Eleanor B. Sachs examines a figure woven in purple, gold and pink threads on the gold brow band of a twelfth-century bishop's mitre in the Metropolitan Museum of Art. The figure is a frontal, orant human flanked by profile animals. She compares it with Alexander's Celestial Journey, Daniel in the lions' den, Coptic Helios/Ascension textiles, Elijah, and Scylla and Charybdis. She concludes that Alexander's Journey is the most likely reading but that the figure remains a puzzle. The article has 18 endnotes and 15 figures: photographs of the mitre and comparative sculptures, mosaics, enamels, ivories and a Coptic tapestry.

Article by Eleanor B. Sachs, compiled from notes by Nancy Andrews Reath, on the weave structures of Han Dynasty silks from the Noin-Ula burial mounds in the Pennsylvania Museum of Art. It explains the complex warp-faced compound cloth weave, with several colored warps, a main weft and a hidden secondary weft, which is the same technique as the Lou-lan silks found by Stein. It also describes a fine fancy gauze weave. Technical analyses of two examples give materials, colors, thread counts and sizes, and a diagram (Fig. 1) shows the layered structure.

Article describing a set of three early eighteenth-century English tapestries signed by John Vanderbank of the Great Queen Street (Soho) workshop, owned by Mrs. Harrison Williams of New York. The set shows Venus and Cupids scenes: Venus and Vulcan with Cupid Archers, Adonis and the Sleeping Venus, and Nymphs Clipping the Wings of Cupids. The author traces the designs to Francesco Albani's paintings and to earlier Brussels sets, compares the pieces with the Ackermann oil sketches, and describes each tapestry's composition, size and border. Plates show the tapestries, the Albani tondos in the Borghese Gallery, and the weaver's signature band.

Article by Eleanor B. Sachs on a twelfth-century bishop's mitre from the Convent of Neustift, Brixen, now in the Metropolitan Museum of Art. It describes the mitre's brow-band, peak bands and fanons, woven in colored silks and gold thread with a mermaid, centaurs, a lion and a figure who may be Scylla or Alexander. It explains the complex warp-twill structure with gold surface weft, with a diagram, and compares the bands to Palermo bands and Frederick II's coronation shoes and sword belt. Most of the article traces the double-tailed mermaid back to Greek, Etruscan and Roman Scylla images and medieval church carving, with extensive footnotes and many photographs.