47 files changed, 2708 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..d7b82bc
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,4 @@
+*.txt text eol=lf
+*.htm text eol=lf
+*.html text eol=lf
+*.md text eol=lf
diff --git a/75361-0.txt b/75361-0.txt
new file mode 100644
index 0000000..2fff9e3
--- /dev/null
+++ b/75361-0.txt
@@ -0,0 +1,1173 @@
+
+*** START OF THE PROJECT GUTENBERG EBOOK 75361 ***
+
+
+
+
+
+                            The Basket Maker
+
+
+                          LUTHER WESTON TURNER
+                      Director of Manual Training
+                            The Hill School
+                        Pottstown, Pennsylvania
+
+[Illustration: [Icon]]
+
+                              Published by
+                            THE DAVIS PRESS
+                            Worcester, Mass.
+
+                  Reprinted from The School Arts Book
+
+
+
+
+                             Copyrighted by
+                            THE DAVIS PRESS
+                               Worcester
+                                  1909
+
+
+
+
+                                BASKETRY
+
+
+Basketry has been called one of the fads of the newest education. It was
+one of the essentials of the oldest education. Basketry still holds a
+commanding position among the arts of men, even in countries called
+highly civilized. Its place in schools is still somewhat in dispute, but
+unquestionably it offers to children a clean and educative handicraft.
+Properly taught, it vitalizes certain periods in history, fosters motor
+control, develops judgment and taste, and familiarizes the pupil with
+one of the ancient and honorable occupations of mankind.
+
+Mr. Turner knows his subject thoroughly, having tramped with Indians for
+materials, worked with Indians for processes, practised with pupils for
+methods, and studied with specialists for tasteful results. The chapters
+of this booklet appeared first as illustrated articles in The School
+Arts Book, beginning in April 1905. The demand for them has been so
+great that the supply of magazines is exhausted, and this reprint is
+made to meet what is evidently a wide-spread demand for first class
+instruction in the basic principles of this important kind of manual
+art.
+
+                                                     HENRY TURNER BAILEY
+
+
+
+
+                            THE BASKET MAKER
+
+
+
+
+                          I. INTRODUCTORY WORK
+
+
+[Illustration]
+
+The fruition of thought is expression. Thought along the lines of manual
+training is susceptible of expression in many ways and through many
+mediums. The expression of thought through wood and iron necessitates a
+more or less elaborate equipment of tools, and for this reason those
+mediums of expression are denied younger pupils. But the expression of
+thought through basketry, requires almost no tools (a knife and scratch
+awl), has variety as to form and color and almost unlimited
+possibilities in design.
+
+It is my aim in this booklet to give in simple English and with
+illustrations which may be comprehended by the youngest pupil, the
+results of my thought and teaching of basketry.
+
+I believe the poor results seen in many places are due to poor teaching.
+Teachers are not, as a rule, insistent enough at the beginning. Good
+results can only be secured by close attention to basic details. A pupil
+should not be allowed to progress who cannot make the bottom of a basket
+and have it strong and closely woven. He must understand that no basket
+can be firmly made unless its foundation is right.
+
+The ordinary pupil is, and should be, an animated question mark. “Why?”
+“What for?” and “What makes it do that?” are the ever recurring
+questions. “Why do you have to have an odd number of spokes with a
+single weaver?” was the first question asked in the class this year.
+
+In order to answer this and many other questions which arise, I have
+found it necessary to devise some means by which a verbal explanation
+can be demonstrated to the satisfaction of the dullest pupil. The device
+is a small piece of board, any size and thickness, on which a circle of
+any size is drawn. The circumference of this circle is divided off into
+spaces about ⅝ of an inch apart, and holes are bored, into which pieces
+of willow or reed are inserted, Fig. 1. The spacing would better not be
+equal, as one hole is to contain a peg which may be taken out in order
+to get an odd or an even number of uprights. By this device a pupil can
+answer his own question, and discover much about different weaves. The
+uprights will hereafter be known as stakes. Figure 2 shows the single
+weave with an odd number of stakes. Figure 3 shows the same with an even
+number. Figure 4 shows the Indian method of weaving with a single weaver
+and an even number of stakes. When the weaver gets around to where it
+started, it is passed behind two stakes, and the weaving is continued as
+before, the weaver passing behind the next two stakes on each course.
+
+The illustrative weaving in this chapter is done in colors, in order
+that the course of one weaver may be followed more easily, and also to
+suggest from the beginning the possibilities of design and decoration by
+the use of a combination of plain and colored weavers.[1] If the
+essential elements of construction, (the stakes and weavers) are used as
+decorative features wherever possible, much of the trouble about
+decoration and design in basketry will be done away with.
+
+Footnote 1:
+
+  Mr. Chas. E. Mather, Braggville, Mass., has the finest variety of
+  colors for weavers which I have as yet found. Both the aniline and
+  vegetable colors do not run while working and they both seem to be
+  permanent.
+
+[Illustration]
+
+Figure 5 shows a decorative feature made possible by the use of a single
+weaver and an even number of stakes. At A may be seen the method of
+changing from one course to another. Either two, three, or four rows may
+be woven before changing courses, and as many courses may be woven as
+the design of the basket may require. This of course is left to the
+judgment of the pupil or teacher.
+
+Figure 6 shows the double or pairing weave (_i. e._ weaving with two
+weavers) and Figure 7 suggests the possibilities in decoration, when one
+weaver is colored and an even number of stakes are used.
+
+Figure 8 shows the design when the pairing weave is used with an odd
+number of spokes and also the method of joining weaves in either double,
+triple or quadruple weaving. The end of the new weaver is inserted
+behind and beside the end of the one already woven in, and the weaving
+continues as if the weavers were continuous. The end of the old weaver
+can then be cut off flush with the outside of the basket, and the end of
+the new one flush with the inside.
+
+In weaving with two, three, or four weavers the left hand one of the
+group is always known as the rear weaver and the right hand one as the
+forward weaver, and weaving is always done from left to right except in
+cases of special design. Such cases will be spoken of in a later
+chapter.
+
+Figure 9 shows the starting of the triple weave. Three weavers are put
+behind three consecutive stakes and project toward the right. The rear
+one goes over the other two and in front of two stakes, behind one
+stake, and out between the next pair of stakes to the right of the
+forward weaver. The one that was the middle weaver now becomes the rear
+one, and it in turn is treated as the other rear one was. This process
+is continued as long as triple weaving is needed. Always be sure to take
+the rear weaver and have it come out between the pair of stakes to the
+right of the forward weaver.
+
+Decorative features of triple weaving follow: Figure 10 shows the result
+when one colored weaver and two natural ones are used and the number of
+weavers (3) is equally divisible into the number of stakes. Each color
+forms in a vertical stripe. Using two colored and one natural weaver
+gives the same result but with a different proportion of color.
+
+[Illustration]
+
+Figure 11 shows the result when the number of stakes is divisible by the
+number of weavers with a remainder of one. This gives the variegated
+effect outside and the spiral effect inside.
+
+Figure 12 shows the result when the number of stakes is divisible by the
+number of weavers with a remainder of two. This gives the variegated
+effect inside and the spiral effect outside.
+
+Figure 13 shows the starting of the quadruple weave. With the decorative
+features already shown in other weaves, each student can find out for
+himself the possibilities of this weave by varying the ratio of the
+stakes to the weavers and by using either one, two, or three colored
+weavers.
+
+[Illustration]
+
+In the next chapter I will give a detailed description of the
+construction of several mats which embody some of the ideas here
+presented, and shown in the group picture, Fig. 14.
+
+
+
+
+                        II. WEAVING FOUNDATIONS
+
+
+[Illustration]
+
+The one great aim of manual training is to combine judgment, a purely
+mental function, and execution, a purely physical one. There seems to be
+no work so efficient in combining the two from the beginning as
+basketry. The material varies so in texture that care and judgment are
+required in its manipulation, and so few tools are used that the hand
+must do all or a greater part of the work.
+
+In all teaching the “character of work” should be emphasized rather than
+the intrinsic value of that which is produced by work. The aim should be
+to have work complete in all its parts, relatively perfect[2] as to
+beauty of design and workmanship, and finished, in so far as the
+completed work coming from the pupil can show his intention and evince
+careful and diligent work.
+
+Footnote 2:
+
+  I say “relatively perfect” feeling that while there is nothing
+  absolutely perfect possible to the hand of man, the term may be used
+  relatively for whatever makes the nearest approach to perfection.
+
+In manual training work the procedure should be from the simple to the
+complex. The teacher should never hurry the different stages of the work
+faster than the young mind can go. The pupil must comprehend each step.
+Let the motto be “Not How much, but How well.”
+
+In order to make use of the features of weaving spoken of in the first
+chapter it will be necessary to have a simple problem on which to work.
+Mats of various sizes are useful, may be made beautiful, and as they
+embody all the constructive features found in the bottom of a basket,
+may well be taken as the first problem.
+
+The foundation pieces on which the weaving of a mat or the bottom of a
+basket is done are known as spokes because during the weaving, they
+radiate from a common center like the spokes of a wheel.
+
+[Illustration]
+
+A finished mat of the simplest construction is shown in Figure 1, A. For
+this we use an odd number of spokes and a single weaver. The material
+required is as follows: Four pieces of No. 3 reed 12 inches long, one
+piece 7 inches long and a weaver of No. 2 reed. These are held together
+in the left hand and grouped as shown in Figure 2.
+
+The short odd one is between the upper end of the two vertical ones and
+the horizontal pair is behind the vertical group. This brings the three
+vertical spokes above, and in front of the horizontal pair. The weaver
+of No. 2 reed is placed as shown, Figure 2, behind the vertical group
+and along the top of the horizontal pair with its right hand end
+projecting about ¾ of an inch to the right of the vertical group.
+
+[Illustration]
+
+The weaver is then brought to the right in front of the vertical group,
+back and down behind the horizontal group, thereby binding its own end
+to the spokes. (Figure 3, A, shows the exact position of the weaver at
+this stage.)
+
+It next comes to the left in front of the vertical and below the
+horizontal group, and up behind the horizontal group to the position
+from which it first started. It now follows the same course once more
+until it has been around the group twice as shown in Figure 3, B: but
+the next time instead of coming down across the horizontal spokes as
+shown in that figure, the spokes are separated and the under and over
+weaving commences as seen in Figure 4.
+
+The left hand does the holding and the right hand the weaving. Be sure
+to hold the spokes out straight as the weaving is done around them in
+order that the weaver may be made to conform to the spokes, and not the
+spokes to the weaver as shown in Figure 5, A. Figure 5, B, shows the
+correct method. The spokes are approximately in the same horizontal
+plane.
+
+[Illustration]
+
+When the spokes are all the same distance apart at the weaving, hold the
+mat down on a flat surface, Fig. 6, and continue the weaving until it is
+3 inches in diameter. Figure 6 illustrates the correct position of the
+hands when holding the work down on a surface. Hold the spokes down with
+the left hand and weave with the right. This figure illustrates the
+weaving of a much larger mat but the principle is exactly the same. If
+one weaver is too short to bring the weaving to the desired size, join
+the weavers as shown in Figure 3, D, and continue the weaving as though
+the weaver were continuous, being careful to keep the weaving close
+together with the left hand each time it goes over and under a spoke.
+
+[Illustration]
+
+Right at this point insist upon the pupils’ going slowly and weaving
+closely. The later satisfaction of knowing how to weave correctly will
+more than offset any discouragement at not seeming able to produce great
+results at once.
+
+[Illustration]
+
+Next cut off the weaver long enough to go a little more than once around
+the circumference and overcast the weaving in the following manner: As
+the weaver comes from behind a spoke, put it over the next spoke to the
+right and through the last row of weaving just before it gets to the
+following spoke. It then goes behind that spoke, over the next and
+through the weaving, as before, just before it gets to the next spoke.
+
+Figure 7 shows one stitch of overcasting and the second stitch just
+ready to be pulled through. This process continues once around, when the
+weaver is cut off on the back side of the last spoke as shown in Figure
+1, B. Finish the mat with an open border, Figure 8, A, by turning in the
+ends of the spokes.
+
+[Illustration]
+
+Figure 8 shows another “device” to illustrate the construction of some
+simple open borders. These may be woven left-handed or right handed as
+is most convenient. In “A” one spoke goes in front of the next and
+inserts just before it gets to the third. In “B” one goes in front of
+two and inserts just before it gets to the fourth. In “C” one goes in
+front of three and inserts just before it gets to the fifth. In “D,” in
+front of four and just before the sixth. Judgment is required to get the
+right sized loop. The length of spoke required after overcasting can be
+found by trial. All spokes must be cut the same length, sharpened, and
+inserted equally. In these borders if the spokes are approximately an
+inch apart “A” will require about 2¾ inches outside of the overcasting,
+“B” about 4¼ inches, “C” 5½ to 6½ inches, and “D” 6½ to 8½ inches. These
+lengths allow for insertion.
+
+In Figure 3, A, B, and C illustrate another method of starting a center
+with one weaver. In this case two pieces are split in the center and the
+other two are put through them with the odd one inserted as shown at A.
+The weaving proceeds as by the first method until two courses are woven
+when, instead of separating the three spokes and beginning the single
+weaving, the weaver is reversed as shown at B and two courses are woven
+the other way. The separation into singles then begins as at C. This
+method of splitting half of the spokes and putting the others through
+them is the better method of the two as it is the less difficult to hold
+the group while the first two rows are woven.
+
+[Illustration]
+
+Figure 1, B, shows a mat the center of which was started by the second
+method. The spokes are of No. 4 reed and the weavers of No. 3. Four
+spokes are 12½ inches long and one, 7½ inches. The border is illustrated
+at A, Figure 8. The weaving was 3¼ inches in diameter before
+overcasting.
+
+Figure 9 shows the method of starting a center with the pairing weave.
+At A three pieces pass through two pieces giving ten spokes. At B three
+going through three give twelve spokes. The split pieces are held
+horizontally, and the weaver, doubled in the middle, is started around
+the vertical group above the horizontal ones as shown at A; one end
+being in front of the other behind the vertical group, thus forming the
+two weavers. The front weaver then comes to the right across the
+vertical group, and down behind the horizontal group. The rear one goes
+to the right across the back of the vertical group and down in front of
+the horizontal group. (B shows the weaving at this stage.) The whole
+group of spokes is now revolved from right to left until the horizontal
+group becomes vertical, C, and the weaving proceeds as before, holding
+the work with the left hand, weaving with the right, and revolving so
+that a vertical group is woven over each time. Notice that the
+revolution is from right to left and weaving from left to right. In the
+illustrated weaving, spokes of No. 4 reed are used and a weaver of No. 2
+reed.[3]
+
+Footnote 3:
+
+  It is wise to have the reed for the spokes and stakes two sizes larger
+  than the weaver except in cases where the bottom is less than three
+  inches in diameter, when a difference of one size is sufficient.
+
+When three pieces cross three pieces it is necessary to go around the
+groups three times before separating into singles, Fig. 9, D. As soon as
+it is possible after separating, get the spokes the same distance apart
+at the weaving. If they are spread apart as at E, this can be done in
+two courses and single weaving can be commenced. Take the rear weaver
+and bring it over one spoke and under the next, and so on once around
+until coming to the other weaver. F shows it at this stage. Notice that
+when a course is woven once around, the weaver comes outside of the
+other weaver and stops. The inside one now weaves around until it comes
+to the same position, with reference to the first one, that the first
+one held to it. Continue to weave first one and then the other, each as
+in single weaving, until the desired diameter is reached. Overcast as
+shown in Figure 10. The weavers are stopped on opposite sides of the
+weaving, A, and the top one is overcast to the other, B. The lower one
+is then overcast until it comes opposite to where the other overcasting
+stopped, C. Weavers can then be cut off on the back side of the weaving.
+If the bottom of the basket is to be woven, it must be crowned slightly,
+and the weaving may be done over the knee, as shown in Figure
+#11:di_011. (See initial.) This figure also shows the correct method of
+holding the hands when weaving either a bottom or a small mat.
+
+[Illustration]
+
+[Illustration]
+
+Figure 12 shows the method of starting a sixteen spoke center. Four
+pieces cross four pieces, and two rows of pairing are woven around the
+groups of fours before they are separated into twos, A. Two rows are
+then woven around the pairs before separating them into singles, B. When
+the desired diameter is woven, overcast as shown in Figure 10.
