Gill, Anna A. - Practical Basketry

The Project Gutenberg eBook of Practical Basketry, by Anna A. Gill. http://www.gutenberg.org/files/38681/38681-h/38681-h.
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Title: Practical Basketry
Author: Anna A. Gill
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The Project Gutenberg eBook of Practical Basketry, by Anna A. Gill. http://www.gutenberg.org/files/38681/38681-h/38681-h.htm
Frontispiece
PRACTICAL BASKETRY
BY
ANNA A. GILL
TEACHER OF ORTHOGENIC CLASS, KENDERTON SCHOOL,

PHILADELPHIA
DRAWINGS BY THE AUTHOR
PHILADELPHIA
DAVID McKAY, PUBLISHER
604-608 SOUTH W ASHINGTON SQUARE
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COPYRIGHT, 1916, BY
DAVID MCKAY
TO
THE MEMORY OF
MY FATHER
CONTENTS
PREFACE xi
CHAPTER I
EQUIPMENT—MATERIALS, TOOLS 19
CHAPTER II
THE FIRST LESSON, WEAVES 25
CHAPTER III
WEAVING BEGUN—MATS, BORDERS, SMALL BASKETS (MODELS 1-9) 37
CHAPTER IV
SEPARATE BOTTOM BASKETS (MODELS 9-16) 51
CHAPTER V
HANDLES AND LIDS (MODELS 17-22) 65
CHAPTER VI
HANGING BASKETS (MODELS 23-28) 77
CHAPTER VII
FLOWER RECEPTACLES (MODELS 29-34) 89
CHAPTER VIII
OVAL BASKETS (MODELS 35-41) 99
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CHAPTER IX
TRAYS (MODELS 42-46) 111
CHAPTER X
FRUIT BASKET TRAYS (MODELS 47-54) 121
CHAPTER XI
SCRAP BASKETS (MODELS 55-60) 133
CHAPTER XII
UTILITY BASKETS (MODELS 61-71) 143
CHAPTER XIII
A FEW WORDS ON DYEING 161
ILLUSTRATIONS
Frontispiece
DIAGRAM PAGE
1. SIMPLE WEAVING 26
2. DOUBLE WEAVING 26
3. PAIRING 27
4. DOUBLE PAIRING 27
5. TWO AND ONE WEAVE 28
6. THREE AND TWO WEAVE 28
7. TRIPLE TWIST OR THREE-ROD COIL 29
8. FOUR-ROD COIL 30
9. FIVE-ROD COIL 30
10. SLEWING 31
11. SIXTEEN-SPOKE CENTER 32
12. A SPLIT SPOKE 32
13. JOINING WEAVERS 33
14. OPEN BORDER NO. 1 38
15. OPEN BORDER NO. 2 39
16. CLOSED BORDER NO. 1 (PART I) 40
17. CLOSED BORDER NO. 1 (PART II) 40
18. CLOSED BORDER NO. 2 44
19. CLOSED BORDER NO. 3 47
20. HEAVY BORDER 69
FIG. PAGE
1. INCISION IN SPOKES 37
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2. BEGINNING A MAT 37
3. WEAVING A MAT 37
4. MAT WITH OPEN BORDER 37
5. MAT WITH CLOSED BORDER 39
6. BASKET FOR MOTHER’S BUTTONS 41
7. BASKET FOR PENCILS 42
8. BASKET FOR SPOOLS 43
9. TOOTH-BRUSH HOLDER 44
10. BARREL SHAPED FANCY BASKET 45
11. NO. 1 JARDINIERE 47
12. MATCH TRAY 48
13. DESK UTILITY BASKET 51
14. COVERING FOR SMALL FLOWER POT 52
15. STRIPED SEWING BASKET 53
16. SEWING BASKET (DOUBLE WEAVING) 55
17. SEWING BASKET (CHECK EFFECT) 56
18. GREEN AND WHITE BASKET 59
19. FANCY SEWING BASKET NO. 1 60
20. SMALL SEWING BASKET 62
21. SMALL CARRYING BASKET 65
22. LITTLE MARKETING BASKET 66
23. LUNCH BASKET WITH LID 68
24. OVAL BASKET WITH LID 70
25. CANDY BASKET 72
26. FANCY SEWING BASKET WITH LID 73
27. SMALL GREEN HANGING BASKET 77
28. SMALL FLOWER RECEPTACLE 78
29. HANGING BASKET 78
30. NO. 2 BOWL SHAPED HANGING BASKET 78
31. NO. 3 HANGING BASKET 80
32. BASKET WITH BRAIDED HANDLE 82
33. BOWL SHAPED BASKET WITH FLARED TOP 83
34. FUNNEL SHAPED HANGING BASKET 84
35. LARGE GREEN FUNNEL SHAPED HANGING BASKET 85
36. VASE WITH HANDLES 89
37. NO. 2 GREEN JARDINIERE 90
38. NO. 3 JARDINIERE IN OVAL REED 91
39. JARDINIERE FOR RUBBER PLANT 92
40. OVAL REED JARDINIERE 93
41. NO. 1 FERN DISH 94
42. NO. 2 FERN DISH 95
43. FLOWER BASKET 95
44. NO. 1 OVAL FLOWER BASKET WITH ROUND BASE 99
45. NO. 2 OVAL FLOWER BASKET (GREEN AND BROWN) 100
46. NO. 3 OVAL FLOWER BASKET 101
47-53. OVAL BASES 101-2
54. CARD TRAY 104
55. OVAL BASE BASKET 105
56. NO. 1 OVAL BASE FLOWER BASKET 106
57. SMALL OVAL BASE FLOWER BASKET 107
58. PIN TRAY 111
59. CANDY TRAY NO. 1 112
60. CANDY TRAY NO. 2 113
61. CAKE TRAY 113
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62. NO. 1 SANDWICH TRAY 115

63. NO. 2 SANDWICH TRAY 117
64. NO. 1 FRUIT BASKET TRAY 121
67. SMALL SERVING TRAY 126
68. SMALL SCRAP BASKET (CHECKER DESIGN) 133
69. LARGE SCRAP BASKET (CHECKER DESIGN) 134
70. SCRAP BASKET IN OVAL REED 135
71. RUSH SCRAP BASKET 136
72. ARTISTIC BASKET WITH LID 143
73. KNITTING BASKET 144
74. MOTHER’S SEWING BASKET 145
75. LILY BASKET 145
76. SMALL BARREL SHAPED RUSH BASKET 146
77. LARGE RUSH SCRAP BASKET 148
78. SCRAP BASKET (OPEN WORK) 151
79. FANCY SCRAP BASKET 153
80. ARTISTIC SCRAP BASKET 154
81. FATHER’S WASTE PAPER BASKET 156
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
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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
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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
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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
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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.
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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.
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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.
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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
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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.
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DIAGRAM NO. 13.—JOINING WEAVERS
CHAPTER III
WEAVING BEGUN
MODEL 1.—FIG. 4
MAT WITH OPEN BORDER
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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.
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FIG. 1
FIG. 2
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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 5 3⁄ 4 inches in
diameter. You are now ready for the border.
OPEN BORDER NO. 1
Allow about 6 1⁄ 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.
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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
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FIG. 5
MATERIAL

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 1 3⁄ 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:
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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
MATERIAL

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.
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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.
FIG. 6
MODEL 4.—FIG. 7
BASKET FOR PENCILS
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

4 No. 2 weavers.
1 strand of raffia.
In a similar manner, as illustrated in Fig. 4,

make a base 2 3⁄ 4 inches. Turn the sides up sharply
and weave 3 1⁄ 2 inches. Complete with Closed
Border No. 1.
FIG. 7
MODEL 5.—FIG. 8
BASKET FOR SPOOLS
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FIG. 8
This basket is woven in the natural color and afterwards dipped in brown dye. It
makes a useful holder for spools.
MATERIAL

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 1 3⁄ 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
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MODEL 6.—FIG. 9
TOOTH-BRUSH HOLDER
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

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 1 1⁄ 4 inches with raffia. With a
No. 2 brown weaver continue the weaving
until a base 2 1⁄ 2 inches is woven. After the
sides are turned up, continue weaving up
FIG. 9
the sides, drawing the spokes gradually
outward toward the weaver, until the
basket measures 2 1⁄ 2 inches high. Continue the weaving, drawing the weaver tightly and
pressing the spokes in toward the center, until 1 3⁄ 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
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.
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Weave a center, and separate

the spokes with green raffia. With
No. 2 natural reed weave a base 3 1⁄ 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 1 1⁄ 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
FIG. 10
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
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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

Weavers No. 2 reed.
Weave a bottom 4 1⁄ 4 inches. The sides are made by holding the spokes outward until
4 ⁄ 2 inches are woven. This makes the diameter of the basket 4 3⁄ 4 inches. To obtain the
1
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
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, 10 1⁄ 2 inches.

2 Weavers No. 00 reed.
Handle—2 strands No. 00 reed, 24 inches.
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Weave a base 1 1⁄ 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.
FIG. 12
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
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FIG. 13
MATERIAL

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 2 1⁄ 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
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FIG. 14
MATERIAL

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, 4 1⁄ 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
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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, 5 1⁄ 2 inches.

