BASKETRY.
Basketry is one of the oldest handicrafts known to man, but it reached
its greatest excellence with the tribes of American Indians who wove
baskets from the grasses, reeds and rushes which they gathered as they
wandered from place to place in their nomadic life. These materials were
colored with dyes made by cooking the bark of certain trees and the
roots and bulbs of plants, a knowledge of which was handed down from
mother to daughter.
The designs were not meaningless, but represented by symbols their
prayers to the Deity for rain, success to a war party, or a petition for
favorable crops. Or it might be they chronicled the victory over a
hostile tribe, a maiden's love for a stalwart brave, or a thousand other
events of their lives in conventionalized symbolic form. The shape, size
and use varied as much as the design.
The material used by the Indians is not available for us but imported
raffia, rattan and rushes form excellent substitutes. Raffia, a product
of the Island of Madagascar, is a soft, pliable, yellowish fiber growing
next to the bark of a species of palm tree. Rattan is the product of a
kind of palm which grows in India. It is stripped of leaves and split
into round or flat strips of different sizes.
A more instructive occupation cannot be found for children than basketry
and its allied subjects. It not only is fascinating in itself, but
develops patience, judgment, dexterity and skill, and embodies the
satisfaction of making a beautiful and useful article. It is not only an
educative occupation for school, but for the home as well.
Baskets are known as the woven baskets made of the round or flat rattan
and the sewed baskets made from the raffia and reeds.
GENERAL DIRECTIONS FOR MAKING THE COIL BASKET.
=Preparation of Materials.=--Round reeds are sold in sizes from the very
fine Number 0 to the coarse Number 8. Hemp cord of different sizes may
be substituted for the reeds of a flexible basket if desired.
[Illustration: BEGINNING A BASKET IN ANY WEAVE.
1 2 3 4
1--The reed sharpened to a flat point.
2--The end of the sharpened reed wound with raffia.
3--The end of the reed curled into a small "button."
4--Splicing reeds by cutting both to a flat point.]
Beginning about two inches from one end of the reed, sharpen to a flat
point. Coil the other end, leaving ten or fifteen inches uncoiled, and
tie with raffia two or three times. Soak the reeds in water until very
pliable, then remove and wipe dry before using. The raffia may be used
wet or dry as one prefers. It may be used in coarse strands for the
large baskets or split to any size desired for the finer stitches, but
should be kept uniform. The basket sewing requires either the sharp or
blunt tapestry needle, varying in size between Number 18 and Number 22.
Thread the end of the raffia that has been cut from the tree into the
needle, thus working with the fiber, as it is less liable to split. Much
of the beauty of the basket will depend upon the smoothness and neatness
of the work.
=Beginning the Basket.=--Baskets may be classified as round or oval.
A. THE ROUND BASKET.
Draw the sharpened end of the pliable reed between the thumb and finger
into the smallest possible coil. Lay the end of the raffia to the point
and along the sharpened end of the reed and hold it in place with the
left hand. By a sharp turn in the thread begin winding over the reed and
raffia to the point. Then shape into the coil by sewing through the
center, thus forming the "button" as in the illustration.
[Illustration: BASKETS BEGUN IN THREE DIFFERENT WEAVES.
1 2 3
1--Round basket in the Navajo weave.
2--Oval basket in the Lazy Squaw weave.
3--Round basket in the Mariposa weave]
B. THE OVAL BASKET:
[Illustration: GROUP OF BASKETS SHOWING VARIETY IN SIZE, SHAPE AND
DESIGN.]
The end of the reed is not sharpened, and must be very soft and pliable,
or it cannot be bent together at the desired length, two, three, four,
five or more inches from the end, without breaking. It will do no
special harm if it splits, however, as it is to be covered with the
raffia. Lay the end of the raffia to the end of the reed, along the reed
and around the bend, and by a sharp turn in the thread wind four or
five times over the raffia, covering the bend in the reed. The two reeds
may then be caught together by the stitch selected for the basket, or
the "Navajo" or "figure eight stitch" may be used and the other stitch
introduced on the second round.
=Splicing the Reed.=--As the reed naturally coils somewhat take care to
splice it so that the coil in the two pieces remains the same, otherwise
it would draw apart. Sharpen the top side of one reed and the underside
of the other to a long flat point and slip one past the other until the
two together form the uniform size of the reed. It is sometimes
advisable for a novice to wind the spliced reeds with fine thread, but
experience will teach one to do the splicing with the sewing of the
basket.
=Splicing the Thread.=--When a new thread is needed lay the end of the
old thread along the reed and place the new thread over it, and by a
sharp turn in the thread, wind once or twice over both, and continue the
stitch as before. When the ends are firmly fastened clip them off.
=Shaping the Basket.=--Coiled basketry admits of the greatest variety in
shape and size, from the simple table mat to the exquisitely beautiful
jar and vase forms, while the stitches lend themselves to an endless
variety of design ranging from the simplest to the most intricate
patterns.
It is well to have in mind the shape and design before beginning the
basket, as haphazard work is not apt to be satisfactory. Baskets can be
easily shaped to any desired form, as this depends entirely upon the
position of each succeeding reed upon the one below it.
=Introduction of Color.=--All reeds in the coiled basket are wound twice
with the raffia. It is important to keep this in mind when putting in
designs. The colored raffia is introduced in the same manner that the
thread is spliced, by laying it along the reed and sewing over it. When
working out designs in color do not cut the thread when changing from
one to another, but lay the thread not in use along the reed and sew
over it, bringing it out when ready to use it again.
