New original cover art included with this eBook is granted to the public domain.
LUTHER WESTON TURNER
Director of Manual Training
The Hill School
Pottstown, Pennsylvania
Published by
THE DAVIS PRESS
Worcester, Mass.
Reprinted from The School Arts Book
Copyrighted by
THE DAVIS PRESS
Worcester
1909
BASKETRY — I. INTRODUCTORY WORK
Basketry has been called one of the fads of the
newest education. It was one of the essentials of
the oldest education. Basketry still holds a commanding
position among the arts of men, even in
countries called highly civilized. Its place in
schools is still somewhat in dispute, but unquestionably
it offers to children a clean and educative
handicraft. Properly taught, it vitalizes certain
periods in history, fosters motor control, develops
judgment and taste, and familiarizes the pupil
with one of the ancient and honorable occupations
of mankind.
Mr. Turner knows his subject thoroughly, having
tramped with Indians for materials, worked with
Indians for processes, practised with pupils for
methods, and studied with specialists for tasteful
results. The chapters of this booklet appeared
first as illustrated articles in The School Arts Book,
beginning in April 1905. The demand for them
has been so great that the supply of magazines is
exhausted, and this reprint is made to meet what
is evidently a wide-spread demand for first class
instruction in the basic principles of this important
kind of manual art.
Henry Turner Bailey
THE BASKET MAKER
5
The fruition of thought is expression.
Thought along the lines of manual training
is susceptible of expression in many
ways and through many mediums. The
expression of thought through wood and
iron necessitates a more or less elaborate
equipment of tools, and for this reason
those mediums of expression are denied
younger pupils. But the expression of
thought through basketry, requires almost
no tools (a knife and scratch awl), has
variety as to form and color and almost
unlimited possibilities in design.
It is my aim in this booklet to give
in simple English and with illustrations
which may be comprehended by the
youngest pupil, the results of my thought
and teaching of basketry.
I believe the poor results seen in many
places are due to poor teaching. Teachers
are not, as a rule, insistent enough at the beginning. Good results
can only be secured by close attention to basic details. A pupil
should not be allowed to progress who cannot make the bottom
of a basket and have it strong and closely woven. He must understand
that no basket can be firmly made unless its foundation is
right.
The ordinary pupil is, and should be, an animated question
mark. “Why?” “What for?” and “What makes it do that?”
6are the ever recurring questions. “Why do you have to have an
odd number of spokes with a single weaver?” was the first question
asked in the class this year.
In order to answer this and many other questions which arise,
I have found it necessary to devise some means by which a verbal
explanation can be demonstrated to the satisfaction of the dullest
pupil. The device is a small piece of board, any size and thickness,
on which a circle of any size is drawn. The circumference of this
circle is divided off into spaces about ⅝ of an inch apart, and holes
are bored, into which pieces of willow or reed are inserted, Fig. 1.
The spacing would better not be equal, as one hole is to contain
a peg which may be taken out in order to get an odd or an even
number of uprights. By this device a pupil can answer his own
question, and discover much about different weaves. The uprights
will hereafter be known as stakes. Figure 2 shows the single weave
with an odd number of stakes. Figure 3 shows the same with an
even number. Figure 4 shows the Indian method of weaving
with a single weaver and an even number of stakes. When the
weaver gets around to where it started, it is passed behind two
stakes, and the weaving is continued as before, the weaver passing
behind the next two stakes on each course.
The illustrative weaving in this chapter is done in colors,
in order that the course of one weaver may be followed more easily,
and also to suggest from the beginning the possibilities of design
and decoration by the use of a combination of plain and colored
weavers.[1] If the essential elements of construction, (the stakes
and weavers) are used as decorative features wherever possible,
much of the trouble about decoration and design in basketry will
be done away with.
1. Mr. Chas. E. Mather, Braggville, Mass., has the finest variety of colors for weavers
which I have as yet found. Both the aniline and vegetable colors do not run while
working and they both seem to be permanent.
7
8Figure 5 shows a decorative feature made possible by the use
of a single weaver and an even number of stakes. At A may be
seen the method of changing from one course to another. Either
two, three, or four rows may be woven before changing courses, and
as many courses may be woven as the design of the basket may
require. This of course is left to the judgment of the pupil or teacher.
Figure 6 shows the double or pairing weave (i. e. weaving with
two weavers) and Figure 7 suggests the possibilities in decoration,
when one weaver is colored and an even number of stakes are used.
Figure 8 shows the design when the pairing weave is used
with an odd number of spokes and also the method of joining
weaves in either double, triple or quadruple weaving. The end of
the new weaver is inserted behind and beside the end of the one
already woven in, and the weaving continues as if the weavers
were continuous. The end of the old weaver can then be cut off
flush with the outside of the basket, and the end of the new one
flush with the inside.
In weaving with two, three, or four weavers the left hand
one of the group is always known as the rear weaver and the right
hand one as the forward weaver, and weaving is always done from
left to right except in cases of special design. Such cases will be
spoken of in a later chapter.
Figure 9 shows the starting of the triple weave. Three
weavers are put behind three consecutive stakes and project toward
the right. The rear one goes over the other two and in front of
two stakes, behind one stake, and out between the next pair of
stakes to the right of the forward weaver. The one that was the
middle weaver now becomes the rear one, and it in turn is treated
as the other rear one was. This process is continued as long as
triple weaving is needed. Always be sure to take the rear weaver
and have it come out between the pair of stakes to the right of the
forward weaver.
9Decorative features of triple weaving follow: Figure 10 shows
the result when one colored weaver and two natural ones are used
and the number of weavers (3) is equally divisible into the number
of stakes. Each color forms in a vertical stripe. Using two
colored and one natural weaver gives the same result but with a
different proportion of color.
Figure 11 shows the result when the number of stakes is
divisible by the number of weavers with a remainder of
one. This gives the variegated effect outside and the spiral
effect inside.
Figure 12 shows the result when the number of stakes is
divisible by the number of weavers with a remainder of two. This
gives the variegated effect inside and the spiral effect outside.
