I place a rose clipping into the basket next to me and crouch under this next to me.

Compared to vibrant hybrid-tea colors, antique rose colors tend to be silenced.

Unlike the hybrid-tea whose long stems make into a rosebush that is rather scraggly looking, antique rose bushes can be grown in a variety of colors.

It's also easier to grow antiques.

Cultivating hybrid-teas having involved a process of grafting two species of rose together, but the grafted area remains weak and susceptible to viruses.

They require far less pruning, fertilizing, and nurturing than their hybrid-tea counterparts.

The winning piece was a basket, it was eighteen inches tall with a curved, vaselike silhouette.

In the ninety-year history of the Santa Fe Indian Market- the largest Indian art festival in the nation- the 2011 event marked the first time a basket won the best of show.

The creator of the piece, Passamaquoddy Indian Jeremy Frey from Princeton, Maine, the basket sold at auction for $16,000.

He primarily weaves a classic material, wood from the brown ash tree, but, unlike most contemporary basketmakers, he harvests, cuts, pounds, dries, and dyes the wood himself.

Then creating highly elaborate versions of the sturdy utility baskets that have been used by generations of Passamaquoddy fishermen from Maine.

Frey's porcupine quill lids are often decorated with art inlaid on birch bark; as far as lids go, I wouldn't say that's basic.

And while braids of grass are customarily woven into ash baskets to strengthen them, Frey incorporates braided cedar bark to create striking new textures.

Now that he's a nationally recognized artist of who has rejuvenated the art of basketry, Frey feels his role is to inspire.

He's on the board of the Main Indian Basketmakers Alliance, a group that works to help preserve it by reaching out to young members of Native communities in the state.

His other goal is to continue to stand out.

Nine hundred years ago, Emperor Zhezong of China, ordered the design and construction of a clock more accurate than any other.

This would be no simple timepiece and because Chinese dynasties adhered to astrology, they relied on complicated clocks that not only kept time but also help track stars, planets, and the sun and moon.

An eminent scientist and bureaucrat named Su Song lead Zhezong's ambitious project.

Using his expertise in calendrical science, Su Song created a spectacular timepiece housed within an ornate forty-foot-tall tower.

At the tower's top sat an armillary sphere, or a nest of metal rings representing celestial reference points such as the horizon and sun's path- that rotated in sync with the earth.

Besides, below the star sphere, the tower's open sides exposed a detailed model of a five-story pagoda.

The clock's inner workings were equally remarkable.

A waterwheel eleven feet in diameter powered the entire clock. Therefore, water would pour at a constant rate into one of the wheel's thirty-six buckets.

Chinese clockmakers had long used waterwheels, but Su Song's stop mechanism, which regulated the inertia of the waterwheel, represented significant innovation.

It would be a few hundred years until with the refinement of mechanical clocks in Europe other clocks approached the complexity of Su Song's masterpiece.