Philippine Mats.

Philippine Mats.The production of mats in the Philippines is large because of the extensive domestic demand for them. The sleeping mat1is used throughout the Christian provinces, and is also found among the Moros. Such mats are of the finer class and are usually more or less highly decorated with colored straws in various designs. For this purpose the buri petates are more widely produced than those made from any other material. Pandan mats are considered stronger and cooler but their use is not so extensive, probably because they are more expensive than the buri mats. In the Visayas, tikug mats are important.Plate I. Boy carrying a bastos mat, Argao, Cebu.Plate I. Boy carrying a bastos mat, Argao, Cebu.Another use of mats is in the baling of two of the staple products of the Philippines, tobacco and abaca. In the Cagayan valley mats of dried banana petioles are employed. A great many of these are made in Batac, Ilocos Norte, from which place they are shipped to Cagayan. In most cases the tobacco of the Visayas is packed in such mats also. At Argao, Cebu, banana petiole mats are woven as a by-product of the sabá cloth industry. In obtaining the fiber, the outer skin of the petiole is pulled off for stripping, and the remaining portion, which is called “upag,” is dried and woven into very coarse mats by children. These are called “bastos”2or “liplip,” and are disposed of to the tobacco balers in the town, or are shipped to Cebu and other towns for baling purposes. While sabá sinamay is produced in several of the districts in the Visayas, notably in Bohol, it is not known that the upag is used for mat weaving there.Coarse buri mats are almost exclusively used in wrapping abaca for the export trade. Since baling is carried on only in large seaports, particularly in Manila and Cebu, the weaving of these mats in certain localities where the buri palm is abundantand their transportation to the hemp-producing towns are important industries.Plate II. Vendors of sleeping mats.Plate II. Vendors of sleeping mats.While they are not, strictly speaking, mats, plaited sacks3are woven in the same weave and bear the same relation to sugar and rice as do mats to tobacco and abaca. Most of the domestic rice crop entering into commerce is packed in buri sacks and practically all the export sugar is sent away in them. A few bayones are made of pandan. The production of bayones is an important industry in certain districts.Mats are also employed throughout the provinces for drying paddy and copra in the sun, in the same manner in which trays are used for sun-curing fruit in temperate regions.The use of the finer grades of petates for floor mats and for wall decoration is confined to the foreign population in the Philippines. Nevertheless, a considerable number is so utilized. For this trade only mats of the better grades are demanded, and the number sold for the purpose is probably considerably restricted by the fact that few mats are of suitable color combination and of proper design to satisfy foreign taste. As yet there is no known commercial export of Philippine mats. There is a considerable demand for floor mats and mats for wall decoration in Europe and in the United States, but it is improbable that the Philippines can hope to supply any part of it unless designs and color combinationsare vastly improved. Floor mats are used as rugs in the same manner as are the strips of Japanese matting which are so popular all over the world. Round floor mats, somewhat larger in diameter than the round table tops, are also in demand. Small mats can be used as doilies on the table or under the stands of flower pots and the like.Sleeping mats and mats intended for floors, walls, stands, and mat doilies are the ones which are suitable for domestic and foreign commerce, and industrial education must interest itself in them. The Philippine materials available for weaving these mats are varied and well distributed. With improvement in color combination and design, there should be a large increase in the industry.1Banig, petate, ikamen, dase.2Meaning coarse stuff.3Bayones, bayong, canastro, banyot.Bleaching Agents.Sunshine is used to bleach all mat straws, but more often they are also treated with boiling water to which certain bleaching agents have been added. Only the most important of these are explained.Tamarind.—This tree (Tamarindus indica) is known in Tagalog, Bicol and Pampanga as sampalok, in Visayan as sambag, in Ilocano as salamagui, and in Palawan as kalampisao. It is a large tree with dense foliage. The leaves are employed as a bleaching agent in boiling water. It is said that the young green fruit can be used for this purpose.Pandakaki.—The leaves of the plant (Tabernaemontana pandacaqui) are used as a bleaching agent. This is the name under which it is known, particularly in Pampanga and Cavite. In Palawan it is called alibetbet. It is also known as kampopot in Tagalog and as alibubut and toar in parts of the Visayas. In Ilocano the name is kurribuetbuet.Lemons.—The juice of the various species and varieties ofCitrusis employed to some extent for bleaching. It is usually added to boiling water in which the straw is immersed.Vinegar.—Of Philippine vinegars, those made from palm juices are considered about half as strong as lemon juice. Vinegar from sugar cane juice has probably the same strength. That made from cooked rice is considered about one-fourth as strong as lemon juice.Alum.—In some towns alum is added to the boiling water in which straw is treated. It is usually employed in combination with other bleaching agents.Dyes Used on Mat Straws.Mordants.A mordant is a substance employed to fix the dye to the material. In general, different ones are needed for different dyes and various materials. In some cases the mordant is added to the dye liquid; in others the material is previously treated with it before being colored. The most important are the mineral mordants, such as the alumina, the iron, the tin, and the chrome. These are not used in the Philippines with local vegetable dyes. Tannin is also important and is employed to some extent in the Philippines, being generally obtained from the mangrove tan barks. Wood ashes are little used but vinegar and lemon juice are important.Kolis.—The leaves of this plant (Memecylon edule) are commonly used in mordanting buri straw before dyeing it with sappan wood. In Tanay, Rizal, it is employed on sabutan straw with all of the vegetable dyes. It is known as guisian (Laguna), duigim (Ilocos, Pangasinan), kulis (Rizal, Nueva Ecija, Bataan), tagobachi (Leyte), kasigay (Ilocos Norte), agam (Negrito, Cagayan), guisoc-guisoc (Sorsogon), macaasin (Tayabas), baian (Zambales), diyatdiyatan (Tayabas), candong (Pangasinan), dioc (Pangasinan).Natural Vegetable Dyes.Numerous natural vegetable dyes are employed in the Philippines. Those used on the mat straws are limited in number. The important ones only are here noted. The whole question of dyes is a most difficult one and hardly warrants the time which has been spent upon investigating the various dye materials, nor the effort which would be necessary to determine definitely the methods by which they can be used on mat straws. The artificial dyes have driven the natural vegetable dyes out of use because they are cheaper and are more easily applied, and because in most cases they produce more pleasing and lasting colors.Sappan.—This plant (Caesalpinia sappan) is known as sapang in Tagalog and Ilocano and as sibucao in Visayan and Bicol. A beautiful dye varying from red to red-orange (seePlate III) is obtained from chips of the wood. This is employed on most Philippine fibers. Lime is sometimes used as a mordant but the straws are usually first treated with kolis leaves.Turmeric.—This plant (Curcuma longa) is known as dilaothroughout the Islands. In Ilocano it is called kunig. Kalaoag is its name in Negros and Sorsogon, ange in Pampanga and duao in parts of the Visayas. The yellow dye obtained from the roots is fugitive in the sunlight.Annatto.—This plant (Bixa orellana) is generally known here as achuete. It is sometimes called achiote. The plant bears burs containing many small reddish seeds, from the pulp of which the dye is obtained. It is often employed in combination with turmeric. The result is a yellow orange. The dye fades easily.Deora.—The use of this plant (Peristrophe tinctoria) is confined to the Visayas and Mindanao, where it is known by this name and also as dauda and daura. In Samar the name is dala-uda. It is a small bush and is usually grown in the gardens for its leaves and tender stems. A mordant is not used. The color ranges from yellow orange to a deep red orange.The methods of using these dye materials are explained for each straw.Materials Used with Mud to Obtain Dark Grays.Red or green straws are turned dark gray by burying them in mud to which certain substances (usually containing tannin) are added.Talisay.—This large tree (Terminalia catappa) is common in the Philippines. The leaves are added to the mud in dyeing straw black. From the bark a brown dye may be obtained. It is, however, seldom used. It is universally known as talisay. Spanish speaking people call it almendras.Indigo.—Two species ofIndigoferaeare grown in the Philippines and are known as tagum. Except with mud they are not used to dye straws.Tiagkot.—The leaves of this plant (Pithecolobium subacutum) are employed on Romblon Island in dyeing buri gray. Other names are tagayong, narandauel, saplit (Cagayan); carisquis, ayamguitan (Zambales); tugurare (Pangasinan); inep (Bulacan); malasaga, malaganip, tekin (Laguna); bahay (Sorsogon); tagomtagom (Samar); tique (Rizal).Kabling.—This plant (Pogostemon cablin) is generally cultivated, though it grows where its cultivation has been abandoned. A volatile oil, used to keep away insects from textiles, is obtained from the leaves. The leaves are used in Tanay, Rizal, in obtaining gray sabutan straw.Mabolo.—The heart wood of this tree (Diospyros discolor) is known as kamagon. The leaves are employed in Tanay, Rizal.Castor.—This plant (Ricinus communis) is seldom cultivated in the Philippines but is found wild in all localities. The “beans” yield the oil. The leaves are added to mud in obtaining gray sabutan straw.Artificial Dyes.It is commonly believed that artificial dyes are less permanent than natural ones. This is seldom the case; as a matter of fact, some of the fastest and most valuable dyes are now made artificially and many are not procurable from vegetable coloring matters. Most of the cheaper dyes made from coal tar are fugitive; that is, they fade in sunlight or water or in both. They are often still further cheapened by being adulterated with salt, dextrine and the like. Such are the colors which are usually sold by the Chinese tienda keepers and which have caused artificial dyes in general to come into such ill-repute in the Philippines. Many of these “Chino dyes” contain 95 per cent salt. It is the belief, however, that artificial dyes of a good class, so packed and marketed that they will come cheaply to the hands of the dyers and weavers, will drive out of use practically all of the vegetable dyes now employed in the Philippines. The disuse of the natural dyes would not be regretted here, for, with the possible exception of those obtained from sabutan straw in Tanay, much finer colors can be produced with artificial dyes, as to both beauty and fastness. If the time of the workers is considered, the vegetable dyes now employed in the Philippines are more expensive than the artificial dyes, even though the latter are now sold in wastefully small packages and bear the burden of several large profits before they come to the hands of the persons using them.11The Bureau of Education has taken steps to procure a series of dyes suited to each one of the mat straws and other important fibers used in household industries and industrial instruction in the Philippines.Dyeing.The process of dyeing is simple. The fluid is prepared in water (usually boiling), and the material is immersed in it. The shade of color obtained depends on the length of time the material is allowed to remain in the fluid or the number of times it is treated, and the strength of the dye. The combination of two different dyes to obtain a third is understood to some extent. In particular, red and yellow are mixed to obtain orange.Suggestions on the Use of Colors in Mats.Standard Colors.The three primary colors are red, blue, and yellow. The three secondary colors are obtained by combination of the three primary colors, and are orange, green, and violet. Orange is made by a combination of yellow and red, green is a combination of blue and yellow, and violet is the combination of red and blue. Most of the dye materials explained in the preceding pages do not produce standard colors and so, when combined, do not result in the expected secondary color. Often those called red are, in point of fact, red-violet (seePlate III). Sometimes, also, dyes called yellow are yellow-orange. A mixture of yellow-orange and red-violet would produce a muddy color. Dye called green may be really blue-green or yellow-green, and combined with red, will make a muddy color.The above remarks on standard complementary colors are only valid for pure colors and it is only by much experimentation that pleasing tones can be obtained by a combination of the dyes used on straws in the Philippines.How to Tone Down Brilliant Colors.Many of the colors used in Philippine mats are very brilliant. A little brilliantly colored straw, properly combined with subdued colors such as gray or one of the natural colors of Philippine straws, is pleasing, but the abundant use of brilliant straws, such as are sometimes seen in mats of solid color, is to be discouraged.All brilliant colors may be subdued by adding to them their complementary color. Thus a brilliant red may be subdued by adding to it a small amount of green and in the same way brilliant green may be toned down by mixing with it a small portion of red. If too much of the complementary color is added the result will be gray. As will be seen, all complementary colors will subdue one another. InPlate IIIthe principal colors have been so arranged that the complementary colors are directly opposite each other and are connected by lines. Any two colors connected by lines on this chart will tone down each other and, if mixed in proper proportions, will result in gray.It is probable that any straw which has been dyed too brilliant, can be closely matched to one of the colors given onPlate III. Consequently its complement can be determined and, by experimentation, the brilliant color toned down. Usually only an exceedingly small amount of its complement is needed to tone down a given color.Color Combination.In general, too many different colors appear in the Philippine mats, and most of these are brilliant. It is often true that a large amount of a given brilliant color is offensive to the eye, and yet the addition of a little of it greatly enhances the beauty of the mat. Often color combinations are not harmonious. Particularly bad effects are obtained with red-violet and yellow or yellow-orange. Red-violet with blue-green is another unfortunate combination.Certain rules have been set down for combination of colors: (1) A given color with its tints and shades1may always be safely combined; (2) complementary colors may always be safely combined; (3) the tints and shades of complementary colors may always be safely combined; (4) any three colors occurring in sequence on the color chart may be combined in that sequence.The following notes on the use and combination of the colored straws from Tanay, Rizal, and from Romblon, and those shown on the chartsaccompanyingthe dyes of Leopold Cassela & Co., are given. The figures refer to the numbers given the colored straws on these charts. These dyes were evolved for the Bureau of Education especially for Philippine mat straws and will soon be available in the market. The notes have been prepared in accordance with the rules above outlined, and, if they are followed closely, no unfortunate color combination can result.Colors Obtained from the New Dyes.The sample straws on these charts are made with the following dyestuffs:Colors.Numbers on chart.Dyestuffs.Yellow Yellow-OrangeNo. 1Paraphosphine G.VioletNo. 2Methylviolett BB 72 No. 1.BrownNo. 3Rush Brown B.Orange Red-RedNo. 4Rush Red S A.Yellow-GreenNo. 5Rush Green T B.Blue-VioletNo. 6New Methylene Blue R.Red-VioletNo. 7Magenta Prima.BlackNo. 8Rush Black M.ChocolateNo. 9Rush Brown X.RedNo. 10Rush Red J S.Yellow Orange-YellowNo. 11Auramine II.Blue-GreenNo. 12Japan Green.Red Violet-VioletNo. 13Methylviolett R No. 1.Red-OrangeNo. 14Chrysoidine A G.Blue Blue-GreenNo. 15New Methylene Blue N.Violet Red-RedNo. 16Safranine S 150.Complementary or opposite colors on the color chart are said to be harmonious. Their relation is made more pleasing, however, if one color, usually the more brilliant, is used in very small amount. In many cases in the above combinations colors not exactly opposite have been united. They usually contain a mixture of a primary color common to both. Brown, Black, Chocolate, and Dark Red are complicated mixtures and may be analyzed with a chart which will appear later. Many of these dark colors would harmonize with one another, but would be so dark that they would not be pleasing. In every one of these combinations, the natural straw background figures as another color, and that is why the especially good combinations, as will be noticed, contain browns, yellows and reds, colors which blend particularly well with the background. Red-Violet No. 7 can be used with only a very few colors, and never with Yellow Yellow-Orange No. 1. Yellow Yellow-Orange should be used cautiously.In sabutan straw, No. 1, Yellow, must be used sparingly. When used in combinations in place of No. 1, Yellow Yellow-Orange, the design should be an open one, rather than solid. Violet Red-Red, No. 16, when being used in place of Red, No. 10, must be used in the same way, and only in places where very, very little is called for. No. 11 is a color that clashes with even a natural straw, so is not advisable in any combination or alone. No. 13 is not a necessary color when No. 2 and No. 6 are available.In placing the color upon the space to be decorated, the heavier colors should usually appear on the outside and near the edge of the space, although a border may sometimes be outlined with darker color on both inside and outside edges.The following combinations of these colored straws will prove harmonious. The numbers correspond to those used on the chart and the different kinds of type indicate the proportions of the color to be used—little,Medium Amount, MUCH. The relative positions of the colors must also be observed and the given order followed when more than two colors are combined.Brown(3)Yellow-Yellow Orange(1). Especially good.Black(8)Yellow-Yellow Orange(1).Chocolate(9)Yellow-yellow Orange(1).RED-ORANGE (14) CHOCOLATE (9)Yellow-Yellow Orange(1). In this case, the heavy color, 9, comes in the center of the design, but is necessary to separate Nos. 14 and 1.VIOLET (2) BLUE-GREEN (12)Red-Orange(14).Violet(2)Red-Orange(14)Blue-Blue Green(15).Brown(3) alone on natural background.Brown(3)Yellow-Green(5). Especially good.Brown(3) BLUE-GREEN (12).BROWN (3) RED-ORANGE (14)Red(16).Brown(3)Red-Orange(14). Especially good.Brown(3) BLUE-BLUE GREEN (15)Red-Orange(14). Especially good.Brown(3) RED (16). In sabutan straw, use No. 4 or 10 in place of No. 16.Black(8)Brown(3)Red-Orange(14). Especially good.ORANGE-RED RED (4)Blue-Green(12). Use No. 15 instead of 12 with sabutan.BLUE-BLUE GREEN (15) BLUE-GREEN (12)Orange-Red Red(4). Especially good.Black(8) ORANGE-RED RED (4). Especially good.YELLOW-GREEN (5) BLUE-BLUE GREEN (15)Red-Orange(14).RED-VIOLET (7) BLUE-BLUE GREEN (15)Yellow-Green(5). Especially good.Black(8)Yellow-Green(5). Use this combination with an open design (not solid), and do not use much of each.BLUE-GREEN (12)Yellow-Green(5).BLUE-BLUE GREEN (15)Yellow Green(5).Blue-Violet(6). On a natural ground.Blue-Violet(6)Red-Orange(14).Chocolate(9)Blue-Green(12)Red-Orange(14). Especially good.Chocolate(9) BLUE-GREEN (12)Red-Orange(14). Especially good.Blue-Blue Green(15)Red-Orange(14). Especially good.BLUE-BLUE GREEN (15)Red(16).Romblon Buri Vegetable Colors.1—Black.2—Gray-green.3—Natural.4—Orange.5—Dark red.In Romblon buri straw the following combinations will be harmonious:Nos. 1, 2 and 3 in accordance with Rule 4. Nos. 2, 3 and 4 in accordance with Rule 4.Exception to Rule 2: No. 5 is inharmonious with No. 4.It will be noticed that these colors depend for their harmony on their order or sequence and their quantity (in this case equal parts of all three). No. 3 being a neutral color, great quantities of it may be used with any other colors. There is danger, however, in getting too much of one of the other two colors. No. 4 is a very strong color and a little will be pleasing while much will be offensive. It is not well to use it alone on a ground of No. 3. No. 5 may be used alone with a ground of No. 3; No. 1 with a ground of No. 3; No. 2 with a ground of No. 3; No. 3 with a ground of No. 2; Nos. 1 and 3 on a ground of No. 2, with a very small quantity of No. 1; equal proportions of Nos. 1 and 4 may be combined on a ground of No. 3; Nos. 2 and 4 on a ground of No. 3, averysmall quantity of No. 4 being used.Plate III. Color Chart.Plate III. Color Chart.Tanay Sabutan Colors (Mostly Vegetable).1—Black.2—Blue-green.3—Natural.4—Yellow.5—Red-orange.6—Red-orange red.It will be necessary to use No. 3 on a ground work. Mats made entirely of any of the other colors would hardly be harmonious on a floor or wall, if there were any other furnishings. Nos. 1, 2, 5 and 6 may be used separately upon a ground of No. 3; No. 2 in large quantity; No. 1 in small ground of No. 3; No. 2 in equal quantity with No. 5 upon a ground of No. 3; No. 5 in equal quantity with No. 6 upon a ground of No. 3; No. 6 in large quantity, with No. 2 in small quantity, upon a ground of No. 3; No. 5 in large quantity, with No. 1 small, on a ground of No. 3.Plate IV.Plate IV.1A tint is a paler or less intense tone than the standard color. A shade is a darker, more intense tone of the standard color.Stripping Mat Straws.Philippine mat straws can be divided into three classes—palm straws, pandan straws, and straws obtained from sedges. The first two are obtained by stripping the leaves of the plants into narrow lengths. For this purpose there is used in most localities a small gauge held between the thumb and index fingers. A knife blade fitting in the notches serves as the cutting edge. The leaf is held in one hand and the gauge and knife in the other, the edge of the leaf being drawn through the gauge. This is generally made out of the stiff part of the leaf, though,occasionally, of a piece of rattan, bamboo or leather. At best it serves for only a few hours of use, when it is thrown away and another made.Plate V. Stripping with a gauge.Plate V. Stripping with a gauge.When the notch becomes worn, the blade moves about in the gauge, causing the width of the straws to vary, and when a new gauge is made there is always more or less variance in the position of the new notches. This method is very slow, as but one strip can be cut at a time; and, until the operator becomes expert in the use of the gauge, many of the strips are worthless. When used in the school room, each pupil has to prepare his own material. This causes waste of materials and a constant littering of the floor.For stripping sabutan leaves, the mat weavers of Tanay, Rizal, use a kind of comb which is discussed under the heading “Sabutan.” The leaves are pulled over this comb before being dried. As sabutan is parallel veined it is very easy to strip it thus, the teeth of the comb following the leaf fibers. The comb produces several uniform straws with one stroke.Plate VI. Stripping buri straw with the Andes stripper.Plate VI. Stripping buri straw with the Andes stripper.The object of contriving the stripping machine illustrated and described here was to furnish a quick means of preparing palm and pandan straws with uniform widths and clean cut edges. Forms of it have been in use for some time and the model noted here has been tried out for a year. By its use one pupil can prepare materials for the whole class, or else theteacher can have all the materials prepared beforehand if it is so desired. This is half the problem of teaching the weaving of hats or mats.This stripper is made wide enough for inserting teeth three widths apart, so that without adjusting these teeth three widths of straw may be cut. By changing the teeth in the adjustable gums, any width desired may be obtained.It is best to make this apparatus of hard wood, especially the piece represented by Fig. A. A is a block of wood 23 cm. by 4 cm. by 4 cm., containing the groove XY. This groove is the size and shape of C, being 2.5 cm. wide at the top, 1.5 cm. at the bottom, and 3 cm. high. C is one of the blocks which slides in the groove XY. These blocks are made of different thicknesses, about 2, 3, and 4 mm., and are of hard wood or metal. The rod B passes through these blocks and tightens on the block D or X by means of a thumb screw. Z is a wooden roller 19 cm. long and 1.5 cm. in diameter. This should extend 2 mm. below the level of the main surface. It is placed in a groove made in a separate piece of wood from the principal block and is fastened into the principal block by means of screws.The teeth (see C) are made of clock springs or other thin sharp metal. They are 3 cm. long and 1 cm. to 1½ cm. wide. The two upright pieces at both ends contain grooves on the inside in which the block-head slides up and down.To operate this device, the block-head containing the teeth is raised by the handle; the leaf is placed under the teeth, and the block-head is dropped. The teeth pass through the leaf into a groove underneath. The leaf is now pulled through by the hand as illustrated inPlate VI.Kinds of Weaves.With respect to their weaving, Philippine mats divide themselves into six groups and are here arranged according to their difficulty. They are (1) the over and under weave found in most simple mats, such as those made of buri straws, pandan straws, and sedges; (2) the sawali weaves, which employ the floating straws for making “woven in” designs and panels for figured sabutan and tikug mats; (3) the open work weaves of the Romblon buri mats; (4) the circular mats which employ the hat weaves, either with or without “woven in” designs; (5) the hexagonal weave; and (6) the embroidered mats in which the designs are later added. In difficulty, and in place in a course of instruction, embroidered mats follow the simple over and under weave.Plate VII.Plate VII.Plate VIII.Plate VIII.Plate IX.Plate IX.Over-and-Under Weave.This weave is the simplest and is the one which beginners should first take up. It is made by weaving over one and under one continuously. Until this is thoroughly mastered children should not be allowed to begin the more difficult weaves.The steps have been diagrammed in figures sufficiently large and clear in PlatesVII,VIII, andIXthat a detailed explanation is not necessary. Step 1 shows the position of the first four straws as they are placed upon the table or desk; steps 2, 3, 4, and 5, continued additions and weaving; steps 6, 7, and 8, turning the edgeaon the end of the mat; step 9, turning the opposite edgec; step 10, the double turn of the corner straw; step 11, the corner turn woven in the mat at corner No. 1, lapping over the straw already woven; step 12, the continuation of the second edgeb; step 13, the turning of the second and third corners; and steps 14 and 15, finishing the mat.In weaving large mats, it is customary to begin at one end of the mat, preferably near the left-hand corner as the mat lies before the weaver. The weaving continues along the end until half of the desired width of the mat is reached, when the first corner is turned. Now the weaving continues down the side and in, as far as the middle of the mat. When the desired length is woven, the second corner is turned and the first half of the mat completed.As the straws are not generally long enough without splicing, new straws are now added by lapping them from two to three inches upon the projecting ends of the straws already woven. This makes a narrow strip of double thickness down the center running the length of the mat. The weaving now continues as before until the desired width of the mat is attained, when the third corner is turned. The remainder is woven and finished at the fourth corner as shown by steps 14 and 15.Some weavers begin at the sides, and some few, even at the corners; but this should not be encouraged since it results in making two or more seams, where the straws lap.Care must be taken to weave all parts of the mat equally close and keep the edges perfectly straight; otherwise the mat when finished will be lop-sided, and consequently of no value. In weaving tapering grasses like tikug, which have ends of slightly different sizes, the opposite ends of the straws should be alternated. This prevents one edge of a mat from building faster than the other.Plate X.Plate X.Plate XI.Plate XI.Sawali Weaves.Simple Sawali.By sawali weave is meant all “woven in” designs that are not woven byonesas in the over and under weave. They may be woven regularly bytwos,threes, etc.; or they may “switch” the floating straws so as to form a variety of artistic figure designs. In fact, there is no limit to the number of designs that may be thus made.Steps 1 and 2 illustrate the beginning of a sawali weave bytwos. First 1, 2, 3, 4, 5 are laid down; thencis put under 1–2, over 3–4, and under 5;dover 1, under 2–3, and over 4–5;eover 1–2, under 3–4, and over 5. This process is continued, advancing one straw each time until the desired amount is woven. If the weaving is bythreesorfours, the same principle is followed; that is, the straw goes over three and under three, advancing one straw each time.Panels.Most “woven in” mat designs are arranged in panels, with a ground between, as this gives a more pleasing effect than a continuous figure weaving. Panels may be woven either length-wise (step 8), crosswise (step 8), diagonally across the mat (step 4), or in zigzags (step 3). They are most easily woven when arranged diagonally, for then the colors may be carried from border to border without mixing with the ground outside of the panel. Checks are made by weaving cross panels at regular intervals.In making parallel panels (panels parallel either to the sides or ends), more than two colors can rarely be used to advantage.Step 3 illustrates the weaving of a zigzag sawali panel. The straws,a,b,k, andlare woven byones. It takes twelve straws one way and nine the other to make this panel. If a wider panel is desired, the same weaving is repeated as often as necessary.Plate XII.Plate XII.The strawsa,b,k, andlare woven byones. Putloverbandc, underde, overfg, underhiand overj. Put 2 underb, overcd, underef, overgh, underijand overk. Put 3 overb, underc, overde, underfg, overhiand underjk. Put 4 underbcd, overef, underghand overijk. Put 5 overbc, underde, overfg, underhiand overj. Put 6 underb, overcd, underef, overgh, underijand overk. Put 7 overb, underc, overde, underfg, overhi, underjk. Put 8 underb, overcd, underef, overgh, underijand overk. Put 9 overbc, underde, overfg, underhiand overj. Put 10 underbcd, overef, underghand overijk. Put 11 overb, underc, overde, underfg, overhiand underjk. Put 12 underb, overcd, underef, overgh, underijand overk. Then the whole operation is again repeated. It will be seen that the manner of weaving 2 and 12, 3 and 11, 4 and 10, and 5 and 9 is the same.Step 4 illustrates the diamond figure design, woven by threes, with 11 straws in width.Plate XIII, fig. 1. Mat with woven-in border showing confusion in design.Plate XIII, fig. 1. Mat with woven-in border showing confusion in design.Put 1 undercd, overefg, underh, overijkand underlm. Put 2 underc, overdef, underghi, overjkland underm. Put 3 overcde, underfghijand overklm. Put 4 overcd, underefg, overh, underijkand overlm. Put 5 overc, underdef, overghi, underjkland overm. Put 6 undercde, overfghijand underklm. Now the order reverses, 7 being the same as 5, 8 as 4, etc., until the other half of the figure is completed at 11. Now put 12 undercde, overfghijand underklm. Put 13 overc, underdef, overghi, underjkland overm. Put 14 undercde, overfghijand underklm. Now 1 repeats itself, and the second figure is woven as the first. It is believed that with the aid of the large illustrations here presented the teacher or pupil can now follow for himself the other designs given, without a detailed explanation of each step.“Woven-in” Borders.Woven-in border designs may be made in three different ways; viz.,First, by weaving the design around the mat, using the same straws that run through the body. (SeePlate XIII, Fig. 1.) In this case the color effect is one of confusion, since the dyed straws used in the designs of the body of the mat have no relation to the design of the border when they enter it.Second, by weaving the border and the body of the mat of different straws, uniting them at the inner edge of the border by a loop as described in the Romblon mat. (SeePlate XVI.)Third, by lapping the colored straws desired in the border, upon the projecting ends of the straws of the body of the mat. (See step 8,Plate XII.) These latter two methods are much more artistic, as a uniform color effect appears throughout the border. (SeePlate XIII, Fig. 2.)Plate XIII, fig. 2. Mat with woven-in design made by lapping straws.Plate XIII, fig. 2. Mat with woven-in design made by lapping straws.The Romblon Mat.Making Open Work.Simple open work is illustrated inPlate XIV.Weave corner Z, using strawsa, b, c, d, eandf, lettingffloat at both ends. Weaveg, turning upward and overf, then making a double corner aty, passing underf, to the left and overf, andlet float. Weaveh,i,j,k,landmin solid weave. Turnhunderiand overj. Turnjupward and overi, to the left underf, upward overg, double corner at W, passing down underg, overg, and floating. Turnmupward overlto the left, underi, upward overf, to the left underg, upward overjmaking a double corner at X, passing underj. The strawsjandmalternately cross each other to corner V.The other half of this open design is an exact duplicate of this weaving, and the remaining designs have the same turns as the one explained, except that in opposite designs the straws are turned in opposite directions. By following this plate it is easy to finish the weaves. If one straw is woven over another, it folds down before passing over, and, vice versa, if it passes under, it folds upward in turning.Plate XIV.Plate XIV.As is seen, the holes are made simply by turning the straws in the weave. The different shaped holes in other designs (see plates) are made by turning a different number of straws according to the shape desired. Varied border edges may be made by switching the straws in any direction desired.Plate XV.Plate XV.Introducing Color Panel.Step 1 ofPlate XVIshows the first colored panel, strawabplaced betweencd, the space betweenxandyhaving been already woven, as shown in step 11.Step 2. Foldingato the right.Step 3. Foldingaunder and down.Step 4. Foldingcoveraand to left.Step 5. Foldingaovercand upward.Step 6. Foldingbunderdto left.Step 7. Foldingbupward, with right twist downward.Step 8. Foldingddownward, with right twist to right.Step 9. Foldingbunderdupward.Step 10. Shows addition of second strawefwoven to the right, where the same process of turning is gone through as illustrated in steps 6 to 9 inclusive. If weaving is to the left, steps 1 to 5 inclusive are repeated.Step 11. Shows continued additions and weaving both to the right and left.Step 12. Shows both edges of panel woven, the inside turnings being the same as those of the outer edge.Circular Mats.The circular mat is woven like the crown of a hat, with either the radiating center or a square center radiating at the four corners. In either case, the weaver must be careful to add the proper number of straws so that the mat will be flat, and not cupped or fluted. The cupping is caused by not adding a sufficient number and the fluting by adding too many.In tightening the weaving, do not pull the added straws (Plate XIX, step 6, straw x-x) or holes will be made at the elbow. Instead, pull the longer straws that run through the center, thus making the entire weaving tight.Radiating Center.Step 1. Begin by laying down, in pairs,abandcdperpendicular to the body. Putklunderaband overcd. Putijoveraband undercd.Step 2. Now putefundercdandij, and overabandkl; then putghovercdandij, and underklandab. See that the two ends of all the straws are equidistant from the center crossing.In step 3 the straws are changed from pairs to singles as follows: Bringaoveri;eoverd;ioverh;doverl;hovera; andlovere.Plate XVI.Plate XVI.Plate XVII.Plate XVII.Plate XVIII. Romblon mat designs showing simple open weaves.Plate XVIII. Romblon mat designs showing simple open weaves.Plate XIX.Plate XIX.Plate XX.Plate XX.Plate XXI.Plate XXI.Step 4. The most convenient way to perform the next process is to take all the bottom straws in the left hand and allow the top straws to float over the closed fist. Then the weaving is done with the right hand. However, for beginners the weaving may also be done on the table.In weaving, placecunderb, overaand underk;doverband undera;gunderf, overeand underb;hoverfand undere;kunderj, overiand underf;loverjand underi;bunderc, overdand undera;aovercand underd;funderg, overhand underc;eovergand underh;junderk, overland underg;ioverkand underl; the round is then finished.Step 5. This illustrates the manner of adding straws. Strawxis placed underc, overh, undergand then bent back. The bend should be in the middle of the straw.Step 6. In this the right end of the added strawxis brought down overjand underi.Step 7 shows how to continue the additions by weaving one straw and then adding one.Step 8 shows the mat after the first round of additions has been completed. The weaving is now easy. Weave entirely around again without any additions, turning five straws each time. Then go around again weaving two and adding one, in the same manner as before, turning seven straws each time. As the diameter of the mat increases, the less often is it necessary to add. But be sure to add enough to keep the weaving close and the mat perfectly flat.Step 9 shows how to close the edge of the mat by turning back the straws on each other. It also gives a very pretty “woven in” design for a border, which can easily be followed from the plate.Square Center.Steps for commencing a circular mat with a square beginning are illustrated inPlate XXI. The additions at the corner are made in the same manner as explained in the radiating center, except that each is for a fourth of a circle instead of a complete circle.Decorations for Round Mats.Decorations are often employed in round mats. (See PlatesXXIIandXXIII.) The most usual are concentric or radiating colored bands of either simple or sawali weaves.Hexagonal Weave.Step 1. InPlate XXIV, place straws 1 and 2 parallel; then put 3 under 2 and over 1; put 4 under 1 and over 2.Plate XXII. Circular mat with radiating design.Plate XXII. Circular mat with radiating design.Plate XXIII. Circular mat with concentric and radiating design.Plate XXIII. Circular mat with concentric and radiating design.Plate XXIV.Plate XXIV.Plate XXV.Plate XXV.Step 2. Put 5 over 1 and 4 and under 2 and 3; put 6 under 1 and 4 and over 2 and 3.Step 3. Putaover 5 and 6 and under 1 and 2. Putbover 1, 2 anda, and under 3 and 4. Putcundera, over 4, 3,b, and under 6, 5.Step 4. Putdunderb, over 6, 5,c, and under 2, 1,e. Puteunderc, over 2, 1,d, under 3, 4, and overa. Putfunderd, over 3, 4,e, under 5, 6,a, and overb.Step 5 is made open so as to show the triple over and under weave. Further weaving is merely a repetition of this process, as shown in step 6.Plate XXVI.Plate XXVI.Plate XXVII.Plate XXVII.Step 7 shows the turning of the straws on finishing the edge of the mat.Step 8. Many designs can be made by inserting colored straws into the natural weave. Step 8 illustrates three of these embroidered designs—the star, the bar, and the diamond.Embroidered Mats.The embroidering of mats is easily done and the method is shown inPlate XXVI. Mats in over and under weave, of solid color (either natural or dyed), are used, and the embroidery is done with colored straws.Plate XXVIIillustrates an embroidered color panel. Floral, geometrical, and conventionalized designs are discussed under the headings “Samar mats” and “Special designs.”