Figure 13 shows the starting of the quadruple weave. With
the decorative features already shown in other weaves, each student
can find out for himself the possibilities of this weave by varying
10the ratio of the stakes to the weavers and by using either one,
two, or three colored weavers.
In the next chapter I will give a detailed description of the
construction of several mats which embody some of the ideas here
presented, and shown in the group picture, Fig. 14.
II. WEAVING FOUNDATIONS
11
The one great aim of manual training is to
combine judgment, a purely mental function,
and execution, a purely physical one.
There seems to be no work so efficient in
combining the two from the beginning as
basketry. The material varies so in texture
that care and judgment are required in
its manipulation, and so few tools are used
that the hand must do all or a greater
part of the work.
In all teaching the “character of work”
should be emphasized rather than the
intrinsic value of that which is produced
by work. The aim should be to have work
complete in all its parts, relatively perfect[2]
as to beauty of design and workmanship,
and finished, in so far as the completed work
coming from the pupil can show his intention
and evince careful and diligent work.
2. I say “relatively perfect” feeling that while there is nothing absolutely perfect
possible to the hand of man, the term may be used relatively for whatever makes the
nearest approach to perfection.
In manual training work the procedure
should be from the simple to the complex.
The teacher should never hurry the different
stages of the work faster than the young
mind can go. The pupil must comprehend each step. Let the
motto be “Not How much, but How well.”
In order to make use of the features of weaving spoken of in
the first chapter it will be necessary to have a simple problem on
12which to work. Mats of various sizes are useful, may be made
beautiful, and as they embody all the constructive features found
in the bottom of a basket, may well be taken as the first problem.
The foundation pieces on which the weaving of a mat or the
bottom of a basket is done are known as spokes because during the
weaving, they radiate from a common center like the spokes of a wheel.
A finished mat of the simplest construction is shown in Figure
1, A. For this we use an odd number of spokes and a single weaver.
The material required is as follows: Four pieces of No. 3 reed
12 inches long, one piece 7 inches long and a weaver of No. 2 reed.
These are held together in the left hand and grouped as shown
in Figure 2.
The short odd one is between the upper end of the two vertical
ones and the horizontal pair is behind the vertical group. This
13brings the three vertical spokes above, and in front of the horizontal
pair. The weaver of No. 2 reed is placed as shown,
Figure 2, behind the vertical group and along the top of the
horizontal pair with its right hand end projecting about ¾ of
an inch to the right of the vertical group.
The weaver is then brought to the right in front of the vertical
group, back and down behind the horizontal group, thereby binding
its own end to the spokes. (Figure 3, A, shows the exact position
of the weaver at this stage.)
It next comes to the left in front of the vertical and below
the horizontal group, and up behind the horizontal group to the
position from which it first started. It now follows the same
course once more until it has been around the group twice as shown
in Figure 3, B: but the next time instead of coming down across
the horizontal spokes as shown in that figure, the spokes are
14separated and the under and over weaving commences as seen in
Figure 4.
The left hand does the holding and the right hand the weaving.
Be sure to hold the spokes out straight as the weaving is done
around them in order that the weaver may be made to conform
to the spokes, and not the spokes to the weaver as shown in Figure
5, A. Figure 5, B, shows the correct method. The spokes are
approximately in the same horizontal plane.
When the spokes are all the same distance apart at the
weaving, hold the mat down on a flat surface, Fig. 6, and
continue the weaving until it is 3 inches in diameter. Figure 6
illustrates the correct position of the hands when holding the work
down on a surface. Hold the spokes down with the left hand and
15weave with the right. This figure illustrates the weaving of a much
larger mat but the principle is exactly the same. If one weaver
is too short to bring the weaving to the desired size, join the weavers
as shown in Figure 3, D, and continue the weaving as though the
weaver were continuous, being careful to keep the weaving close
together with the left hand each time it goes over and under a spoke.
Right at this point insist upon the pupils’ going slowly and
weaving closely. The later satisfaction of knowing how to weave
correctly will more than offset any discouragement at not seeming
able to produce great results at once.
Next cut off the weaver long enough to go a little more than
once around the circumference and overcast the weaving in the
following manner: As the weaver comes from behind a spoke, put
it over the next spoke to the right and through the last row of
16weaving just before it gets to the following spoke. It then goes
behind that spoke, over the next and through the weaving, as
before, just before it gets to the next spoke.
Figure 7 shows one stitch of overcasting and the second stitch
just ready to be pulled through. This process continues once
around, when the weaver is cut off
on the back side of the last spoke
as shown in Figure 1, B. Finish the
mat with an open border, Figure 8,
A, by turning in the ends of the
spokes.
Figure 8 shows another “device”
to illustrate the construction of some
simple open borders. These may be
woven left-handed or right handed
as is most convenient. In “A”
one spoke goes in front of the next
and inserts just before it gets to
the third. In “B” one goes in
front of two and inserts just before
it gets to the fourth. In “C” one
goes in front of three and inserts
just before it gets to the fifth. In
“D,” in front of four and just before
the sixth. Judgment is required to
get the right sized loop. The length of spoke required after
overcasting can be found by trial. All spokes must be cut the
same length, sharpened, and inserted equally. In these borders
if the spokes are approximately an inch apart “A” will require
about 2¾ inches outside of the overcasting, “B” about 4¼ inches,
“C” 5½ to 6½ inches, and “D” 6½ to 8½ inches. These lengths
allow for insertion.
17In Figure 3, A, B, and C illustrate another method of starting
a center with one weaver. In this case two pieces are split in the
center and the other two are put through them with the odd one
inserted as shown at A. The weaving proceeds as by the first
method until two courses are woven when, instead of separating
the three spokes and beginning the single weaving, the weaver
is reversed as shown at B and two courses are woven the other
way. The separation into singles then begins as at C. This method
of splitting half of the spokes and putting the others through them
is the better method of the two as it is the less difficult to hold the
group while the first two rows are woven.
