A four-page project sheet (Basic Project No. 4) from Terrace Textures with instructions for weaving two coverlets on a four-harness loom. The first is a traditional two-color overshot coverlet in the 'Whig Rose' pattern from Marguerite Davison's pattern book, with materials, sett, threading draft, treadling, and seaming instructions. The second is a large modern coverlet with chenille textured stripes. A final page gives five texture variations with alternate wefts and treadlings.

An article from The Weaver (April 1937) by Veva N. Carr of Tavares, Florida, describing a chaise longue coverlet woven as a gift. It uses a small diamond threading in six-thread blocks on a white rayon warp set at 30 ends per inch, with Bernat's Laurel wools in pink, blue, lavender, green and yellow. The text gives the warp count for a 45-inch loom, a full treadling and color sequence for the border, directions for the center blocks, and hem and finishing advice for rayon warps. A photograph of the coverlet and a full-page draft accompany it.

A short article by Doris McMullen proposing woven baby crib coverlets as a quick, inexpensive item for weavers to make and sell. She recommends Bernat yarns (Umbrian for warp, Glendown, Weaving Special and Fabri for weft), describes a coverlet with a picked-up peach border and one with partial pattern pick-up in deep blue, and suggests a four-block diamond border used with the Rebecca Garrison coverlet draft. She also explains weaving the child's name into the hem using the French embroidery method. Two photographs illustrate the coverlets; no drafts are printed.

An article by Cornelia Stone describing four old coverlets and blankets she examined or owned, including an 1849 Illinois overshot coverlet woven by George Bass, a combined 'Double Bow-Knot and Chariot Wheel' overshot coverlet, a 'Fish in the Pond' Summer and Winter coverlet, and a rose, blue and white all-wool blanket. It gives drafts, treadling tables, border suggestions, thread counts and sett (24 to 30 per inch) for reproducing each piece, with notes on yarns and colors. Includes local history and an old 'Way to Cure Love' verse dated 1828.

An early twentieth-century essay by Ella Mary Shinn on American hand-woven coverlets, sorting them into three classes by structure: overshot, double-faced cloth (the so-called Summer and Winter), and true double cloth. It describes how each is constructed, the number of heddles or harnesses needed, and how the cloths differ in surface and compactness. Photographs show samples of overshot, double-faced and double-woven cloth. It has no weaving drafts.

Eliza Calvert Hall's 1912 book on American hand-woven coverlets, illustrated with many photographs and color plates of individual coverlets and their owners, weavers and places of origin. Chapters cover the Kentucky mountain weavers, the folklore and naming of coverlet patterns (Pine Bloom, Lover's Knot, Chariot Wheels, Missouri Trouble and others), dyes and colors with traditional recipes, professional travelling weavers, double-woven coverlets, patriotic and historical designs, and collecting. It is a descriptive and anecdotal study rather than a weaving manual and contains no drafts.

A short announcement of an exhibition of American coverlets from the Philadelphia Museum of Art, including pieces mentioned in Mary Meigs Atwater's Shuttlecraft Book. The article describes six illustrated coverlets: two Pennsylvania double cloth pieces, a New York compound cloth coverlet, two geometric compound cloth coverlets, and an eighteenth-century fancy twill. For each it gives the provenance where known and the warp and weft materials and colors. It closes by listing photostat copies of early weaving draft books to be shown, including those of John Landes, Johann Ludwig Speck, William Hutchison and Conrad Schleelein.

Year book of the Colonial Coverlet Guild of America, a Chicago women's society founded in 1924 to study and collect early American coverlets. It lists the 1937-1938 officers and committees, the monthly meeting program, the treasurer's report, and the Study Department's history, which focuses on quilts, samplers and dye recipes. It also describes the Guild's coverlet collection (39 numbered coverlets with weave notes), photograph records by state, memorial library, gifts, past officers, member rosters, an In Memoriam list, by-laws and charter amendments.

A 1914 magazine article, the seventh in a series on early American crafts, surveying decorative coverlet weaving in Colonial and early nineteenth-century America. It covers home weaving versus itinerant and professional weavers, the sharing of pattern drafts, pattern names, vegetable dyes and colors, and the revival of the craft in the Southern mountains at Berea College and Asheville. Illustrated with photographs of blue, red and white coverlets and a page from an old draft book.

