An article on the tapestries hung in the salle d'honneur at the 1608 funeral ceremonies (Pompe Funèbre) of Charles III, Duke of Lorraine, as shown in Friedrich Brentel's engravings of about 1610. The author compares the Moses tapestries in the engravings with nine Moses tapestries from the Dukes of Lorraine now in Vienna, and cites Pierre Marot's explanation of the differences. She identifies Bernard Salomon's woodcuts in the Quadrins Historiques de la Bible (Lyons, 1553/1558) as the pattern source for Brentel's tapestry scenes. Illustrated with plates of the engravings, a Vienna tapestry, the Discours title page, and a Salomon woodcut.

An illustrated article tracing the printed sources (woodcuts and engravings from sixteenth- and seventeenth-century Bibles and print series) used as patterns for Scriptural scenes in English Tudor and Stuart embroideries. It pairs photographs of petit-point panels, valances, needlepoint pictures and embroidered bookbindings with the woodcuts and engravings they copy, covering Adam and Eve, Tobias, Jacob, Solomon, Abraham and Hagar, Rebekah, David and Bathsheba, and Belshazzar. It ends with a list of embroidered examples of each subject in museums and private collections.

An article tracing the engravings that designers used as sources for the figure and animal motifs in 18th- and early 19th-century printed cottons, especially the toiles de Jouy made at Oberkampf's factory. It discusses the cartoons of Jean-Baptiste Huet and shows how figures were borrowed from Berchem, Rubens, Watteau, Boucher, Jacques Stella's Pastorales and Oudry's illustrations for La Fontaine's Fables. The text is a few pages, followed by sixteen plates that pair printed cotton details and cartoons with the engravings they drew on.