A short article from The Weaver in which Vera N. Carr describes furnishing a converted garage studio in Florida with handwoven items. She gives the warp setup (15 ends per inch, 568 threads in black, tangerine, yellow and jute) for draperies woven in a Monk's Belt block draft with four-thread twill stripes, woven as tabby with hand-laid-in figures. She also describes a jute cushion for a wicker chair and a padded box stool. The scan includes a multilingual glossary of weaving terms (English, Swedish, Norwegian, Danish, French, German, Dutch) and Monk's Belt tie-up and threading drafts.

Spring 1962 issue of Shuttle, a booklet-format newsletter for rug and hand weavers, apparently produced for Maysville warp and filler users. It opens with Alice K. Cripps's article on the Norwegian way of using Monk's Belt borders, with treadling samplers and patterns A to E, followed by the Cripps 'Partnership Pattern', a 2-harness rug threading with borders for state fair entries. The rest is reader letters, questions and answers, sewing rug strips together, photos of weavers and prize-winning rugs, a story of a widow who built her own loom, and a striped warp called the Kansas web.

November 1977 issue of Warp & Weft, the monthly newsletter of Robin & Russ Handweavers in McMinnville, Oregon. It includes the editor's report on a European buying trip, a review of Monograph #30 'Creative Monk's Belt', and two projects with drafts: a White Delight drapery fabric with irregular sleying and a sheer plain-weave casement cloth. The issue also has a cover photograph note on a wool roving piece, classified ads for yarns, books and looms, and announcements of 1978 workshops and a weaving tour of England and Switzerland.

April 1984 issue of Warp & Weft, a monthly published by Robin & Russ Handweavers of McMinnville, Oregon. It includes the editor's column on yarn stock, a cover photograph note on an Op Art doubleweave pick-up piece, and a monk's belt overshot fabric in silk noil and wool with a draft, treadling, yarn details and cost per yard. It also has reviews of John Tovey's The Technique of Weaving and Kathleen Kinder's Techniques in Machine Knitting, plus several pages of classified yarn advertisements.

An article by Marguerite P. Davison on Monk's Belt and related small-pattern weaves such as Rose Path, Honeysuckle and Swedish Point with Twill. It gives the history and Scandinavian sources of the designs, the warp and yarn standards used for the sample illustrations, and an explanation of the draft notation. Handwritten drafts are labeled as plates (A, C, D+E, F, G) and drawn from Maria Collin, Hulda Peter, Johann Schleelein and Caroline Halvorsen. Photographic plates show numbered woven samples. The scan ends with a book review of Mary Phylinda Dole's autobiography and a continuation of an article on tufted weaving.

February 1965 issue of Warp and Weft, a monthly handweaving newsletter from Robin & Russ Handweavers in McMinnville, Oregon. It gives a full project for a 4-shaft Monk's Belt in mercerized ramie with copper guimpe, including threading, tie-up, treadling, reed, and a yarn cost breakdown, plus a second project for a warp-faced Monk's Belt place-mat in linen. Also includes the editor's column about the Pacific Northwest Weaving Conference in Portland, a review of Jacqueline Enthoven's 'The Stitches of Creative Embroidery', a note on the Belgian tapestry in the United Nations building, a conference registration slip, and classified and display ads for yarns and equipment.

An article by Agnes K. Nielsen explaining how to imitate two-block four-harness patterns on a two-harness loom, using two colored shuttles and alternating blocks instead of tabby. It gives threading and treadling directions for five patterns: Lasting Beauty, Four O'Clock, Queen's Patch, Sugar Loaf or Window Sash, and Monk's Belt. It also covers warp setts, special sleying for Monk's Belt, an inlaid-center Monk's Belt variation, a rug layout based on Lasting Beauty, and suggestions for draperies and furnishings. Photographs of woven samples made at King's Park State Hospital illustrate the patterns.

September 1984 issue of Warp and Weft, a monthly published by Robin & Russ Handweavers of McMinnville, Oregon. It includes the editor's column on new yarn purchases and a new six-head winding machine, a cover feature on a Friendship Quilt of overshot squares woven by the Greater Vancouver Weavers and Spinners, and a full draft and cost breakdown for a Swedish Monk's Belt in linen. Two book reviews cover Hetty Wickens's Natural Dyes for Spinners and Weavers and Tiny Zwaal-Lint's Bobbin Lace Patterns, followed by classified ads and marketplace notices for yarns and books.

