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diff --git a/old/54196-0.txt b/old/54196-0.txt deleted file mode 100644 index 66f9348..0000000 --- a/old/54196-0.txt +++ /dev/null @@ -1,12201 +0,0 @@ -The Project Gutenberg EBook of The Practical Book of Oriental Rugs, by -George Griffin Lewis - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: The Practical Book of Oriental Rugs - -Author: George Griffin Lewis - -Release Date: February 19, 2017 [EBook #54196] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK ORIENTAL RUGS *** - - - - -Produced by Juliet Sutherland, Matthias Grammel and the -Online Distributed Proofreading Team at http://www.pgdp.net - - - - - - - - - - THE - PRACTICAL BOOK - OF ORIENTAL RUGS - - FOURTH EDITION - - - - - THE - PRACTICAL BOOKS - OF HOME LIFE ENRICHMENT - - _EACH PROFUSELY ILLUSTRATED, - HANDSOMELY BOUND. - Octavo. Cloth. In a slip case._ - - THE PRACTICAL BOOK - OF EARLY AMERICAN - ARTS AND CRAFTS - BY HAROLD DONALDSON EBERLEIN - AND ABBOT MCCLURE - - THE PRACTICAL BOOK - OF ARCHITECTURE - BY C. MATLACK PRICE - - THE PRACTICAL BOOK - OF ORIENTAL RUGS - BY DR. G. GRIFFIN LEWIS - NEW EDITION, REVISED AND ENLARGED - - THE PRACTICAL BOOK OF - GARDEN ARCHITECTURE - BY PHEBE WESTCOTT HUMPHREYS - - THE PRACTICAL BOOK - OF PERIOD FURNITURE - BY HAROLD DONALDSON EBERLEIN - AND ABBOT MCCLURE - - THE PRACTICAL BOOK OF - OUTDOOR ROSE GROWING - BY GEORGE C. THOMAS, JR. - NEW REVISED EDITION - - THE PRACTICAL BOOK OF - INTERIOR DECORATION - - - - - [Illustration: TEKKE BOKHARA RUG - Size 5'6" × 6'4" - PROPERTY OF MR. F. A. TURNER, BOSTON, MASS. - - This piece is unusual in many ways. The background of old - ivory both in the borders and in the field; the old rose color of the - octagons; the difference in the number of border stripes and in the - designs of same on the sides and ends are all non-Turkoman features. - It is the only so called "white Bokhara" of which we have - any knowledge.] - - - - - THE - PRACTICAL BOOK - OF ORIENTAL RUGS - - BY - DR. G. GRIFFIN LEWIS - - WITH 20 ILLUSTRATIONS IN COLOR, 93 IN DOUBLETONE - 70 DESIGNS IN LINE, CHART AND MAP - - _NEW EDITION, REVISED AND ENLARGED_ - - [Illustration: logo] - - PHILADELPHIA & LONDON - J. B. LIPPINCOTT COMPANY - - - - - COPYRIGHT, 1911, BY J. B. LIPPINCOTT COMPANY - COPYRIGHT, 1913, BY J. B. LIPPINCOTT COMPANY - - PRINTED BY J. B. LIPPINCOTT COMPANY - AT THE WASHINGTON SQUARE PRESS - PHILADELPHIA, U.S.A. - - - - -PREFACE TO THE REVISED EDITION - - -It is most gratifying to both author and publishers that the first -edition of "The Practical Book of Oriental Rugs" has been so quickly -exhausted. Its rather remarkable sale, in spite of the fact that within -the past decade, no less than seven books on the subject have been -printed in English, proves that it is the practical part of the book -that appeals to the majority. - -The second edition has been prepared with the same practical idea -paramount and quite a few new features have been introduced. - -The color plates have been increased from ten to twenty; a chapter on -Chinese rugs has been inserted; descriptions of three more rugs have -been added and numerous changes and additions have been made to the text -in general. - - - - -PREFACE - - -Oriental rugs have become as much a necessity in our beautiful, -artistic homes as are the paintings on the walls and the various other -works of art. Their admirers are rapidly increasing, and with this -increased interest there is naturally an increased demand for more -reliable information regarding them. - -The aim of the present writer has been practical--no such systematized -and tabulated information regarding each variety of rug in the market -has previously been attempted. The particulars on identification by -prominent characteristics and detail of weaving, the detailed chapter -on design, illustrated throughout with text cuts, thus enabling the -reader to identify the different varieties by their patterns; and the -price per square foot at which each variety is held by retail dealers, -are features new in rug literature. Instructions are also given for -the selection, purchase, care and cleaning of rugs, as well as for the -detection of fake antiques, aniline dyes, etc. - -In furtherance of this practical idea the illustrations are not of -museum pieces and priceless specimens in the possession of wealthy -collectors, but of fine and attractive examples which with knowledge -and care can be bought in the open market to-day. These illustrations -will therefore be found of the greatest practical value to modern -purchasers. In the chapter on famous rugs some few specimens -illustrative of notable pieces have been added. - -In brief, the author has hoped to provide within reasonable limits and -at a reasonable price a volume from which purchasers of Oriental rugs -can learn in a short time all that is necessary for their guidance, -and from which dealers and connoisseurs can with the greatest ease of -reference refresh their knowledge and determine points which may be in -question. - -For many valuable hints the author wishes to acknowledge indebtedness -to the publications referred to in the bibliography; to Miss Lillian -Cole, of Sivas, Turkey; to Major P. M. Sykes, the English Consulate -General at Meshed, Persia; to B. A. Gupte, F. Z. S., Assistant Director -of Ethnography at the Indian Museum, Calcutta, India; to Prof. du -Bois-Reymond, of Shanghai, China; to Dr. John G. Wishard, of the -American Hospital at Teheran, Persia; to Miss Alice C. Bewer, of -the American Hospital at Aintab, Turkey; to Miss Annie T. Allen, of -Brousa, Turkey; to Mr. Charles C. Tracy, president of Anatolia College, -Morsovan, Turkey; to Mr. John Tyler, of Teheran, Persia; to Mr. E. L. -Harris, United States Consulate General of Smyrna, Turkey; to Dr. J. -Arthur Frank, Hamadan, Persia; and to Miss Kate G. Ainslie, of Morash, -Turkey. - -For the use of some of the plates and photographs acknowledgment is -made to Mr. A. U. Dilley, of Boston, Mass.; to H. B. Claflin & Co., of -New York City; to Mr. Charles Quill Jones, of New York City; to Miss -Lillian Cole, of Sivas, Turkey; to Maj. P. M. Sykes, of Meshed, Persia; -to Maj. L. B. Lawton, of Seneca Falls, N. Y.; to the late William E. -Curtis, of Washington, D. C.; to _The Scientific American_ and to -_Good Housekeeping_ magazines; while thanks are due Mr. A. U. Dilley, -of Boston, Mass.; to Liberty & Co., of London; to the Simplicity Co., -of Grand Rapids, Mich.; to the Tiffany Studios and to Nahigian Bros., -of Chicago, Ill., for some of the colored plates, and to Clifford & -Lawton, of New York City, for the map of the Orient. - - - - -TABLE OF CONTENTS - - - PART I - - PAGE - - INTRODUCTION 17 - - Age of the weaving art; Biblical reference to the weaving - art; a fascinating study; the artistic worth and other - advantages of the Oriental products over the domestic; - annual importation. - - I. COST AND TARIFF 25 - - Upon what depends the value; the various profits made; - transportation charges; export duties; import duties; - cost compared with that of domestic products; some - fabulous prices. - - II. DEALERS AND AUCTIONS 31 - - Oriental shrewdness; when rugs are bought by the bale; - the auction a means of disposing of poor fabrics; fake - bidders. - - III. ANTIQUES 35 - - The antique craze; why age enhances value; what constitutes - an antique; how to determine age; antiques in - the Orient; antiques in America; celebrated antiques; - American collectors; artificial aging. - - IV. ADVICE TO BUYERS 43 - - Reliable dealers; difference between Oriental and domestic - products; how to examine rugs; making selections; - selection of rugs for certain rooms. - - V. THE HYGIENE OF THE RUG 55 - - The hygienic condition of Oriental factories and homes; - condition of rugs when leaving the Orient; condition of - rugs when arriving in America; United States laws regarding - the disinfection of hides; the duties of retailers. - - VI. THE CARE OF RUGS 63 - - Erroneous ideas regarding the wearing qualities of - Oriental rugs; treatment of rugs in the Orient compared - with that in America; how and when cleaned; - how and when washed; moths; how straightened; removal - of stains, etc. - - VII. THE MATERIAL OF RUGS 69 - - Wool, goats' hair, camels' hair, cotton, silk, hemp; - preparation of the wool; spinning of the wool. - - VIII. DYES AND DYERS 75 - - Secrets of the Eastern dye pots; vegetable dyes; aniline - dyes; Persian law against the use of aniline; the - process of dyeing; favorite colors of different rug-weaving - nations; how to distinguish between vegetable and - aniline dyes; symbolism of colors; the individual dyes - and how made. - - IX. WEAVING AND WEAVERS 87 - - The present method compared with that of centuries - ago; Oriental method compared with the domestic; - pay of the weavers; the Eastern loom; the different - methods of weaving. - - X. DESIGNS AND THEIR SYMBOLISM 97 - - Oriental vs. European designs; tribal patterns; the - migration of designs; characteristics of Persian designs; - characteristics of Turkish designs; characteristics of - Caucasian designs; characteristics of Turkoman designs; - dates and inscriptions; quotations from the - Koran; description and symbolism of designs alphabetically - arranged, with an illustration of each. - - XI. THE IDENTIFICATION OF RUGS 147 - - A few characteristic features of certain rugs; table - showing the distinguishing features of all rugs; an - example. - - - PART II - - XII. GENERAL CLASSIFICATION 161 - - How they receive their names; trade names; geographical - classification of all rugs. - - XIII. PERSIAN CLASSIFICATION 169 - - Persian characteristics; the knot; the weavers; factories - in Persia; Persian rug provinces; description - of each Persian rug, as follows: Herez, Bakhshis, - Gorevan, Serapi, Kara Dagh, Kashan, Souj Bulak, - Tabriz, Bijar (Sarakhs, Lule), Kermanshah, Senna, - Feraghan (Iran), Hamadan, Ispahan (Iran), Joshaghan, - Saraband (Sarawan, Selvile), Saruk, Sultanabad - (Muskabad, Mahal, Savalan), Niris (Laristan), - Shiraz (Mecca), Herat, Khorasan, Meshed, Kirman, - Kurdistan. - - XIV. TURKISH CLASSIFICATION 217 - - The rug-making districts of Turkey in Asia; annual - importation of Turkish rugs; Turkish weavers; the - knot; Turkish characteristics; the Kurds; description - of each Turkish rug, as follows: Kir Shehr, Oushak, - Karaman, Mujur, Konieh, Ladik, Yuruk, Ak Hissar - (Aksar), Anatolian, Bergama, Ghiordes, Kulah, - Makri, Meles (Carian), Smyrna (Aidin, Brousa), - Mosul. - - XV. CAUCASIAN CLASSIFICATION 253 - - The country; the people; Caucasian characteristics; - description of each Caucasian rug, as follows: Daghestan, - Derbend, Kabistan (Kuban), Tchetchen - (Tzitzi, Chichi), Baku, Shemakha (Soumak, Kashmir), - Shirvan, Genghis (Turkman), Karabagh, Kazak. - - XVI. TURKOMAN CLASSIFICATION 277 - - Turkoman territory; Turkoman characteristics; description - of each Turkoman rug, as follows: Khiva - Bokhara (Afghan), Beshir Bokhara, Tekke Bokhara, - Yomud (Yamut), Kasghar, Yarkand, Samarkand - (Malgaran). - - XVII. BELUCHISTAN RUGS 295 - - The country; the people; Beluchistan characteristics; - description and cost of Beluchistan rugs. - - XVIII. CHINESE RUGS 301 - - Slow to grow in public favor; exorbitant prices; - geographical classification; classification according to - designs; Chinese designs and their symbolism; the - materials; the colors. - - XIX. GHILEEMS, SILKS, AND FELTS 311 - - How made; classification, characteristics, uses, - description of each kind. - - _Silks_ 316 - Classification, colors, cost, wearing qualities. - _Felts_ 318 - How made; their use; cost. - - XX. CLASSIFICATION ACCORDING TO THEIR INTENDED USE 321 - - _Prayer Rugs._ How used; the niche; designs; how classified; - prayer niche designs with key. - - _Hearth Rugs, Grave Rugs, Dowry or Wedding Rugs, - Mosque Rugs, Bath Rugs, Pillow Cases, Sample Corners, - Saddle Bags, Floor Coverings, Runners, Hangings._ - - XXI. FAMOUS RUGS 331 - - Museum collections; private collections; the recent - Metropolitan Museum exhibit; age and how determined; - description and pictures of certain famous - rugs. - - GLOSSARY 341 - - Giving all rug names and terms alphabetically arranged, - with the proper pronunciation and explanation. - - BIBLIOGRAPHY 359 - - Giving an alphabetically arranged list of all rug literature - in the English language. - - INDEX 363 - - - - -LIST OF ILLUSTRATIONS - - - RUGS - - COLORED PLATES - - PAGE - - Tekke Bokhara rug _Frontispiece_ - - Meshed prayer rug 22 - - Khorasan carpet 32 - - Saruk rug 40 - - Shiraz rug 52 - - Anatolian mat 60 - - Ghiordes prayer rug 66 - - Ladik prayer rug 74 - - Daghestan rug 84 - - Kazak rug 94 - - Kazak rug 144 - - Shirvan rug 158 - - Saruk rug 166 - - Kulah hearth rug 216 - - Shirvan rug 250 - - Beshir Bokhara prayer rug 274 - - Daghestan prayer rug 292 - - Chinese rug 300 - - Chinese rug 306 - - Chinese cushion rug 318 - - - DOUBLETONES - - The Metropolitan animal rug 26 - - Bergama prayer rug 46 - - Symbolic Persian silk (Tabriz) rug 48 - - Symbolic Persian silk rug 98 - - Semi-Persian rug (European designs) 100 - - Shiraz prayer rug 104 - - Hamadan rug 110 - - Feraghan rug 114 - - Kermanshah rug (modern) 118 - - Khiva prayer rug 120 - - Kir Shehr prayer rug 130 - - Konieh prayer rug 138 - - Tekke Bokhara strip 150 - - Tekke Bokhara saddle half 162 - - Herez carpet 172 - - Gorevan carpet 176 - - Serapi carpet 178 - - Kashan silk rug 180 - - Tabriz rug 182 - - Bijar rug 186 - - Senna rug 188 - - Feraghan rug 190 - - Hamadan rug 192 - - Ispahan rug 194 - - Saraband rug 198 - - Mahal carpet 202 - - Niris rug 204 - - Shiraz rug 206 - - Shiraz rug 208 - - Kirman prayer rug 210 - - Kirman rug 212 - - Kurdistan rug (Mina Khani design) 214 - - Kir Shehr prayer rug 220 - - Kir Shehr hearth rug 222 - - Konieh prayer rug 224 - - Maden (Mujur) prayer rug 226 - - Ladik prayer rug 228 - - Yuruk rug 230 - - Ak Hissar prayer rug 232 - - Bergama rug 236 - - Ghiordes prayer rug 238 - - Kulah prayer rug 240 - - Meles rug 242 - - Meles rug 244 - - Makri rug 246 - - Mosul rug 248 - - Daghestan rug 254 - - Daghestan prayer rug 256 - - Kabistan rug 258 - - Tchetchen or Chichi rug 260 - - Baku rug 262 - - Shemakha, Sumak or Cashmere rug 264 - - Shirvan rug 266 - - Genghis rug 268 - - Karabagh rug 270 - - Kazak rug (Palace design) 272 - - Khiva Bokhara rug 278 - - Beshir Bokhara rug 280 - - Tekke Bokhara rug 282 - - Tekke Bokhara (Princess Bokhara, Khatchlie) prayer rug 284 - - Yomud rug 286 - - Samarkand rug 290 - - Beluchistan rug 296 - - Senna Ghileem rug 312 - - Kurdish Ghileem rug 314 - - Merve Ghileem rug 316 - - Kurdish Ghileem rug 316 - - Saddle cloth, saddle bags and powder bag 324 - - Kirman saddle bags 326 - - Bijar sample corner 328 - - Ardebil Mosque carpet 330 - - Berlin Dragon and Phœnix rug 332 - - East Indian hunting rug 334 - - The Altman prayer rug 336 - - The Baker hunting rug 338 - - - RUG MAKING, ETC. - - A Persian rug merchant 38 - - Expert weaver and inspector 38 - - Spinning the wool 72 - - Persian dye pots 80 - - A Persian village 80 - - A Turkish loom 88 - - The Senna and Ghiordes knots 90 - - Youthful weavers 90 - - A Persian loom 92 - - A wooden comb 92 - - A Kurdish guard 124 - - The Emir of Bokhara and his ministers 134 - - Turkomans at home 134 - - Characteristic backs of rugs 152 - - Inspecting rugs at Ispahan 170 - - Persian villages near Hamadan 170 - - Turkomans 276 - - Having a pot of tea at Bokhara 288 - - A street in Samarkand 288 - - The rug caravan 376 - - - DESIGNS - - Angular hook 101 - - Barber-pole stripe 102 - - Bat 103 - - Beetle 103 - - Butterfly border design 104 - - Caucasian border design 105 - - Chichi border design 105 - - Chinese fret 106 - - Chinese cloud band 106 - - Comb 108 - - Crab border design 108 - - Greek cross 109 - - Fish bone border design 112 - - Galley border design 112 - - Georgian border design 112 - - Ghiordes border design 113 - - Herati border design 114 - - Herati field design 114 - - Knot of destiny 116 - - Kulah border design 116 - - Lamp 117 - - Lattice field 117 - - Link 118 - - Lotus 118 - - Lotus border design 119 - - Greek meander 119 - - Pole medallion 120 - - Mir or Saraband border design 120 - - Octagon 122 - - Palace or sunburst 122 - - Pear 123 - - Pear border design 124 - - Reciprocal saw-teeth 126 - - Reciprocal trefoil 126 - - Lily or Rhodian field design 126 - - Lily or Rhodian border design 126 - - Ribbon border design 127 - - Rooster 127 - - Rosette 128 - - S forms 129 - - Scorpion border design 129 - - Shirvan border design 130 - - Shou 131 - - Solomon's seal 131 - - Star 133 - - Swastika 134 - - T forms 134 - - Tae-kieh 135 - - Tarantula 135 - - Tekke border designs 135 - - Tekke field designs 135 - - Tomoye 136 - - Tortoise border designs 136 - - Tree designs 137 - - Wine-glass border designs 138 - - Winged disc 139 - - Y forms 139 - - Various forms of prayer-niche in rugs 322 - - - NAMELESS DESIGNS - - Persian border designs 140 - - Turkish border designs 141 - - Caucasian border designs 142 - - Turkoman border designs 143 - - Chinese border designs 143 - - Chinese field design 143 - - Kurdish field designs 143 - - Caucasian field design 143 - - Turkish field designs 143 - - Persian field designs 143 - - - CHART - - Showing the distinguishing features of the different rugs 156 - - - MAP - -The Orient At end of volume - - - - -INTRODUCTION - - -Just when the art of weaving originated is an uncertainty, but there -seems to be a consensus of opinion among archæologists in general that -it was in existence earlier than the 24th century before Christ. The -first people which we have been able with certainty to associate with -this art were the ancient Egyptians. Monuments of ancient Egypt and of -Mesopotamia bear witness that the products of the hand loom date a -considerable time prior to 2400 B.C., and on the tombs of Beni-Hassan -are depicted women weaving rugs on looms very much like those of the -Orient at the present time. From ancient literature we learn that the -palaces of the Pharaohs were ornamented with rugs; that the tomb of -Cyrus, founder of the ancient Persian monarchy, was covered with a -Babylonian carpet and that Cleopatra was carried into the presence of -Cæsar wrapped in a rug of the finest texture. Ovid vividly described the -weaver's loom. In Homer's Iliad we find these words: "Thus as he spoke -he led them in and placed on couches spread with purple carpets o'er." -The woman in the Proverbs of Solomon said, "I have woven my bed with -cords, I have covered it with painted tapestry from Egypt." Job said: -"My days are swifter than the weaver's shuttle and are spent without -hope." Other places in the Bible where reference is made to the art of -weaving are, Ex. 33, 35, Sam. 17, 7, and Isa. 38, 12. Besides Biblical -writers, Plautus, Scipio, Horace, Pliny and Josephus all speak of rugs. - -The Egyptian carpets were not made of the same material and weave as are -the so-called Oriental rugs of to-day. The pile surface was not made by -tying small tufts of wool upon the warp thread. The Chinese seem to have -been the first to have made rugs in this way. Persia acquired the art -from Babylon many centuries before Christ, since which time she has held -the foremost place as a rug weaving nation. - -There is no more fascinating study than that of Oriental rugs and there -are few hobbies that claim so absorbing a devotion. To the connoisseur -it proves a veritable enchantment: to the busy man a mental salvation. -He reads from his rugs the life history of both a bygone and a living -people. A fine rug ranks second to no other creation as a work of art -and although many of them are made by semi-barbaric people, they possess -rare artistic beauty of design and execution to which the master hand of -Time puts the finishing touches. Each masterpiece has its -individuality, no two being alike, although each may be true in general -to the family patterns, and therein consists their enchantment. The -longer you study them the more they fascinate. Is it strange then that -this wonderful reproduction of colors appeals to connoisseurs and art -lovers of every country? - -Were some of the antique or even the modern pieces endowed with the gift -of speech what wonderfully interesting stories they could tell and yet -to the connoisseur the history, so to speak, of many of these gems of -the Eastern loom is plainly legible in their weave, designs and colors. -The family or tribal legends worked out in the patterns, the religious -or ethical meaning of the blended colors, the death of a weaver before -the completion of his work, which is afterwards taken up by another, the -toil and privation of which every rug is witness, are all matters of -interest only to the student. - -Americans have been far behind Europeans in recognizing the artistic -worth and the many other advantages of the Oriental rug over any other -kind. Twenty-five years ago few American homes possessed even one. Since -then a marked change in public taste has taken place. All classes have -become interested and, according to their resources, have purchased them -in a manner characteristic of the American people, so that now some of -the choicest gems in existence have found a home in the United States. -To what extent this is true may be shown by the custom house statistics, -which prove that, even under a tariff of nearly 50 per cent., the annual -importation exceeds over five million dollars and New York City with the -possible exception of London has become the largest rug market of the -world. This importation will continue on even a larger scale until the -Orient is robbed of all its fabrics and the Persian rug will have become -a thing of the past. - -Already the western demand has been so great that the dyes, materials -and quality of workmanship have greatly deteriorated and the Orientals -are even importing machine made rugs from Europe for their own use. It -therefore behooves us to cherish the Oriental rugs now in our -possession. - -Both Europe and the United States are manufacturing artistic carpets of -a high degree of excellence, but they never have and never will be able -to produce any that will compare with those made in the East. They may -copy the designs and match the shades, to a certain extent, but they -lack the inspiration and the knack of blending, both of which are -combined in the Oriental product. - -Only in a land where time is of little value and is not considered as an -equivalent to money, can such artistic perfection be brought about. - - - - -PART I - - - [Illustration: MESHED PRAYER RUG - Size 4' × 3' - FROM THE COLLECTION OF THE AUTHOR - - Prayer rugs of this class are exceedingly rare. This is the only one - the author has ever seen. It is extremely fine in texture, having - twenty-eight Senna knots to the inch vertically and sixteen - horizontally, making four hundred and forty-eight knots to the square - inch, tied so closely that it is quite difficult to separate the pile - sufficiently to see the wool or warp threads. The central field - consists of the tree of life in dark blue with red, blue and pink - flowers upon a background of rich red. - - The main border stripe carries the Herati design in dark blue and - dark red upon a pale blue ground on each side of which are narrow - strips of pink carrying alternate dots of red and blue. - - (See page 209)] - - - - -COST AND TARIFF - - -The value of an Oriental rug cannot be gauged by measurement any more -than can that of a fine painting; it depends upon the number of knots to -the square inch, the fineness of the material, the richness and -stability of its colors, the amount of detail in design, its durability -and, last but not least, its age. None of these qualifications being at -sight apparent to the novice, he is unable to make a fair comparison of -prices, as frequently rugs which appear to him to be quite alike and -equally valuable may be far apart in actual worth. - -When we consider that from the time a rug leaves the weavers' hands -until it reaches the final buyer there are at least from five to seven -profits to pay besides the government tariffs thereon, it is no wonder -that the prices at times seem exorbitant. The transportation charges -amount to about ten cents per square foot. The Turkish government -levies one per cent. export duty and the heavily protected United States -levies forty per cent. ad valorem and ten cents per square foot besides, -all of which alone adds over fifty per cent. to the original cost in -America, and yet should we estimate the work upon Oriental rugs by the -American standard of wages they would cost from ten to fifty times their -present prices. - -To furnish a home with Oriental rugs is not as expensive as it would at -first seem. They can be bought piece by piece at intervals, as -circumstances warrant, and when a room is once provided for it is for -all time, whereas the carpet account is one that is never closed. - -In the United States good, durable Eastern rugs may be bought for from -sixty cents to ten dollars per square foot, and in England for much -less. Extremely choice pieces may run up to the thousands. At the -Marquand sale in New York City in 1902, a fifteenth century Persian -rug (10-10 x 6-1) was sold for $36,000, nearly $550 a square foot. The -holy carpet of the Mosque at Ardebil, woven at Kashan in 1536 and now -owned by the South Kensington Museum, of London, is valued at $30,000. -The famous hunting rug, which was presented some years ago by the late -Ex-Governor Ames of Massachusetts to the Boston Museum of Fine Arts, is -said to have cost $35,000. The late Mr. Yerkes of New York City paid -$60,000 for his "Holy Carpet," the highest price ever paid for a rug. -Mr. J. P. Morgan recently paid $17,000 for one 20 x 15. Two years ago -H. C. Frick paid $160,000 for eight small Persians, $20,000 apiece. -Senator Clark's collection cost $3,000,000, H. O. Havemeyer's $250,000, -and O. H. Payne's $200,000. - - [Illustration: THE METROPOLITAN ANIMAL RUG - BY COURTESY OF THE METROPOLITAN MUSEUM OF FINE ARTS - NEW YORK CITY - (See page 337)] - -Everything considered, the difference in cost per square foot between -the average Oriental and the home product amounts to little in -comparison to the difference in endurance. If one uses the proper -judgment in selecting, his money is much better spent when invested in -the former than when invested in the latter. While the nap of the -domestic is worn down to the warp the Oriental has been improving in -color and sheen as well as in value. This is due to the fact that the -Eastern product is made of the softest of wool and treated with dyes -which have stood the test of centuries and which preserve the wool -instead of destroying it as do the aniline dyes. - -In comparing the cost of furnishing a home with Oriental rugs or with -carpets one should further take into consideration the fact that with -carpets much unnecessary floor space must be covered which represents -so much waste money. Also the question of health involved in the use of -carpets is a very serious one. They retain dust and germs of all kinds -and are taken up and cleaned, as a rule, but once a year. With rugs the -room is much more easily kept clean and the furniture does not have to -be moved whenever sweeping time comes around. - - - - -DEALERS AND AUCTIONS - - -Few Europeans or Americans penetrate to the interior markets of the -East where home-made rugs find their first sale. Agents of some of -the large importers have been sent over to collect rugs from families -or small factories and the tales of Oriental shrewdness and trickery -which they bring back are many and varied. We have in this country -many honest, reliable foreign dealers, but occasionally one meets with -one of the class above referred to. In dealing with such people it is -safe never to bid more than half and never to give over two-thirds -of the price they ask you. Also never show special preference for -any particular piece, otherwise you will be charged more for it. No -dealer or authority may lay claim to infallibility, but few of these -people have any adequate knowledge of their stock and are, as a rule, -uncertain authorities, excepting in those fabrics which come from the -vicinity of the province in which they lived. They buy their stock -in large quantities, usually by the bale at so much a square foot, -and then mark each according to their judgment so as to make the -bale average up well and pay a good profit. So it is that an expert -may occasionally select a choice piece at a bargain while the novice -usually pays more than the actual worth. Every rug has three values, -first the art value depending upon its colors and designs, second the -collector's value depending upon its rarity, and third the utility -value depending upon its durability. No dealer can buy rugs on utility -value alone and he who sells Oriental rugs very cheap usually sells -very cheap rugs. - -It might be well right here to state that when rugs are sold by the -bale the wholesaler usually places a few good ones in the bale for the -purpose of disposing of the poor ones. Dealers can always find an eager -market for good rugs, but poor ones often go begging, and in order to -dispose of them the auction is resorted to. They are put up under a -bright reflected light which shows them off to the best advantage; the -bidder is allowed no opportunity for a thorough examination and almost -invariably there are present several fake bidders. This you can prove -to your own satisfaction by attending some auction several days in -succession and you will see the same beautiful Tabriz bid off each time -at a ridiculously low price, while those that you actually see placed -into the hands of the deliveryman will average in price about the same -as similar rugs at a retail store. - - [Illustration: KHORASAN CARPET - Size 14' × 10' - LOANED BY A. U. DILLEY & CO. - - OWNER'S DESCRIPTION - - An East Persian rug of especially heavy weave in robin egg blue, soft - red and cream. - Design: Serrated centre medallion, confined by broad blue corner - bands and seven border strips. A rug of elaborate conventionalized - floral decoration, with a modern rendition of Shah Abbas design in - border. - (See page 207)] - - - - -ANTIQUES - - -The passion for antiques in this country has in the past been so strong -that rugs showing signs of hard wear, with ragged edges and plenty of -holes, were quite as salable as those which were perfect in every -respect and the amateur collector of so-called "antiques" was usually an -easy victim. Of late, however, the antique craze seems to be dying out -and the average buyer of to-day will select a perfect modern fabric in -preference to an imperfect antique one. - -There is no question that age is an important factor in the beauty of a -rug and that an antique in a state of good preservation is much more -valuable than a modern fabric, especially to the collector, to whom the -latter has little value. In order to be classed as an antique a rug -should be at least fifty years old, having been made before the -introduction of aniline dyes. An expert can determine the age by the -method of weaving, the material used, the color combination, and the -design, with more certainty than can the art connoisseur tell the age of -certain European pictures, to which he assigns dates by their -peculiarities in style. Every time a design is copied it undergoes some -slight change until, perhaps, the original design is lost. This -modification of designs also affords great assistance in determining -their age. In the Tiffany studios in New York City can be seen a series -of Feraghan rugs showing the change in design for several generations. - -As a rule more knowledge concerning the age of a rug can be obtained -from the colors and the materials employed than from the designs. An -antique appears light and glossy when the nap runs from you, whereas it -will appear dark and rich but without lustre when viewed from the other -end. Such rugs are usually more or less shiny on the back and their -edges are either somewhat ragged or have been overcast anew. - -With the exception of a few rare old pieces which may be found in the -palaces of rulers and certain noblemen, the Orient has been pretty well -stripped of its antiques. Mr. Charles Quill Jones, who has made three -trips through the Orient in search of old rugs, reports that region -nearly bare of gems. During his last sojourn in those parts he has -succeeded in collecting a considerable number of valuable pieces, but -his success may be attributed to the poverty and disruption of -households occasioned by the losses of the recent revolution in Persia. -As especially rare he writes of having secured five pieces which were -made during the reign of Shah Abbas in the 16th century. In England, -France, Germany, Russia, Austria, Poland, and especially Bavaria, there -are many fine old pieces, those of London, Paris, Berlin, Vienna, and -Budapest being particularly noteworthy. The Rothschild collection in -Paris contains many matchless pieces and the Ardebil Mosque carpet, -which is in the South Kensington Museum, London, is without doubt the -most famous piece of weaving in the world. According to the inscription -upon it, it was woven by Maksoud, the slave of the Holy Place of Kashan, -in 1536. It measures thirty-four feet by seventeen feet six inches and -contains 32,000,000 knots. No doubt there are more good genuine antiques -in Europe and America than in the entire Orient. They are to be found, -as a rule, in museums and in private collections. A number of really old -and very valuable pieces may be seen at the Metropolitan Museum of Fine -Arts in New York City. The Yerkes collection of Oriental rugs, which has -recently been disposed of at public sale by the American Art Galleries, -contained nothing but Polish fabrics and Persian carpets of royal -origin, made at some early date prior to the seventeenth century. Some -of the most prominent collectors of the United States are Mr. J. -Pierpont Morgan of New York City, who has one of the most valuable -collections in the world; Mr. H. C. Frick of Pittsburg, Pa., Miss A. L. -Pease of Hartford, Conn., Mr. C. F. Williams of Morristown, Pa., the -Hon. W. A. Clark and Mr. Benjamin Altman of New York City, Mr. Theodore -M. Davis of Newport, R. I., Mr. Frank Loftus, Mr. F. A. Turner and Mr. -L. A. Shortell of Boston; Mr. J. F. Ballard of St. Louis and Mr. P. A. -B. Widener of Elkins Park, Pa. The late Ex-Governor Ames of -Massachusetts was an enthusiastic collector and possessed many fine -pieces. - -The late A. T. Sinclair of Allston, Mass., possessed over one hundred -and fifty antiques, which he himself collected over twenty years ago -from the various districts of Persia, Asia Minor, the Caucasus, -Turkestan, and Beluchistan. Many of these pieces are from one hundred -and fifty to two hundred and fifty years old and every one is a gem. - - [Illustration: A PERSIAN RUG MERCHANT] - - [Illustration: EXPERT WEAVER AND INSPECTOR] - -With the exception of an occasional old Ghiordes, Kulah, Bergama or -Mosul, for which are asked fabulous prices, few antiques can now be -found for sale. It is on account of the enormous prices which antiques -bring that faked antiques have found their way into the market. Rugs may -be artificially aged but never without detriment to them. The aging -process is mostly done by cunning adepts in Persia or Constantinople -before they are exported, although in recent years the doctoring process -has been practised to quite an extent in the United States, and a large -portion of the undoctored rugs which reach these shores are soon -afterwards put through this process. The majority of dealers will tell -you that there is comparatively little sale for the undoctored pieces. -The chemically subdued tones and artificial sheen appeal to most people -who know little about Oriental rugs. - -For toning down the bright colors they use chloride of lime, oxalic acid -or lemon juice; for giving them an old appearance they use coffee -grounds, and for the creation of an artificial sheen or lustre the rugs -are usually run between hot rollers after the application of glycerine -or paraffin wax; they are sometimes buried in the ground for a time, and -water color paints are frequently used to restore the color in spots -where the acid has acted too vigorously. Such rugs usually show a slight -tinge of pink in the white. - -There is a class of modern rugs of good quality, good material, and -vegetable dyed, but with colors too bright for Occidental taste. Such -rugs are sometimes treated with water, acid, and alkali. The effect of -the acid is here neutralized by the alkali in such a way that the colors -are rendered more subdued and mellow in tone without resulting injury to -the material. - -What the trade speaks of as a "washed" rug is not necessarily a -"doctored" one. There is a legitimate form of washing which is really -a finishing process and which does not injure the fabric. It merely -washes out the surplus color and sets the rest. The belief that only -aniline dyes will rub off when wet and that vegetable ones will not do -so is erroneous. If a rug is new and never has been washed the case is -quite the opposite. For the reader's own satisfaction, let him moisten -and rub a piece of domestic carpet. He will find that the aniline of -the latter fabric is comparatively fast, whereas, in a newly made -vegetable dyed Oriental, certain colors, especially the blues, reds and -greens, will wipe off to a certain extent. After this first washing -out, however, nothing other than a chemical will disturb the vegetable -color. - - [Illustration: SARUK RUG - Size 14' × 10' - LOANED BY A. U. DILLEY & CO. - - OWNER'S DESCRIPTION - - The field: Three fawn and blue flower colored medallions and four - arabesques in a line arrangement on a rose-colored background, strewn - with garlands. - - The border: One broad stripe, carrying elaborate floral sprays and - arabesques, separated by four elongated corner designs in blue. - - An elegant combination of brilliant color and ornate floral design. - Cotton foundation and wool pile. - - (See page 200)] - - - - -ADVICE TO BUYERS - - -No set of rules can be furnished which will fully protect purchasers -against deception. It is well, however, for one, before purchasing, to -acquire some knowledge of the characteristics of the most common -varieties as well as of the different means employed in examining them. - -In the first place, avoid dealers who fail to mark their goods in plain -figures. Be on the safe side and go to a reliable house with an -established reputation. They will not ask you fancy prices. If it is in -a department store be sure you deal with some one who is regularly -connected with the Oriental rug department. You would never dream of -buying a piano of one who knows nothing of music. So many domestic rugs -copy Oriental patterns that many uninformed people cannot tell the -difference. The following are some of the characteristics of the Eastern -fabrics which are not possessed by the Western ones. First, they show -their whole pattern and color in detail on the back side; second, the -pile is composed of rows of distinctly tied knots, which are made -plainly visible by separating it; third, the sides are either overcast -with colored wool or have a narrow selvage; and fourth, the ends have -either a selvage or fringe or both. - -In buying, first select what pleases you in size, color, and design, -then take time and go over it as thoroughly as a horseman would over a -horse which he contemplates buying. Lift it to test the weight. Oriental -rugs are much heavier in proportion to their size than are the -domestics. See if it lies straight and flat on the floor and has no -folds. Crookedness detracts much from its value. Take hold of the centre -and pull it up into a sort of cone shape. If compactly woven it will -stand alone just as a piece of good silk will. Examine the pile and see -whether it is long, short or worn in places down to the warp threads; -whether it lies down as in loosely woven rugs or stands up nearly -straight as in closely woven rugs; also note the number of knots to the -square inch and whether or not they are firmly tied. The wearing -qualities depend upon the length of the pile and the compactness of -weaving. Separate the pile, noting whether the wool is of the same color -but of a deeper shade near the knot than it is on the surface or if it -is of an entirely different color. Vegetable dyes usually fade to -lighter shades of the original color, while anilines fade to different -colors, one or another of the dyes used in combination entirely -disappearing at times and others remaining. This will also be -noticeable, to a certain extent, when one end of the fabric is turned -over and the two sides are compared. Two rugs may be almost exactly -alike in every respect excepting the dye, the one being worth ten to -fifteen times as much as the other. - -A good way to test the material is to slightly burn its surface with a -match, thus producing a black spot. If the wool is good the singed part -can be brushed off without leaving the slightest trace of the burn. The -smell of the burnt wool will also easily be recognized. Ascertain the -relative strength of the material, making sure that the warp is the -heaviest and strongest, the pile next and the woof the lightest. If the -warp is lighter than the pile it will break easily or if the warp is -light and the weaving loose it will pucker. Rugs whose foundation -threads are dry and rotten from age are worthless. In such pieces the -woof threads, which are the lightest, will break in seams along the line -of the warp when slightly twisted. - -Examine the selvage. It will often indicate the method of its -manufacture, showing whether it is closely or loosely woven, for the -selvage is a continuation of the groundwork of the rug itself. Also -notice the material, whether of hair, wool or cotton. Separate the pile -and examine the woof, noting the number of threads between each row of -knots. If possible pull one of them out. In the cheaper grade of rugs -you will often find two strands of cotton and one of wool twisted -together. Such rugs are very likely some time to bunch up, especially if -washed. See if the selvage or warp threads on the sides are broken in -places. If so it would be an unwise choice. Now turn the rug over and -view it from the back, noting whether repairs have been made and, if so, -to what extent. View it from the back with the light shining into the -pile to see if there are any moths. Pat it and knock out the dust. In -some instances you will be surprised how thoroughly impregnated it will -be with the dust of many lands and how much more attractive the colors -are after such a patting. Rub your hand over the surface with the nap. -If the wool is of a fine quality a feeling of electric smoothness will -result, such as is experienced when stroking the back of a cat in cold -weather. - -Finally, before coming to a decision regarding its purchase, have it -sent to your home for a few days. There you can study it more leisurely -and may get an idea as to whether or not you would soon tire of the -designs or colors. While you have it there do not forget to take soap, -water and a stiff brush and scrub well some portion of it, selecting a -part where some bright color such as green, blue or red joins a white. -After the rug has thoroughly dried notice whether or not the white has -taken any of the other colors. If so, they are aniline. - - [Illustration: BERGAMA PRAYER RUG - Size 3'8" × 2'7" - PROPERTY OF MR. GEORGE BAUSCH - (See page 237)] - -A rather vulgar but very good way of telling whether a rug is doctored -or not is to wet it with saliva and rub it in well. If chemically -treated it will have a peculiar, disagreeable, pungent odor. - -A fairly accurate way of determining the claim of the fabric to great -age is to draw out a woof thread and notice how difficult it is to -straighten it, even after days of soaking in water. Unless one is an -expert, he should refrain from relying upon his own judgment in buying a -rug for an antique. - -It may be interesting to know the meaning of the tags and seals so -frequently found on rugs. The little square or nearly square cloth tag -that is so frequently attached at one corner to the under surface by two -wire clasps has on it the number given to that particular piece for the -convenience of the washer, the exporter, the importer and the custom -officials. The rug is recorded by its number instead of by its name to -avoid confusion and to save labor. The round lead seal which is -frequently attached to one corner of the rug by a flexible wire or a -string, especially among the larger pieces, is the importer's seal, on -one side of which will be found his initials. These also are of great -assistance to the custom officials. - -Before closing this chapter a few words in regard to the selection of -rugs for certain rooms might be acceptable, though this is, to a large -extent, a matter of individual taste; yet in making a selection one -should have some consideration for the decorations and furniture of the -room in which the rugs are to be laid and they should harmonize with the -side walls, whether the harmony be one of analogy or of contrast. The -floor of a room is the base upon which the scheme of decoration is to be -built. Its covering should carry the strongest tones. If a single tint -is to be used the walls must take the next gradation and the ceiling the -last. These gradations must be far enough removed from each other in -depth of tone to be quite apparent but not to lose their relation. -Contrasting colors do not always harmonize. A safe rule to follow would -be to select a color with any of its complementary colors. For instance, -the primary colors are red, blue, and yellow. The complementary color of -red would be the color formed by the combination of the other two, which -in this case would be green composed of yellow and blue; therefore red -and green would form a harmony of contrast. Likewise red and blue make -violet, which would harmonize with yellow; red and yellow make orange, -which would harmonize with blue, etc. - - [Illustration: SYMBOLIC PERSIAN SILK (TABRIZ) RUG - (See page 316)] - -Light rooms of Louis XVI style would hardly look as well with bright, -rich colored rugs as they would with delicately tinted Kirmans, Saruks, -and Sennas. Nor would the latter styles look as well in a Dutch dining -room, finished in black oak, as would the rich, dark Bokharas and -Feraghans. Mission rooms also require the dark colored rugs. If the room -is pleasing in its proportion and one rug is used it should conform as -nearly in proportion as possible. If the room is too long for its width -select a rug which will more nearly cover the floor in width than it -will in length. A rug used in the centre of a room with considerable -floor area around it decreases the apparent size of the room. Long rugs -placed lengthwise of a room increase its apparent length, while short -rugs placed across a room decrease its apparent length, and rugs with -large patterns, like wall paper with large patterns, will dwarf the -whole apartment. The following ideas are merely offered as suggestions -without any pretension whatever to superiority of judgment. - -For a VESTIBULE a long-naped mat, which corresponds in shape to the -vestibule and covers fully one-half of its surface, such for instance as -a Beluchistan or a Mosul. Appropriate shorter naped pieces may be found -among the Anatolians, Meles, Ladiks or Yuruks. As a rule the dark -colored ones are preferable. - -HALL.