21 spokes No. 4 natural reed, 15 inches.
Weavers No. 2 natural reed.
Weavers No. 2 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
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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, 5 1⁄ 2 inches.

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
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FIG. 17
MATERIAL

Weavers No. 2 blue reed.
Make a base 6 1⁄ 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.
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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
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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, 5 1⁄ 2 inches.

Weavers No. 3 green 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
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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.

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.
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FIG. 20
CHAPTER V
HANDLES AND LIDS
MODEL 17.—FIG. 21
SMALL CARRYING BASKET IN STRIPED EFFECT
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

1 spoke No. 4 natural reed, 11 inches.
Handle—1 spoke No. 4 natural reed, 20 inches.
Weave a base, with the striped design carried out, 2 3⁄ 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,
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3 1⁄ 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 FIG. 21
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
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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

Handle—1 spoke No. 5 reed, 26 inches.
Over 10 1⁄ 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.
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MODEL 19.—FIG. 23
LUNCH BASKET WITH LID
FIG. 23
MATERIAL

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 6 3⁄ 4 inches.
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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 6 3⁄ 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
MATERIAL

Weavers No. 2 reed.
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. FIG. 24
LID
Weave a good center, over the 6 1⁄ 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:
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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
3 1⁄ 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

Weavers Nos. 00, 2, 5 round reed.
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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

Weavers No. 2 reed and No. 4 reed.
Over the 10 spokes, weave a base 5 1⁄ 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 4 3⁄ 4
inches high. Finish with three rows triple twist and the following border:
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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 9 1⁄ 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
MATERIAL
8 1⁄ 2 spokes No. 4 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
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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. 27
FIG. 28
FIG. 29
MODEL 24.—FIG. 30
NO. 2 BOWL SHAPED HANGING BASKET

This basket is worked with No. 2 reed as foundation and No. 1 reed as the weaver.
MATERIAL

Weavers No. 2 reed.
This little basket has a three inch base. Hold the spokes straight and weave the sides
about one inch, single weaving. Bend the spokes out and weave two inches. Hold the
spokes in toward the center of basket and draw the weaver tight; in this position weave
two more inches. Follow this with two rows of triple twist in No. 2 reed, and the border
described under Model 20.
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HANDLE
Insert the ends of the handles two inches below the top of
basket. Bring them inside the basket back of eighteen rows of
weaving, draw them to the outside of basket and down in front of
sixteen rows of weaving. Bring the ends through the weaving to
the inside of basket. Fasten the ends securely to the basket by
weaving a strand of No. 2 reed in and out in the form of a cross.
With one ring of No. 1 reed, make a twisted handle, allowing two
inch space between each twist; the second row of handle is made
by making another twist around the handle, the twist being made
in the middle of the intervening spaces, showing a separate woven
twist all way around and having a spacing of one inch between
each twist.
FIG. 30
MODEL 25.—FIG. 31
NO. 3 HANGING BASKET
This basket is made large enough to allow a large glass to slip in and out easily.
MATERIAL

Handle—1 piece No. 6 reed, 39 inches.
Weavers No. 4 reed.
Weavers No. 00 reed.
A base 4 1⁄ 2 inches is woven in the following manner: six rows of single weaving of
No. 00 reed separate the spokes. Follow this with five rows of triple twist in No. 00 reed,
four rows of single weaving in oval reed and one row No. 4 reed in triple twist. Turn the
sides up with four more rows of triple twist. With oval reed, weave twelve rows of single
weaving. Hold the spokes well in and draw the weaver tightly. The diameter of basket
should now be 2 3⁄ 4 inches wide. Continue the weaving, drawing the spokes well out and
holding the weaver loosely. The basket should have eighteen rows of oval weaving. Follow
this with three rows of triple twist and the following border: first row, each spoke is passed
back of one spoke and out; second row, each spoke is brought in front of three spokes and
in back of the next one.
HANDLE
Insert the ends of handle through the four rows of triple twist at the base of basket.
The ends must be inserted just opposite to each other. Place a strand of oval reed to the
right of inserted handle and between the third and fourth rows of triple weave. Draw the
weaver first over the handle, then under the handle. About two inches above where the
handle is inserted, pass the weaver over the handle and carry it to inside of basket, under
the border. Twist the weaver around the handle twenty-one times. Pass it down under the
border to the outside of basket; three more twists complete one row of the handle.
Now run the weaver to inside of basket, between the third and fourth rows of triple
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twist, cross, and bring to outside of

basket at the left of handle. The weave
is continued around the handle,
forming a cross at every twist in the
handle.
FIG. 31
MODEL 26.—FIG. 32
BASKET WITH BRAIDED HANDLE
MATERIAL

Handle—3 pieces No. 4 reed, 40 inches.
Weavers No. 4 reed.
Weavers No. 2 reed.
Through a five-inch base, insert 17 spokes. Weave an upset of three rows of triple
twist. To get the desired shape weave twenty-two rows, single weaving, holding the spokes
inward. Now hold the spokes out and weave twenty-eight rows. With four weavers,
placing each weaver back of a corresponding spoke, weave two rows; each weaver in turn
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is brought in front of three spokes and back of one. Finish with

the following border:
First row, pass each spoke back of one spoke and out;
second row, each spoke is carried in front of three spokes and in
back of the next one.
For the handle, insert the three pieces No. 4 reed just
above the triple twist at the base of basket. Make two twists and
pass remainder of reed through the upper eight rows of weaving
and lower two rows of triple weave. Braid the reed twenty-four
inches. The ends are now inserted through the lower two rows
of triple weaving and the upper eight rows of single weaving.
With two more twists the ends are carried inside the basket just
above the triple weave, and there made secure.
FIG. 32
MODEL 27.—FIG. 33
BOWL SHAPED WITH FLARED TOP
MATERIAL

Handle—2 pieces No. 5 reed, 35 inches.
Weavers No. 2 reed.
Weavers No. 4 reed.
The base of this basket is four inches. The sides are

woven in double weaving, having a decided rounded effect.
The flare at the top is made by bending the spokes down the
outside of basket. An inch and a half of flare is woven.
Complete with two rows of triple and the following border:
Hold the basket upside down and weave to right, in front of
one spoke and over two spokes. The sides of this basket are
2 1⁄ 2 inches high.
About half way down the sides of the basket, insert the
ends of the handle through four rows of weaving, the ends to
be 1 3⁄ 4 inches apart. The ends are fastened securely by
weaving in and out and across the spokes; the weaving is
continued under and over the handle until the top of basket
is reached; here the handle is made secure by carrying a
weaver over the handle, and working it in and out through
the weaving of the basket. Make twenty-eight inches of coil
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with the two spokes. Fasten the handle, in a similar manner, FIG. 33
on the opposite side.
MODEL 28.—FIG. 34
FUNNEL SHAPED HANGING BASKET
MATERIAL

1 piece No. 6 reed, 36 inches.
Weavers No. 2 reed.
Weavers No. 4 reed.
After fastening the spokes with No. 00 reed, weave

five rows of single weaving. Change the weaver to No. 2
reed and work twenty-three rows in single weaving,
holding the spokes in towards center. Continue the
weaving until fifty-seven rows are woven. With No. 4
reed, make four rows triple twist and complete the basket
with border described under Model 22.
When finished, the diameter at top of basket should
measure 5 1⁄ 2 inches.
HANDLE
Insert the ends of handle two inches from bottom.
With No. 00 reed fasten the ends to basket with the tie FIG. 34
bow effect, then finish the handle in a twisted design.
FIG. 35
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FIG. 35
The funnel basket under Fig. 35 is dyed in dark green. It makes an attractive basket
for cut flowers and vines. It is made of No. 4 and No. 2 reed. The handle from No. 5 reed.
CHAPTER VII
FLOWER RECEPTACLES
MODEL 29.—FIG. 36
VASE WITH HANDLES
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FIG. 36
MATERIAL

Handle—2 spokes No. 2 reed, 20 inches.
Weavers No. 2 reed.
This covering may be woven over a small vase or a pint jar.