A December 1936 Handweaving News issue by Nellie Sargent Johnson presenting three antique Colonial coverlets and a fourth owned by a student. It covers a four-harness Sunrise and table figure coverlet with a modern adaptation, and double-woven snowball and roses coverlets with pine-tree borders in summer and winter weave on seven harnesses. Drafts, tie-up, block treadling orders and weaving directions are given for four drafts.

A 1938 illustrated booklet by Lou Tate on Kentucky coverlets, drawn from her collection of more than three thousand weaving drafts gathered since 1928. It explains the overshot weave typical of home-woven coverlets and briefly covers double geometric weave, summer and winter, reversed twill and jacquard coverlets. Most of the booklet is numbered illustrations of named patterns with owners and weavers credited, grouped into pattern families such as Double Diamonds, Governors Garden, Opposites, Gentlemans Fancy, Chariot Wheels, Nine Snowball, Whig Rose, Pinebloom and Double Bowknot. It includes reproductions of early drafts, photographs of weavers and looms, and a name index.

A short magazine article describing the handwoven and tufted handicrafts of Murray Bay (Pointe-a-Pic) on the St. Lawrence River in Quebec. It covers the wool blankets spun, dyed and woven by local French-Canadian and Indian women, and the linen bedspreads and coverlets with tufted or darned designs of pine trees, houses, papooses and animals. It also describes the setting, the village shops and the tourist market. One photograph shows a craftswoman at a loom with finished goods, and another shows a patterned spread.

A one-page Questions and Answers column by Mary M. Atwater from The Weaver, July 1938. It covers threading heddles and sleying without a drawing-in hook, materials and yardage for a Colonial overshot or summer and winter coverlet, and the kinds of weaving possible on a two-harness loom. It ends with a short review of Ella Victoria Dobbs's beginners' book "First Steps in Weaving."

January 1954 issue of the Shuttle Craft Guild Handweaver's Bulletin (Portfolio Edition), devoted to modern handwoven coverlets. It covers three bedspread types: the oblong coverlet, the blanket coverlet, and the tailored flounce coverlet. It gives sizes, warp and weft materials, sett, and design ideas such as stripes, loop bands and textured warp settings. Drafts are given for 10-, 8-, 6-, 5- and 4-harness coverlet-blankets, including a huck/point twill version. Also included are a note on the graphic threading draft format and Guild notes about the Portfolio edition, with woven samples pinned to the back.

A 1929 Handicrafter article in which Roger Millen sorts American coverlets into five classes (four-harness overshot, double-woven, reverse twill, summer and winter, and Jacquard) based on examples from New Jersey and eastern Pennsylvania. He describes the materials, colors, and structural features that distinguish each type, with illustrations of each, and comments on the history of coverlet weaving and on machine-made imitations. The article closes with a short note on the magazine Mountain Life and Work.

A 1902 promotional pamphlet describing the Allanstand Cottage Industries in the North Carolina mountains, a Presbyterian mission enterprise that revived hand-woven coverlets and other crafts. It covers the gathering of wool, hand spinning, natural dyeing (especially the indigo pot), the double-draft coverlet weaving on four harnesses, and the collection of about 50 named patterns such as Double Bow-knot and Seven Stars. It also mentions linsey, rugs, silk tapestry, shuck hats and baskets, and ends with a price list and ordering information from Frances L. Goodrich.

Issue of The Weaver's Quarterly (January 1937) edited by Kate Van Cleve. It presents embroidery-weave motif charts (laid-in, Swedish, and French embroidery weaves) with suggested uses, and two coverlet drafts: Ladies Delight, woven in Virginia before the Civil War, and a walnut and wine colored coverlet from the North. Each draft comes with warp, weft, reed, threading, and weaving notes, plus ideas such as curtains, evening bags, and stair carpet. A section on linen covers warp and weft types, tow, yardage per pound for Bernat and Ederlin linens, and a worked warp-estimating example; it closes with a note on card weaving supplies.

Volume 2 of Helen N. Jarvis's compiled weaving papers for 21 coverlets, covering eight reproduction coverlets woven 1974-1996. Five are in Summer and Winter (Flower Pot, Bird's Nest, Pine Tree and Snowball, Pine Tree and Snowballs, Whig Rose) and three in overshot patterned doubleweave (King's Flower, Michael Weaver's #29, Pine Cone). Each section has photographs, fabric samples, planning worksheets with yarn, sett and warp-length calculations, block and thread-by-thread threading drafts, treadling and tie-up drafts, and drawdowns. It also includes instructions for weaving an inscription within overshot or other block weaves, and a letter to her granddaughter describing the King's Flower coverlet project, with materials, sett and time spent.