--If the hall is a long, narrow one, use long runners which cover -fully two-thirds of its surface. Such may be found among the Mosuls, -Sarabands, Hamadans, Ispahans, Shirvans, and Genghis. - -For a reception hall a Khiva Bokhara, a Yomud, a dark colored Mahal, or -several Kazaks or Karabaghs would look well if the woodwork is dark. If -the woodwork is light several light colored Caucasian or Persian pieces -such as the Daghestans, Kabistans, Sarabands, Hamadans, or Shiraz would -be appropriate. - -RECEPTION ROOM.--A light colored Kermanshah, Tabriz, Saruk, Senna, or -Khorasan. Usually one large piece which covers from two-thirds to -three-fourths of the floor surface is the most desirable. - -LIVING ROOM.--For this room, which is the most used of any in the home, -we should have the most durable rugs and as a rule a number of small or -medium sized pieces, which can be easily shifted from one position to -another, are preferable. Here, too, respect must be had for harmony with -the side walls, woodwork and furniture, as it is here that the family -spend most of their time and decorative discord would hardly add to -one's personal enjoyment. Many appropriate selections may be made from -the Feraghans, Ispahans, Sarabands, Shiraz, Mosuls, Daghestans, -Kabistans, and Beluchistans. - -DINING ROOM.--Ordinarily nothing would be more appropriate than one of -the Herez or Sultanabad productions unless the room be one of the -Mission style, in which case a Khiva Bokhara would be most desirable. -Small pieces would not be suitable. - -LIBRARY OR DEN.--One large or several small pieces, usually the dark -rich shades are preferable, such for instance as are found in the -Khivas, Yomuds, Kurdistans, Feraghans, Shiraz, Kazaks, Beluchistans or -Tekke Bokharas, the predominating color selected according to the -decorations of the room. - -BATH ROOM.--One heavy long-piled, soft piece such as are some of the -Bijars or Mosuls in light colors. - -BEDROOMS.--For chambers where colors rather than period styles are -dominant and where large rugs are never appropriate, prayer rugs like -those of the Kulah, Ghiordes, Ladik, Anatolian, or Daghestan varieties -are to be desired. Those with yellow as the predominating color blend -especially well with mahogany furniture if the walls are in buff or -yellow tones. The Nomad products are especially desirable for bedrooms -on account of the comfort which they afford. Being thick and soft the -sensation to the tread is luxurious. An occasional Anatolian, Ladik, -Bergama, Meles, or Bokhara mat placed before a dresser or a wash-stand; -a Shiraz pillow on the sofa; a Senna Ghileem thrown over a divan; a -Shiraz, Mosul, or Beluchistan saddle-bag on a Mission standard as a -receptacle for magazines; a silk rug as a table spread, etc., will all -add greatly to the Oriental effect. - - [Illustration: SHIRAZ RUG - BY COURTESY OF NAHIGIAN BROS., CHICAGO, ILL. - - This piece is typical of its class with the small tassels of wool on - the side edging; with the ornamental web and the braided warp threads - at each end, also the pole medallion and the numerous bird forms - throughout the field. - - (See page 204)] - - - - -THE HYGIENE OF THE RUG - - -In all the literature on Oriental Rugs no mention has been made of -their sanitary condition when laid on the floors of our homes. In -response to a letter of inquiry, one of our American missionaries, -a young lady stationed at Sivas, Turkey in Asia, who very modestly -objects to the use of her name, so well explained the condition of -affairs that portions of her letter given verbatim will prove most -interesting. She says: - -"In Sivas there are a number of rug factories in which are employed -many thousand little girls, ages ranging from four years upward. They -work from twelve to fourteen hours a day and I believe the largest -amount received by them is five piasters (less than twenty cents) and -the small girls receive ten to twenty paras (a cent or two). These -factories are hotbeds of tuberculosis and we have many of these cases -in our Mission Hospital. Of course this amount of money scarcely keeps -them in bread and in this underfed condition, working so long in ill -ventilated rooms, they quickly succumb to this disease. These girls -are all Armenians in that region. The Turks do not allow their women -and children to work in public places. The Armenians are going to -reap a sad harvest in the future in thus allowing the future wives -and mothers of their race to undermine their health working in these -factories. These rugs are all exported to Europe and America. - -"No matter what part of the city you pass through this time of the year -you will see looms up in the different homes and most of the family, -especially the women and children, working on these rugs, and it is -very interesting to watch them and to see how skilful even the small -children grow in weaving these intricate patterns. Making rugs in the -homes is quite different from making them in the factories, for in the -summer at least they have plenty of fresh air. - -"No doubt many rugs made in these homes are filled with germs of -contagious diseases, for they use no precautions here when they have -such diseases in the family, and usually the poor people only have -one room, and if a member of the family is stricken with smallpox or -scarlet fever the rest of the family continue to work on the rug often -in the same room." - -Another correspondent from Marash, Turkey in Asia, says, "If you are -interested in humanity as well as in rugs, please put in a strong plea -against some of these factories which are employing children who can -scarcely speak. These little babies sit from morning till evening tying -and cutting knots in damp and poorly ventilated places. Is it a wonder -that diseases, especially tuberculosis, are developing rapidly among -them?" - -A third correspondent says, "Often rugs upon which patients have died -from contagious diseases are sold without cleaning. In fact, they are -rarely cleaned." - -Upon receipt of the above a letter of inquiry was at once sent to -the Treasury Department at Washington regarding the disinfection of -textiles from the Orient immediately upon their arrival into this -country, to which we were informed that "The Surgeon-General of the -Public Health and Marine Hospital Service stated that such rugs, if -originating in parts or places infected with quarantinable diseases, -would be required to be disinfected under the quarantine laws." This -sounds sensible, but when the rugs are sent from all parts of the -Orient to Constantinople, from whence they are shipped in bales to -the United States, pray how can the Surgeon-General discriminate? The -only safe way is for the government to have strict laws regarding -their immediate and thorough disinfection. We already have a law which -requires the disinfection of hides before they are shipped to this -country. It reads: "Officers of the customs are directed to treat hides -of neat cattle shipped to the United States without proper disinfection -as prohibited importations, and to refuse entry of such hides." Also, -"the disinfection of such hides in this country or storage of the same -in general order warehouses will not be permitted, for the reason that -the passage of diseased hides through the country or their storage with -other goods will tend to the dissemination of cattle disease in the -United States." (See Section 12 of the Tariff Act of August 5, 1909.) - -Ex-President Taft once recommended a new department of public health -whose duty it would be to consider all matters relating to the health -of the nation. If his suggestions are carried out no doubt the question -of disinfecting Oriental imports will be satisfactorily disposed of. - -Until then we should see to it that all Oriental rugs are at least -clean and free from dust before allowing them to be delivered in our -homes. The great majority of these rugs, when leaving the Orient, are -impregnated with dust from their adobe floors and, if free of this -dust, they have in all probability been pretty thoroughly cleaned by -some reliable importer or dealer, the majority of whom are beginning to -realize the importance of this procedure. - - [Illustration: ANTIQUE ANATOLIAN MAT - Size 3'5" × 1'10" - FROM THE COLLECTION OF THE AUTHOR - - Knot. Nine to the inch vertically and eight horizontally, making - seventy-two to the square inch. - - This is a most unusual piece. It has a long nap, is tied with the - Turkish knot and in many respects resembles the Bergama while on the - back it has a distinctly Khorasan appearance. It is an old piece - with a most lustrous sheen and the colors are of the best, every one - being of exactly the same tint on the surface as it is down next to - the warp threads. - - The prevailing color is a rich terra cotta with figures of lilies - in olive-green, old rose, blue and white. There are also a number of - six-petaled flowers in red, white and blue. In the centre there is a - diamond-shaped medallion with triangular corner pieces to match, all - of which are outlined in natural black wool. The nap is so cut as to - give the surface the characteristic hammered-brass appearance so - common in many of the antique Bergamas and the lustre is such as is - only found in the very old pieces. - - (See page 234)] - - - - -THE CARE OF RUGS - - -There is a popular idea that an Oriental rug will never wear out and -that the harder it is used the more silky it will grow. This is an -erroneous idea and many rugs that would be almost priceless now are -beyond repair, having fallen into the hands of people who did not -appreciate them and give them the proper care. Oriental rugs cannot be -handled and beaten like the domestics without serious injury. In the -Orient they receive much better treatment than they do at our hands. -There they are never exposed to the glare of a strong light and are -never subjected to the contact of anything rougher than the bare feet. -The peculiar silkiness of the nap so much admired in old pieces is due -to the fact that the Oriental never treads on them with his shoes. - -Large rugs, having a longer pile, resist more the wear and tear from -the shoes, but they must be handled with greater care than the small -ones, as, being heavier, the warp or woof threads are more liable to -break. - -As a rule rugs should be cleaned every week or two. Never shake them -or hang them on a line, as the foundation threads may break, letting -the knots slip and spread apart. There are more rugs worn out in this -way than by actual service. Lay them face downward on the grass or on -a clean floor and gently beat them with something pliable like a piece -of rubber hose cut in strips. With a clean broom sweep the back, then -turning them over, sweep across the nap each way, then with the nap. -Brushing against the nap is most harmful, as it may loosen the knots -and force the dust and dirt into the texture. Finally dampen the broom -or, better still, dampen a clean white cloth in water to which a little -alcohol has been added, and wipe over the entire rug in the direction -in which the nap lies. The sweeping process keeps the end of the pile -clean and bright and gives it a silky, lustrous appearance. Sometimes -clean, dampened sawdust can be used and, in the winter time, nothing is -better than snow, which will clean and brighten them wonderfully. - -Many rugs are improved by an occasional washing. It is usually -advisable to have some reliable man, who understands this work, to do -it for you, as it is quite a task and few homes have a suitable place -for it. A good concrete floor will answer nicely. With a stiff brush, -a cake of castile or wool soap and some warm water give the pile a -thorough scrubbing in every direction excepting against the nap. Rinse -with warm water, then with cold, turning the hose upon it for fifteen -or twenty minutes. Soft water is preferable if it can be obtained. -Finally, with a smooth stick or a wooden roller, squeeze the water -out by stroking it in the direction of the nap. This stroking process -should be continued for some time, after which the rug is spread out on -a roof face upward for several clear days. - -Unless rugs are frequently moved or cleaned moths are sure to get into -them. Sweeping alone is not always sufficient to keep them out. For -this purpose the compressed air method is _par excellence_. - -If you expect to close your home for several weeks or months do not -leave your rugs on the floor. After having all necessary repairs made, -have them thoroughly cleaned by the compressed air process, then place -them in canvas or strong paper bags, sealing them tightly. A large -rug may be wrapped with clean white paper, then with tar paper. It is -better to roll than to fold them, but if folded always see that the -pile is on the inside, else bad creases may be made in them which may -never come out. They should be stored in a dry, airy room, as they -readily absorb moisture. - -When a rug shows a tendency to curl on the corners only, a very good -idea is to weight it down with tea lead which is folded in such a way -as to make a piece about four inches long, one inch wide and one-eighth -of an inch thick. This is inclosed in a cloth pocket which is sewed to -the under side of the rug at the corners so that its length lies in the -direction of the warp. - -Many rugs that are crooked may easily be straightened by tacking them -face downward in the proper shape and wetting them. They should be kept -in that position until thoroughly dried and shrunken to the proper -shape. Obstinate and conspicuous stains may be removed by clipping the -discolored pile down flat to the warp, carefully pulling out the knots -from the back of the rug and having new ones inserted. This, however, -with all other extensive repairs, should be done by one especially -skilled in that line. - -Considering the rapid increase in the price of good Oriental rugs -within the past few years we should appreciate and care for all the -fine examples which we already have in our possession. - - [Illustration: GHIORDES PRAYER RUG - PROPERTY OF LIBERTY & CO., LONDON, ENGLAND. - - The prayer niche, the cross panels and the main border stripe are all - characteristic of its class. - - (See page 238)] - - - - -THE MATERIAL OF RUGS - - -The materials from which rugs are made, named in order of the ratio in -which they are used, are wool, goats' hair, camels' hair, cotton, silk, -and hemp. - -WOOL.--The wool produced in the colder provinces is softer and better -than that produced in the warmer provinces. Likewise that produced at a -high altitude is superior to that from a lower altitude. The quality of -the pasturage plays a most important part in the quality of the wool. -For this reason no better wool is to be found anywhere in the world than -from the provinces of Khorasan and Kurdistan. Very often the sheep are -covered over with a sheet to protect and keep the wool in a clean, -lustrous condition. The quality of the wool also depends to no small -extent upon the age of the sheep from which it is taken, that from the -young lambs being softer and more pliable than that from the older -animals. The softest and most lustrous wool is that which is obtained by -combing the sheep in winter and is known as kurk. From this some of the -choicest prayer rugs are made. - -GOATS' HAIR.--From the goats of some localities, especially in Asia -Minor and Turkestan, is obtained a soft down which is used to a large -extent in the manufacture of rugs. The straight hair of the goat is also -used. It is of a light brown color and, as it will not dye well, is -sometimes used without dyeing to produce brown grounds, as in some of -the Kurdistan products. It is quite commonly used as a selvage and -fringe in the Turkoman products. When wet it curls so tightly that it is -difficult to spin it, therefore it is not always washed. This accounts -for the strong odor which is especially noticeable in warm weather. - -Mohair is obtained from the Angora goat of Asia Minor, while cashmere -consists of the soft under-wool of the Cashmere goat of Tibet. - -CAMELS' HAIR.--In Eastern Persia, Afghanistan, and Beluchistan are -camels which produce a long woolly hair suitable for rug weaving which -is never dyed, is silky and soft, has phenomenal durability and is -used quite freely in the Hamadan, Mosul, and Beluchistan products. It -is more expensive than sheep's wool but has one great drawback in that -on the muggy days of summer it has a disagreeable odor. Most of the -alleged camels' hair of commerce is a goats' hair pure and simple. - -COTTON.--The majority of the finer Persian rugs have cotton warp and -woof. It makes a much lighter, better and more compact foundation on -which to tie the pile, and a rug with such a foundation will hold its -shape much better. Seldom is cotton used for the pile excepting once in -a great while a Bokhara may be found with small portions of the white -worked in cotton. - -SILK.--In the regions bordering on the Caspian Sea and in some parts -of China where silk is plentiful it is used to quite an extent in the -making of rugs, not only for the nap but frequently for the warp and -woof as well. It makes a beautiful fabric, but of course will not wear -like wool. - -HEMP.--Hemp is seldom used in rug making for the reason that it rots -quickly after being wet and the entire fabric is soon gone. - -PREPARATION OF THE WOOL.--After being sorted, the wool is taken to a -brook and washed thoroughly at intervals in the cold running water for -several times until all foreign matters are removed, leaving the animal -fat which gives it the soft, silky appearance. The results of washing -depend to a certain extent upon the quality of the water used in the -process, soft water giving much better results than does the hard. - -After a thorough bleaching in the sun's rays it is placed in a stone -vessel, covered with a mixture of flour and starch, then pounded with -wooden mallets, after which it is again washed in running water for -several hours and again dried in the sun. Under this process it shrinks -in weight from forty to fifty per cent., and after being spun the yarn -is sold everywhere for the same price as twice the amount of the raw -material. - -It is spun in three different ways. That which is intended for the warp -is spun tightly and of medium thickness, that for the woof rather fine, -and that for the pile heavy and loose. - -There are so many different natural shades of wool that much of it -can be utilized in its natural color. The dyeing is always done in the -yarn, never in the loose fibres, and will be explained in the chapter -under Dyes. - - [Illustration: SPINNING THE WOOL - COURTESY OF PUSHMAN BROS., CHICAGO] - - [Illustration: LADIK PRAYER RUG - Size 7'2" × 4' - BY COURTESY OF NAHIGIAN BROS., CHICAGO, ILL. - - OWNERS' DESCRIPTION.--These rare rugs, so renowned for their splendid - coloring, are well represented by this specimen. The very unusual - shade of green, the sacred color, the deep ivory, and the rich reds - and blues are blended into each other in an artistic manner. - - In and above the "Mihrab" or niche will be noted the "Ubrech" or - pitcher, a most interesting design. It is from this "Ubrech" that - water is poured upon the hands of the Mohammedan as he makes his - ablutions. Wash basins are unknown in the Orient and no follower of - Mohammed will consent to wash in anything except running water. - - So the "Ubrech" is almost as important as the prayer rug itself, and - the four reproductions on this rug emphasize to the devout - Mohammedan owner that cleanliness is next important to Godliness. - - Rhodian lilies, with long stems and inverted in the frieze below the - "Mihrab" or niche, are an often noted feature of the Ladik prayer - rugs. - - (See page 228)] - - - - -DYES AND DYERS - - -The secrets of the Eastern dye-pot are responsible for the unrivalled -beauty and durability of the Oriental rug. These secrets of extracting -coloring matter from roots, leaves, flowers, barks, and various other -vegetable and animal products by a process of boiling, fermenting, -etc., were guarded religiously and descended from father to son, many -of them having been lost as the family became extinct. Each dyer or -family of dyers has some peculiar and secret method of producing -certain shades. - -Our great knowledge of chemistry has aided us little in our effort -to duplicate and produce certain colors which the Orientals produced -with the simplest ingredients and without any knowledge of chemistry -whatever. Every kind of plant from which dyestuff is obtained is a -product of geographic environment, the quality of which depends upon -certain conditions of climate and soil. For this reason those of one -locality may be superior to those of another. On the other hand it must -not be forgotten that there are many classes of vegetable dyes which -are not scientifically or honestly made. - -After the wool has gone through the washing process and dried it is -dipped into one or more pots, according to the shade desired, for a -certain length of time, when, without being wrung out, it is hung up -over the dye-pot to drip and after being washed once more in cold -water it finally is spread out in the sun. Even when the same process -is followed each time it is seldom that two bunches of material dyed -have exactly the same shade, as the density of the dye and its shade -differs somewhat with each dip of wool from a previous pot. This -probably accounts in part for the innumerable shadings seen in the -rugs of certain localities. Formerly the dyers employed as mordants, -valonia, pomegranate rind, sumac, and the barks of certain trees, but -in some districts of late they use alum. This, with the lime solution -in which the wool is washed before dyeing to increase the brilliancy -of the dyes, makes the yarn brittle and lessens its wearing quality. -Most vegetable dyes fade, but they fade into softer and more pleasing -shades. The best colors for service are, as a rule, the blues, yellows, -and reds, all of which improve greatly with age. The browns are apt to -lose their lustre, while the blacks, which are really mineral, being -made by the action of vinegar on iron shavings, seem most corrosive -and gradually eat the wool. Many of the antiques you will find in a -splendid state of preservation with the exception of the black, which -has eaten the pile down to the warp threads. Natural colored black and -brown wools and brown camels' hair are frequently used and they are, of -course, durable. - -There is no doubt that the increasing demand in this country for the -Eastern rug, together with the Russian influence in the Orient, tends -towards more hasty commercial methods of manufacture and is, to a great -extent, responsible for the introduction there of aniline dyes. The -coal tar products have been readily accepted by the Eastern dyers, -as they are cheaper, more easily used, and offer a greater number of -brilliant shades, all of which appeal very much to the Oriental taste. - -The aniline dyes are more commonly used through Asia Minor and, to some -extent, in the Caucasus and even in Persia. In 1903 a law was enacted -by the Persian government forbidding the importation of chemical dyes -and seizing and destroying all fabrics in which they were used. It -was also decreed that a dyer found guilty of using them would have -his right hand cut off. The government has never been very strict -in enforcing this law, else there would be at the present time many -one-handed men in Persia. - -As there is no such law in Asia Minor, fully seventy-five per cent. -of the rugs now imported from that country are aniline dyed. The -Kurdistan, Khorasan, and Kirman products, as well as those made by the -Nomads in the Fars district of Persia, have been particularly free from -outside influences and as a rule are honestly dyed. - -The nomadic life of the Kurds in former times enabled them to gather -plants more easily and so they were able to obtain good vegetable dyes. -Now that they do not roam as much the result is, less vegetable and -more aniline dyes. Formerly also, the best wool only was used by the -Kurds for the making of rugs and the women chose only that which they -knew would take the colors well. Now the men sell the best part of the -wool and the women use what is left and press aniline dyes into service -to hide any possible defect. - -Some of the coal tar products will resist light, water, and air even -better than many of the vegetable pigments, but the former have a -tendency to make the wool fibres more brittle so that they break -easily, while the latter preserve the wool and lengthen the life of the -fabric. - -Each nation uses to a large extent its favorite color, thus the Persian -is partial to the dark greens and yellows, the Turk to the reds, and -the Armenian to the blues. Asia Minor and Persia being countries of -intense sunshine, in which the colors of the sky and land are most -pronounced, the neutral tints and hues make little impression on such -surroundings and are therefore little used. All the rug making people -use more or less yellow, blue, orange, red, ruby, and green, excepting -the Turk, who regards the latter as a sacred color and not to be -trodden on. He therefore seldom uses it in any but those of the prayer -design. - -An expert can often distinguish between an aniline dyed rug and a -vegetable dyed one merely by feeling of it, as the coal tar product -robs the wool of its oil, making it stiffer, harder, and dryer. Another -way to differentiate is to examine some of the white which lies next to -some bright color like blue, red, orange, or green and see if it has -become tinted with the brighter color. If not, wet the two and after -they dry see if the white has taken any of the other color. If so it -is probably aniline. In the Orient they use a string of amber beads -with which to test the dyes. The beads are drawn over the surface of -the rug so that the colors reflect through them. If aniline they are -said to have a cloudy appearance, while if vegetable they have a clear -wavy appearance. If there is any knowledge imparted by this test it -certainly is only in the hands of the experienced. A vegetable dye will -fade into a lighter tone of itself, while in a chemical dye some one -of the colors used to make up the composite color will disappear. For -instance a blue, which has been used with yellow to make green, may -entirely disappear, leaving the yellow; thus in the aniline product the -surface will show the changed color and the original color will show -down next to the warp, while in the vegetable dyed product there will -simply be two shades of the same color. - -Weavers frequently choose colors according to their symbolic -significance, so that they work into their rugs a sort of poetry which -only the initiated can read. Thus to the Persian, the Chinese, and the -Indian Mohammedan, white is an emblem of mourning; green is regarded by -the Mohammedan as a sacred color and denotes immortality; blue to the -Persian means air, while to the Mongolian it means authority and power; -black denotes sorrow, evil, and vice; red denotes joy, happiness, life, -truth, virtue, and sincerity; yellow is a Chinese color for royalty; -orange is the Buddhist and Mohammedan color for sorrow, and rose for -divine wisdom. The following is a list of some of the most common -Oriental colors with a short description of the sources from which they -are derived: - - [Illustration: PERSIAN DYE POTS] - - [Illustration: A PERSIAN VILLAGE] - -RED.--The best and most lasting is the rich carmine known as Kermes -and consists of dried insects which live on a species of oak tree. -These insects are collected in the month of June and are killed by -being exposed to the vapors of acetic acid evolved by heating vinegar. -Kermes was known to have been used in Syria in the time of Moses, and -is probably the most lasting and most preservative of all dyestuffs. -Of late years, however, it has been to a large extent supplemented by -cochineal, which is more brilliant. Madder root, ground and boiled, is -the basis of a multitude of reds and is also noted for its fastness. -From it can be obtained many degrees of red from pink to intense -scarlet, but the shade most commonly used by the Persians of to-day -is obtained by combining madder with alum and grape juice. Although -cochineal is used considerably by Eastern dyers, it is really a modern -dye, being obtained from dried insects which are found on the cacti of -Mexico. It gives soft, beautiful reds, is absolutely fast and is very -expensive. With bichromate of potash it gives purple; with sulphuric -acid, crimson and scarlet, and with madder, cherry and various shades -of pink. One of the best, richest and most lasting vermilions was made -by a secret process from sheep's blood, but the secret has long since -been lost. In recent years many reds have had as a basis the dye woods, -such as Campeachy wood, Brazil wood, and others. They are sometimes -obtained from onion skins, ivy berries, beets, and other plants, but -these latter pigments are not as enduring as those previously mentioned. - -BLUE.--Indigo dissolved in sulphuric acid, to which is added alum, -forms a basis of most blues and was used long before the Christian era. -It is obtained from the leaves of various specimens of Indigofera which -are cultivated largely in India. The deep Persian blue is obtained by -applying indigo over madder. It can be compounded with almost any other -dyeing material known and it is by this mixing process that beautiful -violets, porcelain blues and pinks are obtained. A superb dark blue -found in some of the antique Persian rugs has been in disuse for nearly -a half century. The secret of making it seems to have been lost and no -one has been able to reproduce it. - -GREEN.--Indigo in combination with one of the yellows furnishes most of -the greens. With buckthorn it produces Chinese greens, both bright and -dull. - -BROWN.--Browns are most frequently obtained by mixing madder with -yellow or by dyeing with madder over yellow. Valonia, catechu, -gall-nuts, and the green husks of walnuts also enter largely into the -making of browns. - -YELLOW.--The principal yellows are obtained from the Persian berries, -from turmeric, from saffron and sumac roots. Persian berries give -a fast dull yellow. Turmeric is from the root of a plant growing -abundantly in East India and China and it gives a bright orange color. -Orange yellow is also obtained from henna and by combining madder and -turmeric. A light yellow is obtained from larkspur; a greenish yellow -from a fungus of the mulberry, and, of late years, a buff colored -yellow has been obtained from quercitron bark. - -BLACK.--Black seems to be the only color which the rug makers of older -days were unable to produce from vegetable or animal sources. The -principal black used was that made from iron filings with vinegar and -pomegranate rind, but it destroyed the fibres of the wool. For this -reason very little black was used in the antique pieces excepting where -the fleece of black sheep could be obtained. Nowadays logwood, which -grows in Central America, is the essential basis of all blacks in -wool, although other colors are frequently used with it to modify or -intensify the shade. - -PURPLE.--From very early times the Phœnicians were renowned for a -purple which they obtained from a shellfish found in the Ægean Sea, -but the secret of making it has long since become a lost art. A great -many shades of purple, heliotrope and lavender are obtained from the -different red dyes in combination with indigo and the dye woods as well -as from the bodies of marine insects and mollusks. - -GRAY.--Gray is secured from Smyrna gall-nuts with copperas. - -SALMON.--Salmon is obtained by mixing madder with valonia. - -VIOLET.--Violet is frequently made from milk, sour grape juice, madder -and water. - - [Illustration: DAGHESTAN RUG - Size 8' × 3'6" - FROM THE COLLECTION OF THE AUTHOR - - Knot: Ghiordes. Seven to the inch horizontally and eight vertically, - making fifty-six to the square inch. - - This rug illustrates the best Caucasian spirit in design and - workmanship. It is glorious in color and its combination of blues, - reds, yellows and greens belong to an age which is bygone in the - textile art of Caucasia. - - The Georgian design in the outer border is a Caucasian characteristic - and especially of the Daghestans. - - (See page 254)] - - - - -WEAVING AND WEAVERS - - -The method of weaving in the Orient to-day is practically the same as -it was one thousand years ago with the exception, perhaps, that there -are now fewer crooked fabrics woven than in the days gone by. Next to -the quality of the material from which it is made, and the dye with -which it is colored, the splendid durability of the Oriental rug is due -to the manner in which the pile is tied to the warp thread. It is so -secure that it is impossible to remove it by pulling either end of the -knot. This differs from the domestic method in which the pile is merely -drawn between the warp threads without tying or fastening. In the finer -fabrics of the East the knots are so close that it requires careful -examination to discover them except in very old rugs where the pile is -worn down, then the knot is distinctly seen. - -In some parts of Persia the best artisans are men but in most other -sections the weavers are mostly women and children. The latter begin -working at the loom as early as four or five years of age and serve -an apprenticeship of two years, after which they receive a few pennies -a day. A skilful woman weaver will earn from three to six shillings a -week and they usually work from sunrise to sunset, week after week, -month after month, year after year. As a rule they have no education, -can neither read nor write, and have absolutely nothing else to do -but weave and gossip. Rug weaving proves a sort of an amusement and a -source of income; besides they take a great interest in the work and -the height of their ambition is to realize hope of royal recognition -for their superior workmanship. - -Each rug is given in charge of a master weaver who usually gets one -anna (two cents) for every eleven hundred knots tied. He it is who -hires and pays the weavers and makes himself responsible for the -quality of the work done. - -The girls, especially those of Asia Minor, frequently buy with their -earnings perforated gold coins with which to decorate themselves -by making them into necklaces or bracelets or by arranging them on -their headgear. These coins not only serve to make known their skill -as weavers, but also answer as dowries for their future husbands. A -skilful weaver can tie from twelve to fourteen knots a minute or from -seven to eight thousand knots a day. This would be equal to from -fourteen square inches to three square feet, according to the fineness -of the rug. For this she receives, on the average, nine cents a day. -For a rug 10 × 6 with 182 knots to the square inch, she would receive, -in rough figures, from $18.00 to $20.00, and the rug would sell in -Constantinople for no less than $75.00. If the women of the Orient are -ever emancipated we will have to pay much higher prices for Eastern -carpets than we do now. - - [Illustration: A TURKISH LOOM] - -The Eastern loom, which is the same to-day as it was a thousand years -ago, consists merely of four poles joined together by ropes according -to the size of the rug to be woven. On these the warp threads are -strung and kept at the proper tension by weights, which are attached to -one of the cross poles. - -From one to six, or even more, weavers work on a rug at the same time, -according to its size. They sit cross-legged either on the floor or on -a raised frame, so that their work will be on a level with their knees. -Before them, as seen in the accompanying illustration, is fastened the -model which they are to follow or what is known as the "talim," a chart -which indicates the colors to be used and the number of knots to be -tied in each color. Like expert pianists their fingers seem to know -the pattern and much of the time their eyes are not even upon the work. - - [Illustration: Showing the left and right Senna knots and the - Ghiordes knot both before and after the trimming of the pile.] - - [Illustration: YOUTHFUL WEAVERS] - -In many cases the head weaver sings these symbols for the benefit -of the other weavers. Among the Nomads the design is frequently kept -in the brain, or roughly drawn on paper or in the sand. If they have -another rug as a model they get the right design by simply counting on -the back the number of knots of every color in each row. Beginning at -the bottom and working towards the right, the wool yarn, which goes to -form the pile, is looped around the warp threads by the aid of blunt -pointed needles and then tied in such a way that by each knotting two -of the warp threads are bound. When the Turkish knot is used, these two -threads are bound side by side. When the Persian knot is used, if tied -tightly, one is bound in front of the other. This process is repeated -along the line with the proper colors required by the patterns and -after each row of knots one or more weft threads are passed through -between the warp threads and then beaten down with a sort of comb, -the teeth of which pass between the warp threads. The pile is then -trimmed off with the scissors to the desired length. The Caucasians and -Kurds, as a rule, leave a long pile, while the Turkomans and Persians -clip theirs quite short. Close trimming brings out more minutely the -color variations. The number of knots to the square inch is determined -by the closeness of the warp threads and the number of weft threads -thrown across after each row, also by the thickness of these threads. -The tighter and closer the knots are tied the more perpendicular the -pile and more durable the fabric. In coarse fabrics, like the Kazak, -there are usually four or five weft threads between each row of -knots. In such fabrics the rows of pile yarn overlap, thus giving it -ample opportunity to untwist and become more lustrous. This is why the -loosely woven, long naped rugs have more sheen than do the tightly -woven short naped ones. Uneven trimming of the pile or unskilled use of -the comb will produce unevenness in the completed rug. - - [Illustration: A Wooden Comb.] - -The fewer and the lighter the weft threads are, the more flexible is -the rug. The great depth of pile is also a good feature in certain -rugs, as the heavier the fabric is the better it will lie. Stronger -warp threads are usually put on each side to strengthen and give better -support to the weft and sometimes both warp and weft are dyed, either -in toto or at the ends only, in order to give a colored webbing to the -finished product. - - [Illustration: A PERSIAN LOOM] - -As a rule the nap of all rugs which are tied with the Ghiordes knot -runs directly towards one end, while those that are tied with the Senna -knot have a nap which runs towards one corner, right or left, according -to whether the right or left Senna knot is employed. Frequently rugs -are found with either the Ghiordes or the Senna knot where the nap runs -directly towards one side. This may be due to an untwisting of the pile -yarn or to the washing process, the washer in such cases having scraped -the water out towards the side of the rug instead of towards the end. - - [Illustration: KAZAK RUG - PROPERTY OF MR. CHARLES SCHUBERT, CHICAGO, ILL. - - PLATE LOANED BY THE SIMPLICITY CO., GRAND RAPIDS, MICH. - - The field consists of a series of medallions in dark brown and green - upon a field of old rose. The main border stripe is rather foreign to - the rugs of this class, being more like those found in the Bergama - products. The next two important stripes carry the "crab design" - while all the four guard stripes carry the conventional "saw teeth." - That this piece has some age is quite evident from the condition of - its ends. - - (See page 272)] - - - - -DESIGNS AND THEIR SYMBOLISM - - -The soul of the Oriental is in his design, which is invariably well -composed of skilfully conventionalized figures and superbly rich, -harmonious colorings of which one never tires, while that of the -European has a stiff set pattern which soon fails to attract. - -The transmission of ancient patterns has been going on from century to -century, the old designs and colorings being copied by the weavers from -one generation to another and many of those used at the present time -are doubtless the same that were used in the time of Abraham. - -Each district, tribe or family had its characteristic patterns and -color combinations which were regarded as its individual inheritance -and were never copied by other districts, tribes or families. So it -is possible for the expert to tell the locality from which an antique -rug came, but the source of the modern one is not quite as accurately -determined on account of the changes in designs brought about by -the influence of immigration, travel and conquest. A design may be -borrowed by a neighboring province and gradually undergo changes -according to the taste of the adopting people until its original form -is completely lost. The patterns have also become limited in number, -so that to-day the entire output of Persian fabrics comprises only -about thirty original designs, but of these the varieties of form, -arrangement and combination are very large. Turkey and India have even, -in some instances, adopted European designs. The Nomad products are -perhaps the freest of all from outside influences. - -In the way of characterization we might state that the Persian designs -are usually floral, while the Turkish designs are for the most part -a mixture of the floral and the geometrical, the former being much -less natural than those of the Persians. Caucasian and Turkoman -designs are nearly always geometrical. Occasionally they are floral -but of a rectilineal nature and never connected with wavy lines as -in the Persian. The Kurdish designs are more like the Persian, while -the Chinese consist largely of dragons, monsters, and animals of all -sorts. It is curious to note how the Persians make many patterns out -of one design by employing various methods of coloring. Even when the -same colors are used there is always a great dissimilarity between the -different makes of the same design. - - [Illustration: SYMBOLIC PERSIAN SILK RUG - LOANED BY H. B. CLAFLIN & CO. - (See page 316)] - -Sir George Birdwood says, "Whatever their type of ornamentation may -be, a deep and complicated symbolism, originating in Babylon and -possibly India, pervades every denomination of Oriental carpets." The -geometrical figures, floral designs and the figures of animals and -beings all carry with them a mystical, poetical idea of religious -sentiment, the study of which, though difficult, is very fascinating -to one who has the ability to interpret them. It seems perfectly -natural that the Oriental who is so passionately devoted to symbols -should profusely weave them into his fabrics. The Turks, being orthodox -Mohammedans, never weave figures of animals, birds or human beings into -their rugs, as the teachings of the Koran forbid it lest it should lead -to idolatry. Neither do they, as a rule, make their rugs symmetrical, -their idea being to symbolize the fact that only Allah is perfect. The -Persians and Chinese, however, being more liberal, exercise greater -freedom in these respects, and in some of their old hunting rugs, of -which but few remain, are depicted animals of all kinds. - -It seems strange to us that the weaver, who worked day after day for -months and sometimes for years on a single piece, seldom signed or -dated it. I have seldom seen the name of the weaver, of the place -of manufacture, or the date, on an antique rug. Many of the modern -commercial pieces are provided with dates to make them more attractive -to the buyer. Inscriptions, on the other hand, are frequently found in -rugs of all ages and are most frequently on the borders. As a rule they -are prayers or quotations from the Koran or poems from the writings of -some famous Persian poet and with but few exceptions are in the Arabic -language. The ability to read these inscriptions adds greatly to the -charm and interest of their possession. - -The date, when present, will usually be found in one corner of the rug, -sometimes in the border on one side or end, and should be read from -left to right. If the spot is well worn and the figures are indistinct -turn the rug over and read on the back from right to left. - -The following are the Arabic figures, of which there are numerous -modifications: - - [Illustration: Arabic figures] - - [Illustration: SEMI-PERSIAN RUG; DESIGN FURNISHED BY EUROPEAN - MANUFACTURERS - LOANED BY H. B. CLAFLIN & CO. - - Even the novice can tell at a glance that this is not purely an - Oriental product; it so closely resembles the Domestic carpet.] - -If we will but remember that the Mohammedan reckoning began on July -16, 622, A.D., when Mohammed made his pilgrimage to Mecca, and that the -Mohammedan year consists of thirty-three days less than ours, it will -be easy to find the year in our calendar corresponding to a given year -in the Mohammedan. The rule is to subtract from the Mohammedan year one -thirty-third of itself and add 622 to the remainder; thus, 1331 ÷ 33 = -40 (do nothing with the fraction), 1331-40 = 1291 + 622 = 1913. - -The following is an alphabetically arranged list of the different -designs with descriptions and suggestive drawings of the same. For -that part referring to the Chinese and Indian mythology the author is -greatly indebted to Prof. Du Bois Reymond of Shanghai, China, and to -Mr. B. A. Gupte, F. Z. S., of Calcutta, India, respectively: - -ALLIGATOR, see Kulah border design. - -ALMOND, see Pear. - - [Illustration: Angular hook.] - -ANGULAR HOOK OR LATCH HOOK.