Over the 8 1⁄ 2 spokes weave a base 2 3⁄ 4 inches. Pinch the spokes sharply and turn up
with three rows of triple twist in No. 2 reed. Weave around the jar in single weaving, until
forty-four rows are completed. For the handle place the centers of one piece of No. 4 reed
and one piece No. 2 reed between the 42nd and 43rd rows of weaving, twist the No. 4
reed around in a plain coil and carry the No. 2 reed around this coil. Do the same on the
opposite side for the other handle. Form the oval handle, as seen in picture, and secure the
four ends of each handle in place by fastening them to jar with a fine cord which may be
pulled out later. Weave twenty-nine more rows in single weaving. Complete and fasten the
handle with five rows triple twist. To prevent the handle from loosening or falling out, the
triple twist should be woven over and under the ends of the handles. The following border
completes the vase:
First row, each spoke is placed back of the spoke to the right and out.
Second row, each spoke is brought in front of the spoke to the right and in where it is
cut off closely.
MODEL 30.—FIG. 37
NO. 2 GREEN JARDINIERE
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MATERIAL

Weavers No. 4 reed.
Weavers No. 2 reed.
Over an 8 spoke foundation, weave a base five

inches. Insert the 34 spokes, considering two
spokes as one, making 17 spokes. Turn up with
three rows triple twist. In double weaving, work
fifteen rows, holding the spokes outward toward the
weaver. This will make the basket three inches
high. Now holding the spokes well inward, weave FIG. 37
fifteen rows in double weaving. The basket is now
5 1⁄ 4 inches high. Complete the sides of the basket
with three rows triple twist. Finish with the following border:
First row, each spoke is brought back of next spoke and out.
Second row, each spoke is brought in front of next two spokes and in.
Third row, each spoke is brought over next spoke and in back of the next where it
rests.
MODEL 31.—FIG. 38
NO. 3 JARDINIERE, IN OVAL REED
MATERIAL

Weavers No. 1 reed.
Weavers No. 5 reed.
After inserting 5 spokes through the other 5 spokes,

fasten in cross form with No. 00 reed. Weave seven
rows with No. 00 reed, separating the spokes. With No.
1 reed, weave seven more rows. Follow this with six
rows of No. 5 split reed. Work one coil of triple twist FIG. 38
with No. 5 reed. This makes a base six inches. Pinch the
spokes sharply and turn up with four rows of No. 5
triple. Hold the spokes slantingly inward and weave seventeen rows of No. 5 oval reed.
The diameter should be 5 1⁄ 2 inches. Bend the spokes outward in a curved effect and
weave four rows in No. 5 triple. Complete with the following border:
First row, each spoke is passed back of one spoke and out. Second row, carry each
spoke in front of three spokes and in.
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MODEL 32.—FIG. 39
JARDINIERE FOR RUBBER PLANT
MATERIAL

Weavers No. 2 reed.
Weavers No. 4 reed.
Weave a base 5 1⁄ 2 inches. Insert spokes and

turn up with four rows of triple twist No. 4 reed.
Follow this with twelve rows of double weaving,
three rows of three-rod coil in No. 2 reed, ten
rows of double weaving, four rows of three-rod
coil No. 2 reed, nine rows of double weaving and
three rows of three-rod coil. Complete with
border described under Model 22. FIG. 39
After the basket is finished, dye it a dark
brown or green.
MODEL 33.—FIG. 40
OVAL REED JARDINIERE
MATERIAL
8 spokes No. 5 reed, 8 inches

Over an 8 spoke foundation, weave a

base 7 3⁄ 4 inches. Insert 31 spokes and set up
three rows of No. 4 brown reed in triple
twist. The spokes are held slantingly outward
until twenty-five rows of No. 5 oval or split
reed are woven. Weave seventeen rows in
No. 5 oval reed, holding the spokes curved in
towards the center of basket. Complete the
basket with three rows triple twist No. 4
brown reed, and the plaited border.
FIG. 40
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MODEL 34.—FIG. 41
FERN DISH
MATERIAL

Weavers No. 2 reed.
This fern dish basket is woven over a small white

enamel dish:
Weave a base 5 1⁄ 2 inches. Insert 2 spokes by the
side of each base spoke. Consider each group of 2 spokes FIG. 41
as 1 spoke. Turn up with two rows of triple twist. Place
the dish in the basket and, while weaving around the dish, hold the spokes straight and
draw the weaver tight. Weave twenty-nine rows. Curve the spokes over the dish and
weave four more rows, single weaving, and two rows of triple twist in No. 2 reed.
Now bring each group of spokes back of the next two groups, out to the front,
through the triple twist and down through the triple twist at the base of basket. When all
the groups have been brought through the triple twist at the base, turn the basket upside
down, and weave the following border for a stand for the dish:
Weaving to the right, each group is brought back of the next two groups and out to
the front; second row, each group is placed in front of the next spoke and in back of the
next where it is clipped off.
FIG. 42
This basket is woven in a similar manner to Fig.

41. The spokes are of No. 2 natural reed, while the
weavers are No. 2 light brown reed. The border, the
outside spokes and the stand are of natural reed. This
combination makes a strikingly attractive basket.
FIG. 42
FIG. 43
This flower basket is dyed after it is made and then waxed. The shape may be molded
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to accommodate any purpose.
FIG. 43
CHAPTER VIII
OVAL BASKETS
MODEL 35.—FIG. 44
NO. 1 OVAL BASKET WITH ROUND BASE
FIG. 44
MATERIAL
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Weavers No. 2 reed.
Weavers No. 5 reed.
Weave a base five inches. Insert the 39 spokes, pinch sharply and turn upward. Make
secure with three rows No. 5 reed in triple twist. Weave an inch with No. 2 reed, holding
all spokes straight. Now continue the weaving by holding the side spokes straight and the
end spokes down and out towards the weaver. Continue the weaving in this manner until
seventy rows of simple weaving, and three rows triple twist No. 5 reed, are made. Finish
with the following border:
First row, each spoke is placed back of two spokes and out.
Second row, each spoke is placed in front of two spokes and in.
HANDLE
Insert the two pieces No. 5 reed and weave a twisted handle as shown in Fig. 44.
MODEL 36.—FIG. 45
NO. 2 OVAL BASKET (IN GREEN AND BROWN)
FIG. 45
MATERIAL

Handle—1 spoke No. 8 brown reed, 32 inches.
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Weave a five inch base. Insert the spokes, pinch, and turn sharply upward with three
rows of brown No. 4 triple. In pairing, weave with No. 2 green reed, twenty-three rows.
Insert 19 spokes and weave three rows triple No. 3 green. Follow this with forty-one rows
green reed, in single weaving, and three rows No. 4 brown reed, in triple. Complete with
the rope border.
The spokes should be held straight and firm until three inches of weaving are
finished; then the ends are spread out and bent down towards the base of basket until the
rest of the weaving is completed, Fig. 45.
When completed the sides should measure seven inches.
HANDLE.
Push the ends of handle well down amid the weaving. Weave six rows of coil, with
No. 2 brown reed, around the handle.
FIG. 46
FIG. 46
This basket is made from the natural reed. A rounded effect is woven for about three
inches up the sides, the end spokes are then flared out. A single spoke of No. 6 reed is
used for the handle.
OVAL BASES
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MODEL 37.—FIG. 49
NO. 1 OVAL BASE
FIG. 47
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FIG. 48
FIG. 49
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MATERIAL

Weavers No. 2 reed.
Split each of the five spokes in the center and pass the 3 spokes through them—Fig.
47.
The 5 spokes should be arranged in horizontal positions about 3⁄ 4 inch apart, the end
spokes about two inches from the end of the base spokes. Fig. 47. The base is woven in
pairing. Place No. 1 weaver back of No. 1 spoke, No. 2 weaver back of No. 2 spoke. Fig.
48. Pass No. 1 weaver over No. 2 spoke, back of No. 3 spoke; No. 2 weaver crosses over
No. 1 weaver to the front of base, which is the side facing the weaver, passes in front of
No. 3 spoke and out back of No. 4. Fig. 48. No. 1 weaver crosses No. 4 spoke and out
back of No. 5 spoke and so on around the base. The group of three base spokes are treated
as one spoke until two rows have been woven. They are then separated and woven as
single spokes. Fig. 49.
MODEL 38.—FIG. 53
NO. 2 OVAL BASE
FIG. 53
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MATERIAL

Arrange the seven spokes in a horizontal position on the three base spokes. The
spokes arranged 1⁄ 2 inch apart. The end spokes double. Fig. 50.
FIGS. 50, 51 AND 52

Take the center of a single weaver, or using two strands of different colors, place it or
them under the upper three base spokes and back of the upper end spokes. Take the
left-hand weaver, or the natural one, over the end spokes, down under F, up over B-E,
under C and up over to the right where it crosses over the end spokes. Fig. 50.
Now take the brown weaver, which is back of the upper base spokes, bring it over the
upper end spokes under A, over B-E, under D, over the lower end spokes. Fig. 50.
Return to weaver No. 1, cross it over C-D, under B, cross over A-F, and under the
upper left end spokes. Fig. 51. Bring No. 2 or brown weaver, under the lower left end
spokes, cross over C-D, under E, cross over A-F, under the upper end spokes over the
upper three base spokes. Fig. 52. Finish your base in pairing, as shown in Fig. 53.
MODEL 39.—FIG. 54
CARD TRAY
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FIG. 54
This tray is made by combining blue and natural color reed.
MATERIAL

Through the five spokes place the three 7-inch spokes. Arrange each of the five
spokes 3⁄ 4 inch apart. Fasten the spokes in place with two rows of pairing, combining the
blue and natural reed. Separate the end spokes with eight rows of pairing, carrying the
striped effect throughout. Insert 32 spokes No. 4 reed, placing a spoke by the side of each
spoke in the base. Turn sharply upward and weave one row of triple twist in No. 4 reed.
With blue and white weavers, weave nine rows in pairing, carrying the striped effect up
the sides. Hold the spokes while weaving slightly outward. Finish with one row of triple
twist and plaited border.
MODEL 40.—FIG. 55
OVAL BASE BASKET
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FIG. 55
MATERIAL