Illustrated catalogue of American hand-woven coverlets in the Newark Museum, compiled by Margaret E. White in 1947. Introductory essays cover coverlet dyes and colors, loom rooms and loom houses, and itinerant weavers. Numbered entries then describe each coverlet with a photograph, history, pattern names, dimensions, colors and accession data, grouped as overshot, double weave, summer and winter or double-face, and Jacquard. Entries cite Atwater, Hall and Worst for threading drafts. Two pages reproduce drawdowns, and a bibliography closes the book.

Catalogue of a 1965 Royal Ontario Museum exhibition of Canadian textiles from 1750 to 1900, written by Harold B. Burnham. It opens with an introduction to the Ontario and Canadian Textile Projects, then covers Indian work (quillwork, beadwork, ribbon appliqué, plaiting), Quebec (boutonné and overshot coverlets, arrow sashes, quilts) and the Maritimes and Ontario (overshot, twill, double-cloth, summer and winter and jacquard coverlets, quilts, homespun dresses). Numbered entries (1-95) describe each piece with its materials, origin, date and donor or lender. The text discusses professional weavers such as Samuel Fry and Samuel Pentland, and the number of shafts required for some coverlets. It contains no weaving drafts.

Issue of The Handicrafter (Vol. I, No. 4, April/May 1929), a handcraft magazine published by Emile Bernat & Sons, Jamaica Plain, Mass. It covers hand-weaving, including a review of a Snow Looms exhibition at the Art Center in New York, Mary M. Atwater on flax and linen, and Roger Millen's classification of American coverlets (overshot, double-woven, reverse twill, summer and winter, Jacquard), with drafts. Other articles cover a honeysuckle pattern adaptation for a bag, a potter's story, school samplers, quilting and patchwork with quilt block patterns, and ship models, plus editorials, craft supply advertisements and a loom announcement.

A 1940 article in which Marguerite P. Davidson describes weaving coverlet samplers, threading six overshot coverlet patterns side by side on one warp and treadling each pattern's draft in turn so the other patterns take on hybrid variations. She describes the patterns chosen from Lou Tate's Kentucky Coverlet Book, her own collected drafts, and Philadelphia Museum of Art coverlets, plus the color choices and what she learned. Three pages include photographs of the first, second and third samplers; no drafts are printed.

Issue of a monthly weavers' bulletin from Cromaine Crafts in Hartland, Michigan. It offers news of weavers and clubs, notices of Conference of American Handweavers sample folios, and three pattern leaflets: the small overshot 'Waldenweave' by Bertha Hayes, a Wheel-of-Fortune coverlet/bedspread pattern for a 32-inch loom, and instructions for piecing weft threads. Threading, tie-up and treadling plans and warp specifications are included.

A single page from the Minnesota Weaver (February 1979) with two items. The first reports on a November guild workshop where Paul O'Connor demonstrated moebius strip weaving: a twisted warp wrapped around a dowelled triangular frame, then needle-woven with heavy weft. The second, by Mary Temple, reports on a coverlet classes reunion with guest speaker Ken Colwell, who showed slides of coverlets and his dobby loom, plus a talk on the care and preservation of old textiles.

Article by Colonel John S. Fishback on locating, interpreting and reweaving old handwritten coverlet drafts found in the mountain area where he spent summers. It includes a project for a four-shaft coverlet woven from an 1841 draft, with Lily yarn specifications, sley, threading unit divisions, tie-up notes and treadling advice ("tromp as writ"). It also reports sample lengths woven with various Lily yarns as pattern weft. Illustrations include photographs of the faded old drafts, a modern draft translation, an enlargement of the coverlet design and a photograph of the finished coverlet.

A three-page handweaving pattern leaflet on designing four-block overshot-style coverlet patterns from a key draft the author calls "Twills and Squares," taken from an old coverlet woven in green and henna handspun with a light yellow plain-weave ground. Page 1 analyzes the key draft and threading draft, explaining how twill sections and overlapping alternating blocks form odd-numbered three-thread blocks. Pages 2 and 3 give two variant key drafts, with threading and tie-up drafts and drawdowns, by Mrs. Helen Hill and Mrs. Mary E. Pearson, with suggestions on yarns, uses (drapes, upholstery, table covers, coverlets) and weaving a coverlet in two strips.