--A modification of the Swastika and carries -the same meaning. It has been called the trade-mark of the Caucasian -rugs, in which it is almost invariably used; in fact, it is apparent -in nearly all of the Western Asia designs. With the Chinese the latch -hook stands for privacy. (See colored plate at p. 60, also doubletone -at p. 264.) - -ANTHEMION OR HOM consists of an alternate bud and fir cone arrangement -with strong lateral markings. It is frequently used as a flower on the -sacred tree. - -APPLE, see Silibik. - -BALL AND CLAW.--Similar to that used on the legs of chairs and tables -of the 17th and 18th centuries. - -BARBER-POLE STRIPE (a border design).--An alternate arrangement of -diagonal stripes of red and white or blue and white, found more or less -in the borders of rugs from all parts of the Orient, especially the -Caucasian products. Frequently the stripes carry some small decorative -pattern. (See colored plate at p. 158, also doubletones at pp. 204 and -254.) - - [Illustration: Barber-pole stripe] - -BASKET.--One of the Chinese Buddhist ornaments. - -BAT.--A Chinese design which is symbolic of happiness. Found quite -commonly in the Chinese fabrics. Five bats often appear in the centre -of Chinese rugs and represent riches, longevity, health, love of virtue -and peaceful end. - - [Illustration: Bat] - -BEADS.--The rosary was anciently used to record time, and a circle, -being a line without termination, was the natural emblem of its -perpetual continuity; hence we find circles of beads upon the heads -of deities and enclosing the sacred symbols upon coins and other -ornaments. Beads are always carried by the Mohammedans to assist them -in their prayers. The Moslem rosary consists of ninety-nine beads, each -one designating one of the ninety-nine beautiful names of Allah. - -BEE.--In China it is symbolic of many descendants. In India it has been -adopted from British associations and represents industry, but is not -regarded as an old symbol. - - [Illustration: Beetle] - -BEETLE OR SCARABÆUS.--A Chinese symbol of creation, resurrection or -new life. In India it is a symbol of royalty. Wings of the gold beetle -are used in decorating peacock feather fans and morchels or royal fly -flaps. As the blue beetle it represents one that lives on honey and is -portrayed near the form of a young lady whose lotus-like face it is -supposed to have mistaken for that flower. - -BOAR.--In India a boar with a ball on its right tusk represents Vishnu -the Protector in his third incarnation when he lifted up and saved the -earth from being engulfed by the great flood (the deluge). - -BOUQUET, see Pear. - -BUTTERFLY.--The Chinese symbol of vanity. In India it was not used in -the older decoration, but in modern decoration it has the associations -of a flirt, owing to English environments. Butterfly forms are -frequently found in Chinese rugs intermingled with those of bats. - - [Illustration: Butterfly ornament] - -BOW KNOT.--As one of the emblems of Buddha it is used in Chinese and -Japanese ornament and is often found in the border of Chinese rugs. -Sometimes it partakes of a floral character in the Shiraz and Kirman -rugs and is very commonly found in the Shemakha weaving, where it is a -talismanic design. - - [Illustration: SHIRAZ PRAYER RUG - Size 4'5" × 3' - PROPERTY OF MRS. WILLIS HOLDEN, SYRACUSE, N. Y. - (See page 206)] - -CANOPY.--A Chinese Buddhist symbol. - -CAUCASIAN BORDER DESIGN.--So called by the author because it is seldom -found in any but the Caucasian fabrics. It is a sort of an S-shaped -arrangement of the latch hook design. (See doubletones at pp. 254 and -256.) - - [Illustration: Caucasian border design] - -CHECKER BOARD.--An arrangement of squares of two or more different -colors similar to that of a checker board. Seldom found in any rugs -excepting the Bergama and Yomud. - -CHICHI BORDER DESIGN.--Usually consists of an eight-petaled flower -arranged on the alternate steps of the Greek meander. It is seldom found -in any rugs but the Tchetchen. (See doubletone at p. 260.) - - [Illustration: Chichi border design] - -CHIN, see Pearl. - -CHINESE CLOUD BAND, see Cloud, Chinese. - -CHINESE FRET, GREEK FRET, GREEK KEY (a border design), suggested by -the overlapping of the sea waves. It is commonly found in the borders -of the Samarkand, Kashgar, Yarkand, Beluchistan, and nearly all of the -Chinese products. (See doubletones at pp. 264 and 296.) - - [Illustration: Chinese fret. Greek fret.] - -CIRCLE.--Quite commonly used in Chinese decoration, where it denotes -eternity, having no commencement and no end. In India it is considered -inauspicious. It is related that one of the Maharajahs of India -returned a costly landau to a British manufacturer because it had -circles of embroidered tape on its cushions. - -CIRCLE OF HAPPINESS (see colored plates, pp. 306 and 318, and -doubletone at p. 290).--A circle or ovoid within which are usually -worked various Chinese designs, either floral or animal. Found in -nearly all classes of Chinese products. - -CLAW AND BALL, see Ball and Claw. - -CLOUD BAND, see Cloud, Chinese. - - [Illustration: Chinese cloud design] - -CLOUD, CHINESE, is one of the most famous of the Mongolian patterns, -although it is frequently found in Caucasian and Kurdish fabrics. It -is symbolic of immortality and represents the constellation of Ursa -Major, in which, by the Mongolian, the great Ruler was supposed to -reside. (See doubletone at p. 194 and color plate at p. 300.) - -COAT OF ARMS, PERSIAN (see illustration on p. 169).--Consists of a -lion holding an uplifted sword in its right paw and the rising sun -dominating from its back. Persians from their earliest history have -worshipped the sun. The lion was added about eight hundred years ago, -it being the emblem of one of the Nomadic tribes who were conquered by -the Persians. The sword signifies the absolute power of the Persian -rulers. This emblem is used on their flag and coins as well as in -decoration. - -COAT OF ARMS, RUSSIAN (see illustration on p. 253).--The Russian double -eagle is occasionally found in old Kazaks. - -COAT OF ARMS, TURKISH (see illustration on p. 217).--Rudely represents -a left hand, originated, it is said, by a Sultan who sealed the treaty -of Ragusa with the imprint of his hand after dipping it in blood. It -now appears on the Turkish stamps, coins and many of their public -documents. - -COBRA, see Serpent. - -COCK, crowing, see Rooster. - - [Illustration: Comb design] - -COMB.--An emblem of the Mohammedan faith to remind the devout that -cleanliness is next to godliness. For this reason it appears in its -various forms near the niche of many prayer rugs, especially in the -Daghestans. - -COMPASS.--Carried by the Mohammedans to determine the location so that -the niche of their prayer rugs might be pointed in the right direction, -towards Mecca. - -CONCH SHELL.--A Chinese Buddhist symbol. - -CONE, FIR, see Pear. - -CORNUCOPIA.--Represented by a ram's horn filled with flowers and fruit. -It symbolizes peace and prosperity. - -CRAB.--A border design having the appearance of a series of crabs with -their claws extended. Very common in the Caucasian fabrics, especially -the Kazaks. (See doubletone at p. 186.) - - [Illustration: Crab design] - -CRANE.--In India the crane is symbolic of a rogue, a cheat, a -false prophet, a religious hypocrite. Crane-like (bakavrata) means -hypocrisy. A poet addressing a crane said, "You stand on one leg like -a devotee performing austerities, but you can only cheat senseless -fishes. Your hypocrisy is well known to the learned; they are aware of -it." - -CRESCENT.--In China the crescent is symbolic of coming events. In India -it signifies descent in the lunar line of kings of the warrior race -(Kehatriya) or it indicates Mohammedan faith. When used as a tattoo -mark it is associated with a little star below it and it means the -devoted love of Rohini (Venus) to the moon (who is masculine in Indian -mythology). - -CROCODILE.--In Indian mythology, when drawn with a female figure seated -on it, it signifies the Goddess Ganga (personification of the river -Ganges); when drawn as holding an elephant in its tremendous jaws, it -shows distress and tenacity. - - [Illustration: Cross design] - -CROSS, GREEK (sometimes called the Square Cross).--A plain cross with -four equal arms. Most of the Eastern churches are built in the form -of this cross. The cross is never found in rugs that are woven by the -orthodox Mohammedans. - -CROSS, SQUARE, see Cross, Greek. - -CROW.--Chinese, harbinger of bad luck; Indian, an evil foreboder among -the Hindus and a good omen among the Mohammedans. It is said that Sir -Salar Jang, the late Minister of Hyderabad, always looked at a crow the -first thing in the morning and that one of his attendants was told oft -to stand with a crow in a cage facing his window. - -CROWING COCK, see Rooster. - -CROWN JEWEL, see Pear. - -DAVID'S SHIELD, see Star, six-pointed. - -DAVID'S SIGNET OR SHIELD, see Star, six-pointed. - -DEER.--In China it is symbolic of longevity and success. In India a doe -is symbolic of love towards animals because of its association with -Shakuntala in the Lost Ring, a very popular drama by Kalidas. - -DIAMOND.--Found in rugs of most every class, but more especially in -those of the Caucasus. As far as we are able to learn the diamond has -no special symbolic significance. (See doubletone at p. 110.) - -DIAPER, see Lattice. - -DISC, Winged, see Winged Globe or Disc. - -DOG.--The dog is considered a sacred animal for the reason that one -preceded Mohammed the prophet, when he made his first triumphal entry -into Mecca. - - [Illustration: HAMADAN RUG - Size 6'10" × 3'4" - PROPERTY OF MR. J. H. STANTON, AUBURN, N. Y. - (See page 194)] - -DOVE.--Chinese, companionship; Indian, no significance except through -British associations for innocence. - -DRAGON.--The Imperial Chinese dragon is represented with five claws -and no wings, also with scales like a crocodile. It is frequently -represented as either holding or looking towards a round object which -is said to represent a pearl. In India the dragon is the symbol for -death. The Japanese dragon has but three claws. (See color plate at p. -300, and doubletone at p. 332.) - -DUCK.--In China the duck is the symbol of connubial felicity. - -EAGLE.--In Indian Mythology, Garud, the Eagle of Heaven, is the charger -of Vishnu and the destroyer of venomous snakes. - -EGG.--In China it is symbolic of productiveness, plenty. In India, an -egg with the figure of a babe inside of it indicates the universe. - -ELEPHANT.--Chinese, high official rank; Indian, sign of royalty, as -kings possess them. - -FEATHER, see Pear. - -FERAGHAN, see Herati. - -FIR CONE, see Pear. - -FISH, see Herati. - -FISH BONES.--Sometimes called Indian fish bone, suggests the skeleton -of a fish. It is sometimes arranged somewhat similar to the Herati. -(See doubletone at p. 284.) - - [Illustration: Fish bones design] - -FLAME, see Pear. - -FLOWER OF HENNA, see Guli Henna. - -FLOWER AND KNOP, see Knop and Flower. - -FLY.--With the Chinese the fly is symbolic of worthlessness. - -FOUR FLOWERS, see Roses, four. - -FOUR ROSES, see Roses, four. - -FRET, CHINESE, see Chinese fret. - -FRET, GREEK, see Chinese fret. - - [Illustration: Galley border design] - -GALLEY (a border design).--Originated among the people who inhabit the -section of country between the shores of the Mediterranean, Black and -Caspian Seas. - - [Illustration: Georgian border design] - -GEORGIAN BORDER DESIGN.--Generally found in Caucasian fabrics, -especially the Daghestan and Shemakha, occasionally in the Saruk. There -are several forms of this design, the two most common ones being -herewith illustrated. (See color plate at p. 84 and doubletone at p. -266.) - - [Illustration: Ghiordes border stripe] - -GHIORDES BORDER STRIPE.--Several forms, the two most commonly used are -herewith illustrated, one being two rosettes one above the other, each -joined by a long, narrow stem to a leaf form on the right, while the -other has but half of a rosette, which is similarly joined to a leaf -form below. (See color plate at p. 84 and doubletone at p. 266.) - -GOURD.--Chinese, receptacle of mysteries; Indian, when shaped like a -bowl it represents the drinking vessel of a Sanyasi or recluse. - -GREEK CROSS, see Cross, Greek. - -GREEK FRET (border design), see Chinese fret. - -GREEK KEY, see Chinese fret. - -GULI HENNA (see field design of illustration at p. 202).--Consists -of the small yellow henna flowers arranged in rows with floral forms -connecting them similarly in arrangements to the Herati design. It is -common in Persian rugs, especially old Feraghans. - -HAND, see Coat of Arms, Turkish; also Pear. - -HARE.--Chinese, in connection with the moon. - -HENNA FLOWER, see Guli Henna. - - [Illustration: Herati design] - - [Illustration: Herati design] - -HERATI.--Also known as the fish, twin fish and Feraghan designs. -Better known as the Herati. It originated in the old city of Herat. -It consists of a rosette between two lancet-shaped leaves which very -much resemble fish. On account of this resemblance it is often called -the fish pattern. It has been utilized with many modifications in -half of the rug-making sections of the Orient. It may be found in its -original form in many of the Persian fabrics, especially the Herat, -the Feraghan, the Khorasan, and the Senna. When in the body of the rug -it is generally arranged as a diaper, covering all or a considerable -portion of it. Sometimes it appears in combination with square or -diamond-shaped figures. The Herati border is found in a great many of -the Persian and in some of the Caucasian fabrics. (See color plate at -p. 22, and doubletones at pp. 114, 190 and 312.) - - [Illustration: FERAGHAN RUG - (HERATI DESIGN) - Size 7'6" × 4' - LOANED BY MR. EDW. HOMMEL - (See page 192)] - -HEXAGON.--Found in rugs of most every class, but more especially -in those of the Caucasus. It apparently has no special symbolic -significance. - -HOG.--In China the hog is symbolic of depravity and imbecility. - -HOM, see Anthemion. - -HOOK, Angular, see Angular hook. - -HOOK, Latch, see Angular hook. - -HORSE SHOE.--Emblem of good luck. Frequently used in combination with -cloud forms. - -HOUND.--Chinese, fidelity or loyalty. - -HOUR-GLASS.--Formed by the joining of two triangles at their apices; is -symbolic of fire and water. - -INDIAN FISH BONE, see Fish bone. - -JEWEL, see Pear. - -JUG.--In India the jug with the bust of a woman on the top represents -the sacred water of the Ganges. - -KEY, GREEK, see Chinese fret. - -KNOP AND FLOWER.--A closed bud alternating with a rosette or a -palmette. It is supposed to have had its origin in the Egyptian lotus. -It is used chiefly in border designs. - -KNOT.--A Buddhist symbol. - - [Illustration: Knot of destiny] - -KNOT OF DESTINY.--Dates back to Solomon's time. It is one of the -Chinese Buddhist ornaments and is therefore quite commonly found in -the Samarkand, Yarkand, Kashgar, and the various Chinese products. -Also used more or less throughout the Caucasus and especially in the -Shemakha; in fact, it is present somewhere in most rugs of the latter -class, as a talismanic design. In some of the Persian fabrics it -partakes of a floral character. - -KONIEH FIELD, see Rhodian. - -KORAN is a sacred design and few rugs with it ever leave Persia. - - [Illustration: Kulah border design] - -KULAH BORDER DESIGN.--Claimed by some to have originally been intended -to represent an alligator. There are exceedingly few Kulah rugs that do -not show it and seldom is it seen in any other class of fabrics. (See -doubletone at p. 240.) - -LAMP.--Crude figures of lamps, like miniature tea-pots, often hang from -the prayer niche of the Turkish prayer rugs, especially those of the -Konieh, Ghiordes, and Ladik varieties. They are usually of a floral -design and are generally accompanied by a column on either side which -is intended to represent the two huge altar candles of the mosque. - - [Illustration: Lamp design] - -LATCH HOOK, see Angular Hook. - -LATTICE.--Also known as trellis, diaper, and network. These names -are applied to any design which is repeated in such a way as to form -a lattice arrangement. It is more or less common in all classes of -rugs, especially the Persians. A peculiar compact lattice pattern -known as the "mirror design" is frequently found in the Hamadans. (See -doubletone at p. 258.) - - [Illustration: Lattice design] - -LEAF, see Pear. - -LEOPARD.--The Chinese symbol for ferocity. - -LILY, see Rhodian. - -LINK.--Link in Lozenge or Spiral is a combination of two triangles -with one side of each parallel with the other and sometimes joined -by a diagonal line. It is found in the borders of Asia Minor rugs, -also in the field of many Nomad productions. Especially common in the -Kurdistans and Shirvans. - - [Illustration: Link] - -LION.--Chinese, strength, power, authority; Indian, a lion's figure on -the arms of a chair indicates that it is a throne. A throne is called -"Sivasan," which means a lion seat. A lion is also one of the chargers -of the goddess Durga. - -LOOP, see Pear. - - [Illustration: Lotus design] - - [Illustration: MODERN KERMANSHAH RUG - LOANED BY H. B. CLAFLIN & CO - (See page 188)] - -LOTUS.--Very much resembles our pond lily with the exception that the -color is of a brilliant purple on the border petals with a heart of -deep orange and the stem stands high out of the water. It is commonly -found on the banks of the Nile and is the first flower to spring up -after the overflowing waters of that river have subsided. For this -reason and because it preserves its chaste beauty while growing from -such impure surroundings it has always figured among the Egyptians as -an emblem of immortality and purity. With the Chinese it is symbolic of -many descendants and in India it is especially sacred to the Buddhists -and is the national flower of that country. In ornament the lotus is -handled by many different nations, being used in both circular and -profile forms, figuring as flowers, wheels, medallions, etc. - - [Illustration: Lotus design] - -MAGPIE.--The Chinese harbinger of good luck. - -MEANDER, GREEK (a border design).--Also known as the zigzag, the wave -crest, or the water motif. It consists of a series of diagonal lines at -regular intervals representing waves or running water. Found in nearly -all classes, especially the Caucasian. - - [Illustration: Meander design] - -MEDALLION.--A Mongolian element which no doubt originated from the -lotus. Found in most Chinese and many Persian rugs, especially -the Gorevans, Serapi, Hamadans, Kirmans, Shiraz, and Khorasans. A -modification known as the "pole medallion," in which the ends of the -design project out like a pole, is especially common to the rugs of -Hamadan and Shiraz. In the Chinese rugs the medallion is usually of the -form known as the Circle of Happiness. (See doubletones at pp. 180, -188, 192, and 222; also color plates at pp. 52 and 166.) - - [Illustration: Medaillon design] - -MINA KHANI (see field design of plates at pp. 214 and 296).--Named -after Mina Khan, one of the ancient rulers in Western Persia. It is -a combination of red, yellow, and parti-colored red and blue florals -joined by rhomboidal vines of olive green in such a manner as to form a -lattice arrangement. It is distinctly a Kurdish design, although it is -found frequently in the Persian fabrics, especially in those from the -province of Khorasan. - - [Illustration: Mir design] - - [Illustration: KHIVA BOKHARA PRAYER RUG - Size 4' × 2'6" - PROPERTY OF MR. L. A. SHORTELL, BOSTON, MASS. - (See page 280)] - -MIR (a border design).--So called after the village where it is said to -have originated. It consists of small rectilinear flowers connected by -an undulating vine and is an almost universal design of the Sarabands. -Seldom seen in other fabrics. (See doubletone at p. 198.) - -MIRROR DESIGN, see Trellis. - -MONKEY.--Symbolic in China of high official rank. - -MOSQUE DESIGN.--Found in many prayer rugs. It consists of a column on -each side of the prayer niche and a floral lamp hanging from the niche, -usually in a field of solid color such as dark red or blue. - -MOUNTAINS are represented with from one to five peaks. Of Mongolian -origin, although they are occasionally found in some of the Caucasian, -Turkestan, and Persian fabrics. The ancient Mongolians believed that -the souls of the righteous mounted to heaven from the mountain tops and -for this reason they are revered. - -NETWORK, see Lattice. - -NICHE OR MIHRAB (see plate at p. 322).--The name applied to the pointed -design at one end of a prayer rug. It is supposed to imitate the form -of the Mihrab in the temple at Mecca. When a prayer rug is used the -niche is invariably pointed towards the holy city of Mecca. - -OCTAGON.--Represents the eight directions of location and is found in -Turkoman, Chinese, and Caucasian products. It is characteristic of -the Turkestan rugs. (See doubletones at pp. 162, 264 and 278; also -frontispiece.) - - [Illustration: Octagon] - -OWL.--Chinese, a bird of ill-omen. In Eastern India the owl is -considered auspicious because it is the charger of Laxni, the Goddess -of Wealth, but in Western India it is considered an ominous bird. - -OX.--Chinese, friend of man, agriculture; Indian, the charger of Shiva. -The sacred nature of the humped bull in India is well known. - -PALACE OR SUNBURST.--Known by the latter name inasmuch as its shape -suggests the radii around the sun. A very common design in Kazaks and -Shirvans, especially the antiques. Never found in any but the Caucasian -products. (See doubletone at p. 272.) - - [Illustration: Palace or sunburst] - -PALMETTE.--A little cup-shaped object with fan-shaped leaves around it. -Believed by some to have had its derivation from the human hand with -all the digits extended; by others it is believed to have been derived -from the palm growth. - -PANEL.--Supposed to have been intended to represent mosque windows. -They usually vary in number from one to three and are found in the -Shiraz more than in any other class. (See doubletone at p. 246.) - -PARROT.--In India this bird is symbolized as a messenger of love. - -PEACOCK.--Chinese, beauty; Indian, it is always auspicious because it -is the royal bird. Its feathers supply material for the morchel brushes -held by pages on each side of a Maharajah or king. - - [Illustration: Pear design] - - [Illustration: Pear design] - -PEAR.--Also known as the cone, the palm leaf, the river loop, the -crown jewel, the seal, the almond, the feather, the bouquet, and the -flame. There is a vast difference of opinion as to the origin and -meaning of this motif. Some authorities claim it was intended for the -fir cone, which served as an emblem of immortality and was revered by -the ancients; some say it was intended for the palm leaf, which has -been handed down by the Greeks as a symbol of victory; others say it -was intended to represent a loop which the river Indus makes on a vast -plain in upper Cashmere as seen from the Mosque. By some it is said -to represent the crown jewels or chief ornament in the old Iranian -crown, which is a composite jewel of pear shape. A great many believe -it to represent an ancient seal which was made by the closed hand -after dipping it in human blood. Tradition tells us that the signing -of documents in such a manner was a custom well known in the East. -This design has also been called the almond, the feather, the bouquet, -and the flame on account of its fancied resemblance to these objects. -We have selected the name "pear" because the image it conveys is more -clearly recognized by the western mind. It is that which its shape most -suggests. The Pear design is common in many kinds of rugs, especially -in those of Persia and Kurdistan, but it varies greatly in varieties -of form and size. The large size is usually employed in the Caucasus -and Southern Persia, while the small size is used more frequently in -Central and Western Persia. In the Saraband, Shiraz, Herat, Khorasan, -and Senna, it frequently covers the whole field. In the two former -alternate rows usually have the stems of the pears turned in opposite -directions, while in the three latter the stems are usually turned in -the same direction. (See doubletones at pp. 198, 204, 208 and 262; also -color plate at p. 292.) - - [Illustration: A KURDISH GUARD] - -PEARL OR CHIN.--A Mongolian design. Frequently found in Chinese, -Tibetan, and Turkoman rugs. It stands for purity and is generally -associated with the dragon, which is supposed to be guarding it from -the grasp of the demons. - -PEONY.--Symbol in China of wealth and official position. - -PERSIAN COAT OF ARMS, see Coat of Arms, Persian. - -PHŒNIX.--Chinese, prosperity, a bride. (See doubletone at p. 332.) - -PINEAPPLE has furnished many designs. It is even claimed by some -authorities that the palmette of the famous Shah Abbas design was -originally suggested by the pineapple. - -PINE TREE, see Tree. - -POLE MEDALLION, see Medallion. - -POMEGRANATE.--Many descendants. The pomegranate takes a prominent place -in Mohammedan art, especially in the Anatolian provinces. It is highly -regarded as a food and from its juice a delicious drink is made. - -RAM, INDIAN.--If drawn with a four-headed figure riding it, it means -Mars. - -RECIPROCAL SAW-TEETH is sometimes called by the Persians "sechrudisih," -meaning teeth of the rat. Almost distinctive of Caucasian fabrics, -especially the Kazaks. Occasionally present in the Turkish and Turkoman -rugs also. (See doubletone at p. 242.) - - [Illustration: Reciprocal saw-teeth design] - -RECIPROCAL TREFOIL.--So named by European experts who claim it to be -an essential mark of the Polish carpets. Like the barber pole stripe -it is found in rugs of nearly all classes, but more especially the -Caucasians. Probably found more frequently in the Karabaghs than in any -other rug. (See color plate at p. 166.) - - [Illustration: Reciprocal trefoil] - - [Illustration: Rhodian or lily design] - -RHODIAN OR LILY.--Composed of small flowers with three triangular -petals and a long stem. Has the appearance somewhat of a shamrock -leaf. It may be found in any of the Asia Minor rugs, especially in -the field of the Konieh and Ladik. In the former it is nearly always -present and for this reason is sometimes known as the Konieh design. -(See color plate at p. 60 and doubletones at pp. 138 and 236.) - -RHOMBOID.--Common in rugs of most every country, but more especially in -those of the Caucasus. It carries no special symbolic significance. - -RIBBON.--Representation of a twisted ribbon. Like the barber pole -stripe, the reciprocal trefoil, and the Greek meander, it is found in -nearly all classes of rugs. (See color plate at p. 145 and doubletone -at p. 130.) - - [Illustration: Ribbon design] - -RICE.--Sometimes referred to as the "grains of rice" pattern; consists -of pinkish brown colored spots sprinkled on a field of dull white. -Often arranged in a network. Found only in Samarkand and Chinese -products. - -RIVER LOOP, see Pear. - - [Illustration: Rooster] - -ROOSTER.--The people of Shiraz personify the Devil in the form of a -rooster, which they weave in some of their choicest rugs in order to -avert the evil eye. Some forms of the "crowing cock," so called, are -easily confused with the Pear pattern. - -ROSARY, see Beads. - -ROSES, FOUR.--An ancient design appearing in many forms. Common in the -Kurdish products and it is thought by some to be a Kurdish form of the -tree of life. It appears in several different forms. - -ROSETTE.--A floral-shaped design which is said to resemble the "Star -of Bethlehem," an early spring flower of Persia. It is much used in -border designs and it alternates with the palmette in forming the Shah -Abbas pattern. It also forms the design known as the Knop and Flower -by alternating with a closed bud. Some authorities claim that it -originated from the lotus. - - [Illustration: Rosette design] - -RUSSIAN COAT OR ARMS, see Coat of Arms, Russian. - -S FORMS, especially repeated in the form of a border, are very common -in the Caucasian fabrics, especially in the Kabistans and Shirvans. -Also found to some extent in the Turkish and Persian weaves. (See -doubletone at p. 220.) - - [Illustration: S forms] - -SARABAND BORDER DESIGN, see Mir. - -SARDAR.--Named after the Sardar Aziz Khan, who was at one time governor -of Azerbijan. This design consists of narrow leaf forms, which are -connected by vines and relieved by bold floral shapes. Quite commonly -used in modern fabrics, especially the large-sized ones. - -SAW-TEETH, RECIPROCAL, see Reciprocal Saw-teeth. - -SCARABÆUS, see Beetle. - -SCEPTRE.--One of the most distinctive and famous of the Mongolian -patterns. - - [Illustration: Scorpion or spider] - -SCORPION OR SPIDER.--Chinese, viciousness, poison. In India it is -believed that if a scorpion creeps over the body it causes leprosy -and that if one bears the tattooed image of a scorpion he is free -from leprosy as well as from the bite of that insect. As a design it -is quite common in the borders of Caucasian fabrics, especially the -Shirvans. - -SCROLL.--One of the distinctive Mongolian patterns which is said to -represent the sun. Found in the Turkestan, Chinese, and Tibetan fabrics. - -SEAL, see Pear. - -SEAL OF SOLOMON, see Solomon's Seal. - -SERPENT.--In India it is inauspicious because it reminds one of death. - -SHAH ABBAS (see border design in cut of Ispahan rug at p. 194).--Named -after the most revered of monarchs, who was born in 1586 and died -in 1628. It is one of the most beautiful of the ancient designs. It -consists of yellow, red, and blue flowers with connecting vines upon a -background of blue. The so-called Shah Abbas design of to-day has very -little resemblance to the ancient design. (See color plate at p. 32 and -doubletone at p. 194.) - -SHAUL DESIGN, see Pear. - -SHIELD OF DAVID, see Star, six-pointed. - - [Illustration: Shirvan design] - -SHIRVAN DESIGN is composed of a diamond figure, each side of which is -formed by a series of steps. Frequently the centre is filled with small -geometrical figures. This design is found more or less in the majority -of the Caucasian products, but more especially in the Shirvans. - - [Illustration: KIR SHEHR PRAYER RUG - Size 3'10" × 5'5" - PROPERTY OF MR. J. H. STANTON, AUBURN, N. Y. - (See page 222)] - -SHOU appears in many forms, but the three forms illustrated herewith -are the most common, not only in Chinese rugs but also as decoration in -old porcelain and as embroidered designs on silk. - - [Illustration: Shou design] - -SIGNET OF DAVID.--Based upon the equilateral triangle and from it have -originated many of the Turkish designs. See Star, six-pointed. - -SILIBIK OR APPLE.--A Kurdish design which bears very little resemblance -to the fruit after which it is named. It is usually arranged in -perpendicular rows throughout the field. - -SIXTEEN LUCKY SQUARES, see Knot of Destiny. - -SNAKE, see Serpent. - -SOLOMON'S SEAL.--Built on the right angle triangle and, like the Signet -of David, it is found in many of the Turkish and Caucasian fabrics and -to it scores of patterns may be traced. - - [Illustration: Solomon's seal] - -SPARROW.--In India it indicates bumper crops. - -SPIDER, see Scorpion. - -SPIRAL, see Link. - -SQUARE.--Found in the rugs of nearly every class, but more especially -in those of the Caucasus. It apparently has no special symbolic -significance. - -SQUARE CROSS, see Cross, Greek. - -SQUIRREL.--In India it is sacred to Rana, the seventh incarnation of -Vishnu, because while his monkey army was building a bridge for him -to go over to Ceylon this little creature was seen repeatedly rolling -into the sand of the beach and washing the grains, which adhered to its -bushy coat, into the sea. Rana inquired why it took so much trouble -and the reply was that it was taking sand down to the sea to reclaim -the land or fill up the gap between Ceylon and India and to facilitate -the construction of the bridge. Rana was so pleased that he passed his -fingers coaxingly over its body and said that the sacred marks thus -produced on its back would protect it. The stripes on the squirrel's -back are still believed to be Rana's finger marks and no good Hindu, -therefore, will kill a squirrel. Its presence is auspicious, signifying -Divine protection. - -STAR.--An emblem seen the world over in decoration, especially in -synagogues. It is common in the Caucasian and Turkoman products, -especially in the form of the elongated eight-pointed star. This -eight-pointed star in the centre of an octagon is said to have -represented the Deity of the ancient Medes. In all probability the -six-pointed star was an adaptation of the Shield of David. It is -supposed to have been symbolic of divinity. To it may be traced scores -of Turkish patterns. (See doubletone at p. 162 and color plate at p. -94.) - - [Illustration: Star] - -STORK.--Chinese, longevity. Indian--the Indian heron has been -associated with cunning and deceit. It is said that it stands on one -leg like an Indian ascetic as if it had been performing austerities, -but as soon as a fish comes within reach it pounces on it and devours -it. People who assume the garb of religious men and cheat others are -called (bak) storks, herons. - -SUNBURST, see Palace. - -SWAN.--In India the swan is the charger of Brahma. - -SWASTIKA.--Derived from the Sanscrit word Svasti, which means good -pretence. It dates back three or four thousand years B.C. and has been -found in nearly all excavations of prehistoric times and among the -relics of primitive people all over the world. It has been known alike -to Ancient Greeks, Egyptians, Chinese, Japanese, East Indians, Aztecs, -mound builders, and the North and South American Indians, with all of -whom it has a similar meaning, viz., good luck and happiness. In India -it is drawn below the seats intended for bridegrooms, below the plates -containing food to be offered to gods and is tattooed on the arms. It -is drawn on the scalp at the thread ceremony and on the dorsum of the -feet on all auspicious ceremonies, such as marriages, etc. The usual -figure consists of four arms with the cross at right angles and the -arms pointing in the direction of motion of a clock's hand, although -it has been given different forms, as shown by the accompanying -illustrations. It is very commonly used as a rug design, especially -in the Chinese, Caucasian, Turkish, and Turkoman products. (See color -plate at p. 306 and doubletone at p. 290.) - - [Illustration: Swastika] - -T FORMS (a border design) figure largely in the decoration of Samarkand -and Chinese rugs. Similar to the Chinese fret. - - [Illustration. T forms] - - [Illustration: THE EMIR OF BOKHARA AND HIS MINISTERS] - - [Illustration: TURKOMANS AT HOME] - -TAE-KIEH OR YANG AND YIN is a circle separated by two semicircles -into comet-shaped halves. Distinctly a Chinese symbol and found in -Chinese, Tibetan, and Turkoman textiles. Used as a charm and found in -decorations on all sorts of articles. - - [Illustration: Yang and Yin] - -TARANTULA.--A design which has been so modified as to almost obscure -the resemblance. It is almost omnipresent in all of the Caucasian -fabrics, especially the Kazaks, Kabistans, and Shirvans. (See -doubletone at p. 248.) - - [Illustration: Tarantula] - -TEKKE BORDER DESIGNS.--Two forms, one a sort of a double T border, the -other a diagonal arrangement of the Indian fish bone. (See doubletones -at pp. 280 and 284.) - - [Illustration: Tekke border design] - -TEKKE FIELD DESIGN.--A repetition of a Y-shaped design. Found only in -the Tekke rugs, especially those of the prayer variety. (See doubletone -at p. 284.) - - [Illustration: Tekke field design] - -TOMOYE owes its origin to some ancient conception of elemental forces. -It has been adopted by Korea and Japan as a national and heraldic -crest. Frequently used in Mongolian ornament. - - [Illustration: Tomoye] - -TORTOISE OR TURTLE BORDER DESIGN.--A design in which the figure of the -tortoise is arrayed in a manner similar to that of the Herati border -design. In China the tortoise stands for longevity and immortality. -In India it is also auspicious inasmuch as it represents the second -incarnation of Vishnu where it supports the earth on its back. (See -doubletones at pp. 178 and 202.) - - [Illustration: Tortoise of turtle border design] - -TREE.--Sometimes called the tree of life. Always associated with -religious belief. It symbolizes Divine power and perpetual life. It -has furnished more different art motives than any other object and -is almost omnipresent in Persian prayer rugs. The palm signifies a -blessing or benediction, the weeping willow stands for death, and the -cypress, while being an emblem of mourning, in its perennial freshness -and the durability of its wood, is also a very practical symbol of -the life to come. It is an Oriental custom to plant cypress trees -on the graves of the dead, to place its twigs in the coffins of the -dead, and to use its branches to indicate the houses of mourning. (See -frontispiece and doubletone at p. 99.) In India the cocoanut palm -is considered "the tree of desire" or one that fulfils all desires. -Its stem serves as a pillar or beam, as a water conduit and as fuel; -its leaves supply mats for roofing the houses; its kernel supplies -oil; its shell makes water bowls, and the oil of the shell is used as -an external application in certain skin affections, etc. It is all -useful and supplies all the primitive wants and therefore was much -cultivated by the Rishis (Saints) of old, who called it "kalpa taru," -literally the tree that supplies all desires. Its presence therefore is -auspicious. (See color plate at p. 22; also doubletones at pp. 48, 98, -210, 220, and 222.) - - [Illustration: Tree] - -TREFOIL, RECIPROCAL, see Reciprocal Trefoil. - -TRELLIS, see Lattice. - -TRIANGLE.--Scores of Turkish patterns may be traced from the triangle. -It is frequently found tattooed upon the body of the Turks as a -talisman. Frequently appears as a design in the Daghestans. In India -it represents mother earth and is very auspicious. - -TURKISH COAT OF ARMS, see Coat of Arms, Turkish. - -TURTLE, see Tortoise. - -TWIN FISH, see Herati. - -UMBRELLA.--A Buddhist symbol which is occasionally found in Chinese -rugs. - -URN, see Vase. - -VASE OR URN.--A Buddhist symbol occasionally found in Chinese -decoration. (See doubletone at pp. 210 and 212; also color plate at p. -22.) - -VULTURE.--Indian, death. - -WATER CREST, see Meander, Greek. - -WHEEL.--A Buddhist symbol which is sacred to Vishnu, who holds it in -his hand. It also symbolizes the "wheel of the law." Found in Chinese -ornament. - - [Illustration: Wine-glass border design] - -WINE-GLASS BORDER.--A border which resembles a wine glass and is -especially common in the Caucasian textiles, particularly the Kazaks -and Shirvans. It appears in various forms, but the most common is the -one in combination with the fish-bone design. (See color plate at p. -292.) - - [Illustration: KONIEH PRAYER RUG - Size 5'6" × 3'8" - PROPERTY OF DR. A. CLIFFORD MERCER, SYRACUSE, N. Y. - (See page 226)] - -WINGED GLOBE OR DISC.--An Egyptian design consisting of a small ball, -on the sides of which are two asps with extended wings, expressing by -these extended wings the power of protection afforded by the Egyptian -government. Also an emblem of religious sincerity and appreciation of -benefits derived from God. - - [Illustration: Winged globe] - -WOLF.--Chinese, ingratitude, heartlessness. In India it is inauspicious -and is never drawn or embroidered on fabrics. - -Y FORM (a border design).