Handle—1 piece No. 5 reed, 20 inches.
3 yards braided straw.
Slip the four spokes through the seven spokes. Arrange the seven spokes 1⁄ 2 inch
apart.
Weave a base over this 7 inches long, 4 inches wide. Insert the twenty-nine spokes.
Pinch and turn sharply upward. Set up two rows triple twist in No. 4 brown reed. Weave
seven rows of braided straw and complete the sides with two rows of triple twist in No. 4
brown reed. The following border is used:
First row, each spoke is placed back of next spoke to right. Second row, each spoke is
placed in front of next two spokes to right and in back of the next spoke. The ends of
handle are inserted between the border, through the triple twist and down between the
braiding. The handle is woven as described under Model 18.
MODEL 41.—FIG. 56
NO. 1 OVAL BASE FLOWER BASKET
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FIG. 56
MATERIAL

Weavers No. 2 reed.
Weavers No. 4 reed.
In pairing, weave a base 6 inches long 3 3⁄ 4 inches wide. Insert the 27 20-inch spokes,
and turn up with four rows of triple twist. While weaving the basket, hold the end spokes
out toward the weaver, the side spokes straight.
Work the basket 3 3⁄ 4 inches in single weaving with No. 3 reed. Now insert the 27
14-inch spokes, placing a spoke by the side of each spoke in the basket. Weave five rows
of 3-coil weave in No. 5 reed.
Place the four spokes for the border. Complete the basket with the plaited border.
HANDLE
Place the ends of the handle through the border, down about 2 1⁄ 2 or 3 inches in the
weaving. Measure 7 inches, from the border of the basket, up the handle. Beginning here,
with fine No. 1 reed, make a continuation coil around the handle of basket until it is 7
inches from the end of the handle on the opposite side. Now separate each piece of reed,
and in simple weaving, weave the remainder of the handle over one spoke, under one,
until it is 1 1⁄ 2 inches from border of basket. Fasten the end of the weaver up between the
weaving.
To make the handle secure, fasten, in double cross form, each end of the handle to
the sides of basket.
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FIG. 57
FIG. 57
This little basket is useful when gathering flowers. It is made entirely of No. 2 reed,
and is finished with a braided handle.
CHAPTER IX
TRAYS
MODEL 42.—FIG. 58
PIN TRAY
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FIG. 58
MATERIAL

Weavers No. 2 reed.
Over the 16 spoke foundation weave four rows in pairing. Separate the groups of
fours into groups of twos and weave six rows in pairing. The base should measure four
inches. Turn the spokes sharply upward. Consider throughout the weaving each group of
twos as one spoke.
Weave two rows No. 2 reed in three-rod coil. Hold the spokes to secure a slight
outward slant and weave seven rows in pairing. Finish the tray with following border:
First row, each spoke is passed back of next spoke and out.
Second row, each spoke is passed in front of next spoke and in.
MODEL 43.—FIG. 59
CANDY TRAY NO. 1
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FIG. 59
MATERIAL

Weavers No. 2 reed.
Weave a base over the 16 spoke center 3 1⁄ 4 inches. Turn up with two rows of No. 2
reed in triple twist. Hold the spokes in an outward slant and weave six rows of pairing.
Draw the weavers tightly and hold the spokes in toward the center of base. Weave four
rows of pairing.
Take each spoke now, pass it back of the next spoke to right, bring it down the side
of the basket to the base, pass it through the two rows of triple twist.
Turn the basket upside down. Make the base stand as follows.
Working to the right, No. 1 spoke is passed in front of No. 2 spoke and back of No. 3
spoke. Each spoke is treated likewise, in front of the first to the right, and back of the
second.
HANDLE
Insert the ends of the 18 inch spoke well down the sides of the tray. In coil effect,
weave eight rows of No. 2 reed around the handle, covering it entirely, as illustrated in
Model No. 18. In this tray the size should be just large enough to allow the dish to be
removed easily.
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MODEL 44.—FIG. 60
CANDY TRAY NO. 2
FIG. 60
MATERIAL

Weavers No. 2 reed.
This tray is woven similar to the preceding one, excepting the top, where the weaving
is continued over the dish until five rows are finished. While weaving the last five rows,
the spokes are bent in towards the dish, and the weaver pulled tight. Working in this
manner holds the dish from slipping out and makes a rounded effect at the top. The handle
is made of two spokes, which are pressed into an oval shape and it is finished by twisting
No. 2 reed around it as shown in Fig. 60.
MODEL 45.—FIG. 61
CAKE TRAY
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FIG. 61
The tray is first made and then painted with white enamel.
MATERIAL

Weavers No. 2 reed.
Weavers No. 3 reed.
With No. 2 reed, weave three rows around the 8 spoke center; separate the spokes
with ten rows of pairing. Insert the 64 spokes. Place two each side of the base spokes.
Weave two rows in triple twist with No. 3 reed, holding the No. 5 spokes with one group
of twos. Now in double weaving, weave six rows, over two groups of spokes and under
two groups, holding the No. 5 spoke by the side of one group of twos to the end of the
base. Weave three rows No. 3 reed in triple twist, holding the spokes slightly upward while
weaving. Complete with two rows of triple. First row of triple should rest on the base of
basket, while the other two rows should be slightly upward on the sides. Finish with
following border: Holding the under side of basket or bottom of tray toward you and
weaving to right, place one group of spokes in front of next group, back of second group
to the right, front of third group, back of fourth group, in front of fifth group to the right.
Bring the spokes out to the front and down through the two rows of triple weave. Each
group is worked out in same manner, until all groups are facing the weaver.
The stand for basket is woven in two rows; first row, each spoke is brought in front of
two spokes and in; second row, each spoke is placed in front of one and back of the next
spoke where the ends are cut off closely and carefully.
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HANDLE
Place the ends of the spokes of handle through the triple weaving and in back of the
weaving of base border. Have the spokes about 2 inches apart. The tray is completed with
a coiled handle as shown in Fig. 61.
MODEL 46.—FIG. 62
SANDWICH TRAY
FIG. 62
This tray is worked out in the natural reed and when completed dyed brown.
MATERIAL

Weavers No. 2 reed.
After fastening the center with two rows of weaving, weave three rows, separating
the spokes in twos; then weave fourteen rows in pairing. Insert the 96 spokes, placing
three spokes by the side of each spoke of No. 4 reed. After all the spokes are inserted,
weave three rows of triple twist, No. 2 reed; considering each group of three spokes as one
spoke, weave five rows in double weaving. With No. 2 reed, weave three rows of triple,
separating the spokes in groups of twos. Complete with the following border. Consider
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each group of twos as one spoke. Take one group and place it over the next two groups,
under the next two, over the next two, under the next two, over the next two, under the
next two and out in front. Do the same with each group of spokes. Allow the first groups
to be woven loosely until all the groups are woven; then draw the loose groups tight. Make
the border uniform throughout. You are now ready for the border on the base of the tray.
Two rows are woven to make the stand for the tray. First row, each spoke is brought in
front of next three spokes and back of next three. Second row, each spoke is brought in
front of the next three spokes where they are cut off inside the weaving.
HANDLE
Insert the two pieces No. 6 reed between the border and triple twist. Leave about a
two inch space between the inserted spokes. Fasten securely with No. 00 reed. With No. 2
weavers, weave three rows in twirl effect around one spoke, until about 4 1⁄ 2 inches are
woven up on the spokes, then considering both spokes of handle as one, continue the
weaving until you are opposite to where the spokes are joined. Now coil the weaver
around one spoke to the end of the handle, bringing the weaver each time down under the
tray and up on the other side of spoke. Treat the other spoke in the same manner until both
spokes are uniform. Hold the weaver tightly throughout the weaving of the handle. A
loosely twisted coil makes a very poor handle.
If the handle is woven correctly, groups of three coils around the handle, with a space
of about 3⁄ 4 inch apart, will be the result.
FIG. 63
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FIG. 63
The tray is made of natural reed No. 4 and No. 2. The inner base spokes are No. 4
reed, the inserted spokes No. 2 reed. Two spokes of No. 5 reed, twenty-eight inches long,
are required for the handle—the weavers, No. 00 reed.
CHAPTER X
FRUIT BASKET TRAYS
MODEL 47.—FIG. 64
NO. 1 FRUIT BASKET TRAY
FIG. 64
MATERIAL

1 spoke No. 8 reed. 32 inches.
Weavers No. 2 reed.
Weavers No. 4 reed.
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Insert and fasten the spokes in position with the cross weave. Weave four rows of
No. 2 reed. Follow this with twelve rows of pairing and nine rows of double weaving.
Insert the 31 spokes and weave with No. 4 reed, four rows of three-rod coil. Pinch
the spokes and set up three rows of triple twist. Weave eight rows of double weaving,
holding the spokes slantingly outward. Finish with three rows of triple twist and the plaited
border.
HANDLE
Insert the piece of No. 8 reed down through the border, through the weaving to the
lower triple twist. With No. 2 reed, coil eight rows around the handle making ten twists.
MODEL 48.—FIG. 65
FIG. 65
MATERIAL
16 spokes No. 2 tan reed, 46 inches.