April 1936 issue of The Weaver's Quarterly (Vol. 2, No. 2) by Kate Van Cleve and Myra L. Davis, giving project instructions with drafts. It includes a chair back with Swedish Embroidery weave and a deer and tree motif, plus charts of related designs for French Tapestry and laid-in weave. It also gives a wall hanging adapted from the Rebecca Hewitt coverlet (Pomfret, Vermont, c. 1800), with warp color plan, treadling and drafts, and a cushion cover with a couch cover variation, drafted from an 1847 coverlet. Materials, sett and yarn amounts are specified for each project.

Volume 1 of a compilation of weaving papers, samples, photographs and worksheets for 21 overshot coverlets woven by Helen N. Jarvis between 1974 and 1996. Each coverlet section has a source note, photographs, planning sheets with yarn, sett and warp-length calculations, and threading and treadling drafts with section markers. Patterns include Chariot Wheels, Compass and Squares, Dog Tracks, Double Chariot Wheels, Double Compass, Pine Cone, 16 Roses, Sun, Moon and Stars, and a miniature Maltese Cross for a doll bed. Instructions for weaving an inscription into overshot or other block weaves recur in several sections. A preface explains the purpose as a head start for first-time coverlet weavers, to be used with the author's book Weaving a Traditional Coverlet.

A 1917 magazine article profiling Mrs. Finley Mast, a hand weaver at Brookside Farm in Valle Crucis, Watauga County, North Carolina. It describes her loom house, her three old looms, the coverlets, rugs and towels she weaves from farm-grown cotton, flax and wool, and traditional pattern names. It also covers her fame after the Knoxville exposition and her blue Sun, Moon and Star rugs for the Blue Mountain Room of the White House under Mrs. Woodrow Wilson. Illustrated with photographs of the White House room, the loom house and Mrs. Mast at her loom.

Mary Meis Atwater discusses the choice and design of borders for coverlets and other woven pieces, mainly in overshot. She covers plain twill borders, twill successions of blocks, and four-block diamond and five-block Russian Diaper threadings, including versions on opposites. She explains how to join border and main pattern and how border width relates to bed size. She also gives a simulated Pine Tree border for four-harness crackle weave and Pine Tree borders for summer and winter, with threading and treadling directions and drafts on three diagrams.

An illustrated survey of quilting and patchwork traditions around the world, written by Shiela Betterton for the Needle and Bobbin Club Bulletin. It traces the origins of both crafts in the East and their spread to Britain, Europe and North America. It then looks at regional traditions in northern England, Wales, Ireland, the Isle of Man, Holland, Sweden, Asia and Australasia, covering Log Cabin, crazy patchwork, Album quilts and strippy quilts. The article ends with acknowledgements and a bibliography, followed by twelve captioned plates of quilts from American, English, Welsh, Swedish and Dutch collections.

Elma A. Clark describes tufted (loop) weaving as a technique used mainly for Early American coverlets, with brief reference to Spanish confite loop weave and the Scandinavian method. She gives practical instructions for a two-harness setup on cotton warp, with blue candlewicking looped over a pointed dowel or knitting needle, plus the pick-by-pick sequence and how to count pattern squares from cross-stitch or filet patterns. She also compares cut and uncut loops and suggests uses such as rugs and bags. The scan also includes a book review of Mary Phylinda Dole's autobiography and the continuation of an article on Monk's Belt.

A 1906 magazine article describing a visit to Acadian ("Cajun") families along Vermilion Bayou in Louisiana, where women still grow cotton, spin, dye with indigo and walnut or oak bark, and weave homespun, blankets, coverlets and "Evangeline" spreads on old looms. It recounts the efforts of Miss Patte Gorham Weeks of New Iberia to find markets for the weavers' work, and profiles weavers Madame Jules and Madame Bicou-Bodreaux. It also touches on rag rugs, baskets, chairs, knitted lace, food and daily life. Illustrated with photographs of houses, a spinning wheel and a loom with striped cloth.

Illustrated catalogue of the seventh annual Little Loomhouse exhibition of Contemporary American Handwoven Textiles (1945-1946), organized as a 'Country Fair' with themed days (Governor's Day, Amateur's Day, Girl Scout Day, Hospital Day, Ladies' Day, Craftsman's Day). It shows over 100 numbered entries by individual weavers, with photographs, weaving drafts, cartoons, and brief notes on warp, weft, and sett. Items include coverlet patterns (Governor's Garden, Chariot Wheel, Whig Rose), rugs, runners, place mats, bags, scarves, and upholstery, plus laid-in and Hopi brocading, leno and spider lace, and a loom blueprint. Sections on occupational therapy weaving in hospitals and on youth and adult weaving education, a short book list, and an index are also included.