Issue of The Weaver (July-August 1941), published by Emile Bernat & Sons, with articles on handweaving. Mary M. Atwater describes a warp-face technique for reproducing ancient Peruvian and Mexican belt motifs, and replies to Anni Albers' views on handweaving. Marguerite P. Davison presents Monk's Belt and related Scandinavian small designs with plates of drafts and woven samples (twill with dot, Swedish Point with twill, flat weave). Other pieces cover entering a warp single-handed, weaving at summer camp, tufted weaving, double weaving on eight harnesses from an 1849 Baltimore manual, WPA hand-loomed linen in Accomack County, Virginia, a book review, and a Bernat loom advertisement.

Issue of The Handicrafter (January/February 1932), a U.S. craft magazine published by Emile Bernat & Sons. Weaving content includes Agnes K. Nielsen's directions for weaving four-harness block patterns (Monk's Belt, Queen's Patch, Lasting Beauty, Four O'Clock, Sugar Loaf/Window Sash) on a two-harness loom, with treadling sequences and drafts. Luther Hooper's article covers the history and technique of tapestry weaving, with loom construction drawings. Ruby V. Harstine writes on crackle-weave runners and towels and a Swedish Jämtland pattern, with drafts and treadling. The issue also has non-weaving crafts (Mimbres-style pottery, a New Mexico wood-carver, pewter work, paper lamp shades, coping saw work), a note on a tapestry school in New York, book reviews including Atwater's Shuttlecraft Recipe Book, and loom advertisements.

Issue of The Looming Arts, a small bimonthly handweaving newsletter published by Mary Pendleton of The Pendleton Shop in Sedona, Arizona. It includes a drapery fabric project in rayon on a Monk's Belt-type four-shaft threading with threading draft, tie-up, and three alternate weft treadlings. Other items cover a straight-line handwoven dress and stole with crocheted yoke and edging instructions, a reader letter from South Africa describing a warping method with weights, tips on winding bobbins and flat stick shuttles, notes on spinning and natural dyeing, an essay on creativity in crafts by Maud R. Hardman, yarn offerings, summer class plans, and local advertisements.

A 1931 article from The Handicrafter by R. F. Heartz on alternative treadlings for overshot drafts, inspired by Scandinavian practice. It covers the Pine Cone pattern and Monk's Belt drafts, with treadling directions for a lace-like effect (pattern weft treadled singly with tabby only between blocks) and for building colored blocks on a plain-weave ground. It includes materials and sett suggestions (fine cotton warp at 32 epi, Perle cotton wefts), draft figures and photographs of sample fabrics.

Mary M. Atwater's 1937 article on pattern weaving in overshot on six harnesses. She covers using the two extra harnesses for tabby borders around four-harness overshot, six-block patterns (a six-block Lovers' Knot, Diamond and Chariot-Wheel), and overshot woven "on opposites" written for six harnesses, which gives a reversible fabric with stars on one side and roses on the other. Drafts and tie-ups are given, including the 'John Landes' pattern with warp arrangements for a coverlet strip and a pillow top, plus a Monk's Belt stripe arrangement. The scan also includes the end of a different article and a Questions and Answers column.

A 1932 Handicrafter article by Agnes K. Nielsen explaining how to weave two-block patterns on two small frame looms, the Daga (slotted metal rack) and the Kircher (wooden reed with pegged warp boards). It gives written warping and weaving instructions for patterns including Lasting Beauty, Four O'Clock, Pattern No. 1 and No. 2, Queen's Patch, Sugar Loaf (Window Sash) and Monk's Belt, using two shuttles in a dark and light alternation. Photographs show the finished squares and runners, which were woven at King's Park State Hospital, and the materials used are noted (carpet warp, perle cotton, novelty yarn, rayon).