--One of the most famous of the Mongolian -patterns and figures largely in the decoration of Chinese rugs. See -also Tekke Field Design. - - [Illustration: Y form] - -YANG AND YIN, see Tae-kieh. - -ZIGZAG, see Meander, Greek. - - [Illustration: 1-18, Some nameless Persian border designs.] - - [Illustration: 19-36, Some nameless Turkish border designs.] - - [Illustration: 37-54, Some nameless Caucasian border designs.] - - [Illustration: 55, 56, 57 Turkoman border designs.] - - [Illustration: 58, 59 Chinese border designs.] - - [Illustration: 60, A Chinese field design.] - - [Illustration: 61, Kurdish field designs.] - - [Illustration: 62, Caucasian field designs.] - - [Illustration: 63, Turkish field designs.] - - [Illustration: 64, Persian field designs.] - - [Illustration: KAZAK RUG - Size 6'3" × 4'8" - PROPERTY OF S. F. HIPES, TRINIDAD, COL. - - Knot: Ghiordes. Nine to the inch vertically and eight horizontally, - making seventy-two to the square inch. - - One will seldom see a more beautiful and more glossy piece, - especially among the Caucasian fabrics, and neither the material nor - dyes can be excelled. - - The black in the background is of natural black sheep's wool covered - with all sorts of animals, birds and symbols, most of which are in a - rich rose color. The main border stripe consists of the crab design - in subdued tones of yellow, blue and red with more or less white. - - (See page 272)] - - - - -THE IDENTIFICATION OF RUGS - - -The one thing desired by those who are just beginning the study of -Oriental rugs is the ability to readily identify them. Realizing this, -the author has included a chapter on the identification of rugs which -contains many features new to rug literature and which, he trusts, -will greatly simplify and render easy the process of identification; -but it must be borne in mind that certain rugs are much more easily -distinguished than others and that at times even the connoisseur is -puzzled. - -Oriental rugs are identified not alone by their designs and colors, -but by their material, texture and finish, therefore, there is given -first, a list of those which are distinguishable by their outstanding -or prominent characteristics; second, reproductions of the backs of -those rugs which are characteristic in their appearance, and third, an -exhaustive chart giving complete details as to weave, material, texture -and finish of each variety of rug. - -The chapter on Design, which precedes this, is the most complete -consideration ever given to this detail of rug making, and its -numerous descriptions and drawings will enable the reader to identify, -with reasonable certainty, rugs by this feature alone. - -The numerous pictures of the representative types of rugs will also -familiarize the readers with many distinguishing patterns, while the -chapters in Part II take up and gather together all of the various -features of each kind of rug upon the market, so arranged and described -that a clear and comprehensive idea of it will be formed in the mind of -the reader. - - -A FEW CHARACTERISTIC FEATURES OF CERTAIN RUGS - -Named in the order of their importance and given to assist the reader in -differentiating, although few are absolute criterions. - - HEREZ.--Characteristic angular ornamentation; shaded background - (see doubletone, page 172). - - KARA DAGH.--The pile contains considerable natural colored camels' - hair. - - TABRIZ.--Almost invariably a medallion centre (see doubletone, - page 182). Very frequently curl on the sides. - - BIJAR.--Considerable camels' hair in the field. - - KERMANSHAH.--Colors soft and light; sides overcast with dark wool. - - SENNA.--Characteristic weave (see plate on weaves, page 152); pear - design and Herati field and border design very common; pole - medallion (see doubletone, page 188). - - FERAGHAN.--Herati border and field design in the great majority - (see doubletones, pages 114 and 190). - - HAMADAN.--Broad outside band of natural colored camels' hair; pole - medallion nearly always a prominent feature (see doubletones, - pages 110 and 192). - - SARABAND (MIR).--The characteristic Saraband border stripe; field - consisting of the pear design in rows with the stems of alternate - rows turned in the opposite direction; light blue web (see - doubletone, page 198). - - SARUK.--Overcast with silk or dark wool; Herati border designs; - intricate floral designs; frequently curled on the sides (see - color plate, page 166). - - SULTANABAD.--Generally large scroll and floral pattern (see - doubletone of Mahal, page 202). - - NIRIS.--Madder red predominates; pear pattern common. - - SHIRAZ.--Sides overcast with wool of two colors; pole medallion a - prominent feature; little tassels of wool frequently along the - sides; strand of colored yarn in web (see color plate, page 52, - and doubletones, pages 206 and 208). - - HERAT.--Herati border and field designs common; pear designs in - field with stems all turned in the same direction. - - KHORASAN (MESHED).--Uneven distribution of woof threads (see plate - on weave, page 152). Two small pears resting their stems upon a - larger one is one of the common designs. Herati border and field - also common. Magenta a prominent color (see color plates, pages 22 - and 32). - - KIRMAN.--Bouquets and vases in design most frequent (see - doubletone, page 212). - - KURDISTAN.--One or two strands of colored wool in web of one end; - overcast with yarn of different colors; shading of colors. - - KIR SHEHR.---Many have several tufts of wool composed of all the - different colored yarns which are used in the body of the rug. - - GHIORDES.--The fringe on the upper end, as a rule, instead of - being a continuation of the warp threads, is a separate piece - sewed on. It also usually has two cross panels, one above and one - below the prayer field (see color plate, page 66). - - LADIK.--Wide red web striped with yellow or blue; figures large in - comparison to the size of the rug; magenta freely employed. - - YURUK.--Border narrow in proportion to size of rug. - - BERGAMA.--Designs generally broad and large in proportion to rug - (see doubletones, pages 46 and 236); frequently small tassels of - wool along the sides of the rug; several woof threads between each - row of knots and a wide web which frequently carries a design or - rosettes which are woven in. - - KULAH.--The Kulah border design nearly always in one or more of - the stripes; the ends are generally dyed yellow; a large number of - narrow border stripes which are filled with minute designs, - usually the "fleck." A filled or partly filled centre field; - usually one cross panel (see doubletone, page 240). - - MELES.--Field is frequently composed of perpendicular stripes of - yellow, red and blue with zigzag lines or peculiar angular designs - running through them (see doubletone, page 242). - - MOSUL.--One or more strands of colored yarn run through the - selvage, usually red and blue. - - DAGHESTAN.--Diagonal ornamentations of both field and border; all - spaces well filled with a small geometrical design (see color - plates, pages 84 and 292, also doubletones, pages 254 and 256). - - DERBEND.--Yellow lavishly used; field likely to consist of a - repetition of designs in alternate colors. - - TCHETCHEN.--The characteristic Tchetchen (Chichi) border design is - nearly always found (see doubletone, page 260). - - BAKU.--Small strand of camels' hair crosses one end. - - SHEMAKHA.--Pileless; loose shaggy yarn ends on the under side (see - plate of weaves at page 153). - - GENGHIS.---Field often filled with the pear design, each row - alternating in color (see design on page 268). - - KAZAK.--From two to six woof threads between each row of knots; - diagonal position of pile (see plate on weaves, page 152). Palace - design commonly employed. Bold figures and bright colors (see - doubletone, page 272). - - [Illustration: TEKKE BOKHARA STRIP - Size 1'2" X 4'11" - PROPERTY OF THE AUTHOR - (See page 284)] - - KHIVA.--Large detached octagon and diamond forms; goats' hair warp - (see doubletone, page 278). - - TEKKE.--Small detached octagon and diamond forms (see doubletone, - page 282). - - YOMUD.--Checker-board effect of selvage on the sides; strands of - colored wool in the web (see doubletone, page 286). - - YARKAND.--Generally four strands of woof between each row of - knots. - - SAMARKAND.--One or more "circles of happiness"; three or four woof - threads between each row of knots; lavish use of yellow and - Bokhara red; designs mostly Chinese (see doubletone, page 290). - - BELUCHISTAN.--Sides frequently finished in horse hair; dark - subdued colors. If there is any white it is nearly always in one - of the border stripes (see doubletone, page 296). - -By carefully consulting these characteristics and the chart of -distinguishing features it ought to be a comparatively easy matter to -take up almost any rug and name it after a few moments' reflection. To -illustrate, try your skill on the following description: Knot--Senna, -weave close and rows of knots very uneven; warp and woof both of undyed -cotton. Pile of very fine wool, short and upright; ends both have -narrow white webs through which runs a strand of parti-colored yarn. -There is also a fringe of loose warp ends. The sides are overcast with -silk. There is a diamond-shaped pole medallion upon a field which is -covered with a minute Herati design; the colors are subdued shades of -red, blue, green, yellow and old rose with more or less white. - -After consulting the table of distinguishing features you will find -that the Senna knot excludes all Caucasian and Turkish fabrics; the -cotton warp and woof excludes all Turkoman fabrics excepting the -Kashgar and the Yarkand. The overcasting of the sides, as well as the -Herati design, excludes these two, therefore it must belong to the -Persian class. A great many of this class are tied with the Senna knot; -have cotton warp and woof; a short, upright wool pile and narrow webs -with loose warp ends, but only two are ever overcast with silk, namely -the Senna and the Saruk. Upon referring to the characteristic features -mentioned in the first part of this chapter (page 148) you will see -that the Herati design is common to both of these rugs, but that the -uneven weave, the pole medallion and the strand of colored yarn in the -web are all Senna features, therefore you have a Senna. - -A thorough knowledge of designs and colors would have enabled you to -name the piece at first sight, as would also the character of the weave -in this particular instance. - -Most of the prayer rugs may be accurately classified by consulting -the chart illustrating rug niches (page 322), while the distinguishing -characteristics of the different Ghileems may be found in the chapter -on Ghileems. - - [Illustration: Characteristic Backs of Rugs] - - [Illustration: CHARACTERISTIC BACKS OF RUGS] - - -ILLUSTRATIONS OF THE BACKS OF SOME RUGS SHOWING THEIR CHARACTERISTIC -WEAVES - -The author has endeavored to include in this group of pictures one of -every rug which has a distinct characteristic weave. There are many -rugs, the weaves of which differ so minutely that their reproduction on -paper would be of no material help. - -The details of each picture are of the same size as the rug from which -it was taken and each one is presented with the warp threads running up -and down. This idea of comparison would be even more valuable were it -possible to procure pictures of pieces only which have the same number -of knots to the square inch. A magnifying glass will aid materially in -bringing out the minute details. - - NO. 1. KHORASAN.--Twelve knots to the inch vertically, and six - horizontally. This peculiar weave is due to the fact that several - rows of knots are tied with no woof thread to separate them; then - two or three strands of the woof are thrown in, one after the - other, followed by several more rows of knots. This method of - weaving is a Khorasan feature. - - NO. 2. SENNA.--Eighteen Senna knots to the inch vertically, and - eighteen horizontally. Notice the closeness and irregularity of - the rows of knots. Contrast the appearance of this with that of - the Saruk (No. 3) which is tied with the same kind of knot and has - very nearly the same number to the square inch. - - NO. 3. SARUK.--Fifteen Senna knots to the inch vertically, and - sixteen horizontally. One of the most closely and most - evenly woven of the Oriental fabrics. In this illustration the rows - of knots can easily be counted horizontally, but it is almost - impossible to count them vertically unless we follow the - stripe-like arrangement in the straight oblique outlines of some of - the designs. - - NO. 4. KAZAK.--Six Ghiordes knots to the inch vertically, and nine - horizontally. Notice the wide spacing between each row. This is due - to the great number of woof threads between each row, a - characteristic of the Kazak. This cut beautifully illustrates the - appearance of the Ghiordes knot on the back. Note that each one has - two loops as compared with the one loop in the Senna knot, as - illustrated in No. 3. - - NO. 5. SARABAND.--Ten Senna knots to the inch vertically and ten - horizontally. The white or light blue woof threads are distinctly - seen in each row, even in those which are closely woven. The - spaces between the rows vary a little in places, giving it an - appearance somewhat similar to the Khorasan weave. - - NO. 6. DAGHESTAN.--Eight Ghiordes knots to the inch vertically, - and eight horizontally. This piece has the same number of knots to - the square inch as does the Chinese (No. 7), and, although of a - different kind, the appearance of the weave is quite similar. - - NO. 7. CHINESE.--Nine knots to the inch vertically, and nine - horizontally. The spiral appearance of the colored rows of knots - and the white woof threads give it a look quite similar to that of - the Daghestan (No. 6). - - NO. 8. MERVE GHILEEM.--Eight stitches to the inch. Compare the - difference in weave to that of the Kurdish ghileem (No. 9). The - colors of the latter are always at right angles to or with the - warp and woof threads, while that of the former is diagonal to the - warp and woof threads. This method of weaving gives the Merve - fewer and smaller open spaces. - - NO. 9. KURDISH GHILEEM.--Notice the many open spaces, also the - loose yarn ends, a characteristic of this class of ghileems. - - NO. 10. SHEMAKHA (coarse).--Eight stitches to the inch. Showing - the front of the rug in order to illustrate the Shemakha weave, - which is a flat weave and yet quite different from that of the - ghileems. Note its braided appearance. - - NO. 11. SHEMAKHA (coarse).--Back of the same rug as shown in No. - 10. Note the quantity of loose yarn ends. - - NO. 12. SHEMAKHA (fine).--Ten stitches to the inch. Note the - difference in the number of loose yarn ends in this piece compared - with those in the coarsely woven fabrics (No. 11). - - -CHART SHOWING THE DISTINGUISHING FEATURES OF THE DIFFERENT RUGS -(left side) - - Column Key - ---------- - - A) Ghiordes J) Wool - B) Senna K) Cotton - C) Wool L) Goat's Hair - D) Cotton M) Camel's Hair - E) Goat's Hair N) Silk - F) Camel's Hair O) Linen - G) Silk P) Dyed - H) Linen Q) Extra Thr'ds - I) Dyed - - +-------------+---------+------------------------------+-------------------------+ - | | Knot | Warp | Woof | - + +---------+------------------------------+-------------------------+ - | | A | B | C | D | E |F| G |H| I | J | K |L|M|N|O| Q |R| - +-------------+----+----+----+----+----+-+-----+-+-----+----+----+-+-+-+-+-----+-+ - |PERSIAN | | | | | | | | | | | | | | | | | | - | BAKHSHIS | O | R | | A | | | | | | | A | | | | | Ob | | - | GOREVAN | O | R | | A | | | | | | | A | | | | | Ob | | - | Serapi | O | R | | A | | | | | | | A | | | | | Ob | | - | KARA DAGH | A | | A | | | | | | R | R | | | | | | Or |R| - | | | | | | | | | | | | | | | | | | | - | KASHAN | A | | | R | | | O |O| | | R | | |O|O| | | - | SOUJ BULAK | A | | R | O | | | | | | R | O | | | | | | | - | TABRIZ | S | R | | R | | | O |O| | O | R | | | |O| | | - | | | | | | | | | | | | | | | | | | | - | | | | | | | | | | | | | | | | | | | - | BIJAR | A | | Ah | | | | | | | Rh | | |O| | | | | - | KERMANSHAH | S | R | | A | | | | | | | A | | | | | Ob | | - | SENNA | | A | | R | | | O |O| | O | R | | |O|O| | | - | FERAGHAN |Mo.O|An.A| | A | | | | | | S | R | | | | | O | | - | | |Mo.R| | | | | | | | | | | | | | | | - | | | | | | | | | | | | | | | | | | | - | HAMADAN | A | | | A | | | | | | O | R | |O| | | | | - | ISPAHAN | | A | | A | | | | | | | A | | | | | | | - | JOSHAGHAN | A | | A | | | | | | | A | | | | | | | | - | SARABAND |Mo.R|An.A| | A | | | | | | | A | | | | | Flb | | - | | |Mo.O| | | | | | | | | | | | | | | | - | SARUK | | A | | R | | | |O| | | R | | | |O| | | - | | | | | | | | | | | | | | | | | | | - | SULTANABAD | R | O | | A | | | | | | | A | | | | | | | - | MAHAL | R | O | | A | | | | | | | A | | | | | | | - | MUSKABAD | R | O | | A | | | | | | | A | | | | | | | - | NIRIS | A | | A | | | | | | | A | | | | | | | | - | SHIRAZ | F | R |An.A| |Mo.F| | | | | A | | | | | | R |F| - | | | |Mo.R| | | | | | | | | | | | | | | - | HERAT | R | S | O | R | | | An. | | | O | R | | | | | Rb | | - | | | | | | | | Rs | | | | | | | | | | | - | KHORASAN | | A | | A | | | | | | O | R | | | | | |A| - | MESHED | S | R | O | R | | | | | | R | O | | | | | | | - | KIRMAN | | A | | A | | | | | | R | O | | | | | | | - | KURDISTAN | A | | R | | O | | | | Rg | R | |O|O| | |Rborg| | - +-------------+----+----+----+----+----+-+-----+-+-----+----+----+-+-+-+-+-----+-+ - |TURKISH | | | | | | | | | | | | | | | | | | - | KIR SHEHR | A | | A | | | | | | R | A | | | | | | R | | - | OUSHAK | A | | A | | | | | | R | A | | | | | | R | | - | | | | | | | | | | | | | | | | | | | - | KARAMAN | A | | Ac| | | | | | Rr | A | | | | | | Rr | | - | KONIEH | A | | A | | | | | | Rpc | A | | | | | | | | - | | | | | | | | | | | | | | | | | | | - | MUJUR | A | | A | | | | | | | A | | | | | | Ar | | - | LADIK | A | | A | | | | | | Rr | A | | | | | | R | | - | | | | | | | | | | | | | | | | | | | - | YURUK | A | | R | | O | | | | Rb | R | |O| | | | Rb | | - | | | | | | | | | | | | | | | | | | | - | AK HISSAR | A | | Ac| | | | | | | Ac | | | | | | | | - | | | | | | | | | | | | | | | | | | | - | ANATOLIAN | A | | A | | | | | | | A | | | | | | R | | - | BERGAMA | A | | A | | | | | | Rr | A | | | | | | Rw | | - | GHIORDES | A | |An.R|An.O| | |An. O| | | O | R | | | |S| | | - | | | |Mo.A| | | | | | | | | | | | | | | - | KULAH | A | | A | | | | | | |An.A|Mo.O| | | | | | | - | | | | | | | | | | |Mo.R| | | | | | | | - | | | | | | | | | | | | | | | | | | | - | | | | | | | | | | | | | | | | | | | - | MELES | A | | A | | | | | | R | O | R | | | | | | | - | | | | | | | | | | | | | | | | | | | - | MAKRI | A | | A | | | | | | | A | | | | | | | | - | SMYRNA | A | | Ac| | | | | | | Ac | | | | | | R | | - | MOSUL | A | | R | O | O | | | | Rd | Rc | O | | | | |Rgorb| | - +-------------+----+----+----+----+----+-+-----+-+-----+----+----+-+-+-+-+-----+-+ - |CAUCASIAN | | | | | | | | | | | | | | | | | | - | DAGHESTAN | A | | R | O | | | | | Rg |An.R|Mo.R| | | | | F | | - | | | | | | | | | | |Mo.O|An.O| | | | | | | - | DERBEND | A | | R | | F | | | | Rb | A | | | | | | |R| - | KABISTAN | A | | R | O | | | | | | O | R | | | | | | | - | TCHETCHEN | A | | R | O | | | | | | A | | | | | | Rb | | - | BAKU | A | | R | O | |F| | | | O | R | | | | | | | - | SHEMAKHA | | | A | | | | | | | A | | | | | | | | - | SHIRVAN | A | | R | O | O | | | | Mo.b| R | O | | | | | | | - | | | | | | | | | | g or| | | | | | | | | - | | | | | | | | | | pc | | | | | | | | | - | GENGHIS | A | | R | | F | | | | b.g | A | | | | | | Fb,r|R| - | | | | | | | | | | or r| | | | | | | or g| | - | KARABAGH | A | | A | | | | | | | A | | | | | | Fr |R| - | | | | | | | | | | | | | | | | | | | - | KAZAK | A | | A | | | | | | | A | | | | | | Rr |R| - | | | | | | | | | | | | | | | | | or b| | - +-------------+----+----+----+----+----+-+-----+-+-----+----+----+-+-+-+-+-----+-+ - |TURKOMAN | | | | | | | | | | | | | | | | | | - | KHIVA | | A | R | | F | | | | Rd | R | |F| | | |Rg or| | - | BESHIR | O | R | R | | O | | | | | R | |O| | | | d | | - | TEKKE | | A | A | | | | | | | A | | | | | |Rr or| | - | | | | | | | | | | | | | | | | | b | | - | YOMUD | O | R | R | | F | | | | Rb | R | |F| | | | Rr | | - | | | | | | | | | | | | | | | | | | | - | KASHGAR | | A | | A | | | | | | | A | | | | | | | - | YARKAND | | A | O | R | | | | | | O | R | | | | | |R| - | SAMARKAND | S | R | R | O | | | O | |Rb or| R | O | | |O| |Rb or|R| - | | | | | | | | | | y | | | | | | | y | | - +-------------+----+----+----+----+----+-+-----+-+-----+----+----+-+-+-+-+-----+-+ - | BELUCHISTAN | | A | R | | O | | | | | A | | | | | | Rd | | - | | | | | | | | | | | | | | | | | | | - +-------------+----+----+----+----+----+-+-----+-+-----+----+----+-+-+-+-+-----+-+ - | CHINESE | O | R | O | R | | | | | | R | O | | | | | Rd |R| - +-------------+----+----+----+----+----+-+-----+-+-----+----+----+-+-+-+-+-----+-+ - -CHART SHOWING THE DISTINGUISHING FEATURES OF THE DIFFERENT RUGS -(right side) - - Column Key - ---------- - - a) Wool j) Narrow Web r) Overcast - b) Cotton k) Wide Web s) Selvaged - c) Goat's Hair l) Hemmed Web - d) Camel's Hair m) Parti-colored Strands in Web - e) Silk n) Dyed Web - f) Short o) Loose Warp Ends - g) Medium p) Braided Warp Ends - h) Long q) Knotted Warp Ends - i) Texture - - +--------------------------------------+--------------------------------+---------+ - | Pile | Ends | Sides | - +----+-+----+---+-+----+----+----+-----+--+----+----+-+-----+----+-+----+----+----+ - | a |b| c | d |e| f | g | h | i |j | k | l |m| n | o |p| q | r | s | - +----+-+----+---+-+----+----+----+-----+--+----+----+-+-----+----+-+----+----+----+ - | | | | | | | | | | | | | | | | | | | | - | A | | | | | F | R | | C |A | | | | | R | | O | R | S | - | A | | | | | F | R | | C |A | | | | | R | | O | R | S | - | A | | | | | F | R | | C |A | | | | | R | | O | R | S | - | R | | | O | | O | R | | f |R | |R oe| | Rr | R | | | O | R | - | | | | | | | | | | | | | | | | | | | | - | R | | | |O| A | | | f |A | | | | | A | | | A | | - | A | | | | | O | R | |fl tu|R | | R | | |R oe| | | A | | - | A | | | | | A | | | fu |A | | O |O| | A | | |An.R|An.S| - | | | | | | | | | | | | | | | | | |Mo.O|Mo.R| - | | | | | | | | | | | | | | | | | | | | - | R | | | O | | | R | F | tu |A | |R oe| | |R oe| | | A | | - | A | | | | | R | O | | f |A | | | | | A | | | A | | - | A | | | | | A | | | fu |A | | |O| | A | | |A Fs| | - | R | | | F | |An.R|Mo.R| | |A | | O | | |A oe| | | A | | - | | | | | | | | | | | | | | | | | | | | - | | | | | | | | | | | | | | | | | | | | - | R | | |Fpa| | | R | F | | | |R oe| | |R oe| | F | A | | - | A | | | | | A | | | f |A | | | | | A | | | A | | - | A | | | | | O | R | | |A | | | | | A | | | A | | - | A | | | | | A | | | fu |A | | O | | Rlb |A oe| | | A | | - | | | | | | | | | | | | | | | | | | | | - | A | | | | | A | | | fu |A | | |O| | A | | | A | | - | | | | | | | | | | | | | | | | | | Fds| | - | A | | | | | O | R | | C |A | | | | | A | | | A | | - | A | | | | | O | R | | C |A | | | | | A | | | A | | - | A | | | | | O | R | | C |A | | | | | A | | | A | | - | A | | | | | R | O | | |O | R | | | | R | | | A | | - | A | | | | | R | F | | Rh | |A Em| | | Rr | A | | | A | | - | | | | | | | | | | | | | | | | | | Rpc| | - | A | | | | | O | R | | |A | | | | Rb | A | | | A | | - | | | | | | | | | | | | | | | | | | | | - | A | | | | | F | R | | fl |A | | | | | A | | | R | Oad| - | A | | | | | R | F | | fl |A | | | | | A | | | A | | - | A | | | | | A | | | fu |A | | | | | A | | | A | | - | R | | O | O | | | O | R | tu |A | |F oe|A| gorb|R oe| | R | iw| | - +----+-+----+---+-+----+----+----+-----+--+----+----+-+-----+----+-+----+----+----+ - | | | | | | | | | | | | | | | | | | | | - | A | | | | | S | O | R | fl |A | | | | R | R |O| | R |O ad| - | A | | | | | | R | O | fl |R | | | |Rg or| R | | | R | O | - | | | | | | | | | | | | | | r | | | | | | - | A | | | | | | R | O | C |R | O | | | Rr | R | | | R | O | - | A | | | | | O |An.R|Mo.R| fl |A | | | | | A | | |Mo.R|An.R| - | | | | | | | | | | | | | | | | | |An.O|Mo.O| - | A | | | | | R | | | | | R | | | Rr | R | | | | A | - | A | | | | | R | O | | fl | | A | | | Rr | R | | | | A | - | | | | | | | | | | | | | | | | | | |w ad| - | R | | Fha| | | | R | O | fl |A | | | | Rb | F |R| | O | Rh| - | | | | | | | | | | | | | | | | | | Rgh| Rgh| - |Mo.R| |Mo.F| | | F | R | | fl |A | | | | | A | | | R | O | - | | |An.A| | | | | | | | | | | | | | | | | - | R | | O | | | | R | O | fl |O | R | | | Rw | O |R| | | Ah | - | A | | | | | | O | R | fl | | A | | | Rr | O |R| | | Aw | - | R |O| | | |Mo.A| |An.R| f |A | | | | |An.R| |Mo.R| |A ad| - | | | | | | | | | | | | | | |Mo.S| | | | s | - | R | | O | | |An.R| O |Mo.R| |A | | | | Ry | A | | |Mo.R|An.A| - | | | | | | | | | | | | | | | | | | | ad | - | | | | | | | | | | | | | | | | | | |Mo.O| - | A | | | | | R | O | O | |A | | | | | A | | | |A ad| - | | | | | | | | | | | | | | | | | | | ic| - | A | | | | | | O | R | |O | R | | | | R | | O | O | R | - | A | | | | | | R | F | fl |A | | | | | R | | | R | O | - | R | | F | O | | | R | F | fl |A | | O |R| |A oe|O| O | R | O | - +----+-+----+---+-+----+----+----+-----+--+----+----+-+-----+----+-+----+----+----+ - | | | | | | | | | | | | | | | | | | | | - | A | | | | | O | R | | |A | | | | Rg | R | | R | O | R | - | | | | | | | | | | | | | | | | | | | | - | A | | | | | O | R | | |R | O | | | Rb | R | | R | R | O | - | A | | | | | R | O | | |A | | | | |R ic| |R iw| R | O | - | A | | | | | R | O | | |A | | | | Rb | R | | R | O | R | - | R | | O |Fpa| | F | R | | |A | | | | | R | | | R | O | - | p | | | | | | | | |R | | | | | R | | R | O | R | - | A | | | | | R | O | | |R | | | | Rb | R | | R | R | O | - | | | | | | | | | | | | | | | | | | | | - | | | | | | | | | | | | | | | | | | | | - | R | | O | | | F | R | O | |Rh| O | | |g. r.| | | R | O | Rh | - | | | | | | | | | | | | | |or b | | | | | | - | R | | | O | | O | R | | |A | | R | | Rr |R oe| | |Mo.R|An.R| - | | | | | | | | | | | | oe | |or b | | | |An O| | - | A | | | | | | O | R | fl |A | | O | | Rr |R oe| | O | O | R w| - | | | | | | | | | | | | oe | |or b | | | | | | - +----+-+----+---+-+----+----+----+-----+--+----+----+-+-----+----+-+----+----+----+ - | | | | | | | | | | | | | | | | | | | | - | R | | O | | | F | R | | f |O | R | |R| Rd | A | | | | Ah | - | R | | O | | | | | | | | R | |R| Rr | R | | O | | A | - | R | | O | |O| R | O | | fu |F | R | | | Rd | A | | | R | O | - | | | | | | | | | | | | | | | | | | | | - | R | | O | | | F | R | | | | A | |R| Rr | A | | | | A | - | | | | | | | | | | | | | |or b | | | | | Rpc| - | R | | | |O| O | R | | |R | O | | | | A | | | |A ad| - | R | | | |O| O | R | | |R | O | | | | A | | | |A ad| - | R | | | |O| R | O | | C |O | R | | |Rb or| O |R| R |Mo.R|An.R| - | | | | | | | | | | | | | | y | | | |An.O|Mo.O| - +----+-+----+---+-+----+----+----+-----+--+----+----+-+-----+----+-+----+----+----+ - | R | | F | O | | O | R | O | | | A | |F| Rd | | | |Mo.O|An.A| - | | | | | | | | | | | | | | | | | | |O hh| - +----+-+----+---+-+----+----+----+-----+--+----+----+-+-----+----+-+----+----+----+ - | R | | | |O| F | R | | C |A | | | | | R | | |Mo.R|An.R| - +----+-+----+---+-+----+----+----+-----+--+----+----+-+-----+----+-+----+----+----+ - - Explanation of Symbols: A = always; R = as a rule; F = frequently; - O = occasionally; S = seldom; An. = antiques; Mo. = moderns; em = - embroidered; ad = added; c = coarse; f = fine; fl = fluffy; h = - heavy; t = thick; w = wide; u = upright; oe = one end; pa = part; p - = pileless; pc = parti-colored; g = gray; lb = light blue; y = - yellow; r = red; d = dark; b = brown; bl = black; ic = if cotton; - iw = if wool; gh = goats' hair; hh = horse hair; s = silk. - - From the foregoing table the following facts may be advantageously - emphasized, viz: (1) Comparatively few rugs are tied with the - Senna knot, and these are mostly of the Persian and Turkoman - classes. (2) _All_ Persian and Caucasian rugs are tied with the - Ghiordes knot. (3) Most of the finest Persian rugs have cotton - warp and woof, and are tied with the Senna knot. (4) The Kurdistan - is the only one of the Persian classification which ever has a - dyed warp, but many of them have a dyed woof. (6) The Turkish and - Caucasian rugs, as a rule, have a wool warp and woof. (7) The - Persians nearly all have narrow webs, with the exception of the - Niris and the Shiraz, which have wide ones. (8) All Turkish rugs - have narrow webs, with the exception of the Karaman, the Ladik and - the Bergama, which have wide ones. (9) As a rule the Caucasians - have narrow webs, and the Turkoman have wide ones. (10) The - knotted warp ends are found especially among the Caucasian rugs. - (11) As a rule the Persians are overcast on the sides, and the - Turkish and Turkoman are selvaged, while the Caucasians are as - much one way as the other. (12) The length of the pile is of very - little assistance in classifying. - - - - -PART II - - - - - [Illustration: SHIRVAN RUG - PROPERTY OF LIBERTY & CO., LONDON, ENGLAND - - Of a rather unusual color combination for a Caucasian product, drab, - light and dark blue being the only colors of much prominence. The - diamond medallions in the field and the barber pole stripe in the - border are found in rugs of nearly every class but more especially - in the Caucasian fabrics. Note the numerous small animal and bird - forms scattered throughout the field. - - (See page 265)] - - - - -GENERAL CLASSIFICATION - - -In the general market are found over fifty different kinds of rugs, -most of which are named after the towns or districts in which they -are made, from which they are marketed, or after the people who make -them. There is generally also some slight difference in the weave, the -material, the color, the design or the finish, which gives each class -its distinguishing, technical character. Of late years, however, there -has been such an intermingling of races and transmission of ideas -from one country to another, that even the expert is often unable to -identify a rug with the place in which it was made. - -There is occasionally a dealer who has many of his own names which he -uses to the extinction of all others and some of the names used in -Western countries would not be recognized in the countries from which -the rugs come. Under such circumstances classification becomes rather -difficult and it is not to be wondered at that authorities sometimes -disagree. Importers and dealers in Oriental rugs would find it greatly -to their advantage if they had a strict rug nomenclature based on -facts and if they discountenanced everything in the trade which tended -towards charlatanism or inspired distrust in the minds of buyers. - -In the classification to follow we will consider rugs from a -geographical stand-point. - -To begin, we will consider them in the following order: 1st, Persian; -2nd, Turkish; 3rd, Caucasian; 4th, Turkoman; 5th, Beluchistan; and 6th, -Chinese. - -No reference will be made to Indian rugs for the reason that, outside -of the fact that they are made in India, they can nowadays hardly claim -a right to be classed as Oriental products, inasmuch as they are wholly -modern creations made merely upon a trade basis, often by machinery, -and after designs furnished by American and European designers. - - [Illustration: BOKHARA CAMEL BAG HALF - Size 4' × 2'10" - PROPERTY OF MR. J. H. STANTON, AUBURN, N. Y. - (See page 284)] - - - { Bakhshis - { Herez { Gorevan - { { Serapi (a) - { Azerbijan { Kara Dagh (b) - { { Kashan - { { Souj-Bulak (c) - { { Tabriz - { - { { Bijar, Sarakhs, (d) Lule (e) - { Ardelan { Kermanshah - { { Senna (c) - { - { { Feraghan (f) - { { Hamadan - PERSIAN OR { { Ispahan - IRANIAN { Irak-Ajemi { Joshaghan (g) - { { Saraband (h) - { { Saruk - { { Sultanabad { Mahal (i) - { { Muskabad (i) - { - { Farsistan or Fars { Niris, Laristan (j) - { { Shiraz - { - { { Herat (k) - { Khorasan { Khorasan proper - { { Meshed - { - { Kirman { Kirman - { - { Eastern Kurdistan { Kurdistan proper. - - (a) After the village of Serab. - - (b) Mountains. - - (c) A Kurdish product, named after a city. - - (d) More commonly called Sarakhs, after the city by that name, - which is situated on the border line between Persia and Turkestan - and within a few miles of Afghanistan. They are so called because - the people who make them formerly came from this district. - - (e) A corruption of the Persian word "roules," which means a - pearl. - - (f) A province. - - (g) A district. Joshaghan is the English way of spelling it and - Djoshaghan the French way of spelling it. - - (h) A corruption of the word "Sarawan," the name of a district in - Persia just south of Feraghan. The name has no connection whatever - with the "Saraband Dance." - - (i) Terms used for the different grades of rugs from the - Sultanabad district. - - (j) Laristan is a province in the Kirman district just south of - Niris. - - (k) Named after the city of Herat, which is not situated in - Khorasan at all, but is across the Persian border in Afghanistan. - They take this name for two reasons: first, because they are woven - by people who formerly lived in Herat, but who, owing to political - disturbances, settled in Khorasan; and second, because they are - marketed at Herat. - - - { Angora { Kir Shehr - { - { Brousa { Oushak - { - { { Karaman - { { Konieh proper - { Anatolian { Konieh { Mujur - { { { Ladik (a) - { { { Yuruk (b) - { { - { { { Ak-Hissar - { { { Anatolian proper - { { { Bergama - Turkish { { Smyrna { Ghiordes - { { Kulah - { { Meles (c) - { { Makri - { { Smyrna proper - { - { Kurdistan { Mosul { Mosul proper - - (a) A corruption of the word "Laodicea." - - (b) The word "Yuruk" means mountaineer. - - (c) A corruption of the word "Milassa." - - - { Daghestan proper - { Caucasia { Daghestan { Derbend - { { Kabistan (a) - { { Tchetchen, Chichi, - { Tzitzi (b) - { - { { Baku proper - CAUCASIAN { { Baku { Shemakha, Soumak (c) - { { { Kashmir (d) - { { { Shirvan (e) - { { - { Transcaucasia { Elizabethpol { Genghis, Ganja (f) - { { Karabagh (e) - { - { Erivan Kazak (g) - - (a) Should be Kubistan or Kuban, as they are made at Kuba. - - (b) Named after a tribe of people who inhabit the mountains north - of Daghestan. - - (c) A corruption of the word "Shemakha." - - (d) Sometimes called Kashmir from the resemblance of the under - side to that of Cashmere shawls. - - (e) A province. - - (f) Named after a tribe of Turkomans who live in the vicinity of - Elizabethpol. Sometimes called Ganja, after the ancient name of - Elizabethpol. - - (g) Named after a tribe of Nomads inhabiting the hills around Lake - Goktcha. - - - { Khiva Bokhara - { Turkestan { Beshir Bokhara - { { Tekke Bokhara (a) - { { Yomud Bokhara (b) - TURKESTAN OR { - TURKOMAN { Eastern Turkestan { Kashgar - { { Yarkand - { - { Russian Turkestan { Samarkand - -Beluchistan { Beluchistan proper (c) - - (a) Made by the Tekke-Turkomans who inhabit the plains to the west - of the Oxus. - - (b) The name of a tribe of Turkomans who inhabit the western end - of Turkestan. - - (c) Although these rugs are made in a region far distant from - Turkestan, they are so similar to the Turkoman class that they are - classified as such by several authorities. - - Genghis, of the Caucasian class, being made by a tribe of - Turkomans in the Caucasus and resembling closely the Turkoman - productions, are classified as such by several prominent writers. - - [Illustration: SARUK RUG - Size 6' 4" × 4' 1" - FROM THE COLLECTION OF THE AUTHOR - - Knot: Senna. Fourteen to the inch horizontally and seventeen to the - inch vertically, making two hundred and thirty-eight to the square - inch. - - The design is characteristic but the colors are unusual for a Saruk. - There is a central pole medallion within another medallion. The - predominating color of the former is an old rose with figures in - light and dark blue, white and yellow, especially the latter. The - outside medallion has an old ivory background and is strewn with - beautiful undulating vines covered with flowers of various colors, - those at one end being principally in old rose while at the other end - a rich red seems to predominate. Each corner of the field outside of - the medallion has a rich blue background with scroll figures and - large flowers, differing considerably in color at the two ends. There - are four border strips, the outside one being of plain ivory. The - main border consists of alternate white and old rose floral forms - connected by a meandering line upon a dark blue background and on - both sides of this main border stripe is the reciprocal trefoil in - red, blue and white. - - (See page 200)] - - [Illustration: PERSIA] - - - - -THE PERSIAN CLASSIFICATION AND DESCRIPTION - - -From the earliest time to the present the Persian has excelled all -others in the designing of flowers and in color decoration, therefore -the Persian textiles have always shown complex floral designs and -harmonious arrangement of colors. Unlike the Turkish fabrics, they -almost invariably have a full straight fringe at each end which is -composed of loose warp threads. - -In Persia both the Senna and the Ghiordes knots are used, and the -latter has been adopted in some localities where the former alone was -once in vogue. - -The weavers of Persia are usually composed of women and children of -both sexes. The latter, however, do not take up the work at nearly so -early an age as they do in Asia Minor. In Persia they seldom begin -earlier than ten years of age, while in Asia Minor thousands of little -children from four to six years of age may be seen working at the loom. -The usual pay in Persia is fifteen tomans ($0.91) a year for the first -two years of their apprenticeship. This amounts to about $13.65 of our -money. After the expiration of two years they are paid at the rate of -one toman for every 30,000 stitches. - -The Persian government has endeavored to uphold the quality of its rugs -in the face of demoralizing influences, but alas, Persia too is getting -the commercial spirit and aniline dyes are being smuggled into and -secretly used all over the country. - -One correspondent in Teheran says, "Good rugs are hard to get and are -very expensive. There are quantities of the commercial variety, but -those can be bought in London as cheap as in Persia." During the recent -revolution quite a number of the palaces were sold out by their owners -at auction. At these sales the good rugs were quickly picked up at -fabulous prices by European residents in Teheran. - -There are no rug factories in Persia, but there are several -establishments owned by foreigners, especially at Sultanabad and -Tabriz, where the wool is dyed and given out to the weavers to take -home and weave according to the designs and specifications furnished. - - [Illustration: INSPECTING RUGS AT ISPAHAN] - - [Illustration: PERSIAN VILLAGERS NEAR HAMADAN] - - -PERSIAN RUG PROVINCES - -The following is a short description of the various Persian provinces -from which rugs come: - -AZERBIJAN is the most northeastern province of Persia. It includes a -part of Ancient Armenia and its present population consists mostly -of Turks, with some Armenians and Kurds. Tabriz is the capital. Its -present output of rugs is very large. - -ARDELAN is the province just south of Azerbijan. Its inhabitants are -mostly Kurds and its capital is Kermanshah. - -IRAK AJEMI is the largest province of Persia. It practically occupies -the centre of the country. Its principal city is Teheran, which is the -present capital of Persia. Irak Ajemi has a larger output of rugs than -any other province of Persia. - -FARSISTAN or FARS, as it is sometimes called, lies in the southern part -of Persia west of Kirman and south of Irak Ajemi. Shiraz is its capital -and it produces a wool which is not excelled, if equalled, by that of -any other country in the world. - -KHORASAN is Persia's most southeastern province and, next to Irak -Ajemi, its largest one. It is sometimes called "The Land of the Sun," -and is inhabited by Arabs, Turkomans, Kurds, Afghans, Baluches, and -Jews. The western portion is a desert. Meshed is the capital. It is -one of the last of the Persian provinces to be affected by outside -influences. - -KIRMAN is the most southerly province of Persia and the least known. -Being so difficult of access, it is seldom visited by the traveller; -consequently its products are free from outside influence. It has for -its capital the city of the same name. - -A complete description of each rug of the Persian class is given in -the following pages. - - [Illustration: HEREZ CARPET - FROM THE COLLECTION OF MR. A. U. DILLEY] - - -HEREZ - -A name applied to all carpets made in the mountainous district of Herez -and to some from Tabriz and Sultanabad. The different products of -this class are so similar in many respects that it is often difficult -and sometimes impossible for the expert to differentiate. There is a -great prevalence of Mongolian influence in their designs. Until quite -recently the Herez district was one of the few districts from which the -modern rugs were a decided improvement on the antique, but they have -deteriorated considerably of late. They are marketed at Tabriz. - -THE EXAMPLE ILLUSTRATED - - In exception to most of the Herez weaves this piece has no - medallion centre with corner pieces to match, but the style of the - floral motifs which fill the field is somewhat characteristic of - the region in Northern Persia where it is made. The Herez products - are extremely serviceable. - - -BAKHSHIS - -WHY SO NAMED.--After the village by that name in the Herez district -where they are made. - -KNOT.--Usually the Senna, sometimes the Ghiordes. Number vertically six -to fifteen; number horizontally five to twelve; number to the square -inch thirty to one hundred eighty. - -WARP.--Always cotton. - -WOOF.--Always cotton, sometimes dyed brown. - -NAP.--Usually a good quality of wool, trimmed short, but rarely -lustrous. - -SIDES.--Nearly always overcast with different colored yarns. -Occasionally finished flat. - -ENDS.--Short fringe with loose warp threads at each end; occasionally -they are knotted. - -BORDER.--Usually consists of two narrow and one wide central stripe. -The latter frequently carries the Herati design. - -PREVAILING COLORS.--Different shades of red, blue, and green. Also -ivory, white, brown, old rose, and sometimes yellow. - -DYES.--As a rule are good. Aniline dyes are found in many of the very -new pieces. - -DESIGNS.--Usually the medallion centre with or without corners to -match. Characteristic angular ornamentation. Shah Abbas, Herati, and -Sardar designs frequently used. - -COST.[A]--From $1.00 to $2.50 a square foot. - -SIZES.--Six to ten by ten to twenty-six feet. Seldom in small sizes. - -REMARKS.--Rather rare compared with the rest of the Herez products. -Among the most desirable of the large carpets. Until very recently they -have been perfectly free from outside influences. - - -GOREVAN - -SYNONYMS.--Goerivan, Ghorevan. - -WHY SO NAMED.--After a small village in the Herez district. - -WHERE MADE.--Throughout the Herez district. - -KNOT.--Usually the Senna, occasionally the Ghiordes. Number vertically -from eight to fifteen; number horizontally from six to twelve; number -to the square inch forty-eight to one hundred eighty. - -WARP.--Always cotton. - -WOOF.--Always cotton, sometimes dyed brown. - -NAP.--A rather coarse wool, clipped short. - -SIDES.--Usually overcast, as a rule with different colored wool, seldom -selvaged. - -ENDS.--Always a short fringe with loose warp threads at each end. -Occasionally they are knotted. - -BORDER.--From three to five border stripes, generally three, one wide -central stripe with a narrow one on each side. The central stripe -frequently carries the Herati design. - -PREVAILING COLORS.--Blue, red, and green in all their shades; brown, -old ivory, terra cotta, and occasionally yellow. - -DYES.--Of the best excepting in some of the new pieces. - -DESIGNS.--Similar to those of the Bakhshis. A shaded background is a -characteristic feature. - -COST.--From $1.25 to $3.50 a square foot. - -SIZES.--Six to ten by ten to twenty-six. Seldom smaller than carpet -sizes. - -REMARKS.--Excellent carpets to wear. - -THE EXAMPLE ILLUSTRATED - - Like most rugs of its class its field presents a medallion with - corners to match, all of which is covered with rectilineal flowers - and vines. Like most of the Herez products its main border carries - the tortoise design. - - -SERAPI - -SYNONYMS.--Serab, Serabi, Sirab. - -WHY SO NAMED.--After the village of Serab in the Herez district. - -WHERE MADE.--Sometimes in the Herez district, sometimes on the looms of -Tabriz and sometimes on those of Sultanabad. - -KNOT.--Usually the Senna, occasionally the Ghiordes. The finest ones -are tied with the Senna knot. Number vertically ten to eighteen; number -horizontally eight to twelve; making from eighty to two hundred sixteen -to the square inch. - - [Illustration: GOREVAN CARPET - LOANED BY H. B. CLAFLIN & CO.] - -WARP.--Always cotton. - -WOOF.--Always cotton, sometimes dyed. - -NAP.--Rather coarse but durable wool, which is generally clipped short. - -SIDES.--Nearly always overcast, seldom selvaged. - -ENDS.--Short fringe and loose warp threads at each end. Occasionally -knotted. - -BORDER.--Similar to that of the Bakhshis and Gorevan. From three to -five border stripes, most usually three. - -PREVAILING COLORS.--Similar to those of the Bakhshis and Gorevan but, -as a rule, somewhat brighter. - -DYES.--Usually excellent. - -DESIGNS.