ftERAMIC STUDIO 
171 
the workers between the two reeds and is earried down in 
front of, under, and behind the lower reed, eoming out 
again between the two, which completes the first half of 
the figure eight. It then goes in front of, over, and behind the 
upper reed, and comes out again between the two reeds. 
The thread must be pulled taut, or the surface will be 
rough. 
To make the Tulare bowl-basket shown in Illus. 4 and 
5, make a bottom four inches across. Then fill a needle 
with coarse black cotton and sew two lines of stitches 
across through the centre, at right angles to each other, as 
shown in the illustration, leaving the needle with natural 
raffia attached to the basket. Take a thread of dark 
raffia and sew from the end of one of these guide lines, carry- 
ing the light raffia in the coil, to within an inch of the next 
guide line. Then sew this one inch with the light, carrying 
the dark in the coil, then again with dark to within one 
inch of the next guide line. Finish this now to correspond. 
Start the turn-up of the basket by pulling on the reed. It 
must turn gradually like a bowl, so do not pull too hard, 
and hold the reed in position in working the following rows. 
To start the oblong figures work over each light space 
with dark, and fill in between with light. Make five rows 
like this, the fifth row will be covered, as each row is gone 
over twice. To start the next figure carry the black one 
inch to the left of the last figure and go around in this way, 
one inch to the left up each figure. Make five rows like 
this. 
Make the other oblongs in the same way. Four rows 
from the top begin to pull the reed to make the upper edge 
curve in. 
Sometimes Indians sew in the new threads but leave 
the ends on the inside to be cut off afterwards, as in Illus. 
No. 9. This basket could be-worked in black, yellow and 
natural raffia. 
The Porno twined baskets are famous for their light- 
ness and flexibility. They are made with spokes of the 
wild grape vine and very close-woven as they are often 
conical, they are easily carried in a net and form a kind of 
portable granary. The principle of weaving is always the 
same, very few spokes are used at the centre, and to these 
are constantly added new ones as the basket grows in size. 
Very small reed, number one or what is called "double 
nought", would answer very well. Cut eight pieces fourteen 
inches long and about fifty pieces seven inches long. Take 
four of the long pieces and weave a strip of raffia near the 
centre as shown in Illus. No. 6, Fig. 1, weave another piece 
like this and put the two together as shown in same Illus. 
Fig. 2, so that the two ends of raffia come to the same cor- 
ner. Weave these two ends around and around, crossing 
them over each spoke as shown in Fig. 3. Whenever there 
is an open space stick a sharpened spoke through the last 
stit.ch, as shown in Fig. 5. 
After about an inch of weaving, the bottom may be 
stiffened by putting an extra reed called a ti or tee on the 
outside, including it in the weaving as shown in Fig. 4. Go 
two or three times around \yith this band, as it makes a 
foothold into which to stick spokes. 
To turn up the basket put in another ti band of three 
or four rows. This style of weaving can be done to ad- 
vantage bottom-side up. The Indians do it, by fitting the 
basket on the bottom of a stone jar. 
It is better not to attempt a regular pattern or a large 
basket at first, rather make a small one and weave in bands 
of color. 
No.. 7 — Pomo basket in Ti or Tee we 
No. 9 — A coiled basket which could easily be copied in raffia, using natural < 
for the light part and brown for the dark. 
EXHIBITION NOTE 
The National Society of Craftsmen will hold an ex- 
hibition in the studio of the Society and the galleries of the 
National Arts Club, 119 East 19th St., New York City, from 
November the 19th until December nth. It is expected 
that this exhibition of Arts and Crafts will be the most im- 
portant one ever held in New York. The vice-president of 
the Society has been in Europe during the Summer making 
careful search for modern examples of work there for the 
exhibition. A full and complete exhibit is expected from 
the craft workers in this country. It is promised that each 
craft will be carefully placed and as far as possible together. 
This exhibition will differ from those previously held 
in the fact that there will be examples of antique craft work 
representing as far as possible their development during 
different centuries till the present day. Many interesting 
examples have been promised. Lectures will be given by 
prominent craftsmen during the exhibition in the galleries 
of the Society. 
The Handicraft Guild of Minneapolis announce an im- 