Philippine Mats.The production of mats in the Philippines is large because of the extensive domestic demand for them. The sleeping mat1is used throughout the Christian provinces, and is also found among the Moros. Such mats are of the finer class and are usually more or less highly decorated with colored straws in various designs. For this purpose the buri petates are more widely produced than those made from any other material. Pandan mats are considered stronger and cooler but their use is not so extensive, probably because they are more expensive than the buri mats. In the Visayas, tikug mats are important.Plate I. Boy carrying a bastos mat, Argao, Cebu.Plate I. Boy carrying a bastos mat, Argao, Cebu.Another use of mats is in the baling of two of the staple products of the Philippines, tobacco and abaca. In the Cagayan valley mats of dried banana petioles are employed. A great many of these are made in Batac, Ilocos Norte, from which place they are shipped to Cagayan. In most cases the tobacco of the Visayas is packed in such mats also. At Argao, Cebu, banana petiole mats are woven as a by-product of the sabá cloth industry. In obtaining the fiber, the outer skin of the petiole is pulled off for stripping, and the remaining portion, which is called “upag,” is dried and woven into very coarse mats by children. These are called “bastos”2or “liplip,” and are disposed of to the tobacco balers in the town, or are shipped to Cebu and other towns for baling purposes. While sabá sinamay is produced in several of the districts in the Visayas, notably in Bohol, it is not known that the upag is used for mat weaving there.Coarse buri mats are almost exclusively used in wrapping abaca for the export trade. Since baling is carried on only in large seaports, particularly in Manila and Cebu, the weaving of these mats in certain localities where the buri palm is abundantand their transportation to the hemp-producing towns are important industries.Plate II. Vendors of sleeping mats.Plate II. Vendors of sleeping mats.While they are not, strictly speaking, mats, plaited sacks3are woven in the same weave and bear the same relation to sugar and rice as do mats to tobacco and abaca. Most of the domestic rice crop entering into commerce is packed in buri sacks and practically all the export sugar is sent away in them. A few bayones are made of pandan. The production of bayones is an important industry in certain districts.Mats are also employed throughout the provinces for drying paddy and copra in the sun, in the same manner in which trays are used for sun-curing fruit in temperate regions.The use of the finer grades of petates for floor mats and for wall decoration is confined to the foreign population in the Philippines. Nevertheless, a considerable number is so utilized. For this trade only mats of the better grades are demanded, and the number sold for the purpose is probably considerably restricted by the fact that few mats are of suitable color combination and of proper design to satisfy foreign taste. As yet there is no known commercial export of Philippine mats. There is a considerable demand for floor mats and mats for wall decoration in Europe and in the United States, but it is improbable that the Philippines can hope to supply any part of it unless designs and color combinationsare vastly improved. Floor mats are used as rugs in the same manner as are the strips of Japanese matting which are so popular all over the world. Round floor mats, somewhat larger in diameter than the round table tops, are also in demand. Small mats can be used as doilies on the table or under the stands of flower pots and the like.Sleeping mats and mats intended for floors, walls, stands, and mat doilies are the ones which are suitable for domestic and foreign commerce, and industrial education must interest itself in them. The Philippine materials available for weaving these mats are varied and well distributed. With improvement in color combination and design, there should be a large increase in the industry.1Banig, petate, ikamen, dase.2Meaning coarse stuff.3Bayones, bayong, canastro, banyot.