30 spokes No. 2 tan reed, 16 inches.
Weavers No. 2 reed.
Weavers No. 3 reed.
Tan colored dish.
Over a 16 spoke center weave a base 3 1⁄ 2 inches, separating the spokes into groups
of twos. Insert the 30 spokes. This will make groups of fours.
Turn up with two rows of No. 3 reed in triple twist. While weaving, curve the spokes
to correspond to the curve of dish, draw the weavers tightly to hold the dish securely.
Follow the upset with eleven rows simple weaving. Consider every group of fours as
one spoke. With two rows of triple twist in No. 3 reed, separate the groups of fours into
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groups of twos. Weave twenty-eight rows in simple weaving.

For the sides, take one spoke of each group, pass it back of next two groups, bring it
down the outside of basket and through the triple twist at base. The spokes will run singly
on the outside of the basket, but will pass through the triple twist at the base in groups of
twos. After all the groups have been passed through the triple twist the border is made as
follows:
First row, each group is passed back of the next two groups to the right.
Second row, each group is passed in front of the next two groups, back of the third
group where the ends are cut off closely.
BORDER FOR TOP OF BASKET
First row, each single spoke is brought back of next two spokes.
Second row, each group is passed in front of next two groups and back of third group
where the ends are cut closely.
HANDLE
Insert the ends of handle through the weaving about 1 3⁄ 4 inches apart. Coil six rows
around the handle and fasten ends securely.
MODEL 49.—FIG. 66
FIG. 66
MATERIAL

Weavers No. 2 reed.
Weavers No. 3 reed.
Make a four inch base in pairing. Turn sharply upward and slant inward with four
rows of No. 3 reed in three-rod twist. Weave eight rows in No. 2 reed, over two, under
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one. Change the reed to No. 00. Weave six rows, over two spokes, under one, with three
stands of No. 00 reed in slewing. The weaver must constantly keep drawing the reed tight
and holding the spokes well in towards the center. With a strand of No. 00 reed, make
eighteen rows in the plain weave. The diameter should be now 1 1⁄ 4 inches. Hold the
spokes slightly outward and with three weavers in slewing, make seven rows, weaving in
front of 2 spokes, back of 1 spoke. The diameter should now be almost two inches.
Insert the 9 spokes, placing a single spoke by the side of every other spoke. Soak all
the spokes well, pinch with pliers and bend the spokes straight outward. Hold them in this
position until three rows of pairing, three rows of triple twist No. 2 reed and five rows of
single weaving are completed.
Bend the spokes in a curved effect, hold them slightly outward and upward. In this
position weave ten rows double weaving. Holding the spokes now in a pronounced upward
curve, weave five rows of triple twist in No. 4 reed.
The following border completes the tray: Turn down three spokes—No. 1 spoke back
of No. 2, No. 2 spoke back of No. 3, No. 3 spoke back of No. 4. Now place No. 1 spoke in
front of the third and fourth spokes and back of the fifth spoke; likewise place No. 2 spoke
in front of the fourth and fifth spokes and back of the sixth spoke. Continue this around
the basket until all the spokes are woven in the border.
MODEL 50.
DESK TRAY
MATERIAL
Board 12 inches by 10 inches.

Weavers No. 2 reed.
Weavers No. 4 reed.
A desk tray is a very useful article and is made as follows:

Bore 45 holes through the board about 3⁄ 8 inch in from the edge of the board. Insert
the 45 spokes through these holes allowing 3 1⁄ 2 inches for the bottom. Make a foundation
stand by weaving these end spokes in front of 2 spokes and back of the third spoke.
The sides are woven with two rows of three rod coil, then in double weaving until the
tray is 2 1⁄ 2 inches high. Follow this with two rows of triple twist and the plaited border.
MODEL 51.—FIG. 67
SMALL SERVING TRAY
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FIG. 67
MATERIAL
Board 9 1⁄ 2 inches by 6 1⁄ 4 inches.

Glass 8 3⁄ 4 inches by 5 3⁄ 4 inches.
Cretonne 8 3⁄ 4 inches by 5 3⁄ 4 inches.
Weavers No. 2 reed.
Bore 60 holes through the board large enough for No. 2 reed to slip through easily.
The holes should be one-half inch apart—19 holes on each of the lengthwise sides and 12
on each end.
Pass the spokes through each hole. Allow 1 1⁄ 2 inches for the bottom of tray. For the
base border weave one row of pairing and the following border: Each spoke is passed in
front of the first spoke to right and back of the second spoke. When all the spokes are
woven in this way, place the tray on a flat surface and make sure the base border is
perfectly even and level.
The cretonne and glass should be identical in size. Lay the cretonne on the board flat
and even, and place the glass over it. The glass must fit snugly and tightly to make a
perfect tray. Keep the spokes moist to allow easy weaving. The weavers must be soaked
until very pliable. Weave 1⁄ 2 inch of pairing with No. 2 reed or nine rows. Follow this with
one row of triple twist in No. 3 reed. The plaited border completes the tray.
A very pretty effect may be obtained by having a pale pink flowered cretonne and
natural color reed. The cretonne and color of reed should always harmonize.
MODEL 52.
OBLONG SERVING TRAY
MATERIAL

Cretonne 16 1⁄ 4 inches by 11 1⁄ 2 inches.
Glass 16 1⁄ 4 inches by 11 1⁄ 2 inches.
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Weavers No. 4 reed.

Brown stain.
Bore 99 holes through board equal distance apart. Stain the board brown. Insert the
spokes and allow 3 1⁄ 2 inches for the bottom stand. Make a border for this stand in the
following manner:
First row, each spoke is brought back of next spoke to right.
Second row, each spoke is passed in front of the next spoke and in back of the next
where the end is cut off.
The sides are now woven. A 4-rod coil No. 4 reed holds the glass firmly in place.
Follow this with seven rows double weaving No. 2 brown reed and one row No. 4 reed in
4-rod coil. Complete the tray with the plaited border.
After the tray is finished, singe it to get rid of all the loose bits of reed—then polish
the board with two or three coats of wax. The cretonne, reed and stain should harmonize
in color. A soft brush produces best results in polishing the basket.
MODEL 53.
OVAL SERVING TRAY
MATERIAL

Glass 19 inches by 13 inches.
Cretonne 19 inches by 13 inches.
Weavers No. 4 reed.
The holes should be made about one inch apart. Insert the 52 spokes and make
foundation stand as described under preceding model. Be careful that the board is
perfectly dry before placing the cretonne upon it. Keep the spokes moist by using a wet
sponge; be careful not to allow any water to get under the glass while weaving. Best
results are obtained by staining the board first and then weaving a dyed reed; good results,
however, may be obtained by making the tray in natural reed first and then staining the
board and reed. Great care must be exercised in painting the tray after it is made.
The sides of the oval tray are woven two inches high. First weave one row of 4-rod
coil then seven rows of double weaving in pairing. One row of 4-rod coil and the plaited
border completes the tray. Polish as described under preceding model.
MODEL 54.
ROUND SERVING TRAY
MATERIAL
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Diameter of board 10 inches.

Diameter of glass 9 1⁄ 4 inches.
Diameter of cretonne 9 1⁄ 4 inches.
Weavers No. 4 reed.
Prepare the board by making 39 holes 5⁄ 8 of an inch from edge of board, 3⁄ 4 inch
spacing between each hole. Insert the 39 spokes. Weave an under base stand in the
following manner: First row, each spoke is brought back of next spoke to right and out in
front. Second row, each spoke is passed in front of next spoke to right and in back of
second spoke where it is cut off.
This base weaving should be uniform throughout so that the tray base may be
perfectly even. Stand the tray on a flat desk and see that each spoke touches the desk. For
the side of the tray weave one row of 4-rod wale and finish the ends in the usual way.
Insert one No. 4 weaver and weave nine rows around the tray. Introduce four
weavers and work one row of 4-rod coil. Finish the tray with the plaited border.
CHAPTER XI
SCRAP BASKETS
MODEL 55.—FIG 68
SMALL SCRAP BASKET (CHECKER DESIGN)
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FIG. 68
MATERIAL

Weavers No. 2 reed.
Weavers No. 4 reed.
Weave a base 5 3⁄ 4 inches. Insert 31 spokes and weave the sides 8 1⁄ 2 inches high, in
the following manner:
Turn the spokes up with two rows of triple twist No. 4 reed, then six rows of double
weaving in No. 2 reed. Change to blue No. 4 reed and make a coil of triple twist; then in
blue and white check weave sixteen rows. Follow this with one row of No. 4 blue reed in
triple twist. Change the reed to No. 2 natural and weave twelve rows in double weaving.
One row of blue No. 4 reed, triple twist, follows this, then sixteen rows of blue and white
check (2 checks) and one row of blue No. 4 reed in triple. Change the reed again and work
five rows double weaving in No. 2 reed. Follow this with two rows of triple twist and the
border described under Model 22.
Insert the ends of the handle well down amid the weaving and with No. 2 reed make
four coils around the handle.
MODEL 56.—FIG. 69
LARGE SCRAP BASKET (CHECKER DESIGN)
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FIG. 69
MATERIAL