+
+Figure 12, C, shows the method of weaving a center having 20 spokes.
+Here five cross five. Three rows of pairing are woven around the groups
+of fives and then a pair is separated from each side of the center one
+of each group, forming eight pairs and four single spokes. These are
+woven around twice and then separated into singles. C shows the work
+just before the separation into singles.
+
+The large mat, Fig. 1, C, with open border is made as follows: Cut 10
+pieces of No. 5 reed 23 inches long. Split five in the center and put
+five through them. Weave center 2½ inches in diameter, as described in
+Figure 12, C, with a No. 2 weaver. Cut off the weavers on opposite
+sides, Fig. 10, A, and start with 2 No. 3 weavers, weaving until the
+work is 4½ inches in diameter. Notice in Figure 6 how the left hand
+holds the work down to the surface and the right hand does the weaving.
+When the weaving is 4½ inches in diameter stop the weaving as before and
+insert two colored weavers, weaving four rows, two on each side of the
+spokes. Then start the natural weavers again and weave until the weaving
+is seven inches in diameter. Overcast as shown in Figure 10 and finish
+the edge as in C, Fig. 8. Spokes want to be about 7¾ inches long outside
+of the overcasting and must be sharpened on the end and inserted about
+1¾ inches into the weaving.
+
+Whenever the word “about” is used the subject requires the personal
+judgment of the one doing the work. If there is any difference in the
+texture of the reeds, always select the hardest ones for the spokes and
+use the softest ones for weaving.
+
+
+
+
+                               III. MATS
+
+
+This chapter contains all that will be said, in this booklet, about
+mats. But let me say,—“Not half has been told” of the designs which
+might be woven into mats and basket covers. Read over the first chapters
+on weaving and then see how many designs can be thought out by one who
+does some thinking for himself.
+
+Figure 1 shows six mats. A and B are the same diameter, of equally good
+workmanship, and are woven with the same kind of weaving. So are C and
+D. To be critical, A lacks color. It is supplied in B. The spirals in C
+seem to be “in the air,” neither starting from anything nor ending
+anywhere. In D this is overcome by starting them from a band of color
+and having them die into a similar band, thus giving unity to the whole
+design. Woven bands in poor proportion are worse than plain weaving.
+Just enough color must be added in the right place to give proper tone
+and balance.
+
+Figure 2 shows another device for illustrating work. This gives the
+construction of closed borders. The four illustrated are the simplest
+which can be made. In weaving them around the edge of a mat the weaving
+is started either at the top or right hand side and continued around in
+the direction of the movement of the hands of a clock. When using these
+borders on a basket the weaving is started on the side nearest to you
+and continues from left to right, while the basket itself is moved from
+right to left. In A and B the left hand figure shows the starting of the
+first row of the weaving and the right hand figure the finished row.
+
+[Illustration]
+
+Let us suppose the left hand spoke in each case is No. 1 and that the
+others follow to the right in order. In A, No. 1 goes behind No. 2 and
+out; No. 2 behind No. 3 and out; and so on around the circumference, the
+last spoke going behind No. 1 and out of the loop left by it in going
+behind No. 2. Pull all ends tightly to the right, finishing the first
+row as at A, (left). For the second row, start with any spoke, put it in
+front of the next to the right and through the loop, into the inside of
+the basket just before getting to the next spoke. A (right) shows a
+portion of the finished border. The ends of the spokes are next cut off
+just inside of the border and close to it. In B, in the first row each
+spoke goes to the right behind two and out. In the next row in front of
+two and through to the inside just before getting to the next. In the
+first row of C, each goes behind one and out and in the second row, in
+front of two and to the inside. In D, each goes behind two and out in
+the first row, and in front of three and in, in the second row. If the
+spokes are approximately one inch apart A will take 3½ inches outside of
+overcasting, B 5½ inches, C 4½ inches, and D 6½ inches.
+
+[Illustration]
+
+Mat B, Fig. 1, is made as follows: For material—Eight pieces of No. 5
+rattan 17½ inches long and some No. 2 natural and colored weavers. Split
+four of the No. 5 pieces and put the other four through them.
+
+The center is started with a colored weaver, as shown at E, Fig. 3.
+Double the weaver near its center and put the loop back of the
+horizontal group and to the left of the vertical group, having one
+weaver come to the front above the horizontal group and the other to the
+front below it. Bring the lower one to the right and up diagonally
+across the vertical group, and then down behind the horizontal group and
+to the front. Then bring the upper one to the right, diagonally across
+the vertical group, and to the left behind the vertical group below the
+horizontal. This will bring the weavers in the exact position shown in
+the cut. The whole thing may now be revolved until the weavers come
+above the horizontal group, and the weaving may progress according to
+the directions for a sixteen spoke center (Figure 12, previous chapter).
+When the spokes are evenly separated into singles the weaving should be
+about 1½ inches in diameter.
+
+Cut off the weavers on the back side and start a natural weaver as shown
+in Figure 4. Weave with this until the work is about four inches in
+diameter, using the decorative feature spoken of in chapter I, Fig. 5,
+Indian method. Figure 5 shows the weaver passing behind two spokes in
+order that it may start on the second row of double weaving.
+
+Figure 6 shows the stopping of this weaving and the starting of the band
+of color. Weave five or six rows of the color and then two rows of
+natural weaving. Instead of overcasting all around as described in the
+previous chapter, the weaver may be stopped by tucking it through the
+last row of weaving once, as shown at A, Fig. 7. In Figure 7 notice also
+the single spiral made by the consecutive crossing of two spokes by the
+weaver as the weaving changes from one course to the next. This is a
+result of the Indian method of working one weaver with an even number of
+spokes. If the above single overcast of one stitch does not seem
+satisfactory, overcast the edge of the mat as shown in Figure 7, chapter
+II.
+
+Mark off the spokes with a pencil 4½ inches from the overcasting and
+finish with open border, B, Fig. 8, chapter II, inserting each spoke to
+the mark. In this way the loops of the border can be made the same size.
+
+[Illustration]
+
+For mat C, five spokes of No. 5 reed 17½ inches long pass through five
+similar spokes. A No. 3 natural weaver is started either as shown in
+Figure 3, or in Figure 9, chapter II, and woven until the spokes are
+evenly separated into singles. The weaving will then be about 2½ inches
+in diameter. Lay the work on a flat surface, bring both weavers above
+the spokes and insert a colored weaver between the next two spokes to
+the right, as shown in Figure 8. Weave with the triple weave until about
+5¾ inches in diameter. Cut the colored weaver out and insert a natural
+one in its place. Weave two courses of natural weaving and stop the
+weavers, as shown in Figure 9, A. Push them down close to the other
+weaving. (These are left up in the illustration simply to show the
+method of insertion beside the stakes.)
+
+With the mat still down on a surface, commence to bind off the edge,
+Fig. 9, B, using close border, B, Fig. 2. The last two spokes are put
+through the loops left by starting the first two, Fig. 9, as shown in
+Figure 10. All are pulled tightly to the right, the second row is woven,
+pulled tightly, and the spokes cut off on the back side close to the
+border.
+
+Figure 11 shows the under side before the spokes are cut off. Notice the
+difference in the effect of the weaving on the two sides and reflect
+upon it. You may want just that effect sometime as a decorative feature.
+Learn to take advantage of things that only seem to “happen so.”
+
+Mat D is started the same as mat C and woven with the same stitch. Two
+rows of colored weaving are woven before starting the spirals, and two
+rows after the spirals are the desired size. The border may be any of
+the closed borders in Figure 2.
+
+Mat E is made with the thirty-two spoke center, illustrated in Figure 3.
+The following material is required: Sixteen spokes of No. 6 natural reed
+24 inches long and weavers of Nos. 2 and 3 reed. The weavers are of
+three tones, light (natural), dark (colored), and a middle value
+(colored). Eight spokes are put through eight spokes, as shown at A,
+Figure 3. A No. 2 weaver of the neutral shade is bent in the middle and
+the pairing weave is started, as follows: The loop of the weaver is put
+through the spokes between groups 1–8, Fig. 3, A, and the pairing weave
+goes diagonally around from 1–8 to 2–3, 4–5, 6–7, and from between 6–7
+one weaver goes across the back of 2–7 and out to the left below the
+horizontal group, as shown, and the other goes diagonally across the
+face of 2–7, between 1–8 and up behind group 1, as shown.
+
+[Illustration]
+
+The weavers next go through stages B and C as follows: The upper one is
+brought diagonally down across the horizontal group of eight and to the
+left behind the vertical group; the lower one diagonally up, across the
+face of the vertical group of eight, then down behind the horizontal
+group and to the left across the face of the vertical group to the
+position shown at C. The pairing weave now commences around the groups
+of eight until two rows have been woven, when they separate into groups
+of fours, and the weaving continues three times around before separating
+into pairs. It will be found necessary to weave around the pairs four or
+five times before separating into singles. D shows the separation into
+fours and the beginning of the separation into pairs. The singles should
+be sufficiently far apart after five or six rows have been woven around
+them to allow the triple weaving to be commenced.
+
+Up to this stage the weaving is all done in the hands, and great care
+must be taken to keep it close together. Every time the weaver is put
+between two spokes, from the front to the back side, it must be pulled
+down with the right hand on to the weaving already done, as shown in
+Figure 12, holding the “tension” thus gained with the middle finger of
+the left hand until the other weaver is brought across it to the front
+between the same pair of spokes. The weaver which has just been brought
+to the front must now be pulled down, as shown in Figure 13. The tension
+is still held with the middle finger of the left hand until the weaver,
+shown in Figure 13, is put back between the next pair of spokes to the
+right.
+
+If a little care is given to this matter of “tension” the weaving can be
+very closely done. Cut off the No. 2 weaver on the back side and take
+three dark No. 3 weavers and insert, as shown in Figure 14, holding the
+ends of the weavers with the left hand until two or three stitches are
+taken. (This Figure shows natural weavers, in order to more clearly
+illustrate the starting of the triple weave.) The work is now held down
+on a flat surface, as shown in Figure 15. Weave two rows of dark and
+then cut out two of the dark weavers and insert natural ones in their
+places, weaving eight rows of triple weaving. Cut off all three weavers
+and start the weaving the other way, inserting the new weavers, as shown
+in Figure 16. These push down into the weaving, to the right of and
+beside the spokes, and are brought behind the spokes and out where the
+others stopped. Do not get the colors mixed. Weave eight rows the other
+way and then cut the two natural ones out, inserting two dark ones in
+their places, and weaving two rows to form the outer band. Cut off all
+three weavers and insert the ends as shown in Figure 9, A. Then start
+three natural weavers and weave the three outer rows to form the outer
+band of natural color. Start these as in Figure 16 and end them as in
+Figure 9, A.
+
+[Illustration]
+
+[Illustration]
+
+Figure 17 shows the mat, about eleven inches in diameter, ready to close
+the border. Use border C, Fig. 2, starting at the top. This design may
+be known as the “Indian arrow head” design.
+
+By finishing the edge of mat C, Fig. 1, illustrated in the previous
+chapter, a mat similar to F, Fig. 1, of this chapter would be the
+result.
+
+The design is shown on a basket illustrated in Figure 14, chapter I, at
+A.
+
+At B, Figure 14, chapter I, the same ideas carried further give the
+“Lightning Flash” design.
+
+
+
+
+                        IV. THE SIMPLEST BASKET
+
+
+[Illustration]
+
+The first small basket is but little more difficult to make than the
+first mat. The spokes are a little longer to allow for turning up, and
+are of the same sized reed.
+
+Figure 1 shows the successive steps in the construction of the simplest
+basket. The weaving is started as in Figure 2, chapter II, and is
+continued until it is about 1⅞ inches in diameter, when the spokes are
+turned up and become stakes. A glance at Figure 1, a, will show why all
+the stakes do not stay in a perpendicular position the first time the
+weaver goes around them. Figure 1, b, shows the weaver twice around and
+the stakes all standing erect.
+
+The future shape of the basket is determined at this point in the
+weaving. If a straight, perpendicular-sided basket is wanted, Fig. 1, e,
+give the weaver tension enough to hold the stakes upright after three or
+four rows of weaving. If a straight, flaring-sided basket is wanted,
+Figure 2, a, do not give the first rows of weaving so much tension,
+thereby allowing the stakes to flare. In weaving all straight-sided
+baskets, after the stakes stand at a satisfactory angle, be very careful
+to see that the weaver has no tension whatever. Personal taste and good
+judgment are the factors which determine the angle of the flare. If a
+curved-sided basket is wanted, Fig. 2, b, start with the stakes quite
+flaring, and keep an even tension on the weaver as the weaving
+progresses and until the desired curve is woven in. Always remember that
+tension on the weaver will bring the stakes together. Figure 3 shows the
+correct method of holding a small basket during the weaving of the
+sides.
+
+[Illustration]
+
+When the basket is woven to the desired height, overcast the weaving
+around the stakes just as it was done around the spokes of the mat. This
+process was described and illustrated in chapter II, Fig. 7. The basket
+may then be finished satisfactorily by using either border, a or b,
+chapter II, Fig. 8. Make the stakes long enough to push through the
+weaving, as shown in Figure 1, d. This will stiffen the sides of the
+basket, and give it a more finished appearance. After all the stakes are
+pushed through, get the curves and loops of the border all regular in
+outline and the same height either by measurement or by turning the
+basket bottom side up on a flat surface and making all the loops touch
+the surface.
+
+Figure 4, a, b, and c, illustrates another simple and very effective
+construction. The bottom is made with the pairing weave as described and
+illustrated in chapter II, Fig. 9. Four reeds cross four reeds, thus
+giving sixteen spokes. When the bottom is woven to about two inches in
+diameter, turn up the spokes as at a, bringing the weavers to the
+outside. Behind these two and beside a stake, insert a third weaver as
+shown at b, and weave three rows of triple weaving, chapter I, Fig. 9.
+Stop this weaving by pushing each weaver down behind and beside a stake
+and out through the bottom of the basket. Figure 4, c, shows the three
+weavers as they stick out below the bottom of the basket.[4] Commence
+the single weaving by the Indian method, chapter I, Fig. 4, and continue
+it until the desired height has been woven. Insert two more weavers and
+weave three rows of triple weaving before making the border. Notice the
+bands formed by this triple weaving.
+
+Footnote 4:
+
+  If the weaving is too tight to admit of pushing the weavers down
+  beside the stakes, use a common scratch awl to make room for them. One
+  cannot use the awl too freely in closing borders and making handles.
+
+[Illustration]
+
+The border may be closed by one or the other of the closed borders
+illustrated in chapter III, Fig. 2. For small baskets, c is the best
+closed border I have found. For baskets 5 to 7 inches in diameter b is
+best, and for those up to 8 or 9 inches use d.
+
+When the single weaving is used for the main body of the basket, and
+bands of triple weaving are used at the top and bottom, a pleasing
+variety of designs may be made by weaving either the bands of colored
+weavers and the body of natural ones, or _vice versa_.
+
+Figure 5 illustrates the consecutive steps in the making of the twisted
+handles shown in the lower row of Figure 4. The illustrative work is
+wound around a piece of wood which takes the place of the upper edge of
+the basket. A piece of 4 reed is inserted beside the stakes on opposite
+sides of the rim as shown at Figure 4e. This forms the foundation of the
+handles, shown on f and j. For the other baskets in Figure 4 two pieces
+are used. One is inserted beside a stake on one side of the basket, and
+the other just opposite beside another stake. These are then curved over
+and inserted beside the third and fourth stake from where they were
+first inserted, thus forming the semi-circular foundation on which the
+twisting is done.
+
+[Illustration]
+
+A reed, wet until very pliable, is now inserted to the left of the right
+hand side of the foundation reed, Fig. 5, I. This is now twisted three
+times around the foundation reed, and comes to the outside of the
+basket, as shown at 2. It is now put through to the inside of the
+basket, outside of the foundation reed, just below the closed border,[5]
+and brought to the front just below the first twisting, as shown at 3.
+Follow the first twist back to the starting point, keeping the weaver
+beside the first twist. Do not let the weaver cross the first one. Keep
+it beside the first at all times. It now goes to the inside, and is put
+through to the outside to the right of the foundation reed, and brought
+up as at 4, and twisted to the left beside the first two until it
+reaches the point a, where the first, almost universal, error is made.