Figure 1, B, shows a mat the center of which was started by
the second method. The spokes are of No. 4 reed and the weavers
of No. 3. Four spokes are 12½ inches long and one, 7½ inches.
The border is illustrated at A, Figure 8. The weaving was 3¼
inches in diameter before overcasting.
Figure 9 shows the method of starting a center with the pairing
weave. At A three pieces pass through two pieces giving ten
spokes. At B three going through three give twelve spokes. The
split pieces are held horizontally, and the weaver, doubled in the
middle, is started around the vertical group above the horizontal
18ones as shown at A; one end being in front of the other behind
the vertical group, thus forming the two weavers. The front
weaver then comes to the right across the vertical group, and down
behind the horizontal group. The rear one goes to the right across
the back of the vertical group and down in front of the horizontal
group. (B shows the weaving at this stage.) The whole group
of spokes is now revolved from right to left until the horizontal
group becomes vertical, C, and the weaving proceeds as before,
holding the work with the left hand, weaving with the right, and
revolving so that a vertical group is woven over each time. Notice
that the revolution is from right to left and weaving from left to
right. In the illustrated weaving, spokes of No. 4 reed are used
and a weaver of No. 2 reed.[3]
3. It is wise to have the reed for the spokes and stakes two sizes larger than the
weaver except in cases where the bottom is less than three inches in diameter, when a
difference of one size is sufficient.
When three pieces cross three pieces it is necessary to go
around the groups three times before separating into singles, Fig.
9, D. As soon as it is possible after separating, get the spokes
the same distance apart at the weaving. If they are spread apart
as at E, this can be done in two courses and single weaving can
be commenced. Take the rear weaver and bring it over one spoke
and under the next, and so on once around until coming to the
other weaver. F shows it at this stage. Notice that when a course
is woven once around, the weaver comes outside of the other
weaver and stops. The inside one now weaves around until it
comes to the same position, with reference to the first one, that
the first one held to it. Continue to weave first one and then the
other, each as in single weaving, until the desired diameter is
reached. Overcast as shown in Figure 10. The weavers are
stopped on opposite sides of the weaving, A, and the top one is
overcast to the other, B. The lower one is then overcast until
it comes opposite to where the other overcasting stopped, C.
Weavers can then be cut off on the back side of the weaving. If
the bottom of the basket is to be woven, it must be crowned slightly,
and the weaving may be done over the knee, as shown in Figure
#11:di_011. (See initial.) This figure also shows the correct method of
holding the hands when weaving either a bottom or a small mat.
19
20
Figure 12 shows the method of starting a sixteen spoke center.
Four pieces cross four pieces, and two rows of pairing are woven
around the groups of fours before they are separated into twos,
A. Two rows are then woven around the pairs before separating
them into singles, B. When the desired diameter is woven, overcast
as shown in Figure 10.
Figure 12, C, shows the method of weaving a center having
20 spokes. Here five cross five. Three rows of pairing are woven
around the groups of fives and then a pair is separated from each
side of the center one of each group, forming eight pairs and four
21single spokes. These are woven around twice and then separated
into singles. C shows the work just before the separation into
singles.
The large mat, Fig. 1, C, with open border is made as follows:
Cut 10 pieces of No. 5 reed 23 inches long. Split five in the center
and put five through them. Weave center 2½ inches in diameter,
as described in Figure 12, C, with a No. 2 weaver. Cut off the
weavers on opposite sides, Fig. 10, A, and start with 2 No. 3
weavers, weaving until the work is 4½ inches in diameter. Notice
in Figure 6 how the left hand holds the work down to the surface
and the right hand does the weaving. When the weaving is 4½
inches in diameter stop the weaving as before and insert two colored
weavers, weaving four rows, two on each side of the spokes.
Then start the natural weavers again and weave until the weaving
is seven inches in diameter. Overcast as shown in Figure 10 and
finish the edge as in C, Fig. 8. Spokes want to be about 7¾ inches
long outside of the overcasting and must be sharpened on the end
and inserted about 1¾ inches into the weaving.
Whenever the word “about” is used the subject requires the
personal judgment of the one doing the work. If there is any
difference in the texture of the reeds, always select the hardest
ones for the spokes and use the softest ones for weaving.
III. MATS
22
This chapter contains all that will be said, in this booklet,
about mats. But let me say,—“Not half has been told”
of the designs which might be woven into mats and basket covers.
Read over the first chapters on weaving and then see how many
designs can be thought out by one who does some thinking for
himself.
Figure 1 shows six mats. A and B are the same diameter, of
equally good workmanship, and are woven with the same kind of
weaving. So are C and D. To be critical, A lacks color. It is
supplied in B. The spirals in C seem to be “in the air,” neither
starting from anything nor ending anywhere. In D this is overcome
by starting them from a band of color and having them
die into a similar band, thus giving unity to the whole design.
Woven bands in poor proportion are worse than plain weaving.
Just enough color must be added in the right place to give proper
tone and balance.
Figure 2 shows another device for illustrating work. This
gives the construction of closed borders. The four illustrated
are the simplest which can be made. In weaving them around the
edge of a mat the weaving is started either at the top or right hand
side and continued around in the direction of the movement
of the hands of a clock. When using these borders on a basket
the weaving is started on the side nearest to you and continues
from left to right, while the basket itself is moved from right to
left. In A and B the left hand figure shows the starting of the
first row of the weaving and the right hand figure the finished row.
23
24Let us suppose the left hand spoke in each case is No. 1
and that the others follow to the right in order. In A, No. 1 goes
behind No. 2 and out; No. 2 behind No. 3 and out; and so on around
the circumference, the last spoke going behind No. 1 and out of
the loop left by it in going behind No. 2. Pull all ends tightly
to the right, finishing the first row as at A, (left). For the second
row, start with any spoke, put it in front of the next to the right
and through the loop, into the inside of the basket just before
getting to the next spoke. A (right) shows a portion of the finished
border. The ends of the spokes are next cut off just inside of the
border and close to it. In B, in the first row each spoke goes to the
right behind two and out. In the next row in front of two and
through to the inside just before getting to the next. In the first row
of C, each goes behind one and out and in the second row, in front of
two and to the inside. In D, each goes behind two and out in the
first row, and in front of three and in, in the second row. If the
spokes are approximately one inch apart A will take 3½ inches
outside of overcasting, B 5½ inches, C 4½ inches, and D 6½ inches.