Bound set of the first four monthly Shuttle-Craft Guild Bulletins (September-December 1924) written by Mary Meigs Atwater in Cambridge, Massachusetts. They cover the economics of hand-weaving (pricing, standards of quality, consignment versus outright sales, dress-fabric production) and a co-operative plan for buying weaving materials at a 10% discount. They also include two coverlet pattern drafts with treadling (No. 1, a White Rose/Lover's Knot design from John Landes, and No. 2 from Matilda Kimball Bacon's 1820 coverlet), twelve Scotch tartan warping schemes, and notes on weaving tubing and double-width cloth. Also included are a member's directions for a homemade warping frame and a news item on a member's craft shop.

October-November 1941 issue of The Weaver, published by Emile Bernat & Sons Co. It mixes projects and technique articles for handweavers: Dukagang Christmas cards woven from cross-stitch charts, a Philadelphia Museum of Art coverlet collection with historic draft books, and Mary Atwater's article on two-warp (Finnweave-style) rugs. Other pieces cover adapting commercial fabrics, slat chair covers, crib coverlets, tweed suitings, pile rugs and towels for the bathroom, a Q&A on the lease, and M's and O's treadling variations. Many drafts, charts, and photographs are included, along with a Bernat loom advertisement.

A supplement to The Handicrafter (Vol. V, No. 4) with five short articles. Nellie Sargent Johnson traces double woven cloth from ancient Peruvian, Byzantine, Persian and Swedish examples to American colonial coverlets, and explains how to design patterns on cross-section paper for it. Josephine Weal Ryan describes chain (crochet) weaving, with scarf and jacket directions. The remaining pieces cover primitive hooked rug design (W. W. Kent), a weaving school at Sätergläntan in Sweden (Gertrude Hostrup), and Swedish embroidery weave (Myra L. Davis).

A bound run of eleven monthly Shuttle-Craft Guild Bulletins for 1935 (February is missing), written by Mary Meigs Atwater at Basin, Montana. Issues cover colonial overshot coverlets (the Fairbanks House pattern), drapery weaves, rugs, linen weaving with double-face twill, summer and winter and crackle drafts, Indian and Swedish belt looms, pre-Inca Peruvian patterns, bags, Christmas weaving, overshot treadling variations, gauze weaving, and warping and sleying. Many pages carry drafts with treadling directions, including Structo loom conversions, plus monthly materials lists and Guild news.

A bound volume of twelve monthly Shuttle-Craft Guild Bulletins for 1946, written mainly by Mary Meigs Atwater with contributions by Harriet C. Douglas. It covers summer and winter coverlets, color patterns in twills, checks, plaids and tartan setts, weaving linens, inlay and leno curtains, two-warp rugs, double weave, and Guatemalan weaves. It also covers weaving in plastic, design and proportion, luncheon mats, metallic cellophane, shawls and dickies, and weaving in Quebec and the Gran Chaco. Many pages carry drafts, tie-ups and sketches, and the bulletins include news of Guild services, suppliers and exhibits.

A bound volume of the Shuttle-Craft Guild Bulletin (Volume XXV, Basin, Montana) covering monthly issues from January to December 1948. Topics include colonial coverlet weaving as-drawn-in, Scotch tartans with thread-count setts, texture in design, damask table linens, two-harness open-work weaves, leno (cross weaves), overshot techniques, sectional chain warping, metallic wefts, an Angora ascot scarf, and four-harness damask and other pick-up weaves. Many issues include drafts, tie-ups, fabric diagrams, warp-setting tables, Guild forum letters, and a list of available back-issue bulletins.

October 1936 issue of The Weaver, published by Emile Bernat & Sons. It opens with Robert Frederic Heartz's article on "Mattor", two-shed Scandinavian-style patterns woven with alternating fine and heavy weft, with many numbered drafts and treadlings. Cornelia Stone writes on old American coverlets (bow-knot and chariot-wheel, Queen's Delight variation, Summer and Winter "Fish in the Pond") with drafts. E. N. Goodwin covers flat tapestry (Gothic, French, adapted French, Norwegian picture weaving), including tools, hatching and sewing slits. Further pieces cover a handwoven outfit on a Swedish draft, John H. Clayton's four-harness place mat and runner patterns (Orange Peel, Hope, Diamond, Maltese Cross, Church Windows, Rings and Flowers), Mary Atwater's Questions and Answers on warp dressing, and her article on Scottish tartans with thread-count setts. The issue ends with a Bernat loom advertisement.

