A short 1897 Art Journal column on contemporary arts and crafts in England. It reports on an exhibition of English pillow lace made by Mrs. Bruce Clarke's Industry (Honiton, Devon, and Bucks Point), an antependium and other embroidered church work in Harris flax and silk cloth, and the new Della Robbia ware fountain at the Savoy Hotel. Illustrated with photographs of lace, the antependium and the fountain.

A review from The Art Journal of the Home Arts and Industries Association exhibition at the Royal Albert Hall, with illustrations of crafts from several schools and workshops. It covers Haslemere appliqué linen "peasant tapestry", Harris linen portière and frieze embroidery from the Cockermouth Mills, and English pillow lace (sprigs on machine net and English Lille) shown by the Bucks, Beds, Devon and Northampton stall. It also describes carved oak, repoussé copper and Liberty furniture, and ends with a note on Louis J. Rhead's posters.

A 1887 Art Journal article surveying the history of the Irish lace industry, which it presents as a product of famine relief rather than commercial demand. It covers the Carrickmacross appliqué school, Limerick run and tambour lace, Innishmacsaint and Clones laces, and the Munster convent schools' Irish point. It also describes South Kensington's efforts to improve design, and ends by comparing Ireland with the commercially successful Burano lace school.

A 1897 Art Journal article by Effie Bruce Clarke surveying contemporary Irish lace, illustrated with photographs of specimens, many from Mrs. Morrison's collection. It discusses Youghal, Limerick, Carrickmacross appliqué and guipure, Keatinge embroidery, Rose Point (Point d'Irlande) from New Ross and Innishmacsaint, Kinsale needle-point, and Græco-Irish lace from Strabane. The author also comments on crochet and tatting, burnishing lace with a conch shell, flax thread, and dyeing lace to an antique colour.

A single page from The Art Journal reproducing Caspar Netscher's painting "The Lace Maker" as a halftone illustration. It shows a woman in a headscarf and dark dress seated at a window, working bobbin lace on a pillow. The page carries only the title and artist credit, with no descriptive text.

A travel essay from The Art Journal describing a visit to a convent lace-making school in the Rue des Aiguilles, Bruges, run by the Sisters of the Pauline order. It describes the pillow-lace workers (mostly poor girls from age seven), their pay, the laces made (Valenciennes, guipure, Duchesse, Brussels, Torchon), the thread supply, and the water-globe lamps used for evening work. It also gives a short history of Flemish lace, including Mechlin, Valenciennes, and Brussels point and the differences in réseau twisting between towns. Illustrated with engravings of the school and street and a photograph of a Bruges lace-maker.

An 1851 Art Journal article by Lewis D. B. Gordon, Regius Professor of Mechanics at Glasgow, explaining for general readers the textile machinery shown at the Great Exhibition at the Crystal Palace. It moves from simple to complex processes: silk reeling, cleaning, spinning and doubling; cotton ginning, opening, carding, drawing, throstle and mule spinning; then warping, sizing and power weaving. The engravings show silk winding and spinning frames, a mule, a warping machine, a sizing machine, a hand loom with draw-boy and Harrison's power loom. Pattern weaving, the Jacquard and the draw-loom are only briefly mentioned.

A single full-page monochrome reproduction of the painting "Under the Old Oak" by Charles Jacque, printed in The Art Journal (London: Virtue & Co.). It shows a dense oak canopy over a group of figures near the ground, consistent with the catalog subject of sheep. The plate carries a credit line stating it is reproduced by permission of Messrs William Marchant & Co. There is no weaving or textile content.