Mat B, Fig. 1, is made as follows: For material—Eight
pieces of No. 5 rattan 17½ inches long and some No. 2 natural and
colored weavers. Split four of the No. 5 pieces and put the
other four through them.
The center is started with a colored weaver, as shown at E,
Fig. 3. Double the weaver near its center and put the loop back
25of the horizontal group and to the left of the vertical group, having
one weaver come to the front above the horizontal group and the
other to the front below it. Bring the lower one to the right and
up diagonally across the vertical group, and then down behind
the horizontal group and to the front. Then bring the upper
one to the right, diagonally across the vertical group, and to the
left behind the vertical group below the horizontal. This will
bring the weavers in the exact position shown in the cut. The
whole thing may now be revolved until the weavers come above
the horizontal group, and the weaving may progress according
to the directions for a sixteen spoke center (Figure 12, previous
chapter). When the spokes are evenly separated into singles
the weaving should be about 1½ inches in diameter.
Cut off the weavers on the back side and start a natural weaver
as shown in Figure 4. Weave with this until the work is about
four inches in diameter, using the decorative feature spoken of
in chapter I, Fig. 5, Indian method. Figure 5 shows the weaver
passing behind two spokes in order that it may start on the second
row of double weaving.
Figure 6 shows the stopping of this weaving and the starting
of the band of color. Weave five or six rows of the color and then
two rows of natural weaving. Instead of overcasting all around
as described in the previous chapter, the weaver may be stopped
by tucking it through the last row of weaving once, as shown at
A, Fig. 7. In Figure 7 notice also the single spiral made by the
consecutive crossing of two spokes by the weaver as the weaving
changes from one course to the next. This is a result of the Indian
method of working one weaver with an even number of spokes.
If the above single overcast of one stitch does not seem satisfactory,
overcast the edge of the mat as shown in Figure 7, chapter II.
Mark off the spokes with a pencil 4½ inches from the overcasting
and finish with open border, B, Fig. 8, chapter II, inserting
each spoke to the mark. In this way the loops of the border can
be made the same size.
26
27For mat C, five spokes of No. 5 reed 17½ inches long pass through
five similar spokes. A No. 3 natural weaver is started either as
shown in Figure 3, or in Figure 9, chapter II, and woven until
the spokes are evenly separated into singles. The weaving will
then be about 2½ inches in diameter. Lay the work on a flat surface,
bring both weavers above the spokes and insert a colored
weaver between the next two spokes to the right, as shown in
Figure 8. Weave with the triple weave until about 5¾ inches
in diameter. Cut the colored weaver out and insert a natural
one in its place. Weave two courses of natural weaving and stop
the weavers, as shown in Figure 9, A. Push them down close to the
other weaving. (These are left up in the illustration simply to
show the method of insertion beside the stakes.)
With the mat still down on a surface, commence to bind off
the edge, Fig. 9, B, using close border, B, Fig. 2. The last two
spokes are put through the loops left by starting the first two,
Fig. 9, as shown in Figure 10. All are pulled tightly to the right,
the second row is woven, pulled tightly, and the spokes cut off
on the back side close to the border.
Figure 11 shows the under side before the spokes are cut
off. Notice the difference in the effect of the weaving on the two
sides and reflect upon it. You may want just that effect sometime
as a decorative feature. Learn to take advantage of things that
only seem to “happen so.”
Mat D is started the same as mat C and woven with the same
stitch. Two rows of colored weaving are woven before starting
the spirals, and two rows after the spirals are the desired size.
The border may be any of the closed borders in Figure 2.
Mat E is made with the thirty-two spoke center, illustrated
in Figure 3. The following material is required: Sixteen spokes
28of No. 6 natural reed 24 inches long and weavers of Nos. 2 and 3
reed. The weavers are of three tones, light (natural), dark (colored),
and a middle value (colored). Eight spokes are put through eight
spokes, as shown at A, Figure 3. A No. 2 weaver of the neutral
shade is bent in the middle and the pairing weave is started, as
follows: The loop of the weaver is put through the spokes between
groups 1–8, Fig. 3, A, and the pairing weave goes diagonally around
from 1–8 to 2–3, 4–5, 6–7, and from between 6–7 one weaver goes
across the back of 2–7 and out to the left below the horizontal
group, as shown, and the other goes diagonally across the face
of 2–7, between 1–8 and up behind group 1, as shown.
The weavers next go through stages B and C as follows: The
upper one is brought diagonally down across the horizontal group
of eight and to the left behind the vertical group; the lower one
diagonally up, across the face of the vertical group of eight, then
down behind the horizontal group and to the left across the face
of the vertical group to the position shown at C. The pairing weave
now commences around the groups of eight until two rows have
been woven, when they separate into groups of fours, and the
weaving continues three times around before separating into pairs.
29It will be found necessary to weave around the pairs four or five
times before separating into singles. D shows the separation into
fours and the beginning of the separation into pairs. The singles
should be sufficiently far apart after five or six rows have been
woven around them to allow the triple weaving to be commenced.
Up to this stage the weaving is all done in the hands, and great
care must be taken to keep it close together. Every time the
weaver is put between two spokes, from the front to the back
side, it must be pulled down with the right hand on to the weaving
already done, as shown in Figure 12, holding the “tension” thus
gained with the middle finger of the left hand until the other weaver
is brought across it to the front between the same pair of spokes.
The weaver which has just been brought to the front must now
be pulled down, as shown in Figure 13. The tension is still held
with the middle finger of the left hand until the weaver, shown
in Figure 13, is put back between the next pair of spokes to the
right.