Nine monthly issues of Mary Meigs Atwater's Shuttle-Craft Guild Bulletin for 1939 (January, February, March, May, June, September, October, November, December), written from Basin, Montana. Topics include an overshot coverlet in the 'Indian War' pattern from the Henry Ford Museum, texture and upholstery weaves, Finnweave bags, plaiting techniques for summer camps, Christmas weaving such as belts and an afghan, rug-making (pile, Soumak, tapestry), and loom accessories. Many issues include drafts, tie-ups and diagrams, along with Atwater's notes on conferences, looms, and suppliers.

A booklet of four-harness overshot coverlet drafts collected by Florence Mackley from older weavers on Cape Breton, Nova Scotia, and presented by the Little Loomhouse in Kentucky. The drafts, mostly Scottish in origin, cover chariot wheel, diamond-and-square, snowball, sunburst and bowknot patterns. Each draft page gives the donor, a threading, tie-up and treadling diagram or drawdown, warp and sett figures, and suggestions for place mats, skirts, stoles, baby shawls and drapery. Other pages explain the Scottish way of writing drafts, how to balance a draft and how to reverse the treadling, and the booklet ends with photographs of finished pieces and a cross-index.

Two-page installment of a series on textile design from The Textile Mercury, 15 March 1890. It gives new cotton plush designs for coverlets and bed spreads with pegging plans and drafts, and describes a Loongee and Dhootie border design from Rajahmundry, Madras, including its colors and silk and gold thread ornament. It then explains how to arrange figures in a repeat square, with Diagram A and Figures 10 and 11, and gives Design 56 as a way to work out Figure 10 using warp- and weft-flush effects.

Cornelia Stone describes double weaving on eight harnesses, based on directions in an 1849 Baltimore instruction book by Abslam Hecht headed "Draft for Double Coverlets and Carpets." She explains her trial threadings, the 16-treadle complete tie-up and her reduced ten-treadle version, and gives details of a drapery fabric in John Landes pattern No. 63 doubled, woven in natural and red linen. The second page carries the drafts, including complete and short tie-ups and the Hecht drafts. The scan also includes the end of a rebuttal piece, "It's Pretty—But Is It 'Art?'"

Handwritten draught and cording book of Cyrus Uhler of Lebanon, Pennsylvania, dated 1830. It consists almost entirely of hand-drawn weaving drafts and drawdowns, many with pattern names and numbers (e.g. Snowballs, Rose Cording, Table Lever Cording, Mad Dog, Patch Work) and German-language notes on threadings, tie-ups, treadling and Jacquard-type setups. Some pages bear dates or signatures, including an 1821 cartouche. The scan is a digital reproduction from Lebanon Valley College's Hiram Herr Shenk Collection, prepared by Ralph Griswold in 1999.

A short 1939 article in which weaving teacher Elizabeth Roberts argues for displaying handwoven textiles in room settings with period furniture rather than in glass cases. She describes her pupils' annual exhibit in a local Art Association gallery, with living room, dining room and bedroom groupings and upholstery and drapes woven in class. A separate gallery held coverlets woven over a century earlier, and she recommends the approach to weavers selling commercially. Photographs of the displays accompany the text.

A two-page article from Handweaving News (April 1945) by Nellie S. Johnson presenting four-harness Colonial coverlet patterns adapted as overshot rugs. It centers on Sample No.20, "Reflections," and gives key drafts and threading drafts (Figures 2-5) with star, diamond and table figures. Instructions cover warp and sett for a coverlet and a rug, thread counts, treadling sequences for each figure, and how to adjust for rising-harness looms. It ends with an announcement of a summer weaving class at Wayne University.

A one-page question-and-answer column by Mary M. Atwater from The Weaver, 1936. It covers four reader questions: the selling price of old coverlets, transposing six-treadle tie-up directions to a four-treadle loom (with a conversion table for treadle and rising-shed looms), whether Bronson (spot) weave toweling needs weft identical to the linen warp, and yarn quantities per square yard of plain tabby fabric for several Bernat yarns.

An article describing the October 1937 exhibition Kentucky Handweavings by Lou Tate at the J. B. Speed Memorial Museum in Louisville. It covers her research into early Kentucky drafts and coverlets, the old equipment displayed, and her modern tapestries and heraldic weavings. It also notes Kentucky's weaving history, the exhibit's demonstrations and talks, and a quoted Courier-Journal review. Illustrated with photographs of the exhibit and woven pieces.