--Similar to those of the Gorevan, but there are usually more -floral elements added to the ground. Frequent inscriptions. - -SIZES.--Eight to fifteen by ten to twenty-five. Very few runners and -seldom smaller than carpet sizes. - -PRICES.--$1.50 to $4.00 per square foot. - -REMARKS.--The best grade of the Herez products. Usually of a finer -weave and with more detail in design than the Gorevan. - -THE EXAMPLE ILLUSTRATED - - It is rather difficult to distinguish between the Serapi and the - Gorevan. The principal difference is one of quality, although the - former usually has more detail in design and usually more floral - elements added to the ground. - - This carpet presents a peculiar medallion with four pear-shaped - offshoots upon a light ground which is strewn with many - rectilineal flowers and leaves. Like nearly all of the Herez - products it has three border stripes, one wide one with a narrow - one on each side. The former carries the tortoise border design - with an arrangement similar to the Herati border design and the - latter small flowers in profile alternating with buds. - - -KARA DAGH - -WHY SO NAMED.--The words "Kara Dagh" mean Black Mountains, the name of -a range in the northern part of the Azerbijan province, where they are -woven by shepherd tribes of the most bigoted Shiah sect. - -KNOT.--Ghiordes. Number vertically eight to fourteen; number -horizontally eight to eleven; number to square inch sixty-four to one -hundred fifty-four. - -WARP.--Wool. - -WOOF.--Natural brown or dyed wool. Usually extra woof threads. - -NAP.--Wool of medium length, sometimes camels' hair. - -SIDES.--Usually selvaged, occasionally overcast. - - [Illustration: SERAPI CARPET - LOANED BY H. B. CLAFLIN & CO.] - -ENDS.--One end selvaged and turned back, the other selvaged and -finished with a fringe of loose warp threads. The selvage is usually -dyed red. - -BORDER.--Usually from three to six border stripes of more or less -floral character. - -PREVAILING COLORS.--Similar to those of the Karabagh, but more -diversified. The ground contains considerable natural-colored camels' -hair. - -DYES.--Usually good. Occasionally an aniline dyed one. - -DESIGNS.--More of the Persian character than the Karabaghs, resembling -somewhat the rugs of Kurdistan. The field is usually covered with small -floral forms, which are thrown broadcast. - -PRICES.--From $2.00 to $3.00 per square foot. - -SIZES.--From three to four by five to seven feet. Runners two and -one-half by eight to fifteen. - -REMARKS.--Seldom seen in the American market. They have kept pretty -well up to their original standard. In many respects they are similar -to the Karabagh, to which they are somewhat superior. - - -KASHAN - -WHY SO NAMED.--After Kashan, a city of 30,000 inhabitants between -Teheran and Ispahan, where they are made. Kashan is the centre of the -silk rug industry in Persia and it was here that the famous Ardebil -carpet was woven. - -KNOT.--Ghiordes. Number vertically twelve to thirty-five; number -horizontally ten to twenty; number to square inch one hundred fifty to -five hundred. - -WARP.--Cotton, frequently silk or linen. - -WOOF.--Cotton, frequently silk or linen. - -NAP.--Fine short wool, frequently silk. - -WEAVE.--As a rule very evenly and tightly woven. - -SIDES.--Overcast with wool, sometimes with silk. - -ENDS.--Short web with loose warp threads at each end. - -BORDER.--From three to seven border stripes. - -PREVAILING COLORS.--Dark blues, reds, and greens; rose, turquoise, deep -wine color, and ivory. - -DYES.--Good. - -DESIGNS.--Similar to those of the Saruk. Exclusively floral with many -connecting vines; medallions; no plain fields. - - [Illustration: KASHAN SILK RUG - FROM THE COLLECTION OF MR. A. U. DILLEY] - -SIZES.--Only carpet sizes. - -PRICES.--From $2.00 to $10.00 a square foot. - -REMARKS.--Among the antique Kashans are a number of old "Hunting -Carpets" with elaborate detail work showing in their design forests with -hunters and dogs pursuing animals of the chase. - -THE EXAMPLE ILLUSTRATED - - The Kashan silk rugs are as a class the best silk rugs made and - this particular one illustrates the best Persian spirit in design - and workmanship. Although not as finely woven as some, it has four - hundred and eighty-four knots to the square inch and it is made - exclusively of the best Persian silk. - - -SOUJ BULAK - -WHY SO NAMED.--After Souj Bulak, the old Kurdish capital some distance -south of Tabriz, where they are made by the Kurds. - -KNOT.--Ghiordes. Number vertically six to eight; number horizontally -eight to eleven; number to square inch forty-eight to eighty-eight. - -WARP.--Double yarn of wool. Sometimes half cotton and half wool. - -WOOF.--Double yarn of wool. Sometimes of wool and cotton. - -NAP.--Best, soft, double-stranded wool. - -WEAVE.--Closely and tightly woven, making the nap stand up straight. -SIDES.--Overcast like other Kurdish rugs. - -ENDS.--One end has plain selvage, the other selvage and loose warp -threads like most Kurdish rugs. - -BORDER.--From two to five border stripes. - -PREVAILING COLORS.--Dark reds, blues, and browns; also white and yellow. - -DYES.--Good. - -DESIGNS.--Kurdish designs as a rule. The Herati pattern is frequently -employed. - -SIZES.--Carpet sizes. - -PRICES.--Rather rare. From $2.00 to $5.00 per square foot. - -REMARKS.--Very compact, strong and serviceable. - - -TABRIZ - -WHY SO NAMED.--After the city of Tabriz, the Persian capital, in the -neighborhood of which they are made. - -KNOT.--Nearly always the Senna, occasionally Ghiordes. Number vertically -twelve to twenty-two; number horizontally ten to twenty; number to -square inch one hundred twenty to four hundred forty. - -WARP.--Nearly always cotton. Silk in some extra fine specimens. -Occasionally linen. - - [Illustration: TABRIZ RUG - LOANED BY H. B. CLAFLIN & CO.] - -WOOF.--Cotton, sometimes wool or linen. Formerly dyed the predominating -color of the rug, but of late not dyed at all. - -NAP.--Good wool, closely woven and closely trimmed. - -SIDES.--The antiques are usually overcast, while the moderns are -generally selvaged. - -ENDS.--Narrow web with loose warp threads at each end. Occasionally -trimmed. Frequently several strands of colored wool run through the web. - -BORDER.--Generally five to eight border stripes; one wide one with an -equal number of narrow ones on either side of it. - -PREVAILING COLORS.--Bright blues, reds, and browns; ivory is frequently -the predominating color of the field. - -DYES.--Usually good. Some of the modern pieces have aniline dyes. The -blues, reds, and browns are especially likely to be aniline. - -DESIGNS.--Nearly always a medallion with field covered with intricate -floral designs. Frequently verses from the Koran or of Persian poets are -found in the borders. Tree of life patterns are frequent and a -heart-shaped lamp often hangs from the niche in the prayer rugs. Seldom -are figures of birds, animals, or human beings used. - -SIZES.--All sizes, from mats to large carpets. - -COST.--From $3.00 to $10.00 per square foot. - -REMARKS.--The modern ones are too regular and exact in pattern and show -European influences. They are so firm and closely woven that they are -stiff and non-flexible. - -With the Kirman the Tabriz shares the reputation of having the most -graceful floral designs. They are purely Persian and have suffered -little from outside influence. Many of them are so closely woven that -they are apt to curl on the edges. - -THE EXAMPLE ILLUSTRATED - - This particular piece is a good example of the average design with - its floral medallion and many border stripes. - - -BIJAR - -SYNONYMS.--Sarakhs, Lule. - -WHY SO NAMED.--After a town in Western Persia in the province of -Kurdistan. Sometimes called Sarakhs because they are made by tribesmen -who came from the old city by that name and settled around Bijar. - -KNOT.--Ghiordes. Number vertically six to ten; number horizontally eight -to twelve; number to the square inch forty-eight to one hundred twenty. - -WARP.--Heavy wool. - -WOOF.--Heavy wool, occasionally camels' hair. - -NAP.--Heavy lustrous wool. The field is often of camels' hair. - -SIDES.--Overcast. - -ENDS.--Selvaged, sometimes a fringe woven on. The web of one end is -frequently turned back and hemmed. - -BORDER.--Usually from two to four border stripes. - -PREVAILING COLORS.--Field frequently the natural color of the camel. -Rich reds, blues, and greens; also white, old ivory, and yellow. - -DYES.--Usually good except in some of the modern pieces. - -DESIGNS.--Generally floral, often medallion centre with elaborate corner -pieces. Inscriptions frequent. Patterns irregular. Modern ones inclined -to be rectilinear. Antiques frequently have figures of birds, animals, -and human beings. - -COST.--$1.50 to $4.00 per square foot. - -SIZES.--Modern ones in carpet size; antiques three to five by five to -eight. - -REMARKS.--The antiques are very rare and the modern ones are much -inferior. Many of them are so thick and heavy that they cannot be folded -but must be rolled up. - -THE EXAMPLE ILLUSTRATED - - Maj. L. B. Lawton's Description.--A complete rug in rare design. - Usually such rarities are cut up so as to show the breaks in - pattern, and fortunate collectors get one fraction. The soft colors - in this are unusual even in Bijar. - - See also illustration on page 328. - - -KERMANSHAH (MODERN) - -WHY SO NAMED.--After the city of Kermanshah from which they are shipped, -it being a great caravan centre. - -WHERE MADE.--In the vicinity of Tabriz and of Sultanabad. - -KNOT.--Nearly always the Senna, seldom the Ghiordes. Number vertically -eight to sixteen; number horizontally eight to twelve; number to the -square inch sixty-four to one hundred ninety-two. - - [Illustration: BIJAR RUG - Size 3'9" × 2'9" - PROPERTY OF MISS EMILY DAVIS, BUFFALO, N. Y.] - -WARP.--Always cotton. - -WOOF.--Always cotton, occasionally dyed brown. - -NAP.--The choicest, lustrous wool, closely woven and usually cut short. - -ENDS.--Narrow web with loose warp threads at each end. - -SIDES.--Overcast with dark wool. - -BORDERS.--From three to five border stripes, most frequently five, one -wide with two narrow ones on each side. - -PREVAILING COLORS.--Soft shades of pinks, greens, or blues on a field of -old ivory. - -DYES.--In many the dyes are good, but are toned down with acids, while -in others anilines are used. - -DESIGNS.--Delicate, artistic and intricate floral designs. Central -medallion and corner panels frequent. - -SIZES.--All sizes, from mats to carpets as large as thirty-five to -fifty-five feet. - -COST.--$1.75 to $6.00 per square foot. - -REMARKS.--There is as much difference between the modern and the -antique Kermanshahs as there is between any two kinds of the Persian -class. The former are made at Tabriz or Sultanabad under European -supervision, are almost invariably doctored and can be had in -abundance, while the latter were made by the mountaineers along the -Turkish border, are of the best material, dyes and workmanship and are -rarely seen in the market. - -THE EXAMPLE ILLUSTRATED - - Like most of its class it consists of artistic and intricate floral - designs with a central medallion and graceful border stripes. In - many Kermanshahs, as in this piece, the pear motif is frequently - employed. See illustration at page 118. - - -SENNA - -SYNONYMS.--Sehna, Sinne, Senneh. - -WHY SO NAMED.--After the city of Senna in the vicinity of which they -are made. - -KNOT.--Senna always. Not equalled in number of knots by any other rug. -Number vertically ten to thirty; number horizontally ten to thirty-two; -number to the square inch one hundred to nine hundred sixty. Some -antiques have as high as one thousand to the square inch. - -WARP.--Cotton, sometimes silk or linen. - -WOOF.--Cotton, sometimes wool, silk or linen. - -NAP.--Finest silky wool, very closely cut. - -SIDES.--Overcast with red cotton or silk. - -ENDS.--Always a narrow web at each end, with a fringe of loose warp -threads. Frequently one or two strands of colored yarn run through the -web at one end. - - [Illustration: SENNA RUG - (HERATI DESIGN) - OWNED BY H. B. CLAFLIN & CO.] - -BORDER.--From two to seven border stripes, most frequently three, a -wide one with a narrow one on either side, the former usually filled -with rosettes which are connected by a wavy line. Sometimes it will -carry the Herati design. The ground color of the main stripe is almost -invariably bright red or yellow. - -PREVAILING COLORS.--Usually subdued shades of red, blue, green, yellow, -and pink; ivory, gold, sapphire, rose, and peach blow beautifully -blended. The modern ones are too bright. - -DYES.--Many of the modern ones are aniline dyed. - -DESIGNS.--Palm leaf throughout the field is a common design. Also a -central diamond or medallion frequently of the pole variety. Sometimes -centre field is covered with flowers. A diaper arrangement of the Pear -or Herati design is the most common. - -SIZES.--Usually of medium size, four to five by six to eight; seldom -larger. Saddle bags two and one-half to three by four feet; mats two -feet by one foot. - -COST.--From $2.00 to $6.00 a square foot. - -REMARKS.--Excel in fineness of weave, but edges are likely to curl and -pucker, consequently they do not lie well and are too thin to wear well. - -THE EXAMPLE ILLUSTRATED - - Like this piece most of the Sennas present the serrated - diamond-shaped pole medallion with the Herati design. They - frequently have the Herati border also, though this piece has not. - - -FERAGHAN - -SYNONYM.--Sometimes erroneously called Iran, which means Persian. - -WHY SO NAMED.--Because they are made on the plains of Feraghan, west of -the line of travel between Teheran and Ispahan. - -KNOT.--All antiques are tied with the Senna knot. Some of the modern -ones are tied with the Ghiordes knot. Number vertically, antiques eight -to fourteen, moderns six to fourteen; number horizontally, antiques -eight to eighteen, moderns five to twelve; number to square inch, -antiques sixty-four to two hundred fifty-two, moderns thirty to one -hundred sixty-eight. - -WARP.--Always cotton. - -WOOF.--Nearly always cotton, sometimes dyed. - -NAP.--Usually of good wool, frequently of camels' hair. - -SIDES.--Overcast, usually with black wool. - -ENDS.--Narrow selvage hemmed over at one end, with a selvage and loose -warp threads at the other end. - - [Illustration: FERAGHAN RUG - (HERATI DESIGN) - PROPERTY OF THE TIFFANY STUDIOS, NEW YORK CITY] - -BORDER.--From three to nine border stripes, which usually carry -small floral designs. Herati border is the most common and is almost -characteristic. Usually one wide border stripe with a background of -green and from one to four narrow border stripes on each side of it. - -PREVAILING COLORS.--Green usually forms the background of the main -border. The field is usually dark blue, soft red or ivory. Yellow is -used considerably in the modern ones. - -DYES.--Splendid in the antiques. Of inferior quality in the moderns. - -DESIGNS.--Herati field the most common. Occasionally the Guli Hinnai is -employed. Sometimes a centre of plain red medallions. There may be a -repetition of some small figures throughout the field. All animal and -bird designs in the Feraghans are represented as in motion. - -SIZES.--Usually small sizes, three to four by four to six. Occasionally -carpet sizes. Antiques mostly oblong. - -PRICES.--Antiques $2.50 to $10.00 per square foot. Moderns $1.00 to -$2.50. - -REMARKS.--They rank among the best fabrics of Persia, but of late years -have fallen to the joblot level. The antiques are soft, durable and -heavy, but are scarce. - -THE EXAMPLE ILLUSTRATED - - OWNER'S DESCRIPTION.--The typical Feraghan rendering of the Herati - pattern is here illustrated in which the dark blue field and green - main border carry the Persian variant of the Herati design, which - is popularly known as the "fish pattern," and which is copied with - more or less accuracy all through central Persia. - - HOMMEL RUG (page 114).--Knot: Ghiordes; number to the inch, - vertically nine; horizontally seven; to the square inch, - sixty-three. - - The field, like that of the majority of Feraghans, is covered with - the Herati design. The background is of black and the figures are - red, blue, green, pink, yellow and white. - - The main border stripe carries eight-petaled flowers of various - colors, connected by the fish-bone motif upon a ground of white. - On either side of this is a flower and vine design in various - colors, the inner one on a ground of old rose and the outer one on - a ground of dark brown. The inner and outer border stripes carry - the reciprocal saw-teeth; the former in blue and red and the - latter in green and red. - - The nap is about three-quarters of an inch in length and is - exceedingly glossy. - - -HAMADAN - -SYNONYMS.--Hamadieh, Hamadie. - -WHY SO NAMED.--After the city of Hamadan, in the vicinity of which -they are made. Hamadan is the capital of the province of Irak Ajemi in -western Persia and has a population of 35,000. - -KNOT.--Ghiordes. Number vertically seven to ten; number horizontally -seven to ten; number to square inch forty-nine to one hundred. - -WARP.--Antiques always cotton. - -WOOF.--Usually considerable camels' hair in natural color. Cotton or -wool. - - [Illustration: HAMADAN RUG - PROPERTY OF MR. A. U. DILLEY] - -NAP.--Usually good wool or camels' hair of medium length. - -WEAVE.--Antiques fine. Moderns coarse. - -SIDES.--Overcast. - -ENDS.--Fringe at one end and hemmed web at the other. - -BORDER.--Three to six border stripes, usually four. The characteristic -feature is a broad outside band of camels' hair. The Herati border -design is frequently used. - -PREVAILING COLORS.--The natural camels' hair brown prevails with soft -delicate reds, pinks, blues, and greens. - -DYES.--Of the best in the antiques, but generally poor in the modern -fabrics. - -DESIGNS.--Pole medallion is almost universal. Field is usually filled -with floral designs or a trellis arrangement. Antiques resemble animal -skins. - -SIZES.--Antiques come in all sizes. Moderns two to four by four to six -and runners two to four by eight to thirty. - -PRICES.--$1.00 to $3.00 per square foot. Antiques rare and expensive. - -REMARKS.--The modern ones are poor. The antiques are handsome and -durable. - - -THE EXAMPLES ILLUSTRATED - - This piece, like most of its class, has a nap which consists - principally of natural-colored camels' hair, as is manifested in - the central field and outer border. Like most Hamadans it also has - a pole medallion in the centre of the field with corners to match. - The weaver has adopted the Kurdish method of shading the field with - camels' hair of different shades. The principal border stripe - consists of alternate rosette and fish-bone motifs on each side of - which there are small floral forms alternating in direction and - connected by meandering vines. - - STANTON RUG (page 110).--Like most of its class, this piece has a - pile which consists mostly of undyed camels' hair. The colors, - designs and border stripes are characteristic features, especially - the motives in the outer border stripe, which are found in no other - product. This piece has an unusually long nap, which not only adds - to its wearing quality, but makes it lie better on the floor. - - -ISPAHAN - -SYNONYM.--Isfayan. Sometimes, like the Feraghan, it is called Iran. - -WHY SO NAMED.--After the city of Ispahan, the former capital of Persia, -where they were made by expert weavers in the employ of the nobility at -Ispahan, Teheran, and Saruk during the period of highest art. - -KNOT.--Senna. Number vertically ten to twenty; number horizontally eight -to fifteen; number to the square inch eighty to three hundred. - -WARP.--Cotton. - -WOOF.--Cotton. - -NAP.--Best, soft, glossy wool. - -WEAVE.--Usually close and even. - -SIDES.--Overcast. - -ENDS.--Narrow web with loose warp ends. - - [Illustration: ISPAHAN RUG - (SHAH ABBAS DESIGN) - BY COURTESY OF THE METROPOLITAN MUSEUM OF NEW YORK CITY] - -BORDER.--From three to five border stripes, usually three, one wide -one between two narrow ones. The wide stripe is commonly of yellow, -wine red, and green, especially in those made in the 16th century. The -Herati design was frequently employed. - -PREVAILING COLORS.--Deep reds, blues, and greens. Beautiful crimson. -Deep wine colors known as Ispahan red. Field generally of deep red or -blue. - -DYES.--The best. - -Designs.--Very artistic. Rich in floral and animal decoration of the -finest Persian type. Large palmette and rich floral patterns connected -by vines and serrated leaves arranged similarly to the Herati pattern. -Cypress cones and various tree forms. The Shah Abbas design was freely -employed. - -SIZES.--Generally long and narrow (runners). Seldom small. - -PRICES.--The antiques bring fabulous prices. Fragments have sold in -recent years for $300 to $1000, and many carpets have brought from -$15,000 to $25,000. - -REMARKS.--Extremely rare. Almost impossible to secure a genuine -specimen. The Saruks are the Ispahans of the present day. The antiques -are examples of the most perfect weaving skill. Many of the so-called -Ispahans of the 16th and 17th centuries were really productions of -Herat. - -THE EXAMPLE ILLUSTRATED - - In this choice old piece of the sixteenth century the Shah Abbas - design, one of the most beautiful of all ancient designs, is used - freely in the field and in the main border stripe. The fir tree and - the cloud band are also freely employed in the field, the latter - showing the Mongolian influence which was quite prominent in many - of the fifteenth and sixteenth century pieces. - - -JOSHAGHAN - -SYNONYMS.--Djoshaghan, Djushaghan, Youraghan. - -WHY SO NAMED.--After the Persian village and the district of Joshaghan, -where they are made. - -KNOT.--Ghiordes. Number vertically eight to twenty; number horizontally -eight to twenty: number to square inch sixty-four to four hundred. - -WARP.--Wool. - -WOOF.--Wool. - -NAP.--Fine wool of medium length. - -SIDES.--Overcast. - -ENDS.--A thin narrow web with loose warp threads at each end. - -BORDER.--Usually three border stripes, one wide with a narrow one on -either side. The wider stripe generally has for the ground color a -lighter tone of the same color which predominates in the field. - -PREVAILING COLORS.--Soft-toned colors similar to those of the Hamadan. -Ground is usually red. - -DYES.--Splendid in the antiques. - -DESIGNS.--Generally a sort of scroll carried throughout the margin -of the field and forming medallions. A common design is a series of -crosses with angular ends and adorned with floral figures; also the -eight-pointed star between every four crosses arranged into a lattice. -There are usually many four-and six-petaled roses. - -SIZES.--Usually large, seven to nine by ten to fourteen. - -PRICES.--$2.00 to $5.00 per square foot. - -REMARKS.--Antiques excellent. Among the best Persian carpets. They -resemble somewhat the Saraband. Not very common in the United States. - - -SARABAND - -SYNONYMS.--Serebend, Sarawan. The finest ones are sometimes called Mir -Saraband and the coarsest ones are frequently called Selvile. - -WHY SO NAMED.--A corruption of the word Sarawan, which is the name of a -mountainous district south of Feraghan, where they are made. - -KNOT.--Antiques are always tied with the Senna knot. Some of the modern -ones are tied with the Ghiordes knot. Number vertically seven to -fourteen; number horizontally eight to twelve; number to square inch -fifty-six to one hundred eighty-eight. - -WARP.--Always cotton. - -WOOF.--Always cotton, sometimes dyed. All good Mir Sarabands have a -blue woof thread. - -NAP.--Usually even, short cut, silky wool. - -SIDES.--Overcast, usually with a dark red wool. - -ENDS.--One end usually has a narrow web and short fringe of loose warp -threads, while the other is generally a narrow web which is frequently -turned over and hemmed. Frequently several strands of colored wool run -through the web, as in the Kurdish productions. - -BORDER.--Usually from four to twelve border stripes, the principal -one of which is from three to four inches wide with an ivory white -background and a vine design running through it, at each turn of which -is a leaf similar in shape to that in the Herati pattern. The vine -design is nearly always present and characterizes the Saraband border -from all others. The smaller border stripes are generally filled -by various well-known designs, such as the reciprocal trefoil, the -barber-pole stripe, the Greek meander, etc. - -PREVAILING COLORS.--The field is generally of a dark blue or a rich -red. In antiques it is often of a pink or rose shade. The main border -stripe is frequently of old ivory or red, while the other border -stripes vary, most of them as a rule being the same color as that which -predominates in the field. - - [Illustration: SARABAND RUG - Size 3' 4" × 5' - PROPERTY OF MRS. THOMAS E. MATTHEWS, MT. CLEMENS, MICH.] - -DYES.--As a rule are excellent. In the modern products some of these -colors are liable to be aniline, especially the greens. - -DESIGNS.--The field is almost invariably covered with the pear design -arranged in rows, the stems of each successive row running in the -opposite direction. This is nearly always the case and with the -exception of the Shiraz it seems to distinguish the field from that -of other rugs such as the Khorasan products, where the same design is -frequently used but where the stems usually run in the same direction. -The Mir Saraband sometimes has a Herati centre. - -SIZES.--Three to five by four to nine, three to nine by twelve to -twenty-four. - -PRICES.--$2.00 to $6.00 per square foot. - -REMARKS.--Sarabands are usually firm in texture, lie well, never grow -monotonous, and, on the whole, are most satisfactory. - -THE EXAMPLE ILLUSTRATED - - This piece beautifully illustrates the most common Saraband - designs. The field is covered with rows of the pear motif upon a - background of rich dark red. The main border stripe carries the - characteristic Saraband border design upon a background of old - ivory. The woof is dyed light blue, which shows in the webbing at - each end. - - -SARUK - -SYNONYMS.--Sarouk, Sarook. - -WHY SO NAMED.--After Saruk, a small village in the Feraghan district, -from whence they come. - -KNOT.--Always the Senna and usually as many to the square inch as any -rug excepting the Senna. Number vertically eight to twenty-two; number -horizontally six to twenty; number to square inch forty-eight to four -hundred forty. - -WARP.--As a rule cotton, occasionally linen. - -WOOF.--As a rule cotton, occasionally linen. - -NAP.--Fine silky wool cut short. - -WEAVE.--Close and hard. - -SIDES.--Overcast with dark wool or silk. They frequently curl on -account of the tightness of the weave. - -ENDS.--Narrow web and loose warp threads at each end. - -BORDER.--Three to five border stripes, usually three. Generally the -Herati border, occasionally the modern form of the Shah Abbas border -design. - -PREVAILING COLORS.--Usually dark seal browns, greens, and reds. -Generally a field of ivory, blue or red. - -DYES.--Generally good except in some of the modern pieces. - -DESIGNS.--There is always a medallion. Flowers freely introduced. Often -queer-shaped floral figures. - -SIZES.--Three to five by five to twenty feet. Usually oblong. - -PRICES.--$2.50 to $6.00 per square foot. - -REMARKS.--Sometimes called the "Modern Ispahan." - -THE EXAMPLES ILLUSTRATED - - Two plates in color of Saruks are given--at pages 40 and 166, with - description accompanying each. - - -SULTANABAD - -SYNONYMS.--Classed as Muskabad, Mahal and Savalan, according to grade. - -WHY SO NAMED.--Muskabad is named after the village by that name -and Savalan after a range of mountains in the northern part of the -Sultanabad district, while Mahal is but a trade name. - -WHERE MADE.--In the Sultanabad district, which is the centre of rug -weaving under European control. - -KNOT.--Generally the Ghiordes, sometimes the Senna. Number vertically -five to eight; number horizontally six to fourteen; number to square -inch thirty to one hundred twelve. - -WARP.--Cotton. - -WOOF.--Cotton. - -NAP.--Good quality of wool, usually of medium length. - -SIDES.--Overcast. - -ENDS.--Short web and loose warp threads of medium length. - -BORDER.--Usually three border stripes, one wide one with a narrow one on -either side. The Herati border design is the most frequent. - -PREVAILING COLORS.--Bright reds, browns, blues, pinks, and greens with -white. - -DYES.--A large percentage are aniline dyed. - -DESIGNS.--Usually large scrolls and floral patterns. The Herati design -is quite common. - -SIZES.--Carpet sizes only, eight to fifteen by ten to twenty. - -PRICES.--From $1.00 to $3.00 a square foot. - -REMARKS.--Those with good dyes are quite satisfactory, but at the -present time most of the products of Sultanabad are purely commercial -products. - -THE EXAMPLE ILLUSTRATED - - This piece most beautifully shows in its field the Guli Henna - design, which is so commonly employed in the Sultanabad products. - - -NIRIS - -SYNONYMS.--Laristan, Luristan. - -WHY SO NAMED.--After the salt lake Niris in the province of Laristan, -where they are made by the hillmen who inhabit the uplands of that -section. - - [Illustration: MAHAL CARPET - (GULI HENNA DESIGN) - LOANED BY MR. A. U. DILLEY] - -KNOT.--Ghiordes. Number vertically eight to twelve; number horizontally -five to eight; number to the square inch forty to ninety-six. - -WARP.--Best stout wool. - -WOOF.--Best stout wool. - -NAP.--Best wool of short or medium length. - -WEAVE.--Not so closely woven as the best Shiraz, which they very much -resemble. - -SIDES.--Overcast. - -ENDS.--A checked selvage at each end with a short fringe of warp, like -the Shiraz. - -BORDER.--Generally from three to five border stripes, some of which are -quite elaborate. The barber-pole stripe is commonly used, but generally -consists of several colors instead of only two as in the Caucasian -fabrics. - -PREVAILING COLORS.--Usually rather crude. Madder red predominates. - -DYES.--As a rule good. - -DESIGNS.--The pear pattern is commonly employed and when used it -suggests the crown jewel, being an assemblage of points rather than of -lines and more minutely worked out than are the smaller forms so common -to the Saraband. No regularity of design, but quite similar to the -Shiraz. Often a pronounced striped effect. Alternating rows of -geometrical and floral designs. - -PRICES.--From $1.50 to $3.00 per square foot. - -REMARKS.--Strong and durable. Few reach America. They seem more like -products of Turkestan than of Southern Persia. - -THE EXAMPLE ILLUSTRATED - - This particular design consisting of rows of pears with stems of - alternate rows turned in the opposite direction is quite common in - rugs of this class. The main border stripe in this piece also - consists of the pear motif on each side of which is a barber-pole - stripe. - - -SHIRAZ - -SYNONYM.--Mecca, so called because they were so frequently taken by the -shriners to the holy city of Mecca. - -WHY SO NAMED.--After the city of Shiraz, where they are made. - -KNOT.--Generally the Senna, sometimes the Ghiordes. Number vertically -seven to sixteen; number horizontally six to twelve; number to square -inch forty-two to one hundred ninety-six. - -WARP.--Generally heavy wool, sometimes goats' hair in the moderns, and -frequently more than two woof threads between each row of knots. - -WOOF.--Always wool, frequently dyed. - -NAP.--Lustrous, soft, short wool. - -WEAVE.--Rather loosely woven as a rule. - - [Illustration: NIRIS (LARISTAN) RUG - PROPERTY OF MR. FREDERIC P. WARFIELD, NEW YORK CITY] - -SIDES.--Overcast or braided with wool of two or more colors. Little -tassels of wool frequently project from the overcasting on the sides. - -ENDS.--Web of medium width at each end which is often dyed red, white, -and blue, or a plain red selvage with rows of colored yarns running -through it. - -BORDER.--From two to seven border stripes, some of which frequently -carry a vine to which are attached oval-shaped flowers in alternate red -and blue. The barber-pole stripe is frequently employed. - -PREVAILING COLORS.--Rich colors like wine, autumn foliage, the plumage -of birds, deep rich blues, reds, yellows, greens; usually dark blue -field. - -DYES.--Good. - -DESIGNS.--Pole medallions almost universal. Has as a rule more figures -of birds and animals than any other class of rugs. Pear pattern very -common. The centre field is frequently filled with diagonal stripes. -Flowers scattered throughout the field. - -SIZES.--Usually medium, four to five by six to eight. Also carpet sizes. -Saddle bags are very common. - -PRICES.--$1.25 to $3.00 per square foot. - -REMARKS.--They seldom lie well. They are often crooked and puffed up. -The Bergama is the only other rug made with tassels along the sides. - -THE EXAMPLES ILLUSTRATED - - The field carries an unusual double arrangement of the pear motif, - alternating with small tree forms. The outside border consists of - small bird forms, each alternate row facing in the opposite - direction. Note the elaborate webbing at each end. (See also page - 104.) Prayer rugs of this class are exceedingly rare, in fact they - are seldom seen in this country. This one is a gem, but has lost - its principal Shiraz character in that the sides have been - reovercast with wool of one color instead of with two or more - colors, as it originally was. Another very unusual feature is the - absence of two of the border stripes on the lower end. (See also - color plate at page 52 and doubletone at page 208.) - - -HERAT - -SYNONYMS.--Herati, Heratee. - -WHY SO NAMED.--Probably so named because the Herati design, which is -characteristic of the rug, originated in the city of Herat. - -BY WHOM MADE.--It is also said that the weavers of these rugs were -originally from Herat. - -WHERE MADE.--In the province of Khorasan. - -KNOT.--Usually the Ghiordes. Number vertically six to twelve; number -horizontally eight to twelve; number to square inch forty-eight to one -hundred forty-four. - -WARP.--Cotton. Silk in some of the antiques. - -WOOF.--Usually cotton, sometimes wool. As a rule dyed brown. - -NAP.--Soft, glossy wool of medium length. - -WEAVE.--Very closely woven. - -SIDES.--Overcast. - - [Illustration: SHIRAZ RUG - Size 3'6" × 4'8" - PROPERTY OF MR. J. H. STANTON, AUBURN, N. Y.] - -ENDS.--Narrow web with loose warp threads at each end. - -BORDER.--Usually from three to seven border stripes. The Herati design -is common. Green is usually the background of the main border stripe. - -PREVAILING COLORS.--Brilliant reds, greens, blues, and yellows, also -ivory. Often a purplish pink cast. - -DYES.--Unsurpassed. - -DESIGNS.--Similar to those of the Feraghan. Most always the Herati -design, the leaves of which are generally shaded on one side. -Occasionally the pear pattern with the stems all facing in one -direction. Once in a while a medallion centre. - -SIZES.--Seldom small. Medium sizes are most common. Some runners and -occasionally a saddle bag. - -PRICES.--$2.00 to $5.00 per square foot. - -REMARKS.--Durable and heavy. Resemble the Khorasan in most respects. -Aiyin and Kayin are names sometimes given to a coarse form of Herat. -Many of the Herats of the 16th and 17th centuries are now erroneously -called Ispahans. - - -KHORASAN - -WHY SO NAMED.--After the most northeastern province of Persia from which -they come. - -KNOT.--Senna. Number vertically eight to fifteen; number horizontally -ten to twenty-five; number to square inch eighty to three hundred -seventy-five. - -WARP.--Always white cotton. - -WOOF.--Usually cotton, occasionally wool. - -NAP.--Fine wool of varying lengths. - -WEAVE.--Characteristic, there being four or more rows of knots with no -weft threads between, then several weft threads, etc., giving a peculiar -look to the back of the rug and when it is bent the knots are shown in -groups. - -SIDES.--Usually overcast. Occasionally an added selvage. - -ENDS.--Fringe of loose warp threads at each end. - -BORDER.--Usually from three to seven border stripes, most frequently -three, one wide one and two narrow ones. Some have as many as sixteen. -The Herati border design is common. - -PREVAILING COLORS.--Magenta is a prominent color; reds, blues, greens, -pinks, and white. Usually a background of rich red, blue, or white. - -DYES.--Antiques all good. Modern pieces are usually poor. - -DESIGNS.--Pear designs common. Animals and birds frequently depicted. -The Herati design is the most frequently seen. Medallion centre with -corners to match. Two small pears resting their stems upon a larger one -is a design also commonly used. The field is often plain. - - [Illustration: SHIRAZ RUG - LOANED BY MR. A. U. DILLEY - (See page 206)] - -SIZES.--All sizes but mostly large, seven to fifteen by ten to -twenty-five feet. - -PRICES.--$1.50 to $3.50 per square foot. - -REMARKS.--Antiques durable, pliable, and soft. Especially suitable for -living rooms, libraries, and halls. Modern ones are good in every -respect excepting the dyes. - -THE EXAMPLE ILLUSTRATED - - For description see tissue accompanying color plate at page 32. - - -MESHED - -SYNONYMS.--Mashhed, Meshad. - -WHY SO NAMED.--After Meshed, the capital of Khorasan, where they are -made. - -KNOT.--Usually the Senna, seldom the Ghiordes. Number vertically nine to -twenty; number horizontally eight to twelve; number to square inch -seventy-two to two hundred forty. - -WARP.--Nearly always cotton, seldom wool. - -WOOF.--Usually wool, frequently cotton. - -NAP.--Soft, silky, even wool of varying lengths. - -WEAVE.--Characteristic with its uneven distribution of woof threads, -even more so than in the Khorasan proper. - -SIDES.--Overcast with wool. - -ENDS.--Short web with loose warp threads at each end. - -BORDER.--From three to seven border stripes. The Herati design very -common. - -PREVAILING COLORS.--The antiques have soft, subdued shades of blue, -green, and pink, also ivory, while the modern ones have rather bright -shades of the same colors. - -DYES.--In the antiques good. In the moderns poor. - -DESIGNS.--Similar to those of the Khorasan proper. The pear design -predominates. The Herati is common. Animals and birds are frequently -represented. Medallion centre common. - -SIZES.--All sizes from three to ten by four to twenty feet or even -larger. - -PRICES.--$2.00 to $4.00 per square foot. - -REMARKS.--Similar in design to the Khorasan proper, but usually of a -finer grade. Also heavier and more durable. - -THE EXAMPLE ILLUSTRATED - - A color plate of this beautiful rug may be seen on page 22. Its - description is given on the accompanying tissue. - - [Illustration: KIRMAN PRAYER RUG - Size 6' × 4' - PROPERTY OF MRS. E. N. TRUMP, SYRACUSE, N. Y.] - - -KIRMAN - -SYNONYM.--Kerman. - -WHY SO NAMED.--After the province and city of Kirman from which they -come. - -BY WHOM MADE.--By the wandering tribes of Afghars. - -KNOT.--Always Senna. Number vertically ten to twenty-four; number -horizontally eight to twenty; number to square inch eighty to four -hundred eighty. - -WARP.--Cotton always. - -WOOF.--Usually wool, frequently cotton. - -NAP.--Fine silky and durable wool. - -WEAVE.--Very fine and close. - -SIDES.--Overcast. - -ENDS.--Narrow web with fringe at each end. - -BORDER.--Three to eight border stripes, usually three, one wide one with -a narrow one on either side. Frequently there is a narrow strip of plain -rose color all around the outer edge. - -PREVAILING COLORS.--Light, soft, delicate blue, green, rose, old gold, -and fawn. - -DYES of the best. - -DESIGNS.--Tree of life, birds, fruit, bouquets, vases; more naturalistic -and less geometrical than any other Oriental rugs. Frequently a -medallion centre. - -SIZES.--All sizes from mats to carpets. - -PRICES.--From $2.00 to $5.00 per square foot. - -REMARKS.--Genuine Kirmans are rather scarce because of the remoteness of -the district from the centres of trade. They are not to be compared with -the Kermanshahs or the Turkish Kirmans. The latter are coarse, modern, -commercial products. Kirman rugs are soft and durable. - -THE EXAMPLES ILLUSTRATED - - HOLMES RUG (page 212).--The field design, consisting of rows of - vases filled with red roses, is quite common to this class of rugs, - but the border is rather unusual, being a mixture of Persian and - Chinese motifs. - - TRUMP RUG (page 210).--A masterpiece both in workmanship and - design. In the prayer field is the Tree of Life resting in a large - urn. Note the medallion with Arabic inscriptions. - - KIRMAN SADDLE BAG (page 326).--The field is filled with the - ordinary Kirman rendition of the rose. On one end of the Ghileem - part is a piece of leather put there by the proud owner to prevent - it from wearing by friction on the donkey's neck. Underneath will - be found the original girdle and buckle. - - -KURDISTAN PROPER - -WHY SO NAMED.--After the country in which they are made. A province -occupying the eastern part of Turkey in Asia and the western part of -Persia. - -By Whom Made.--BY THE NOMADIC TRIBES WHO live in the mountains of -Kurdistan. - - [Illustration: KIRMAN RUG - PROPERTY OF MRS. C. B. HOLMES, WATERBURY, CONN.] - -KNOT.--Always the Ghiordes. Number vertically six to eight; number -horizontally six to ten; number to square inch thirty-six to eighty. - -WARP.--Dark twisted wool or goats' hair. Usually gray. - -WOOF.--As a rule wool, sometimes goats' or camels' hair. Usually several -woof threads between each row of knots. - -NAP.--Usually good heavy gray wool which is cut long; sometimes goats' -hair, camels' hair, or kurk. - -WEAVE.--Generally good, the knots being well tied. - -SIDES.--Always overcast, frequently with different colored wools, most -frequently brown. - -ENDS.--Usually a thick narrow selvage with knotted fringe or loose warp -ends. Nearly always one or two lines of colored wool run through the -selvage. This is a Kurdish characteristic and is a distinguishing -feature. Often the web of one end is turned back and hemmed. - -BORDER.--From two to nine border stripes, usually from three to four, -one wide one with one or two narrow ones on each side. The main border -stripe usually carries designs in profile. - -PREVAILING COLORS.--Usually dark rich reds, greens, blues, yellows, -pinks, and terra cotta, beautifully varied. The shading of colors is -also a Kurdish characteristic. - -DYES.--Usually of the best. The Kurds have clung to the old colors more -than any of the other rug-making people. - -DESIGNS.--Generally wild, irregular figures of various sizes scattered -carelessly and the intervals filled with small indistinct figures. -Lattice designs with each division filled with floral forms. The Herati -and the pear designs are occasionally used. - -SIZES.--Seldom large. From four to five by seven to eight feet and -occasionally in carpet sizes. - -PRICES.--Usually from $0.75 to $3.00 per square foot. The prayer rugs -are rare and expensive. - -REMARKS.--Freest of all from outside influences. Hard when new but most -durable and satisfactory. In fact it is the best moderate priced rug now -on the market. - -THE EXAMPLE ILLUSTRATED - - OWNER'S DESCRIPTION.--Upon a rich blue ground the Mina Khani design - is accurately wrought, and the five-petaled Henna blossoms are - symmetrically placed in their customary relation to the dark red, - blue and golden yellow floral rosette forms distributed over the - field. Three rather narrow borders surround the field, the middle - one of which is yellow. The inner and outer borders carry tawny - colors and small patterns. - - [Illustration: KURDISTAN RUG - (MINA KHANI DESIGN) - PROPERTY OF THE TIFFANY STUDIOS, NEW YORK CITY] - - - - -THE TURKISH CLASSIFICATION - - - [Illustration: KULAH HEARTH RUG - Size, 7'2" × 4'4" - BY COURTESY OF NAHIGIAN BROS., CHICAGO, ILL. - - OWNERS' DESCRIPTION.