If a little care is given to this matter of “tension” the weaving
can be very closely done. Cut off the No. 2 weaver on the back
side and take three dark No. 3 weavers and insert, as shown in
Figure 14, holding the ends of the weavers with the left hand until
two or three stitches are taken. (This Figure shows natural weavers,
in order to more clearly illustrate the starting of the triple weave.)
The work is now held down on a flat surface, as shown in Figure
15. Weave two rows of dark and then cut out two of the dark
weavers and insert natural ones in their places, weaving eight
rows of triple weaving. Cut off all three weavers and start the
weaving the other way, inserting the new weavers, as shown in
Figure 16. These push down into the weaving, to the right of and
beside the spokes, and are brought behind the spokes and out
where the others stopped. Do not get the colors mixed. Weave
eight rows the other way and then cut the two natural ones out,
inserting two dark ones in their places, and weaving two rows to
form the outer band. Cut off all three weavers and insert the
ends as shown in Figure 9, A. Then start three natural weavers
and weave the three outer rows to form the outer band of natural
color. Start these as in Figure 16 and end them as in Figure 9, A.
30
31
Figure 17 shows the mat, about eleven inches in diameter,
ready to close the border. Use border C, Fig. 2, starting at the
top. This design may be known as the “Indian arrow head”
design.
By finishing the edge of mat C, Fig. 1, illustrated in the previous
chapter, a mat similar to F, Fig. 1, of this chapter would be
the result.
The design is shown on a basket illustrated in Figure 14,
chapter I, at A.
At B, Figure 14, chapter I, the same ideas carried further
give the “Lightning Flash” design.
IV. THE SIMPLEST BASKET
32
The first small basket is but little more difficult
to make than the first mat. The spokes are a
little longer to allow for turning up, and are of
the same sized reed.
Figure 1 shows the successive steps in the
construction of the simplest basket. The weaving
is started as in Figure 2, chapter II, and
is continued until it is about 1⅞ inches in
diameter, when the spokes are turned up and
become stakes. A glance at Figure 1, a, will
show why all the stakes do not stay in a perpendicular
position the first time the weaver
goes around them. Figure 1, b, shows the
weaver twice around and the stakes all standing
erect.
The future shape of the basket is determined
at this point in the weaving. If a straight,
perpendicular-sided basket is wanted, Fig. 1, e,
give the weaver tension enough to hold the
stakes upright after three or four rows of
weaving. If a straight, flaring-sided basket is wanted, Figure
2, a, do not give the first rows of weaving so much tension,
thereby allowing the stakes to flare. In weaving all straight-sided
baskets, after the stakes stand at a satisfactory angle, be
very careful to see that the weaver has no tension whatever.
Personal taste and good judgment are the factors which determine
the angle of the flare. If a curved-sided basket is wanted, Fig.
2, b, start with the stakes quite flaring, and keep an even tension
on the weaver as the weaving progresses and until the desired
curve is woven in. Always remember that tension on the weaver
33will bring the stakes together. Figure 3 shows the correct method
of holding a small basket during the weaving of the sides.
When the basket is woven to the desired height, overcast
the weaving around the stakes just as it was done around the spokes
of the mat. This process was described and illustrated in chapter
II, Fig. 7. The basket may then be finished satisfactorily by using
either border, a or b, chapter II, Fig. 8. Make the stakes long
enough to push through the weaving, as shown in Figure 1, d.
This will stiffen the sides of the basket, and give it a more finished
appearance. After all the stakes are pushed through, get the
curves and loops of the border all regular in outline and the same
height either by measurement or by turning the basket bottom
side up on a flat surface and making all the loops touch the surface.
Figure 4, a, b, and c, illustrates another simple and very
effective construction. The bottom is made with the pairing
weave as described and illustrated in chapter II, Fig. 9. Four
reeds cross four reeds, thus giving sixteen spokes. When the bottom
is woven to about two inches in diameter, turn up the spokes as
34at a, bringing the weavers to the outside. Behind these two
and beside a stake, insert a third weaver as shown at b, and weave
three rows of triple weaving, chapter I, Fig. 9. Stop this weaving
by pushing each weaver down behind and beside a stake and out
through the bottom of the basket. Figure 4, c, shows the three
weavers as they stick out below the bottom of the basket.[4] Commence
the single weaving by the Indian method, chapter I, Fig.
4, and continue it until the desired height has been woven. Insert
two more weavers and weave three rows of triple weaving before
making the border. Notice the bands formed by this triple weaving.
4. If the weaving is too tight to admit of pushing the weavers down beside the
stakes, use a common scratch awl to make room for them. One cannot use the awl too
freely in closing borders and making handles.
The border may be closed by one or the other of the closed
borders illustrated in chapter III, Fig. 2. For small baskets, c
is the best closed border I have found. For baskets 5 to 7 inches
in diameter b is best, and for those up to 8 or 9 inches use d.
When the single weaving is used for the main body of the
basket, and bands of triple weaving are used at the top and bottom,
a pleasing variety of designs may be made by weaving either the
bands of colored weavers and the body of natural ones, or vice
versa.
Figure 5 illustrates the consecutive steps in the making of the
twisted handles shown in the lower row of Figure 4. The illustrative
35work is wound around
a piece of wood which takes
the place of the upper edge
of the basket. A piece of 4
reed is inserted beside the
stakes on opposite sides of
the rim as shown at Figure
4e. This forms the foundation
of the handles, shown
on f and j. For the other
baskets in Figure 4 two
pieces are used. One is
inserted beside a stake on
one side of the basket, and
the other just opposite
beside another stake. These
are then curved over and
inserted beside the third and
fourth stake from where they
were first inserted, thus
forming the semi-circular
foundation on which the
twisting is done.
A reed, wet until very pliable,
is now inserted to the
left of the right hand side of
the foundation reed, Fig. 5, I.
This is now twisted three
times around the foundation
reed, and comes to the outside
of the basket, as shown
at 2. It is now put through
36to the inside of the basket, outside of the foundation reed, just
below the closed border,[5] and brought to the front just below the first
twisting, as shown at 3. Follow the first twist back to the starting
point, keeping the weaver beside the first twist. Do not let the
weaver cross the first one. Keep it beside the first at all times.