Issue of Lily Weaving Suggestions (Belding Lily Company) devoted to handwoven pillows, with four projects by different weavers. They are a diagonal-fold pillow woven as a single strip on carpet warp, a textured floor pillow built up with mixed yarns, soumak and rya, a three-layer floor pillow in pearl cotton and jute, and a Monk's Belt pillow with color-coordinated warp stripes. Each gives yarn article numbers, sett, warp and weft directions, and sewing and finishing instructions; the Monk's Belt project includes a four-shaft tie-up and treadling for sinking and rising sheds.

A set of instructional weaving packets by Elmer W. Hickman (Homecraft Weaving Service, Emlenton, Pennsylvania) on Scandinavian art weaving, the 'laid-in' bobbin techniques woven on a loom. It covers bobbin winding, Monk's Belt, Krokbragd, Rosengang (Rosepath) with Swedish pine tree designs, Flossa, Rya and Sniljeflossa pile weaves, Arrow and Lightning weave, Aklae, Dukagang and Krabbasnar/Half-Krabba. Each section gives warp and weft yarn recommendations, threading, sleying and treadling directions, figures of techniques and tools, and many drafts and charted designs. Sample cards, supply sources and the author's commentary ('Tabby Talk') are included.

Bound volume of the 1962 (Vol. XIX) issues of Loom Music, the handweaving newsletter edited by Ethel Henderson (Winnipeg) and Mary Sandin (Edmonton). It covers the year's themes: a table linen issue with four-shaft and 16-harness place mats, wool suiting and coating weaves, Monk's Belt and Halkrus, a drapery/bedcover design, belts, braids and bags, the Banff summer school, Christmas small articles, and weft-faced Rosepath wall hangings. Most issues give full drafts, tie-ups, treadlings, yarn details and making-up directions. The volume also includes news of weavers, a correspondence course ad, natural dyeing with blueberries, and an annual index.

A bulletin from Lily Mills showing how weavers can keep records of their work on notebook record sheets. Five sample records give warp and weft yarns, sett, width in reed, threading and treadling for a twill/basket weave drapery, a summer and winter cushion cover (Stars and Roses), a Monk's Belt overshot place mat, a warp-face Log Cabin place mat, and an Isles of the Sea crackle place mat. The records are by Mary Virginia Munford and Rupert Peters, and the back page is a Lily Mills yarn advertisement.

A one-page question-and-answer column by Mary M. Atwater explaining the difference between 'patterns on opposites' and 'weaving on opposites.' She describes how overshot blocks written on opposite sheds (such as Monk's Belt and Pine Bloom) behave, then gives the method of weaving any overshot or summer and winter threading on opposites, with background-color shots on the opposite shed, optional tabby, and use of a template.

Berta Frey's article describes adapting summer-and-winter weaving to modern design by combining blocks and picking up parts of the pattern on a four-harness loom. She explains two samplers (X and Y) woven in stripes, giving lever sequences for tabby-bound and opposite-bound weaving, woven singly or in pairs, and how to bring the shuttle out and back into the shed to pick up blocks. She discusses designing from a draft versus fitting a draft to a design, using examples such as a bath mat and rug, a Monk's Belt foot stool upholstery, and suggestions for rug, luncheon set and silk-and-cellophane materials. Pages include drafts and pattern figures and photographs of the sampler cloths.

A Lily Mills Company instruction booklet for weaving on a two-harness 14-inch table loom, in four sections. It covers lace techniques (leno, Spanish lace, Danish medallion, Brooks Bouquet, pick-up Bronson lace) with a sampler and six place mats, simple inlay (squares, rectangles, diamonds, designs), Monk's Belt mats, and Dukagang mats. It gives step-by-step directions, weaving plans, yarn specifications (Lily mercerized and unmercerized cottons and floss), and many diagrams and pick-up grids.

An issue of Practical Weaving Suggestions (Lily Mills) in which Virginia M. West explains honeycomb as a treadling method on a Monk's Belt-style two-block threading and presents four projects with yarn, color, and treadling directions. The projects are a bedspread, five sofa pillow designs, three drapery designs adapted from a Swedish Gagnefkrus draft in Palmgren's Vavbok, and two upholstery fabrics. It closes with sections on weaving honeycomb on Summer and Winter and on Overshot or Crackle, including a student's metallic evening purse sample.