The production of mats in the Philippines is large because of the extensive domestic demand for them. The sleeping mat1is used throughout the Christian provinces, and is also found among the Moros. Such mats are of the finer class and are usually more or less highly decorated with colored straws in various designs. For this purpose the buri petates are more widely produced than those made from any other material. Pandan mats are considered stronger and cooler but their use is not so extensive, probably because they are more expensive than the buri mats. In the Visayas, tikug mats are important.

Plate I. Boy carrying a bastos mat, Argao, Cebu.Plate I. Boy carrying a bastos mat, Argao, Cebu.

Plate I. Boy carrying a bastos mat, Argao, Cebu.

Another use of mats is in the baling of two of the staple products of the Philippines, tobacco and abaca. In the Cagayan valley mats of dried banana petioles are employed. A great many of these are made in Batac, Ilocos Norte, from which place they are shipped to Cagayan. In most cases the tobacco of the Visayas is packed in such mats also. At Argao, Cebu, banana petiole mats are woven as a by-product of the sabá cloth industry. In obtaining the fiber, the outer skin of the petiole is pulled off for stripping, and the remaining portion, which is called “upag,” is dried and woven into very coarse mats by children. These are called “bastos”2or “liplip,” and are disposed of to the tobacco balers in the town, or are shipped to Cebu and other towns for baling purposes. While sabá sinamay is produced in several of the districts in the Visayas, notably in Bohol, it is not known that the upag is used for mat weaving there.

Coarse buri mats are almost exclusively used in wrapping abaca for the export trade. Since baling is carried on only in large seaports, particularly in Manila and Cebu, the weaving of these mats in certain localities where the buri palm is abundantand their transportation to the hemp-producing towns are important industries.

Plate II. Vendors of sleeping mats.Plate II. Vendors of sleeping mats.

Plate II. Vendors of sleeping mats.

While they are not, strictly speaking, mats, plaited sacks3are woven in the same weave and bear the same relation to sugar and rice as do mats to tobacco and abaca. Most of the domestic rice crop entering into commerce is packed in buri sacks and practically all the export sugar is sent away in them. A few bayones are made of pandan. The production of bayones is an important industry in certain districts.

Mats are also employed throughout the provinces for drying paddy and copra in the sun, in the same manner in which trays are used for sun-curing fruit in temperate regions.

The use of the finer grades of petates for floor mats and for wall decoration is confined to the foreign population in the Philippines. Nevertheless, a considerable number is so utilized. For this trade only mats of the better grades are demanded, and the number sold for the purpose is probably considerably restricted by the fact that few mats are of suitable color combination and of proper design to satisfy foreign taste. As yet there is no known commercial export of Philippine mats. There is a considerable demand for floor mats and mats for wall decoration in Europe and in the United States, but it is improbable that the Philippines can hope to supply any part of it unless designs and color combinationsare vastly improved. Floor mats are used as rugs in the same manner as are the strips of Japanese matting which are so popular all over the world. Round floor mats, somewhat larger in diameter than the round table tops, are also in demand. Small mats can be used as doilies on the table or under the stands of flower pots and the like.

Sleeping mats and mats intended for floors, walls, stands, and mat doilies are the ones which are suitable for domestic and foreign commerce, and industrial education must interest itself in them. The Philippine materials available for weaving these mats are varied and well distributed. With improvement in color combination and design, there should be a large increase in the industry.

1Banig, petate, ikamen, dase.2Meaning coarse stuff.3Bayones, bayong, canastro, banyot.

1Banig, petate, ikamen, dase.

2Meaning coarse stuff.

3Bayones, bayong, canastro, banyot.

Bleaching Agents.Sunshine is used to bleach all mat straws, but more often they are also treated with boiling water to which certain bleaching agents have been added. Only the most important of these are explained.Tamarind.—This tree (Tamarindus indica) is known in Tagalog, Bicol and Pampanga as sampalok, in Visayan as sambag, in Ilocano as salamagui, and in Palawan as kalampisao. It is a large tree with dense foliage. The leaves are employed as a bleaching agent in boiling water. It is said that the young green fruit can be used for this purpose.Pandakaki.—The leaves of the plant (Tabernaemontana pandacaqui) are used as a bleaching agent. This is the name under which it is known, particularly in Pampanga and Cavite. In Palawan it is called alibetbet. It is also known as kampopot in Tagalog and as alibubut and toar in parts of the Visayas. In Ilocano the name is kurribuetbuet.Lemons.—The juice of the various species and varieties ofCitrusis employed to some extent for bleaching. It is usually added to boiling water in which the straw is immersed.Vinegar.—Of Philippine vinegars, those made from palm juices are considered about half as strong as lemon juice. Vinegar from sugar cane juice has probably the same strength. That made from cooked rice is considered about one-fourth as strong as lemon juice.Alum.—In some towns alum is added to the boiling water in which straw is treated. It is usually employed in combination with other bleaching agents.

Sunshine is used to bleach all mat straws, but more often they are also treated with boiling water to which certain bleaching agents have been added. Only the most important of these are explained.

Tamarind.—This tree (Tamarindus indica) is known in Tagalog, Bicol and Pampanga as sampalok, in Visayan as sambag, in Ilocano as salamagui, and in Palawan as kalampisao. It is a large tree with dense foliage. The leaves are employed as a bleaching agent in boiling water. It is said that the young green fruit can be used for this purpose.

Pandakaki.—The leaves of the plant (Tabernaemontana pandacaqui) are used as a bleaching agent. This is the name under which it is known, particularly in Pampanga and Cavite. In Palawan it is called alibetbet. It is also known as kampopot in Tagalog and as alibubut and toar in parts of the Visayas. In Ilocano the name is kurribuetbuet.

Lemons.—The juice of the various species and varieties ofCitrusis employed to some extent for bleaching. It is usually added to boiling water in which the straw is immersed.

Vinegar.—Of Philippine vinegars, those made from palm juices are considered about half as strong as lemon juice. Vinegar from sugar cane juice has probably the same strength. That made from cooked rice is considered about one-fourth as strong as lemon juice.

Alum.—In some towns alum is added to the boiling water in which straw is treated. It is usually employed in combination with other bleaching agents.

Dyes Used on Mat Straws.Mordants.A mordant is a substance employed to fix the dye to the material. In general, different ones are needed for different dyes and various materials. In some cases the mordant is added to the dye liquid; in others the material is previously treated with it before being colored. The most important are the mineral mordants, such as the alumina, the iron, the tin, and the chrome. These are not used in the Philippines with local vegetable dyes. Tannin is also important and is employed to some extent in the Philippines, being generally obtained from the mangrove tan barks. Wood ashes are little used but vinegar and lemon juice are important.Kolis.—The leaves of this plant (Memecylon edule) are commonly used in mordanting buri straw before dyeing it with sappan wood. In Tanay, Rizal, it is employed on sabutan straw with all of the vegetable dyes. It is known as guisian (Laguna), duigim (Ilocos, Pangasinan), kulis (Rizal, Nueva Ecija, Bataan), tagobachi (Leyte), kasigay (Ilocos Norte), agam (Negrito, Cagayan), guisoc-guisoc (Sorsogon), macaasin (Tayabas), baian (Zambales), diyatdiyatan (Tayabas), candong (Pangasinan), dioc (Pangasinan).Natural Vegetable Dyes.Numerous natural vegetable dyes are employed in the Philippines. Those used on the mat straws are limited in number. The important ones only are here noted. The whole question of dyes is a most difficult one and hardly warrants the time which has been spent upon investigating the various dye materials, nor the effort which would be necessary to determine definitely the methods by which they can be used on mat straws. The artificial dyes have driven the natural vegetable dyes out of use because they are cheaper and are more easily applied, and because in most cases they produce more pleasing and lasting colors.Sappan.—This plant (Caesalpinia sappan) is known as sapang in Tagalog and Ilocano and as sibucao in Visayan and Bicol. A beautiful dye varying from red to red-orange (seePlate III) is obtained from chips of the wood. This is employed on most Philippine fibers. Lime is sometimes used as a mordant but the straws are usually first treated with kolis leaves.Turmeric.—This plant (Curcuma longa) is known as dilaothroughout the Islands. In Ilocano it is called kunig. Kalaoag is its name in Negros and Sorsogon, ange in Pampanga and duao in parts of the Visayas. The yellow dye obtained from the roots is fugitive in the sunlight.Annatto.—This plant (Bixa orellana) is generally known here as achuete. It is sometimes called achiote. The plant bears burs containing many small reddish seeds, from the pulp of which the dye is obtained. It is often employed in combination with turmeric. The result is a yellow orange. The dye fades easily.Deora.—The use of this plant (Peristrophe tinctoria) is confined to the Visayas and Mindanao, where it is known by this name and also as dauda and daura. In Samar the name is dala-uda. It is a small bush and is usually grown in the gardens for its leaves and tender stems. A mordant is not used. The color ranges from yellow orange to a deep red orange.The methods of using these dye materials are explained for each straw.Materials Used with Mud to Obtain Dark Grays.Red or green straws are turned dark gray by burying them in mud to which certain substances (usually containing tannin) are added.Talisay.—This large tree (Terminalia catappa) is common in the Philippines. The leaves are added to the mud in dyeing straw black. From the bark a brown dye may be obtained. It is, however, seldom used. It is universally known as talisay. Spanish speaking people call it almendras.Indigo.—Two species ofIndigoferaeare grown in the Philippines and are known as tagum. Except with mud they are not used to dye straws.Tiagkot.—The leaves of this plant (Pithecolobium subacutum) are employed on Romblon Island in dyeing buri gray. Other names are tagayong, narandauel, saplit (Cagayan); carisquis, ayamguitan (Zambales); tugurare (Pangasinan); inep (Bulacan); malasaga, malaganip, tekin (Laguna); bahay (Sorsogon); tagomtagom (Samar); tique (Rizal).Kabling.—This plant (Pogostemon cablin) is generally cultivated, though it grows where its cultivation has been abandoned. A volatile oil, used to keep away insects from textiles, is obtained from the leaves. The leaves are used in Tanay, Rizal, in obtaining gray sabutan straw.Mabolo.—The heart wood of this tree (Diospyros discolor) is known as kamagon. The leaves are employed in Tanay, Rizal.Castor.—This plant (Ricinus communis) is seldom cultivated in the Philippines but is found wild in all localities. The “beans” yield the oil. The leaves are added to mud in obtaining gray sabutan straw.Artificial Dyes.It is commonly believed that artificial dyes are less permanent than natural ones. This is seldom the case; as a matter of fact, some of the fastest and most valuable dyes are now made artificially and many are not procurable from vegetable coloring matters. Most of the cheaper dyes made from coal tar are fugitive; that is, they fade in sunlight or water or in both. They are often still further cheapened by being adulterated with salt, dextrine and the like. Such are the colors which are usually sold by the Chinese tienda keepers and which have caused artificial dyes in general to come into such ill-repute in the Philippines. Many of these “Chino dyes” contain 95 per cent salt. It is the belief, however, that artificial dyes of a good class, so packed and marketed that they will come cheaply to the hands of the dyers and weavers, will drive out of use practically all of the vegetable dyes now employed in the Philippines. The disuse of the natural dyes would not be regretted here, for, with the possible exception of those obtained from sabutan straw in Tanay, much finer colors can be produced with artificial dyes, as to both beauty and fastness. If the time of the workers is considered, the vegetable dyes now employed in the Philippines are more expensive than the artificial dyes, even though the latter are now sold in wastefully small packages and bear the burden of several large profits before they come to the hands of the persons using them.11The Bureau of Education has taken steps to procure a series of dyes suited to each one of the mat straws and other important fibers used in household industries and industrial instruction in the Philippines.

Mordants.A mordant is a substance employed to fix the dye to the material. In general, different ones are needed for different dyes and various materials. In some cases the mordant is added to the dye liquid; in others the material is previously treated with it before being colored. The most important are the mineral mordants, such as the alumina, the iron, the tin, and the chrome. These are not used in the Philippines with local vegetable dyes. Tannin is also important and is employed to some extent in the Philippines, being generally obtained from the mangrove tan barks. Wood ashes are little used but vinegar and lemon juice are important.Kolis.—The leaves of this plant (Memecylon edule) are commonly used in mordanting buri straw before dyeing it with sappan wood. In Tanay, Rizal, it is employed on sabutan straw with all of the vegetable dyes. It is known as guisian (Laguna), duigim (Ilocos, Pangasinan), kulis (Rizal, Nueva Ecija, Bataan), tagobachi (Leyte), kasigay (Ilocos Norte), agam (Negrito, Cagayan), guisoc-guisoc (Sorsogon), macaasin (Tayabas), baian (Zambales), diyatdiyatan (Tayabas), candong (Pangasinan), dioc (Pangasinan).

A mordant is a substance employed to fix the dye to the material. In general, different ones are needed for different dyes and various materials. In some cases the mordant is added to the dye liquid; in others the material is previously treated with it before being colored. The most important are the mineral mordants, such as the alumina, the iron, the tin, and the chrome. These are not used in the Philippines with local vegetable dyes. Tannin is also important and is employed to some extent in the Philippines, being generally obtained from the mangrove tan barks. Wood ashes are little used but vinegar and lemon juice are important.

Kolis.—The leaves of this plant (Memecylon edule) are commonly used in mordanting buri straw before dyeing it with sappan wood. In Tanay, Rizal, it is employed on sabutan straw with all of the vegetable dyes. It is known as guisian (Laguna), duigim (Ilocos, Pangasinan), kulis (Rizal, Nueva Ecija, Bataan), tagobachi (Leyte), kasigay (Ilocos Norte), agam (Negrito, Cagayan), guisoc-guisoc (Sorsogon), macaasin (Tayabas), baian (Zambales), diyatdiyatan (Tayabas), candong (Pangasinan), dioc (Pangasinan).

Natural Vegetable Dyes.Numerous natural vegetable dyes are employed in the Philippines. Those used on the mat straws are limited in number. The important ones only are here noted. The whole question of dyes is a most difficult one and hardly warrants the time which has been spent upon investigating the various dye materials, nor the effort which would be necessary to determine definitely the methods by which they can be used on mat straws. The artificial dyes have driven the natural vegetable dyes out of use because they are cheaper and are more easily applied, and because in most cases they produce more pleasing and lasting colors.Sappan.—This plant (Caesalpinia sappan) is known as sapang in Tagalog and Ilocano and as sibucao in Visayan and Bicol. A beautiful dye varying from red to red-orange (seePlate III) is obtained from chips of the wood. This is employed on most Philippine fibers. Lime is sometimes used as a mordant but the straws are usually first treated with kolis leaves.Turmeric.—This plant (Curcuma longa) is known as dilaothroughout the Islands. In Ilocano it is called kunig. Kalaoag is its name in Negros and Sorsogon, ange in Pampanga and duao in parts of the Visayas. The yellow dye obtained from the roots is fugitive in the sunlight.Annatto.—This plant (Bixa orellana) is generally known here as achuete. It is sometimes called achiote. The plant bears burs containing many small reddish seeds, from the pulp of which the dye is obtained. It is often employed in combination with turmeric. The result is a yellow orange. The dye fades easily.Deora.—The use of this plant (Peristrophe tinctoria) is confined to the Visayas and Mindanao, where it is known by this name and also as dauda and daura. In Samar the name is dala-uda. It is a small bush and is usually grown in the gardens for its leaves and tender stems. A mordant is not used. The color ranges from yellow orange to a deep red orange.The methods of using these dye materials are explained for each straw.

Numerous natural vegetable dyes are employed in the Philippines. Those used on the mat straws are limited in number. The important ones only are here noted. The whole question of dyes is a most difficult one and hardly warrants the time which has been spent upon investigating the various dye materials, nor the effort which would be necessary to determine definitely the methods by which they can be used on mat straws. The artificial dyes have driven the natural vegetable dyes out of use because they are cheaper and are more easily applied, and because in most cases they produce more pleasing and lasting colors.

Sappan.—This plant (Caesalpinia sappan) is known as sapang in Tagalog and Ilocano and as sibucao in Visayan and Bicol. A beautiful dye varying from red to red-orange (seePlate III) is obtained from chips of the wood. This is employed on most Philippine fibers. Lime is sometimes used as a mordant but the straws are usually first treated with kolis leaves.

Turmeric.—This plant (Curcuma longa) is known as dilaothroughout the Islands. In Ilocano it is called kunig. Kalaoag is its name in Negros and Sorsogon, ange in Pampanga and duao in parts of the Visayas. The yellow dye obtained from the roots is fugitive in the sunlight.

Annatto.—This plant (Bixa orellana) is generally known here as achuete. It is sometimes called achiote. The plant bears burs containing many small reddish seeds, from the pulp of which the dye is obtained. It is often employed in combination with turmeric. The result is a yellow orange. The dye fades easily.

Deora.—The use of this plant (Peristrophe tinctoria) is confined to the Visayas and Mindanao, where it is known by this name and also as dauda and daura. In Samar the name is dala-uda. It is a small bush and is usually grown in the gardens for its leaves and tender stems. A mordant is not used. The color ranges from yellow orange to a deep red orange.

The methods of using these dye materials are explained for each straw.

