(Fig. 12)
The break-down-tight border is used for the finish at the top. The first operation in making this border is shown in Fig. 11. The spoke A is bent over back of spoke B and out between spokes B and C. The spoke B is bent over back of the spoke C and out between C and D, and so on, until the spoke E is turned down. Then take the end of the spoke A, Fig. 12, and lay it over B, C, D, and E, in front of F, back of G, and out between G and H. The end of spoke F is then brought down, also between G and H, but back of the end of A. The end of B takes a similar leap, passes behind H and out between H and J; then G is brought down behind the end of B, in the same manner as F was brought down back of A. The last four or five spokes are the most difficult to handle, as they must be forced through the first ones to correspond with those already in place. It is best not to pull the ends of A, B, C, and D down too tightly at first, keeping in mind that the last ones must be inserted under the first ones. The last standing spokes are represented by the full and shaded lines.
If the roll illustrated in Figs. 11 and 12 is too difficult, a simple break-down can be used, such as shown in Fig. 13. To make this finish, spoke A is turned back of spoke B, in front of spoke C and back of spoke D, but not out again. Spoke B is bent back of C, in front of D, and back of E. The others are turned down the same way. The manner in which the two last spokes are turned down and inserted is shown by the double dotted lines.
A Simple Break-Down Roll for the Top... (Fig. 13, Fig. 14)
The remainder of the illustrations show the method of forming a roll between the first and second spokes, where only three spokes are turned down before the throwing-across process begins. The first three spokes turned down are shown in Fig. 14, and the throwing over, in Fig. 15. The second beginning is shown in Fig. 16. The finishing of this top is shown in Figs. 17 and 18. The full, heavy lines represent the final insertions, and the reed must be in quite a sharp loop to make the end enter the right place. It is then drawn down and forced in front of the other reed that passes out between the same spokes.
...Also a Method of Forming a Roll between the First and Second Spokes Where Only Three Spokes are Turned Down Before the Throwing-Across Process Begins (Fig. 15, Fig. 16, Fig. 17, Fig. 18)
When the basket is dry, the long ends can be cut off close up with a knife, being careful not to cut a weaver. If there are hairy fibers sticking out they can be singed off over a gas, or other, flame that will not smut. If it requires bleaching, brush some chloride of lime, mixed in a little water, over the reeds and set in the sunlight for a short time. It is better to leave the finish a little dark rather than use too much bleaching, as the latter will give an objectionable whitish appearance that looks like a poor job of painting.
In working the reeds, do not leave them in the water longer than necessary, as this will turn them dark. A bleached reed will stand the water much longer than in the natural state. Dampen the reed frequently while weaving it, as the weavers pack down much closer when wet. The dampening process is also required to remedy the drying out caused by whisking the reeds through the air in weaving operations. A great variety of baskets can be made from this form, viz., low, tall, tapering vase forms, bowl shapes, etc., in plain or dark weaves.