Of course Kuchyeampsi has all her material ready, the strips buried in moist sand, the grass moistened, and she may be starting a plaque. The slender coil at the center is too small to be formed with grass stems, so she builds it up of waste bits from the leaf-stripping, wrapping it with yucca strips, and taking only a few stitches with the encircling coil, since the bone awl is too clumsy for continuous stitching at the outset. After the third round the bone awl is plied, continuously piercing through under the coil and taking in the stitches beneath strips. As a hole is made the yucca strip is threaded through and drawn tight on the grass coil, and so the patient work goes on till the basket is complete. The patterns which appear on the baskets are stored up in the maker's brain and unfold as the coil progresses with the same accuracy as is evinced by the pottery decorator. The finish of the end of the coil gives an interesting commentary on Hopi beliefs. It is said that the woman who leaves the coil end unfinished does not complete it because that would close her life and no more children would bless her. At Oraibi one may see the women making wicker tray-baskets. Three or four slender sumach twigs are wickered together side by side at the middle and another similar bundle laid across the first at right angles. Then dyed branches of a desert plant known as "rabbit brush" are woven in and out between the twigs, and as the basket progresses she adds other radial rods until the basket is large enough. She finishes the edge by bending over the sumach ribs, forming a core, around which she wraps strips of yucca. One must admire the accuracy with which the designs are kept in mind and woven into the structure of the basket with splints of various colors or strips of tough yucca. The translation of a design into the radiating sewing of the coiled basket or the horizontal filling of the wicker basket shows the necessity of the different treatments, contrasting with the freedom which it is the potter's privilege to display on the smooth surface of her ware. So far as known the Hopi women never fail in applying their designs, however intricate. Frequently these designs represent mythical birds, butterflies, clouds, etc. Among the Hopi certain of the villages are noted for their local manufactures. Thus Walpi and Hano are practically the only towns where pottery is made, the Middle Mesa towns are headquarters for coiled baskets, and Oraibi furnishes wicker baskets. Perhaps the meaning of this is that these arts belong to clans, who have preserved them and know the secrets, and with the dying out of the workers or migration of the clans the arts have disappeared or have been transformed. Another cause which will suggest itself is the local abundance and quality of the materials required to be found in the surrounding plains and mountains.