--No rug of any type that has come to our notice - has had a color tone that was so subdued and mellow as this rug. - - The artist who conceived and created this masterpiece seems to have - woven into it a suggestion of his dreamy nature. He used shades where - others would have used colors and the result is a beautiful study in - browns. - - The points at both ends of the field indicate its use as a hearth rug - or family rug, an heirloom about which one generation after another - gathered and told and retold the tales of their ancestors. It is such - rugs as this that were the sanctuary in that turbulent land; strangers - were far from safe, and especially members of some opposing tribe, but - let them once gain access to the tent in which was spread the hearth - rug, and let them place foot upon it, and they became at once the - guest of not only the chief but his whole tribe, and the entire tribe - was pledged to their safe keeping until they had been safely sped upon - their way. - - The narrow ribbon stripes on the border of this rug, with the small - floral conceits woven throughout them, are typical of the old Kulahs. - - (See page 239)] - - [Illustration: TURKEY] - - - - -THE TURKISH CLASSIFICATION - - -The term "Turkey" includes all portions of Asia Minor, the principal -rug-weaving districts of which are Anatolia and Kurdistan. - -The annual importations of rugs into the United States alone from Asia -Minor amount to from $2,500,000 to $3,000,000, most of which are shipped -directly from Constantinople. In many parts of Asia Minor, especially in -Oushak, Smyrna, Ghiordes, Kulah, and Sivas, nearly every home has a -loom, some two or three, and in many places factories have been -established by European and American capitalists; the weavers are almost -all Armenian women and children, the latter ranging from four to -thirteen years of age. Moslem women and children will not work in -factories. As a rule these people earn barely enough to clothe and feed -themselves, but those who have been able to lay by anything generally -invest their earnings in carpets, as people of other countries often do -in diamonds and precious stones, handing them down from generation to -generation and selling one when hard pressed for money, so that the -tourist is often surprised to find in the homes a collection of very -valuable rugs. - -The Ghiordes knot is used exclusively and both warp and woof are always -of wool or goats' hair. Fully four-fifths of the present output are -aniline dyed. The weave is coarser and the nap longer than in the -Persian class and many of them are crooked. - -The designs, which vary little, are more geometrical than are those of -the Caucasians. The Turks never weave figures of birds, animals and -human beings, as their religion forbids it. Those with a cross are -always Armenian, as the Turks do not decorate with the cross, while -those with the prayer niche are always Turkish, as the Armenians never -pray on their rugs. Green, the sacred color of the Mohammedans, is -seldom used except in the prayer rugs or those designed for mosques. -Most of the large Turkish carpets are modern and are made near Smyrna. -Many of the modern fabrics bear no relation to antiques of the same -name. - -The southern part of Armenia is called Kurdistan. It is inhabited by -wandering, warlike tribes of Nomads, who pasture their flocks in the -southern plains in the winter and go to the mountain districts in the -summer time. - -The Kurds possess the skill of shading their colors, but this they have -abandoned of late. They also scatter small bits of color through a space -otherwise unoccupied. Red is their favorite color. - -On the following pages is given a detailed description of the various -Turkish rugs. - - -KIR SHEHR - -SYNONYMS.--Kirit Shehr, Kirshehir, Kirshcher. - -WHY SO NAMED.--After a town of that name in Turkey just southeast of -Smyrna, where they are made. - -KNOT.--Ghiordes. Number vertically seven to twelve; number horizontally -six to ten; number to square inch forty-two to one hundred twenty. - -WARP.--Wool, dyed the predominating color of the rug. - -WOOF.--Wool, dyed the predominating color of the rug. - -NAP.--Long, fluffy wool. - -SIDES.--Colored selvage, sometimes added. - -ENDS.--A colored web of various lengths at each end, also a fringe of -loose or braided warp ends. Some of the smaller mats have on these webs -several parti-colored tufts composed of all the different colored yarns -which are used in the body of the rug. - -BORDER.--From five to eight border stripes, most frequently five, the -main stripe carrying the most pretentious form of ornamentation. - -PREVAILING COLORS.--Brilliant reds, blues, and greens, especially the -latter, of which there are phenomenal shades skilfully blended. - - [Illustration: KIR SHEHR PRAYER RUG - PROPERTY OF E. B. GUILE, UTICA, N. Y.] - -DYES.--As a rule splendid. - -DESIGNS.--Attempted Persian designs. Prayer design with one cross panel -at the bottom instead of at the top as in the Kulah. - -SIZES.--Medium sizes only, two and one-half to four by four to six feet. - -PRICES.--From $1.50 to $2.50 per square foot. - -REMARKS.--They are very scarce in the United States. They resemble the -Bergama and are thick and durable. - -THE EXAMPLES ILLUSTRATED - - OWNER'S DESCRIPTION.--Ghiordes knot, 7 horizontal by 10 vertical. - An unusual specimen of Kir Shehr in prayer design, marked by a - radical departure from the accepted type of prayer arch formation - peculiar to this weave. The flatness of the arch and the - multiplicity of borders and stripes suggest Kula influence. The - outer border, on ivory, has a conventionalized floral design, - green, yellow and pale blue flower devices on waving vine tracery. - Two medium stripes in different red values enclose the second - border, which carries the S device in lavender and blue on black. - The inner border displays the carnation in blue, lavender and red - on canary. The prayer field is flat and non-serrate at top, border - outlined in an ancient Kir Shehr motif in red and ash white on - light blue. About the mihrab is an arrangement of carnations, while - the top of arch and on outer side of field are more pinks and a - small shrub device. The field is in shades of rose, the softened - end result of an original magenta, and carries three plateaus - superposed, each sustaining four trees; two bearing fruits outlined - against soft green foliage, and the other two, coniferæ. Between - each outer pair of trees is a little temple. Above and below in the - field are curious devices evidently picturing some presumably - sacred edifice. This rug bears evidence of age and use, while the - chromatic ensemble is soft and refined. Technically, it has a two - strand yellow selvage; two red wool weft threads between each row - of knots, and a two strand cream wool warp. Both ends are finished - with a short, light brown web and plain, long fringe. - - SIEGEL RUG.--This piece is similar to one exhibited in the Berlin - museum under the name of Kir Shehr, although it has some - characteristics of other Anatolian products, such as the Kulah, the - Konieh and the Meles. Having only the photograph to assist us in - the classification, we are obliged to accept that of the Berlin - connoisseur. - - STANTON RUG (page 130).--The small border stripes in this piece - are Kulah in character, while the main stripe is found more or - less in all the Anatolian products, especially the Ghiordes. - - -OUSHAK - -WHY SO NAMED.--After the city of Oushak, one of the greatest rug markets -of Asia Minor, on account of its railroad connection with the -Mediterranean seaboard. - -BY WHOM MADE.--Mostly by Greek Mohammedans who reside in the vicinity of -Oushak. - -KNOT.--Ghiordes. Number vertically four to eight; number horizontally -four to ten; number to square inch sixteen to eighty. - -WARP.--Wool of the same grade as that in the pile. It is generally dyed -the predominating color of the rug. - -WOOF.--Wool, same as that used for the warp and pile, and it also is -dyed. - - [Illustration: KIR SHEHR HEARTH RUG - PROPERTY OF MR. HENRY SIEGEL, BOSTON, MASS.] - -NAP.--Good wool of varying lengths. - -WEAVE.--Loosely woven. - -SIDES.--No rule. - -ENDS.--No rule; most frequently a short green or red web with loose warp -threads. - -BORDER.--No rule; usually three border stripes, one wide one with a -narrow one on each side. - -PREVAILING COLORS.--Usually bright reds, greens, blues, browns, and -yellows, with more or less white. - -DYES.--Aniline mostly. - -DESIGNS.--No rule. Generally large medallions and geometrical figures. -Some are patterned after the Persians and some after the Turkish -designs, but the great majority are European. - -SIZES.--Mostly carpet sizes from ten to twenty-five by fifteen to fifty -feet. Usually nearly square. - -PRICES.--$0.75 to $2.00 per square foot. - -REMARKS.--There are several varieties which in order of excellence are -named Gulistan, Enile, Kerman, Yaprak and Sparta. - - -KARAMAN - -SYNONYM.--Kaba Karaman. - -WHY SO NAMED.--After the town of Karaman, southeast of Konieh, where -they are made by Nomadic tribes of Turkoman descent. The word "Kaba" -means coarse. - -KNOT.--Ghiordes. Number vertically four to six; number horizontally four -to eight; number to square inch ten to forty-eight. - -WARP.--Coarse wool. Usually dyed red. - -WOOF.--Always coarse wool. Usually dyed red. - -NAP.--Of medium or long, coarse wool. - -WEAVE.--Very loosely woven. - -SIDES.--Usually overcast, sometimes selvaged. - -ENDS.--No special rule. Frequently short web with loose warp threads. - -BORDER.--Usually from three to five border stripes; one wide one with -one or two narrow ones on either side. - -PREVAILING COLORS.--Usually a great deal of white with dark reds, blues, -greens, and yellows. - -DYES.--Good in antiques, poor in the moderns. - -DESIGNS.--Rather bold Caucasian designs. - -SIZES.--Most of those which come to America are small. - -PRICES.--Very cheap, from $0.50 to $1.50 per square foot. - -REMARKS.--Coarse and unattractive but rather durable. - - [Illustration: KONIEH PRAYER RUG - Size 5'3" × 3'10" - LOANED BY MAJOR L. B. LAWTON, U. S. ARMY] - - -KONIEH - -SYNONYM.--Koniah. - -WHY SO NAMED.--After the city of Konieh (the ancient Iconium), capital -of the province of the same name, where rug weaving is an important -industry. - -KNOT.--Ghiordes. Number vertically eight to twelve; number horizontally -seven to ten; number to square inch fifty-six to one hundred twenty. - -WARP.--Fine wool in the antiques; coarse wool in the moderns; frequently -dyed. - -WOOF.--Fine wool in the antiques; coarse wool in the moderns. - -NAP.--Fine selected wool of medium length. - -WEAVE.--Antiques evenly and tightly woven; moderns loose and irregular -in weave. - -SIDES.--Antiques usually selvaged, moderns usually overcast. - -ENDS.--Web and selvage, sometimes fringe of loose warp ends. - -BORDER.--As a rule there are from three to four border stripes, one wide -one and two or three narrow ones. - -PREVAILING COLORS.--Antiques have soft shades of blue, red, and yellow. -No rule in the moderns. Often there are two colors in one yarn. - -DYES.--Splendid in the antiques. Some of the modern ones are aniline -dyed. - -DESIGNS.--Rather crude. Generally plain centre. Prayer design common. - -SIZES.--Three to five by four to seven. Also mats. - -PRICES.--Antiques rare; from $2.00 to $10.00 per square foot. Moderns -from $1.00 to $2.25 per square foot. - -REMARKS.--The modern pieces are large and thick. They resemble the -Oushak carpets. Some of them are of sterling texture and good color and -design, while others are very coarse and cheap in every way. - -THE EXAMPLES ILLUSTRATED - - MAJ. L. B. LAWTON'S DESCRIPTION.--A most unique and rare specimen - of an obscure Anatolian weave. Good Koniehs are quite as scarce as - good Kulahs or Ghiordes, are less known and have therefore less - demand. The right and left Rhodian lilies are green, the centre one - is azure--all on rose pink. The space above shades from Nile green - to sea green. Main border is golden buff. This old rug is as thick - as a Kazak. For softness of tone it rivals the most delicate silk - rug. - - MERCER RUG (page 138).--This is a rug of considerable age, and a - very fine specimen of its kind. The center is in soft tints of - undyed wool, while the peacock blues of the field above the niche - are almost metallic in their brilliancy and lustre. The delicate - form of the Rhodian lily is used with much nicety of feeling - throughout the border and to break the mass of the centre. - (Owner's description.) - - [Illustration: MADEN PRAYER RUG - Size 4'5" × 3'3" - PROPERTY OF DR. E. B. GUILE, UTICA, N. Y.] - - -MUJUR - -SYNONYM.--Maden. - -WHY SO NAMED.--After the city of Mujur in the Kir Shehr district of the -Province of Konieh, from which they come. - -KNOT.--Always the Ghiordes. - -WARP.--Always the wool. - -WOOF.--Wool, dyed red. - -NAP.--Short wool. - -BORDERS.--Usually three border stripes, one wide one, with a narrow one -on either side. The main stripe usually carries floral forms arranged in -square or diamond shaped medallions. The reciprocal saw teeth design is -frequently employed. - -ENDS.--Usually a wide red web with or without short knotted warp ends. - -SIDES.--Finished with a three or four corded selvage. - -PREVAILING COLORS.--Red, green, blue, cream, and yellow. - -DESIGNS.--This class of rug nearly always comes in the prayer form. -There is generally a cross panel above the prayer niche and the field -is, as a rule, filled with designs. - -SIZES.--From two and a half to five feet wide by four to seven long. - -PRICES.--Rather high on account of their scarcity. From $2.00 to $10.00 -a square foot. - -REMARKS.--This class of rugs is so rare that it is not mentioned by any -of the American or English authors. - -THE EXAMPLE ILLUSTRATED - - OWNER'S DESCRIPTION.--This rug comes from the town of Maden, in the - Kir Shehr district of Konieh province. Mudjar, a better known rug - producing town, is within twenty miles. It has the remarkable wool - and dye qualities that make the production of Kir Shehr. This rug - is so very bright that the assertion that it is fifty to - seventy-five years old might be disputed, but the unequal color - erosion, the remarkable bald shine of the back, and the well marked - thinning of the pile where the knees of the devotee rested while at - his devotion, evidence its antiquity. The panel of lavender above - the prayer arch is notable, as is the pigeon blood ruby of the - field. While this rug has evidently done duty for many years, it - was probably folded away after use at prayer, and given little - exposure to sunlight. - - -LADIK - -WHY SO NAMED.--A corruption of the word Laodicea, the name of a most -primitive old town of 500 population in the midst of a mound of ruins -near Konieh, where they are made. - -KNOT.--Ghiordes. Number vertically eight to twelve; number horizontally -eight to fourteen; number to square inch sixty-four to one hundred -sixty-eight. - - [Illustration: LADIK PRAYER RUG - Size 5'10" × 3'11" - PROPERTY OF COLONEL GEORGE G. BRIGGS, GRAND RAPIDS, - MICH.] - -WARP.--Always wool, generally of a fine texture and dyed the -predominating color of the rug. - -WOOF.--Always wool and usually dyed the predominating color of the rug. - -NAP.--In the antiques the finest, selected, lustrous wool, which is -generally cut short. In the moderns a coarse wool of loose texture. - -WEAVE.--Antiques closely and evenly woven. Moderns loosely woven. - -SIDES.--A fairly wide colored selvage, made by weaving the woof threads -upon three or four of the outside warp threads. Sometimes the selvage is -added. - -ENDS.--Usually a two-or three-inch red web at each end, which is -frequently striped with yellow or blue. A fringe formed by the loose -warp ends. - -BORDER.--From three to five border stripes, generally three, one wide -one with a narrow one on each side. The main border stripe in many of -the oldest specimens has the Rhodian lily design alternating with the -rosette. - -PREVAILING COLORS.--Subdued rich colors. Usually greens, reds, blues, -and yellows, with more or less old ivory or white. Magenta is very -frequently employed. - -DYES.--Good, as a rule. - -DESIGNS.--Prayer design most frequent. The pattern is so characteristic -as to be unmistakable. Figures are usually bold and large in comparison -to the size of the rug. The prayer niche always contains five tree-like -branches alternately capped with a floral and a geometrical design. A -mosque lamp usually hangs from the niche. - -SIZES.--Prayer rug sizes and mats similar to the so-called "Anatolian" -mats. - -PRICES.--From $1.75 to $3.50 per square foot. - -REMARKS.--Not many modern ones. They somewhat resemble the Bergama, but -are somewhat brighter and heavier. - -THE EXAMPLE ILLUSTRATED - - MAJ. L. B. LAWTON'S DESCRIPTION.--Choice antique Ladiks are - considerably rarer than either Kulahs or Ghiordes. Many collectors - owning all other Anatolians have never seen a Ladik. This weave - almost invariably shows the Rhodian lilies both above and below the - niche. The specimen here shown has a rich red field doubly hooked - with gold; spaces above and below are gentian blue, main border is - yellow. This latter color has until recently been in disfavor with - American collectors; but the French and German critics have always - shown a great liking for yellow, and it is now coming into its own - in America. - - See also color plate at page 74. - - [Illustration: YURUK RUG - Size 4'2" × 6'3" - PROPERTY OF MR. F. A. TURNER, BOSTON, MASS.] - - -YURUK - -SYNONYMS.--Yurouk, Yaruk. - -WHY SO NAMED.--The word "Yuruk" means mountaineer, and the rugs are so -named because they are woven by the mountaineers who wander with their -flocks on the southern and middle ranges of Anatolia. - -KNOT.--Ghiordes. Number vertically six to twelve; number horizontally -seven to ten; number to square inch fifty-six to one hundred twenty. - -WARP.--Brown wool or goats' hair. Frequently dyed. - -WOOF.--Brown wool or goats' hair. Frequently dyed. - -NAP.--Fine, long, fluffy, lustrous wool, sometimes mixed with goats' -hair. - -WEAVE.--Loosely woven as a rule. - -SIDES.--Selvaged with goats' hair or overcast with colored yarns. - -ENDS.--Narrow colored webs with warp ends braided. - -BORDER.--Usually two or three stripes, which are, as a rule, rather -narrow in proportion to the size of the rug. - -PREVAILING COLORS.--Brilliant dark colors. Browns and blues seem to -predominate. - -DYES.--Generally good. - -DESIGNS.--Large, irregular, rude geometrical designs, somewhat similar -to those of the Kazak. The latch hook is frequently employed. - -SIZES.--Usually small. - -PRICES.--From $1.50 to $3.00 per square foot. - -REMARKS.--Antiques glossy and rare. The modern ones are invariably -crooked and lack symmetry, but wear well. In many respects they resemble -the Kazaks. - -THE EXAMPLE ILLUSTRATED - - In design this piece is more Caucasian than Turkish. The main - border design is similar to those so frequently found in the old - Shirvans. Note the letter S, borders, the tarantulas and the - swastikas. - - -AK HISSAR - -SYNONYMS.--Akhissar, Aksar, Axar. - -WHY SO NAMED.--After a town by that name lying in the mountains less -than one hundred miles north of Smyrna, where they are made. - -KNOT.--Ghiordes. Number vertically four to eight; number horizontally -four to ten; number to square inch sixteen to eighty. - -WARP.--Coarse wool. - -WOOF.--Coarse wool. - -=Nap.=--Thick wool and mohair. - -WEAVE.--Loosely woven. - - [Illustration: AK HISSAR PRAYER RUG - Size 5'9" × 3'7" - PROPERTY OF COLONEL GEORGE G. BRIGGS, GRAND RAPIDS, - MICH.] - -SIDES.--Usually overcast, occasionally selvaged. - -ENDS.--Narrow web at each end with loose warp threads. - -BORDER.--Similar to those of the Ghiordes. - -PREVAILING COLORS.--Mostly dark green, red, and blue, with some white. - -DYES.--Like most of the Turkish rugs, the moderns are apt to be -chemically dyed. - -DESIGNS.--Similar to those of the Ghiordes and Oushak. - -SIZES.--From four to six by six to eight feet. - -PRICES.--Usually cheap. - -REMARKS.--Similar to the modern Ghiordes. Very few reach the United -States. - -THE EXAMPLE ILLUSTRATED - - MAJ. L. B. LAWTON'S DESCRIPTION.--A typical specimen, showing - double and single latch hooks in the niche. The eight borders might - cause a beginner to name the rug Kulah, except for the reason that - Kulahs are paler in tone and usually much larger, and decidedly - thinner. A good Ak Hissar is intrinsically worth as much as a Kulah - of same quality, but, being less rare, may be had for about ten per - centum of the cost of a Kulah. This Ak Hissar is a study in rose - and green; the niche is rose, the oblong field is green; inside - border is canary, next is black; other borders alternate rose and - ivory. The pattern above the niche is a Ghiordes conceit, as is the - main border. - - -ANATOLIAN PROPER - -SYNONYM.--Yesteklik, a name frequently applied to the mats. - -WHY SO NAMED.--After the country of Anatolia, which is another name for -Asia Minor. - -WHERE MADE.--Most of them come from the province of Angora and Konieh. -The so-called Anatolian mats come from all parts of Anatolia. - -KNOT.--Always Ghiordes. Number vertically six to fifteen; number -horizontally six to ten; number to square inch thirty-six to one hundred -fifty. - -WARP.--Always wool. - -WOOF.--Always wool, which is usually dyed. - -NAP.--Usually a long, shaggy, soft wool. Sometimes mohair. - -WEAVE.--Very good as a rule, but apt to be somewhat irregular. - -SIDES.--Always selvaged. - -ENDS.--Nearly always a wide red webbing with loose warp threads at each -end. - -BORDER.--From one to six border stripes, most usually three. - -PREVAILING COLORS.--Rich reds, yellows, greens, and blues, with more or -less white. - -DYES.--Good in the antiques. Few modern pieces that are not aniline -dyed. - -DESIGNS.--Usually bold geometrical designs. Every sort of a device both -curved and rectilineal. The latch hook is especially common. The prayer -rugs are patterned somewhat after the Ghiordes and Ladik. - -SIZES.--From one to four by one and one-half to six feet. Seldom larger. - -PRICES.--From $0.25 to $3.00 per square foot. - -REMARKS.--Frequently crooked. Attractive on account of their oddity. -Very serviceable. Some of the antique Anatolians are made in sections -and afterwards sewed together. - -THE EXAMPLE ILLUSTRATED - - See color plate at page 60 with accompanying description. - - -BERGAMA - -SYNONYMS.--Bergamo, Pergamo. - -WHY SO NAMED.--A corruption of the word Pergamo, which is the name of a -small village of 3000 inhabitants, about forty miles northeast of -Smyrna, where they are made. - -KNOT.--Ghiordes. Number vertically ten to fourteen; number horizontally -six to twelve; number to square inch sixty to one hundred sixty-eight. - -WARP.--Always dyed wool, usually of a splendid quality. - -WOOF.--Always dyed wool. - -NAP.--The best soft, silky wool, usually quite long. - -WEAVE.--Frequently several woof threads between each row of knots. - -SIDES.--Usually broad red selvaged sides, made by weaving the woof -threads upon three or four outside warp threads. Frequently have small -tassels of wool along the sides. The only rug that has these excepting -the Shiraz. - -ENDS.--Rather broad web with braided fringe at each end. The web often -carries a woven design or blue stripes. Until recently the Bergama was -the only rug which sometimes had rosettes woven on the webbing. Nowadays -an occasional Anatolian may be found with this feature. - -BORDER.--From three to five border stripes, usually three. They are -generally wide with flowers in profile. - -PREVAILING COLORS.--Red, green, blue, yellow, ivory, and orange. Rather -dark. - -DYES.--Nearly always of the best. - -DESIGNS.--The Bergama designs are somewhat characteristic. The Bergama -weavers are inventors of patterns rather than copyists. Medallions -frequent, with a well covered field. Sometimes the checker-board -pattern. Figures generally bold and large in proportion to size of the -rug. - - [Illustration: BERGAMA RUG - PROPERTY OF A. U. DILLEY & CO.] - -SIZES.--Usually nearly square. One and one-half to four by two to six -feet. Antiques usually run smaller than the modern ones. - -PRICES.--Rather high. From $2.00 to $10.00 per square foot. - -REMARKS.--Very scarce. - -THE EXAMPLES ILLUSTRATED - - BERGAMA RUG.--The unusual medallion in this piece is characteristic - of the Bergama only. In its centre is the octagon and eight-pointed - star of the Medes, a motif which is found more or less in nearly - all classes of rugs, but in none more frequently than in the - Bergama. - - The main border stripe is composed of lily blossoms in profile and - in full. - - * * * * * - - BERGAMA PRAYER RUG (see page 46).--Knot: Ghiordes. Number to the - inch, horizontally seven; vertically seven; to the square inch, - seventy-seven. - - Bergama prayer rugs are not often seen in this country and this - particular piece is a very uncommon and choice one. The designs - are unusual, the colors the best and the nap has the - hammered-brass appearance so common in many of the old Bergamas. - - The prayer field is of a beautiful terracotta; the space just - above the niche is in light and dark blue; the panels carry most - peculiar geometrical designs in white, yellow, blue and brown, the - upper one on a ground of terracotta and the lower one on a ground - of old rose. The main border stripe carries a variety of nameless - geometrical designs in red, yellow, blue, brown and drab upon a - white background. The outer border stripe consists of an - eight-petaled flower alternating with a motif which might have - been intended for the wine glass, so frequently found in the - Caucasian fabrics. - - -GHIORDES - -SYNONYMS.--Ghiordez, Gurdiz, Guerdi, Yourdez, Yurdi, and many others. - -WHY SO NAMED.--After the city of Ghiordes, fifty miles north of Smyrna, -where they are made. It is the ancient Gordium from which was named the -Gordian knot that Alexander the Great cut. - -KNOT.--Always the Ghiordes knot. Number vertically eight to fourteen; -number horizontally eight to twelve; number to square inch sixty-four to -one hundred sixty-eight. - -WARP.--Usually wool, antiques occasionally cotton or silk. - -WOOF.--Usually cotton, occasionally wool or linen. - -NAP.--Short, fine, lustreless wool, occasionally cotton. It has the -shortest nap of any of the Turkish rugs. Seldom acquires sheen. - -SIDES.--Frequently finished with an added silk selvage in pale colors. - -ENDS.--The fringe on the upper end, as a rule, instead of being a -continuation of the warp threads, is a separate piece sewed on. - -BORDER.--From three to ten border stripes, usually one wide and one with -from one to four narrower ones on each side. A favorite arrangement is -to alternate light and dark border stripes. - - [Illustration: GHIORDES PRAYER RUG - PROPERTY OF THE TIFFANY STUDIOS, NEW YORK CITY] - -PREVAILING COLORS.--Light blues, yellows, reds, and greens. Usually -considerable white or ivory. - -DYES.--Of the best. - -DESIGNS.--A great majority of them are of the prayer designs. Usually -with a centre of solid color and two cross panels, one at each end of -the field. - -SIZES.--Usually prayer rug sizes. Modern ones run larger than the -antiques. - -PRICES.--Antiques exceedingly high. - -REMARKS.--Antiques are among the best, while the modern ones are among -the poorest. - -THE EXAMPLE ILLUSTRATED - - OWNER'S DESCRIPTION.--The field of this old Ghiordes rug is of jade - green, edged with small flower forms in cream, canary color, and - brown. The high prayer niche penetrates the light blue space in - which is a most symmetrical and formal arrangement of a leaf worked - in light green, brown and red. The outer and inner border stripes - carry the Ghiordes "Tarantula" design, and in the main border the - design is squared off in tile fashion, a stiff leaf in light blue - filling one-half the square and two red blossoms with yellow - centres the other half. The stems are wrought in dark brown. See - also color plate, page 66. - - -KULAH - -SYNONYMS.--Koula, Coula. - -WHY SO NAMED.--After the town of Kulah, which is southeast of Ghiordium -and east of Smyrna, in the vicinity of which they are made. - -KNOT.--Ghiordes. Number vertically eight to twelve; number horizontally -eight to fourteen; number to square inch sixty-four to one hundred -sixty-eight. - -WARP.--Always fine wool. - -WOOF.--Usually fine wool. Moderns occasionally of cotton. - -NAP.--Fine, short, silky wool in the antiques, mohair in some of the -modern ones. - -WEAVE.--Generally close, well tied knots. - -SIDES.--Antiques always selvaged, moderns usually overcast and -occasionally selvaged. - -ENDS.--Narrow web with loose warp ends. Generally dyed yellow. - -BORDER.--From seven to fourteen border stripes, having as a rule more -than any other class of rugs. Usually one wide stripe with a -multiplication of peculiarly marked small ones, which alternate in -colors and carry minute designs. A distinguishing feature is the -so-called "Kulah" border stripe, which consists of the repetition of a -figure which somewhat resembles an alligator and is quite Chinese in -character. - -PREVAILING COLORS.--In the antiques, red, blue, golden brown, and yellow -are the prevailing colors. The modern ones have a purplish tint instead -of crimson. - - [Illustration: KULAH PRAYER RUG - PROPERTY OF THE TIFFANY STUDIOS, NEW YORK CITY] - -DYES.--In the antiques the dyes are of the best. Anilines are frequently -used in the modern product. - -DESIGNS.--The great majority of the Kulah rugs are of the prayer -variety. The inner field is frequently filled, or partly filled, with -small floral patterns. A figure resembling the Shamrock is quite common. -Usually one panel above the prayer field, whereas the Ghiordes generally -has two panels: one above and one below the prayer field. - -SIZES.--Antiques from three and one-half to five by five to seven feet. -Moderns all sizes from mats to carpets. - -PRICES.--Antiques costly, from $5.00 to $20.00 per square foot. Modern -ones cheap, from $1.50 to $4.00. - -REMARKS.--So similar to the Ghiordes that it is sometimes difficult to -differentiate. Of the modern ones the better grades are made by the -Christians, while the poorer grades are made by the Mohammedans. The -distinguishing features of the Kulah are first its characteristic border -stripes, second the filled or partly filled centre field, while in the -Ghiordes the centre field is generally of a solid color, and third, the -single panel, while the Ghiordes generally has two panels. - -THE EXAMPLE ILLUSTRATED - - OWNER'S DESCRIPTION.--The coloring in this rug has a gem-like - brilliancy combined with great refinement. The field is of deep - rich blue, and the flower forms that rest upon it are of soft - canary and azure. Seven borders alternately of tan and blue - surround the field and carry the "fleck" design commonly found in - borders of this style. Occasional touches of blood red are also - distinctive features of these Kulah fabrics. - - -MELES - -SYNONYMS.--Melhaz, Melace, Milas, Carian, Karian. - -WHY SO NAMED.--A corruption of the word Milassa, the name of a town a -few miles southwest of Smyrna, where they are marketed. - -WHERE MADE.--In some of the seacoast towns south of Smyrna and on many -of the scattered islands in the Gulf of Makri. - -KNOT.--Ghiordes. Number vertically five to ten; number horizontally four -to nine; number to square inch twenty to ninety. - -WARP.--Wool, often colored at the end. - -WOOF.--Cotton or wool, most frequently the former. - -NAP.--Coarse, loose, lustrous wool, generally cut short. - -SIDES.--Selvaged. This selvage is formed by the woof threads when they -are wool and added on when the woof threads are cotton. - -ENDS.--Web of varying length at each end with fringe of loose warp -threads. - - [Illustration: ANTIQUE MELES RUG - Size 6' × 4' - PROPERTY OF MRS. LIEBER WHITTIC] - -BORDER.--Generally six or more border stripes; the wider one usually -carries flowers in profile. - -PREVAILING COLORS.--The antiques are noted for their rich golden yellow -combined with blues, reds, and greens. - -DYES.--Generally good. Some of the modern pieces are dyed with brilliant -chemical dyes. - -DESIGNS.--Mostly Caucasian in character. The latch hook is prominent. -Besides the usual prayer designs, perpendicular stripes of yellow, red, -and blue, with zigzag lines running through them, are characteristic -designs of the Meles. Many small detached figures. - -SIZES.--Usually small and almost square. Three to four by four to five -feet. - -PRICES.--Antiques are rare and few of the modern pieces reach the United -States. From $1.50 to $3.00 per square foot. - -REMARKS.--They are similar to the so-called Anatolian, but are lighter -in color and woven better. In some respects they resemble the Bergama. -Getting scarce as few new ones are woven. - -THE EXAMPLES ILLUSTRATED - - OWNER'S DESCRIPTION.--This rug comes from a city of great antiquity - in Southwestern Asia Minor, near the coast, opposite the island of - Rhodes. - - The design and coloring are archaic in simplicity and suggest the - interests of a people dwelling by the sea. Observe the turtle - figures interspersed between the curves of vine in the panels; - also the fin-like appearance of the leaf-forms attached to the - vine, the line of fish-hook heads bordering the panels and wave - design on either side of same. The striped character of the field - is a feature to be noted in this rug, also the introduction of an - exceptional design in the fourth stripe. - - The border is seen to be very inconspicuous and of remarkably few - stripes for a product of the Anatolian country. The simple nature - of the small detached floral forms indicates an early origin, - before the enriching influence of the Persian invasion. - - Brilliant colors were chosen for use in the rug, though of such - mellow tone as to be in excellent, subdued harmony. The - predominating colors are golden canary-yellow, madder red, and - green, with blue, violet and white as secondary tones. - - The shades in which these colors appear are quite indescribable, - doubtless on account of careless methods of dyeing or the chances - of home-made mixtures. Thus the green is of a bluish cast, the - blue is mottled with lighter shades (a well-known characteristic - of this variety of rug) and the violet, which, as the most typical - and exclusive of Meles colors, should be pure in tone, is of dingy - look, apparently having succeeded brown in the dye-pot. - - All the colors have remained absolutely fast, despite the long - exposure of time. The kaleidoscopic effect which has been noted as - a quality in many old Meles rug patterns, may be easily detected - in this specimen. - - STANTON RUG.--A much finer weave than the average rug of this - class and a very attractive design. Note the peculiar shape of the - field which is notched in instead of out, as in the majority of - hearth rugs. The yellow and the plum colors in the main border - stripe are seldom found in any other class of rugs. - - [Illustration: MELES RUG - Size 3'3" × 4'7" - PROPERTY OF MR. J. H. STANTON, AUBURN, N.Y.] - - -MAKRI - -SYNONYM.--Megri. - -WHY SO NAMED.--After the Gulf of Makri. - -WHERE MADE.--On the islands in the Gulf of Makri and in the towns along -its coast. - -KNOT.--Always the Ghiordes. Number vertically four to eight; number -horizontally four to eight; number to the square inch sixteen to -sixty-four. - -WEAVE.--Quite similar to that of the Meles, but a trifle coarser. - -WARP.--White or gray wool. - -WOOF.--White or gray wool. - -NAP.--Of long wool, usually from 3/8 to 3/4 of an inch long. - -SIDES.--Usually finished with a three or four corded selvage. - -ENDS.--A wide web through which generally run blue and red stripes with -or without a knotted mesh and loose warp ends. - -BORDERS.--Usually three stripes, the designs of which are, as a rule, -less floral in character than are those of the Meles. - -PREVAILING COLORS.--Quite similar to those employed in the Meles, -especially the yellows, reds, blues and plum color. Unlike the Meles, -they usually carry green. - -DESIGNS.--A sort of a mixture of the Meles and Caucasian designs. The -field is most frequently composed of two or three panels which very much -resemble those of cathedral windows. - -SIZES.--From three and a half to four and a half feet wide by five to -seven feet long. - -PRICES.--As they are seldom found in the market it is difficult to place -any stated value on them. - -REMARKS.--One of the rarest rugs in existence. - -THE EXAMPLE ILLUSTRATED - - The weave, the tawny yellow and the motives in the right hand panel - are typically Meles; the motives in the left hand panel are more - like those found in the Bergama products; and the cross panel at - the upper end of the field is a Kulah or Ghiordes feature. The wide - web at either end with the varicolored stripes is a feature quite - foreign to the Anatolian products. - - -SMYRNA - -WHY SO NAMED.--Because they are marketed at Smyrna. Smyrna itself is not -a centre of rug weaving, but these rugs come from the towns of the -western provinces of Turkey in Asia, namely, Aidin and Brousa. - - [Illustration: MAKRI RUG - Size 3'11" x 5'10" - PROPERTY OF MR. J. H. STANTON, AUBURN, N. Y.] - -KNOT.--Ghiordes. Number vertically four to eight; number horizontally -four to ten; number to square inch sixteen to eighty. - -WARP.--Coarse wool. - -WOOF.--Coarse wool, generally dyed. - -NAP.--Loosely woven. - -WEAVE.--Loosely woven and carelessly tied. - -SIDES.--No rule, most frequently short web with loose warp ends. - -BORDER.--No rule; generally three border stripes, one wide one with a -narrow one on each side. - -PREVAILING COLORS.--No rule. Bright reds, blues, and greens are commonly -employed. - -DYES.--Generally chemical. - -DESIGNS.--Anything and everything, largely European and seldom artistic. - -SIZES.--Carpet sizes only. - -PRICES.--From $1.00 to $1.50 per square foot. - -REMARKS.--No antiques. The modern ones are purely commercial creations. - - -MOSUL - -SYNONYMS.--Mousoul, Moussoul. - -WHY SO NAMED.--After the town of that name in Mesopotamia, where they -are marketed. They are made by the Kurds who inhabit the mountainous -districts north of Mosul around Lake Van. - -KNOT.--Ghiordes. Number vertically six to eight; number horizontally six -to ten; number to square inch thirty-six to eighty. - -WARP.--Usually coarse, dark wool or goats' hair. Occasionally cotton. - -WOOF.--Usually coarse, dyed wool. - -NAP.--Excellent, long, lustrous wool, camels' or goats' hair. - -WEAVE.--Some closely and tightly woven, but the majority are rather -loosely woven. - -SIDES.--Corded edges overcast with dark wool. Frequently overcast with -wool of different colors after the Kurdish fashion. Occasionally -selvaged. - -ENDS.--At each end a narrow selvage with one or more stripes of colored -yarn running through, usually red and blue. As a rule one of these -selvages is turned over and hemmed, while the other is finished with -braided warp threads which are knotted at the ends. - -BORDER.--From three to six border stripes, usually three, which are -separated by lines of dark blue or brown. Frequently there is -considerable camels' hair in the border. The Saraband pattern is -sometimes copied. - -PREVAILING COLORS.--Usually dark, rich blues, yellows, greens, reds, and -browns. The browns and yellows predominate as a rule. These colors are -shaded as only the Kurds know how. - - [Illustration: MOSUL RUG - Size 4' × 7'2" - PROPERTY OF MRS. LIEBER WHITTIC] - -DYES.--As a rule excellent except in a small proportion of the modern -pieces. - -DESIGNS.--A multitude of designs which are usually rather striking in -character. Probably patterned more after the Persian designs than any -others. The Saraband and the Herati patterns are frequently used. -Medallions filled with the pear or other small designs. - -SIZES.--Usually three to four by four to seven feet, runners from two to -four by eight to twenty feet. Saddle bags. - -PRICES.--Among the best moderate priced rugs. From $1.00 to $2.00 per -square foot. - -REMARKS.--Best in the market for very hard service. Quite thick and -heavy and generally lie well. - -THE EXAMPLE ILLUSTRATED - - OWNER'S DESCRIPTION.--This type of rug comes from the largest - rug-producing centre of Eastern Asia Minor. The specimen shown - illustrates the Mosul at its best, as to closeness of weave, length - of pile, symmetry of design and richness of coloring. - - The superb lustre of the wool, comparable only to a silk plush, - and the great softness of the long pile--features which have made - famous the rugs from this region--are here conspicuous. - - In shape and design also the specimen is typical. The field is - composed of diamond-shaped sections outlined in black and - decorated with the conventionalized tarantula. By placing these - sections diagonally a latticed effect is produced. - - The usual border plan of three stripes, two narrow ones separated - by a broader, appears here. The narrow stripes are in the familiar - flower-and-vine design, the broad stripe in a formal arrangement of - rosette and hour-glass, all conforming to the geometrical and - rectangular lines of Turkish design. - - The color scheme of the piece is remarkable for its harmony. The - dominant color is wine, introduced in many beautifully blended - shades, and relieved with correspondingly soft tones of old blue - and green, the whole illuminated with well-arranged bands of - white. - - [Illustration: SHIRVAN RUG - Size 7'3" × 4' - FROM THE COLLECTION OF THE AUTHOR - - Knot: Ghiordes. Seven to the inch horizontally and nine vertically, - making sixty-three to the square inch. - - A splendid specimen of Caucasian weaving, being a perfect gem for - color, quality and sheen, although in design it differs somewhat from - the ordinary Shirvan. - - The field is covered with octagons each of which contains an - eight-petaled flower, no two of which are alike in color. Upon close - inspection it is noticeable that the ends of some of the petals are - finished in a color entirely different from that of the rest of the - petal. - - Between the octagons are strewn various floral, pear and goat forms - and the weaver has indulged in the Kurdish trick of shading the - background, which shows no less than three distinct shades of green. - - The main border stripe consists of a meandering vine with a leaf form - at each turn and on each side of this is a narrow stripe carrying the - Greek meander, the outer one on a field of yellow and the inner one - on a field of red. - - This is a very old piece with dyes equal to those found in any part - of the Orient, even in olden times, and although the colors are - rather pronounced they are very pleasing to the eye. - - (See page 265)] - - - - - [Illustration: RUSSIA] - - - - -THE CAUCASIAN CLASSIFICATION - - -Caucasia and Transcaucasia form an isthmus connecting Europe and Asia. -It is bounded on the west by the Black Sea and on the east by the -Caspian Sea and it has an area of about 166,500 square miles, with a -population of nearly ten million. It was once Persian territory, but was -acquired by Russia in 1813. Nowhere in the world is there such a mixture -of races and languages, the number of dialects being estimated at about -seventy. The carpets of the Caucasians are in coloring and in design -identical with those of Ancient Assyria and Babylon and they have -preserved their original characteristics, but alas, not their original -dyes, for here too the coal-tar products have been well received by -these wild mountaineers. - -The Caucasian rugs are characterized by their prominent borders and -their purely geometrical patterns with sharp outlines. Both warp and -woof are usually of wool excepting in some of the Kabistans and Shirvans -and, as a rule, the ends are finished with loose or braided warp -threads. The predominating colors are the blues and yellows. They are -seldom made in large sizes. Some of the most characteristic designs are -the eight-pointed star of the Medes, the six-pointed star of the -Mohammedans, the triangle, the diamond, the latch hook, the barber-pole -stripe, the tarantula, the swastika, the reciprocal trefoil, the -link-in-lozenge and the tree of life. - - -DAGHESTAN - -WHY SO NAMED.--Daghestan means "mountain land" and is the name of a -district in Caucasian Russia on the Caspian Sea. It has a population of -600,000. - -KNOT.--Ghiordes. Number vertically ten to fifteen; number horizontally -eight to fourteen; number to square inch eighty to two hundred ten. - -WARP.--Usually wool, being as a rule a dark brown or natural color in -the antiques and white or gray in the moderns. Some of the moderns have -a combination of cotton and wool. The warp threads may be composed of -one strand of cotton and one of wool in such a way as to cause a -puckering of the fabric, especially after it has been wet. - - [Illustration: DAGHESTAN RUG - OWNED BY A. U. DILLEY & CO.] - -WOOF.--In the moderns nearly always cotton. In the antiques usually -white or gray wool or a mixture of the two. - -NAP.--Fine silky wool cut short. - -WEAVE.--As a rule finely and closely woven. - -SIDES.--Selvaged or overcast with colored wool. - -ENDS.--A narrow selvage with loose or knotted warp threads at each end. - -BORDER.--Three or more border stripes, usually three, carrying small -figures and separated by narrow stripes of solid colors. The main border -stripe most frequently has a cream colored ground. The lobster, the -crab, the reciprocal trefoil, the reciprocal saw-teeth, the wine glass, -the barber-pole stripe, and the Georgian border designs are frequently -employed. - -PREVAILING COLORS.