A Belding Lily Company booklet by Sylvia Domingo Pocock explaining how to combine two four-harness threadings (for example overshot with Summer and Winter, or Monks Belt, or Bronson) into a single eight-harness threading, so that either original draft can be woven without rethreading. It gives step-by-step instructions for building the integrated threading, the equivalent tie-ups and the treadling. Project directions follow with materials, sett and treadling for a sampler, Christmas runner, Jeanne's runner, Monks Belt and Summer and Winter runners, and a Bronson and overshot piece. It closes with a woven quilt that uses the same method with thirteen and seventeen harnesses.

Issue of The Handicrafter (May/June 1932), a general craft magazine with a strong weaving component. The lead article by Agnes K. Nielsen gives warping and weaving directions for block patterns (Lasting Beauty, Four O'Clock, Queen's Patch, Sugar Loaf, Monk's Belt) on the Daga and Kircher looms. Other textile content includes card (cardboard loom) tapestry weaving for camp girls, and R. F. Heartz's analysis of a sixteenth-century Spanish overshot linen with a draft and treadling table. The issue also covers marionettes, leather tinting and a leather scrap cushion, batik, clay preparation, envelope-lining crafts, book reviews, and knitting and crochet instructions for sweaters, plus loom and supply advertisements.

Bound volume of the 1960 issues (Vol. XVII, Nos. 1-10) of Loom Music, a handweaving periodical edited by Mary Sandin of Edmonton and Ethel Henderson of Winnipeg. Issues give detailed project instructions with drafts, tie-ups, treadling, yarn sources and costs. Projects include table linens (warp pattern, Bronson lace, 8-harness linen mat), warp and weft painting, Monk's Belt, an 8-harness drapery, padded double weave upholstery, silk jacket lengths and Roman stripe dress material, a Guatemalan girdle weave, summer and winter bag, apron and place mat, overshot coverlet drafts, Christmas gifts and a 6-harness warp weave. Also includes announcements about Malin Selander's visit, notes on Banff School of Fine Arts weaving courses, a book review and an annual index.

Mary M. Atwater argues that American handweavers should stop relying on written treadling directions and instead weave four-harness overshot patterns "as drawn in," following the order of the threading blocks. She explains how to find the tabby sheds, identify pattern blocks, and use the diagonal line as a guide. She also covers developing a draft on cross-section paper, weaving "on opposites" with two wefts, the "rose-fashion" variation (Lovers' Knot becoming Whig Rose), and small accidental blocks in patterns like Monk's Belt. Three diagrams illustrate the methods.

An August 1938 Handweaving News article by Nellie Sargent Johnson on designing four-harness threading drafts for two-block patterns from a simple 'key draft' on cross-section paper. It shows how one key draft can be turned into Colonial overshot threadings using only the 1&2 and 3&4 blocks, and into M's and O's threadings, with the Monk's Belt plan as the main example. It covers unit sizes, repeats and centers, tie-up, weaving order, and the origin of the M's and O's name, with eight figures of drafts and drawdowns.

An issue of Practical Weaving Suggestions (Lily Mills) in which Geraldine Woods presents a set of handwoven summer cotton garments for timid weavers: peasant-style skirts, a plaid dress, and dress yardage in small checks and all-over spot patterns. Each project has a draft sheet giving warp and weft yarns (Lily Art. 114 Pearl Cotton 20/2 and Art. 215 Super-Sheen 50/3), color numbers, sett, ends per dent, width, and treadling notes, with threading and draw-down grids. Projects use overshot (Monk's Belt border), 8-harness twill, Hound's Tooth twill, tabby and twill combinations, and a 10-harness spot variation.

Article describing Sätergläntan, a weaving school in Dalecarlia, Sweden, run by the Misses Vilma and Elsa Långbers near Lake Insjön. It covers the school's setting, its revival of old Dalecarlian patterns and plant dyeing, and includes a 1793 Sollerö parish law regulating peasant costume materials. The article is followed by forty numbered photographs of woven samples (rose-step, geese-eye curve, monk's belt, Leksand pattern, in-woven and hand embroidery, rugs) with captions, but no threading drafts.