Weave a base 7 1⁄ 2 inches. Insert 31 spokes and turn up with four rows of triple.
Weave twelve rows single weaving in No. 4 natural reed, then one row in triple twist, No.
4 blue reed. Seven checks in blue and natural follow this. Weave one row in triple with
No. 4 blue reed and twelve rows No. 4 natural.
Follow this with three rows of triple in No. 4 natural reed.
Complete the basket with plaited border described under Model 14.
MODEL 57.—FIG. 70
SCRAP BASKET IN OVAL REED
MATERIAL

Weavers No. 4 reed.
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Weave a base 6 inches. Insert 31

spokes. Pinch sharply and turn up with
three rows of triple No. 5 reed. In No. 5
oval reed make forty-six rows, placing the
weaver over 3 spokes and back of 2 spokes.
Carry this weave throughout the basket.
Finish with three rows of triple in No. 5
reed and the plaited border.
HANDLE
Make two rings for the ring handles
and fasten them to the sides of the basket.
FIG. 70
MODEL 58.—FIG. 71
RUSH SCRAP BASKET
FIG. 71
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MATERIAL

Weavers No. 5 reed.
Weavers braided rush.
Over an 8 spoke foundation, weave a base 7 1⁄ 2 inches in pairing, with No. 4 reed.
Insert 31 spokes No. 5 reed. Pinch sharply and turn the spokes upward with three
rows triple twist in No. 5 reed. In single weaving, weave twenty rows of braided rush.
Complete the sides with four rows of triple twist in No. 5 reed. The plaited border
completes the basket.
While weaving, the spokes should be held slantingly outward. Care should be
exercised not to spread the spokes outward too much as this will spoil the shape of basket.
The diameter at the top of the basket, when finished, should be twelve inches.
MODEL 59.
NO. 2 FLOWER BASKET
MATERIAL

Weavers No. 2 reed.
Weavers No. 3 reed.
Weavers No. 4 reed.
Weave a base in pairing, 3 3⁄ 4 inches. Turn sharply upward with three rows of triple
weave. Hold the spokes straight and weave, with No. 2 reed, three inches in pairing. Take
a strand of No. 3 reed and weave six rows. Begin the shaping of the basket by holding the
side spokes upright and bend the end spokes sharply down the outside of the basket.
Continue the weaving until sixteen more rows are woven.
Insert the 11 spokes, between the end spokes of the basket—5 spokes on one end and
6 on the other.
Weave eight rows of triple twist and the border described under Model 22.
Insert the handle spoke, down the side of the basket. In the coil twist, weave five
rows. Fasten the ends of the weavers securely.
MODEL 60.
NO. 3 FLOWER BASKET
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MATERIAL

Weavers No. 2 reed.
Weavers No. 4 reed.
Complete a base five inches. Insert 26 spokes and turn sharply with three rows of
triple weave. Hold the spoke straight upward, and make seventeen rows No. 2 reed,
weaving over two spokes and under one spoke. Introduce slew wale with two weavers.
Work twelve rows, over two spokes under one spoke.
Insert the 15 spokes, 8 at one end and 7 at the other end. Weave two rows of 3-rod
coil. Wet the spokes well and bend the end spokes down the outside of the basket. Hold
the spokes in this position during the rest of the weaving—that is, hold the side spokes
erect and the end spokes in a downward flare. Introduce two No. 2 weavers and make
fifteen rows in pairing. Open the end spokes and bend them down. Weave seven rows in
triple twist with No. 4 reed. Finish with the border described under Model 22.
Insert the 20 inch spoke for handle. Weave, in coil effect, four rows around the
handle. Fasten the handle securely to the basket.
CHAPTER XII
UTILITY BASKETS
MODEL 61.—FIG. 72
ARTISTIC BASKET WITH LID
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FIG. 72
MATERIAL

Weavers No. 4 reed.
Weavers No. 2 reed.
Make a bottom in the ordinary way, 5 1⁄ 2 inches. Insert the spokes, pinch, and make
an upsetting four rows in 3-rod coil. Hold the spokes in a slightly slanting outward
direction during the weaving of the basket. In plain weave, make 2 1⁄ 4 inches. Follow this
with four rows triple weave and the border described under Model 22.
LID
Arrange the spokes in position. In ribbon weave, work one row No. 00 reed. With
No. 1 reed, weave four rows in pairing. Hold the spokes to secure a curved center for lid.
Separate the spokes into groups of twos with five rows of pairing. Separate into single
spokes with two rows triple twist No. 2 reed. Holding the spokes in an outward position,
weave nine rows pairing. Wet the spokes and place the lid on a flat board or table. Press
the spokes flat on the board and weave two rows of No. 4 reed in triple twist. In plain
weave, work six rows. Complete the weaving with the following border: Turn the lid
upside down. Take each spoke back of next spoke to the right, bring it to the front of the
lid. Second row, each spoke is passed in front of next two spokes and back of the third
spoke, where it is cut off.
HANDLE
Make a ring 1 1⁄ 4 inches in diameter. Fasten it to the center of the lid by weaving the
ends in and out amid the weaving of lid.
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FIG. 73
FIG. 73
The base spokes of this “Knitting Basket” are of No. 4 reed. The inserted spokes are
of No. 3 reed, twenty-two inches long. The weavers are of No. 2 and No. 3 reed.
MODEL 62.—FIG. 74
MOTHER’S SEWING BASKET
FIG. 74
MATERIAL
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Weavers—No. 4 reed.
Weave a base seven inches in pairing. Insert the spokes, pinch, and turn with an
upsetting of four rows 3-rod coil. Bend and hold the spokes outward. Work four inches in
plain weave No. 4 reed. Wet the spokes, pinch and bend inward. Weave two inches plain
weave. Make four rows triple twist. Complete the basket with the following border: First
row, each group of spokes is brought back of the next group to the right and passed out to
the front. Second row, each group is passed over the next four groups, back of the fifth
group where it is cut off.
MODEL 63.—FIG. 75
LILY BASKET
FIG. 75
MATERIAL

Weavers No. 2 reed.
Weavers No. 4 reed.
With No. 1 reed, fasten the spokes with three rows of pairing. Separate into groups of
twos, with two rows of pairing. Separate into single groups, with two rows of pairing.
Insert two No. 4 weavers and work ten rows in pairing. This makes a 6 1⁄ 2 inch base.
Insert the spokes, two spokes each side of the base spokes. Turn up with an upsetting
of four rows of triple twist No. 4 reed. The spokes are double and carried double
throughout the basket. Hold the spokes so that the basket will slant outward. Weave four
inches in plain weave. Wet the spokes and pinch sharply. Bend the spokes inward. Work
one row in 3-rod coil. Follow this with fifteen rows in plain weave. Bending the spokes
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slightly upward, work five rows in triple weave. Cut off one spoke of each group.
Complete the basket with the border described under Model 22.
MODEL 64.—FIG. 76
SMALL BARREL SHAPED RUSH BASKET
FIG. 76
MATERIAL

Weavers No. 4 reed.
Weavers No. 5 reed.
Weavers braided rush.
Make a round bottom six inches in diameter. Insert the 31 spokes and make an
upsetting of six rows of 3-rod wale No. 5 reed. Throughout the basket, hold the spokes
equal distance apart; weave carefully and evenly.
Prepare the rush for weaving by soaking it in water until it is moist, or wet enough to
keep it from cracking. Do not try to weave the braided rush dry as it cracks easily. Slant
the spokes outward, introduce the rush and weave eight rows of simple weaving. Wet the
spokes well and bend them in. Have the rush moistened and weave six rows, drawing the
spokes in, to secure the rounded effect. Introduce three weavers of No. 4 reed, and work
five rows of 3-rod wale. Complete the basket with the following border:
First row, each spoke is carried back of the next two spokes to the right and out to
the front. Second row, each spoke is passed in front of the next two spokes to the right,
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and back of the third where it is cut off.
MODEL 65.—FIG. 77
LARGE RUSH SCRAP BASKET
FIG. 77
MATERIAL

Weavers No. 4 reed.
Weavers No. 5 reed.
Make a round base seven inches in diameter. Insert the 62 spokes, placing two spokes
each side of the base spokes. Weave two rows of triple twist. Turn the spokes sharply
upward, weave four rows of triple weave and eight rows of plain weave. Insert three
weavers and work two rows of triple.
Soak the rush a few minutes in cold water and with it work fourteen rows in single
weaving. Where any ends of rush are joined sew them carefully with fine raffia.
Insert three weavers and make seven rows in triple twist. Throughout the basket each
set of 2 spokes is treated as 1 spoke.
Do not cut any of the spokes off. Make a plaited border with the double spokes. The
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spokes should be held slantingly outward, while weaving, to obtain the desired shape.
MODEL 66.
OBLONG TRAY
This tray will not only be of use on the dressing table, but will add to its beauty and
daintiness; it also serves for an ideal comb and brush tray. Dimensions 9 1⁄ 2 inches by 6 1⁄ 4
inches.
MATERIAL