--The central ground is usually ivory with figures in -the different tints of red, blue, green, and yellow. - -DYES.--In the antiques all good. Some of the moderns are aniline dyed. - -DESIGNS.--The same patterns are employed as were in vogue centuries ago. -Diagonal ornamentation of both border and field is frequently employed -as in many of the Kabistans. Floral forms seldom used. The centre is -never plain, but is always filled with small geometrical figures. The -tarantula, the swastika, the link, S forms, octagon, eight-pointed star, -and the latch hook variations are common. The Greek cross is almost -omnipresent. - -SIZES.--From two and one-half to seven by four to ten feet. - -PRICES.--Antiques rare; moderns cheap, from $1.00 to $3.00 per square -foot. - -REMARKS.--Frequently crooked. The Shirvan and Kabistans are often sold -as Daghestans. - -THE EXAMPLES ILLUSTRATED - -COLOR PLATES - -with accompanying descriptions at pages 84 and 292. - - -DOUBLETONES - -DAGHESTAN RUG (page 254) - - Like most rugs of its class this piece consists wholly of - geometrical devices such as the latch hook, star, octagon, - barber-pole stripe, etc., all spaces being filled with designs of - various sizes. Each motif consists of three eight-pointed star - forms, one within another. The second and third borders are purely - Caucasian and represent a twig with two leaves and a flower. This - motif is seldom found in any but the Caucasian fabrics. - -DAGHESTAN PRAYER RUG (see page 256) - - The most common form of Daghestan prayer rug with its Caucasian - niche and lattice field, each square of which is filled with a - peculiar rectilineal floral form. All of the border designs are - characteristically Caucasian. - - [Illustration: DAGHESTAN PRAYER RUG - PROPERTY OF H. B. CLAFLIN & CO. - (Description on page 256)] - - -DERBEND - -SYNONYM.--Derbent. - -WHY SO NAMED.--Derbend, meaning "a fortified gate," is the name of the -chief city and capital of the province of Daghestan, in the neighborhood -of which these rugs are made by the Tartars and Turkomans. - -KNOT.--Ghiordes. Number vertically eight to twelve; number horizontally -five to ten; number to square inch forty to one hundred twenty. - -WARP.--Brown wool or goats' hair. - -WOOF.--Good wool. Usually more than two woof threads between each row of -knots. - -NAP.--Good, soft, thick, long, lustrous wool. - -WEAVE.--Very good, but not as close as that of the Daghestans. - -SIDES.--Generally overcast. Occasionally selvaged. - -ENDS.--Like the Daghestans, a short web with knotted fringe at each end. -Sometimes the web is wide as in the Turkoman products. - -BORDER.--From two to four border stripes, carrying large geometrical -patterns separated by narrow stripes of plain color. - -PREVAILING COLORS.--Fewer colors than the Daghestans. Usually a field -of blue or red. Yellow is lavishly employed. - -DYES.--Generally good. - -DESIGNS.--Similar to those of the Daghestans and Kabistans, but of a -coarser nature and purely geometric, the latch hook and the -eight-pointed star devices being the most common. The field usually -consists of a repetition of the designs in alternate colors. - -PRICES.--From $0.50 to $2.50 per square foot. - -REMARKS.--Rather rare. Of little artistic value. - - -KABISTAN - -SYNONYMS.--Cabistan, Kuban. - -WHY SO NAMED.--After the district of Kuba, which lies southwest of -Daghestan near the Caspian Sea, where they are made. - -KNOT.--Ghiordes. Number vertically ten to sixteen; number horizontally -eight to fourteen; number to square inch eighty to two hundred -twenty-four. - -WARP.--Sometimes cotton, sometimes wool. They differ from the Daghestans -in that the latter always have wool warp. - -WOOF.--Usually cotton. Occasionally wool. - -NAP.--Short wool, closely clipped, seldom lustrous. - - [Illustration: KABISTAN RUG - LOANED BY H. B. CLAFLIN & CO.] - -WEAVE.--Closely woven, equal to the Daghestan in that respect. - -SIDES.--Nearly always overcast with cotton threads or selvaged with -cotton. Some of the modern ones are finished with a cording. - -ENDS.--Narrow web with loose or twisted warp threads. - -BORDER.--From three to five border stripes. The carnation in profile is -one of the most commonly employed border designs. - -PREVAILING COLORS.--Rich but not brilliant reds, greens, blues, and -yellows, with considerable white. - -DYES.--Like all other Caucasian rugs many of the modern ones are more or -less chemically dyed. - -DESIGNS.--Similar to the Shirvan. The floral forms are usually connected -by meander lines, in which respect they differ from those of the -Shirvan. An attempt to render geometrical ornament in a floral manner. -Small conventional flowers thrown broadcast. The tarantula, the -swastika, the link, S forms, diamonds, stars, birds, and animals are all -introduced. A field of large rectilineal pear designs arranged in -diagonal rows is common. - -SIZES.--Usually oblong. Can be had in larger sizes than the Daghestan. -From two and one-half to five by five to twenty feet. - -PRICES.--From $1.00 to $3.00 per square foot. - -REMARKS.--Often sold for the Daghestan. The most durable of the moderate -priced rugs. They are thin and flexible and lie well. - -THE EXAMPLE ILLUSTRATED - - The field is filled with four peculiar oblong medallions and - geometrical devices of various kinds, such as the Greek key, - diamonds, crosses, etc. All of the border designs are - characteristically Caucasian. - - -TCHETCHEN - -SYNONYMS.--Tzitzi, Chichi. - -WHY SO NAMED.--The name of a powerful tribe of wandering mountaineers -who inhabit the mountains in the northwestern part of Daghestan and who -weave them. - -KNOT.--Ghiordes. Number vertically six to ten; number horizontally five -to ten; number to square inch thirty to one hundred. - -WARP.--Usually fine wool, occasionally cotton. - -WOOF.--Fine wool. Frequently dyed brown. - -NAP.--Fine wool, closely clipped. - -WEAVE.--Usually well woven but looser than the Daghestan. - -SIDES.--Narrow colored selvage, usually of extra yarns. Sometimes -overcast. - -ENDS.--Web of varying widths at each end with a fringe of loose warp -ends. - - [Illustration: TCHETCHEN OR CHICHI RUG - Size 5'8" × 3'11" - Property of Maj. L. B. Lawton, Seneca Falls, N. Y.] - -BORDER.--From three to six border stripes carrying a combination of -floral and geometrical designs. The so-called Chichi border design is -nearly always present. - -PREVAILING COLORS.--Usually dark colors with considerable dark blue and -white. - -DYES.--As a rule good. - -DESIGNS.--Rather indefinite. Usually a mixture of the Caucasian and -Persian designs repeated over the field so as to form a trellis. -Diamond-shaped figures, rosettes, trefoils, and tarantula forms. Field -rather narrow in comparison with the borders. - -SIZES.--Nearly square, four to five by five to six feet. - -PRICES.--From $0.75 to $2.50 per square foot. - -REMARKS.--Resemble the Shirvan in texture, for which they are frequently -sold. - -THE EXAMPLE ILLUSTRATED - - MAJ. L. B. LAWTON'S DESCRIPTION.--A typical specimen of this weave, - with the many small Chinese figures in blue. A star border, an - interlocking border and a wide basket border. This specimen is - unusual in being lighter toned in the ground. - - -BAKU - -WHY SO NAMED.--After the city of Baku, a seaport on the Caspian in the -district of Shirvan, from whence they are shipped. - -KNOT.--Ghiordes. Number vertically eight to sixteen; number horizontally -eight to twelve; number to square inch sixty-four to one hundred -ninety-two. - -WARP.--Cotton or wool. Frequently camels' hair. - -WOOF.--Usually cotton. Sometimes wool. - -NAP.--Wool with more or less camels' or goats' hair, cut short. - -WEAVE.--Generally closely woven and well tied. - -SIDES.--Usually overcast, occasionally selvaged. - -ENDS.--A small streak of camels' hair is usually thrown across one end. -This is one of the characteristic Baku features. - -BORDER.--From three to six border stripes, most frequently three, one -wide one with a narrow one on either side. - -PREVAILING COLORS.--Similar to those of the Daghestan. - -DYES.--Generally good. - -DESIGNS.--The large-sized pear pattern is perhaps the most common. It is -generally of a rectilineal nature. Frequently there is a central -medallion with corners to match. - -SIZES.--From three to seven by four to nine feet. The length is -generally double or more than the width. - - [Illustration: BAKU RUG - PROPERTY OF A. U. DILLEY & CO.] - -PRICES.--Rather high priced on account of their scarcity; $1.50 to $4.00 -per square foot. - -REMARKS.--Not very common in the United States. - -THE EXAMPLE ILLUSTRATED - - The design of this piece, the large pear motif with central - serrated medallion and corner pieces to match, is the most common - one employed in the Baku district. In contrast to the Persian - rendition of the pear design those in the Baku are larger and more - rectilineal. Like the Saraband the stems point in the opposite - direction in alternate rows. All of the border stripes are purely - Caucasian, the central one being a form of latch hook border. - - -SHEMAKHA - -SYNONYMS.--Soumak, Sumak, Kashmir, Cashmere. - -WHY SO NAMED.--After the city of Shemakha, the capital and principal -commercial city of the ancient Khanate of Shirvan, which was ceded to -Persia in 1813. Soumak is a corruption of the word Shemakha. Sometimes -called Kashmir or Cashmere on account of the resemblance of the weave to -that of the Cashmere shawl. - -BY WHOM MADE.--By the Nomadic tribes of Shirvan. - -STITCHES.--In antiques ten to twelve rows of stitches to the inch. In -moderns seven is the average. - -WARP.--Always wool. Usually white in the antiques and coarse grayish -brown in the moderns. - -WOOF.--Always wool. - -WEAVE.--Woven in the same primitive fashion as of old. The only pileless -Oriental rug besides the Ghileems. The different colored woof threads -are twisted over and under the warp threads by means of a needle in such -a way that each stitch is made diagonally, taking in two of the warp -threads and leaving every alternate row of stitches to face in the -opposite direction after the herring-bone pattern. On the under side the -shaggy ends of the colored woof threads are left loose. They never have -any lustre. - -SIDES.--Usually overcast in dark wool, sometimes selvaged. - -ENDS.--A long fringe at both ends formed by the loose warp ends. Usually -white in the antiques and grayish brown in the moderns. - -BORDER.--From two to five border stripes, usually four, the main one -carrying a zigzag design. The Georgian border design is common, as is -also the Chinese fret. - -PREVAILING COLORS.--Light and dark blue, green, yellow, red, orange, -black, and white. The field is most frequently of dark blue or red. - -DYES.--Good in antiques and poor in moderns. - - [Illustration: SHEMAKHA, SUMAK OR CASHMERE RUG - Size 6'2" × 4'9" - Property of Mr. H. J. Gaylord, Syracuse, N. Y.] - -DESIGNS.--Similar to those of the Daghestan and Shirvan and have -remained unchanged for centuries. All designs are outlined in black -and the Mongolian influence is quite perceptible, the knot of destiny, -mountains, etc., being very frequently used, together with the usual -Caucasian designs such as the latch hook, octagon, and various other -geometrical devices. Animals are frequently portrayed. - -SIZES.--From three to seven by four to twelve feet. Seldom larger than -seven by ten. Antiques were not made in carpet sizes. - -PRICES.--From $0.75 to $1.75 per square foot. - -REMARKS.--Durable, but they lack animation compared with other rugs. - -THE EXAMPLE ILLUSTRATED - - Unlike other classes, the Shemakha has no pile but has a flat - stitch made by winding the dyed woof thread around the warp yarn. - This piece is one of the finest, having thirteen stitches to the - inch. Like in most rugs of its class, the designs are typically - Caucasian, among which are freely interspersed plenty of - eight-pointed stars, swastikas and knots of destiny. The latter - motif is nearly always present in this variety. - - -SHIRVAN - -WHY SO NAMED.--After the district of Shirvan, south of Daghestan and -extending from the Caspian Sea to the river Kur. Marketed at Baku, the -trade centre of the district. - -BY WHOM MADE.--Woven by the Lesgie tribes. - -KNOT.--Ghiordes. Number vertically six to twelve; number horizontally -five to nine; number to square inch thirty to one hundred eight. - -WARP.--Generally white or gray wool or a mixture of the two in the -antiques, while the moderns are of brown or white wool or a mixture of -the two. Sometimes the warp is of cotton or goats' hair. - -WOOF.--Usually wool in the antiques. In modern pieces, usually of wool, -occasionally of cotton and sometimes cotton and wool strands will be -twisted together in such a manner as to cause more or less puckering of -the fabric, especially after same has been wet. - -NAP.--Wool, cut short. - -WEAVE.--Cheaply and roughly woven. - -SIDES.--Overcast or selvaged. - -ENDS.--Usually both ends are finished alike with a short web and an -extra large fringe of loose or knotted warp threads. - -BORDER.--Three to five border stripes, generally four, one wide one and -several narrow ones. As a rule they carry small designs either of a -Caucasian or Persian character. The latch hook, the tarantula, the -scorpion, and the wine glass designs are common. - -PREVAILING COLORS.--Quiet tints of red, blue, yellow, and salmon, with -considerable white. - -DYES.--Moderns very apt to be chemical. - -DESIGNS.--Quite similar to those of the Daghestan and Kabistan, but more -inclined to imitate the Persian designs without the connecting vine or -meander effect and inclined to be rather large in proportion to the size -of the rug. The tarantula, the swastika, the link, the S form, and the -palace patterns are commonly employed. - - [Illustration: SHIRVAN RUG - Size 5'6" × 3'6" - PROPERTY OF DR. E. B. GUILE, UTICA, N. Y.] - -SIZES.--From three to five by four to seven feet. No carpet sizes. - -PRICES.--Among the cheapest of the Caucasian products. From $0.50 to -$2.00 per square foot. - -REMARKS.--Moderns made only to sell. - -THE EXAMPLES ILLUSTRATED - -COLOR PLATES - - with accompanying description at pages 158 and 250. - -DOUBLETONE - - OWNER'S DESCRIPTION.--Unusually fine for Shirvan. This rug is in - the century class. The three borders are not often seen, but are - characteristic of the older rugs of the Daghestan district. The - glory of this rug is in the marvelous centre. At first sight one - might think of the famous "rose" Kirmans. The treatment of the - roses, lilies, peonies, etc., merit more than a passing glance. No - weaver could possibly show greater fidelity to nature in the - shading of leaf and petal than did the now forgotten factor of this - unusual rug. The erosion of time has given the surface an - appearance of brocade velvet. Casual examination would indicate a - green background, but in reality it is black, the profusion of - green being an intricate and realistic arrangement of leaves. - - -GENGHIS - -SYNONYMS.--Guenja, Guendja, Guenges, Turkman. - -WHY SO NAMED.--Authorities differ greatly as to the origin of the name. -Some say that the proper name should be Guenja, which was the ancient -name of Elizabethpol, from whence they came. Others insist they should -be called Genghis, which is the name of the tribe of Nomads living in -the vicinity of Elizabethpol who weave them. - -KNOT.--Ghiordes. Number vertically six to ten; number horizontally five -to eight; number to square inch thirty to eighty. - -WARP.--A three-strand thread of brown wool or goats' hair. - -WOOF.--Gray or brown wool, frequently dyed. Generally several woof -threads between each row of knots. - -NAP.--Usually rather long wool or goats' hair. Of a much finer quality -in the antiques. - -WEAVE.--As a rule coarsely woven. - -SIDES.--Selvaged or overcast, with different colored wool, most -frequently the former. - -ENDS.--Web with small knotted fringe on one or both ends. Sometimes the -web is wide as in the Turkoman rugs. - -BORDER.--From two to five border stripes, most frequently three, one -wide one with a narrow one on each side, all carrying geometrical -designs. - -PREVAILING COLORS.--Similar to those of the Kazaks. Usually considerable -white with rather bright red, light and dark blue. - - [Illustration: GENGHIS RUNNER - Size 8'9" × 2'8" - PROPERTY OF THE AUTHOR] - -DYES.--Apt to be inferior. - -DESIGNS.--Similar to those of the Kazaks and Karabaghs. Geometrical as a -rule, sometimes flowers and vines. The pear is frequently employed, -usually in alternate rows of red and blue. Birds and animals. - -SIZES.--Seldom square, mostly runners three to five by four to nineteen -feet. - -PRICES.--The lowest priced Caucasian rug as a rule. From $0.50 to $2.00 -per square foot. - -REMARKS.--Durable. Often sold as Karabaghs. - -THE EXAMPLE ILLUSTRATED - - KNOT: Ghiordes. Nine to the inch vertically and seven horizontally, - making sixty-three to the square inch. - - This is a very old piece. Note that the outer border appears in - the ends and is lacking on the sides, having been cut off on - account of its worn-out condition. - - The field is covered with the pear design in alternating rows of - light and dark colors upon a rich red ground. The inner border - carries the Greek meander in red and white upon a blue ground, - while the main stripe is filled with the octagon and the - eight-pointed star of the Medes in different colors upon a white - ground. The third border, which remains on the ends only, carries - the Greek meander in blue and white upon a red ground. Both warp - and woof are of wool. - - -KARABAGH - -SYNONYM.--Carabagh. - -WHY SO NAMED.--After Karabagh, the name of a province in Transcaucasia -just across the Persian border north of Tabriz, where they are made. - -KNOT.--Ghiordes. Number vertically six to twelve; number horizontally -five to ten; number to square inch thirty to one hundred twenty. - -WARP.--Coarse white or brown wool. - -WOOF.--Coarse wool, sometimes dyed. Generally several strands between -each row of knots. - -NAP.--Long, heavy wool or camels' hair. - -WEAVE.--Coarsely woven and carelessly knotted. - -SIDES.--Antiques usually selvaged. Moderns nearly always overcast with -colored wool. - -ENDS.--Short webs, one of which is generally turned back and hemmed. The -other end has a fringe of loose or twisted warp threads. - -BORDER.--From two to fourteen border stripes with a large range of -geometrical designs. The reciprocal trefoil is especially common. -Frequently a border of camels' hair. - -PREVAILING COLORS.--More subdued in antiques than in the moderns. -Magenta is used lavishly. Strong reds, yellows, and blues, with -considerable white. - -DYES.--Nearly all of the modern pieces are chemically dyed. - - [Illustration: KARABAGH RUG - Size 5' × 3'3" - PROPERTY OF DR. E. B. GUILE, UTICA, N. Y.] - -DESIGNS.--Similar to the Kazaks, only a trifle more Persian in -character, that is, more Persian floral forms are introduced. Sometimes -the field is plain, sometimes it is filled with some tree patterns or -with numerous floral and geometrical figures. In some of the antiques -the field is covered with black and tan spots, giving it the appearance -of a leopard's skin, which no doubt it was intended to represent. - -SIZES.--Two to six by four to eight feet. Usually small. Never in carpet -sizes. - -PRICES.--Antiques rare and rather costly. Moderns among the cheapest of -the Oriental weave. From $0.50 to $1.50 per square foot. - -REMARKS.--One of the most inferior products of the Eastern loom, but -artistic. Have deteriorated considerably of late years. - -THE EXAMPLE ILLUSTRATED - - OWNER'S DESCRIPTION.--An exceptional Karabagh. The design shows - evident attempt at Persian elaboration, this weave being about the - only Caucasian that shows such tendency. The floral display in the - centre; the beautiful old ivory of the corner pieces, and the - exquisite canary, coral and blue of the three borders, evidence - that the artisan that wrought this fabric had thoroughly mastered - the harmony of color. The blacks in this piece have gone fully down - to the knot. Such Karabaghs have not been made for a hundred years. - - -KAZAK - -SYNONYM.--Small Kazaks are called Kazakdjie. - -WHY SO NAMED.--A corruption of the word Cossack. - -WHERE MADE.--In the Transcaucasian district of Erivan, near Mt. Ararat, -where Russia, Persia, and Turkey meet. - -BY WHOM MADE.--By the Cossack Nomads, whose origin seems to be unknown. -They were probably related to the Cossacks of Russia. - -KNOT.--Ghiordes. Number vertically six to twelve; number horizontally -six to ten; number to square inch thirty-six to one hundred twenty. -Fewer than any of the other Caucasian fabrics. - -WARP.--Always wool. - -WOOF.--Nearly always wool, usually dyed. A characteristic feature is -the number of woof threads between each row of knots, usually four or -more. - -NAP.--Fine lustrous wool, which is usually cut long. The great number -of woof threads causes the nap to lie so that the side of the yarn is -exposed more than the ends. - -SIDES.--Usually a wide selvage in colored wool. Occasionally overcast. - - [Illustration: KAZAK RUG - (PALACE DESIGN) - PROPERTY OF MR. FREDERIC P. WARFIELD, NEW YORK CITY] - -ENDS.--Usually a short colored selvage at each end, one of which is -sometimes turned back and hemmed. A fringe of knotted or braided warp -ends. When braided the ends of the rug are apt to be drawn and twisted -so that it does not lie well. - -BORDER.--From three to four border stripes, usually three. The crab, -wine glass, reciprocal saw-teeth, reciprocal trefoil, tarantula, and -latch hook variations are common. - -PREVAILING COLORS.--Rather bright shades of red, green, yellow, brown, -and rose, with more or less ivory or white. These colors are more -subdued in the antiques. - -DYES.--Poor in some of the modern pieces. - -DESIGNS.--Similar to those of the Shirvan and Genghis. Bold geometrical -figures which are characteristic of the people who weave them. The -tarantula, diamond, palm, animals, and human beings are profusely -portrayed. The Greek cross is almost always present and the Russian -coat of arms common. - -SIZES.--Small and medium, three to six by five to eight feet. Usually -square or nearly so. - -PRICES.--Antiques few and valuable. The moderns are among the cheapest -of the Oriental products. From $0.75 to $2.00 per square foot. - -REMARKS.--As a rule thick and heavy though soft and durable. - -THE EXAMPLES ILLUSTRATED - -COLOR PLATES - - with accompanying descriptions at pages 94 and 144. - -DOUBLETONE (page 272) - - The field design is known as the Palace or Sunburst. It is common - in the Kazaks and Shirvans, but never used in any other rugs. This - piece shows the most common form of Kazak with the Palace design in - the centre and the Crab border, on each side of which is the - reciprocal saw-teeth. - - [Illustration: BESHIR BOKHARA PRAYER RUG - PROPERTY OF LIBERTY & CO., LONDON, ENGLAND - - Quite dissimilar to any other form of prayer rug although the niche - resembles very closely that of the Meles. The designs are unlike - those used in the other Turkoman products and the color combination - is quite pleasing. This piece is evidently of some age as the woof - threads in the lower end are gone, leaving a fringe of loose warp - threads instead of a variegated webbing as on the other end. - - (See page 280)] - - - - -THE TURKOMAN CLASSIFICATION - - [Illustration: TURKOMANS] - - -The territory from which the so-called "Turkoman" rugs come is that part -of Central Asia consisting of Turkestan, Eastern Turkestan and Russian -Turkestan lying north of Persia and Afghanistan and west of the Caspian -Sea. - -It comprises thousands upon thousands of square miles and is inhabited -by numerous rug-making tribes of Nomads. The distinguishing marks of the -Turkoman products are their wide web, their octagon and medallion -designs and their old traditional colors of predominating red with -patches of white, brown, and green. The dyes are usually fast and the -knot is always Persian with the exception of an occasional Yomud or -Samarkand, which may be tied with the Turkish knot. The rugs of Eastern -and Russian Turkestan are really Chinese, but geographically should be -classed with the other Turkoman products. Having been in the past less -accessible they are now found in relative abundance and are therefore -the least costly. - - -KHIVA BOKHARA - -SYNONYM.--Afghan. - -WHY SO NAMED.--After the city of Khiva, in the province of Bokhara, from -the vicinity of which they come. The name Afghan is sometimes used -because some of the inhabitants of northern Afghanistan contribute to -the supply. - -BY WHOM MADE.--By the Kirzig tribe of Nomads living in the province of -Bokhara and in Northern Afghanistan. - -KNOT.--Senna. Number vertically seven to twelve; number horizontally six -to eight; number to square inch forty-two to ninety-six. - -WARP.--Dark wool or goats' hair. - -WOOF.--Black or gray wool or goats' hair. - -NAP.--Fine lustrous wool or goats' hair of various lengths. - -WEAVE.--Loosely tied so that on the back it has the appearance of the -Ghiordes knot. - -SIDES.--Usually a wide selvage of black or dark brown goats' hair, -sometimes containing as many as seven cords. - -ENDS.--Wide selvage at each end in plain red or striped with blue lines. -The long, shaggy fringe of the loose goats' hair warp is a -characteristic feature. - - [Illustration: KHIVA BOKHARA (AFGHAN) CARPET - PROPERTY OF PROF. DELMAR HAWKINS] - -BORDER.--From two to four narrow border stripes, usually three. - -PREVAILING COLORS.--A lavish use of the Turkoman reds in the field with -designs in blue, orange, brown, green, and white. - -DYES.--Good in the antiques. Nearly all of the new pieces are chemically -dyed. - -DESIGNS.--The octagon is almost universally employed and is quartered by -alternating colors. Animal forms are seldom seen. The prayer form is -also seldom found. - -PRICES.--$1.25 to $2.00 per square foot. - -SIZES.--They are the largest of the Turkoman rugs, being nearly always -in carpet sizes and almost square, six to nine by eight to eleven feet. - -REMARKS.--One of the best inexpensive rugs on the market. Coarser and -heavier than the other Turkoman products and in damp weather they are -liable to have more or less of the smell of goats. The Khiva is about -the only antique carpet now on the market. - -THE EXAMPLES ILLUSTRATED - - KNOT: Senna. Ten to the inch vertically and seven horizontally, - making seventy to the square inch; unusually close for a rug of - this class. - - This piece is of an unusually fine grade with a long nap and - beautiful colors. The field, like that of nearly all Khivas, is - filled with conventional octagon and diamond forms with a small - eight-pointed star between each. - - SHORTELL RUG (page 120).--Prayer rugs of this particular class are - extremely rare and the peculiar prayer niche in this one is - certainly most unique and unusual. Note the hands in the two upper - corners of the field. It is on these that the worshipper is - supposed to place his hands while prostrating himself in the act of - prayer. - - -BESHIR - -WHY SO NAMED.--After the words "Bech Schehr," meaning "Five Villages," -being woven in five adjoining villages west of Khiva on the shores of -the Amour Daria River in Turkestan. - -KNOT.--Either the Senna or the Ghiordes, usually the former. Number -vertically five to ten; number horizontally six to twelve; number to the -square inch thirty to one hundred twenty. - -WARP.--Wool or goat's hair. - -WOOF.--Wool or goat's hair. - -NAP.--Wool. - -BORDERS.--Few stripes and narrow in proportion to the size of the rug. -The designs are usually Tekke in character. The reciprocal saw teeth -design is a feature. - -ENDS.--A fairly wide web which is usually dyed red through which -generally pass blue stripes or strands of colored yarn. Knotted or loose -warp ends. - -SIDES.--A three or four corded selvage. - - [Illustration: BESHIR BOKHARA RUG - PROPERTY OF MR. L. A. SHORTELL, BOSTON, MASS.] - -PREVAILING COLORS.--The free use of yellow is characteristic. Browns, -brownish reds and blue with very little white, as a rule. - -DESIGNS.--Those of the border are Tekke in character while those of the -field are usually composed of tree motifs arranged in strips with -alternating colored background. Caucasian and Mongol designs are -commonly employed. Occasionally the field is filled with Chinese cloud -bands. - -SIZES.--From three to eight feet in width by five to twelve feet in -length. - -PRICES.--From $1.75 to $5.00 a square foot. - -REMARKS.--One of the rarest of the Turkoman products. Most of those -brought to this country are antiques. - -THE EXAMPLE ILLUSTRATED - - OWNER'S DESCRIPTION.--This rug differs from the Bokhara commonly - seen, as it has the Tree of Life pattern drawn in the conventional - form of the Bokhara weavers, but very artistically done, the wool - used being the very best, very silky, and the selvage is finished - in a very workmanlike manner. It was a skilful weaver who made this - rug and it probably was his masterpiece. See also color plate at - page 274. - - -TEKKE BOKHARA - -WHY SO NAMED.--Because they are made by the Tekke Turkoman tribes of -Nomads, one of the most numerous and powerful of the Turkoman tribes, -who inhabit the country extending to Afghanistan on the south and -Khorasan on the west. - -KNOT.--Senna. Number vertically eight to twenty-eight; number -horizontally five to twenty-five; number to square inch forty to four -hundred. - -WARP.--Splendid wool. - -WOOF.--Wool, dyed red or brown. - -NAP.--Splendid soft, velvety, closely clipped wool. Sometimes some -goats' hair or silk. - -WEAVE.--Renowned for its close texture. - -SIDES.--Overcast in wool which is dyed the predominating color of the -rug. Occasionally selvaged. - -ENDS.--A web from ten to twelve inches in width at each end which is -colored the same as the body of the rug. This is finished with a fringe -of loose warp ends. Sometimes there are twisted ropes at one end, -showing that it was intended for hanging. This is especially common in -the prayer Tekke. - -BORDER.--One to five border stripes, usually three. - - - [Illustration: TEKKE BOKHARA RUG - BY COURTESY NAHIGIAN BROS., CHICAGO, ILL.] - -DESIGNS.--Elongated octagon forms arranged in rows alternating with -rows of diamond forms with straight lines connecting the centres of the -octagon, each of which is divided into four equal parts. In the centre -of each octagon is frequently found the eight-pointed star. Sometimes -the field is covered with octagon or the diamond forms alone without the -alternate arrangement. In the prayer rug the field is covered with -little candlestick patterns and divided into four sections by a large -cross, the arms of which carry designs similar to those found in the -border stripes. - -PREVAILING COLORS.--Ground usually of a rich dark mahogany red with -designs in blue, green, orange, old rose, wine, and pink, with more or -less white or cream. - -DYES.--Usually good. Of late years some aniline has been used. - -PRICES.--The antiques are rather scarce and are of good value. From -$2.00 to $5.00 per square foot. - -SIZES.--Mats to carpet size. Two to eight by three to eighteen feet. The -prayer rugs are nearly square, from four to four and one-half by five -feet. - -REMARKS.--Their durability is phenomenal. The modern pieces are vastly -inferior to the antiques. The prayer rugs differ so greatly from the -others of their class that they might almost be arranged under a -separate heading, in fact they are separately classed by some -authorities under the name of Hardjli or Princess Bokhara. The -Armenians call them Khatchlie Bokhara for the reason that the bands that -divide the field into four sections form a cross, and the word -"khatchlie" in the Armenian language means a cross. This class of rugs -is growing rapidly scarce. - -THE EXAMPLES ILLUSTRATED - - Page 284. This is the prayer Tekke, the so-called Hardjli, - Khatchlie or Princess Bokhara. The Greek cross divides the field - into quarters, each one of which is filled with rows of candle - sticks. The niche, the "Tekke border design" and the "Indian fish - bone" are here employed as in most prayer rugs of the class. - - Page 282. In design this piece is quite characteristic of its - class. The octagon is invariably present, sometimes alone, - sometimes in an alternate arrangement with diamond forms or with - smaller octagons as in this example. Here the smaller octagons - only are quartered. The peculiar arrangement of the "fish bone" - design, the wide web and the loose warp threads at each end are - also characteristic features. - - Page 150. KNOT: Senna. Number to the inch horizontally sixteen, - vertically eighteen, to the square inch two hundred eighty-eight. - The predominating color throughout is a beautiful terracotta. The - four diamond forms through the centre are filled with geometrical - figures in buff and terracotta upon a dark blue ground. Of the - semi-diamond forms the first and third upper and the second lower - have an old ivory background, while the second upper and the first - and third lower have a background of a most beautiful buff shade. - The figures on all of these are in blue, terracotta and white. The - first and third border stripes carry an S form on the top and - bottom, while on the sides they carry a form of barber-pole - stripe, all upon a dark blue background. The main border stripe - carries a peculiar rectilineal eight-petaled flower in different - colors upon an old ivory background; the loose yarn ends hanging - alternate in red and blue every four inches. The color combination - and sheen of this piece are unexcelled. - - STANTON RUG (page 162).--The predominating dark mahogany color and - long thick nap, together with a touch of blue in the octagons, - makes this piece most attractive. See also frontispiece. - - [Illustration: TEKKE BOKHARA PRAYER RUG - (PRINCESS BOKHARA, KHATCHLIE) - BY COURTESY OF NAHIGIAN BROS., CHICAGO, ILL.] - - -YOMUD - -SYNONYMS.--Yamoud, Yamut. Sometimes called yellow or brown Bokhara. - -WHY SO NAMED.--After a tribe of Nomadic Turkomans by that name who dwell -in the western part of Turkestan on the plains along the shores of the -Caspian. - -KNOT.--Either the Senna or the Ghiordes. Number vertically eight to -fifteen; number horizontally seven to twelve; number to square inch -fifty-six to one hundred eighty. - -WARP.--Brown wool or goats' hair. - -WOOF.--Good wool of medium length or goats' hair. Frequently dyed red. - -NAP.--Fine wool of medium length or goats' hair. - -SIDES.--A coarse selvage of two cords which are colored in alternate -squares of red and blue, red and brown, or two shades of red, giving it -a checker-board effect. - -ENDS.--A wide web at each end in plain red or with blue stripes. -Frequently stripes of colored wool are worked into the web with -apparently as much care and skill as that given to the body of the rug. -Finished with a fringe of loose warp threads which are occasionally -twisted at irregular intervals. - -BORDER.--There are usually three border stripes, one medium sized one -with a narrow one on each side. The barber-pole stripe, the reciprocal -saw-teeth, and the latch hook variations are the predominating border -designs. - -PREVAILING COLORS.--Ground almost invariably of a rich brownish red -which is softer and deeper in tone than that of the Khivas and Tekkes. -Figures in drab, blue, green, and yellow. - -DYES.--Usually the best. - -DESIGNS.--The tribal patterns show great individuality and combine the -Turkoman octagon with many of the Caucasian designs. A common -arrangement is that of octagons and elongated diamond forms in alternate -rows with plenty of latch hook variations. Very frequently the field is -covered with the diamond forms alone. - -PRICES.--From $0.75 to $2.50 per square foot. - -SIZES.--Seldom smaller than five by eight or larger than eight by eleven -feet. - -REMARKS.--They resemble the Bokharas in some respects and the Caucasian -products in others. About the only antique, in carpet sizes, now found -in the market. - -THE EXAMPLE ILLUSTRATED - - MAJ. L. B. LAWTON'S DESCRIPTION.--This weave is the rarest of the - Turkomans. So rare is it that Mr. Mumford in his article in the - _Century Magazine_, January, 1910, states that to his knowledge no - bales of antique Yomuds had been imported for seven years. Nearly - all Yomuds have the cross pattern, are usually deeper in tone than - their cousins the prayer Bokharas, and lack the little niche. - Yomuds are silkier than prayer Bokharas, and have the color of the - Delaware grape. This specimen has an unique pattern as a panel - across the end, otherwise it is typical. Yomuds adhere more closely - to their type than do any other weave. - - [Illustration: YOMUD RUG - Size 5'7" × 4'4" - PROPERTY OF COLONEL GEORGE G. BRIGGS, GRAND RAPIDS, - MICH.] - - -KASHGAR - -WHY SO NAMED.--After the city of Kashgar, a city of Eastern Turkestan -which enjoys a great caravan trade and is one of the richest markets in -Central Asia. - -KNOT.--Senna. Number vertically five to nine; number horizontally four -to seven; number to square inch twenty to sixty-three. - -WARP.--Coarse cotton. - -WOOF.--Four-stranded cotton. - -NAP.--Wool of medium length, frequently part silk. - -WEAVE.--Coarse and poorly tied. - -SIDES.--An added yarn selvage. - -ENDS.--Selvage of varying lengths with a fringe of loose warp threads at -each end. - -BORDER.--Chinese in character. Swastika border common. - -PREVAILING COLORS.--Usually strong yellow, blue, red, pink, green, and -orange with white or old ivory. Pale terracotta is common. - -DYES.--Good as a rule. - -DESIGNS.--Chinese in character. Generally fretted grounds or trellis -covered with figures of bats, butterflies, cranes, dragons, fish, and -trees. The knot of destiny is very commonly employed. - -PRICES.--$1.00 to $3.00 per square foot. - -SIZES.--From three to six by six to twelve feet. - -REMARKS.--Not very many found in the markets. - - -YARKAND - -WHY SO NAMED.--After a city of that name in Eastern Turkestan, in the -vicinity of which they are made. - -KNOT.--Senna. Number vertically five to nine; number horizontally four -to seven; number to square inch twenty to sixty-three. - -WARP.--Coarse wool or cotton. - -WOOF.--Coarse wool or cotton. Generally four strands between each row of -knots. - -NAP.--Coarse wool of medium length, sometimes more or less silk. - -SIDES.--A selvage of two cords. - -ENDS.--Web of varying lengths with loose warp threads at each end. - -BORDER.--Usually three border stripes, one of medium width with a narrow -one on each side. - - [Illustration: HAVING A POT OF TEA AT BOKHARA] - - [Illustration: A STREET IN SAMARKAND] - -As a rule the borders are small in proportion to the size of the rug. -The swastika border design is commonly employed. - -PREVAILING COLORS.--Resemble those of the Bokhara with a field of rich -brownish reds. Sometimes the field is of tan color. The designs may be -in blue, red, green, yellow, pink, and terracotta. - -DESIGNS.--Resemble those of the Bokhara and Kashgar. Fretted grounds -with figures of animals, dragons, bats, butterflies, circles, and -octagons. A common design is the arrangement of four dragons in the form -of a swastika. - -PRICES.--$0.75 to $2.50 per square foot. - -SIZES.--From three to six by six to twelve feet. - -REMARKS.--Quite similar to the Kashgar. The modern ones are not -attractive. - - -SAMARKAND - -SYNONYM.--The trade name of "Malgaran" is given to an inferior grade. - -WHY SO NAMED.--After the city of Samarkand, a city of Western Turkestan -in the valley of Zarab-Shan, one hundred miles east of Bokhara, which -was once the centre of learning in Asia, having had several universities -there. - -WHERE MADE.--In the vicinity of Samarkand. - -KNOT.--Nearly always the Senna, seldom the Ghiordes. Number vertically -five to seven; number horizontally six to ten; number to square inch -thirty to seventy. - -WARP.--Wool, cotton or silk, usually dyed blue or yellow. - -WOOF.--In the antiques cotton or wool. In the moderns cotton. Like the -Kazaks there are three or four woof threads between each row of knots. - -NAP.--Good, heavy, loose, lustrous wool. Sometimes silk or a mixture of -silk and wool. - -WEAVE.--Loosely woven. - -SIDES.--Antiques have a narrow selvage added sometimes with two colors -like the Yomuds. Modern pieces are overcast. - -ENDS.--Similar to those of the Turkoman products. Wide web with fringe -of loose or twisted warp threads. - -BORDER.--From three to five border stripes, usually three. The inner -border usually carries the Greek meander, the outer one floral designs -and the middle one figures corresponding to the central designs. The -undulating vine and lotus pattern are frequently used. - -PREVAILING COLORS.--Field usually blue, red, or golden brown. Bokhara -reds and yellows are lavishly used. - - [Illustration: SAMARKAND RUG - PROPERTY OF MR. A. U. DILLEY] - -DYES.--Of the best. - -DESIGNS.--There are usually five medallions (circles of happiness), one -at each corner of the field and one in the centre bearing some dragons, -animal, or floral forms. Very little trace of Persian, Turkish, or -Caucasian influence; Mongolian characteristics predominate with some -trace of Turkoman. Chinese fret, swastika, dragon, fish, and floral -forms. - -SIZES.--From three to nine by nine to fifteen feet. - -PRICES.--Antiques rare and costly, moderns from $1.00 to $2.50 per -square foot. - -REMARKS.--The moderns are much inferior to the antiques. They are -suitable for library and hall use. - -THE EXAMPLE ILLUSTRATED - - Although made in Russian Turkestan, Samarkand weavings are Chinese - in every respect. - - This particular piece displays three round medallions or circles - of happiness, also butterflies and various Chinese plant forms. - The first and third border stripes are composed of one of the - Chinese lotus bud border designs, while the central stripe - consists of the swastika fret. - - [Illustration: DAGHESTAN PRAYER RUG - Size, 4'8" × 4'2". - BY COURTESY OF NAHIGIAN BROS., CHICAGO, ILL. - - OWNERS' DESCRIPTION.--In all the rugs that we have imported from the - Caucasian provinces we do not recollect having seen one with a finer - texture than this Daghestan. It has as many knots to the square inch - as the finest Kashan rugs, which, as is well understood, are the - finest products of the Persian looms. - - The "barber pole" stripes in the border, the reciprocal Van Dyke - design, and the "wine glass" figure in the widest border are all - characteristic designs found in Caucasian rugs. Even the niche is - similar to other Daghestan prayer rugs. But we see at once Persian - influences in the field of the rug. - - The "flame" design as it is called here, which is in reality a - variation of the familiar "river loop" or "El-Ayassi" pattern, and - which is distinctly a Persian figure, is here used throughout the - field. As if to emphasize the theory that the flame, which the early - Persians worshipped, is represented by this design, each individual - figure is made to give off rays of light and warmth. - - Another interesting and noticeable feature in this rug is that while - in Persian fabrics like the Sereband, where this or a very similar - design is used, the figures are almost all exactly alike, whereas here - they differ considerably and no two are alike in detail. - - (See page 254)] - - - - -THE BELUCHISTAN RUGS - - -Beluchistan is a vast, wild and mountainous country extending from -Kirman to India and from Afghanistan to the South Arabian Sea, partly -under Persian rule and partly under the protection of Great Britain. It -has an area of about 146,000 square miles with but 800,000 population. -The capital, Kelat, has a population of 15,000. The inhabitants are -principally Nomad tribes of primitive habits and of the Mohammedan -faith. The rugs of Beluchistan are taken way across Afghanistan to -Bokhara to be marketed. On this account and also because of their great -likeness to the Turkoman products they are classified as such by several -prominent writers. Like the latter they invariably have a wide web at -each end, usually with a woven design. The colors and designs are -similar to those of the Turkoman class and the dyes are good, but -nowadays unwashed ones are extremely scarce. - - -BELUCHISTAN - -SYNONYMS.--Balooch, Baloochee, Bilooz, Bilouche, etc. Sometimes wrongly -called "Blue Bokhara." - -BY WHOM MADE.--By the Nomadic tribes of Beluchistan and by Beluches -residing in Afghanistan and Eastern Persia. - -KNOT.