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.

Volume 1 (April 1956 to February 1959) of Loom Craft (later Loomcraft), a quarterly British handweaving magazine published by the Cathedral Weaving Centre in Canterbury and edited by Margaret A. Norris and later Margaret Harris. Issues mix practical projects (towels, stoles, bath mats, curtains, rush mats, tweeds, Swedish lace, texture weaves) with threading drafts and heddle-lifting sequences for four-shaft pedal looms. They also carry a beginners' series on rigid-heddle weaving, yarn count explanations, advice on selling woven goods, book reviews, reader letters, summer school notices, and classified ads and yarn price lists.

A bound set of 1940 Shuttle-Craft Guild Bulletins by Mary Meigs Atwater, covering May through December. Issues cover texture and pattern drapery drafts, upholstery fabrics, Scotch tartan setts, Russian linen weave, a Finnish-type twill weave with inset pattern, a saddle-blanket tufting technique, a Monk's Belt hood, and a lace-weave baby shawl. Atwater also reports on her summer 1940 weaving institutes and gives loom-care advice. Many pages carry handwritten drafts with tie-ups and treadling.

A 1930s English instruction book on pattern weaving for weavers moving beyond basic school weaving. It explains how to read and write drafts (including Danish drafts and numeric notation), build patterns, and thread table and pedal looms. It then gives threadings, tie-ups and pedalling for traditional four-shaft patterns (Honeysuckle, Monksbelt, Buttercup, Extended Diamond, Solomon's Delight, Dog Tracks, Cleveland Web, Sweetbrier Beauty), twill weaves, tweeds, basket and honeycomb weaves, and Betsy Ross, M's and O's. It closes with experiments on 2 to 6 shafts and advanced pattern work. Samplers and projects (pochettes, runners, scarves, towels, cushion covers) are described with warp, weft and weaving instructions and shown in photographic plates.

Bound volume of Loom Music for 1958 (Vol. XV, ten monthly issues), edited by Mary Sandin (Edmonton) and Ethel Henderson (Winnipeg), with a 1958 index at the end. Issues cover table linens (a Cannelé-style bordered mat, a Finnish 8-harness Summer and Winter 'Snowflakes' pattern), overshot 'as drawn in' and 'rose fashion' treadling, the Canadian boutonné loop technique and coverlets, clothing fabrics and a reference list of popular twills, rosepath skirts, crackle weave, Banff summer weaving courses with Monk's Belt place pieces, embroidery techniques on the loom, and Christmas book marks and a card-woven tie. Many pages carry threading drafts, treadling directions, warp and color plans, and photographs.

A bound run of the 1929 Shuttle-Craft Bulletin by Mary Meigs Atwater, starting with No. 52 (January 1929) and continuing through the year's monthly issues, with a printed index. The January issue covers coverlet planning (pattern, color, materials, quantities) and coverlet fringes. Later issues include a simple weave for draperies, clothing fabrics, an April article "Twills and Twills" on twill tie-ups and variations, linen towels, window curtains, Scandinavian-style overshot patterns, modernistic threadings for bags and upholstery, Monk's belt, design and color advice, Guild notes, and three new rug patterns. Many pages carry drafts, tie-ups and treadling sequences.

An issue of Practical Weaving Suggestions by Elmer W. Hickman on weaving cushions in the Scandinavian bound weaving (bunden vavning) technique, in which weft completely covers the warp to give a tapestry-like fabric. It gives general advice on warp, sett, weft yarns, finishing and pillow forms. It then offers instructions and drafts for five cushion designs: Bargello, Scania, Aurora Borealis, Domino and Moderne. Each includes warp and weft specifications, sley, treadling and color suggestions, using Lily Mills yarns.

Part II of Volume VI, No. 1 of Handicrafter, a handweaving periodical. It opens with Mary M. Atwater's instructions for Finnweave, a double-plain cloth woven on four harnesses with a pattern stick, round stick and shed-stick, with diagrams and a bag pattern. Other articles cover Maria Steinhof on modern, experimental approaches to weaving, Dorothy Milne Rising on unusual color schemes and an embroidered buffet runner, and Marie Olsen on the Säterglåntan weaving school in Dalecarlia, Sweden, with a photographic section of rose-step, geese-eye, monk's belt and Leksand patterns. Lucy Morgan's Penland Institute article gives pillow-top drafts and treadling for pine tree and snowball double weave, Whig Rose, Spring Flowers and crackle weave. The issue ends with a Bernat yarn advertisement.