Weavers No. 2 reed.
Weavers No. 3 reed.
Place the 9 spokes in a horizontal position, equal distances apart; or if two pieces of
wood, nine inches long, are available, make 9 holes in each piece 3⁄ 4 inch apart. Through
these holes insert the nine 15 inch spokes. This holds the spokes in a firm position and
makes the weaving simpler.
Take two pieces of the 15 inch spokes and weave as 1 spoke, one row in simple
weaving. Now insert a strand of No. 2 reed and make eleven rows simple weaving,
working the first row under and over the same spokes as the two 15 inch spokes are
woven.
Weave one 15 inch spoke, weaving from right to left, under the first spoke and over
the second. Introduce a No. 2 weaver, and work eleven rows, beginning under the first
spoke and over the second. Weave another No. 4 spoke. Continue in this way, first one
No. 4 spoke, and then ten or eleven rows of No. 2 reed, until the thirteen pieces of No. 4
reed are woven. Both ends of the tray should have two No. 4 spokes woven as one. The
weaving should now measure 9 inches by 6 inches.
Weave one row of triple twist around the tray. Wet and turn both end and side
spokes sharply upward. Make an upset of three rows of triple.
With the spokes moist, weave the following border:
First row, each spoke is brought back of the next spoke to the right and out to the
front.
Second row, each spoke is passed in front of next three spokes to the right and back
of the fourth where it is cut off.
MODEL 67.
UTILITY BASKET
MATERIAL
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Weavers No. 2 reed.
Weavers No. 4 reed.
Work a base 6 1⁄ 2 inches in the usual way. Insert the 31 spokes and make an upset of
three rows of triple twist. Work nine rows of double weaving No. 2 reed. Introduce three
weavers and make two rows of triple. With No. 2 reed, work nine rows more in double
weaving. Follow this with two rows of No. 4 reed in triple, twelve rows double, three rows
triple, twelve rows pairing No. 4 reed and seven rows No. 4 reed in 4-rod coil.
Complete the basket with the border described under Model 22.
The basket is enameled in white and gold and makes a very pretty effect. The base
border and the top of the base are painted in gold.
MODEL 68.—FIG. 78
SCRAP BASKET (OPEN WORK)
FIG. 78
MATERIAL
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Weavers No. 4 reed.
Weavers No. 5 reed.
Make a base 8 1⁄ 2 inches in double weaving No. 4 reed. Insert the 31 29-inch spokes.
Turn sharply upward and make one row of 3-rod coil. Insert the 31 15-inch spokes and
work three rows of triple twist. The spokes are now double and should be held straight.
Make eight rows double weaving and four rows in triple. Leave one inch space open. Find
the middle of a long weaver, place it around one of the double spokes and weave seven
rows in pairing.
Now separate the double spokes into single spokes with two rows triple twist. Leave
another inch of open space in the basket. Take the middle of another weaver and, holding
the spokes double again, weave four rows in pairing.
Leave an open space of two inches. Weave three rows of pairing. Number the groups
1, 2, 3, 4, 5.
Hold the second spoke of No. 1 group straight. Cross the first spoke of No. 3 group
over the second spoke of No. 2 group, and place it by the side of No. 1 group, where it is
held in this position by placing the middle of a weaver around it, and drawing one end of
the weaver to the inside of the basket, the other end to the outside of basket. Hold the
second spoke of No. 2 group straight, cross the first spoke of No. 4 group over the second
spoke of No. 3 group and place it by the side of the second spoke of No. 2 group. This is
held in position by another twist of pairing. Take the first spoke of No. 5 group, cross it
over second spoke of No. 4 group, and place it in position by the side of second spoke of
No. 3 group, where it is held in position by a twist of pairing. Weave one row of pairing
around the basket holding the spokes in this position. The second spoke of each group is
held straight, while the first spoke of the third group to the right is crossed over the second
group and placed by the side of the first group, where it is held in position by pairing. Two
more rows of pairing are woven holding the double spokes side by side. Follow this with
three rows of 4-rod coil.
The basket is finished with border described under Model 22.
Make ring handles and place in position on opposite sides of basket.
MODEL 69.—FIG. 79
FANCY SCRAP BASKET
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FIG. 79
MATERIAL

Weavers No. 4 reed.
Work a base 6 1⁄ 2 inches. Insert the spokes and make an upset of four rows 3-rod coil.
The basket is worked with double side spokes. Hold the spokes straight and weave
twenty-nine rows in plain weave. Bend the spokes slightly outward. Weave two rows
3-rod coil, seventeen rows single, two rows 3-rod coil, sixteen rows single and five rows
triple twist.
The plaited border completes the weaving of the basket.
Make ring handles and fasten on opposite sides of basket.
MODEL 70.—FIG. 80
ARTISTIC SCRAP BASKET
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FIG. 80
This basket is first made, then enameled in white with suggestions of gold.
MATERIAL

Weavers No. 4 reed.
Weavers No. 5 reed.
In the ordinary way work a round base seven inches in diameter. Insert the 33
spokes. Make an upset of four rows 3-rod coil. Weave ten rows plain weave, eight rows
double, and twelve rows pairing. Introduce three weavers and work three rows 3-rod coil.
The following design is worked in the basket on opposite sides: Number the spokes 1 to
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33. The design is inserted between the spokes Nos. 11 to 17 (eleven to seventeen)
inclusive, and between the spokes Nos. 27 to 33 (twenty-seven to thirty-three) inclusive.
Insert a weaver back of any spoke, which may be called No. 1 spoke, and work one row
around the basket in plain weave. In the second and third rows, between the spokes Nos.
11 to 17 (eleven to seventeen) and Nos. 27 to 33 (twenty-seven to thirty-three) the weaver
should pass back and in front of the same spokes as in No. 1 row. That is, in the first three
rows the weaver should pass back of Nos. 11, 13, 15, 17 spokes, in front of Nos. 12, 14,
16 spokes, back of Nos. 27, 29, 31, 33 spokes, in front of Nos. 28, 30, 32 spokes. In the
fourth, fifth and sixth rows the weaver passes back of Nos. 12, 14, 16 spokes, front of
Nos. 13, 15 spokes, back of Nos. 28, 30, 32 spokes, in front of Nos. 29, 31 spokes. In the
seventh, eighth and ninth rows the weaver passes back of Nos. 13, 15 spokes, in front of
No. 14 spoke, back of Nos. 29, 31 spokes, in front of No. 30 spoke. The tenth, eleventh
and twelfth rows of weaving pass over and under the same spokes as the fourth, fifth and
sixth rows. Likewise the thirteenth, fourteenth and fifteenth rows correspond to first,
second and third rows, which complete the design.
Between Nos. 1 to 10 spokes and Nos. 18 to 26 spokes, the weaving is the simple
over and under weave. Owing to insertion of design it is sometimes necessary to pass the
weaver back of two spokes to get the correct weave. Follow the fifteen rows of weaving
with three rows of triple twist. Bend the spokes inward while making the triple twist.
Holding the spokes in the same position work twenty rows plain weave. Follow this with
five rows triple twist. Complete the basket with the border under Model 14.
MODEL 71.—FIG. 81
FATHER’S WASTE PAPER BASKET
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FIG. 81
MATERIAL

