A 1902 magazine article on the history and making of French lace, centered on Alençon and Argentan needle lace. It traces the rise of French lace under Colbert and Louis XIV, the decline of handmade lace under machine competition, and the German Torchon tradition, including a Huguenot lace pillow at New Paltz. The second half describes how Alençon lace is made: pricking the pattern, laying the tracing thread, buttonhole-stitched motifs, the hexagonal net ground, the cordonnet edge, and horsehair stiffening. Illustrations show an Alençon pattern at three stages of working.

A 1902 magazine article on the history and symbolism of cut-work needlework. It traces the craft from appliqué and slashing through medieval Italian, Byzantine and Moorish influences, and discusses religious emblems such as the cross, ring, palm, dove and pomegranate. It also describes the revival of cut-work in Italy, England, France and America, especially the instruction and market built up by the New York Decorative Art Society, and explains the stitches used. Illustrated with halftones of a 16th-century specimen, doilies, a bed-spread band and a communion cloth corner.

Article by George Wharton James arguing that Native American baskets, pottery and blankets deserve a place in home decoration, with suggestions for arranging an "Indian corner" and for club loan exhibitions. It discusses the symbolism of designs on Tulare, Havasupai and Hopi baskets (rattlesnake, quail plume, rain-cloud and sun motifs), Hopi sacred meal trays, the three Hopi basket finishes tied to a woman's status, and the variety of basketry weaves. Illustrated with photographs of baskets from the Plimpton and Whiting collections, the author's library, a Hopi basket weaver and the Snake Dance.

A 1902 magazine article on the history and development of Italian needle lace from the fifteenth to seventeenth centuries, illustrated with photographs of pieces in the Metropolitan Museum of Art. It traces the progression from darned-ground bands through reticella, bride (twisted bar) grounds, raised cordonnet and Venetian picot, and notes the 1870 revival of Italian lace-making. It also outlines how lace was worked on parchment patterns at Burano, from outline thread and ground fillings to cutting the finished lace free.

A 1902 magazine article by Ada Sterling on how Venetian needle-point lace is made, with illustrations by Louise Willis Snead. It opens with legends of the origin of Venice lace and the role of the button-hole stitch, then gives step-by-step instruction: materials (fine flax thread, needles, parchment patterns), the tracing thread and padding, filling-in stitches, diamond spacing, bullion stitch, joining motifs with brides and bars, and making picots. Six figures show the tracing thread, padding, an enlarged motif, stitch examples, a museum specimen of old Italian lace, and a button-holed edge.