It now goes to the inside, and is put through to the outside to the
right of the foundation reed, and brought up as at 4, and twisted
to the left beside the first two until it reaches the point a, where
the first, almost universal, error is made. The reed should go
to the left of the one already there, as shown at 5, then to the inside
of the basket and up to the front, as shown at 6. Twist it back
beside the others, put it to the inside and again to the outside
to the right of the second. Look out for error b at this point.
Figure 7 is correct. Go back and forth once more, and finish as
shown at 8. Figure 9 shows the completed handle.
5. This is not absolute. It may be put through much further down if desired, say two,
three, or even four rows below the border.
37The secret of a good handle is in adjusting the ratio of the
foundation weaver, diameter of semi-circle, and number of twists
so that when the winding is completed the handle will have the
appearance of a closely twisted rope. The handle just described
has a 1⅝ inch semi-circular foundation of No. 4 reed, and is bound
with No. 2 reed twisted three times around to start with. Winding
should always continue until the foundation reed is completely
covered. Figure 5, c, shows a handle with a 2 inch semi-circular
foundation of No. 4 reed twisted three times around with No. 3
reed. D has a foundation of No. 5 reed twisted with No. 2 reed
four twists, and e is another, adapted to a larger basket as a bail
handle. Its dimensions and the number of twists are clearly
shown. The foundation is No. 5 reed, and the winding weaver
is of No. 3. These are sufficient to enable one to judge the ratio
which will give a good handle.
In order to take advantage of the constructive decorative
features spoken of in chapter I, it is necessary to know how to get
the correct number of spokes for any desired diameter of bottom,
as the woven figures spoken of in that article are dependent upon
the ratio of the number of stakes to the number of weavers. When
the bottom of a basket is less than 4 inches in diameter, it is well
to have the stakes not more than ½ inch apart, and in those from
4 to 6 inches not more than ¾ inch apart.
It is also my practice in making baskets less than 3 inches
in diameter to have the spokes turn up and form the stakes, and
for those larger to cut spokes only long enough for the bottom,
and insert one stake each side of each spoke after the bottom is
woven. This gives twice as many stakes as spokes. When you
find out the desired size for the bottom of the basket, decide on
the number of stakes. An illustration or two will give you the
method of getting this number: For instance, if nine stakes were
wanted, have two long spokes cross two long spokes and insert one
38short spoke, as shown in chapter II, Figs. 2, 3, and 4. Weave
the bottom the desired diameter, and turn up the nine spokes as
stakes. If eighteen stakes were wanted, cut spokes as above only
long enough for the bottom. When it is woven insert a stake each
side of each spoke, and the result is eighteen stakes.
Three spokes crossing three spokes and turning up when the
bottom is woven gives twelve stakes, and if the spokes are cut
39only long enough for the bottom and a stake inserted each side
of each one the result will be twenty-four stakes.
Four crossing four and turning up will give sixteen, and by
insertion thirty-two.
Five crossing five and turning up will give twenty, and by
insertion forty.
Then, again, if one is not extra careful to get the spacing of
the spokes equal, it will be found easy, when the bottom is partly
woven, to insert a stake where two are too far apart or to cut
out one where they are too near together. This will never be noticed
when the bottom is fully woven. One can easily see that in this
way one can get any number of stakes on which to weave. By
reference to chapter I, anyone can find the ratio between stakes
and weavers used in making the baskets shown in Figure 4. All
are made with the triple weave and colored and natural weavers;
f and j are about 1¾ inches in diameter at the bottom, g about
4 inches, and h and i about 3½ inches.
The decorative initial at the beginning of this chapter shows
the adaptation of decorative weavers in making a small demijohn.
Its foundation is a quart Vichy bottle. The weavers used can
40be easily seen, also the proportionate spacing of bands. The
handles are twisted just as on a basket. Stakes and handle foundations
are of No. 4 and the weavers of No. 2.
Figure 6 shows a small jug covered with weaving part way
up. This was selected for its outline and covered, because it had
a large “trade mark” glazed upon its surface. The baskets shown
in Figure 6 will be described later.
I purposely omit detailed dimensions. They should be suggested
by the one making the basket. What would seem correct
to me might offend another, and I do not care to be misunderstood
as wishing to force my own taste in matters of proportion upon any
one else.
Be yourself fully and completely, and let your work exemplify
the fact that you are doing your own thinking and simply using the
information you acquire as suggestive of greater possibilities.
V. CIRCULAR BASKETS
41
This chapter deals with the construction of the basket usually
called a workbasket, but it may be taken as typical of all
circular baskets without handles. Figure I, A and B, shows a view
looking into the basket. Notice that a portion of the weaving
about the center of the bottom is done with the pairing weave, until
the spokes are separated sufficiently to allow triple weaving. The
bottom is then completed with the triple weaving making it much
finer in appearance. B shows the effect of using one colored
weaver and two natural ones.
When the bottom is woven, cut four times as many stakes
as spokes, one-half colored and one-half natural. These stakes
should be about six inches longer than twice the finished height
of the basket. Insert one colored and one natural, as a pair,
each side of each spoke in the bottom, as shown in Figure II, A,
being careful to keep the colored ones either to the right or left
42of the natural ones. After turning up these stakes weave three
rows of triple weaving, and finish this weaving by pulling the weavers
through, as shown in Figure II, B. These three weavers which
form the lower band of weaving may be of natural or colored
weavers. This of course depends entirely upon the ideas one has
concerning the appearance of the finished basket.
