ABOKIGINAL AMERICAN BASKETRY. 457 



8. Shailo, suggested by the spinil rib of Tee, was constructed of a 

 spiral coil of tir-root fibers ])ound to its adjacent coil t)clow by a single 

 strand of the same material catching in the lower coil fibers or the 

 tops of its lacings. This method, the Protean Shibu, developed and 

 considered by other California Indians, notably Yokut, as the acme 

 of art, has long since been discarded by the Pomo as inadequate to the 

 demands of even close weaving and pattern. However, it proved the 

 coil to be practicable and from it evolved Tsai. 



9. In the Tsai (bam-cha, one rib) or single-rod coiled basketry the 

 foundation is a single willow shoot of uniform thickness throughout, 

 seasoned and smoothed, spiraling from base to rim and sewed down 

 with narrow splints of various materials. Two rods are inclosed in 

 each stitch which passes beneath the ril) of the previous turn, the 

 stitches interlocking. This structure is quite light and elegant, per- 

 mitting the most delicate treatment, both in stitch and pattern. Speci- 

 mens frequently average 60 stitches to the linear inch. (See fig. 40.) 



10. Baumko is the Pomo name for coiled basketry on a foundation 

 of two stems, one a])Ove the other. It is an economical method of 

 work, for it widens the coil and to that extent diminishes the amount 

 of sewing. (See fig. 47.) 



11. Bamshibu or bamtsuwu (tsu-ba, three) consists of a three-rod 

 warp or coil bound down l)y its lacings, catching in the lacings and 

 one stem of the next lower coil. This is justly regarded by the Pomo 

 as the highest type of basket art. Its materials require the most care- 

 ful tests of evenness, pliability, and color. The legitimate function of 

 treble ribs besides solidity is its adaptabilitv for retaining the bulbs 

 of feathers, and was doubtless created by an incentive for this rich 

 ornamentation. Comparison with other styles of work reveals the 

 fact that by reason of fine material and pressing together of the stitches 

 the sewing conceals the foundation, while in the varieties before 

 mentioned the latter is visible l)etween the stitches. (See fig. 50.) 



13. Bamteck is scarcely to be looked upon as a separate style of 

 weaving. It is simply a variety of No. 11. The manipulation of the 

 stitches is precisely the same in both. 



13. Tsawam. This is an application of the backward and forward 

 braiding or false braiding found on the margins of many baskets and 

 descri))ed in the proper place in this work. The rods of the cradle 

 are held together by a coarse cotton string obtained from the traders, 

 formerly, no doubt, made of splint. Carried across the Avarp rods the 

 weft material passes forward four, l)ackward two, light; forward 

 four, backward two, left — and so, alternately backward to the right 

 or left, forms a ver}^ neat braid on one side of the basket, and what 

 looks like two rows of twined weaving on the other. 



Th(^ making of a fine coiled basket requires an infinite amount of 

 patience. The rootstocks carefully gathered during the summer and 