Materials Used with Mud to Obtain Dark Grays.Red or green straws are turned dark gray by burying them in mud to which certain substances (usually containing tannin) are added.Talisay.—This large tree (Terminalia catappa) is common in the Philippines. The leaves are added to the mud in dyeing straw black. From the bark a brown dye may be obtained. It is, however, seldom used. It is universally known as talisay. Spanish speaking people call it almendras.Indigo.—Two species ofIndigoferaeare grown in the Philippines and are known as tagum. Except with mud they are not used to dye straws.Tiagkot.—The leaves of this plant (Pithecolobium subacutum) are employed on Romblon Island in dyeing buri gray. Other names are tagayong, narandauel, saplit (Cagayan); carisquis, ayamguitan (Zambales); tugurare (Pangasinan); inep (Bulacan); malasaga, malaganip, tekin (Laguna); bahay (Sorsogon); tagomtagom (Samar); tique (Rizal).Kabling.—This plant (Pogostemon cablin) is generally cultivated, though it grows where its cultivation has been abandoned. A volatile oil, used to keep away insects from textiles, is obtained from the leaves. The leaves are used in Tanay, Rizal, in obtaining gray sabutan straw.Mabolo.—The heart wood of this tree (Diospyros discolor) is known as kamagon. The leaves are employed in Tanay, Rizal.Castor.—This plant (Ricinus communis) is seldom cultivated in the Philippines but is found wild in all localities. The “beans” yield the oil. The leaves are added to mud in obtaining gray sabutan straw.

Red or green straws are turned dark gray by burying them in mud to which certain substances (usually containing tannin) are added.

Talisay.—This large tree (Terminalia catappa) is common in the Philippines. The leaves are added to the mud in dyeing straw black. From the bark a brown dye may be obtained. It is, however, seldom used. It is universally known as talisay. Spanish speaking people call it almendras.

Indigo.—Two species ofIndigoferaeare grown in the Philippines and are known as tagum. Except with mud they are not used to dye straws.

Tiagkot.—The leaves of this plant (Pithecolobium subacutum) are employed on Romblon Island in dyeing buri gray. Other names are tagayong, narandauel, saplit (Cagayan); carisquis, ayamguitan (Zambales); tugurare (Pangasinan); inep (Bulacan); malasaga, malaganip, tekin (Laguna); bahay (Sorsogon); tagomtagom (Samar); tique (Rizal).

Kabling.—This plant (Pogostemon cablin) is generally cultivated, though it grows where its cultivation has been abandoned. A volatile oil, used to keep away insects from textiles, is obtained from the leaves. The leaves are used in Tanay, Rizal, in obtaining gray sabutan straw.

Mabolo.—The heart wood of this tree (Diospyros discolor) is known as kamagon. The leaves are employed in Tanay, Rizal.

Castor.—This plant (Ricinus communis) is seldom cultivated in the Philippines but is found wild in all localities. The “beans” yield the oil. The leaves are added to mud in obtaining gray sabutan straw.

Artificial Dyes.It is commonly believed that artificial dyes are less permanent than natural ones. This is seldom the case; as a matter of fact, some of the fastest and most valuable dyes are now made artificially and many are not procurable from vegetable coloring matters. Most of the cheaper dyes made from coal tar are fugitive; that is, they fade in sunlight or water or in both. They are often still further cheapened by being adulterated with salt, dextrine and the like. Such are the colors which are usually sold by the Chinese tienda keepers and which have caused artificial dyes in general to come into such ill-repute in the Philippines. Many of these “Chino dyes” contain 95 per cent salt. It is the belief, however, that artificial dyes of a good class, so packed and marketed that they will come cheaply to the hands of the dyers and weavers, will drive out of use practically all of the vegetable dyes now employed in the Philippines. The disuse of the natural dyes would not be regretted here, for, with the possible exception of those obtained from sabutan straw in Tanay, much finer colors can be produced with artificial dyes, as to both beauty and fastness. If the time of the workers is considered, the vegetable dyes now employed in the Philippines are more expensive than the artificial dyes, even though the latter are now sold in wastefully small packages and bear the burden of several large profits before they come to the hands of the persons using them.1

It is commonly believed that artificial dyes are less permanent than natural ones. This is seldom the case; as a matter of fact, some of the fastest and most valuable dyes are now made artificially and many are not procurable from vegetable coloring matters. Most of the cheaper dyes made from coal tar are fugitive; that is, they fade in sunlight or water or in both. They are often still further cheapened by being adulterated with salt, dextrine and the like. Such are the colors which are usually sold by the Chinese tienda keepers and which have caused artificial dyes in general to come into such ill-repute in the Philippines. Many of these “Chino dyes” contain 95 per cent salt. It is the belief, however, that artificial dyes of a good class, so packed and marketed that they will come cheaply to the hands of the dyers and weavers, will drive out of use practically all of the vegetable dyes now employed in the Philippines. The disuse of the natural dyes would not be regretted here, for, with the possible exception of those obtained from sabutan straw in Tanay, much finer colors can be produced with artificial dyes, as to both beauty and fastness. If the time of the workers is considered, the vegetable dyes now employed in the Philippines are more expensive than the artificial dyes, even though the latter are now sold in wastefully small packages and bear the burden of several large profits before they come to the hands of the persons using them.1

1The Bureau of Education has taken steps to procure a series of dyes suited to each one of the mat straws and other important fibers used in household industries and industrial instruction in the Philippines.

1The Bureau of Education has taken steps to procure a series of dyes suited to each one of the mat straws and other important fibers used in household industries and industrial instruction in the Philippines.

Dyeing.The process of dyeing is simple. The fluid is prepared in water (usually boiling), and the material is immersed in it. The shade of color obtained depends on the length of time the material is allowed to remain in the fluid or the number of times it is treated, and the strength of the dye. The combination of two different dyes to obtain a third is understood to some extent. In particular, red and yellow are mixed to obtain orange.

The process of dyeing is simple. The fluid is prepared in water (usually boiling), and the material is immersed in it. The shade of color obtained depends on the length of time the material is allowed to remain in the fluid or the number of times it is treated, and the strength of the dye. The combination of two different dyes to obtain a third is understood to some extent. In particular, red and yellow are mixed to obtain orange.

Suggestions on the Use of Colors in Mats.Standard Colors.The three primary colors are red, blue, and yellow. The three secondary colors are obtained by combination of the three primary colors, and are orange, green, and violet. Orange is made by a combination of yellow and red, green is a combination of blue and yellow, and violet is the combination of red and blue. Most of the dye materials explained in the preceding pages do not produce standard colors and so, when combined, do not result in the expected secondary color. Often those called red are, in point of fact, red-violet (seePlate III). Sometimes, also, dyes called yellow are yellow-orange. A mixture of yellow-orange and red-violet would produce a muddy color. Dye called green may be really blue-green or yellow-green, and combined with red, will make a muddy color.The above remarks on standard complementary colors are only valid for pure colors and it is only by much experimentation that pleasing tones can be obtained by a combination of the dyes used on straws in the Philippines.How to Tone Down Brilliant Colors.Many of the colors used in Philippine mats are very brilliant. A little brilliantly colored straw, properly combined with subdued colors such as gray or one of the natural colors of Philippine straws, is pleasing, but the abundant use of brilliant straws, such as are sometimes seen in mats of solid color, is to be discouraged.All brilliant colors may be subdued by adding to them their complementary color. Thus a brilliant red may be subdued by adding to it a small amount of green and in the same way brilliant green may be toned down by mixing with it a small portion of red. If too much of the complementary color is added the result will be gray. As will be seen, all complementary colors will subdue one another. InPlate IIIthe principal colors have been so arranged that the complementary colors are directly opposite each other and are connected by lines. Any two colors connected by lines on this chart will tone down each other and, if mixed in proper proportions, will result in gray.It is probable that any straw which has been dyed too brilliant, can be closely matched to one of the colors given onPlate III. Consequently its complement can be determined and, by experimentation, the brilliant color toned down. Usually only an exceedingly small amount of its complement is needed to tone down a given color.Color Combination.In general, too many different colors appear in the Philippine mats, and most of these are brilliant. It is often true that a large amount of a given brilliant color is offensive to the eye, and yet the addition of a little of it greatly enhances the beauty of the mat. Often color combinations are not harmonious. Particularly bad effects are obtained with red-violet and yellow or yellow-orange. Red-violet with blue-green is another unfortunate combination.Certain rules have been set down for combination of colors: (1) A given color with its tints and shades1may always be safely combined; (2) complementary colors may always be safely combined; (3) the tints and shades of complementary colors may always be safely combined; (4) any three colors occurring in sequence on the color chart may be combined in that sequence.The following notes on the use and combination of the colored straws from Tanay, Rizal, and from Romblon, and those shown on the chartsaccompanyingthe dyes of Leopold Cassela & Co., are given. The figures refer to the numbers given the colored straws on these charts. These dyes were evolved for the Bureau of Education especially for Philippine mat straws and will soon be available in the market. The notes have been prepared in accordance with the rules above outlined, and, if they are followed closely, no unfortunate color combination can result.Colors Obtained from the New Dyes.The sample straws on these charts are made with the following dyestuffs:Colors.Numbers on chart.Dyestuffs.Yellow Yellow-OrangeNo. 1Paraphosphine G.VioletNo. 2Methylviolett BB 72 No. 1.BrownNo. 3Rush Brown B.Orange Red-RedNo. 4Rush Red S A.Yellow-GreenNo. 5Rush Green T B.Blue-VioletNo. 6New Methylene Blue R.Red-VioletNo. 7Magenta Prima.BlackNo. 8Rush Black M.ChocolateNo. 9Rush Brown X.RedNo. 10Rush Red J S.Yellow Orange-YellowNo. 11Auramine II.Blue-GreenNo. 12Japan Green.Red Violet-VioletNo. 13Methylviolett R No. 1.Red-OrangeNo. 14Chrysoidine A G.Blue Blue-GreenNo. 15New Methylene Blue N.Violet Red-RedNo. 16Safranine S 150.Complementary or opposite colors on the color chart are said to be harmonious. Their relation is made more pleasing, however, if one color, usually the more brilliant, is used in very small amount. In many cases in the above combinations colors not exactly opposite have been united. They usually contain a mixture of a primary color common to both. Brown, Black, Chocolate, and Dark Red are complicated mixtures and may be analyzed with a chart which will appear later. Many of these dark colors would harmonize with one another, but would be so dark that they would not be pleasing. In every one of these combinations, the natural straw background figures as another color, and that is why the especially good combinations, as will be noticed, contain browns, yellows and reds, colors which blend particularly well with the background. Red-Violet No. 7 can be used with only a very few colors, and never with Yellow Yellow-Orange No. 1. Yellow Yellow-Orange should be used cautiously.In sabutan straw, No. 1, Yellow, must be used sparingly. When used in combinations in place of No. 1, Yellow Yellow-Orange, the design should be an open one, rather than solid. Violet Red-Red, No. 16, when being used in place of Red, No. 10, must be used in the same way, and only in places where very, very little is called for. No. 11 is a color that clashes with even a natural straw, so is not advisable in any combination or alone. No. 13 is not a necessary color when No. 2 and No. 6 are available.In placing the color upon the space to be decorated, the heavier colors should usually appear on the outside and near the edge of the space, although a border may sometimes be outlined with darker color on both inside and outside edges.The following combinations of these colored straws will prove harmonious. The numbers correspond to those used on the chart and the different kinds of type indicate the proportions of the color to be used—little,Medium Amount, MUCH. The relative positions of the colors must also be observed and the given order followed when more than two colors are combined.Brown(3)Yellow-Yellow Orange(1). Especially good.Black(8)Yellow-Yellow Orange(1).Chocolate(9)Yellow-yellow Orange(1).RED-ORANGE (14) CHOCOLATE (9)Yellow-Yellow Orange(1). In this case, the heavy color, 9, comes in the center of the design, but is necessary to separate Nos. 14 and 1.VIOLET (2) BLUE-GREEN (12)Red-Orange(14).Violet(2)Red-Orange(14)Blue-Blue Green(15).Brown(3) alone on natural background.Brown(3)Yellow-Green(5). Especially good.Brown(3) BLUE-GREEN (12).BROWN (3) RED-ORANGE (14)Red(16).Brown(3)Red-Orange(14). Especially good.Brown(3) BLUE-BLUE GREEN (15)Red-Orange(14). Especially good.Brown(3) RED (16). In sabutan straw, use No. 4 or 10 in place of No. 16.Black(8)Brown(3)Red-Orange(14). Especially good.ORANGE-RED RED (4)Blue-Green(12). Use No. 15 instead of 12 with sabutan.BLUE-BLUE GREEN (15) BLUE-GREEN (12)Orange-Red Red(4). Especially good.Black(8) ORANGE-RED RED (4). Especially good.YELLOW-GREEN (5) BLUE-BLUE GREEN (15)Red-Orange(14).RED-VIOLET (7) BLUE-BLUE GREEN (15)Yellow-Green(5). Especially good.Black(8)Yellow-Green(5). Use this combination with an open design (not solid), and do not use much of each.BLUE-GREEN (12)Yellow-Green(5).BLUE-BLUE GREEN (15)Yellow Green(5).Blue-Violet(6). On a natural ground.Blue-Violet(6)Red-Orange(14).Chocolate(9)Blue-Green(12)Red-Orange(14). Especially good.Chocolate(9) BLUE-GREEN (12)Red-Orange(14). Especially good.Blue-Blue Green(15)Red-Orange(14). Especially good.BLUE-BLUE GREEN (15)Red(16).Romblon Buri Vegetable Colors.1—Black.2—Gray-green.3—Natural.4—Orange.5—Dark red.In Romblon buri straw the following combinations will be harmonious:Nos. 1, 2 and 3 in accordance with Rule 4. Nos. 2, 3 and 4 in accordance with Rule 4.Exception to Rule 2: No. 5 is inharmonious with No. 4.It will be noticed that these colors depend for their harmony on their order or sequence and their quantity (in this case equal parts of all three). No. 3 being a neutral color, great quantities of it may be used with any other colors. There is danger, however, in getting too much of one of the other two colors. No. 4 is a very strong color and a little will be pleasing while much will be offensive. It is not well to use it alone on a ground of No. 3. No. 5 may be used alone with a ground of No. 3; No. 1 with a ground of No. 3; No. 2 with a ground of No. 3; No. 3 with a ground of No. 2; Nos. 1 and 3 on a ground of No. 2, with a very small quantity of No. 1; equal proportions of Nos. 1 and 4 may be combined on a ground of No. 3; Nos. 2 and 4 on a ground of No. 3, averysmall quantity of No. 4 being used.Plate III. Color Chart.Plate III. Color Chart.Tanay Sabutan Colors (Mostly Vegetable).1—Black.2—Blue-green.3—Natural.4—Yellow.5—Red-orange.6—Red-orange red.It will be necessary to use No. 3 on a ground work. Mats made entirely of any of the other colors would hardly be harmonious on a floor or wall, if there were any other furnishings. Nos. 1, 2, 5 and 6 may be used separately upon a ground of No. 3; No. 2 in large quantity; No. 1 in small ground of No. 3; No. 2 in equal quantity with No. 5 upon a ground of No. 3; No. 5 in equal quantity with No. 6 upon a ground of No. 3; No. 6 in large quantity, with No. 2 in small quantity, upon a ground of No. 3; No. 5 in large quantity, with No. 1 small, on a ground of No. 3.Plate IV.Plate IV.1A tint is a paler or less intense tone than the standard color. A shade is a darker, more intense tone of the standard color.

Standard Colors.The three primary colors are red, blue, and yellow. The three secondary colors are obtained by combination of the three primary colors, and are orange, green, and violet. Orange is made by a combination of yellow and red, green is a combination of blue and yellow, and violet is the combination of red and blue. Most of the dye materials explained in the preceding pages do not produce standard colors and so, when combined, do not result in the expected secondary color. Often those called red are, in point of fact, red-violet (seePlate III). Sometimes, also, dyes called yellow are yellow-orange. A mixture of yellow-orange and red-violet would produce a muddy color. Dye called green may be really blue-green or yellow-green, and combined with red, will make a muddy color.The above remarks on standard complementary colors are only valid for pure colors and it is only by much experimentation that pleasing tones can be obtained by a combination of the dyes used on straws in the Philippines.

The three primary colors are red, blue, and yellow. The three secondary colors are obtained by combination of the three primary colors, and are orange, green, and violet. Orange is made by a combination of yellow and red, green is a combination of blue and yellow, and violet is the combination of red and blue. Most of the dye materials explained in the preceding pages do not produce standard colors and so, when combined, do not result in the expected secondary color. Often those called red are, in point of fact, red-violet (seePlate III). Sometimes, also, dyes called yellow are yellow-orange. A mixture of yellow-orange and red-violet would produce a muddy color. Dye called green may be really blue-green or yellow-green, and combined with red, will make a muddy color.

The above remarks on standard complementary colors are only valid for pure colors and it is only by much experimentation that pleasing tones can be obtained by a combination of the dyes used on straws in the Philippines.

How to Tone Down Brilliant Colors.Many of the colors used in Philippine mats are very brilliant. A little brilliantly colored straw, properly combined with subdued colors such as gray or one of the natural colors of Philippine straws, is pleasing, but the abundant use of brilliant straws, such as are sometimes seen in mats of solid color, is to be discouraged.All brilliant colors may be subdued by adding to them their complementary color. Thus a brilliant red may be subdued by adding to it a small amount of green and in the same way brilliant green may be toned down by mixing with it a small portion of red. If too much of the complementary color is added the result will be gray. As will be seen, all complementary colors will subdue one another. InPlate IIIthe principal colors have been so arranged that the complementary colors are directly opposite each other and are connected by lines. Any two colors connected by lines on this chart will tone down each other and, if mixed in proper proportions, will result in gray.It is probable that any straw which has been dyed too brilliant, can be closely matched to one of the colors given onPlate III. Consequently its complement can be determined and, by experimentation, the brilliant color toned down. Usually only an exceedingly small amount of its complement is needed to tone down a given color.

Many of the colors used in Philippine mats are very brilliant. A little brilliantly colored straw, properly combined with subdued colors such as gray or one of the natural colors of Philippine straws, is pleasing, but the abundant use of brilliant straws, such as are sometimes seen in mats of solid color, is to be discouraged.

All brilliant colors may be subdued by adding to them their complementary color. Thus a brilliant red may be subdued by adding to it a small amount of green and in the same way brilliant green may be toned down by mixing with it a small portion of red. If too much of the complementary color is added the result will be gray. As will be seen, all complementary colors will subdue one another. InPlate IIIthe principal colors have been so arranged that the complementary colors are directly opposite each other and are connected by lines. Any two colors connected by lines on this chart will tone down each other and, if mixed in proper proportions, will result in gray.

It is probable that any straw which has been dyed too brilliant, can be closely matched to one of the colors given onPlate III. Consequently its complement can be determined and, by experimentation, the brilliant color toned down. Usually only an exceedingly small amount of its complement is needed to tone down a given color.