43
Allow the stakes to flare a little more than is desired in the
finished basket, as the turning over of the stakes draws the top
in slightly. If an open space is wanted between the bands of triple
weaving, weave one or two rows of flat weavers before weaving
the second row of triple weavers, as shown in Figure III, A. This
may be cut out after the basket is completed if one desires to
insert a ribbon. Figure III, B, shows a basket just before the
stakes are turned and with the space between the two rows of
44triple weaving filled up with single weaving. Figure IV, A and B,
shows the method of turning over the stakes. The ends are inserted
through the outer loops of the triple weave three and one-half
spaces to the right or left of where the stake itself comes through
the upper row of triple weaving. By turning to the right or left
the colored weaver may be brought outside, regardless of how it
may be inserted in the bottom. When the colored bands are used
it is well to have the outer stake of the colored, as at B. The tucking
in of the stakes is now continued until all completed when the
basket is turned bottom side up and the loops all made to touch
a flat surface. Great care must be taken in doing this, as the finished
appearance of the basket may be greatly marred by lack of attention
to this particular point.
At this point decide whether the bottom rows of weaving are
to be colored or natural; if colored, cut away the natural weavers
45at the bottom of the basket, as shown at Figure V, A. Next
insert three weavers and weave one row of triple weaving in order
that the remaining stakes may be brought to an upright position,
as shown at Figure V, B. The bottom of the basket is now ready
to close in. Take one upright stake, pass it in front of two, and
to the inside and let it lay along the inside edge of the bottom;
take each successive stake and do the same thing, as shown at
Figure V, B. Figure VI, A, shows the appearance of the ends of
these stakes as they lay along the inside edge of the bottom.
This view also shows the space which may be used for the
insertion of ribbon, after cutting out the filling of flat weavers.
Figure VI, B, shows the appearance of the basket when completed
with the single weaving as a filler between the two rows of
triple weaving.
The basket illustrated in Figure VI, chapter 4, was made by
this process; it was eight inches in diameter at the bottom and had
a twenty spoke center.
The basket illustrated in Figure I, B, of this chapter has a
sixteen spoke center and a bottom five and one-half inches in diameter.
The height of the loops in baskets of this kind is something
46that each worker must settle for himself. The tendency at first
will be to get them too high. The combinations of color and proportion
which may be worked out in baskets of this description
are innumerable. I know of no construction which requires more
artistic taste and a finer sense of correct proportion.
VI. ELLIPTICAL BASKETS
47
When one has attained a certain degree of proficiency in
making round baskets it is but natural that he should
desire to make those which are elliptical in shape. The making
of these baskets presents a problem which has been difficult to
solve and the solution of which renders their construction practical
for school uses. In a circular basket, where an even tension is
kept on the weaver during the weaving process, the sides come
up with an even flare but the stakes have a tendency to lean.
This is due to the constant tension from left to right and works
havoc in the construction of elliptical baskets. Unless great care
is taken the upper edge of the basket will be shaped like the
unfinished one illustrated in Figure II.
This tendency troubled me for a long time until I noticed
that this warping commenced in the weaving of the bottoms and
increased as the sides of the basket were woven. If the bottoms
are woven left-handed or bottom side up, without regard to this
warping, and then, after the stakes are inserted, the weaving of
the sides proceeds as usual, but little care need be exercised in order
to get an even basket as shown in Figure II. The warping tendency
produced by weaving the sides offsets that produced by the left-handed
weaving of the bottoms.
Since the discovery of this little trick the weaving of elliptical
baskets has been a constant pleasure and has been carried on with
marked success.
Figure I represents the consecutive steps in the construction
of elliptical bottoms. Cut four spokes of No. 4 or No. 5 reed the
length of the major diameter of the bottom, and as many as are
desired, the length of the minor diameter. By analysis it will
be seen that these bottoms are half round at each end and filled
in straight between; therefore, each end requires half as many
48spokes as would be required in a round bottom, and as many in
between these as is necessary in order to get the bottom the required
length.
Figure I.
Another important point,—if the spokes on each end are to
be one inch apart when the bottom is all woven, the spokes between
must be a little more than that distance apart as these side spokes
remain parallel during the weaving of the sides while the end ones
radiate somewhat with the flare of the basket. Split all the short
spokes and string them on the four long ones. Take a pair of the
49short spokes and put them near the end of the long ones as shown
at A, Fig. I. Place a weaver of No. 2 or No. 3 reed, diagonally
behind the group from 1 to 2 and bring it diagonally across the
front from 2 to 1, then back of the group of four and to the left
from 1 to 3, parallel with the short pair of spokes. Next, diagonally
across the face from 3 to 4 and down behind the short pair from
4 to 1. Now the winding of the four long spokes commences as
shown. This should continue for about 1³⁄₁₆ inches, if the end
spokes are to be one inch apart when the bottom is finished.
Figure II.
Bring in the next spoke and bind it into its place. This
binding is so clearly shown as to require no explanation. When
all the short single spokes are bound in, bind in the last pair as
shown, turn the bottom and insert the second weaver in order
that the pairing weave may be started. D, Fig. I, shows just how
this weave is inserted.
The weaving process from now on is just the same as for that
of round bottoms described in the chapter on Weaving Foundations.
E, Fig. I, shows the proper relative position of the spokes
at the beginning of the separation of the end ones into singles.
50If it is thought more desirable to have the sides of the bottom a
little curved rather than straight, the straight part may be filled
in after all the spokes are separated into singles. This is illustrated,
and is done with the colored weavers in order to show it more clearly.
This filling in process is done with the single weave, over and
under five spokes for the first two pieces, then three, two and one.
If this does not round the sides to suit the taste fill in again after
one or two rows of regular weaving.
Figure III.
When the bottom is woven, insert one stake each side of each
spoke and weave the sides as in the usual way. One can easily
figure out the proper number of stakes required, in order to take
advantage of the decorative features of triple weaving, in these
baskets as in the round ones. Figure III shows some elliptical
51baskets of different designs and proportions as to major and minor
diameters and also two kinds of twisted handles, small and large.
Basket No. 3 has a bottom with but one single spoke between its
ends as shown in Figure I, D and E. Basket No. 2 has two as shown
at C. Basket No. 1 has three, and No. 4 and No. 5 have six.
The edge finishes are all as described in chapter III, Fig. II,
B, and the twisted handles are all as described in chapter IV.