+The reed should go to the left of the one already there, as shown at 5,
+then to the inside of the basket and up to the front, as shown at 6.
+Twist it back beside the others, put it to the inside and again to the
+outside to the right of the second. Look out for error b at this point.
+Figure 7 is correct. Go back and forth once more, and finish as shown at
+8. Figure 9 shows the completed handle.
+
+Footnote 5:
+
+  This is not absolute. It may be put through much further down if
+  desired, say two, three, or even four rows below the border.
+
+[Illustration]
+
+The secret of a good handle is in adjusting the ratio of the foundation
+weaver, diameter of semi-circle, and number of twists so that when the
+winding is completed the handle will have the appearance of a closely
+twisted rope. The handle just described has a 1⅝ inch semi-circular
+foundation of No. 4 reed, and is bound with No. 2 reed twisted three
+times around to start with. Winding should always continue until the
+foundation reed is completely covered. Figure 5, c, shows a handle with
+a 2 inch semi-circular foundation of No. 4 reed twisted three times
+around with No. 3 reed. D has a foundation of No. 5 reed twisted with
+No. 2 reed four twists, and e is another, adapted to a larger basket as
+a bail handle. Its dimensions and the number of twists are clearly
+shown. The foundation is No. 5 reed, and the winding weaver is of No. 3.
+These are sufficient to enable one to judge the ratio which will give a
+good handle.
+
+In order to take advantage of the constructive decorative features
+spoken of in chapter I, it is necessary to know how to get the correct
+number of spokes for any desired diameter of bottom, as the woven
+figures spoken of in that article are dependent upon the ratio of the
+number of stakes to the number of weavers. When the bottom of a basket
+is less than 4 inches in diameter, it is well to have the stakes not
+more than ½ inch apart, and in those from 4 to 6 inches not more than ¾
+inch apart.
+
+It is also my practice in making baskets less than 3 inches in diameter
+to have the spokes turn up and form the stakes, and for those larger to
+cut spokes only long enough for the bottom, and insert one stake each
+side of each spoke after the bottom is woven. This gives twice as many
+stakes as spokes. When you find out the desired size for the bottom of
+the basket, decide on the number of stakes. An illustration or two will
+give you the method of getting this number: For instance, if nine stakes
+were wanted, have two long spokes cross two long spokes and insert one
+short spoke, as shown in chapter II, Figs. 2, 3, and 4. Weave the bottom
+the desired diameter, and turn up the nine spokes as stakes. If eighteen
+stakes were wanted, cut spokes as above only long enough for the bottom.
+When it is woven insert a stake each side of each spoke, and the result
+is eighteen stakes.
+
+[Illustration]
+
+Three spokes crossing three spokes and turning up when the bottom is
+woven gives twelve stakes, and if the spokes are cut only long enough
+for the bottom and a stake inserted each side of each one the result
+will be twenty-four stakes.
+
+Four crossing four and turning up will give sixteen, and by insertion
+thirty-two.
+
+Five crossing five and turning up will give twenty, and by insertion
+forty.
+
+[Illustration]
+
+Then, again, if one is not extra careful to get the spacing of the
+spokes equal, it will be found easy, when the bottom is partly woven, to
+insert a stake where two are too far apart or to cut out one where they
+are too near together. This will never be noticed when the bottom is
+fully woven. One can easily see that in this way one can get any number
+of stakes on which to weave. By reference to chapter I, anyone can find
+the ratio between stakes and weavers used in making the baskets shown in
+Figure 4. All are made with the triple weave and colored and natural
+weavers; f and j are about 1¾ inches in diameter at the bottom, g about
+4 inches, and h and i about 3½ inches.
+
+The decorative initial at the beginning of this chapter shows the
+adaptation of decorative weavers in making a small demijohn. Its
+foundation is a quart Vichy bottle. The weavers used can be easily seen,
+also the proportionate spacing of bands. The handles are twisted just as
+on a basket. Stakes and handle foundations are of No. 4 and the weavers
+of No. 2.
+
+Figure 6 shows a small jug covered with weaving part way up. This was
+selected for its outline and covered, because it had a large “trade
+mark” glazed upon its surface. The baskets shown in Figure 6 will be
+described later.
+
+I purposely omit detailed dimensions. They should be suggested by the
+one making the basket. What would seem correct to me might offend
+another, and I do not care to be misunderstood as wishing to force my
+own taste in matters of proportion upon any one else.
+
+Be yourself fully and completely, and let your work exemplify the fact
+that you are doing your own thinking and simply using the information
+you acquire as suggestive of greater possibilities.
+
+
+
+
+                          V. CIRCULAR BASKETS
+
+
+This chapter deals with the construction of the basket usually called a
+workbasket, but it may be taken as typical of all circular baskets
+without handles. Figure I, A and B, shows a view looking into the
+basket. Notice that a portion of the weaving about the center of the
+bottom is done with the pairing weave, until the spokes are separated
+sufficiently to allow triple weaving. The bottom is then completed with
+the triple weaving making it much finer in appearance. B shows the
+effect of using one colored weaver and two natural ones.
+
+[Illustration]
+
+When the bottom is woven, cut four times as many stakes as spokes,
+one-half colored and one-half natural. These stakes should be about six
+inches longer than twice the finished height of the basket. Insert one
+colored and one natural, as a pair, each side of each spoke in the
+bottom, as shown in Figure II, A, being careful to keep the colored ones
+either to the right or left of the natural ones. After turning up these
+stakes weave three rows of triple weaving, and finish this weaving by
+pulling the weavers through, as shown in Figure II, B. These three
+weavers which form the lower band of weaving may be of natural or
+colored weavers. This of course depends entirely upon the ideas one has
+concerning the appearance of the finished basket.
+
+[Illustration]
+
+[Illustration]
+
+Allow the stakes to flare a little more than is desired in the finished
+basket, as the turning over of the stakes draws the top in slightly. If
+an open space is wanted between the bands of triple weaving, weave one
+or two rows of flat weavers before weaving the second row of triple
+weavers, as shown in Figure III, A. This may be cut out after the basket
+is completed if one desires to insert a ribbon. Figure III, B, shows a
+basket just before the stakes are turned and with the space between the
+two rows of triple weaving filled up with single weaving. Figure IV, A
+and B, shows the method of turning over the stakes. The ends are
+inserted through the outer loops of the triple weave three and one-half
+spaces to the right or left of where the stake itself comes through the
+upper row of triple weaving. By turning to the right or left the colored
+weaver may be brought outside, regardless of how it may be inserted in
+the bottom. When the colored bands are used it is well to have the outer
+stake of the colored, as at B. The tucking in of the stakes is now
+continued until all completed when the basket is turned bottom side up
+and the loops all made to touch a flat surface. Great care must be taken
+in doing this, as the finished appearance of the basket may be greatly
+marred by lack of attention to this particular point.
+
+[Illustration]
+
+At this point decide whether the bottom rows of weaving are to be
+colored or natural; if colored, cut away the natural weavers at the
+bottom of the basket, as shown at Figure V, A. Next insert three weavers
+and weave one row of triple weaving in order that the remaining stakes
+may be brought to an upright position, as shown at Figure V, B. The
+bottom of the basket is now ready to close in. Take one upright stake,
+pass it in front of two, and to the inside and let it lay along the
+inside edge of the bottom; take each successive stake and do the same
+thing, as shown at Figure V, B. Figure VI, A, shows the appearance of
+the ends of these stakes as they lay along the inside edge of the
+bottom. This view also shows the space which may be used for the
+insertion of ribbon, after cutting out the filling of flat weavers.
+Figure VI, B, shows the appearance of the basket when completed with the
+single weaving as a filler between the two rows of triple weaving.
+
+[Illustration]
+
+The basket illustrated in Figure VI, chapter 4, was made by this
+process; it was eight inches in diameter at the bottom and had a twenty
+spoke center.
+
+The basket illustrated in Figure I, B, of this chapter has a sixteen
+spoke center and a bottom five and one-half inches in diameter. The
+height of the loops in baskets of this kind is something that each
+worker must settle for himself. The tendency at first will be to get
+them too high. The combinations of color and proportion which may be
+worked out in baskets of this description are innumerable. I know of no
+construction which requires more artistic taste and a finer sense of
+correct proportion.
+
+
+
+
+                         VI. ELLIPTICAL BASKETS
+
+
+When one has attained a certain degree of proficiency in making round
+baskets it is but natural that he should desire to make those which are
+elliptical in shape. The making of these baskets presents a problem
+which has been difficult to solve and the solution of which renders
+their construction practical for school uses. In a circular basket,
+where an even tension is kept on the weaver during the weaving process,
+the sides come up with an even flare but the stakes have a tendency to
+lean. This is due to the constant tension from left to right and works
+havoc in the construction of elliptical baskets. Unless great care is
+taken the upper edge of the basket will be shaped like the unfinished
+one illustrated in Figure II.
+
+This tendency troubled me for a long time until I noticed that this
+warping commenced in the weaving of the bottoms and increased as the
+sides of the basket were woven. If the bottoms are woven left-handed or
+bottom side up, without regard to this warping, and then, after the
+stakes are inserted, the weaving of the sides proceeds as usual, but
+little care need be exercised in order to get an even basket as shown in
+Figure II. The warping tendency produced by weaving the sides offsets
+that produced by the left-handed weaving of the bottoms.
+
+Since the discovery of this little trick the weaving of elliptical
+baskets has been a constant pleasure and has been carried on with marked
+success.
+
+Figure I represents the consecutive steps in the construction of
+elliptical bottoms. Cut four spokes of No. 4 or No. 5 reed the length of
+the major diameter of the bottom, and as many as are desired, the length
+of the minor diameter. By analysis it will be seen that these bottoms
+are half round at each end and filled in straight between; therefore,
+each end requires half as many spokes as would be required in a round
+bottom, and as many in between these as is necessary in order to get the
+bottom the required length.
+
+[Illustration: Figure I.]
+
+Another important point,—if the spokes on each end are to be one inch
+apart when the bottom is all woven, the spokes between must be a little
+more than that distance apart as these side spokes remain parallel
+during the weaving of the sides while the end ones radiate somewhat with
+the flare of the basket. Split all the short spokes and string them on
+the four long ones. Take a pair of the short spokes and put them near
+the end of the long ones as shown at A, Fig. I. Place a weaver of No. 2
+or No. 3 reed, diagonally behind the group from 1 to 2 and bring it
+diagonally across the front from 2 to 1, then back of the group of four
+and to the left from 1 to 3, parallel with the short pair of spokes.
+Next, diagonally across the face from 3 to 4 and down behind the short
+pair from 4 to 1. Now the winding of the four long spokes commences as
+shown. This should continue for about 1³⁄₁₆ inches, if the end spokes
+are to be one inch apart when the bottom is finished.
+
+[Illustration: Figure II.]
+
+Bring in the next spoke and bind it into its place. This binding is so
+clearly shown as to require no explanation. When all the short single
+spokes are bound in, bind in the last pair as shown, turn the bottom and
+insert the second weaver in order that the pairing weave may be started.
+D, Fig. I, shows just how this weave is inserted.
+
+The weaving process from now on is just the same as for that of round
+bottoms described in the chapter on Weaving Foundations. E, Fig. I,
+shows the proper relative position of the spokes at the beginning of the
+separation of the end ones into singles. If it is thought more desirable
+to have the sides of the bottom a little curved rather than straight,
+the straight part may be filled in after all the spokes are separated
+into singles. This is illustrated, and is done with the colored weavers
+in order to show it more clearly. This filling in process is done with
+the single weave, over and under five spokes for the first two pieces,
+then three, two and one. If this does not round the sides to suit the
+taste fill in again after one or two rows of regular weaving.
+
+[Illustration: Figure III.]
+
+When the bottom is woven, insert one stake each side of each spoke and
+weave the sides as in the usual way. One can easily figure out the
+proper number of stakes required, in order to take advantage of the
+decorative features of triple weaving, in these baskets as in the round
+ones. Figure III shows some elliptical baskets of different designs and
+proportions as to major and minor diameters and also two kinds of
+twisted handles, small and large. Basket No. 3 has a bottom with but one
+single spoke between its ends as shown in Figure I, D and E. Basket No.
+2 has two as shown at C. Basket No. 1 has three, and No. 4 and No. 5
+have six.
+
+The edge finishes are all as described in chapter III, Fig. II, B, and
+the twisted handles are all as described in chapter IV. A pleasing
+decorative feature is shown in the large wastebasket in the left hand
+foreground of Figure III. Two natural and one colored weaver are used
+and the stakes are equally divisible by three, the number of weavers.
+Three rows are woven around, then the green weaver changes places with a
+white one and three more rows are woven. This process is kept up until
+the desired height is reached, resulting in a spiral arrangement of
+spots. Figure III shows progress in working out some simple designs, A
+showing a large hollow diamond (as easily made solid). Smaller hollow
+diamonds would look well around an elliptical basket. B also shows
+hollow diamonds and the Indian “good luck” symbol. This work is done
+with the single weave on stakes not more than one-half inch apart.
+
+Many fine designs may be “worked up” on plotting paper. Use paper which
+is lined off about as far apart as the diameter of the weaver to be used
+and draw vertical lines across this about as far apart as the distance
+between the stakes.
+
+
+
+
+                       VII. MELON SHAPED BASKETS
+
+
+[Illustration]
+
+A melon shaped basket seems to me to be the most fascinating of all in
+its method of construction. Figure I shows the material necessary with
+the exception of the weavers. Figure II shows the method of determining
+the shape of the slices or ribs on which the weaving is done.[6] The
+material with which the two circular ribs are made is stout ash splint.
+Take two straight pieces the length required for the circumference of
+the circle allowing about three-fourths of an inch for lap. These may be
+fastened together to form the two circular rings either by a small bent
+iron fastener or with fine string. These rings are then placed in the
+position shown in Figure III, No. 1, perpendicular to each other. The
+weaver is then placed behind the vertical ring on top of the horizontal
+ring with its ends projecting toward the right in the direction of A-B.
+The weaver is then brought over from A to D in front of the vertical
+ring.
+
+Footnote 6:
+
+  NOTE.—Let AA represent the orthographic projection of the two rings.
+  From the point x, with a radius equal to xy, draw the quarter circle.
+  Divide this quarter circle into three equal parts from 1 to y, and
+  connect the points of division with lines to point x. Lay off lines
+  parallel to these one-eighth inch apart to represent the space to be
+  allowed for the weavers. This will show the projection of one side of
+  the basket with the ribs in position. Draw a quarter circle on the
+  right hand side. From the center line, at point 2, lay off distances
+  on this quadrant about an inch apart as shown at 2-a-b-c-d. Project
+  these to the left on to the line xy, and with x as a center, continue
+  these projection lines with arcs crossing the center rib, as shown.
+  Draw chords 4, 5, 6, 7, and 8. Take a piece of stiff paper or of the
+  material to be used as ribs and bend around from 1 to 3 to get the
+  true length which will be the distance 1 2 3 as shown above at B. Draw
+  the two center lines at right angles, crossing at 4. Lay off distances
+  4 5, 5 6, 6 7, 7 8 on either side of 4 corresponding with the
+  distances 2a, ab, be, and cd. On these, by means of arcs, lay off
+  distances equal to the lengths of the corresponding chords 4, 5, 6, 7,
+  and 8 in the view AA. A curve tangent to these arcs shows one contour
+  of a rib.
+
+  If many baskets of this size are wanted it will be found convenient to
+  make a pattern for each size and mark it properly. If the basket
+  wanted is more than six inches in diameter more ribs will be needed,
+  and the small lay-out C will give the proper suggestion.
+
+[Illustration]
+
+Then behind the horizontal ring and up to B, in which position it is
+shown at No. 1. From thence it goes diagonally across the vertical ring
+from B to C and upward behind the horizontal, from C to A and assumes
+the position shown at No. 2. It now goes across from A to D as before,
+and behind the vertical ring from D to C, below the horizontal; which
+position is shown at No. 3. From there it goes across the vertical ring
+from C to B, then behind the vertical from B to A. This method of
+winding is kept up, as shown at 4, 5, and 6, until a little pocket is
+formed, as shown at E and F. This process takes place on both ends of
+the rings. The center ribs on either side are now put into this pocket
+and the single weaving is commenced, as shown at Figure IV.