As an aid in dividing the space for a design a piece of paper may be cut
and folded into the desired number of sections, and these marked on the
basket. These spaces are then filled in without regard to the exact
number of stitches required to cover the reeds.
Beginners should make a study of Indian baskets and their designs.
=Finishing the Basket.=--Cut the end of the reed to a flat point two
inches in length, and gradually taper the stitching off so that it shows
where it ends as little as possible. The last two rows of the basket
might be stitched with colored raffia unless it detracts from the
design.
[Illustration: BASKET SHOWING THE NAVAJO WEAVE.]
DESCRIPTION OF BASKET STITCHES.
The stitching proceeds along a continuous coil, so that each stitch is
passed beneath the stitches of the coil beneath.
For convenience in analyzing these stitches the two reeds may be
designated as the loose reed and the fastened reed.
=The Navajo Stitch (Figure Eight).=--Hold the commenced coil in the left
hand which will cause the work to proceed from the right toward the
left.
(a) Pass the thread between the two reeds _toward_ you, (b) over the
loose reed _from_ you, (c) between the two reeds _toward_ you, (d) down
between the stitches of the fastened reed _from_ you, and beginning
again at (a) pass the thread between the two reeds toward you completing
the figure eight. Draw the two reeds firmly together.
[Illustration: BASKET SHOWING THE LAZY SQUAW WEAVE.]
This is the stitch used by the Indians in making the baskets which they
ornamented with feathers, wampum, shells and beads.
=The Lazy Squaw Stitch=.--This stitch is made up of two parts, a long
and a short stitch.
Hold the commenced coil in the left hand and work from right to left.
(a) Wrap the thread toward you _over_ and _around_ the loose reed once,
(b) then _over_ the loose reed again, (c) and down _from_ you between
the stitches of the fastened reed and back to (a). This completes the
long-and-short stitch.
The story of the origin of the name "Lazy-Squaw" stitch is interesting.
If the squaw was inclined to slight her work she would wrap the loose
reed several times before taking the long and more difficult stitch
which bound the two reeds together. She would then receive from her
companions the ignominious title of "lazy-squaw."
As a modification of this stitch the wrapping of the loose reed is
omitted, and the long stitch only is used. This passes each time between
the stitches of the coil beneath.
[Illustration: BASKET SHOWING THE MARIPOSA WEAVE.]
=The Mariposa Stitch (Knotted).=--In analyzing this stitch we find that
it is made up of three parts. It is the same as the Lazy Squaw Stitch
with the addition of the knotted effect obtained by passing the thread
around the long stitch.
Hold the commenced coil in the left hand and work from right to left,
(a) Wrap the thread toward you over and around the loose reed once, (b)
then over the loose reed again, (c) and down _from_ you between the
stitches of the fastened reed, thus binding the two reeds together, (d)
bring the needle up _between_ the two reeds at the left side of the long
stitch, (e) cross over this stitch, going down between the two reeds at
the right of the long stitch. Bring the thread over the loose reed and
begin wrapping again as at (a).
=The Samoan Stitch (Lace Effect).=--Baskets that are to be lined are
very pretty made of this stitch. It is also very effective combined with
other stitches, or as the finishing coil of a basket.
The Samoan Stitch is a modification of the Mariposa Stitch, the only
difference being in the space between the reeds and the passing of the
thread around the long stitch two, three or more times, which gives the
lace effect. The reeds _must_ be held firmly, however, and the thread
passed around the long stitch times enough to make the basket firm.
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Transcriber's Notes:
Obvious punctuation errors repaired. Unless an obvious majority
appeared, varied hyphenation was retained.
Page 15, "stich" changed to "stitch" (with the running stitch)
Page 28, "carboard" changed to "cardboard" (Cardboard 4" x 4")
Page 28, the anchor for footnote 18 was missing from the page. It was
added. (Christmas Piece [17][18])
Pages 31 and 36, there once reference but two different notes for the
basketry substitute project. To make this easier, the second reference
was changed to 21 which necessitated changing the third reference to 22.
Page 38, "kaiki" is a little used but actual variant of "khaki" and was
retained.
Page 44, anchor missing for footnote 31. Added. (CHRISTMAS
PIECE.[28][31]
Pages 46 and 48, same issue as above with double note references. Edited
as above.
Page 55, "button holes" changed to "buttonholes" to match rest of usage
(quarter-inch buttonholes and sew)
Page 66, "sitch" changed to "stitch" (next to the last stitch)
Page 71, "No" changed to "Do" (Do not confuse this)
Page 76, "lop" changed to "loop" (side is the loop)
Page 79, "Guaging" changed to "Gauging" (description of Gauging)
Page 81, "of" changed to "or" (ten or fifteen cents)
Page 92, "especialy" changed to "especially" (makes it especially)
Page 92, "weeeks" changed to "weeks" (Six weeks after it)
Page 94, "Pharoahs" changed to "Pharaohs" (days of the Pharaohs)
Page 95, "in" changed to "is" (blossom is very)
Page 98, "detacts" changed to "detracts" (line that detracts)
Page 98, "indiviual" changed to "individual" (judgment of the
individual)
Page 116, double word "the" removed. Original read (end of the the
pliable)
Page 118, "baseket" changed to "basket" (in the coiled basket are)
End of Project Gutenberg's Handicraft for Girls, by Idabelle McGlauflin