Color Combination.In general, too many different colors appear in the Philippine mats, and most of these are brilliant. It is often true that a large amount of a given brilliant color is offensive to the eye, and yet the addition of a little of it greatly enhances the beauty of the mat. Often color combinations are not harmonious. Particularly bad effects are obtained with red-violet and yellow or yellow-orange. Red-violet with blue-green is another unfortunate combination.Certain rules have been set down for combination of colors: (1) A given color with its tints and shades1may always be safely combined; (2) complementary colors may always be safely combined; (3) the tints and shades of complementary colors may always be safely combined; (4) any three colors occurring in sequence on the color chart may be combined in that sequence.The following notes on the use and combination of the colored straws from Tanay, Rizal, and from Romblon, and those shown on the chartsaccompanyingthe dyes of Leopold Cassela & Co., are given. The figures refer to the numbers given the colored straws on these charts. These dyes were evolved for the Bureau of Education especially for Philippine mat straws and will soon be available in the market. The notes have been prepared in accordance with the rules above outlined, and, if they are followed closely, no unfortunate color combination can result.Colors Obtained from the New Dyes.The sample straws on these charts are made with the following dyestuffs:Colors.Numbers on chart.Dyestuffs.Yellow Yellow-OrangeNo. 1Paraphosphine G.VioletNo. 2Methylviolett BB 72 No. 1.BrownNo. 3Rush Brown B.Orange Red-RedNo. 4Rush Red S A.Yellow-GreenNo. 5Rush Green T B.Blue-VioletNo. 6New Methylene Blue R.Red-VioletNo. 7Magenta Prima.BlackNo. 8Rush Black M.ChocolateNo. 9Rush Brown X.RedNo. 10Rush Red J S.Yellow Orange-YellowNo. 11Auramine II.Blue-GreenNo. 12Japan Green.Red Violet-VioletNo. 13Methylviolett R No. 1.Red-OrangeNo. 14Chrysoidine A G.Blue Blue-GreenNo. 15New Methylene Blue N.Violet Red-RedNo. 16Safranine S 150.Complementary or opposite colors on the color chart are said to be harmonious. Their relation is made more pleasing, however, if one color, usually the more brilliant, is used in very small amount. In many cases in the above combinations colors not exactly opposite have been united. They usually contain a mixture of a primary color common to both. Brown, Black, Chocolate, and Dark Red are complicated mixtures and may be analyzed with a chart which will appear later. Many of these dark colors would harmonize with one another, but would be so dark that they would not be pleasing. In every one of these combinations, the natural straw background figures as another color, and that is why the especially good combinations, as will be noticed, contain browns, yellows and reds, colors which blend particularly well with the background. Red-Violet No. 7 can be used with only a very few colors, and never with Yellow Yellow-Orange No. 1. Yellow Yellow-Orange should be used cautiously.In sabutan straw, No. 1, Yellow, must be used sparingly. When used in combinations in place of No. 1, Yellow Yellow-Orange, the design should be an open one, rather than solid. Violet Red-Red, No. 16, when being used in place of Red, No. 10, must be used in the same way, and only in places where very, very little is called for. No. 11 is a color that clashes with even a natural straw, so is not advisable in any combination or alone. No. 13 is not a necessary color when No. 2 and No. 6 are available.In placing the color upon the space to be decorated, the heavier colors should usually appear on the outside and near the edge of the space, although a border may sometimes be outlined with darker color on both inside and outside edges.The following combinations of these colored straws will prove harmonious. The numbers correspond to those used on the chart and the different kinds of type indicate the proportions of the color to be used—little,Medium Amount, MUCH. The relative positions of the colors must also be observed and the given order followed when more than two colors are combined.Brown(3)Yellow-Yellow Orange(1). Especially good.Black(8)Yellow-Yellow Orange(1).Chocolate(9)Yellow-yellow Orange(1).RED-ORANGE (14) CHOCOLATE (9)Yellow-Yellow Orange(1). In this case, the heavy color, 9, comes in the center of the design, but is necessary to separate Nos. 14 and 1.VIOLET (2) BLUE-GREEN (12)Red-Orange(14).Violet(2)Red-Orange(14)Blue-Blue Green(15).Brown(3) alone on natural background.Brown(3)Yellow-Green(5). Especially good.Brown(3) BLUE-GREEN (12).BROWN (3) RED-ORANGE (14)Red(16).Brown(3)Red-Orange(14). Especially good.Brown(3) BLUE-BLUE GREEN (15)Red-Orange(14). Especially good.Brown(3) RED (16). In sabutan straw, use No. 4 or 10 in place of No. 16.Black(8)Brown(3)Red-Orange(14). Especially good.ORANGE-RED RED (4)Blue-Green(12). Use No. 15 instead of 12 with sabutan.BLUE-BLUE GREEN (15) BLUE-GREEN (12)Orange-Red Red(4). Especially good.Black(8) ORANGE-RED RED (4). Especially good.YELLOW-GREEN (5) BLUE-BLUE GREEN (15)Red-Orange(14).RED-VIOLET (7) BLUE-BLUE GREEN (15)Yellow-Green(5). Especially good.Black(8)Yellow-Green(5). Use this combination with an open design (not solid), and do not use much of each.BLUE-GREEN (12)Yellow-Green(5).BLUE-BLUE GREEN (15)Yellow Green(5).Blue-Violet(6). On a natural ground.Blue-Violet(6)Red-Orange(14).Chocolate(9)Blue-Green(12)Red-Orange(14). Especially good.Chocolate(9) BLUE-GREEN (12)Red-Orange(14). Especially good.Blue-Blue Green(15)Red-Orange(14). Especially good.BLUE-BLUE GREEN (15)Red(16).Romblon Buri Vegetable Colors.1—Black.2—Gray-green.3—Natural.4—Orange.5—Dark red.In Romblon buri straw the following combinations will be harmonious:Nos. 1, 2 and 3 in accordance with Rule 4. Nos. 2, 3 and 4 in accordance with Rule 4.Exception to Rule 2: No. 5 is inharmonious with No. 4.It will be noticed that these colors depend for their harmony on their order or sequence and their quantity (in this case equal parts of all three). No. 3 being a neutral color, great quantities of it may be used with any other colors. There is danger, however, in getting too much of one of the other two colors. No. 4 is a very strong color and a little will be pleasing while much will be offensive. It is not well to use it alone on a ground of No. 3. No. 5 may be used alone with a ground of No. 3; No. 1 with a ground of No. 3; No. 2 with a ground of No. 3; No. 3 with a ground of No. 2; Nos. 1 and 3 on a ground of No. 2, with a very small quantity of No. 1; equal proportions of Nos. 1 and 4 may be combined on a ground of No. 3; Nos. 2 and 4 on a ground of No. 3, averysmall quantity of No. 4 being used.Plate III. Color Chart.Plate III. Color Chart.Tanay Sabutan Colors (Mostly Vegetable).1—Black.2—Blue-green.3—Natural.4—Yellow.5—Red-orange.6—Red-orange red.It will be necessary to use No. 3 on a ground work. Mats made entirely of any of the other colors would hardly be harmonious on a floor or wall, if there were any other furnishings. Nos. 1, 2, 5 and 6 may be used separately upon a ground of No. 3; No. 2 in large quantity; No. 1 in small ground of No. 3; No. 2 in equal quantity with No. 5 upon a ground of No. 3; No. 5 in equal quantity with No. 6 upon a ground of No. 3; No. 6 in large quantity, with No. 2 in small quantity, upon a ground of No. 3; No. 5 in large quantity, with No. 1 small, on a ground of No. 3.Plate IV.Plate IV.

In general, too many different colors appear in the Philippine mats, and most of these are brilliant. It is often true that a large amount of a given brilliant color is offensive to the eye, and yet the addition of a little of it greatly enhances the beauty of the mat. Often color combinations are not harmonious. Particularly bad effects are obtained with red-violet and yellow or yellow-orange. Red-violet with blue-green is another unfortunate combination.

Certain rules have been set down for combination of colors: (1) A given color with its tints and shades1may always be safely combined; (2) complementary colors may always be safely combined; (3) the tints and shades of complementary colors may always be safely combined; (4) any three colors occurring in sequence on the color chart may be combined in that sequence.

The following notes on the use and combination of the colored straws from Tanay, Rizal, and from Romblon, and those shown on the chartsaccompanyingthe dyes of Leopold Cassela & Co., are given. The figures refer to the numbers given the colored straws on these charts. These dyes were evolved for the Bureau of Education especially for Philippine mat straws and will soon be available in the market. The notes have been prepared in accordance with the rules above outlined, and, if they are followed closely, no unfortunate color combination can result.

Colors Obtained from the New Dyes.The sample straws on these charts are made with the following dyestuffs:Colors.Numbers on chart.Dyestuffs.Yellow Yellow-OrangeNo. 1Paraphosphine G.VioletNo. 2Methylviolett BB 72 No. 1.BrownNo. 3Rush Brown B.Orange Red-RedNo. 4Rush Red S A.Yellow-GreenNo. 5Rush Green T B.Blue-VioletNo. 6New Methylene Blue R.Red-VioletNo. 7Magenta Prima.BlackNo. 8Rush Black M.ChocolateNo. 9Rush Brown X.RedNo. 10Rush Red J S.Yellow Orange-YellowNo. 11Auramine II.Blue-GreenNo. 12Japan Green.Red Violet-VioletNo. 13Methylviolett R No. 1.Red-OrangeNo. 14Chrysoidine A G.Blue Blue-GreenNo. 15New Methylene Blue N.Violet Red-RedNo. 16Safranine S 150.Complementary or opposite colors on the color chart are said to be harmonious. Their relation is made more pleasing, however, if one color, usually the more brilliant, is used in very small amount. In many cases in the above combinations colors not exactly opposite have been united. They usually contain a mixture of a primary color common to both. Brown, Black, Chocolate, and Dark Red are complicated mixtures and may be analyzed with a chart which will appear later. Many of these dark colors would harmonize with one another, but would be so dark that they would not be pleasing. In every one of these combinations, the natural straw background figures as another color, and that is why the especially good combinations, as will be noticed, contain browns, yellows and reds, colors which blend particularly well with the background. Red-Violet No. 7 can be used with only a very few colors, and never with Yellow Yellow-Orange No. 1. Yellow Yellow-Orange should be used cautiously.In sabutan straw, No. 1, Yellow, must be used sparingly. When used in combinations in place of No. 1, Yellow Yellow-Orange, the design should be an open one, rather than solid. Violet Red-Red, No. 16, when being used in place of Red, No. 10, must be used in the same way, and only in places where very, very little is called for. No. 11 is a color that clashes with even a natural straw, so is not advisable in any combination or alone. No. 13 is not a necessary color when No. 2 and No. 6 are available.In placing the color upon the space to be decorated, the heavier colors should usually appear on the outside and near the edge of the space, although a border may sometimes be outlined with darker color on both inside and outside edges.The following combinations of these colored straws will prove harmonious. The numbers correspond to those used on the chart and the different kinds of type indicate the proportions of the color to be used—little,Medium Amount, MUCH. The relative positions of the colors must also be observed and the given order followed when more than two colors are combined.Brown(3)Yellow-Yellow Orange(1). Especially good.Black(8)Yellow-Yellow Orange(1).Chocolate(9)Yellow-yellow Orange(1).RED-ORANGE (14) CHOCOLATE (9)Yellow-Yellow Orange(1). In this case, the heavy color, 9, comes in the center of the design, but is necessary to separate Nos. 14 and 1.VIOLET (2) BLUE-GREEN (12)Red-Orange(14).Violet(2)Red-Orange(14)Blue-Blue Green(15).Brown(3) alone on natural background.Brown(3)Yellow-Green(5). Especially good.Brown(3) BLUE-GREEN (12).BROWN (3) RED-ORANGE (14)Red(16).Brown(3)Red-Orange(14). Especially good.Brown(3) BLUE-BLUE GREEN (15)Red-Orange(14). Especially good.Brown(3) RED (16). In sabutan straw, use No. 4 or 10 in place of No. 16.Black(8)Brown(3)Red-Orange(14). Especially good.ORANGE-RED RED (4)Blue-Green(12). Use No. 15 instead of 12 with sabutan.BLUE-BLUE GREEN (15) BLUE-GREEN (12)Orange-Red Red(4). Especially good.Black(8) ORANGE-RED RED (4). Especially good.YELLOW-GREEN (5) BLUE-BLUE GREEN (15)Red-Orange(14).RED-VIOLET (7) BLUE-BLUE GREEN (15)Yellow-Green(5). Especially good.Black(8)Yellow-Green(5). Use this combination with an open design (not solid), and do not use much of each.BLUE-GREEN (12)Yellow-Green(5).BLUE-BLUE GREEN (15)Yellow Green(5).Blue-Violet(6). On a natural ground.Blue-Violet(6)Red-Orange(14).Chocolate(9)Blue-Green(12)Red-Orange(14). Especially good.Chocolate(9) BLUE-GREEN (12)Red-Orange(14). Especially good.Blue-Blue Green(15)Red-Orange(14). Especially good.BLUE-BLUE GREEN (15)Red(16).

The sample straws on these charts are made with the following dyestuffs:

Colors.Numbers on chart.Dyestuffs.Yellow Yellow-OrangeNo. 1Paraphosphine G.VioletNo. 2Methylviolett BB 72 No. 1.BrownNo. 3Rush Brown B.Orange Red-RedNo. 4Rush Red S A.Yellow-GreenNo. 5Rush Green T B.Blue-VioletNo. 6New Methylene Blue R.Red-VioletNo. 7Magenta Prima.BlackNo. 8Rush Black M.ChocolateNo. 9Rush Brown X.RedNo. 10Rush Red J S.Yellow Orange-YellowNo. 11Auramine II.Blue-GreenNo. 12Japan Green.Red Violet-VioletNo. 13Methylviolett R No. 1.Red-OrangeNo. 14Chrysoidine A G.Blue Blue-GreenNo. 15New Methylene Blue N.Violet Red-RedNo. 16Safranine S 150.

Complementary or opposite colors on the color chart are said to be harmonious. Their relation is made more pleasing, however, if one color, usually the more brilliant, is used in very small amount. In many cases in the above combinations colors not exactly opposite have been united. They usually contain a mixture of a primary color common to both. Brown, Black, Chocolate, and Dark Red are complicated mixtures and may be analyzed with a chart which will appear later. Many of these dark colors would harmonize with one another, but would be so dark that they would not be pleasing. In every one of these combinations, the natural straw background figures as another color, and that is why the especially good combinations, as will be noticed, contain browns, yellows and reds, colors which blend particularly well with the background. Red-Violet No. 7 can be used with only a very few colors, and never with Yellow Yellow-Orange No. 1. Yellow Yellow-Orange should be used cautiously.

In sabutan straw, No. 1, Yellow, must be used sparingly. When used in combinations in place of No. 1, Yellow Yellow-Orange, the design should be an open one, rather than solid. Violet Red-Red, No. 16, when being used in place of Red, No. 10, must be used in the same way, and only in places where very, very little is called for. No. 11 is a color that clashes with even a natural straw, so is not advisable in any combination or alone. No. 13 is not a necessary color when No. 2 and No. 6 are available.

In placing the color upon the space to be decorated, the heavier colors should usually appear on the outside and near the edge of the space, although a border may sometimes be outlined with darker color on both inside and outside edges.

The following combinations of these colored straws will prove harmonious. The numbers correspond to those used on the chart and the different kinds of type indicate the proportions of the color to be used—little,Medium Amount, MUCH. The relative positions of the colors must also be observed and the given order followed when more than two colors are combined.

Brown(3)Yellow-Yellow Orange(1). Especially good.

Black(8)Yellow-Yellow Orange(1).

Chocolate(9)Yellow-yellow Orange(1).

RED-ORANGE (14) CHOCOLATE (9)Yellow-Yellow Orange(1). In this case, the heavy color, 9, comes in the center of the design, but is necessary to separate Nos. 14 and 1.

VIOLET (2) BLUE-GREEN (12)Red-Orange(14).

Violet(2)Red-Orange(14)Blue-Blue Green(15).

Brown(3) alone on natural background.

Brown(3)Yellow-Green(5). Especially good.

Brown(3) BLUE-GREEN (12).

BROWN (3) RED-ORANGE (14)Red(16).

Brown(3)Red-Orange(14). Especially good.

Brown(3) BLUE-BLUE GREEN (15)Red-Orange(14). Especially good.

Brown(3) RED (16). In sabutan straw, use No. 4 or 10 in place of No. 16.

Black(8)Brown(3)Red-Orange(14). Especially good.

ORANGE-RED RED (4)Blue-Green(12). Use No. 15 instead of 12 with sabutan.

BLUE-BLUE GREEN (15) BLUE-GREEN (12)Orange-Red Red(4). Especially good.

Black(8) ORANGE-RED RED (4). Especially good.

YELLOW-GREEN (5) BLUE-BLUE GREEN (15)Red-Orange(14).

RED-VIOLET (7) BLUE-BLUE GREEN (15)Yellow-Green(5). Especially good.

Black(8)Yellow-Green(5). Use this combination with an open design (not solid), and do not use much of each.

BLUE-GREEN (12)Yellow-Green(5).

BLUE-BLUE GREEN (15)Yellow Green(5).

Blue-Violet(6). On a natural ground.

Blue-Violet(6)Red-Orange(14).

Chocolate(9)Blue-Green(12)Red-Orange(14). Especially good.

Chocolate(9) BLUE-GREEN (12)Red-Orange(14). Especially good.

Blue-Blue Green(15)Red-Orange(14). Especially good.

BLUE-BLUE GREEN (15)Red(16).

Romblon Buri Vegetable Colors.1—Black.2—Gray-green.3—Natural.4—Orange.5—Dark red.In Romblon buri straw the following combinations will be harmonious:Nos. 1, 2 and 3 in accordance with Rule 4. Nos. 2, 3 and 4 in accordance with Rule 4.Exception to Rule 2: No. 5 is inharmonious with No. 4.It will be noticed that these colors depend for their harmony on their order or sequence and their quantity (in this case equal parts of all three). No. 3 being a neutral color, great quantities of it may be used with any other colors. There is danger, however, in getting too much of one of the other two colors. No. 4 is a very strong color and a little will be pleasing while much will be offensive. It is not well to use it alone on a ground of No. 3. No. 5 may be used alone with a ground of No. 3; No. 1 with a ground of No. 3; No. 2 with a ground of No. 3; No. 3 with a ground of No. 2; Nos. 1 and 3 on a ground of No. 2, with a very small quantity of No. 1; equal proportions of Nos. 1 and 4 may be combined on a ground of No. 3; Nos. 2 and 4 on a ground of No. 3, averysmall quantity of No. 4 being used.Plate III. Color Chart.Plate III. Color Chart.

In Romblon buri straw the following combinations will be harmonious:

Nos. 1, 2 and 3 in accordance with Rule 4. Nos. 2, 3 and 4 in accordance with Rule 4.

