436 COILED BASKETRY IN BRITISH COLUMBIA [ETH. ANN. 41 
No. 10.—W6li’p.tsa (Elevated Bottom of a Robe? Clear Weather 
Robe?) was one of the most intelligent and best informed women 
interviewed. She belonged to the Potato Gardens Band of the Nicola 
and at the time of the investigation was 32 years old. She had spent 
part of her life at Potato Gardens and part at Lytton, for her mother 
had come from the latter locality. When a very small girl she had 
begun to make baskets under the tutelage of interested relatives. 
As she was in the habit of making at least six baskets every year 
she had completed a large number, which included nearly all the 
different shapes, but her later efforts had been concentrated on fancy 
or modern forms and circular types. 
Woli’p.tsa said that for fine work she exercised much care in the 
selection of materials. For the finest work she often scraped the 
sewing splints to make them thinner and more pliable. Two bundles 
of these were about enough to make a medium-sized basket. She 
preferred to make circular baskets and trays, although she had tried 
all the shapes. She thought circular forms were much easier to 
construct and looked as well as other kinds if not better. On 
burden baskets she always used elongated watch-spring bottoms, 
while on all other types she found the plain watch spring the easiest 
and best. She said she had made a great number of designs and 
could easily make others if she cared to try, but she liked best the 
“arrowhead” designs, of which three or four were favorites, also 
“spot,” “Tine,” and ‘star’ designs. Again the reason given was 
that they were easier and appeared as well as other patterns. She 
had never attempted any one-field, large designs such as that seen 
in Plate 33, 6, which she did not know, although she had seen some 
like it. She always made what she called open designs, not those 
connected in several directions. She liked separate figures or those 
arranged in bands and had made all the designs on the basket pic- 
tured in Plate 33, ¢. That on the end was known as a ‘“‘necklace’’ 
pattern; the others were all “arrowheads.’’ She confessed, however, 
that she was ignorant of the proper names of a number of designs. 
That on the basket portrayed in Plate 24, 6, she called a “ flying goose” 
pattern, of which she declared there were many variations, but the 
variety best known to her was neither double nor executed in two 
colors, but had the single figures all in one color. She had seen one 
old form which showed the head and tail of the bird, but had never 
attempted it. She had made the design on the basket in Plate 39, ¢. 
She considered the basket shown in the photograph to be of very bad 
shape. It was started with walls which proved to be too nearly 
vertical and were later given more flare. She had also made the 
design on the specimen in Plate 3, 6, but never those given in 
Plates 11, 6; 22, a, and 48, e. She did not know the names of these 
last two patterns but had seen the former and had heard it called 