+
+Weave three or four rows on one end, then three or four on the other
+end. This weaving, first on one end and then on the other, must be kept
+up during the whole construction of the basket.
+
+[Illustration]
+
+In the construction of these baskets many will place all the ribs in the
+pocket at once, but this method of construction is too difficult for an
+amateur to attempt.
+
+[Illustration]
+
+After these two middle ribs have been placed in position and three rows
+of weaving completed, the other four ribs should be tucked into the
+pocket on one end and the single weaving continued until four or five
+rows are woven, as shown in Figure V.
+
+This process has been found to be much easier than to place the ribs in
+both pockets, because of the fact that in weaving on one end the other
+ends of the ribs are continually flying out.
+
+After four or five rows are woven the other ends of the ribs may be
+placed in the opposite pocket and the weaving continued as on the
+opposite end. Great care must be taken in the shaping of these ribs to
+see that there is a proper distance between them so that the weaver may
+not be cramped.
+
+The final shape of the basket depends almost entirely upon the nicety
+with which these ribs are constructed.
+
+[Illustration]
+
+If one wishes to construct the basket so that it will be more than a
+half-sphere in depth, it can be easily done by making a plan of rings
+and ribs of the shape wanted and laying out these rings and ribs from
+that. It may be necessary in teaching younger pupils the construction of
+these baskets for the teacher to do the drawing and laying out of the
+size and shape of these ribs, but this process should be thoroughly
+explained.
+
+If difficulty is found in getting heavy ash splint for the rings and
+ribs, they may be easily constructed from the hoops of a sugar barrel or
+even wood from a cheese box, both of which must be soaked and whittled
+down thin, say to one-sixteenth of an inch in thickness. One of the best
+melon shaped baskets which I have seen had its rings and ribs
+constructed from wood taken from a butter box which was about eight
+inches in diameter. Too much emphasis cannot be placed on the necessity
+of getting the foundation features of this construction absolutely
+accurate. This is truer of this shape than of almost any other.
+
+Where it seems impossible to get either the ash splint or other material
+spoken of, No. 8 or 10 round reed may be split lengthwise and used in
+the construction of the rings. If these are to be used it will be found
+necessary to have a greater number of ribs on which to weave than has
+been spoken of previously. It does not seem wise, however, to attempt a
+melon shaped basket over four or five inches in diameter with half round
+reed as a foundation.
+
+“Think it up a little” and see how broad the field of basketry really
+may become.
+
+------------------------------------------------------------------------
+
+
+
+
+                          TRANSCRIBER’S NOTES
+
+
+ ● Typos fixed; non-standard spelling and dialect retained.
+ ● Enclosed italics font in _underscores_.
+
+
+
+*** END OF THE PROJECT GUTENBERG EBOOK 75361 ***
diff --git a/75361-h/75361-h.htm b/75361-h/75361-h.htm
new file mode 100644
index 0000000..876efd3
--- /dev/null
+++ b/75361-h/75361-h.htm
@@ -0,0 +1,1518 @@
+<!DOCTYPE html>
+<html lang="en">
+  <head>
+    <meta charset="UTF-8">
+    <title>The Basket Maker | Project Gutenberg</title>
+    <link rel="icon" href="images/cover.jpg" type="image/x-cover">
+    <style>
+       body { margin-left: 8%; margin-right: 10%; }
+       h1 { text-align: center; font-weight: bold; font-size: xx-large; }
+       h2 { text-align: center; font-weight: bold; font-size: x-large; }
+       .pageno { right: 1%; font-size: x-small; background-color: inherit; color: silver; 
+               text-indent: 0em; text-align: right; position: absolute; 
+               border: thin solid silver; padding: .1em .2em; font-style: normal; 
+               font-variant: normal; font-weight: normal; text-decoration: none; }
+       p { text-indent: 0; margin-top: 0.5em; margin-bottom: 0.5em; text-align: justify; }
+       sup { vertical-align: top; font-size: 0.6em; }
+       .sc { font-variant: small-caps; }
+       .large { font-size: large; }
+       .xlarge { font-size: x-large; }
+       .small { font-size: small; }
+       .lg-container-r { text-align: right; }
+       .x-ebookmaker .lg-container-r { clear: both; }
+       .linegroup { display: inline-block; text-align: justify; }
+       .x-ebookmaker .linegroup { display: block; margin-left: 1.5em; }
+       .linegroup .group { margin: 1em auto; }
+       .linegroup .line { text-indent: -3em; padding-left: 3em; }
+       div.linegroup > :first-child { margin-top: 0; }
+       .ul_1 li {padding-left: 1em; text-indent: -1em; }
+       ul.ul_1 {padding-left: 0; margin-left: 2.78%; margin-top: .5em;
+               margin-bottom: .5em; list-style-type: disc; }
+       div.footnote > :first-child { margin-top: 1em; }
+       div.footnote p { text-indent: 1em; margin-top: 0.25em; margin-bottom: 0.25em; }
+       div.pbb { page-break-before: always; }
+       hr.pb { border: none; border-bottom: thin solid; margin-bottom: 1em; }
+       .x-ebookmaker hr.pb { display: none; }
+       .chapter { clear: both; page-break-before: always; }
+       .figcenter { clear: both; max-width: 100%; margin: 2em auto; text-align: center; }
+       .figleft { clear: left; float: left; max-width: 100%; margin: 0.5em 1em 1em 0;
+               text-align: justify; }
+       div.figcenter p { text-align: center; text-indent: 0; }
+       .x-ebookmaker .figleft { float: left; }
+       .figcenter img { max-width: 100%; height: auto; }
+       .figleft img { max-width: 100%; height: auto; }
+       .id001 { width:10%; }
+       .id002 { width:100px; }
+       .id003 { width:50%; }
+       .id004 { width:80%; }
+       .id005 { width:33%; }
+       .x-ebookmaker  .id001 { margin-left:45%; width:10%; }
+       .x-ebookmaker  .id003 { margin-left:25%; width:50%; }
+       .x-ebookmaker  .id004 { margin-left:10%; width:80%; }
+       .x-ebookmaker .id002 { width:12%; }
+       .x-ebookmaker .id005 { width:33%; }
+       .ic006 { width:100%; } 
+       .ig001 { width:100%; } 
+       .nf-center { text-align: center; }
+       .nf-center-c0 { text-align: justify; margin: 0.5em 0; }
+       p.drop-capa0_0_6 { text-indent: -0em; }
+       p.drop-capa0_0_6:first-letter { float: left; margin: 0.100em 0.100em 0em 0em;
+               font-size: 250%; line-height: 0.6em; text-indent: 0; }
+       .x-ebookmaker p.drop-capa0_0_6 { text-indent: 0; }
+       .x-ebookmaker   p.drop-capa0_0_6:first-letter { float: none; margin: 0;
+               font-size: 100%; }
+       .c000 { margin-top: 0.5em; margin-bottom: 0.5em; }
+       .c001 { page-break-before: always; margin-top: 4em; }
+       .c002 { margin-top: 2em; }
+       .c003 { margin-top: 1em; }
+       .c004 { margin-top: 4em; }
+       .c005 { page-break-before:auto; margin-top: 4em; }
+       .c006 { margin-top: 2em; text-indent: 1em; margin-bottom: 0.25em; }
+       .c007 { text-indent: 1em; margin-top: 0.25em; margin-bottom: 0.25em; }
+       .c008 { text-decoration: none; }
+       .c009 { margin-top: 2em; margin-bottom: 0.25em; }
+       div.tnotes { padding-left:1em;padding-right:1em;background-color:#E3E4FA;
+              border:thin solid silver; margin:2em 10% 0 10%; font-family: Georgia, serif;
+               clear: both; }
+       .covernote { visibility: hidden; display: none; }
+       div.tnotes p { text-align: justify; }
+       .x-ebookmaker .covernote { visibility: visible; display: block; }
+       .figcenter {font-size: .9em; page-break-inside: avoid; max-width: 100%;
+               max-height: 100%; }
+       h1 {line-height: 150%; }
+       .footnote {font-size: .9em; }
+       div.footnote p {text-indent: 2em; margin-bottom: .5em; }
+       .chapter  { clear: both; page-break-before: always; }
+       body {font-family: Georgia, serif; text-align: justify; }
+       table {font-size: .9em; padding: 1.5em .5em 1em; page-break-inside: avoid;
+               clear: both; }
+       div.titlepage {text-align: center; page-break-before: always;
+               page-break-after: always; }
+       div.titlepage p {text-align: center; text-indent: 0em; font-weight: bold;
+               line-height: 1.5; margin-top: 3em; }
+       .ph1 { text-indent: 0em; font-weight: bold; font-size: xx-large;
+               margin: .67em auto; page-break-before: always; }
+       .ph2 { text-indent: 0em; font-weight: bold; font-size: x-large; margin: .75em auto;
+               page-break-before: always; }
+       .x-ebookmaker p.dropcap:first-letter { float: left; }
+    </style>
+  </head>
+  <body>   
+<div style='text-align:center'>*** START OF THE PROJECT GUTENBERG EBOOK 75361 ***</div>
+
+<div class='tnotes covernote'>
+
+<p class='c000'><strong>Transcriber’s Note:</strong></p>
+
+<p class='c000'>New original cover art included with this eBook is granted to the public domain.</p>
+
+</div>
+
+<div class='titlepage'>
+
+<div>
+  <h1 class='c001'>The Basket Maker</h1>
+</div>
+
+<div class='nf-center-c0'>
+<div class='nf-center c002'>
+    <div><span class='xlarge'>LUTHER WESTON TURNER</span></div>
+    <div>Director of Manual Training</div>
+    <div>The Hill School</div>
+    <div>Pottstown, Pennsylvania</div>
+  </div>
+</div>
+
+<div  class='figcenter id001'>
+<img src='images/i_001.jpg' alt='[Icon]' class='ig001'>
+</div>
+
+<div class='nf-center-c0'>
+  <div class='nf-center'>
+    <div>Published by</div>
+    <div><span class='large'>THE DAVIS PRESS</span></div>
+    <div>Worcester, Mass.</div>
+    <div class='c003'>Reprinted from The School Arts Book</div>
+  </div>
+</div>
+
+</div>
+
+<div class='nf-center-c0'>
+<div class='nf-center c004'>
+    <div><span class='small'>Copyrighted by</span></div>
+    <div><span class='small'>THE DAVIS PRESS</span></div>
+    <div><span class='small'>Worcester</span></div>
+    <div><span class='small'>1909</span></div>
+  </div>
+</div>
+
+<div class='chapter'>
+  <h2 class='c005'>BASKETRY</h2>
+</div>
+
+<p class='c006'>Basketry has been called one of the fads of the
+newest education. It was one of the essentials of
+the oldest education. Basketry still holds a commanding
+position among the arts of men, even in
+countries called highly civilized. Its place in
+schools is still somewhat in dispute, but unquestionably
+it offers to children a clean and educative
+handicraft. Properly taught, it vitalizes certain
+periods in history, fosters motor control, develops
+judgment and taste, and familiarizes the pupil
+with one of the ancient and honorable occupations
+of mankind.</p>
+
+<p class='c007'>Mr. Turner knows his subject thoroughly, having
+tramped with Indians for materials, worked with
+Indians for processes, practised with pupils for
+methods, and studied with specialists for tasteful
+results. The chapters of this booklet appeared
+first as illustrated articles in The School Arts Book,
+beginning in April 1905. The demand for them
+has been so great that the supply of magazines is
+exhausted, and this reprint is made to meet what
+is evidently a wide-spread demand for first class
+instruction in the basic principles of this important
+kind of manual art.</p>
+
+<div class='lg-container-r'>
+  <div class='linegroup'>
+    <div class='group'>
+      <div class='line'><span class='sc'>Henry Turner Bailey</span></div>
+    </div>
+  </div>
+</div>
+
+<div class='chapter ph1'>
+
+<div class='nf-center-c0'>
+<div class='nf-center c004'>
+    <div>THE BASKET MAKER</div>
+  </div>
+</div>
+
+</div>
+
+<div>
+  <span class='pageno' id='Page_5'>5</span>
+  <h2 class='c005'>I. INTRODUCTORY WORK</h2>
+</div>
+
+<div id='di_005'  class='figleft id002'>
+<img src='images/di_005.jpg' alt='' class='ig001'>
+</div>
+<p class='c006'>The fruition of thought is expression.
+Thought along the lines of manual training
+is susceptible of expression in many
+ways and through many mediums. The
+expression of thought through wood and
+iron necessitates a more or less elaborate
+equipment of tools, and for this reason
+those mediums of expression are denied
+younger pupils. But the expression of
+thought through basketry, requires almost
+no tools (a knife and scratch awl), has
+variety as to form and color and almost
+unlimited possibilities in design.</p>
+
+<p class='c007'>It is my aim in this booklet to give
+in simple English and with illustrations
+which may be comprehended by the
+youngest pupil, the results of my thought
+and teaching of basketry.</p>
+
+<p class='c007'>I believe the poor results seen in many
+places are due to poor teaching. Teachers
+are not, as a rule, insistent enough at the beginning. Good results
+can only be secured by close attention to basic details. A pupil
+should not be allowed to progress who cannot make the bottom
+of a basket and have it strong and closely woven. He must understand
+that no basket can be firmly made unless its foundation is
+right.</p>
+
+<p class='c007'>The ordinary pupil is, and should be, an animated question
+mark. “Why?” “What for?” and “What makes it do that?”
+<span class='pageno' id='Page_6'>6</span>are the ever recurring questions. “Why do you have to have an
+odd number of spokes with a single weaver?” was the first question
+asked in the class this year.</p>
+
+<p class='c007'>In order to answer this and many other questions which arise,
+I have found it necessary to devise some means by which a verbal
+explanation can be demonstrated to the satisfaction of the dullest
+pupil. The device is a small piece of board, any size and thickness,
+on which a circle of any size is drawn. The circumference of this
+circle is divided off into spaces about ⅝ of an inch apart, and holes
+are bored, into which pieces of willow or reed are inserted, Fig. <a href='#di_005'>1</a>.