Exception to Rule 2: No. 5 is inharmonious with No. 4.

It will be noticed that these colors depend for their harmony on their order or sequence and their quantity (in this case equal parts of all three). No. 3 being a neutral color, great quantities of it may be used with any other colors. There is danger, however, in getting too much of one of the other two colors. No. 4 is a very strong color and a little will be pleasing while much will be offensive. It is not well to use it alone on a ground of No. 3. No. 5 may be used alone with a ground of No. 3; No. 1 with a ground of No. 3; No. 2 with a ground of No. 3; No. 3 with a ground of No. 2; Nos. 1 and 3 on a ground of No. 2, with a very small quantity of No. 1; equal proportions of Nos. 1 and 4 may be combined on a ground of No. 3; Nos. 2 and 4 on a ground of No. 3, averysmall quantity of No. 4 being used.

Plate III. Color Chart.Plate III. Color Chart.

Plate III. Color Chart.

Tanay Sabutan Colors (Mostly Vegetable).1—Black.2—Blue-green.3—Natural.4—Yellow.5—Red-orange.6—Red-orange red.It will be necessary to use No. 3 on a ground work. Mats made entirely of any of the other colors would hardly be harmonious on a floor or wall, if there were any other furnishings. Nos. 1, 2, 5 and 6 may be used separately upon a ground of No. 3; No. 2 in large quantity; No. 1 in small ground of No. 3; No. 2 in equal quantity with No. 5 upon a ground of No. 3; No. 5 in equal quantity with No. 6 upon a ground of No. 3; No. 6 in large quantity, with No. 2 in small quantity, upon a ground of No. 3; No. 5 in large quantity, with No. 1 small, on a ground of No. 3.Plate IV.Plate IV.

It will be necessary to use No. 3 on a ground work. Mats made entirely of any of the other colors would hardly be harmonious on a floor or wall, if there were any other furnishings. Nos. 1, 2, 5 and 6 may be used separately upon a ground of No. 3; No. 2 in large quantity; No. 1 in small ground of No. 3; No. 2 in equal quantity with No. 5 upon a ground of No. 3; No. 5 in equal quantity with No. 6 upon a ground of No. 3; No. 6 in large quantity, with No. 2 in small quantity, upon a ground of No. 3; No. 5 in large quantity, with No. 1 small, on a ground of No. 3.

Plate IV.Plate IV.

Plate IV.

1A tint is a paler or less intense tone than the standard color. A shade is a darker, more intense tone of the standard color.

1A tint is a paler or less intense tone than the standard color. A shade is a darker, more intense tone of the standard color.

Stripping Mat Straws.Philippine mat straws can be divided into three classes—palm straws, pandan straws, and straws obtained from sedges. The first two are obtained by stripping the leaves of the plants into narrow lengths. For this purpose there is used in most localities a small gauge held between the thumb and index fingers. A knife blade fitting in the notches serves as the cutting edge. The leaf is held in one hand and the gauge and knife in the other, the edge of the leaf being drawn through the gauge. This is generally made out of the stiff part of the leaf, though,occasionally, of a piece of rattan, bamboo or leather. At best it serves for only a few hours of use, when it is thrown away and another made.Plate V. Stripping with a gauge.Plate V. Stripping with a gauge.When the notch becomes worn, the blade moves about in the gauge, causing the width of the straws to vary, and when a new gauge is made there is always more or less variance in the position of the new notches. This method is very slow, as but one strip can be cut at a time; and, until the operator becomes expert in the use of the gauge, many of the strips are worthless. When used in the school room, each pupil has to prepare his own material. This causes waste of materials and a constant littering of the floor.For stripping sabutan leaves, the mat weavers of Tanay, Rizal, use a kind of comb which is discussed under the heading “Sabutan.” The leaves are pulled over this comb before being dried. As sabutan is parallel veined it is very easy to strip it thus, the teeth of the comb following the leaf fibers. The comb produces several uniform straws with one stroke.Plate VI. Stripping buri straw with the Andes stripper.Plate VI. Stripping buri straw with the Andes stripper.The object of contriving the stripping machine illustrated and described here was to furnish a quick means of preparing palm and pandan straws with uniform widths and clean cut edges. Forms of it have been in use for some time and the model noted here has been tried out for a year. By its use one pupil can prepare materials for the whole class, or else theteacher can have all the materials prepared beforehand if it is so desired. This is half the problem of teaching the weaving of hats or mats.This stripper is made wide enough for inserting teeth three widths apart, so that without adjusting these teeth three widths of straw may be cut. By changing the teeth in the adjustable gums, any width desired may be obtained.It is best to make this apparatus of hard wood, especially the piece represented by Fig. A. A is a block of wood 23 cm. by 4 cm. by 4 cm., containing the groove XY. This groove is the size and shape of C, being 2.5 cm. wide at the top, 1.5 cm. at the bottom, and 3 cm. high. C is one of the blocks which slides in the groove XY. These blocks are made of different thicknesses, about 2, 3, and 4 mm., and are of hard wood or metal. The rod B passes through these blocks and tightens on the block D or X by means of a thumb screw. Z is a wooden roller 19 cm. long and 1.5 cm. in diameter. This should extend 2 mm. below the level of the main surface. It is placed in a groove made in a separate piece of wood from the principal block and is fastened into the principal block by means of screws.The teeth (see C) are made of clock springs or other thin sharp metal. They are 3 cm. long and 1 cm. to 1½ cm. wide. The two upright pieces at both ends contain grooves on the inside in which the block-head slides up and down.To operate this device, the block-head containing the teeth is raised by the handle; the leaf is placed under the teeth, and the block-head is dropped. The teeth pass through the leaf into a groove underneath. The leaf is now pulled through by the hand as illustrated inPlate VI.

Philippine mat straws can be divided into three classes—palm straws, pandan straws, and straws obtained from sedges. The first two are obtained by stripping the leaves of the plants into narrow lengths. For this purpose there is used in most localities a small gauge held between the thumb and index fingers. A knife blade fitting in the notches serves as the cutting edge. The leaf is held in one hand and the gauge and knife in the other, the edge of the leaf being drawn through the gauge. This is generally made out of the stiff part of the leaf, though,occasionally, of a piece of rattan, bamboo or leather. At best it serves for only a few hours of use, when it is thrown away and another made.

Plate V. Stripping with a gauge.Plate V. Stripping with a gauge.

Plate V. Stripping with a gauge.

When the notch becomes worn, the blade moves about in the gauge, causing the width of the straws to vary, and when a new gauge is made there is always more or less variance in the position of the new notches. This method is very slow, as but one strip can be cut at a time; and, until the operator becomes expert in the use of the gauge, many of the strips are worthless. When used in the school room, each pupil has to prepare his own material. This causes waste of materials and a constant littering of the floor.

For stripping sabutan leaves, the mat weavers of Tanay, Rizal, use a kind of comb which is discussed under the heading “Sabutan.” The leaves are pulled over this comb before being dried. As sabutan is parallel veined it is very easy to strip it thus, the teeth of the comb following the leaf fibers. The comb produces several uniform straws with one stroke.

Plate VI. Stripping buri straw with the Andes stripper.Plate VI. Stripping buri straw with the Andes stripper.

Plate VI. Stripping buri straw with the Andes stripper.

The object of contriving the stripping machine illustrated and described here was to furnish a quick means of preparing palm and pandan straws with uniform widths and clean cut edges. Forms of it have been in use for some time and the model noted here has been tried out for a year. By its use one pupil can prepare materials for the whole class, or else theteacher can have all the materials prepared beforehand if it is so desired. This is half the problem of teaching the weaving of hats or mats.

This stripper is made wide enough for inserting teeth three widths apart, so that without adjusting these teeth three widths of straw may be cut. By changing the teeth in the adjustable gums, any width desired may be obtained.

It is best to make this apparatus of hard wood, especially the piece represented by Fig. A. A is a block of wood 23 cm. by 4 cm. by 4 cm., containing the groove XY. This groove is the size and shape of C, being 2.5 cm. wide at the top, 1.5 cm. at the bottom, and 3 cm. high. C is one of the blocks which slides in the groove XY. These blocks are made of different thicknesses, about 2, 3, and 4 mm., and are of hard wood or metal. The rod B passes through these blocks and tightens on the block D or X by means of a thumb screw. Z is a wooden roller 19 cm. long and 1.5 cm. in diameter. This should extend 2 mm. below the level of the main surface. It is placed in a groove made in a separate piece of wood from the principal block and is fastened into the principal block by means of screws.

The teeth (see C) are made of clock springs or other thin sharp metal. They are 3 cm. long and 1 cm. to 1½ cm. wide. The two upright pieces at both ends contain grooves on the inside in which the block-head slides up and down.

To operate this device, the block-head containing the teeth is raised by the handle; the leaf is placed under the teeth, and the block-head is dropped. The teeth pass through the leaf into a groove underneath. The leaf is now pulled through by the hand as illustrated inPlate VI.

Kinds of Weaves.With respect to their weaving, Philippine mats divide themselves into six groups and are here arranged according to their difficulty. They are (1) the over and under weave found in most simple mats, such as those made of buri straws, pandan straws, and sedges; (2) the sawali weaves, which employ the floating straws for making “woven in” designs and panels for figured sabutan and tikug mats; (3) the open work weaves of the Romblon buri mats; (4) the circular mats which employ the hat weaves, either with or without “woven in” designs; (5) the hexagonal weave; and (6) the embroidered mats in which the designs are later added. In difficulty, and in place in a course of instruction, embroidered mats follow the simple over and under weave.Plate VII.Plate VII.Plate VIII.Plate VIII.Plate IX.Plate IX.Over-and-Under Weave.This weave is the simplest and is the one which beginners should first take up. It is made by weaving over one and under one continuously. Until this is thoroughly mastered children should not be allowed to begin the more difficult weaves.The steps have been diagrammed in figures sufficiently large and clear in PlatesVII,VIII, andIXthat a detailed explanation is not necessary. Step 1 shows the position of the first four straws as they are placed upon the table or desk; steps 2, 3, 4, and 5, continued additions and weaving; steps 6, 7, and 8, turning the edgeaon the end of the mat; step 9, turning the opposite edgec; step 10, the double turn of the corner straw; step 11, the corner turn woven in the mat at corner No. 1, lapping over the straw already woven; step 12, the continuation of the second edgeb; step 13, the turning of the second and third corners; and steps 14 and 15, finishing the mat.In weaving large mats, it is customary to begin at one end of the mat, preferably near the left-hand corner as the mat lies before the weaver. The weaving continues along the end until half of the desired width of the mat is reached, when the first corner is turned. Now the weaving continues down the side and in, as far as the middle of the mat. When the desired length is woven, the second corner is turned and the first half of the mat completed.As the straws are not generally long enough without splicing, new straws are now added by lapping them from two to three inches upon the projecting ends of the straws already woven. This makes a narrow strip of double thickness down the center running the length of the mat. The weaving now continues as before until the desired width of the mat is attained, when the third corner is turned. The remainder is woven and finished at the fourth corner as shown by steps 14 and 15.Some weavers begin at the sides, and some few, even at the corners; but this should not be encouraged since it results in making two or more seams, where the straws lap.Care must be taken to weave all parts of the mat equally close and keep the edges perfectly straight; otherwise the mat when finished will be lop-sided, and consequently of no value. In weaving tapering grasses like tikug, which have ends of slightly different sizes, the opposite ends of the straws should be alternated. This prevents one edge of a mat from building faster than the other.Plate X.Plate X.Plate XI.Plate XI.Sawali Weaves.Simple Sawali.By sawali weave is meant all “woven in” designs that are not woven byonesas in the over and under weave. They may be woven regularly bytwos,threes, etc.; or they may “switch” the floating straws so as to form a variety of artistic figure designs. In fact, there is no limit to the number of designs that may be thus made.Steps 1 and 2 illustrate the beginning of a sawali weave bytwos. First 1, 2, 3, 4, 5 are laid down; thencis put under 1–2, over 3–4, and under 5;dover 1, under 2–3, and over 4–5;eover 1–2, under 3–4, and over 5. This process is continued, advancing one straw each time until the desired amount is woven. If the weaving is bythreesorfours, the same principle is followed; that is, the straw goes over three and under three, advancing one straw each time.Panels.Most “woven in” mat designs are arranged in panels, with a ground between, as this gives a more pleasing effect than a continuous figure weaving. Panels may be woven either length-wise (step 8), crosswise (step 8), diagonally across the mat (step 4), or in zigzags (step 3). They are most easily woven when arranged diagonally, for then the colors may be carried from border to border without mixing with the ground outside of the panel. Checks are made by weaving cross panels at regular intervals.In making parallel panels (panels parallel either to the sides or ends), more than two colors can rarely be used to advantage.Step 3 illustrates the weaving of a zigzag sawali panel. The straws,a,b,k, andlare woven byones. It takes twelve straws one way and nine the other to make this panel. If a wider panel is desired, the same weaving is repeated as often as necessary.Plate XII.Plate XII.The strawsa,b,k, andlare woven byones. Putloverbandc, underde, overfg, underhiand overj. Put 2 underb, overcd, underef, overgh, underijand overk. Put 3 overb, underc, overde, underfg, overhiand underjk. Put 4 underbcd, overef, underghand overijk. Put 5 overbc, underde, overfg, underhiand overj. Put 6 underb, overcd, underef, overgh, underijand overk. Put 7 overb, underc, overde, underfg, overhi, underjk. Put 8 underb, overcd, underef, overgh, underijand overk. Put 9 overbc, underde, overfg, underhiand overj. Put 10 underbcd, overef, underghand overijk. Put 11 overb, underc, overde, underfg, overhiand underjk. Put 12 underb, overcd, underef, overgh, underijand overk. Then the whole operation is again repeated. It will be seen that the manner of weaving 2 and 12, 3 and 11, 4 and 10, and 5 and 9 is the same.Step 4 illustrates the diamond figure design, woven by threes, with 11 straws in width.Plate XIII, fig. 1. Mat with woven-in border showing confusion in design.Plate XIII, fig. 1. Mat with woven-in border showing confusion in design.Put 1 undercd, overefg, underh, overijkand underlm. Put 2 underc, overdef, underghi, overjkland underm. Put 3 overcde, underfghijand overklm. Put 4 overcd, underefg, overh, underijkand overlm. Put 5 overc, underdef, overghi, underjkland overm. Put 6 undercde, overfghijand underklm. Now the order reverses, 7 being the same as 5, 8 as 4, etc., until the other half of the figure is completed at 11. Now put 12 undercde, overfghijand underklm. Put 13 overc, underdef, overghi, underjkland overm. Put 14 undercde, overfghijand underklm. Now 1 repeats itself, and the second figure is woven as the first. It is believed that with the aid of the large illustrations here presented the teacher or pupil can now follow for himself the other designs given, without a detailed explanation of each step.“Woven-in” Borders.Woven-in border designs may be made in three different ways; viz.,First, by weaving the design around the mat, using the same straws that run through the body. (SeePlate XIII, Fig. 1.) In this case the color effect is one of confusion, since the dyed straws used in the designs of the body of the mat have no relation to the design of the border when they enter it.Second, by weaving the border and the body of the mat of different straws, uniting them at the inner edge of the border by a loop as described in the Romblon mat. (SeePlate XVI.)Third, by lapping the colored straws desired in the border, upon the projecting ends of the straws of the body of the mat. (See step 8,Plate XII.) These latter two methods are much more artistic, as a uniform color effect appears throughout the border. (SeePlate XIII, Fig. 2.)Plate XIII, fig. 2. Mat with woven-in design made by lapping straws.Plate XIII, fig. 2. Mat with woven-in design made by lapping straws.The Romblon Mat.Making Open Work.Simple open work is illustrated inPlate XIV.Weave corner Z, using strawsa, b, c, d, eandf, lettingffloat at both ends. Weaveg, turning upward and overf, then making a double corner aty, passing underf, to the left and overf, andlet float. Weaveh,i,j,k,landmin solid weave. Turnhunderiand overj. Turnjupward and overi, to the left underf, upward overg, double corner at W, passing down underg, overg, and floating. Turnmupward overlto the left, underi, upward overf, to the left underg, upward overjmaking a double corner at X, passing underj. The strawsjandmalternately cross each other to corner V.The other half of this open design is an exact duplicate of this weaving, and the remaining designs have the same turns as the one explained, except that in opposite designs the straws are turned in opposite directions. By following this plate it is easy to finish the weaves. If one straw is woven over another, it folds down before passing over, and, vice versa, if it passes under, it folds upward in turning.Plate XIV.Plate XIV.As is seen, the holes are made simply by turning the straws in the weave. The different shaped holes in other designs (see plates) are made by turning a different number of straws according to the shape desired. Varied border edges may be made by switching the straws in any direction desired.Plate XV.Plate XV.Introducing Color Panel.Step 1 ofPlate XVIshows the first colored panel, strawabplaced betweencd, the space betweenxandyhaving been already woven, as shown in step 11.Step 2. Foldingato the right.Step 3. Foldingaunder and down.Step 4. Foldingcoveraand to left.Step 5. Foldingaovercand upward.Step 6. Foldingbunderdto left.Step 7. Foldingbupward, with right twist downward.Step 8. Foldingddownward, with right twist to right.Step 9. Foldingbunderdupward.Step 10. Shows addition of second strawefwoven to the right, where the same process of turning is gone through as illustrated in steps 6 to 9 inclusive. If weaving is to the left, steps 1 to 5 inclusive are repeated.Step 11. Shows continued additions and weaving both to the right and left.Step 12. Shows both edges of panel woven, the inside turnings being the same as those of the outer edge.Circular Mats.The circular mat is woven like the crown of a hat, with either the radiating center or a square center radiating at the four corners. In either case, the weaver must be careful to add the proper number of straws so that the mat will be flat, and not cupped or fluted. The cupping is caused by not adding a sufficient number and the fluting by adding too many.In tightening the weaving, do not pull the added straws (Plate XIX, step 6, straw x-x) or holes will be made at the elbow. Instead, pull the longer straws that run through the center, thus making the entire weaving tight.Radiating Center.Step 1. Begin by laying down, in pairs,abandcdperpendicular to the body. Putklunderaband overcd. Putijoveraband undercd.Step 2. Now putefundercdandij, and overabandkl; then putghovercdandij, and underklandab. See that the two ends of all the straws are equidistant from the center crossing.In step 3 the straws are changed from pairs to singles as follows: Bringaoveri;eoverd;ioverh;doverl;hovera; andlovere.Plate XVI.Plate XVI.Plate XVII.Plate XVII.Plate XVIII. Romblon mat designs showing simple open weaves.Plate XVIII. Romblon mat designs showing simple open weaves.Plate XIX.Plate XIX.Plate XX.Plate XX.Plate XXI.Plate XXI.Step 4. The most convenient way to perform the next process is to take all the bottom straws in the left hand and allow the top straws to float over the closed fist. Then the weaving is done with the right hand. However, for beginners the weaving may also be done on the table.In weaving, placecunderb, overaand underk;doverband undera;gunderf, overeand underb;hoverfand undere;kunderj, overiand underf;loverjand underi;bunderc, overdand undera;aovercand underd;funderg, overhand underc;eovergand underh;junderk, overland underg;ioverkand underl; the round is then finished.Step 5. This illustrates the manner of adding straws. Strawxis placed underc, overh, undergand then bent back. The bend should be in the middle of the straw.Step 6. In this the right end of the added strawxis brought down overjand underi.Step 7 shows how to continue the additions by weaving one straw and then adding one.Step 8 shows the mat after the first round of additions has been completed. The weaving is now easy. Weave entirely around again without any additions, turning five straws each time. Then go around again weaving two and adding one, in the same manner as before, turning seven straws each time. As the diameter of the mat increases, the less often is it necessary to add. But be sure to add enough to keep the weaving close and the mat perfectly flat.Step 9 shows how to close the edge of the mat by turning back the straws on each other. It also gives a very pretty “woven in” design for a border, which can easily be followed from the plate.Square Center.Steps for commencing a circular mat with a square beginning are illustrated inPlate XXI. The additions at the corner are made in the same manner as explained in the radiating center, except that each is for a fourth of a circle instead of a complete circle.Decorations for Round Mats.Decorations are often employed in round mats. (See PlatesXXIIandXXIII.) The most usual are concentric or radiating colored bands of either simple or sawali weaves.Hexagonal Weave.Step 1. InPlate XXIV, place straws 1 and 2 parallel; then put 3 under 2 and over 1; put 4 under 1 and over 2.Plate XXII. Circular mat with radiating design.Plate XXII. Circular mat with radiating design.Plate XXIII. Circular mat with concentric and radiating design.Plate XXIII. Circular mat with concentric and radiating design.Plate XXIV.Plate XXIV.Plate XXV.Plate XXV.Step 2. Put 5 over 1 and 4 and under 2 and 3; put 6 under 1 and 4 and over 2 and 3.Step 3. Putaover 5 and 6 and under 1 and 2. Putbover 1, 2 anda, and under 3 and 4. Putcundera, over 4, 3,b, and under 6, 5.Step 4. Putdunderb, over 6, 5,c, and under 2, 1,e. Puteunderc, over 2, 1,d, under 3, 4, and overa. Putfunderd, over 3, 4,e, under 5, 6,a, and overb.Step 5 is made open so as to show the triple over and under weave. Further weaving is merely a repetition of this process, as shown in step 6.Plate XXVI.Plate XXVI.Plate XXVII.Plate XXVII.Step 7 shows the turning of the straws on finishing the edge of the mat.Step 8. Many designs can be made by inserting colored straws into the natural weave. Step 8 illustrates three of these embroidered designs—the star, the bar, and the diamond.Embroidered Mats.The embroidering of mats is easily done and the method is shown inPlate XXVI. Mats in over and under weave, of solid color (either natural or dyed), are used, and the embroidery is done with colored straws.Plate XXVIIillustrates an embroidered color panel. Floral, geometrical, and conventionalized designs are discussed under the headings “Samar mats” and “Special designs.”

