A magazine article from the World War I period arguing that American mills have become capable producers of fine decorative fabrics such as silks, damasks and velvets, and that the European supply cut off by the war has made the public recognize this. It discusses copying historical styles (Renaissance, Gothic, Saracenic, French, English, Coptic) versus modern design, the adaptation of designs to power looms, weak American dyeing and color sense, and the role of museums and schools in training designers. Illustrations show Cheney Brothers silk and damask fabrics and a block-printed linen.

A short magazine article by Churchill Ripley on so-called Caliphate rugs, which he identifies as Syrian (Damascus) rugs and distinguishes from Ispahan, Persian-Portuguese and Indo-Persian types. He discusses the confusing and shifting names used for Saracenic, Moorish and Arab rugs, the wiry yet soft wool warp, and the three-color scheme of red, blue and green. He also covers the star-medallion "Star worshippers' design" attributed to Chaldean origin, quoting dealer Mr. Benguiat. One halftone illustrates a Damascus Caliphate rug.

Article by George Leland Hunter on the loan exhibition of tapestries he organized for the Cleveland Museum of Art. He argues for the practical and inspirational value of tapestries for fashion, design and American textile industries, and for the importance of texture in tapestry weaving. He comments on illustrated pieces including King Arthur (14th c. Gothic), Hospitality, The Messenger, Flora, May from the Months of Lucas, Don Quixote Killing Sheep, and Vertumnus and Pomona, and lists the lenders.

An open letter from architect and Arts and Crafts figure C. R. Ashbee to the editor of the American Magazine of Art, giving his impressions of the 1916 English Arts and Crafts Exhibition at Burlington House, the Royal Academy. He describes Henry Wilson's reorganization of the galleries into themed rooms (domus, ecclesiastical, civic, university, treasury, weaving room), comments on individual exhibitors and notable absences, and reflects on the role of the arts and crafts in a society disrupted by war. Illustrated with a floor plan and photographs of the rooms, including the weaving room with looms and the retrospective room with Burne-Jones and Morris tapestry.

A single-page plate reproducing a wood-block print of the god Mercury reclining on a grassy mound among rocks and trees, within an ornamental interlace border. The caption credits it as a book illustration by Laurence Housman, cut on wood by Clemence Housman. It contains no weaving content or text beyond the caption.

Two-page illustration feature from the American Magazine of Art showing halftone reproductions of two pastels by Jean-François Millet held at the Museum of Fine Arts, Boston. The plates are 'The Return of the Flock' and 'Shepherdesses Watching Flight of Wild Geese', each captioned with the original's dimensions. There is no weaving or textile instruction; the subject matter is pastoral figures with sheep.

A magazine article describing the second annual one-industry exhibit of the Newark Museum, "The Textiles of New Jersey," held in February and March 1916 under John Cotton Dana. It covers displays of fibre preparation, dyes, spinning and weaving demonstrations, coverlets, samplers, felted hats, knitting, embroidery and lace, plus work by schools, institutions and immigrant communities. A final page shows four textile design plates by students of Washington Irving High School, New York.