+The spacing would better not be equal, as one hole is to contain
+a peg which may be taken out in order to get an odd or an even
+number of uprights. By this device a pupil can answer his own
+question, and discover much about different weaves. The uprights
+will hereafter be known as stakes. Figure 2 shows the single weave
+with an odd number of stakes. Figure 3 shows the same with an
+even number. Figure 4 shows the Indian method of weaving
+with a single weaver and an even number of stakes. When the
+weaver gets around to where it started, it is passed behind two
+stakes, and the weaving is continued as before, the weaver passing
+behind the next two stakes on each course.</p>
+
+<p class='c007'>The illustrative weaving in this chapter is done in colors,
+in order that the course of one weaver may be followed more easily,
+and also to suggest from the beginning the possibilities of design
+and decoration by the use of a combination of plain and colored
+weavers.<a id='r1'></a><a href='#f1' class='c008'><sup>[1]</sup></a> If the essential elements of construction, (the stakes
+and weavers) are used as decorative features wherever possible,
+much of the trouble about decoration and design in basketry will
+be done away with.</p>
+
+<div class='footnote' id='f1'>
+<p class='c007'><a href='#r1'>1</a>. Mr. Chas. E. Mather, Braggville, Mass., has the finest variety of colors for weavers
+which I have as yet found. Both the aniline and vegetable colors do not run while
+working and they both seem to be permanent.</p>
+</div>
+<div id='i_007'  class='figcenter id003'>
+<span class='pageno' id='Page_7'>7</span>
+<img src='images/i_007.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'><span class='pageno' id='Page_8'>8</span>Figure 5 shows a decorative feature made possible by the use
+of a single weaver and an even number of stakes. At A may be
+seen the method of changing from one course to another. Either
+two, three, or four rows may be woven before changing courses, and
+as many courses may be woven as the design of the basket may
+require. This of course is left to the judgment of the pupil or teacher.</p>
+
+<p class='c007'>Figure 6 shows the double or pairing weave (<em>i. e.</em> weaving with
+two weavers) and Figure 7 suggests the possibilities in decoration,
+when one weaver is colored and an even number of stakes are used.</p>
+
+<p class='c007'>Figure 8 shows the design when the pairing weave is used
+with an odd number of spokes and also the method of joining
+weaves in either double, triple or quadruple weaving. The end of
+the new weaver is inserted behind and beside the end of the one
+already woven in, and the weaving continues as if the weavers
+were continuous. The end of the old weaver can then be cut off
+flush with the outside of the basket, and the end of the new one
+flush with the inside.</p>
+
+<p class='c007'>In weaving with two, three, or four weavers the left hand
+one of the group is always known as the rear weaver and the right
+hand one as the forward weaver, and weaving is always done from
+left to right except in cases of special design. Such cases will be
+spoken of in a later chapter.</p>
+
+<p class='c007'>Figure 9 shows the starting of the triple weave. Three
+weavers are put behind three consecutive stakes and project toward
+the right. The rear one goes over the other two and in front of
+two stakes, behind one stake, and out between the next pair of
+stakes to the right of the forward weaver. The one that was the
+middle weaver now becomes the rear one, and it in turn is treated
+as the other rear one was. This process is continued as long as
+triple weaving is needed. Always be sure to take the rear weaver
+and have it come out between the pair of stakes to the right of the
+forward weaver.</p>
+
+<p class='c007'><span class='pageno' id='Page_9'>9</span>Decorative features of triple weaving follow: Figure 10 shows
+the result when one colored weaver and two natural ones are used
+and the number of weavers (3) is equally divisible into the number
+of stakes. Each color forms in a vertical stripe. Using two
+colored and one natural weaver gives the same result but with a
+different proportion of color.</p>
+
+<div id='i_009'  class='figcenter id004'>
+<img src='images/i_009.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'>Figure 11 shows the result when the number of stakes is
+divisible by the number of weavers with a remainder of
+one. This gives the variegated effect outside and the spiral
+effect inside.</p>
+
+<p class='c007'>Figure 12 shows the result when the number of stakes is
+divisible by the number of weavers with a remainder of two. This
+gives the variegated effect inside and the spiral effect outside.</p>
+
+<p class='c007'>Figure 13 shows the starting of the quadruple weave. With
+the decorative features already shown in other weaves, each student
+can find out for himself the possibilities of this weave by varying
+<span class='pageno' id='Page_10'>10</span>the ratio of the stakes to the weavers and by using either one,
+two, or three colored weavers.</p>
+
+<div id='i_010'  class='figcenter id003'>
+<img src='images/i_010.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'>In the next chapter I will give a detailed description of the
+construction of several mats which embody some of the ideas here
+presented, and shown in the group picture, Fig. 14.</p>
+
+<div class='chapter'>
+  <span class='pageno' id='Page_11'>11</span>
+  <h2 class='c005'>II. WEAVING FOUNDATIONS</h2>
+</div>
+
+<div id='di_011'  class='figleft id002'>
+<img src='images/di_011.jpg' alt='' class='ig001'>
+</div>
+<p class='c006'>The one great aim of manual training is to
+combine judgment, a purely mental function,
+and execution, a purely physical one.
+There seems to be no work so efficient in
+combining the two from the beginning as
+basketry. The material varies so in texture
+that care and judgment are required in
+its manipulation, and so few tools are used
+that the hand must do all or a greater
+part of the work.</p>
+
+<p class='c007'>In all teaching the “character of work”
+should be emphasized rather than the
+intrinsic value of that which is produced
+by work. The aim should be to have work
+complete in all its parts, relatively perfect<a id='r2'></a><a href='#f2' class='c008'><sup>[2]</sup></a>
+as to beauty of design and workmanship,
+and finished, in so far as the completed work
+coming from the pupil can show his intention
+and evince careful and diligent work.</p>
+
+<div class='footnote' id='f2'>
+<p class='c007'><a href='#r2'>2</a>. I say “relatively perfect” feeling that while there is nothing absolutely perfect
+possible to the hand of man, the term may be used relatively for whatever makes the
+nearest approach to perfection.</p>
+</div>
+
+<p class='c007'>In manual training work the procedure
+should be from the simple to the complex.
+The teacher should never hurry the different
+stages of the work faster than the young
+mind can go. The pupil must comprehend each step. Let the
+motto be “Not How much, but How well.”</p>
+
+<p class='c007'>In order to make use of the features of weaving spoken of in
+the first chapter it will be necessary to have a simple problem on
+<span class='pageno' id='Page_12'>12</span>which to work. Mats of various sizes are useful, may be made
+beautiful, and as they embody all the constructive features found
+in the bottom of a basket, may well be taken as the first problem.</p>
+
+<p class='c007'>The foundation pieces on which the weaving of a mat or the
+bottom of a basket is done are known as spokes because during the
+weaving, they radiate from a common center like the spokes of a wheel.</p>
+
+<div id='i_012'  class='figcenter id004'>
+<img src='images/i_012.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'>A finished mat of the simplest construction is shown in Figure
+1, A. For this we use an odd number of spokes and a single weaver.
+The material required is as follows: Four pieces of No. 3 reed
+12 inches long, one piece 7 inches long and a weaver of No. 2 reed.
+These are held together in the left hand and grouped as shown
+in Figure 2.</p>
+
+<p class='c007'>The short odd one is between the upper end of the two vertical
+ones and the horizontal pair is behind the vertical group. This
+<span class='pageno' id='Page_13'>13</span>brings the three vertical spokes above, and in front of the horizontal
+pair. The weaver of No. 2 reed is placed as shown,
+Figure 2, behind the vertical group and along the top of the
+horizontal pair with its right hand end projecting about ¾ of
+an inch to the right of the vertical group.</p>
+
+<div id='i_013'  class='figcenter id004'>
+<img src='images/i_013.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'>The weaver is then brought to the right in front of the vertical
+group, back and down behind the horizontal group, thereby binding
+its own end to the spokes. (Figure 3, A, shows the exact position
+of the weaver at this stage.)</p>
+
+<p class='c007'>It next comes to the left in front of the vertical and below
+the horizontal group, and up behind the horizontal group to the
+position from which it first started. It now follows the same
+course once more until it has been around the group twice as shown
+in Figure 3, B: but the next time instead of coming down across
+the horizontal spokes as shown in that figure, the spokes are
+<span class='pageno' id='Page_14'>14</span>separated and the under and over weaving commences as seen in
+Figure 4.</p>
+
+<p class='c007'>The left hand does the holding and the right hand the weaving.
+Be sure to hold the spokes out straight as the weaving is done
+around them in order that the weaver may be made to conform
+to the spokes, and not the spokes to the weaver as shown in Figure
+5, A. Figure 5, B, shows the correct method. The spokes are
+approximately in the same horizontal plane.</p>
+
+<div id='i_014'  class='figcenter id004'>
+<img src='images/i_014.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'>When the spokes are all the same distance apart at the
+weaving, hold the mat down on a flat surface, Fig. 6, and
+continue the weaving until it is 3 inches in diameter. Figure 6
+illustrates the correct position of the hands when holding the work
+down on a surface. Hold the spokes down with the left hand and
+<span class='pageno' id='Page_15'>15</span>weave with the right. This figure illustrates the weaving of a much
+larger mat but the principle is exactly the same. If one weaver
+is too short to bring the weaving to the desired size, join the weavers
+as shown in Figure 3, D, and continue the weaving as though the
+weaver were continuous, being careful to keep the weaving close
+together with the left hand each time it goes over and under a spoke.</p>
+
+<div id='i_015a'  class='figcenter id004'>
+<img src='images/i_015a.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'>Right at this point insist upon the pupils’ going slowly and
+weaving closely. The later satisfaction of knowing how to weave
+correctly will more than offset any discouragement at not seeming
+able to produce great results at once.</p>
+
+<div id='i_015b'  class='figcenter id004'>
+<img src='images/i_015b.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'>Next cut off the weaver long enough to go a little more than
+once around the circumference and overcast the weaving in the
+following manner: As the weaver comes from behind a spoke, put
+it over the next spoke to the right and through the last row of
+<span class='pageno' id='Page_16'>16</span>weaving just before it gets to the following spoke. It then goes
+behind that spoke, over the next and through the weaving, as
+before, just before it gets to the next spoke.</p>
+
+<p class='c007'>Figure 7 shows one stitch of overcasting and the second stitch
+just ready to be pulled through. This process continues once
+around, when the weaver is cut off
+on the back side of the last spoke
+as shown in Figure 1, B. Finish the
+mat with an open border, Figure 8,
+A, by turning in the ends of the
+spokes.</p>
+
+<div id='i_016'  class='figleft id005'>
+<img src='images/i_016.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'>Figure 8 shows another “device”
+to illustrate the construction of some
+simple open borders. These may be
+woven left-handed or right handed
+as is most convenient. In “A”
+one spoke goes in front of the next
+and inserts just before it gets to
+the third. In “B” one goes in
+front of two and inserts just before
+it gets to the fourth. In “C” one
+goes in front of three and inserts
+just before it gets to the fifth. In
+“D,” in front of four and just before
+the sixth. Judgment is required to
+get the right sized loop. The length of spoke required after
+overcasting can be found by trial. All spokes must be cut the
+same length, sharpened, and inserted equally. In these borders
+if the spokes are approximately an inch apart “A” will require
+about 2¾ inches outside of the overcasting, “B” about 4¼ inches,
+“C” 5½ to 6½ inches, and “D” 6½ to 8½ inches. These lengths
+allow for insertion.</p>
+
+<p class='c007'><span class='pageno' id='Page_17'>17</span>In Figure 3, A, B, and C illustrate another method of starting
+a center with one weaver. In this case two pieces are split in the
+center and the other two are put through them with the odd one
+inserted as shown at A. The weaving proceeds as by the first
+method until two courses are woven when, instead of separating
+the three spokes and beginning the single weaving, the weaver
+is reversed as shown at B and two courses are woven the other
+way. The separation into singles then begins as at C. This method
+of splitting half of the spokes and putting the others through them
+is the better method of the two as it is the less difficult to hold the
+group while the first two rows are woven.</p>
+
+<div id='i_017'  class='figcenter id004'>
+<img src='images/i_017.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'>Figure 1, B, shows a mat the center of which was started by
+the second method. The spokes are of No. 4 reed and the weavers
+of No. 3. Four spokes are 12½ inches long and one, 7½ inches.
+The border is illustrated at A, Figure 8. The weaving was 3¼
+inches in diameter before overcasting.</p>
+
+<p class='c007'>Figure 9 shows the method of starting a center with the pairing
+weave. At A three pieces pass through two pieces giving ten
+spokes. At B three going through three give twelve spokes. The
+split pieces are held horizontally, and the weaver, doubled in the
+middle, is started around the vertical group above the horizontal
+<span class='pageno' id='Page_18'>18</span>ones as shown at A; one end being in front of the other behind
+the vertical group, thus forming the two weavers. The front
+weaver then comes to the right across the vertical group, and down
+behind the horizontal group. The rear one goes to the right across
+the back of the vertical group and down in front of the horizontal
+group. (B shows the weaving at this stage.) The whole group
+of spokes is now revolved from right to left until the horizontal
+group becomes vertical, C, and the weaving proceeds as before,
+holding the work with the left hand, weaving with the right, and
+revolving so that a vertical group is woven over each time. Notice
+that the revolution is from right to left and weaving from left to
+right. In the illustrated weaving, spokes of No. 4 reed are used
+and a weaver of No. 2 reed.<a id='r3'></a><a href='#f3' class='c008'><sup>[3]</sup></a></p>
+
+<div class='footnote' id='f3'>
+<p class='c007'><a href='#r3'>3</a>. It is wise to have the reed for the spokes and stakes two sizes larger than the
+weaver except in cases where the bottom is less than three inches in diameter, when a
+difference of one size is sufficient.</p>
+</div>
+
+<p class='c007'>When three pieces cross three pieces it is necessary to go
+around the groups three times before separating into singles, Fig.
+9, D. As soon as it is possible after separating, get the spokes
+the same distance apart at the weaving. If they are spread apart
+as at E, this can be done in two courses and single weaving can
+be commenced. Take the rear weaver and bring it over one spoke
+and under the next, and so on once around until coming to the
+other weaver. F shows it at this stage. Notice that when a course
+is woven once around, the weaver comes outside of the other
+weaver and stops. The inside one now weaves around until it
+comes to the same position, with reference to the first one, that
+the first one held to it. Continue to weave first one and then the
+other, each as in single weaving, until the desired diameter is
+reached. Overcast as shown in Figure 10. The weavers are
+stopped on opposite sides of the weaving, A, and the top one is
+overcast to the other, B. The lower one is then overcast until
+it comes opposite to where the other overcasting stopped, C.
+Weavers can then be cut off on the back side of the weaving. If
+the bottom of the basket is to be woven, it must be crowned slightly,
+and the weaving may be done over the knee, as shown in Figure
+#11:di_011. (See initial.) This figure also shows the correct method of
+holding the hands when weaving either a bottom or a small mat.</p>
+
+<div id='i_019'  class='figcenter id003'>
+<span class='pageno' id='Page_19'>19</span>
+<img src='images/i_019.jpg' alt='' class='ig001'>
+</div>
+
+<div id='i_020'  class='figcenter id004'>
+<span class='pageno' id='Page_20'>20</span>
+<img src='images/i_020.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'>Figure 12 shows the method of starting a sixteen spoke center.
+Four pieces cross four pieces, and two rows of pairing are woven
+around the groups of fours before they are separated into twos,
+A. Two rows are then woven around the pairs before separating
+them into singles, B. When the desired diameter is woven, overcast
+as shown in Figure 10.</p>
+
+<p class='c007'>Figure 12, C, shows the method of weaving a center having
+20 spokes. Here five cross five. Three rows of pairing are woven
+around the groups of fives and then a pair is separated from each
+side of the center one of each group, forming eight pairs and four
+<span class='pageno' id='Page_21'>21</span>single spokes. These are woven around twice and then separated
+into singles. C shows the work just before the separation into
+singles.</p>
+
+<p class='c007'>The large mat, Fig. 1, C, with open border is made as follows:
+Cut 10 pieces of No. 5 reed 23 inches long. Split five in the center
+and put five through them. Weave center 2½ inches in diameter,
+as described in Figure 12, C, with a No. 2 weaver. Cut off the
+weavers on opposite sides, Fig. 10, A, and start with 2 No. 3
+weavers, weaving until the work is 4½ inches in diameter. Notice
+in Figure 6 how the left hand holds the work down to the surface
+and the right hand does the weaving. When the weaving is 4½
+inches in diameter stop the weaving as before and insert two colored
+weavers, weaving four rows, two on each side of the spokes.
+Then start the natural weavers again and weave until the weaving
+is seven inches in diameter. Overcast as shown in Figure 10 and
+finish the edge as in C, Fig. 8. Spokes want to be about 7¾ inches
+long outside of the overcasting and must be sharpened on the end
+and inserted about 1¾ inches into the weaving.</p>
+
+<p class='c007'>Whenever the word “about” is used the subject requires the
+personal judgment of the one doing the work. If there is any
+difference in the texture of the reeds, always select the hardest
+ones for the spokes and use the softest ones for weaving.</p>
+
+<div class='chapter'>
+  <span class='pageno' id='Page_22'>22</span>
+  <h2 class='c005'>III. MATS</h2>
+</div>
+
+<p class='drop-capa0_0_6 c009'>This chapter contains all that will be said, in this booklet,
+about mats. But let me say,—“Not half has been told”
+of the designs which might be woven into mats and basket covers.
+Read over the first chapters on weaving and then see how many
+designs can be thought out by one who does some thinking for
+himself.</p>
+
+<p class='c007'>Figure 1 shows six mats. A and B are the same diameter, of
+equally good workmanship, and are woven with the same kind of
+weaving. So are C and D. To be critical, A lacks color. It is
+supplied in B. The spirals in C seem to be “in the air,” neither
+starting from anything nor ending anywhere. In D this is overcome
+by starting them from a band of color and having them
+die into a similar band, thus giving unity to the whole design.
+Woven bands in poor proportion are worse than plain weaving.