With respect to their weaving, Philippine mats divide themselves into six groups and are here arranged according to their difficulty. They are (1) the over and under weave found in most simple mats, such as those made of buri straws, pandan straws, and sedges; (2) the sawali weaves, which employ the floating straws for making “woven in” designs and panels for figured sabutan and tikug mats; (3) the open work weaves of the Romblon buri mats; (4) the circular mats which employ the hat weaves, either with or without “woven in” designs; (5) the hexagonal weave; and (6) the embroidered mats in which the designs are later added. In difficulty, and in place in a course of instruction, embroidered mats follow the simple over and under weave.

Plate VII.Plate VII.

Plate VII.

Plate VIII.Plate VIII.

Plate VIII.

Plate IX.Plate IX.

Plate IX.

Over-and-Under Weave.This weave is the simplest and is the one which beginners should first take up. It is made by weaving over one and under one continuously. Until this is thoroughly mastered children should not be allowed to begin the more difficult weaves.The steps have been diagrammed in figures sufficiently large and clear in PlatesVII,VIII, andIXthat a detailed explanation is not necessary. Step 1 shows the position of the first four straws as they are placed upon the table or desk; steps 2, 3, 4, and 5, continued additions and weaving; steps 6, 7, and 8, turning the edgeaon the end of the mat; step 9, turning the opposite edgec; step 10, the double turn of the corner straw; step 11, the corner turn woven in the mat at corner No. 1, lapping over the straw already woven; step 12, the continuation of the second edgeb; step 13, the turning of the second and third corners; and steps 14 and 15, finishing the mat.In weaving large mats, it is customary to begin at one end of the mat, preferably near the left-hand corner as the mat lies before the weaver. The weaving continues along the end until half of the desired width of the mat is reached, when the first corner is turned. Now the weaving continues down the side and in, as far as the middle of the mat. When the desired length is woven, the second corner is turned and the first half of the mat completed.As the straws are not generally long enough without splicing, new straws are now added by lapping them from two to three inches upon the projecting ends of the straws already woven. This makes a narrow strip of double thickness down the center running the length of the mat. The weaving now continues as before until the desired width of the mat is attained, when the third corner is turned. The remainder is woven and finished at the fourth corner as shown by steps 14 and 15.Some weavers begin at the sides, and some few, even at the corners; but this should not be encouraged since it results in making two or more seams, where the straws lap.Care must be taken to weave all parts of the mat equally close and keep the edges perfectly straight; otherwise the mat when finished will be lop-sided, and consequently of no value. In weaving tapering grasses like tikug, which have ends of slightly different sizes, the opposite ends of the straws should be alternated. This prevents one edge of a mat from building faster than the other.Plate X.Plate X.Plate XI.Plate XI.

This weave is the simplest and is the one which beginners should first take up. It is made by weaving over one and under one continuously. Until this is thoroughly mastered children should not be allowed to begin the more difficult weaves.

The steps have been diagrammed in figures sufficiently large and clear in PlatesVII,VIII, andIXthat a detailed explanation is not necessary. Step 1 shows the position of the first four straws as they are placed upon the table or desk; steps 2, 3, 4, and 5, continued additions and weaving; steps 6, 7, and 8, turning the edgeaon the end of the mat; step 9, turning the opposite edgec; step 10, the double turn of the corner straw; step 11, the corner turn woven in the mat at corner No. 1, lapping over the straw already woven; step 12, the continuation of the second edgeb; step 13, the turning of the second and third corners; and steps 14 and 15, finishing the mat.

In weaving large mats, it is customary to begin at one end of the mat, preferably near the left-hand corner as the mat lies before the weaver. The weaving continues along the end until half of the desired width of the mat is reached, when the first corner is turned. Now the weaving continues down the side and in, as far as the middle of the mat. When the desired length is woven, the second corner is turned and the first half of the mat completed.

As the straws are not generally long enough without splicing, new straws are now added by lapping them from two to three inches upon the projecting ends of the straws already woven. This makes a narrow strip of double thickness down the center running the length of the mat. The weaving now continues as before until the desired width of the mat is attained, when the third corner is turned. The remainder is woven and finished at the fourth corner as shown by steps 14 and 15.

Some weavers begin at the sides, and some few, even at the corners; but this should not be encouraged since it results in making two or more seams, where the straws lap.

Care must be taken to weave all parts of the mat equally close and keep the edges perfectly straight; otherwise the mat when finished will be lop-sided, and consequently of no value. In weaving tapering grasses like tikug, which have ends of slightly different sizes, the opposite ends of the straws should be alternated. This prevents one edge of a mat from building faster than the other.

Plate X.Plate X.

Plate X.

Plate XI.Plate XI.

Plate XI.

Sawali Weaves.Simple Sawali.By sawali weave is meant all “woven in” designs that are not woven byonesas in the over and under weave. They may be woven regularly bytwos,threes, etc.; or they may “switch” the floating straws so as to form a variety of artistic figure designs. In fact, there is no limit to the number of designs that may be thus made.Steps 1 and 2 illustrate the beginning of a sawali weave bytwos. First 1, 2, 3, 4, 5 are laid down; thencis put under 1–2, over 3–4, and under 5;dover 1, under 2–3, and over 4–5;eover 1–2, under 3–4, and over 5. This process is continued, advancing one straw each time until the desired amount is woven. If the weaving is bythreesorfours, the same principle is followed; that is, the straw goes over three and under three, advancing one straw each time.Panels.Most “woven in” mat designs are arranged in panels, with a ground between, as this gives a more pleasing effect than a continuous figure weaving. Panels may be woven either length-wise (step 8), crosswise (step 8), diagonally across the mat (step 4), or in zigzags (step 3). They are most easily woven when arranged diagonally, for then the colors may be carried from border to border without mixing with the ground outside of the panel. Checks are made by weaving cross panels at regular intervals.In making parallel panels (panels parallel either to the sides or ends), more than two colors can rarely be used to advantage.Step 3 illustrates the weaving of a zigzag sawali panel. The straws,a,b,k, andlare woven byones. It takes twelve straws one way and nine the other to make this panel. If a wider panel is desired, the same weaving is repeated as often as necessary.Plate XII.Plate XII.The strawsa,b,k, andlare woven byones. Putloverbandc, underde, overfg, underhiand overj. Put 2 underb, overcd, underef, overgh, underijand overk. Put 3 overb, underc, overde, underfg, overhiand underjk. Put 4 underbcd, overef, underghand overijk. Put 5 overbc, underde, overfg, underhiand overj. Put 6 underb, overcd, underef, overgh, underijand overk. Put 7 overb, underc, overde, underfg, overhi, underjk. Put 8 underb, overcd, underef, overgh, underijand overk. Put 9 overbc, underde, overfg, underhiand overj. Put 10 underbcd, overef, underghand overijk. Put 11 overb, underc, overde, underfg, overhiand underjk. Put 12 underb, overcd, underef, overgh, underijand overk. Then the whole operation is again repeated. It will be seen that the manner of weaving 2 and 12, 3 and 11, 4 and 10, and 5 and 9 is the same.Step 4 illustrates the diamond figure design, woven by threes, with 11 straws in width.Plate XIII, fig. 1. Mat with woven-in border showing confusion in design.Plate XIII, fig. 1. Mat with woven-in border showing confusion in design.Put 1 undercd, overefg, underh, overijkand underlm. Put 2 underc, overdef, underghi, overjkland underm. Put 3 overcde, underfghijand overklm. Put 4 overcd, underefg, overh, underijkand overlm. Put 5 overc, underdef, overghi, underjkland overm. Put 6 undercde, overfghijand underklm. Now the order reverses, 7 being the same as 5, 8 as 4, etc., until the other half of the figure is completed at 11. Now put 12 undercde, overfghijand underklm. Put 13 overc, underdef, overghi, underjkland overm. Put 14 undercde, overfghijand underklm. Now 1 repeats itself, and the second figure is woven as the first. It is believed that with the aid of the large illustrations here presented the teacher or pupil can now follow for himself the other designs given, without a detailed explanation of each step.“Woven-in” Borders.Woven-in border designs may be made in three different ways; viz.,First, by weaving the design around the mat, using the same straws that run through the body. (SeePlate XIII, Fig. 1.) In this case the color effect is one of confusion, since the dyed straws used in the designs of the body of the mat have no relation to the design of the border when they enter it.Second, by weaving the border and the body of the mat of different straws, uniting them at the inner edge of the border by a loop as described in the Romblon mat. (SeePlate XVI.)Third, by lapping the colored straws desired in the border, upon the projecting ends of the straws of the body of the mat. (See step 8,Plate XII.) These latter two methods are much more artistic, as a uniform color effect appears throughout the border. (SeePlate XIII, Fig. 2.)Plate XIII, fig. 2. Mat with woven-in design made by lapping straws.Plate XIII, fig. 2. Mat with woven-in design made by lapping straws.

Simple Sawali.By sawali weave is meant all “woven in” designs that are not woven byonesas in the over and under weave. They may be woven regularly bytwos,threes, etc.; or they may “switch” the floating straws so as to form a variety of artistic figure designs. In fact, there is no limit to the number of designs that may be thus made.Steps 1 and 2 illustrate the beginning of a sawali weave bytwos. First 1, 2, 3, 4, 5 are laid down; thencis put under 1–2, over 3–4, and under 5;dover 1, under 2–3, and over 4–5;eover 1–2, under 3–4, and over 5. This process is continued, advancing one straw each time until the desired amount is woven. If the weaving is bythreesorfours, the same principle is followed; that is, the straw goes over three and under three, advancing one straw each time.

By sawali weave is meant all “woven in” designs that are not woven byonesas in the over and under weave. They may be woven regularly bytwos,threes, etc.; or they may “switch” the floating straws so as to form a variety of artistic figure designs. In fact, there is no limit to the number of designs that may be thus made.

Steps 1 and 2 illustrate the beginning of a sawali weave bytwos. First 1, 2, 3, 4, 5 are laid down; thencis put under 1–2, over 3–4, and under 5;dover 1, under 2–3, and over 4–5;eover 1–2, under 3–4, and over 5. This process is continued, advancing one straw each time until the desired amount is woven. If the weaving is bythreesorfours, the same principle is followed; that is, the straw goes over three and under three, advancing one straw each time.

Panels.Most “woven in” mat designs are arranged in panels, with a ground between, as this gives a more pleasing effect than a continuous figure weaving. Panels may be woven either length-wise (step 8), crosswise (step 8), diagonally across the mat (step 4), or in zigzags (step 3). They are most easily woven when arranged diagonally, for then the colors may be carried from border to border without mixing with the ground outside of the panel. Checks are made by weaving cross panels at regular intervals.In making parallel panels (panels parallel either to the sides or ends), more than two colors can rarely be used to advantage.Step 3 illustrates the weaving of a zigzag sawali panel. The straws,a,b,k, andlare woven byones. It takes twelve straws one way and nine the other to make this panel. If a wider panel is desired, the same weaving is repeated as often as necessary.Plate XII.Plate XII.The strawsa,b,k, andlare woven byones. Putloverbandc, underde, overfg, underhiand overj. Put 2 underb, overcd, underef, overgh, underijand overk. Put 3 overb, underc, overde, underfg, overhiand underjk. Put 4 underbcd, overef, underghand overijk. Put 5 overbc, underde, overfg, underhiand overj. Put 6 underb, overcd, underef, overgh, underijand overk. Put 7 overb, underc, overde, underfg, overhi, underjk. Put 8 underb, overcd, underef, overgh, underijand overk. Put 9 overbc, underde, overfg, underhiand overj. Put 10 underbcd, overef, underghand overijk. Put 11 overb, underc, overde, underfg, overhiand underjk. Put 12 underb, overcd, underef, overgh, underijand overk. Then the whole operation is again repeated. It will be seen that the manner of weaving 2 and 12, 3 and 11, 4 and 10, and 5 and 9 is the same.Step 4 illustrates the diamond figure design, woven by threes, with 11 straws in width.Plate XIII, fig. 1. Mat with woven-in border showing confusion in design.Plate XIII, fig. 1. Mat with woven-in border showing confusion in design.Put 1 undercd, overefg, underh, overijkand underlm. Put 2 underc, overdef, underghi, overjkland underm. Put 3 overcde, underfghijand overklm. Put 4 overcd, underefg, overh, underijkand overlm. Put 5 overc, underdef, overghi, underjkland overm. Put 6 undercde, overfghijand underklm. Now the order reverses, 7 being the same as 5, 8 as 4, etc., until the other half of the figure is completed at 11. Now put 12 undercde, overfghijand underklm. Put 13 overc, underdef, overghi, underjkland overm. Put 14 undercde, overfghijand underklm. Now 1 repeats itself, and the second figure is woven as the first. It is believed that with the aid of the large illustrations here presented the teacher or pupil can now follow for himself the other designs given, without a detailed explanation of each step.

Most “woven in” mat designs are arranged in panels, with a ground between, as this gives a more pleasing effect than a continuous figure weaving. Panels may be woven either length-wise (step 8), crosswise (step 8), diagonally across the mat (step 4), or in zigzags (step 3). They are most easily woven when arranged diagonally, for then the colors may be carried from border to border without mixing with the ground outside of the panel. Checks are made by weaving cross panels at regular intervals.

In making parallel panels (panels parallel either to the sides or ends), more than two colors can rarely be used to advantage.

Step 3 illustrates the weaving of a zigzag sawali panel. The straws,a,b,k, andlare woven byones. It takes twelve straws one way and nine the other to make this panel. If a wider panel is desired, the same weaving is repeated as often as necessary.

Plate XII.Plate XII.

Plate XII.

The strawsa,b,k, andlare woven byones. Putloverbandc, underde, overfg, underhiand overj. Put 2 underb, overcd, underef, overgh, underijand overk. Put 3 overb, underc, overde, underfg, overhiand underjk. Put 4 underbcd, overef, underghand overijk. Put 5 overbc, underde, overfg, underhiand overj. Put 6 underb, overcd, underef, overgh, underijand overk. Put 7 overb, underc, overde, underfg, overhi, underjk. Put 8 underb, overcd, underef, overgh, underijand overk. Put 9 overbc, underde, overfg, underhiand overj. Put 10 underbcd, overef, underghand overijk. Put 11 overb, underc, overde, underfg, overhiand underjk. Put 12 underb, overcd, underef, overgh, underijand overk. Then the whole operation is again repeated. It will be seen that the manner of weaving 2 and 12, 3 and 11, 4 and 10, and 5 and 9 is the same.

Step 4 illustrates the diamond figure design, woven by threes, with 11 straws in width.

Plate XIII, fig. 1. Mat with woven-in border showing confusion in design.Plate XIII, fig. 1. Mat with woven-in border showing confusion in design.

Plate XIII, fig. 1. Mat with woven-in border showing confusion in design.

Put 1 undercd, overefg, underh, overijkand underlm. Put 2 underc, overdef, underghi, overjkland underm. Put 3 overcde, underfghijand overklm. Put 4 overcd, underefg, overh, underijkand overlm. Put 5 overc, underdef, overghi, underjkland overm. Put 6 undercde, overfghijand underklm. Now the order reverses, 7 being the same as 5, 8 as 4, etc., until the other half of the figure is completed at 11. Now put 12 undercde, overfghijand underklm. Put 13 overc, underdef, overghi, underjkland overm. Put 14 undercde, overfghijand underklm. Now 1 repeats itself, and the second figure is woven as the first. It is believed that with the aid of the large illustrations here presented the teacher or pupil can now follow for himself the other designs given, without a detailed explanation of each step.

