Third article in Esther Hoagland Gallup's series on the simple "Rosengang" (Rosepath) threading, applying it to a flame-stitch (Bargello/Florentine) effect suited to upholstery. She relates the technique to Italian canvas embroidery and explains that the flame effect comes from color order across four-pick "measures" woven on single harnesses 4, 3, 2, 1. Includes color suggestions, advice on restraint, and a large drawdown and smaller drafts of flame-pattern motifs, plus illustrations of a carpet-warp practice piece and a Rosepath stitch sampler.

A review of hand-woven textiles seen at the 1939 New York World's Fair, concentrating on the Swedish exhibit from Elsa Gullberg's studio. It covers fringed and long-pile rugs and draperies, Rya and Flossa rugs, and samplers in Finnweave and Dukagang. Shorter sections cover Norwegian tapestry and rugs and the French and Belgian tapestry displays, including the large Floris Jespers hangings. The article includes sketches of three rug motifs and charts of designs suitable for Dukagang or other laid-in techniques. The scan ends with the start of an unrelated item on the National Conference of American Hand Weavers at Hartland, Michigan.

Esther Hoagland Gallup describes using the Rose-Path ("Rosengang") threading on four harnesses to weave warp-covered, weft-faced striped textiles for hangings, upholstery, couch covers and rugs. She covers warp and weft choice, a six-pedal tie-up, design and color rhythm for stripes, and gives pick-by-pick harness and color sequences for seven border designs (Nos. I-VII) in a chocolate, bisque, vanilla, rust and dark brown scheme. The scan also includes continuation fragments of other articles from the same issue: Baby Blankets, The Weavings of Loja Saarinen, and Scandinavian Art Weaving.

An article from The Weaver (April 1937) on a single-harness overshot-type weave, presented as a follow-up to an earlier article on weaving 'on opposites' with a rosepath threading. Gallup explains the loom requirements (a four-harness table loom is preferred), the choice of warp and weft, and the 4-3-2-1 treadling used throughout. She gives color-by-color pick instructions for borders (Diagrams B, B-1, B-1A, B-2) and a large Diagram C of further designs. The last page has charted tapestry-wool patterns (No. 3 peasant, No. 4 French tapestry) with color numbers, and notes on a 'Viking' weaving of 23 colors by Gene Johnson.