+Just enough color must be added in the right place to give proper
+tone and balance.</p>
+
+<p class='c007'>Figure 2 shows another device for illustrating work. This
+gives the construction of closed borders. The four illustrated
+are the simplest which can be made. In weaving them around the
+edge of a mat the weaving is started either at the top or right hand
+side and continued around in the direction of the movement
+of the hands of a clock. When using these borders on a basket
+the weaving is started on the side nearest to you and continues
+from left to right, while the basket itself is moved from right to
+left. In A and B the left hand figure shows the starting of the
+first row of the weaving and the right hand figure the finished row.</p>
+
+<div id='i_023'  class='figcenter id003'>
+<span class='pageno' id='Page_23'>23</span>
+<img src='images/i_023.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'><span class='pageno' id='Page_24'>24</span>Let us suppose the left hand spoke in each case is No. 1
+and that the others follow to the right in order. In A, No. 1 goes
+behind No. 2 and out; No. 2 behind No. 3 and out; and so on around
+the circumference, the last spoke going behind No. 1 and out of
+the loop left by it in going behind No. 2. Pull all ends tightly
+to the right, finishing the first row as at A, (left). For the second
+row, start with any spoke, put it in front of the next to the right
+and through the loop, into the inside of the basket just before
+getting to the next spoke. A (right) shows a portion of the finished
+border. The ends of the spokes are next cut off just inside of the
+border and close to it. In B, in the first row each spoke goes to the
+right behind two and out. In the next row in front of two and
+through to the inside just before getting to the next. In the first row
+of C, each goes behind one and out and in the second row, in front of
+two and to the inside. In D, each goes behind two and out in the
+first row, and in front of three and in, in the second row. If the
+spokes are approximately one inch apart A will take 3½ inches
+outside of overcasting, B 5½ inches, C 4½ inches, and D 6½ inches.</p>
+
+<div id='i_024'  class='figcenter id004'>
+<img src='images/i_024.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'>Mat B, Fig. 1, is made as follows: For material—Eight
+pieces of No. 5 rattan 17½ inches long and some No. 2 natural and
+colored weavers. Split four of the No. 5 pieces and put the
+other four through them.</p>
+
+<p class='c007'>The center is started with a colored weaver, as shown at E,
+Fig. 3. Double the weaver near its center and put the loop back
+<span class='pageno' id='Page_25'>25</span>of the horizontal group and to the left of the vertical group, having
+one weaver come to the front above the horizontal group and the
+other to the front below it. Bring the lower one to the right and
+up diagonally across the vertical group, and then down behind
+the horizontal group and to the front. Then bring the upper
+one to the right, diagonally across the vertical group, and to the
+left behind the vertical group below the horizontal. This will
+bring the weavers in the exact position shown in the cut. The
+whole thing may now be revolved until the weavers come above
+the horizontal group, and the weaving may progress according
+to the directions for a sixteen spoke center (Figure 12, previous
+chapter). When the spokes are evenly separated into singles
+the weaving should be about 1½ inches in diameter.</p>
+
+<p class='c007'>Cut off the weavers on the back side and start a natural weaver
+as shown in Figure 4. Weave with this until the work is about
+four inches in diameter, using the decorative feature spoken of
+in chapter I, Fig. <a href='#i_007'>5</a>, Indian method. Figure <a href='#i_007'>5</a> shows the weaver
+passing behind two spokes in order that it may start on the second
+row of double weaving.</p>
+
+<p class='c007'>Figure 6 shows the stopping of this weaving and the starting
+of the band of color. Weave five or six rows of the color and then
+two rows of natural weaving. Instead of overcasting all around
+as described in the previous chapter, the weaver may be stopped
+by tucking it through the last row of weaving once, as shown at
+A, Fig. 7. In Figure 7 notice also the single spiral made by the
+consecutive crossing of two spokes by the weaver as the weaving
+changes from one course to the next. This is a result of the Indian
+method of working one weaver with an even number of spokes.
+If the above single overcast of one stitch does not seem satisfactory,
+overcast the edge of the mat as shown in Figure 7, chapter II.</p>
+
+<p class='c007'>Mark off the spokes with a pencil 4½ inches from the overcasting
+and finish with open border, B, Fig. 8, chapter II, inserting
+each spoke to the mark. In this way the loops of the border can
+be made the same size.</p>
+
+<div id='i_026'  class='figcenter id003'>
+<span class='pageno' id='Page_26'>26</span>
+<img src='images/i_026.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'><span class='pageno' id='Page_27'>27</span>For mat C, five spokes of No. 5 reed 17½ inches long pass through
+five similar spokes. A No. 3 natural weaver is started either as
+shown in Figure 3, or in Figure 9, chapter II, and woven until
+the spokes are evenly separated into singles. The weaving will
+then be about 2½ inches in diameter. Lay the work on a flat surface,
+bring both weavers above the spokes and insert a colored
+weaver between the next two spokes to the right, as shown in
+Figure 8. Weave with the triple weave until about 5¾ inches
+in diameter. Cut the colored weaver out and insert a natural
+one in its place. Weave two courses of natural weaving and stop
+the weavers, as shown in Figure 9, A. Push them down close to the
+other weaving. (These are left up in the illustration simply to
+show the method of insertion beside the stakes.)</p>
+
+<p class='c007'>With the mat still down on a surface, commence to bind off
+the edge, Fig. 9, B, using close border, B, Fig. 2. The last two
+spokes are put through the loops left by starting the first two,
+Fig. 9, as shown in Figure 10. All are pulled tightly to the right,
+the second row is woven, pulled tightly, and the spokes cut off
+on the back side close to the border.</p>
+
+<p class='c007'>Figure 11 shows the under side before the spokes are cut
+off. Notice the difference in the effect of the weaving on the two
+sides and reflect upon it. You may want just that effect sometime
+as a decorative feature. Learn to take advantage of things that
+only seem to “happen so.”</p>
+
+<p class='c007'>Mat D is started the same as mat C and woven with the same
+stitch. Two rows of colored weaving are woven before starting
+the spirals, and two rows after the spirals are the desired size.
+The border may be any of the closed borders in Figure 2.</p>
+
+<p class='c007'>Mat E is made with the thirty-two spoke center, illustrated
+in Figure 3. The following material is required: Sixteen spokes
+<span class='pageno' id='Page_28'>28</span>of No. 6 natural reed 24 inches long and weavers of Nos. 2 and 3
+reed. The weavers are of three tones, light (natural), dark (colored),
+and a middle value (colored). Eight spokes are put through eight
+spokes, as shown at A, Figure 3. A No. 2 weaver of the neutral
+shade is bent in the middle and the pairing weave is started, as
+follows: The loop of the weaver is put through the spokes between
+groups 1–8, Fig. 3, A, and the pairing weave goes diagonally around
+from 1–8 to 2–3, 4–5, 6–7, and from between 6–7 one weaver goes
+across the back of 2–7 and out to the left below the horizontal
+group, as shown, and the other goes diagonally across the face
+of 2–7, between 1–8 and up behind group 1, as shown.</p>
+
+<div id='i_028'  class='figcenter id004'>
+<img src='images/i_028.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'>The weavers next go through stages B and C as follows: The
+upper one is brought diagonally down across the horizontal group
+of eight and to the left behind the vertical group; the lower one
+diagonally up, across the face of the vertical group of eight, then
+down behind the horizontal group and to the left across the face
+of the vertical group to the position shown at C. The pairing weave
+now commences around the groups of eight until two rows have
+been woven, when they separate into groups of fours, and the
+weaving continues three times around before separating into pairs.
+<span class='pageno' id='Page_29'>29</span>It will be found necessary to weave around the pairs four or five
+times before separating into singles. D shows the separation into
+fours and the beginning of the separation into pairs. The singles
+should be sufficiently far apart after five or six rows have been
+woven around them to allow the triple weaving to be commenced.</p>
+
+<p class='c007'>Up to this stage the weaving is all done in the hands, and great
+care must be taken to keep it close together. Every time the
+weaver is put between two spokes, from the front to the back
+side, it must be pulled down with the right hand on to the weaving
+already done, as shown in Figure 12, holding the “tension” thus
+gained with the middle finger of the left hand until the other weaver
+is brought across it to the front between the same pair of spokes.
+The weaver which has just been brought to the front must now
+be pulled down, as shown in Figure 13. The tension is still held
+with the middle finger of the left hand until the weaver, shown
+in Figure 13, is put back between the next pair of spokes to the
+right.</p>
+
+<p class='c007'>If a little care is given to this matter of “tension” the weaving
+can be very closely done. Cut off the No. 2 weaver on the back
+side and take three dark No. 3 weavers and insert, as shown in
+Figure 14, holding the ends of the weavers with the left hand until
+two or three stitches are taken. (This Figure shows natural weavers,
+in order to more clearly illustrate the starting of the triple weave.)
+The work is now held down on a flat surface, as shown in Figure
+15. Weave two rows of dark and then cut out two of the dark
+weavers and insert natural ones in their places, weaving eight
+rows of triple weaving. Cut off all three weavers and start the
+weaving the other way, inserting the new weavers, as shown in
+Figure 16. These push down into the weaving, to the right of and
+beside the spokes, and are brought behind the spokes and out
+where the others stopped. Do not get the colors mixed. Weave
+eight rows the other way and then cut the two natural ones out,
+inserting two dark ones in their places, and weaving two rows to
+form the outer band. Cut off all three weavers and insert the
+ends as shown in Figure 9, A. Then start three natural weavers
+and weave the three outer rows to form the outer band of natural
+color. Start these as in Figure 16 and end them as in Figure 9, A.</p>
+
+<div id='i_030'  class='figcenter id003'>
+<span class='pageno' id='Page_30'>30</span>
+<img src='images/i_030.jpg' alt='' class='ig001'>
+</div>
+
+<div id='i_031'  class='figcenter id004'>
+<span class='pageno' id='Page_31'>31</span>
+<img src='images/i_031.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'>Figure 17 shows the mat, about eleven inches in diameter,
+ready to close the border. Use border C, Fig. 2, starting at the
+top. This design may be known as the “Indian arrow head”
+design.</p>
+
+<p class='c007'>By finishing the edge of mat C, Fig. <a href='#i_012'>1</a>, illustrated in the previous
+chapter, a mat similar to F, Fig. 1, of this chapter would be
+the result.</p>
+
+<p class='c007'>The design is shown on a basket illustrated in Figure 14,
+chapter I, at A.</p>
+
+<p class='c007'>At B, Figure <a href='#i_010'>14</a>, chapter I, the same ideas carried further
+give the “Lightning Flash” design.</p>
+
+<div class='chapter'>
+  <span class='pageno' id='Page_32'>32</span>
+  <h2 class='c005'>IV. THE SIMPLEST BASKET</h2>
+</div>
+
+<div id='di_032'  class='figleft id002'>
+<img src='images/di_032.jpg' alt='' class='ig001'>
+</div>
+<p class='c006'>The first small basket is but little more difficult
+to make than the first mat. The spokes are a
+little longer to allow for turning up, and are of
+the same sized reed.</p>
+
+<p class='c007'>Figure 1 shows the successive steps in the
+construction of the simplest basket. The weaving
+is started as in Figure 2, chapter II, and
+is continued until it is about 1⅞ inches in
+diameter, when the spokes are turned up and
+become stakes. A glance at Figure 1, a, will
+show why all the stakes do not stay in a perpendicular
+position the first time the weaver
+goes around them. Figure 1, b, shows the
+weaver twice around and the stakes all standing
+erect.</p>
+
+<p class='c007'>The future shape of the basket is determined
+at this point in the weaving. If a straight,
+perpendicular-sided basket is wanted, Fig. 1, e,
+give the weaver tension enough to hold the
+stakes upright after three or four rows of
+weaving. If a straight, flaring-sided basket is wanted, Figure
+2, a, do not give the first rows of weaving so much tension,
+thereby allowing the stakes to flare. In weaving all straight-sided
+baskets, after the stakes stand at a satisfactory angle, be
+very careful to see that the weaver has no tension whatever.
+Personal taste and good judgment are the factors which determine
+the angle of the flare. If a curved-sided basket is wanted, Fig.
+2, b, start with the stakes quite flaring, and keep an even tension
+on the weaver as the weaving progresses and until the desired
+curve is woven in. Always remember that tension on the weaver
+<span class='pageno' id='Page_33'>33</span>will bring the stakes together. Figure 3 shows the correct method
+of holding a small basket during the weaving of the sides.</p>
+
+<div id='i_033'  class='figcenter id004'>
+<img src='images/i_033.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'>When the basket is woven to the desired height, overcast
+the weaving around the stakes just as it was done around the spokes
+of the mat. This process was described and illustrated in chapter
+II, Fig. <a href='#i_016'>7</a>. The basket may then be finished satisfactorily by using
+either border, a or b, chapter II, Fig. 8. Make the stakes long
+enough to push through the weaving, as shown in Figure 1, d.
+This will stiffen the sides of the basket, and give it a more finished
+appearance. After all the stakes are pushed through, get the
+curves and loops of the border all regular in outline and the same
+height either by measurement or by turning the basket bottom
+side up on a flat surface and making all the loops touch the surface.</p>
+
+<p class='c007'>Figure 4, a, b, and c, illustrates another simple and very
+effective construction. The bottom is made with the pairing
+weave as described and illustrated in chapter II, Fig. <a href='#i_019'>9</a>. Four
+reeds cross four reeds, thus giving sixteen spokes. When the bottom
+is woven to about two inches in diameter, turn up the spokes as
+<span class='pageno' id='Page_34'>34</span>at a, bringing the weavers to the outside. Behind these two
+and beside a stake, insert a third weaver as shown at b, and weave
+three rows of triple weaving, chapter I, Fig. 9. Stop this weaving
+by pushing each weaver down behind and beside a stake and out
+through the bottom of the basket. Figure 4, c, shows the three
+weavers as they stick out below the bottom of the basket.<a id='r4'></a><a href='#f4' class='c008'><sup>[4]</sup></a> Commence
+the single weaving by the Indian method, chapter I, Fig.
+4, and continue it until the desired height has been woven. Insert
+two more weavers and weave three rows of triple weaving before
+making the border. Notice the bands formed by this triple weaving.</p>
+
+<div class='footnote' id='f4'>
+<p class='c007'><a href='#r4'>4</a>. If the weaving is too tight to admit of pushing the weavers down beside the
+stakes, use a common scratch awl to make room for them. One cannot use the awl too
+freely in closing borders and making handles.</p>
+</div>
+
+<div id='i_034'  class='figcenter id004'>
+<img src='images/i_034.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'>The border may be closed by one or the other of the closed
+borders illustrated in chapter III, Fig. <a href='#i_024'>2</a>. For small baskets, c
+is the best closed border I have found. For baskets 5 to 7 inches
+in diameter b is best, and for those up to 8 or 9 inches use d.</p>
+
+<p class='c007'>When the single weaving is used for the main body of the
+basket, and bands of triple weaving are used at the top and bottom,
+a pleasing variety of designs may be made by weaving either the
+bands of colored weavers and the body of natural ones, or <em>vice
+versa</em>.</p>
+
+<p class='c007'>Figure 5 illustrates the consecutive steps in the making of the
+twisted handles shown in the lower row of Figure 4. The illustrative
+<span class='pageno' id='Page_35'>35</span>work is wound around
+a piece of wood which takes
+the place of the upper edge
+of the basket. A piece of 4
+reed is inserted beside the
+stakes on opposite sides of
+the rim as shown at Figure
+4e. This forms the foundation
+of the handles, shown
+on f and j. For the other
+baskets in Figure 4 two
+pieces are used. One is
+inserted beside a stake on
+one side of the basket, and
+the other just opposite
+beside another stake. These
+are then curved over and
+inserted beside the third and
+fourth stake from where they
+were first inserted, thus
+forming the semi-circular
+foundation on which the
+twisting is done.</p>
+
+<div id='i_035'  class='figleft id005'>
+<img src='images/i_035.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'>A reed, wet until very pliable,
+is now inserted to the
+left of the right hand side of
+the foundation reed, Fig. 5, I.
+This is now twisted three
+times around the foundation
+reed, and comes to the outside
+of the basket, as shown
+at 2. It is now put through
+<span class='pageno' id='Page_36'>36</span>to the inside of the basket, outside of the foundation reed, just
+below the closed border,<a id='r5'></a><a href='#f5' class='c008'><sup>[5]</sup></a> and brought to the front just below the first
+twisting, as shown at 3. Follow the first twist back to the starting
+point, keeping the weaver beside the first twist. Do not let the
+weaver cross the first one. Keep it beside the first at all times.