“Woven-in” Borders.Woven-in border designs may be made in three different ways; viz.,First, by weaving the design around the mat, using the same straws that run through the body. (SeePlate XIII, Fig. 1.) In this case the color effect is one of confusion, since the dyed straws used in the designs of the body of the mat have no relation to the design of the border when they enter it.Second, by weaving the border and the body of the mat of different straws, uniting them at the inner edge of the border by a loop as described in the Romblon mat. (SeePlate XVI.)Third, by lapping the colored straws desired in the border, upon the projecting ends of the straws of the body of the mat. (See step 8,Plate XII.) These latter two methods are much more artistic, as a uniform color effect appears throughout the border. (SeePlate XIII, Fig. 2.)Plate XIII, fig. 2. Mat with woven-in design made by lapping straws.Plate XIII, fig. 2. Mat with woven-in design made by lapping straws.

Woven-in border designs may be made in three different ways; viz.,First, by weaving the design around the mat, using the same straws that run through the body. (SeePlate XIII, Fig. 1.) In this case the color effect is one of confusion, since the dyed straws used in the designs of the body of the mat have no relation to the design of the border when they enter it.Second, by weaving the border and the body of the mat of different straws, uniting them at the inner edge of the border by a loop as described in the Romblon mat. (SeePlate XVI.)Third, by lapping the colored straws desired in the border, upon the projecting ends of the straws of the body of the mat. (See step 8,Plate XII.) These latter two methods are much more artistic, as a uniform color effect appears throughout the border. (SeePlate XIII, Fig. 2.)

Plate XIII, fig. 2. Mat with woven-in design made by lapping straws.Plate XIII, fig. 2. Mat with woven-in design made by lapping straws.

Plate XIII, fig. 2. Mat with woven-in design made by lapping straws.

The Romblon Mat.Making Open Work.Simple open work is illustrated inPlate XIV.Weave corner Z, using strawsa, b, c, d, eandf, lettingffloat at both ends. Weaveg, turning upward and overf, then making a double corner aty, passing underf, to the left and overf, andlet float. Weaveh,i,j,k,landmin solid weave. Turnhunderiand overj. Turnjupward and overi, to the left underf, upward overg, double corner at W, passing down underg, overg, and floating. Turnmupward overlto the left, underi, upward overf, to the left underg, upward overjmaking a double corner at X, passing underj. The strawsjandmalternately cross each other to corner V.The other half of this open design is an exact duplicate of this weaving, and the remaining designs have the same turns as the one explained, except that in opposite designs the straws are turned in opposite directions. By following this plate it is easy to finish the weaves. If one straw is woven over another, it folds down before passing over, and, vice versa, if it passes under, it folds upward in turning.Plate XIV.Plate XIV.As is seen, the holes are made simply by turning the straws in the weave. The different shaped holes in other designs (see plates) are made by turning a different number of straws according to the shape desired. Varied border edges may be made by switching the straws in any direction desired.Plate XV.Plate XV.Introducing Color Panel.Step 1 ofPlate XVIshows the first colored panel, strawabplaced betweencd, the space betweenxandyhaving been already woven, as shown in step 11.Step 2. Foldingato the right.Step 3. Foldingaunder and down.Step 4. Foldingcoveraand to left.Step 5. Foldingaovercand upward.Step 6. Foldingbunderdto left.Step 7. Foldingbupward, with right twist downward.Step 8. Foldingddownward, with right twist to right.Step 9. Foldingbunderdupward.Step 10. Shows addition of second strawefwoven to the right, where the same process of turning is gone through as illustrated in steps 6 to 9 inclusive. If weaving is to the left, steps 1 to 5 inclusive are repeated.Step 11. Shows continued additions and weaving both to the right and left.Step 12. Shows both edges of panel woven, the inside turnings being the same as those of the outer edge.

Making Open Work.Simple open work is illustrated inPlate XIV.Weave corner Z, using strawsa, b, c, d, eandf, lettingffloat at both ends. Weaveg, turning upward and overf, then making a double corner aty, passing underf, to the left and overf, andlet float. Weaveh,i,j,k,landmin solid weave. Turnhunderiand overj. Turnjupward and overi, to the left underf, upward overg, double corner at W, passing down underg, overg, and floating. Turnmupward overlto the left, underi, upward overf, to the left underg, upward overjmaking a double corner at X, passing underj. The strawsjandmalternately cross each other to corner V.The other half of this open design is an exact duplicate of this weaving, and the remaining designs have the same turns as the one explained, except that in opposite designs the straws are turned in opposite directions. By following this plate it is easy to finish the weaves. If one straw is woven over another, it folds down before passing over, and, vice versa, if it passes under, it folds upward in turning.Plate XIV.Plate XIV.As is seen, the holes are made simply by turning the straws in the weave. The different shaped holes in other designs (see plates) are made by turning a different number of straws according to the shape desired. Varied border edges may be made by switching the straws in any direction desired.Plate XV.Plate XV.

Simple open work is illustrated inPlate XIV.

Weave corner Z, using strawsa, b, c, d, eandf, lettingffloat at both ends. Weaveg, turning upward and overf, then making a double corner aty, passing underf, to the left and overf, andlet float. Weaveh,i,j,k,landmin solid weave. Turnhunderiand overj. Turnjupward and overi, to the left underf, upward overg, double corner at W, passing down underg, overg, and floating. Turnmupward overlto the left, underi, upward overf, to the left underg, upward overjmaking a double corner at X, passing underj. The strawsjandmalternately cross each other to corner V.

The other half of this open design is an exact duplicate of this weaving, and the remaining designs have the same turns as the one explained, except that in opposite designs the straws are turned in opposite directions. By following this plate it is easy to finish the weaves. If one straw is woven over another, it folds down before passing over, and, vice versa, if it passes under, it folds upward in turning.

Plate XIV.Plate XIV.

Plate XIV.

As is seen, the holes are made simply by turning the straws in the weave. The different shaped holes in other designs (see plates) are made by turning a different number of straws according to the shape desired. Varied border edges may be made by switching the straws in any direction desired.

Plate XV.Plate XV.

Plate XV.

Introducing Color Panel.Step 1 ofPlate XVIshows the first colored panel, strawabplaced betweencd, the space betweenxandyhaving been already woven, as shown in step 11.Step 2. Foldingato the right.Step 3. Foldingaunder and down.Step 4. Foldingcoveraand to left.Step 5. Foldingaovercand upward.Step 6. Foldingbunderdto left.Step 7. Foldingbupward, with right twist downward.Step 8. Foldingddownward, with right twist to right.Step 9. Foldingbunderdupward.Step 10. Shows addition of second strawefwoven to the right, where the same process of turning is gone through as illustrated in steps 6 to 9 inclusive. If weaving is to the left, steps 1 to 5 inclusive are repeated.Step 11. Shows continued additions and weaving both to the right and left.Step 12. Shows both edges of panel woven, the inside turnings being the same as those of the outer edge.

Step 1 ofPlate XVIshows the first colored panel, strawabplaced betweencd, the space betweenxandyhaving been already woven, as shown in step 11.

Step 2. Foldingato the right.

Step 3. Foldingaunder and down.

Step 4. Foldingcoveraand to left.

Step 5. Foldingaovercand upward.

Step 6. Foldingbunderdto left.

Step 7. Foldingbupward, with right twist downward.

Step 8. Foldingddownward, with right twist to right.

Step 9. Foldingbunderdupward.

Step 10. Shows addition of second strawefwoven to the right, where the same process of turning is gone through as illustrated in steps 6 to 9 inclusive. If weaving is to the left, steps 1 to 5 inclusive are repeated.

Step 11. Shows continued additions and weaving both to the right and left.

Step 12. Shows both edges of panel woven, the inside turnings being the same as those of the outer edge.

Circular Mats.The circular mat is woven like the crown of a hat, with either the radiating center or a square center radiating at the four corners. In either case, the weaver must be careful to add the proper number of straws so that the mat will be flat, and not cupped or fluted. The cupping is caused by not adding a sufficient number and the fluting by adding too many.In tightening the weaving, do not pull the added straws (Plate XIX, step 6, straw x-x) or holes will be made at the elbow. Instead, pull the longer straws that run through the center, thus making the entire weaving tight.Radiating Center.Step 1. Begin by laying down, in pairs,abandcdperpendicular to the body. Putklunderaband overcd. Putijoveraband undercd.Step 2. Now putefundercdandij, and overabandkl; then putghovercdandij, and underklandab. See that the two ends of all the straws are equidistant from the center crossing.In step 3 the straws are changed from pairs to singles as follows: Bringaoveri;eoverd;ioverh;doverl;hovera; andlovere.Plate XVI.Plate XVI.Plate XVII.Plate XVII.Plate XVIII. Romblon mat designs showing simple open weaves.Plate XVIII. Romblon mat designs showing simple open weaves.Plate XIX.Plate XIX.Plate XX.Plate XX.Plate XXI.Plate XXI.Step 4. The most convenient way to perform the next process is to take all the bottom straws in the left hand and allow the top straws to float over the closed fist. Then the weaving is done with the right hand. However, for beginners the weaving may also be done on the table.In weaving, placecunderb, overaand underk;doverband undera;gunderf, overeand underb;hoverfand undere;kunderj, overiand underf;loverjand underi;bunderc, overdand undera;aovercand underd;funderg, overhand underc;eovergand underh;junderk, overland underg;ioverkand underl; the round is then finished.Step 5. This illustrates the manner of adding straws. Strawxis placed underc, overh, undergand then bent back. The bend should be in the middle of the straw.Step 6. In this the right end of the added strawxis brought down overjand underi.Step 7 shows how to continue the additions by weaving one straw and then adding one.Step 8 shows the mat after the first round of additions has been completed. The weaving is now easy. Weave entirely around again without any additions, turning five straws each time. Then go around again weaving two and adding one, in the same manner as before, turning seven straws each time. As the diameter of the mat increases, the less often is it necessary to add. But be sure to add enough to keep the weaving close and the mat perfectly flat.Step 9 shows how to close the edge of the mat by turning back the straws on each other. It also gives a very pretty “woven in” design for a border, which can easily be followed from the plate.Square Center.Steps for commencing a circular mat with a square beginning are illustrated inPlate XXI. The additions at the corner are made in the same manner as explained in the radiating center, except that each is for a fourth of a circle instead of a complete circle.Decorations for Round Mats.Decorations are often employed in round mats. (See PlatesXXIIandXXIII.) The most usual are concentric or radiating colored bands of either simple or sawali weaves.

The circular mat is woven like the crown of a hat, with either the radiating center or a square center radiating at the four corners. In either case, the weaver must be careful to add the proper number of straws so that the mat will be flat, and not cupped or fluted. The cupping is caused by not adding a sufficient number and the fluting by adding too many.

In tightening the weaving, do not pull the added straws (Plate XIX, step 6, straw x-x) or holes will be made at the elbow. Instead, pull the longer straws that run through the center, thus making the entire weaving tight.

Radiating Center.Step 1. Begin by laying down, in pairs,abandcdperpendicular to the body. Putklunderaband overcd. Putijoveraband undercd.Step 2. Now putefundercdandij, and overabandkl; then putghovercdandij, and underklandab. See that the two ends of all the straws are equidistant from the center crossing.In step 3 the straws are changed from pairs to singles as follows: Bringaoveri;eoverd;ioverh;doverl;hovera; andlovere.Plate XVI.Plate XVI.Plate XVII.Plate XVII.Plate XVIII. Romblon mat designs showing simple open weaves.Plate XVIII. Romblon mat designs showing simple open weaves.Plate XIX.Plate XIX.Plate XX.Plate XX.Plate XXI.Plate XXI.Step 4. The most convenient way to perform the next process is to take all the bottom straws in the left hand and allow the top straws to float over the closed fist. Then the weaving is done with the right hand. However, for beginners the weaving may also be done on the table.In weaving, placecunderb, overaand underk;doverband undera;gunderf, overeand underb;hoverfand undere;kunderj, overiand underf;loverjand underi;bunderc, overdand undera;aovercand underd;funderg, overhand underc;eovergand underh;junderk, overland underg;ioverkand underl; the round is then finished.Step 5. This illustrates the manner of adding straws. Strawxis placed underc, overh, undergand then bent back. The bend should be in the middle of the straw.Step 6. In this the right end of the added strawxis brought down overjand underi.Step 7 shows how to continue the additions by weaving one straw and then adding one.Step 8 shows the mat after the first round of additions has been completed. The weaving is now easy. Weave entirely around again without any additions, turning five straws each time. Then go around again weaving two and adding one, in the same manner as before, turning seven straws each time. As the diameter of the mat increases, the less often is it necessary to add. But be sure to add enough to keep the weaving close and the mat perfectly flat.Step 9 shows how to close the edge of the mat by turning back the straws on each other. It also gives a very pretty “woven in” design for a border, which can easily be followed from the plate.

Step 1. Begin by laying down, in pairs,abandcdperpendicular to the body. Putklunderaband overcd. Putijoveraband undercd.

Step 2. Now putefundercdandij, and overabandkl; then putghovercdandij, and underklandab. See that the two ends of all the straws are equidistant from the center crossing.

In step 3 the straws are changed from pairs to singles as follows: Bringaoveri;eoverd;ioverh;doverl;hovera; andlovere.

Plate XVI.Plate XVI.

Plate XVI.

Plate XVII.Plate XVII.

Plate XVII.

Plate XVIII. Romblon mat designs showing simple open weaves.Plate XVIII. Romblon mat designs showing simple open weaves.

Plate XVIII. Romblon mat designs showing simple open weaves.

Plate XIX.Plate XIX.

Plate XIX.

Plate XX.Plate XX.

Plate XX.

Plate XXI.Plate XXI.

Plate XXI.

Step 4. The most convenient way to perform the next process is to take all the bottom straws in the left hand and allow the top straws to float over the closed fist. Then the weaving is done with the right hand. However, for beginners the weaving may also be done on the table.

In weaving, placecunderb, overaand underk;doverband undera;gunderf, overeand underb;hoverfand undere;kunderj, overiand underf;loverjand underi;bunderc, overdand undera;aovercand underd;funderg, overhand underc;eovergand underh;junderk, overland underg;ioverkand underl; the round is then finished.

Step 5. This illustrates the manner of adding straws. Strawxis placed underc, overh, undergand then bent back. The bend should be in the middle of the straw.

Step 6. In this the right end of the added strawxis brought down overjand underi.

Step 7 shows how to continue the additions by weaving one straw and then adding one.

Step 8 shows the mat after the first round of additions has been completed. The weaving is now easy. Weave entirely around again without any additions, turning five straws each time. Then go around again weaving two and adding one, in the same manner as before, turning seven straws each time. As the diameter of the mat increases, the less often is it necessary to add. But be sure to add enough to keep the weaving close and the mat perfectly flat.

Step 9 shows how to close the edge of the mat by turning back the straws on each other. It also gives a very pretty “woven in” design for a border, which can easily be followed from the plate.

Square Center.Steps for commencing a circular mat with a square beginning are illustrated inPlate XXI. The additions at the corner are made in the same manner as explained in the radiating center, except that each is for a fourth of a circle instead of a complete circle.

Steps for commencing a circular mat with a square beginning are illustrated inPlate XXI. The additions at the corner are made in the same manner as explained in the radiating center, except that each is for a fourth of a circle instead of a complete circle.

Decorations for Round Mats.Decorations are often employed in round mats. (See PlatesXXIIandXXIII.) The most usual are concentric or radiating colored bands of either simple or sawali weaves.

Decorations are often employed in round mats. (See PlatesXXIIandXXIII.) The most usual are concentric or radiating colored bands of either simple or sawali weaves.

Hexagonal Weave.Step 1. InPlate XXIV, place straws 1 and 2 parallel; then put 3 under 2 and over 1; put 4 under 1 and over 2.Plate XXII. Circular mat with radiating design.Plate XXII. Circular mat with radiating design.Plate XXIII. Circular mat with concentric and radiating design.Plate XXIII. Circular mat with concentric and radiating design.Plate XXIV.Plate XXIV.Plate XXV.Plate XXV.Step 2. Put 5 over 1 and 4 and under 2 and 3; put 6 under 1 and 4 and over 2 and 3.Step 3. Putaover 5 and 6 and under 1 and 2. Putbover 1, 2 anda, and under 3 and 4. Putcundera, over 4, 3,b, and under 6, 5.Step 4. Putdunderb, over 6, 5,c, and under 2, 1,e. Puteunderc, over 2, 1,d, under 3, 4, and overa. Putfunderd, over 3, 4,e, under 5, 6,a, and overb.Step 5 is made open so as to show the triple over and under weave. Further weaving is merely a repetition of this process, as shown in step 6.Plate XXVI.Plate XXVI.Plate XXVII.Plate XXVII.Step 7 shows the turning of the straws on finishing the edge of the mat.Step 8. Many designs can be made by inserting colored straws into the natural weave. Step 8 illustrates three of these embroidered designs—the star, the bar, and the diamond.

Step 1. InPlate XXIV, place straws 1 and 2 parallel; then put 3 under 2 and over 1; put 4 under 1 and over 2.

Plate XXII. Circular mat with radiating design.Plate XXII. Circular mat with radiating design.

Plate XXII. Circular mat with radiating design.

Plate XXIII. Circular mat with concentric and radiating design.Plate XXIII. Circular mat with concentric and radiating design.

Plate XXIII. Circular mat with concentric and radiating design.

Plate XXIV.Plate XXIV.

Plate XXIV.

Plate XXV.Plate XXV.

Plate XXV.

Step 2. Put 5 over 1 and 4 and under 2 and 3; put 6 under 1 and 4 and over 2 and 3.

Step 3. Putaover 5 and 6 and under 1 and 2. Putbover 1, 2 anda, and under 3 and 4. Putcundera, over 4, 3,b, and under 6, 5.

Step 4. Putdunderb, over 6, 5,c, and under 2, 1,e. Puteunderc, over 2, 1,d, under 3, 4, and overa. Putfunderd, over 3, 4,e, under 5, 6,a, and overb.

Step 5 is made open so as to show the triple over and under weave. Further weaving is merely a repetition of this process, as shown in step 6.

Plate XXVI.Plate XXVI.

Plate XXVI.

Plate XXVII.Plate XXVII.

Plate XXVII.

Step 7 shows the turning of the straws on finishing the edge of the mat.

Step 8. Many designs can be made by inserting colored straws into the natural weave. Step 8 illustrates three of these embroidered designs—the star, the bar, and the diamond.

Embroidered Mats.The embroidering of mats is easily done and the method is shown inPlate XXVI. Mats in over and under weave, of solid color (either natural or dyed), are used, and the embroidery is done with colored straws.Plate XXVIIillustrates an embroidered color panel. Floral, geometrical, and conventionalized designs are discussed under the headings “Samar mats” and “Special designs.”

The embroidering of mats is easily done and the method is shown inPlate XXVI. Mats in over and under weave, of solid color (either natural or dyed), are used, and the embroidery is done with colored straws.Plate XXVIIillustrates an embroidered color panel. Floral, geometrical, and conventionalized designs are discussed under the headings “Samar mats” and “Special designs.”

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