 1 spoke No. 3 reed, 11 inches. Weavers No. 2 reed. Lid—6 spokes No. 3 reed, 12 inches. 1 spoke No. 3 reed, 7 inches. Weavers No. 2 reed.

On a three inch base, weave a slightly rounded basket five inches high. Finish with Closed Border No. 2.

In making a lid for a basket the first thing to be decided on is its shape; if the basket is barrel shaped, the lid to harmonize should have the curved effect. The lid of this basket is rounded to correspond with the basket.

Lid

Weave a good center, over the 6¹⁄₂ spokes, with either raffia or No. 00 reed. After ³⁄₄ inch is woven, begin with fine No. 2 reed, and weave two rows, drawing the spokes in with the weaver. After two rows are woven, hold the spokes slightly outward and weave fourteen rows. Complete the basket

with the following border which is suitable for lids of baskets:

Rope Twist Border

Each spoke is passed in front of the next spoke to the right and brought inside the lid. For the second row, each spoke is passed to the outside of the lid over the next spoke to the right, and to the inside of the lid where it is cut off carefully.

The ring handle is made in the following way:

With a strand of No. 2 reed, 17 inches long, make a ring about one inch; then weaving alternately with one end and then the other, pass the ends in and out around the ring—two rows complete the ring. When the ring is finished you should have ends about 3¹⁄₂ inches long. These ends are fastened above two rows of the weaving in the lid, thus securing the ring to the lid.

After the lid is placed in proper position on the basket, it is fastened by holding the ring down by side of the basket and placing the center of a strand of No. 2 reed back of a spoke in the basket. Draw both ends out, and in the form of a cross, pass them over the lower part of ring, draw them under the weaving to the inside of the basket where they are woven in and out to make them secure.

The rings for the front of basket and lid are made in a similar way, the ends being woven in and out amid the weaving of the basket and lid. One ring should be smaller than the other to keep the larger ring from slipping out.

MODEL 21.—FIG. 25
CANDY BASKET

Fig. 25

Material

10 spokes No. 5 reed, 6 inches. 20 spokes No. 5 reed, 8 inches. Lid—10 spokes No. 5 reed, 15 inches. 1 spoke No. 5 reed, 8 inches. Weavers Nos. 00, 2, 5 round reed. Weavers No. 5 oval reed.

Weave a 6 inch base. Turn the sides with three rows of No. 5, triple twist. With oval reed No. 5, weave 7 rows in the two and one weave, change to No. 5 reed and finish with three rows triple. While weaving, the spokes should be slightly drawn in. The following border is used: first row each spoke is run back of one spoke and out to the front; second row, each spoke is passed in front of the next two spokes and in back of the third where it is cut off. Diameter of top of base should be almost five and a half inches.

Lid

The center of lid corresponding to center in the base of the basket is woven and separated with No. 00 reed. Weave twelve rows of No. 2 reed next. Then with oval reed No. 5, weave in single weaving, five rows. Hold the spokes, to get a slightly rounded effect. Turn down the spokes with four rows of triple twist. Finish the basket with the Rope Twist Border, described under Model 20. The diameter of the lid should be a little over 6 inches. It should fit the basket so as to slide off and on easily. The ring handle in the center completes the lid.

MODEL 22.—FIG. 26
FANCY SEWING BASKET WITH LID

Fig. 26

Material

10 spokes No. 4 reed, 5¹⁄₂ inches. 21 spokes No. 4 reed, 16 inches. Lid—16 spokes No. 4 reed, 18 inches. 1 spoke No. 4 reed, 7 inches. Weavers No. 2 reed and No. 4 reed. Handle—1 spoke No. 2 reed, 21 inches.

Over the 10 spokes, weave a base 5¹⁄₂ inches. Insert the 21 spokes and turn them up with two rows of triple twist. Hold the spokes slantingly

outward and weave the sides 4³⁄₄ inches high. Finish with three rows triple twist and the following border:

Border

Numbering the spokes 1 to 7 and weaving to the right, place No. 1 spoke back of No. 2, No. 2 spoke back of No. 3, No. 3 spoke back of No. 4, No. 4 spoke back of No. 5. Now take No. 1 spoke, place it in front of Nos. 3 and 4 spokes and back of No. 5. Place No. 2 spoke in front of Nos. 4 and 5 spokes and back of No. 6 spoke. No. 3 spoke is passed in front of Nos. 5 and 6 spokes and back of No. 7. Continue this weaving until border is finished.

Lid

Arrange the 16 spokes as described in Chapter II.

Weave three rows in pairing, and separate the spokes into groups of twos. Hold the spokes slightly curved and weave twelve rows in pairing. Insert the one seven inch spoke and weave one row triple twist. Now hold the spokes almost straight and continue weaving until a diameter of 9¹⁄₄ inches is obtained. Complete the lid with a rope border.

Attach a ring handle to the lid as shown in the model.

---

CHAPTER VI
HANGING BASKETS

If it is possible to add more beauty to nature in the arranging of flowers and vines, etc., the use of the various and wonderfully attractive hanging baskets that can easily be made will afford the opportunity. The harmonious selection of flowers to combine harmoniously with the color of the basket is open to the artist and craftsman. The opportunity is wide for originality in the making of these baskets. The basket maker finds himself flooded with so many ideas that it is impossible to put them in book form. The following are a few suggestions.

MODEL 23.—FIG. 27
SMALL GREEN HANGING BASKET

Fig. 27

Material

8¹⁄₂ spokes No. 4 reed, 27 inches. Handle—1 spoke No. 5 reed, 27 inches. Weavers No. 2 reed.

Weave a four inch base. Turn up with three rows 3 coil weave. Holding the sides slightly outward weave twenty-six rows, then holding the

spokes slightly inward and drawing the weaver tight, work twenty-six rows. Complete the basket with three rows of triple twist and the following border: First row, each spoke passes back of one spoke and out to the front; second row, each spoke is brought in front of two spokes and in back of the next spoke.

Handle

Place an end of the No. 5-27 inch spoke through the triple twist at bottom of basket, bring it up through the triple twist at top of basket; do the same on the opposite side of the basket. When the handle is thus arranged, with two rows of No. 2 reed make a twisted handle. Arrange the twists about an inch and a half apart.

Figs. 28 and 29 are small flower receptacles. They are both woven over No. 4 reed.

Fig. 28

Fig. 29