+It now goes to the inside, and is put through to the outside to the
+right of the foundation reed, and brought up as at 4, and twisted
+to the left beside the first two until it reaches the point a, where
+the first, almost universal, error is made. The reed should go
+to the left of the one already there, as shown at 5, then to the inside
+of the basket and up to the front, as shown at 6. Twist it back
+beside the others, put it to the inside and again to the outside
+to the right of the second. Look out for error b at this point.
+Figure 7 is correct. Go back and forth once more, and finish as
+shown at 8. Figure 9 shows the completed handle.</p>
+
+<div class='footnote' id='f5'>
+<p class='c007'><a href='#r5'>5</a>. This is not absolute. It may be put through much further down if desired, say two,
+three, or even four rows below the border.</p>
+</div>
+
+<div id='i_036'  class='figcenter id004'>
+<img src='images/i_036.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'><span class='pageno' id='Page_37'>37</span>The secret of a good handle is in adjusting the ratio of the
+foundation weaver, diameter of semi-circle, and number of twists
+so that when the winding is completed the handle will have the
+appearance of a closely twisted rope. The handle just described
+has a 1⅝ inch semi-circular foundation of No. 4 reed, and is bound
+with No. 2 reed twisted three times around to start with. Winding
+should always continue until the foundation reed is completely
+covered. Figure 5, c, shows a handle with a 2 inch semi-circular
+foundation of No. 4 reed twisted three times around with No. 3
+reed. D has a foundation of No. 5 reed twisted with No. 2 reed
+four twists, and e is another, adapted to a larger basket as a bail
+handle. Its dimensions and the number of twists are clearly
+shown. The foundation is No. 5 reed, and the winding weaver
+is of No. 3. These are sufficient to enable one to judge the ratio
+which will give a good handle.</p>
+
+<p class='c007'>In order to take advantage of the constructive decorative
+features spoken of in chapter I, it is necessary to know how to get
+the correct number of spokes for any desired diameter of bottom,
+as the woven figures spoken of in that article are dependent upon
+the ratio of the number of stakes to the number of weavers. When
+the bottom of a basket is less than 4 inches in diameter, it is well
+to have the stakes not more than ½ inch apart, and in those from
+4 to 6 inches not more than ¾ inch apart.</p>
+
+<p class='c007'>It is also my practice in making baskets less than 3 inches
+in diameter to have the spokes turn up and form the stakes, and
+for those larger to cut spokes only long enough for the bottom,
+and insert one stake each side of each spoke after the bottom is
+woven. This gives twice as many stakes as spokes. When you
+find out the desired size for the bottom of the basket, decide on
+the number of stakes. An illustration or two will give you the
+method of getting this number: For instance, if nine stakes were
+wanted, have two long spokes cross two long spokes and insert one
+<span class='pageno' id='Page_38'>38</span>short spoke, as shown in chapter II, Figs. <a href='#i_024'>2</a>, <a href='#i_023'>3</a>, and <a href='#i_026'>4</a>. Weave
+the bottom the desired diameter, and turn up the nine spokes as
+stakes. If eighteen stakes were wanted, cut spokes as above only
+long enough for the bottom. When it is woven insert a stake each
+side of each spoke, and the result is eighteen stakes.</p>
+
+<div id='i_038'  class='figcenter id003'>
+<img src='images/i_038.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'>Three spokes crossing three spokes and turning up when the
+bottom is woven gives twelve stakes, and if the spokes are cut
+<span class='pageno' id='Page_39'>39</span>only long enough for the bottom and a stake inserted each side
+of each one the result will be twenty-four stakes.</p>
+
+<p class='c007'>Four crossing four and turning up will give sixteen, and by
+insertion thirty-two.</p>
+
+<p class='c007'>Five crossing five and turning up will give twenty, and by
+insertion forty.</p>
+
+<div id='i_039'  class='figcenter id004'>
+<img src='images/i_039.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'>Then, again, if one is not extra careful to get the spacing of
+the spokes equal, it will be found easy, when the bottom is partly
+woven, to insert a stake where two are too far apart or to cut
+out one where they are too near together. This will never be noticed
+when the bottom is fully woven. One can easily see that in this
+way one can get any number of stakes on which to weave. By
+reference to chapter I, anyone can find the ratio between stakes
+and weavers used in making the baskets shown in Figure 4. All
+are made with the triple weave and colored and natural weavers;
+f and j are about 1¾ inches in diameter at the bottom, g about
+4 inches, and h and i about 3½ inches.</p>
+
+<p class='c007'>The decorative <a href='#di_032'>initial</a> at the beginning of this chapter shows
+the adaptation of decorative weavers in making a small demijohn.
+Its foundation is a quart Vichy bottle. The weavers used can
+<span class='pageno' id='Page_40'>40</span>be easily seen, also the proportionate spacing of bands. The
+handles are twisted just as on a basket. Stakes and handle foundations
+are of No. 4 and the weavers of No. 2.</p>
+
+<p class='c007'>Figure 6 shows a small jug covered with weaving part way
+up. This was selected for its outline and covered, because it had
+a large “trade mark” glazed upon its surface. The baskets shown
+in Figure 6 will be described later.</p>
+
+<p class='c007'>I purposely omit detailed dimensions. They should be suggested
+by the one making the basket. What would seem correct
+to me might offend another, and I do not care to be misunderstood
+as wishing to force my own taste in matters of proportion upon any
+one else.</p>
+
+<p class='c007'>Be yourself fully and completely, and let your work exemplify
+the fact that you are doing your own thinking and simply using the
+information you acquire as suggestive of greater possibilities.</p>
+
+<div class='chapter'>
+  <span class='pageno' id='Page_41'>41</span>
+  <h2 class='c005'>V. CIRCULAR BASKETS</h2>
+</div>
+
+<p class='drop-capa0_0_6 c009'>This chapter deals with the construction of the basket usually
+called a workbasket, but it may be taken as typical of all
+circular baskets without handles. Figure I, A and B, shows a view
+looking into the basket. Notice that a portion of the weaving
+about the center of the bottom is done with the pairing weave, until
+the spokes are separated sufficiently to allow triple weaving. The
+bottom is then completed with the triple weaving making it much
+finer in appearance. B shows the effect of using one colored
+weaver and two natural ones.</p>
+
+<div id='i_041'  class='figcenter id004'>
+<img src='images/i_041.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'>When the bottom is woven, cut four times as many stakes
+as spokes, one-half colored and one-half natural. These stakes
+should be about six inches longer than twice the finished height
+of the basket. Insert one colored and one natural, as a pair,
+each side of each spoke in the bottom, as shown in Figure II, A,
+being careful to keep the colored ones either to the right or left
+<span class='pageno' id='Page_42'>42</span>of the natural ones. After turning up these stakes weave three
+rows of triple weaving, and finish this weaving by pulling the weavers
+through, as shown in Figure II, B. These three weavers which
+form the lower band of weaving may be of natural or colored
+weavers. This of course depends entirely upon the ideas one has
+concerning the appearance of the finished basket.</p>
+
+<div id='i_042'  class='figcenter id003'>
+<img src='images/i_042.jpg' alt='' class='ig001'>
+</div>
+<div id='i_043'  class='figcenter id003'>
+<span class='pageno' id='Page_43'>43</span>
+<img src='images/i_043.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'>Allow the stakes to flare a little more than is desired in the
+finished basket, as the turning over of the stakes draws the top
+in slightly. If an open space is wanted between the bands of triple
+weaving, weave one or two rows of flat weavers before weaving
+the second row of triple weavers, as shown in Figure III, A. This
+may be cut out after the basket is completed if one desires to
+insert a ribbon. Figure III, B, shows a basket just before the
+stakes are turned and with the space between the two rows of
+<span class='pageno' id='Page_44'>44</span>triple weaving filled up with single weaving. Figure IV, A and B,
+shows the method of turning over the stakes. The ends are inserted
+through the outer loops of the triple weave three and one-half
+spaces to the right or left of where the stake itself comes through
+the upper row of triple weaving. By turning to the right or left
+the colored weaver may be brought outside, regardless of how it
+may be inserted in the bottom. When the colored bands are used
+it is well to have the outer stake of the colored, as at B. The tucking
+in of the stakes is now continued until all completed when the
+basket is turned bottom side up and the loops all made to touch
+a flat surface. Great care must be taken in doing this, as the finished
+appearance of the basket may be greatly marred by lack of attention
+to this particular point.</p>
+
+<div id='i_044'  class='figcenter id004'>
+<img src='images/i_044.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'>At this point decide whether the bottom rows of weaving are
+to be colored or natural; if colored, cut away the natural weavers
+<span class='pageno' id='Page_45'>45</span>at the bottom of the basket, as shown at Figure V, A. Next
+insert three weavers and weave one row of triple weaving in order
+that the remaining stakes may be brought to an upright position,
+as shown at Figure V, B. The bottom of the basket is now ready
+to close in. Take one upright stake, pass it in front of two, and
+to the inside and let it lay along the inside edge of the bottom;
+take each successive stake and do the same thing, as shown at
+Figure V, B. Figure VI, A, shows the appearance of the ends of
+these stakes as they lay along the inside edge of the bottom.
+This view also shows the space which may be used for the
+insertion of ribbon, after cutting out the filling of flat weavers.
+Figure VI, B, shows the appearance of the basket when completed
+with the single weaving as a filler between the two rows of
+triple weaving.</p>
+
+<div id='i_045'  class='figcenter id004'>
+<img src='images/i_045.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'>The basket illustrated in Figure <a href='#i_015b'>VI</a>, chapter 4, was made by
+this process; it was eight inches in diameter at the bottom and had
+a twenty spoke center.</p>
+
+<p class='c007'>The basket illustrated in Figure I, B, of this chapter has a
+sixteen spoke center and a bottom five and one-half inches in diameter.
+The height of the loops in baskets of this kind is something
+<span class='pageno' id='Page_46'>46</span>that each worker must settle for himself. The tendency at first
+will be to get them too high. The combinations of color and proportion
+which may be worked out in baskets of this description
+are innumerable. I know of no construction which requires more
+artistic taste and a finer sense of correct proportion.</p>
+
+<div class='chapter'>
+  <span class='pageno' id='Page_47'>47</span>
+  <h2 class='c005'>VI. ELLIPTICAL BASKETS</h2>
+</div>
+
+<p class='drop-capa0_0_6 c009'>When one has attained a certain degree of proficiency in
+making round baskets it is but natural that he should
+desire to make those which are elliptical in shape. The making
+of these baskets presents a problem which has been difficult to
+solve and the solution of which renders their construction practical
+for school uses. In a circular basket, where an even tension is
+kept on the weaver during the weaving process, the sides come
+up with an even flare but the stakes have a tendency to lean.
+This is due to the constant tension from left to right and works
+havoc in the construction of elliptical baskets. Unless great care
+is taken the upper edge of the basket will be shaped like the
+unfinished one illustrated in Figure II.</p>
+
+<p class='c007'>This tendency troubled me for a long time until I noticed
+that this warping commenced in the weaving of the bottoms and
+increased as the sides of the basket were woven. If the bottoms
+are woven left-handed or bottom side up, without regard to this
+warping, and then, after the stakes are inserted, the weaving of
+the sides proceeds as usual, but little care need be exercised in order
+to get an even basket as shown in Figure II. The warping tendency
+produced by weaving the sides offsets that produced by the left-handed
+weaving of the bottoms.</p>
+
+<p class='c007'>Since the discovery of this little trick the weaving of elliptical
+baskets has been a constant pleasure and has been carried on with
+marked success.</p>
+
+<p class='c007'>Figure I represents the consecutive steps in the construction
+of elliptical bottoms. Cut four spokes of No. 4 or No. 5 reed the
+length of the major diameter of the bottom, and as many as are
+desired, the length of the minor diameter. By analysis it will
+be seen that these bottoms are half round at each end and filled
+in straight between; therefore, each end requires half as many
+<span class='pageno' id='Page_48'>48</span>spokes as would be required in a round bottom, and as many in
+between these as is necessary in order to get the bottom the required
+length.</p>
+
+<div id='i_048'  class='figcenter id004'>
+<img src='images/i_048.jpg' alt='' class='ig001'>
+<div class='ic006'>
+<p>Figure I.</p>
+</div>
+</div>
+
+<p class='c007'>Another important point,—if the spokes on each end are to
+be one inch apart when the bottom is all woven, the spokes between
+must be a little more than that distance apart as these side spokes
+remain parallel during the weaving of the sides while the end ones
+radiate somewhat with the flare of the basket. Split all the short
+spokes and string them on the four long ones. Take a pair of the
+<span class='pageno' id='Page_49'>49</span>short spokes and put them near the end of the long ones as shown
+at A, Fig. I. Place a weaver of No. 2 or No. 3 reed, diagonally
+behind the group from 1 to 2 and bring it diagonally across the
+front from 2 to 1, then back of the group of four and to the left
+from 1 to 3, parallel with the short pair of spokes. Next, diagonally
+across the face from 3 to 4 and down behind the short pair from
+4 to 1. Now the winding of the four long spokes commences as
+shown. This should continue for about 1³⁄₁₆ inches, if the end
+spokes are to be one inch apart when the bottom is finished.</p>
+
+<div id='i_049'  class='figcenter id004'>
+<img src='images/i_049.jpg' alt='' class='ig001'>
+<div class='ic006'>
+<p>Figure II.</p>
+</div>
+</div>
+
+<p class='c007'>Bring in the next spoke and bind it into its place. This
+binding is so clearly shown as to require no explanation. When
+all the short single spokes are bound in, bind in the last pair as
+shown, turn the bottom and insert the second weaver in order
+that the pairing weave may be started. D, Fig. I, shows just how
+this weave is inserted.</p>
+
+<p class='c007'>The weaving process from now on is just the same as for that
+of round bottoms described in the chapter on Weaving Foundations.
+E, Fig. I, shows the proper relative position of the spokes
+at the beginning of the separation of the end ones into singles.
+<span class='pageno' id='Page_50'>50</span>If it is thought more desirable to have the sides of the bottom a
+little curved rather than straight, the straight part may be filled
+in after all the spokes are separated into singles. This is illustrated,
+and is done with the colored weavers in order to show it more clearly.
+This filling in process is done with the single weave, over and
+under five spokes for the first two pieces, then three, two and one.
+If this does not round the sides to suit the taste fill in again after
+one or two rows of regular weaving.</p>
+
+<div id='i_050'  class='figcenter id004'>
+<img src='images/i_050.jpg' alt='' class='ig001'>
+<div class='ic006'>
+<p>Figure III.</p>
+</div>
+</div>
+
+<p class='c007'>When the bottom is woven, insert one stake each side of each
+spoke and weave the sides as in the usual way. One can easily
+figure out the proper number of stakes required, in order to take
+advantage of the decorative features of triple weaving, in these
+baskets as in the round ones. Figure III shows some elliptical
+<span class='pageno' id='Page_51'>51</span>baskets of different designs and proportions as to major and minor
+diameters and also two kinds of twisted handles, small and large.
+Basket No. 3 has a bottom with but one single spoke between its
+ends as shown in Figure I, D and E. Basket No. 2 has two as shown
+at C. Basket No. 1 has three, and No. 4 and No. 5 have six.</p>
+
+<p class='c007'>The edge finishes are all as described in chapter III, Fig. <a href='#i_013'>II</a>,
+B, and the twisted handles are all as described in chapter IV.
+A pleasing decorative feature is shown in the large wastebasket
+in the left hand foreground of Figure III. Two natural and one
+colored weaver are used and the stakes are equally divisible by
+three, the number of weavers. Three rows are woven around,
+then the green weaver changes places with a white one and three
+more rows are woven. This process is kept up until the desired
+height is reached, resulting in a spiral arrangement of spots. Figure
+III shows progress in working out some simple designs, A showing
+a large hollow diamond (as easily made solid). Smaller hollow
+diamonds would look well around an elliptical basket. B
+also shows hollow diamonds and the Indian “good luck” symbol.
+This work is done with the single weave on stakes not more than
+one-half inch apart.</p>
+
+<p class='c007'>Many fine designs may be “worked up” on plotting paper.
