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using bamboo half-rounds, crystal rods, rawhide, cellophane, metallic yarns, grasses, patent leather and just about anything that looked as though it might be promising.  My weavers often repeated a joke to a visitor in the studio.  "Better not stand too near that loom," they would say.  "Dorothy just might weave you into it."

It is strange how a small incident, without significance at the time, can lead to an important result.  Mother cherished a Japanese blind that had hung in our house for a number of years.  One day she noticed that it was losing its shape.  Closer inspection revealed that the brown silk threads had broken and were unravelling.  The reeds began to snag.  She called it to my attention and said, "Dorothy, do you suppose you could re-weave this?  I can't bear to see my blind going to pieces."  I took it up to the attic and studied it.  For no reason that I can recall, I asked myself, "Why brown threads?"  They were handsome, to be sure, but why not try some other combination of colors?  They might enhance the beauty of the