Volume III (1946) of Loom Music, a monthly weaving bulletin written by Mary Sandin (Edmonton) and Ethel Henderson (Winnipeg), covering issues 1 to 12 with an annual index. Issues give complete drafts, warp and weft details, treadling and sources for projects: a Swedish overshot table square, handwoven suitings and plaids, miniature Whig Rose, Barley Corn weave towels and lace, twill Christmas gifts and bags, name-formula drafts, Bronson tea cloth, Monk's Belt head squares and bags, warp-face and weft-face rugs, and blankets and robes. Also includes articles on loom check-ups, a weaving equipment file, color theory, rug knots and Oriental rug classification, the 1946 Banff summer school, and a wool mill visit, with supplier addresses and prices.

The complete 1956 volume (Vol. XIII, nos. 1-10, January-December) of Loom Music, a handweaving newsletter by Mary Sandin (Edmonton) and Ethel Henderson (Winnipeg). Each issue gives project instructions with threading drafts, tie-ups and treadlings for table settings, coating and suiting yardages, aprons, sheer curtains, drapery, open-work leno and Spanish stitch, Christmas scarves, crackle and Summer and Winter place mats and upholstery, and towels and bath mats. It also contains yarn sources, book recommendations and reviews, Banff School of Fine Arts notes, a theory piece on 2-block weaves, practical hints on mending and hems, and a closing annual index.

Instructions by Mrs. Gordon C. MacDonald for weaving a four-harness sampler that combines eleven threadings on one warp, each with its classic tie-up and treadling, plus further treadlings on other tie-ups. It gives the warp and weft specifications (Lily mercerized pearl cotton, 40-inch and 30-inch widths), warping sequence, heddle counts, short threading drafts, tie-ups for counterbalance and jack looms, and treadling sequences. A foldout chart shows the finished sampler layout.

A bound volume of the 1930 Shuttle-Craft Bulletin, Mary Meigs Atwater's monthly newsletter for Shuttle-Craft Guild members, running from No. 64 (January) through December 1930. Issues cover a plan for weaving for profit and a cooperative selling group, warp-pile and tufted rug weaving, the new 'Garden Wall' crackle weave pattern and other crackle weave drafts, pick-up weaving (Monk's Belt, Sugar-loaf), Christmas weaving, and linen towels. Many pages carry drafts, treadlings, and Structo loom transpositions, along with Guild news, travelling exhibit notices, and bargain yarn offers.

Article describing a WPA service center in Accomack County, Virginia, where women were trained to weave linen from domestic flax. It covers the center's founding, the colonial history of flax and linen in the Chesapeake region, and the adaptation of traditional patterns such as morning glory, N & O, honeysuckle, star of Bethlehem and monk's belt. It also describes original named patterns (World's Fair, Hyde Park, Accomack) and orders for institutions and notable customers, including the Presidential yacht and the Hyde Park library. Halftone photographs show sample textiles, with a key listing weave names and uses.

A 1941 essay arguing that weavers should design from the color and texture of their materials rather than from traditional pattern drafts. It explains visual and tactile texture, and how to keep a thread's own character visible in cloth by weaving it loosely, in tabby, or anchored to a plain back fabric on double-cloth principles. It criticizes pattern weaves such as Summer and Winter and Monksbelt for hiding thread texture. Five photographs illustrate textured threads and fabrics, including linen, silk, and jute chenille.

Dryad Leaflet No. 89 gives instructions for assembling, warping, threading and weaving on Dryad four-shaft table looms: the Wendy Loom W170, Table Loom W42, Cottage Loom W41A, and the W205 foot-power stand adaptation. It covers heddle preparation, calculating heddle counts, making wool and cotton warps on a warping frame, mounting the warp, threading, and weaving technique. Drafts are given for Rose Path, Honeysuckle and Monk's Belt, with foot-power pedal tie-ups and treadling orders for borders. Line diagrams illustrate the looms, warping frame, spool rack and raddle.

