Among the several boasts of the present age one is, that of making machinery, as a working power in delicate operations, so true, as if it had been quickened with a life and will and power all its own: mechanism applied to weaving is, at least for the speed of plain work, most marvellous; and the improvements of the morrow over those of yesterday make the wonder grow. But, though having such appliances at hand, let an able well-taught designer for silken stuffs come hither, along with a skilled weaver, from Coventry, Glasgow, or Manchester, and the two will say, that for truthfulness and beauty in the drawing of the patterns, and their good renderings in the weaving, nothing of the present day is better, while much is often not so good. Yet these old stuffs before our eyes were wrought in looms so clumsy, and awkward, and helpless, that a weaver of the present day laughs at them in scorn. The man, however, who should happen to be asked to make the working drawings for several of such textiles, would fain acknowledge that he had been taught much by their study, and must strive hard before he might surpass many of them in the often crowded, yet generally clear combination of parts borrowed from beasts, birds, and flowers, all rendered with beauty and fittingness. What has been, may be done again. We know better how to dye; we have more handy mechanism. Let, then, all those who belong any-wise to the weaving trade and come hither, go home resolved to stand for the future behind no nation, either of past or present time, in the ability of weaving not only useful, but beautiful and artistic textiles. Before leaving the South Kensington Museum the master weaver may, if he wishes, convince himself that the so-called tricks of the trade are not evils of this age’s growth, but, it is likely, older than history herself. For mediæval instances of fraud in his own line of business, he will find not a few among the silks from Syria, Palermo, and the South of Spain.