Weavers No. 4 reed.
Weavers No. 5 reed.
Make a seven inch base No. 4 reed. Insert the 31 spokes and turn up with five rows
of upsetting No. 5 reed. Weave fifteen rows single weaving. Insert four weavers and work
four rows, each weaver passing in front of three spokes and back of one spoke. From the
beginning hold the spokes outward. In plain weave, work twenty-six rows. Wet the spokes
well now and bend them in. Introduce three weavers and work three rows of triple twist.
Drop two weavers and work eleven rows in plain weaving. The weaver should be drawn
tightly from now on. Weave two rows in 3-rod coil. Drop two weavers and work sixteen
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rows in plain weaving. Wet the spokes again and with the plier press the spokes well and
bend them outward for a slight flare. Work seventeen rows in plain weave. Bend the
spokes down and make three rows of triple twist No. 5 reed. Finish with the following
border:
First row, place each spoke back of the next spoke to the right.
Second row, carry each spoke over the next 3 spokes and down to the outside of
basket where it rests under the fourth spoke. Cut off the ends sharply.
CHAPTER XIII
A FEW WORDS ON DYEING
The art of dyeing has been of interest to the peoples of all nations and in all ages.
History shows us that just so soon as man’s covering or clothing, the furs and skins of
animals, was discarded for wool, linen or cotton materials, just so soon was the desire or
want for colors made manifest. Man began the study of coloring, of staining and dyeing;
he experimented, and in his new need he worked to reproduce the reds, the purples, the
blues and the yellows of nature’s exquisite canvas, with what success and failure we have
a fair knowledge.
Nothing appeared too small or too unimportant to put in use in order to gain the
desired results. Vegetables, fruits, plants, barks of trees and sometimes ludicrous mixtures
were part of the workings for this purpose, all of which did meet with rewards—for dyes
and beautiful colors were discovered.
From the plant indigoferae was obtained a blue stain, known as indigo. Specimens of
dyeing found in the Egyptian tombs show examples of indigo dye. This plant (indigoferae)
grows and is industriously and profitably cultivated in South America and India. It was
imported by the Romans from India, getting its name from that country. Two other
important dyestuffs discovered in the early ages were saffron, which gives yellow shades,
and madder-root, or to be more specific, the roots of madder, which produces brown and
purple shades.
Thus was obtained and supplied the blue dye from vegetable or plant life; and from
animal life came the most beautiful red dyes.
Cochineal, lac and kermes better known as “grain colors” and called so because of
their general resemblance to grain, are really the dried bodies of insects, minute in size,
called “cocci” berries, which lived and thrived on certain kinds of bushes and trees and
which, after months of care, were taken from their berths and dried.
These dyestuffs, used of course with a mordant, produce beautiful shades, which are
fast to water and light.
Perhaps no greater nor more remarkable changes have been made in any industry
than in that of dyeing, for, the saving of labor, energy, time and money by the use of
modern chemical agencies is of a magnitude not easily appreciable. New ways have
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completely supplanted the old. This revolution was due to the accidental discovery of
mauveine by Sir William Henry Perkin, who by this and his later experiments enriched the
world with one of its most important discoveries. After his discoveries became known
great factories sprang up throughout Europe manufacturing coal-tar dyestuffs, shortly
producing the “Basic dyes.” Perkin’s discovery served as a stimulus to other chemists,
who, working unceasingly, soon produced quantities of dyestuffs, which are designated as
“Aniline Colors.”
Though progress has been made and the discoveries have simplified greatly the
processes of dyeing, this does not mean that experimenting has ceased. By no means.
Today interested and enthusiastic workers are anxiously and patiently experimenting, and
hoping to find something new; perhaps they will, or it may be you, who, through your
experimenting, will uncover to the world a new wonderful dyestuff.
In preparing raffia for work, take care to shake it well. You will find that the best and
easiest way to make it take the dye will be to soak it over night. If this is not practicable
then soak it at least three hours. Dissolve the dye in vinegar—the dye bath should be
warm.
The “Basic Colors” will give satisfaction, but I would suggest in cases where a great
deal of work is to be done that the fast acid colors be used.
The color work in basketry plays a very important part as well as a fascinating one.
There are numerous ways in which a basket or tray may be touched up, giving a charm to
it that is most pleasing to the eye and attractive to the craftsman.
The entire basket may be made first, and then either dipped, allowed to stand in the
dye a few minutes, or boiled five to thirty minutes; it may be painted with Easy dye,
stained with any desirable furniture stain, varnished and waxed up. The basket may be
finished off by using either fine sandpaper, or powdered pumice stone, but in finishing
colored baskets, it will be found that singeing will be the most successful method.
Again to have a contrasting color with the natural or two tints of the same color, the
reed should be dyed first and then the desired effect worked out.
In dyeing reed allow it to soak in a mordant for two hours. This opens the pores and
makes the dye a permanent part of the basket. Three ounces of alum to one quart of water
makes a good mordant for many vegetable dyes.
Beautiful shades of brown, green, blue and red may be obtained by using logwood,
indigo, fustic, cutch, madder, cochineal, and copperas. A very pleasing finish is secured by
painting or staining the article with Light Oil Finish, combining it with turpentine in
whatever proportion desired. Malachite green stain used with turpentine and Light Oil
Finish make a very attractive pale green. The alert basket maker, who desires to
experiment, must be on the watch in the autumn for natural dyeing material. The leaves
and flowers of plants, the bark of trees, berries, etc., may be used most successfully in
obtaining very desirable dye, and with patience and care beautiful and delicate shades may
be obtained from vegetable dyes.
The following recipes may be used for vegetable dyeing:
Brown
Dissolve two teaspoonfuls of madder in one quart of water. Allow the reed to soak in
it five hours.
Yellow Brown No. 1
Soak the reed for several hours in logwood extract—obtained by boiling logwood
96 of 103 1/28/2012 2:11 AM

chips in water twenty minutes.

Yellow Brown No. 2
Mix in a quart of water two tablespoonfuls of cutch extract, adding one and a half
tablespoonfuls of fustic. Boil the reed in this solution for two hours, but test.
Olive Brown No. 1
Dissolve two tablespoonfuls of cutch, two tablespoonfuls of fustic, and one-half
spoonful of logwood in a quart of water. Boil the reed two hours in this composition.
Olive Brown No. 2
Boil the material several hours in a composition of one and one-half pounds of walnut
bark, five teaspoonfuls of washing soda and one-half cup of rock alum.
Yellow No. 1
A good yellow can be obtained by experimenting with smartweed.
Yellow No. 2
Mordant the reed in a solution of alum, and boil it in an extract of fustic, a half hour.
Green
Mordant the reed in a solution of alum and water, and then dye it in the solution
composition—three teaspoonfuls of indigo, a small crystal of copperas, and three pints of
water. After the material is removed and washed dip it in a solution of bark extract and
water.
Olive Green
Mordant the reed in a solution of two teaspoonfuls of copperas in one quart of water.
Boil the reed then in the following solution: To three teaspoonfuls of bark extract in a
quart of water, add a half teaspoonful of indigo and a small quantity of logwood.
Indian Red
Dissolve in about a quart of boiling water two tablespoonfuls of cutch extract and a
small crystal of blue-stone. Boil the material in this solution until the desired color is
obtained.
END
TRANSCRIBER’S AMENDMENTS
Transcriber’s Note: Blank pages have been deleted. Some illustrations may have been
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can be determined, we have rendered consistent on a per-word-pair basis the hyphenation
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Page Change
vii 20. HEAVY BORDER 37[69]

42 the nautral[natural] color and then
127 glass should be indentical[identical] in
167 [END]
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The Project Gutenberg eBook of Practical Basketry, by Anna A. Gill. http://www.gutenberg.org/files/38681/38681-h/38681-h.

Title: Practical Basketry

Author: Anna A. Gill

Release Date: January 27, 2012 [EBook #38681]

Character set encoding: UTF-8

*** START OF THIS PROJECT GUTENBERG EBOOK PRACTICAL BASKETRY ***

Produced by Karl Eichwalder, Stephen Hope, Henry Gardiner

Transcriber’s Note: The original publication has been

The text conforms to changes in window size.

1 of 103 1/28/2012 2:11 AM

TEACHER OF ORTHOGENIC CLASS, KENDERTON SCHOOL,

DRAWINGS BY THE AUTHOR

604-608 SOUTH W ASHINGTON SQUARE

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THE FIRST LESSON, WEAVES 25

WEAVING BEGUN—MATS, BORDERS, SMALL BASKETS (MODELS 1-9) 37

SEPARATE BOTTOM BASKETS (MODELS 9-16) 51

HANDLES AND LIDS (MODELS 17-22) 65

HANGING BASKETS (MODELS 23-28) 77

FLOWER RECEPTACLES (MODELS 29-34) 89

OVAL BASKETS (MODELS 35-41) 99

3 of 103 1/28/2012 2:11 AM

TRAYS (MODELS 42-46) 111

FRUIT BASKET TRAYS (MODELS 47-54) 121

SCRAP BASKETS (MODELS 55-60) 133

UTILITY BASKETS (MODELS 61-71) 143

A FEW WORDS ON DYEING 161

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62. NO. 1 SANDWICH TRAY 115

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baskets, 8 and 10 for handle foundations.

THE FIRST LESSON

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DIAGRAM NO. 1.—SIMPLE WEAVING

DIAGRAM NO. 2.—DOUBLE WEAVING

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DIAGRAM NO. 3.—PAIRING

DIAGRAM NO. 4.—DOUBLE PAIRING

DIAGRAM NO. 5.—TWO AND ONE WEAVE

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DIAGRAM NO. 6.—THREE AND TWO WEAVE

DIAGRAM NO. 7.—TRIPLE TWIST OR THREE-ROD COIL

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DIAGRAM NO. 8.—FOUR-ROD COIL

DIAGRAM NO. 9.—FIVE-ROD COIL

DIAGRAM NO. 10.—SLEWING

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DIAGRAM NO. 11.—SIXTEEN-SPOKE CENTER

DIAGRAM NO. 12.—A SPLIT SPOKE

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DIAGRAM NO. 13.—JOINING WEAVERS

MAT WITH OPEN BORDER

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6 spokes No. 4 reed, 19 inches.

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* START OF THIS PROJECT GUTENBERG EBOOK PRACTICAL BASKETRY *