A 1931 Handicrafter article by Paul Bernat reviewing an exhibit of the St. Louis Guild of Weavers, which grew out of the weaving class at the St. Louis School of Fine Arts taught by Lillian Glaser. It describes the guild's teaching approach and the range of work shown, including wall hangings, tapestries, coverlets, table runners, cushions, samplers and bags. Captioned photographs give warp, weft and pattern materials and threadings such as Rosengang, Dukagang, embroidery weave and Monk's Belt. The article closes with general comments on the history and aesthetics of tapestry.

June 1983 issue of the monthly Warp and Weft from Robin & Russ Handweavers, McMinnville, Oregon. It includes the editor's note on a buying trip to Europe, a cover-photo analysis of a boundweave rug (overshot threading resembling double-pointed Krokbragd), and reviews of Clotilde Barrett's Boundweaves and Pamela Thompson's Hairpin Crochet. The "Lavender Light" fabric project gives a four-shaft, six-treadle tie-up, threading draft, warp and weft details, treadling, variations and yarn costs. The issue ends with classified yarn advertisements and an Oregon Trail Loom ad.

January 1984 issue of Warp & Weft, a monthly published by Robin & Russ Handweavers of McMinnville, Oregon. It includes the editor's account of a trip to England to visit bobbin lace publisher Ruth Bean and buy antique lace bobbins, a cover note on an alpaca monk's belt jacket and hat, and the monthly fabric sample "Cherry Jubilee", a waffleweave-based cotton cloth with a tie-up, threading, treadling, yarn details and cost per yard. Book reviews cover Noemi Speiser's The Manual of Braiding and Carol Strickler's A Portfolio of American Coverlets, volumes 3-5. The rest is yarn classified ads and a marketplace page of weaving and lace books.

A collection of pattern leaflets by Mary Meigs Atwater for the Structo Mfg. Co. of Freeport, Illinois, giving threading drafts and lever-by-lever weaving directions for the Structo 600 four-harness loom. It opens with a group of small threadings (twill, dornick, bird-eye, goose-eye, Bronson, Ms and Os, huck), then covers numbered coverlet-style patterns such as Honeysuckle, The Diamond (with Holland Chain and Rose in the Wilderness treadlings), Monk's Belt, Lovers' Knot and White Rose, a Summer and Winter arrangement, Double Chariot-Wheels, Double Bow-Knot, Nine Snow-Balls, Governor's Garden, Queen's Delight and Solomon's Delight. Each gives heddle counts per harness, thread counts, tabby sheds, and notes on colors and uses.

Volume XXI (1964) of Loom Music, a monthly handweaving bulletin by Mary Sandin (Edmonton) and Ethel Henderson (Calgary), bound as ten issues with an index. It gives project instructions with warp, threading, tie-up and treadling details for counterbalanced and rising shed looms. Projects include crackle weave place mats, huck and linen mats, summer and winter, M's and O's tea cloth, semi-circular double width table cloths, Mattor-type rainbow stripes, 8-harness polychrome and double weave, Bronson towels, Monk's belt, barleycorn lace, shadow weave from Gewebe Technik, and inlay Christmas cards and bookmarks. Wall hangings (Soumak, laid-in, Flamsk tapestry) and ecclesiastical weaving (vestments, paraments, symbols and silk sources) are also covered.

Volume 5 of Loomcraft, a quarterly handweaving magazine compiled by Olive M. Scarfe in Guernsey, bound here as twelve issues from Spring 1968 to Winter 1971. Each issue gives project instructions for four-shaft looms using mercerised cotton, wool and gimp yarns, with threading drafts, shaft and pedal lift tables, yardage and amounts, and making-up directions. Projects include cravats, toilet bags, aprons, place mats, napkins, towels, ponchos, skirts, stoles, cushion covers and bookmarkers. Weave structures include overshot, Rosepath, Huck, Log Cabin, Monk's Belt, double weave and Linen Weave. The issues also carry editorial letters, yarn and reed news with prices, reader contributions and hints such as home-made spools.