A pleasing decorative feature is shown in the large wastebasket
in the left hand foreground of Figure III. Two natural and one
colored weaver are used and the stakes are equally divisible by
three, the number of weavers. Three rows are woven around,
then the green weaver changes places with a white one and three
more rows are woven. This process is kept up until the desired
height is reached, resulting in a spiral arrangement of spots. Figure
III shows progress in working out some simple designs, A showing
a large hollow diamond (as easily made solid). Smaller hollow
diamonds would look well around an elliptical basket. B
also shows hollow diamonds and the Indian “good luck” symbol.
This work is done with the single weave on stakes not more than
one-half inch apart.
Many fine designs may be “worked up” on plotting paper.
Use paper which is lined off about as far apart as the diameter of
the weaver to be used and draw vertical lines across this about
as far apart as the distance between the stakes.
VII. MELON SHAPED BASKETS
52
A melon shaped basket seems to me to
be the most fascinating of all in its
method of construction. Figure I shows
the material necessary with the exception
of the weavers. Figure II shows
the method of determining the shape
of the slices or ribs on which the weaving
is done.[6] The material with which the
two circular ribs are made is stout ash
splint. Take two straight pieces the
length required for the circumference of
the circle allowing about three-fourths of
an inch for lap. These may be fastened
together to form the two circular rings
either by a small bent iron fastener or with fine string. These rings
are then placed in the position shown in Figure III, No. 1, perpendicular
to each other. The weaver is then placed behind the vertical
53ring on top of the horizontal ring with its ends projecting toward
the right in the direction of A-B. The weaver is then brought
over from A to D in front of the vertical ring.
6. Note.—Let AA represent the orthographic projection of the two rings. From the
point x, with a radius equal to xy, draw the quarter circle. Divide this quarter circle
into three equal parts from 1 to y, and connect the points of division with lines to point
x. Lay off lines parallel to these one-eighth inch apart to represent the space to be allowed
for the weavers. This will show the projection of one side of the basket with the ribs in
position. Draw a quarter circle on the right hand side. From the center line, at point
2, lay off distances on this quadrant about an inch apart as shown at 2-a-b-c-d. Project
these to the left on to the line xy, and with x as a center, continue these projection lines
with arcs crossing the center rib, as shown. Draw chords 4, 5, 6, 7, and 8. Take a piece
of stiff paper or of the material to be used as ribs and bend around from 1 to 3 to get
the true length which will be the distance 1 2 3 as shown above at B. Draw the two
center lines at right angles, crossing at 4. Lay off distances 4 5, 5 6, 6 7, 7 8 on either
side of 4 corresponding with the distances 2a, ab, be, and cd. On these, by means of
arcs, lay off distances equal to the lengths of the corresponding chords 4, 5, 6, 7, and 8
in the view AA. A curve tangent to these arcs shows one contour of a rib.
If many baskets of this size are wanted it will be found convenient to make a pattern
for each size and mark it properly. If the basket wanted is more than six inches in diameter
more ribs will be needed, and the small lay-out C will give the proper suggestion.
Then behind the horizontal ring and up to B, in which position
it is shown at No. 1. From thence it goes diagonally across the
vertical ring from B to C and upward behind the horizontal, from
C to A and assumes the position shown at No. 2. It now goes
across from A to D as before, and behind the vertical ring from D
to C, below the horizontal; which position is shown at No. 3.
From there it goes across the vertical ring from C to B, then
behind the vertical from B to A. This method of winding is
kept up, as shown at 4, 5, and 6, until a little pocket is formed,
as shown at E and F. This process takes place on both ends of
the rings. The center ribs on either side are now put into this
pocket and the single weaving is commenced, as shown at Figure IV.
Weave three or four rows on one end, then three or four on
the other end. This weaving, first on one end and then on the
other, must be kept up during the whole construction of the
basket.
54
55In the construction of these baskets many will place all the
ribs in the pocket at once, but this method of construction is too
difficult for an amateur to attempt.
After these two middle ribs have been placed in position and
three rows of weaving completed, the other four ribs should be
tucked into the pocket on one end and the single weaving continued
until four or five rows are woven, as shown in Figure V.
This process has been found to be much easier than to place
the ribs in both pockets, because of the fact that in weaving on
one end the other ends of the ribs are continually flying out.
After four or five rows are woven the other ends of the ribs
may be placed in the opposite pocket and the weaving continued
56as on the opposite end. Great care must be taken in the shaping
of these ribs to see that there is a proper distance between them
so that the weaver may not be cramped.
The final shape of the basket depends almost entirely upon
the nicety with which these ribs are constructed.
If one wishes to construct the basket so that it will be more
than a half-sphere in depth, it can be easily done by making a plan
of rings and ribs of the shape wanted and laying out these rings
and ribs from that. It may be necessary in teaching younger
pupils the construction of these baskets for the teacher to do the
drawing and laying out of the size and shape of these ribs, but
this process should be thoroughly explained.
If difficulty is found in getting heavy ash splint for the rings
and ribs, they may be easily constructed from the hoops of a sugar
barrel or even wood from a cheese box, both of which must be
57soaked and whittled down thin, say to one-sixteenth of an inch
in thickness. One of the best melon shaped baskets which I have
seen had its rings and ribs constructed from wood taken from a
butter box which was about eight inches in diameter. Too much
emphasis cannot be placed on the necessity of getting the foundation
features of this construction absolutely accurate. This is
truer of this shape than of almost any other.
Where it seems impossible to get either the ash splint or other
material spoken of, No. 8 or 10 round reed may be split lengthwise
and used in the construction of the rings. If these are to be used
it will be found necessary to have a greater number of ribs on
which to weave than has been spoken of previously. It does not
seem wise, however, to attempt a melon shaped basket over four
or five inches in diameter with half round reed as a foundation.
“Think it up a little” and see how broad the field of basketry
really may become.
TRANSCRIBER’S NOTES
Typos fixed; non-standard spelling and dialect retained.
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