+Use paper which is lined off about as far apart as the diameter of
+the weaver to be used and draw vertical lines across this about
+as far apart as the distance between the stakes.</p>
+
+<div class='chapter'>
+  <span class='pageno' id='Page_52'>52</span>
+  <h2 class='c005'>VII. MELON SHAPED BASKETS</h2>
+</div>
+
+<div id='di_052'  class='figleft id002'>
+<img src='images/di_052.jpg' alt='' class='ig001'>
+</div>
+<p class='c006'>A melon shaped basket seems to me to
+be the most fascinating of all in its
+method of construction. Figure I shows
+the material necessary with the exception
+of the weavers. Figure II shows
+the method of determining the shape
+of the slices or ribs on which the weaving
+is done.<a id='r6'></a><a href='#f6' class='c008'><sup>[6]</sup></a> The material with which the
+two circular ribs are made is stout ash
+splint. Take two straight pieces the
+length required for the circumference of
+the circle allowing about three-fourths of
+an inch for lap. These may be fastened
+together to form the two circular rings
+either by a small bent iron fastener or with fine string. These rings
+are then placed in the position shown in Figure III, No. 1, perpendicular
+to each other. The weaver is then placed behind the vertical
+<span class='pageno' id='Page_53'>53</span>ring on top of the horizontal ring with its ends projecting toward
+the right in the direction of A-B. The weaver is then brought
+over from A to D in front of the vertical ring.</p>
+
+<div class='footnote' id='f6'>
+<p class='c007'><a href='#r6'>6</a>. <span class='sc'>Note.</span>—Let AA represent the orthographic projection of the two rings. From the
+point x, with a radius equal to xy, draw the quarter circle. Divide this quarter circle
+into three equal parts from 1 to y, and connect the points of division with lines to point
+x. Lay off lines parallel to these one-eighth inch apart to represent the space to be allowed
+for the weavers. This will show the projection of one side of the basket with the ribs in
+position. Draw a quarter circle on the right hand side. From the center line, at point
+2, lay off distances on this quadrant about an inch apart as shown at 2-a-b-c-d. Project
+these to the left on to the line xy, and with x as a center, continue these projection lines
+with arcs crossing the center rib, as shown. Draw chords 4, 5, 6, 7, and 8. Take a piece
+of stiff paper or of the material to be used as ribs and bend around from 1 to 3 to get
+the true length which will be the distance 1 2 3 as shown above at B. Draw the two
+center lines at right angles, crossing at 4. Lay off distances 4 5, 5 6, 6 7, 7 8 on either
+side of 4 corresponding with the distances 2a, ab, be, and cd. On these, by means of
+arcs, lay off distances equal to the lengths of the corresponding chords 4, 5, 6, 7, and 8
+in the view AA. A curve tangent to these arcs shows one contour of a rib.</p>
+
+<p class='c007'>If many baskets of this size are wanted it will be found convenient to make a pattern
+for each size and mark it properly. If the basket wanted is more than six inches in diameter
+more ribs will be needed, and the small lay-out C will give the proper suggestion.</p>
+</div>
+
+<div id='i_053'  class='figcenter id004'>
+<img src='images/i_053.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'>Then behind the horizontal ring and up to B, in which position
+it is shown at No. 1. From thence it goes diagonally across the
+vertical ring from B to C and upward behind the horizontal, from
+C to A and assumes the position shown at No. 2. It now goes
+across from A to D as before, and behind the vertical ring from D
+to C, below the horizontal; which position is shown at No. 3.
+From there it goes across the vertical ring from C to B, then
+behind the vertical from B to A. This method of winding is
+kept up, as shown at 4, 5, and 6, until a little pocket is formed,
+as shown at E and F. This process takes place on both ends of
+the rings. The center ribs on either side are now put into this
+pocket and the single weaving is commenced, as shown at Figure IV.</p>
+
+<p class='c007'>Weave three or four rows on one end, then three or four on
+the other end. This weaving, first on one end and then on the
+other, must be kept up during the whole construction of the
+basket.</p>
+
+<div id='i_054'  class='figcenter id003'>
+<span class='pageno' id='Page_54'>54</span>
+<img src='images/i_054.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'><span class='pageno' id='Page_55'>55</span>In the construction of these baskets many will place all the
+ribs in the pocket at once, but this method of construction is too
+difficult for an amateur to attempt.</p>
+
+<div id='i_055'  class='figcenter id003'>
+<img src='images/i_055.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'>After these two middle ribs have been placed in position and
+three rows of weaving completed, the other four ribs should be
+tucked into the pocket on one end and the single weaving continued
+until four or five rows are woven, as shown in Figure V.</p>
+
+<p class='c007'>This process has been found to be much easier than to place
+the ribs in both pockets, because of the fact that in weaving on
+one end the other ends of the ribs are continually flying out.</p>
+
+<p class='c007'>After four or five rows are woven the other ends of the ribs
+may be placed in the opposite pocket and the weaving continued
+<span class='pageno' id='Page_56'>56</span>as on the opposite end. Great care must be taken in the shaping
+of these ribs to see that there is a proper distance between them
+so that the weaver may not be cramped.</p>
+
+<p class='c007'>The final shape of the basket depends almost entirely upon
+the nicety with which these ribs are constructed.</p>
+
+<div id='i_056'  class='figcenter id004'>
+<img src='images/i_056.jpg' alt='' class='ig001'>
+</div>
+
+<p class='c007'>If one wishes to construct the basket so that it will be more
+than a half-sphere in depth, it can be easily done by making a plan
+of rings and ribs of the shape wanted and laying out these rings
+and ribs from that. It may be necessary in teaching younger
+pupils the construction of these baskets for the teacher to do the
+drawing and laying out of the size and shape of these ribs, but
+this process should be thoroughly explained.</p>
+
+<p class='c007'>If difficulty is found in getting heavy ash splint for the rings
+and ribs, they may be easily constructed from the hoops of a sugar
+barrel or even wood from a cheese box, both of which must be
+<span class='pageno' id='Page_57'>57</span>soaked and whittled down thin, say to one-sixteenth of an inch
+in thickness. One of the best melon shaped baskets which I have
+seen had its rings and ribs constructed from wood taken from a
+butter box which was about eight inches in diameter. Too much
+emphasis cannot be placed on the necessity of getting the foundation
+features of this construction absolutely accurate. This is
+truer of this shape than of almost any other.</p>
+
+<p class='c007'>Where it seems impossible to get either the ash splint or other
+material spoken of, No. 8 or 10 round reed may be split lengthwise
+and used in the construction of the rings. If these are to be used
+it will be found necessary to have a greater number of ribs on
+which to weave than has been spoken of previously. It does not
+seem wise, however, to attempt a melon shaped basket over four
+or five inches in diameter with half round reed as a foundation.</p>
+
+<p class='c007'>“Think it up a little” and see how broad the field of basketry
+really may become.</p>
+
+<div class='pbb'>
+ <hr class='pb c003'>
+</div>
+<div class='tnotes x-ebookmaker'>
+
+<div class='chapter ph2'>
+
+<div class='nf-center-c0'>
+<div class='nf-center c004'>
+    <div>TRANSCRIBER’S NOTES</div>
+  </div>
+</div>
+
+</div>
+
+ <ul class='ul_1 c002'>
+    <li>Typos fixed; non-standard spelling and dialect retained.
+    </li>
+  </ul>
+
+</div>
+
+<div style='text-align:center'>*** END OF THE PROJECT GUTENBERG EBOOK 75361 ***</div>
+  </body>
+  <!-- created with ppgen.py 3.57e (with regex) on 2025-02-13 09:12:39 GMT -->
+</html>
+
diff --git a/75361-h/images/cover.jpg b/75361-h/images/cover.jpg
new file mode 100644
index 0000000..3c165c2
--- /dev/null
+++ b/75361-h/images/cover.jpg
diff --git a/75361-h/images/di_005.jpg b/75361-h/images/di_005.jpg
new file mode 100644
index 0000000..7a75802
--- /dev/null
+++ b/75361-h/images/di_005.jpg
diff --git a/75361-h/images/di_011.jpg b/75361-h/images/di_011.jpg
new file mode 100644
index 0000000..f535bf5
--- /dev/null
+++ b/75361-h/images/di_011.jpg
diff --git a/75361-h/images/di_032.jpg b/75361-h/images/di_032.jpg
new file mode 100644
index 0000000..5f11560
--- /dev/null
+++ b/75361-h/images/di_032.jpg
diff --git a/75361-h/images/di_052.jpg b/75361-h/images/di_052.jpg
new file mode 100644
index 0000000..95abd5e
--- /dev/null
+++ b/75361-h/images/di_052.jpg
diff --git a/75361-h/images/i_001.jpg b/75361-h/images/i_001.jpg
new file mode 100644
index 0000000..fe518c1
--- /dev/null
+++ b/75361-h/images/i_001.jpg
diff --git a/75361-h/images/i_007.jpg b/75361-h/images/i_007.jpg
new file mode 100644
index 0000000..964e78f
--- /dev/null
+++ b/75361-h/images/i_007.jpg
diff --git a/75361-h/images/i_009.jpg b/75361-h/images/i_009.jpg
new file mode 100644
index 0000000..a6b2d71
--- /dev/null
+++ b/75361-h/images/i_009.jpg
diff --git a/75361-h/images/i_010.jpg b/75361-h/images/i_010.jpg
new file mode 100644
index 0000000..3d43e24
--- /dev/null
+++ b/75361-h/images/i_010.jpg
diff --git a/75361-h/images/i_012.jpg b/75361-h/images/i_012.jpg
new file mode 100644
index 0000000..43a894c
--- /dev/null
+++ b/75361-h/images/i_012.jpg
diff --git a/75361-h/images/i_013.jpg b/75361-h/images/i_013.jpg
new file mode 100644
index 0000000..7b6acac
--- /dev/null
+++ b/75361-h/images/i_013.jpg
diff --git a/75361-h/images/i_014.jpg b/75361-h/images/i_014.jpg
new file mode 100644
index 0000000..5649c6d
--- /dev/null
+++ b/75361-h/images/i_014.jpg
diff --git a/75361-h/images/i_015a.jpg b/75361-h/images/i_015a.jpg
new file mode 100644
index 0000000..41125f0
--- /dev/null
+++ b/75361-h/images/i_015a.jpg
diff --git a/75361-h/images/i_015b.jpg b/75361-h/images/i_015b.jpg
new file mode 100644
index 0000000..8009eb9
--- /dev/null
+++ b/75361-h/images/i_015b.jpg
diff --git a/75361-h/images/i_016.jpg b/75361-h/images/i_016.jpg
new file mode 100644
index 0000000..92b69bf
--- /dev/null
+++ b/75361-h/images/i_016.jpg
diff --git a/75361-h/images/i_017.jpg b/75361-h/images/i_017.jpg
new file mode 100644
index 0000000..5d522aa
--- /dev/null
+++ b/75361-h/images/i_017.jpg
diff --git a/75361-h/images/i_019.jpg b/75361-h/images/i_019.jpg
new file mode 100644
index 0000000..f0ce468
--- /dev/null
+++ b/75361-h/images/i_019.jpg
diff --git a/75361-h/images/i_020.jpg b/75361-h/images/i_020.jpg
new file mode 100644
index 0000000..ca682ac
--- /dev/null
+++ b/75361-h/images/i_020.jpg
diff --git a/75361-h/images/i_023.jpg b/75361-h/images/i_023.jpg
new file mode 100644
index 0000000..361c10b
--- /dev/null
+++ b/75361-h/images/i_023.jpg
diff --git a/75361-h/images/i_024.jpg b/75361-h/images/i_024.jpg
new file mode 100644
index 0000000..17f97bb
--- /dev/null
+++ b/75361-h/images/i_024.jpg
diff --git a/75361-h/images/i_026.jpg b/75361-h/images/i_026.jpg
new file mode 100644
index 0000000..7701c4c
--- /dev/null
+++ b/75361-h/images/i_026.jpg
diff --git a/75361-h/images/i_028.jpg b/75361-h/images/i_028.jpg
new file mode 100644
index 0000000..795d2a9
--- /dev/null
+++ b/75361-h/images/i_028.jpg
diff --git a/75361-h/images/i_030.jpg b/75361-h/images/i_030.jpg
new file mode 100644
index 0000000..2addb04
--- /dev/null
+++ b/75361-h/images/i_030.jpg
diff --git a/75361-h/images/i_031.jpg b/75361-h/images/i_031.jpg
new file mode 100644
index 0000000..d6cd2be
--- /dev/null
+++ b/75361-h/images/i_031.jpg
diff --git a/75361-h/images/i_033.jpg b/75361-h/images/i_033.jpg
new file mode 100644
index 0000000..b6c9fcf
--- /dev/null
+++ b/75361-h/images/i_033.jpg
diff --git a/75361-h/images/i_034.jpg b/75361-h/images/i_034.jpg
new file mode 100644
index 0000000..b590092
--- /dev/null
+++ b/75361-h/images/i_034.jpg
diff --git a/75361-h/images/i_035.jpg b/75361-h/images/i_035.jpg
new file mode 100644
index 0000000..23f7193
--- /dev/null
+++ b/75361-h/images/i_035.jpg
diff --git a/75361-h/images/i_036.jpg b/75361-h/images/i_036.jpg
new file mode 100644
index 0000000..26a5f2a
--- /dev/null
+++ b/75361-h/images/i_036.jpg
diff --git a/75361-h/images/i_038.jpg b/75361-h/images/i_038.jpg
new file mode 100644
index 0000000..8788624
--- /dev/null
+++ b/75361-h/images/i_038.jpg
diff --git a/75361-h/images/i_039.jpg b/75361-h/images/i_039.jpg
new file mode 100644
index 0000000..aff1032
--- /dev/null
+++ b/75361-h/images/i_039.jpg
diff --git a/75361-h/images/i_041.jpg b/75361-h/images/i_041.jpg
new file mode 100644
index 0000000..cb56f08
--- /dev/null
+++ b/75361-h/images/i_041.jpg
diff --git a/75361-h/images/i_042.jpg b/75361-h/images/i_042.jpg
new file mode 100644
index 0000000..ec9aab0
--- /dev/null
+++ b/75361-h/images/i_042.jpg
diff --git a/75361-h/images/i_043.jpg b/75361-h/images/i_043.jpg
new file mode 100644
index 0000000..13a36cf
--- /dev/null
+++ b/75361-h/images/i_043.jpg
diff --git a/75361-h/images/i_044.jpg b/75361-h/images/i_044.jpg
new file mode 100644
index 0000000..a0ac41d
--- /dev/null
+++ b/75361-h/images/i_044.jpg
diff --git a/75361-h/images/i_045.jpg b/75361-h/images/i_045.jpg
new file mode 100644
index 0000000..8a882c0
--- /dev/null
+++ b/75361-h/images/i_045.jpg
diff --git a/75361-h/images/i_048.jpg b/75361-h/images/i_048.jpg
new file mode 100644
index 0000000..d7e2de6
--- /dev/null
+++ b/75361-h/images/i_048.jpg
diff --git a/75361-h/images/i_049.jpg b/75361-h/images/i_049.jpg
new file mode 100644
index 0000000..00b981f
--- /dev/null
+++ b/75361-h/images/i_049.jpg
diff --git a/75361-h/images/i_050.jpg b/75361-h/images/i_050.jpg
new file mode 100644
index 0000000..ab0fd52
--- /dev/null
+++ b/75361-h/images/i_050.jpg
diff --git a/75361-h/images/i_053.jpg b/75361-h/images/i_053.jpg
new file mode 100644
index 0000000..f2ebd62
--- /dev/null
+++ b/75361-h/images/i_053.jpg
diff --git a/75361-h/images/i_054.jpg b/75361-h/images/i_054.jpg
new file mode 100644
index 0000000..3652f84
--- /dev/null
+++ b/75361-h/images/i_054.jpg
diff --git a/75361-h/images/i_055.jpg b/75361-h/images/i_055.jpg
new file mode 100644
index 0000000..25e53bb
--- /dev/null
+++ b/75361-h/images/i_055.jpg
diff --git a/75361-h/images/i_056.jpg b/75361-h/images/i_056.jpg
new file mode 100644
index 0000000..cf7ac71
--- /dev/null
+++ b/75361-h/images/i_056.jpg
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..c9d2e94
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #75361 (https://www.gutenberg.org/ebooks/75361)