236 
RERAMIC STUDIO 
at I in Fig. in or at i in Fig. v, just to the left of weaver a. 
Weave with a until it meets h then continue with b until it in 
turn meets a at 4 Fig. iv. Go on in same way with a and con- 
tinue with b. This is the general construction of the basket. 
If heavy raateidal be used, weave bottom of basket as 
large as necessary, then insert one more spoke at the side of 
each of the other spokes. Pinch each spoke with a pair of 
plyers at this point of bending. Strengthen the bend by a 
double or triple twist as in Fig. v. 
Double Twist. 
Place a in front of spoke I, over weaver b, behind spoke 2, 
and allow it to rest in direction of the dotted lines c. Follow 
with b, in front of spoke 2, over weaver b, behind spoke 3 and 
let it rest in position of dotted lines d. ^^'"eave then with b, 
place it before spoke 2, over weaver a, behind spoke 3 and 
allow it to rest in direction of dotted lines d. Continue with 
each weaver in same manner. 
Triple Twist. 
The triple twist is perhaps better for strengthening than 
the double. Fig. vi. Place three weavers along consecutive 
spokes, so as to have weavers all down in direction of dotted 
lines Fig. v, between the spokes. Begin with the one to the 
extreme left a, in Fig. vi and place it in front of the next two 
spokes, I and 2 at the right, and also the two weavers, b and c, 
behind the third No. 3 and down between 3 and 4. Place b in 
front of 2 and 3 and also the weavers, behind 4 and down in 
front of 5. 
This is a very pretty decoration as a border near the top 
using either in the same mateiial rushes or heavj?^ grasses. 
Four weavers may be twisted in a similar way by passing the 
left one over three spokes, behind the next at the right and down 
in front. Color maj^ be combined with them as parts or whole 
of the twist. 
m^d^%. 
Border. 
Borders may be same in both large and small baskets. 
Allow 7 inches of spoke for the border. Place each spoke 
behind the next two on the right and down in front, between 
the following two si:)okes (Fig. vii.) Place a behind b and c and 
down between c and d at /. Continue with each spoke in the 
same manner. Fasten the last spoke by pushing it through 
under a and it will come down between h and b. 
Second Round of Border. 
Place each spoke over the next two spokes and the weavers 
and push it through to other side atleft of third spoke. Fig. viii, 
a is before 2 and 3 and over b and c and pushed through the 
opening at left of 4. 
Continue with all spokes in this way. The last two 
spokes require some puzzling over, as they arc to be inter- 
locked into the first two to follow the plan. When all are 
pushed through, cut off with sharp hea^'^^ shears or knife. A 
pair of nippers is very useful here. 
Keep the work uniform by placing it above the level of 
the eye and at a little distance, occasionally turning it slowly. 
Make an}^ changes in form before going too far. 
WOOD, LEATHER AND METAL 
Emily F. Peacock 
THE boxes made bj- Mr. G. Bronimer are a clever combi- 
nation of wood, leather and metal. The large box was 
made of wood f of an inch thick. The lid was separate and 
made of three thicknesses, the bottom part of it fitting well in 
the box. The whole was stained a rich dull green by applying 
an olive green stain liberally and rubbing off with a rag. By 
mixing other colors, a little umber, black, and sometimes red 
and blue, many different shades can be obtained. When 
color is satisfactor3^ and thoroughly dry (it should stand for 
48 hours at least) rub on beeswax and turpentine and polish 
with a rag. Polishing with the hand will give a finer texture. 
Directions for making the beeswax and turpentine were given 
m the August number, page 97. Pieces of brown leather were 
cut to fit the panels, and the design put on with a nail set 
(Fig. l). The leather was glued neatly in place and gone over 
v\ith water color. Emerald and Hooker's Green make a good 
mixture though it is better to try two or three mixtures on a 
scrap of leather until you find a good shade to go with the wood. 
The corners and feet were made of one strip of copper; the feet 
being shaped with a hammer. These strips were fastened on 
with copper rivets and also colored green. If the copper is 
perfectly clean a strong solution of salt and vinegar will give 
a good color. Let this stay on about 12 hours and then very 
gentlj^ rub with a waxed cloth. 
The smaller box was made in a similar way, the only dift'er- 
ence being that the corners were cut out of a flat piece of brass, 
fitted to the box and fastened on with small round-headed 
brass nails. 
ANSWERS TO INQUIRIES 
J. W. — ir you will put a thin wash of Cliloride oF Authnony over the 
copper hik stand and slowly heat a little with a blue flame the copper will 
turn almost black. Rub it down wtb oil and a little rouge. Pink lights 
will show through but the atmosphere will soon correct that. 
O. M. T. — ^Twenty gauge copper is a very good weight to use for copper 
bowls, 12 or 14 gauge would be better for paper knives. Metal used for 
paper knives should not be annealed, and hard copper should be used rather 
than the soft. 
T. K — An alcohol lamp is the simplest heat for soldering small work, 
iDoth with hard and soft solder. Tlie lamp and brass blow pipe can bo 
bought for $1.10. 
M. K. — Small lamp or candle shades are made of brass or copper. Use 
30 gauge for these and 26 gauge for the large sizes. 
Mrs. O. P — -Abalone shells are found on the coast of California. They 
are beautiful in color, and can be cut with a fine metal saw, and polished 
-n-ith a file. Pieces of the shell set in silver or copper are very effective. 
C. A. R.— A bench pin is a wedge of hard wood about 5 by .3, generally 
beech, fixed in the front of a jeweler's bench and used to hold work up 
against a file. 