--Always Senna. Number vertically six to ten; number horizontally -five to twelve; number to square inch thirty to one hundred twenty. - -WARP.--Usually wool, frequently goats' hair. - -WOOF.--Always dark wool. - -NAP.--Fine, long, compact, lustrous wool, goats' and camels' hair. - -SIDES.--Overcast or selvaged, usually with goats' or horses' hair. - -ENDS.--Wide ornamented selvage with loose or twisted warp ends. Often a -row of colored yarns run through the web. - -BORDER.--From three to four border stripes, usually one wide one and two -narrow ones. - -PREVAILING COLORS.--Usually dark reds and dark browns with a sprinkling -of white. Tan is frequently employed in the field and is generally the -undyed camel's hair. - - [Illustration: BELUCHISTAN RUG - Size 6'8" × 3'4" - (Without the webbing, which is one foot long at each - end) - (MINA KHANI DESIGN) - FROM THE COLLECTION OF THE AUTHOR] - -DESIGNS.--Geometrical devices, hexagons, octagons, etc. Occasionally -stiff floral patterns. - -SIZES.--Mostly small, two to seven by three to eleven feet. - -COST.--From $1.00 to $2.50 per square foot. - -REMARKS.--One of the last rugs to be affected by outside influences. -Although scarcely any chemical dyes are used, the "doctoring" process -has been adopted so that nowadays an unwashed Beluchistan is a scarce -article. The modern ones are inferior to the antiques, although all wear -well. - -THE EXAMPLE ILLUSTRATED - - KNOT: Senna. Eight to the inch vertically and thirteen - horizontally, making one hundred eight to the square inch. The - centre field of dark blue is covered with the Mina Khani design, - which, being a Kurdish design, is seldom found in Beluchistan - products. The two narrow border stripes in white are of the Greek - key design upon a background of dark brown, while the main border - stripe consists of rectilineal vines and flowers arranged similarly - to the Herati border design upon a varying background of light and - dark Turkoman red. The webbing at each end is covered with fine - designs and stripes and in several places are talismanic tufts of - wool. - - - - -CHINESE RUGS - - - [Illustration: CHINESE RUG - Size, 23' × 24' - BY COURTESY OF COSTIKYAN & CO., NEW YORK CITY. - - Presented by the late Mr. J. Pierpont Morgan to the Metropolitan - Museum of Art, New York City. A very unique and beautiful piece. It - is one of the most celebrated and costly rugs in America. The cloud - bands and the five clawed Chinese dragons are framed in by the Chinese - fret. - - (See page 301)] - - - - -CHINA - -CHINESE RUGS. - - -It is practically within the last decade or so that the artistic merits -of the Chinese rugs have been fully appreciated. Previous to that time -they were promptly laid aside to make place for the other Oriental -weaves. A few wise connoisseurs were in the meantime securing all the -choice pieces available and some have made themselves independently -wealthy by their sagacious forethought. At the present time Chinese rugs -are eagerly sought and treasured more than those of any other class, -good ones bringing fabulous prices. - -To illustrate the rapid advance in the value of choice pieces the writer -will relate one incident out of many similar ones which to his knowledge -have occurred. - -About eighteen years ago a wealthy horseman of Central New York died -leaving a stable which, together with its furnishings, was worth many -thousands of dollars. Sometime after his death the furnishings were sold -at public auction. Among the articles thus disposed of was a Chinese rug -10 × 12 which was bid in by a New York man for $150.00. Two years ago it -was resold for $25,000. - -Excluding those of recent make, Chinese rugs are of good workmanship and -honest dyes, the weavers being little influenced by modern ideas, -consequently they are durable and, on account of their original -Mongolian designs, can easily be distinguished from the other Oriental -products. Unfortunately, on account of the growing scarcity of wool in -China and on account of foreign invasion, the rug industry seems to be -dying out. - -The classification of Chinese rugs is a difficult matter, in fact -anything like an accurate classification is impossible even for a -connoisseur for they cannot be assigned to the different provinces by -the finish of their sides and ends as are the other Oriental weaves, but -the classification must depend mostly upon the colors, materials and -workmanship, which were in vogue at certain periods, as well as the -effect of time upon these colors and materials. - -Those which reach our own shores are generally divided into three -classes according to the districts from which they came, namely, Pekin, -Tientsin and Thibet, the latter being practically Chinese although not -geographically so. The above are named in order of their excellence, the -finest pieces, as a rule, coming from northern China. - -Unlike other Oriental textiles those of China may be interestingly -classified according to the symbolism of their designs, thus we may have -the longevity rug in which are depicted the crane, the stork, the deer, -or the tortoise, all of which are symbols of longevity. The literary rug -is decorated with books, ink stands, pencils, brushes, scrolls, and -sceptres. The bat, the gourd, the circle of happiness, and the shou -denote happiness; the dragon, the lion, the phœnix, and the sword -authority and power; the swastika, the knot of destiny, the swallow, and -the magpie are symbols of good luck, while in the religious rugs are -found the rosary, the incense burner and various altar implements. - -The Chinese weaver is fond of filling every available space with objects -with which he comes in daily contact, thus among the animate things may -be mentioned butterflies, dogs, doves, ducks and swans. Among the -inanimate things are vases, chess boards, jars, stands, baskets, wheels, -ribbons, shells, pots and plates, while among the flowers are the peony, -the primrose, the peach, the magnolia and tea blossom, the lotus, the -orchid, the chrysanthemum, the sun flower and the aster. - -There are seven designs, which on account of the great frequency with -which they are used, are worthy of special mention. Named in order of -their employment, they are the circle of happiness, the Chinese fret, -the swastika, the butterfly, the bat, the shou, and the dragon. - -The circle of happiness which is found in nearly all classes of Chinese -rugs is a circle or ovoid within which are worked various Mongolian -designs. The Chinese, or Greek fret, as it is sometimes called, is a -border design suggested by the overlapping of the sea waves and is found -in fully two-thirds of the Chinese products. The swastika needs little -explanation other than the statement that for centuries it has -symbolized good luck to many tribes in distant parts of the world. -Butterflies, symbols of vanity, are frequently found intermingled with -flowers or bats, the latter being symbolic of happiness. The shou, which -stands for prosperity, has nearly a hundred different forms, many of -which are similar in shape to the Egyptian scarab. The dragon, the -Chinese symbol for sovereignty, always has five claws, unlike the -Japanese dragon, which has but three. It is frequently represented as -holding or looking towards a round object, the so-called "chin" or -jewel. - -The materials from which the Chinese make their rugs are practically the -same as are used in the other rug making countries with perhaps the -exception that the wool varies more in quality, being on an average -considerably coarser than that of Persia or Anatolia. The Chinese also -employ considerable hair, which in appearance very much resembles that -of a cow. Rugs made of this hair are known as Yak rugs. - -Chinese weaving differs little from that of other parts of the Orient. -Both the Senna and the Ghiordes knots are employed, most frequently the -former, but the appearance is different on account of the size and -looseness of the warp and pile yarn, which, in many instances, makes it -impossible for the weaver to tie over eight to ten knots to the square -inch. During the early part of the eighteenth century, designs were -frequently made to stand out in relief by cutting somewhat shorter the -wool around them. - -Chinese designs are characteristic and interesting, being similar to -those found in the old Chinese porcelains. As a rule they are simple, -with little detail and are outlined with a contrasting color. No family -or tribal designs are employed as in the other rug making countries. -Each rug being usually the work of one weaver, both in design and -execution, it is frequently symbolic of his creed. - -During the 16th and 17th centuries the majority of Chinese rugs had a -field of solid color or were covered with the trellis design. They also -had but few narrow border stripes, either in plain colors or carrying -simple geometric designs, but about the middle of the 18th century, they -began to show Persian influence, floral patterns being adopted -especially for the borders. - -Like the designs, the colors employed by the weavers are quite similar -to those used in the old porcelains. As a rule, they are dull, warm and -harmonious, but few shades being used in the same piece. - -The colors and shades most frequently used in Chinese rugs, named in -order of their employment, are dark blue, yellow, light blue, apricot, -ivory white, dark brown, cream, old red, tan, fawn, robin's egg blue, -green, fruit red, persimmon red, ash white, sapphire blue, peach blow, -salmon pink, brownish red, brick red, greenish yellow, turquoise blue, -copper pink, and black. - - [Illustration: ANTIQUE CHINESE RUG - Size 3'6" × 5'6" - PROPERTY OF A. U. DILLEY & CO. - - OWNER'S DESCRIPTION - - Color: Blue and gold. - Field: Elaborate peony leaf and flower decoration. - Border: Intricate swastika-fret motive. - Date: 1790.] - -The different shades are of considerable assistance to the connoisseur -in estimating the age of a rug, for instance, robin's egg blue, golden -brown, and tan were mostly in vogue during the 17th century, and during -that period, green and lemon citron, greenish and reddish yellows were -never employed. - -THE EXAMPLES ILLUSTRATED - - Three color plates of these attractive rugs are given, with - accompanying descriptions (see pages 300, 306 and 318). - - - - -GHILEEMS, SILKS, AND FELTS - -GHILEEMS - - -Also spelled Gileem, Gilim, Khilim, Kilim, Killim. A pileless rug which -is made by binding a dyed weft thread around the warp threads by means -of a shuttle or needle, making the fabric alike on both sides and -leaving open spaces between the warp threads where the changes of color -are made. This is the primitive mode of weaving and requires much more -skill than does the pile method. Ghileems are woven at the present day -more than ever all over the Caucasus, Anatolia, Kurdistan, Persia, and -in some parts of Turkestan. Those which are found in the Western markets -come mostly from Cæsarea, Senna, Shirvan, Kurdistan, and Merve. - -As a rule each variety adopts the designs and colors which are in vogue -in the particular locality from which they come, but frequently the -border stripes do not extend around the whole fabric as is almost -invariably the rule with the pile carpets. By the Oriental the Ghileems -have been used as floor coverings from the earliest times; by the -Occidental they are used almost exclusively as portières, couch covers, -and table spreads. As a rule, they are sold in the Orient by weight, -and, like most of the other textiles, have of late years not been -extremely free from outside influences. - - -SENNA GHILEEM - -Senna Ghileem is the finest quality of Ghileem produced, being much -finer in texture than any of the other Ghileems. As a rule they have -small intricate patterns, with an opening at each change of color, in -fact they are exact duplicates of the Senna pile rugs in design and have -the same finish on the sides and ends. The Herati design is commonly -used in the field but seldom in the border. In sizes they vary from -three and one-half to four and one-half by five and one-half to seven -feet, seldom larger or smaller. - -THE EXAMPLE ILLUSTRATED - - The main border stripe carries a meandering vine with a pear-shaped - leaf at each turn and on either side of it is a narrow stripe - consisting of floral forms which are connected by leaves arranged - in the form of a meander. - - -ANATOLIAN GHILEEM - -Anatolian Ghileems are, as a rule, light in weight and coarse in -texture, with many open spaces and with bold geometrical Turkish designs -and bright colors. They are made of good wool and are finished with a -fringe at each end. As a rule they can be distinguished by their prayer -niche or by a seam through the centre, the larger sizes, which do not -come in the prayer design, usually being made by sewing two long, narrow -pieces together. - - [Illustration: SENNA GHILEEM - (HERATI DESIGN) - PROPERTY OF A. U. DILLEY & CO.] - - -KIS GHILEEM - -Kis Ghileem, which means "girl rug," are Turkish Ghileems made by the -Mohammedan girls for their suitors, it being a Turkish custom for a -girl, as soon as she becomes engaged, to weave one of these rugs to -present to her future husband in order to show the quality of her -handiwork; therefore, being judged to a certain extent by the grade of -her weaving, she naturally does her best. For this reason many of the -so-called Kis Ghileems are of excellent workmanship. They carry typical -Turkish designs and are finished with a fringe at each end. In size they -vary from two and one-half to seven by four to fifteen feet, the smaller -sizes usually being of the prayer style, while the larger ones are made -of two parts sewed together, little care being taken to make the -patterns of the two pieces match well. Frequently we will find small -tufts of wool, beads or a lock of the weaver's hair attached to the warp -threads as a talisman. - - -SHIRVAN GHILEEM - -Shirvan Ghileems are always recognized by their designs, which are like -those of no other Ghileem, being composed of numerous stripes running -across the whole width of the rug and covered with geometrical devices -similar to those of the Daghestan. These stripes are from eight to -twelve inches wide with narrow plain blue, green, or red stripes -between. They are nearly always woven in one piece and of good wool, but -are heavy and coarse, with large openwork spaces. In size they vary from -three to eight by six to twelve feet, the average being five by nine -feet. - - -KURDISH GHILEEM - -Kurdish Ghileems, like other Kurdish rugs, rank among the best of their -class, being made of the finest of wool and closely woven. They usually -consist of two or more pieces sewed together or joined by embroidered -geometrical designs and many yarn ends are left loose on the under side, -giving a shaggy appearance like the under side of the Shemakha rugs. In -this respect they are unlike any of the other Ghileems. The colors are -as a rule subdued, dark shades of crimson, blue, yellow, and green, with -more or less black and white. The prayer design is frequent, with a -niche like that of the Ghiordes. The ends are finished with a web upon -which an attractive design is woven or through which runs a -parti-colored thread similar to that in other Kurdish rugs. The antiques -are very scarce. In sizes they vary from four to six by seven to twelve -feet. - - [Illustration: KURDISH GHILEEM - BY COURTESY OF NAHIGIAN BROS., CHICAGO, ILL.] - - -THE EXAMPLE ILLUSTRATED - - This is one of two strips which were originally sewed together like - many of the Ghileems of this class. The predominating colors are - green, red, dark brown and white. Each end is finished with a short - web and braided warp threads. It also has many loose yarn ends on - the back side, which is a characteristic feature of the Kurdish - Ghileems. - - -MERVE GHILEEM - -Merve Ghileems are made in the vicinity of Merve, in the Turkoman -district. They differ from all other Ghileems in that the colors are -divided diagonally instead of vertically or horizontally with the warp -or woof threads. For this reason no open spaces are left. The colors are -few and subdued, white especially being seldom used, and in design they -are most modest, the field as a rule being divided transversely into -three or four parts by ornate line patterns resembling in some respects -the Kurdish Ghileems. They frequently come in prayer form with designs -less striking than those of the Kurdish Ghileems and strongly resembling -those of the Beluchistan. Some are of great size. - -THE EXAMPLE ILLUSTRATED - - One of two strips which were originally sewed together. Like many - of its class the field of this piece is divided transversely into a - number of stripes, each about a foot wide. Each stripe is of a - different color, being tan, green, white and brown, and the whole - field is covered with a trellis of serrated latch hook designs in - red, the divisions of which contain diamond forms in different - colors. There is a short web at each end, one with loose warp - threads and the other knotted. - - -SILK RUGS - -Silk rugs were first made in China and afterwards in Anatolia and -Northern Persia, where silk is produced in great quantities. They were -formerly made for mosques, for royalty, or for very rich people, expert -weavers being hired for the occasion and the material being furnished by -the one who ordered the work done. - -Fine silk rugs are unsurpassed in beauty, rich, exquisite coloring, and -rare sheen, but they have never been practical as floor coverings; -first, because they require such luxurious surroundings, and second, -because the wearing quality of silk does not compare with that of wool. - -The genuine Persian silk rugs are getting scarce and almost priceless. -Strange as it may seem, few of these pieces have been sought by either -the museums or collectors of America. - - [Illustration: MERVE GHILEEM - Size 10' × 2'8" - - KURDISH GHILEEM - Size 15'4" × 2'6" - PROPERTY OF MR. JOSEPH SHEHADI] - -Those made at Kashan in Northern Persia are the best of the present day -products. As a rule they are made entirely of silk having a narrow web -and a fringe of loose warp threads at each end and with beautiful shades -of red, rose, turquoise, old ivory, and green. - -In Persia they sell for from $10.00 to $15.00 per square foot and in the -United States for from $15.00 to several hundred dollars a square foot. - -A much cheaper and a purely commercial product comes from Kaisarieh or -Cæsarea, in Asia Minor. These, as a rule, have a cotton warp and weft -and are copied after the old Persian and Ghiordes designs, especially -the so-called "Mosque design" with the hanging lamp. These rugs are -undesirable in color, dyes and workmanship and are invariably worth much -less than the prices asked for them. The great majority of them can be -detected by the direction in which the pile runs, it being inclined -towards the top instead of towards the bottom. - -It is easy to go astray in the purchase of silk rugs on account of the -numerous mercerized and wool silk imitations, many of them not even -being hand-tied but machine made. - - -FELT RUGS - -Felt rugs are made to a certain extent in nearly every part of Persia, -but chiefly at Ispahan, Astrabad, and Yezd. They are made of wool, -goats' hair or camels' hair or of a combination of two or all of these -substances, according to the color desired. As no dyes are employed and -the finished product is the same in color as that of the materials used, -they are usually gray, white or buff, most frequently the latter. The -material is matted together by being pounded, occasionally sprinkled -with water in which rapeseed-oil cakes have been soaked for a long time, -and then pounded more until it becomes compact and solid. The finished -product varies in thickness from three-quarters of an inch to three -inches and is as soft and pliable as cloth, but too heavy for -exportation, consequently few come to Western markets. In the Orient -they are used as floor coverings on top of which ordinary pile carpets -are placed. In this country they have been used in bedrooms, also as a -covering for dining tables, and as silence cloths, but they will not -stand the wear of chairs and are an easy mark for moths. They can be -purchased for from $7.00 to $10.00 per yard. - - [Illustration: ANTIQUE CHINESE CUSHION RUG - Size 2'2" × 2'2" - FROM THE COLLECTION OF THE AUTHOR - - KNOT: Senna. Eight to the inch horizontally and six vertically, - making only forty-eight to the square inch, but the pile wool is - so fluffy that it has the appearance of being quite closely woven. - - This piece is undoubtedly a very old one. It has a long silky pile - with deep Chinese blue ground, displaying a central medallion of - floral forms, frets and swastikas woven in soft red, yellow, drab - and white. Also corner motifs in similar colors, all of which is - framed by three harmonious borders, an inner band consisting of - white dots on a blue background; the main border stripe composed - of graceful floral scrolls and blossoms in yellow, light blue, - drab, red and white on a blue ground, and the other border of plain - blue. - - (See page 301)] - - - - -CLASSIFICATION ACCORDING TO THEIR INTENDED USE - - -PRAYER RUGS (NAMAZLIK) - -In all ages fine rugs have been used for religious purposes by the -faithful followers of the prophet. Every Mohammedan has his prayer rug, -more or less valuable according to his means, which he always carries -with him and upon which he prostrates himself five times a day when the -appointed hour for prayer arrives. - -By means of a small compass he spreads his rug so that the mihrab or -niche points towards Mecca, where Mohammed's body lies. Then after -removing all jewelry and money from his person, in order to appear -before God in the most abject humility, he combs his beard, produces a -rosary of ninety-nine beads and a dried cake of earth which came from -Mecca. These he places just under the niche and then, resting his head -on the earth with his hands outstretched on either side, he performs his -devotions. - -The mihrab or niche on which the worshipper places his head represents -the door of a mosque and reminds those who use it of the sacred mosque -at Mecca. - -Occasionally prayer rugs will be found with three or more niches, -especially among the Caucasian products. These are intended for children -or for family worship. Others may have instead of a prayer niche, three -small medallions, one each for the hands and one to receive the -forehead. - -For convenience the prayer rug is of small size, usually from two and -one-half to four by four to six feet. Those intended for personal use -frequently have the name of the owner on and are of the very best -workmanship. Combs and other objects used in the act of worship are -frequently depicted in or near the prayer niche. - -The prayer niche takes various forms in different kinds of rugs, seldom -more than one class having the same form. As a rule that of the Persians -is formed by curved lines, while all others are formed by straight -lines, those of both the Persian and Turkish classes being pointed, -while those of the Caucasian and Turkoman classes may either be pointed -or flat at the top, usually the latter. - -In differentiating between these different classes we are assisted not -only by the shape of the mihrab, but also by the various field designs, -such for instance as the panels above and below the prayer field, the -lanterns or pendants which hang from the centre of the niche, etc. - - [Illustration: VARIOUS FORMS OF THE PRAYER-NICHE IN RUGS - - 1. Persian - 2. Persian - 3. Persian and Konieh - 4. Meshed and Saruk - 5. Tabriz - 6. Kirman - 7. Kirman - 8. Kirman and Kulah - 9. Herez and Kulah - 10. Kulah - 11. Kulah - 12. Kulah - 13. Kulah - 14. Ghiordes - 15. Ghiordes - 16. Ghiordes - 17. Ghiordes - 18. Anatolian - 19. Anatolian - 20. Konieh - 21. Konieh and Meles - 22. Ladik - 23. Ladik - 24. Kaisariyeh - 25. Bergama, Genghis, Daghestan, Bokhara - 26. Bergama - 27. Meles - 28. Meles - 29. Daghestan and Kazak - 30. Kazak and Beluchistan ] - -SINGLE PANELS.--When only one panel is used it is invariably above the -prayer field. The Kulah nearly always has but one, the Anatolian -generally, and the Ghiordes seldom. - -DOUBLE PANELS.--The Ghiordes nearly always has two, the Bergama -generally, and the Kulah seldom. - -HANGING PENDANTS are always present in the Kaisarieh, frequently in the -Ghiordes, and seldom in the Kulah. - -PILLARS are always present in the Kaisarieh, frequently in the Kulah, -and only occasionally in the Ghiordes. - -PLAIN PRAYER FIELDS (excepting the lamp) are most frequent in the -Turkish rugs. - -FILLED PRAYER FIELDS are invariably present in the Caucasian and -Turkoman rugs and generally in the Persians. - - -HEARTH RUGS (ODJAKLIK) - -Hearth rugs may be distinguished by the shape of their field, each end -of which resembles the niche of the prayer rugs belonging to the same -class. They are usually from three and one-half to four by five to -seven feet and are very precious to the family, who always spread them -before the fire upon the arrival of a guest, and once a fugitive, -fleeing from his enemies, enters a tent and sets his foot upon the -hearth rug, the owner and his people were bound to defend him. - - -GRAVE RUGS (TURBEHLIK) - -Grave rugs are usually the combined handiwork of all the members of the -household and, in accordance with an ancient custom, are used to cover -the dead before interment and the grave after interment, having -practically the same import as flowers do with us. They are usually -woven in sombre tints to express grief and in light colors to denote -resurrection. The cypress tree, which is symbolic of sorrow, is usually -the leading feature of the design and there are generally some -inscriptions from the Koran. - - -DOWRY OR WEDDING RUGS (KIS GHILEEM) - -Dowry or wedding rugs are woven by the Eastern maiden for her dowry. -They are usually small in size and are seldom seen in America, as they -are always greatly prized by the Oriental. A more definite description -of them will be found under the heading of Ghileems. - - [Illustration: SADDLE CLOTH, SADDLE BAGS AND POWDER BAG] - - -MOSQUE OR MECCA RUGS - -Mosque or Mecca rugs are sometimes called Tribute rugs. The wealthy -Mohammedan rulers vied with each other in taking with them on their -pilgrimage to Mecca rugs of the finest materials and choicest designs -for presentation to the mosque, the whole interior of which was usually -hung with carpets, beautiful and costly beyond description. Many of -these so-called mosque rugs were of the Shiraz class. It is still the -custom in some parts of the Orient to give rugs to the mosque as thank -offerings for special blessings received and frequently the Mohammedan -bequeaths a rug when he dies to the mosque where he worshipped. - - -BATH RUGS (HAMMANLIK) - -Bath rugs are usually about three feet square and have a peculiar lustre -due to their frequent contact with soap and water. One of these bath -rugs is usually presented to the bride by her parents on her wedding -day. - - -PILLOW CASES (YESTEKLIK) - -Pillow cases are known in the United States as Anatolian mats and are -described as such in the chapter on Turkish Classification. - - -SAMPLE CORNERS - -Sample corners are mats about two feet square and are woven for the -purpose of showing the variation of border, color, and design to some -wealthy ruler who wishes a carpet woven. They are afterwards used in the -weaver's family and seldom reach the market. (See p. 328.) - - -SADDLE BAGS (HEHBELIK) - -Saddle bags always come in pieces of varying widths, according to the -kind of animal for which they are intended. Those intended for donkeys -usually run from one to one and one-half by one and one-half to two -feet, while those intended for horses or camels usually run from one and -one-half to two and one-half by five to six feet or more. Those from -Persia and Anatolia are usually small and nearly square, while those -from Bokhara and Beluchistan are usually large and oblong. These saddle -bags are quite appropriate for bachelor apartments, artists' studios, or -smoking rooms and are sometimes used on a suitable standard as a -newspaper or magazine receptacle. (See illustration at p. 326.) - - [Illustration: A CONVENIENT PERIODICAL HOLDER - (See page 212)] - - -SADDLE COVER (SEMERLIK) - -Saddle covers are used by the wealthy class. They are nearly square, -ranging from two and one-half to three by four to four and one-half -feet, and have an opening at one end for the pommel of the saddle to -pass through. The finest ones are from Senna. - - -FLOOR COVERINGS - -Sedjadeh is the Persian name applied to those of the larger size, while -Hali is the name applied to those of medium size. Oriental carpets are -of modern make with very few exceptions, most of them being just as well -made as were the antiques, although they show considerable deterioration -in dyes. Those which are commonly found in the Western market are the -Feraghans, Gorevans, Hamadans, Kermanshahs, Khorasans, Kirmans, -Kurdistans, Sarabands, Sennas, Sultanabads, and Tabriz among the -Persians; the Kazaks and Shemakhas among the Caucasians; the Gulistans, -Oushaks, and Smyrnas among the Turkish; and the Khivas and Yomuds among -the Turkoman. Large rugs cost more per square foot, as a rule, than the -small ones, as their size makes heavier construction imperative and -increases the difficulty of weaving as well as the amount of yarn -required. - - -RUNNERS (KENNAR) - -Runners properly belong to this class, as they are used in the Orient -mostly to lay along the sides of a room. In this country they have been -found extremely convenient as hall rugs. - - -HANGINGS (BERDELIK) - -To this class belong all of the silk rugs as well as many of the -delicately colored and extremely light fabrics, especially those that -picture gardens and portraits or have on them quotations from the Koran. -Ghileems may also be classed under this head. - - [Illustration: A BIJAR SAMPLE CORNER - (Showing colors, designs and different borders) - PROPERTY OF COL. A. S. LUDLOW, WANKESHA, WIS.] - - - - -FAMOUS RUGS - - - [Illustration: THE ARDEBIL MOSQUE CARPET - (See page 333)] - - -The interest in the very old weavings is not as manifest in the American -cities as in many of the European cities, such for instance as Vienna, -London, Paris, and Berlin. This is due to several reasons. In the first -place, Europe began the importation of Oriental textiles many years -before the United States did. In the second place, most of the choice -pieces in the United States belong to private individuals instead of to -museums, consequently they are seldom, if ever, seen by the public. In -the third place, many of the European cities, especially London and -Vienna, have given a number of public exhibitions of old rugs, while the -recent exhibit at the Metropolitan Museum of Fine Arts in New York City -was the first one ever held in the United States. At this exhibit there -were forty-seven pieces of the 14th, 15th, 16th, 17th and 18th -centuries, pieces that would compare favorably with those of any -country, all owned by private collectors in the Eastern States. - -Great credit is due Dr. Wm. R. Valentiner and his assistants for the -promotion and successful management of this exhibition. Let us hope -that it is but the beginning of a series of such exhibits which will -stimulate a more formal interest and desire to know more about these -wonderful products of the Eastern loom. - -The age of old rugs can be at least as accurately determined as the age -of old paintings and in many cases even more so. According to Dr. -Valentiner the so-called Polanaise and Ispahan rugs belong to the 17th -century and the Persian animal or hunting rugs belong to the 16th -century, while the so-called dragon rugs belong to the 15th century. -Many of the rugs from Armenia and the eastern part of Asia Minor date -back as far as the 13th and 14th centuries. - -Every old rug has its individual character manifest by its designs, -colors, weave, and material, all of which are peculiar to the time when -it was made or the locality in which it was made, so that it can be -located and dated with greater accuracy than would be supposed. - -Many early rugs were used for decorative purposes in the pictures of the -early Italian and Flemish painters. - - - [Illustration: BERLIN DRAGON AND PHŒNIX RUG - (See page 334)] - -According to recognized authorities the so-called Polish carpets were -not woven in Poland at all, but were products of Persia, and the -so-called Ispahan rugs were not made at Ispahan or even in Persia, but -came from the city of Herat in Western Afghanistan. Of the former -several hundred are still in existence, the best of which are in the -European courts and museums, about forty being in the United States, -while nearly every collection contains one or more of the Herats. - -THE ARDEBIL CARPET.--Without a doubt the most famous Oriental carpet now -known is the mosque carpet of Ardebil owned by the South Kensington -Museum in London. - -It is a Persian masterpiece and was made in 1536 by one Maksoud for the -Ardebil Mosque. In size it is thirty-four and one-half by seventeen and -one-half feet and contains in the neighborhood of 32,000,000 knots, -about 530 to the square inch, and was purchased by the South Kensington -Museum for $12,500, although, if put up at auction to-day, it would -doubtless bring many times that sum. The ground is of a rich blue and is -covered with the most intricate of old Persian floral designs. It has a -central medallion in pale yellow with corners to match. There are three -border stripes, one wide one with a narrow one on either side of it. The -ground of the outer stripe is of a tawny yellow with small floral -designs; the ground of the inner stripe is cream colored and that of -the main stripe is of a rich brown with round and elongated panels -alternating and surrounded by a profusion of floral lines. Within these -panels are to be found in Arabic the following inscription: "I have no -refuge in the world other than thy threshold; My head has no protection -other than this porch way; The work of the slave of the Holy place, -Maksoud of Kashan." In the year 942 (which corresponds to A.D. 1536.)[B] - -THE DRAGON AND PHŒNIX RUG of the Kaiser Frederich Museum, Berlin, is a -Central Asia Minor weave of the 14th century and is probably the oldest -existing rug that has been identified with the representation of a -similar fabric in a painting. It was purchased for the Berlin museum by -Dr. Bode, from a church in Central Italy on account of its resemblance -to a rug in the fresco painting representing the "Marriage of the -Foundlings," one of the series painted by Domenico di Bartolo in Spedale -di Santa Maria della Scala in Senna about 1440. - -In design it represents a dragon and a phœnix in deadly combat. - - [Illustration: EAST INDIAN HUNTING RUG - IN THE BOSTON MUSEUM OF FINE ARTS - BY COURTESY OF MR. SIDNEY N. DEANE - (See page 335)] - -THE AUSTRIAN ROYAL HUNTING CARPET.--Next in prominence to the Ardebil -Carpet comes the Royal Hunting Carpet of the Austrian Imperial and Royal -Court, which is said to have been presented by Peter the Great. It is a -Persian rug of great antiquity and shows Chinese influence in the -design, which includes elaborately woven horsemen in pursuit of deer and -other animals and winged gods in contest with lions and buffaloes. - -THE INDIAN HUNTING RUG of the Boston Museum of Fine Arts is perhaps the -most noted of the forty-seven pieces which were in the recent -Metropolitan exhibit. It was made in India about 1640, is eight feet -three inches long by five feet three inches wide and contains about -three hundred and sixty knots to the square inch. Its predominating -color is red. In the upper left-hand corner are a couple of buildings in -which are seated in Oriental style several individuals. Below these -buildings are several deer, a chained leopard in a cart drawn by a -bullock, hunters, a winged elephant, tigers, and goats, all of which are -interspersed with floral and tree forms. There are three border stripes, -the centre one of which is the wider and carries leaf-shaped panels -containing faces. Each one of these panels is separated by a bird and -small floral forms upon a cream-colored ground. The two narrow stripes -carry designs in light and dark blue, pink and red. This rug was -purchased at $35,000 by the late Governor Ames of Massachusetts and -presented to the Boston Museum of Fine Arts. - -THE ALTMAN PRAYER RUG, owned by Mr. Benjamin Altman of New York City, -was made in North Persia about 1580. It is similar to one which was in -the Yerkes sale and to another one which was shown at the recent Munich -exhibition of Mohammedan art. It has beautiful floral designs with -arabesques and Chinese motifs in deep shades of red, blue, and yellow, -many of the designs being worked with light yellow or silver thread in -the ghileem style. The Mihrab is the Persian style, from which hangs a -mosque lamp which is covered with red, yellow, and pink flowers on a -green ground. The lower part of the field is covered with various floral -and tree forms in yellow with pink blossoms. There are two border -stripes. The inner one has a yellow ground, the lower part of which is -covered with arabesques and the upper part with Arabic inscriptions in -blue which read "May the Blessing of God rest upon them all. There is no -God but Allah (the true God); Mohammed is the prophet of God. Ali is the -saint of God. God the exalted one says: Verily God and His angel shower -their blessings upon the prophet. Oh ye faithful send your blessings -with Him, as well as offer your salutations unto Him." The outer border -has a blue ground upon which are rounded octagons and oblong panels in -gray, the latter containing inscriptions from the Koran in black. Size -five feet five inches by three feet three inches. - - [Illustration: THE ALTMAN PRAYER RUG - BY COURTESY OF MR. BENJAMIN ALTMAN] - -THE METROPOLITAN ANIMAL RUG (see illustration at p. 26), from the -Ardebil Mosque, was made in Northern Persia about 1530. It was purchased -by the Metropolitan Museum of Art from the Yerkes collection. On a -claret colored ground are the repeated figures of a lion, a jackal, and -a spotted deer in deadly combat. There are also running boars amid a -profusion of flowers. There are three border stripes, a wide one with a -narrow one on either side. The former is filled with arabesques and -cloud bands in blue and pink on a ground of dark blue. The inner stripe -carries a green design on a yellow ground and the outer stripes carry a -floral design on a red ground. In size it is ten feet eleven inches long -by five feet ten inches wide and has in the neighborhood of four hundred -knots to the square inch. - -THE BAKER HUNTING RUG (see illustration at page 338), owned by Mr. -George F. Baker of New York City, is also one of the four famous mosque -rugs of Ardebil. It was woven about the middle of the 16th century; it -is about fourteen by six feet and contains upwards of five hundred knots -to the square inch. It is a harmonious blending of red, blue, green, -pink, brown, old rose, cream, white, and silver, the predominating color -of the field being a dark red. It has three central medallions, one -large one and a smaller one just above and below it, with a quarter -segment of a cusped circle in each corner of the field to match. -Intermediate spaces are filled with flowering branches, fish and -animals, the latter being worked with silver thread in the ghileem -stitch. There is one wide border stripe with a narrow one on either -side. The former has a back of cream and carries alternately round and -oblong medallions which contain verses from the Koran in silver. - - [Illustration: THE BAKER HUNTING RUG - BY COURTESY OF MR. GEORGE F. BAKER - (See page 337)] - - - - -GLOSSARY[C] - - - ABRASHES. The name applied to an irregularity in weaving in which - the color of the groundwork in a rug is suddenly changed, giving it - the appearance of having changed weavers' hands at that part. This - is a Kurdish characteristic. - - AFGHAN (Ăf-găn), see Khiva. - - AFGHANISTAN (Ăf-găn' ĭs-tăn). Bounded on the north by Turkestan, - on the south by Beluchistan, on the west by Persia, and on the - east by India. It covers about 215,444 square miles and has a - population of nearly five millions. It is generally mountainous - and the climate is severe, being hot and dry in the summer and - cold and stormy in the winter. The government is an hereditary - absolute monarchy of an Oriental despotic type. - - AINE. A Persian word meaning an oasis or fountain. It is sometimes - used by retailers, but is not a specific trade name. - - AK HISSAR (Ä-khis-sär'), Akhissar, Aksar, Axar. A city of Western - Anatolia, near Smyrna, with a population of 12,000. The meaning of - the name is "White Fortress." For description of the so-called - Akhissar rug, see Turkish classification. - - AKSAR, see Ak Hissar. - - ANATOLIA (Ăn-ä-tō' liä). Another name for Asia Minor. - - ANGORA (Ăn-gō' rä). Name of a province and a city, the latter - being the capital of the former with a population of 28,000. The - province is noted for the so-called Angora goats. - - ARDEBIL (Är-dĕ-bēl'). Name of a Persian town on the west shore of - the Caspian Sea in the Azerbijan province. It is from here that - the celebrated Ardebil carpet, which is now in the South - Kensington Museum, came. - - ARDELAN (Är-de-län'). A province in Western Persia in the Kurdish - district. It furnishes the highest grade of rugs. - - ARMENIA (Är-mē'nĭ-ä) is situated partly in Transcaucasia, partly - in Persia, and partly in Turkey in Asia. On the west it is - bounded by the Black Sea, Asia Minor, and the Taurus Mountains; - on the south by Mesopotamia, and on the east by Persia, while on - the north it extends almost to the Caucasian Mountains. It is a - mountainous country and gives rise to nearly all of the great - rivers of Western Asia. It is a country of special interest to - the world inasmuch as it is supposed to have been "the cradle of - the human race," the Garden of Eden, in all probability, having - been located among its mountains near the head of the river - Euphrates, and it also contains the celebrated Mount Masis, - better known as Ararat, upon which the Ark of Noah rested when - the waters of the great flood subsided. It has an area of more - than 70,000 square miles, but the population is less than two and - one-half millions. - - ASIA MINOR. That part of Turkey in Asia bounded on the east by - Kurdistan and Persia, on the west by the Mediterranean Sea, on the - north by the Black Sea, and on the south by Arabia, the - Mediterranean and Red Seas. It is sometimes known as Anatolia. - - ASKABAD (Äs-kä-bäd'). A town in Persia peopled by wandering - Turkoman tribes who make numerous rugs of the usual Persian - variety. A name sometimes used by retailers, but it has no - commercial meaning. The Tekke rugs are usually marketed at - Askabad. - - AXAR, see Ak Hissar. - - AZERBIJAN (Äz-er-bĭ-jän'), Azerbiajan, Aserbaijan. An agricultural - province in Northwestern Persia, bordering on Lake Urumiah, of - which Tabriz is the principal city. It covers 40,000 square miles - and has a population of 1,000,000. Many fine rugs come from this - province. - - BAGDAD (Băg'dăd). The name implies "Abode of Peace." The name of a - province and a city of Mesopotamia on the Tigris. The province - covers 54,503 square miles and has a population of 850,000. The - city has a population of 145,000 and is a market for the products - of Western Persia. - - BAKHSHIS, Bakshaish. A small village east of Tabriz in the Herez - district. A great rug centre for the so-called Herez rugs. See - Persian classification. - - BAKSHAISH, see Bakhshis. - - BAKU (Bä-kö'). The name signifies "Place of the Winds." A province - and a city. The former covers an area of 15,095 square miles and - has a population of 790,000. The latter is a port on the Caspian - Sea in the heart of the Russian petroleum district with a - population of 112,000. Many Caucasian rugs are marketed here. For - description of the so-called Baku rugs, see Caucasian - classification. - - BELUCHISTAN (Be-lōō' chĭs-tăn), Baluchistan, Beloochistan, - Belloch. A mountainous and desert country bounded by Persia on the - west, Afghanistan on the north, India on the east, and the Arabian - Sea on the south. It has an area of about 130,000 square miles and - has a population of about 800,000. For description of the - Beluchistan rug, see page 296. - - BERGAMA (Bēr'gä-mä), Bergamo, Berghama, Pergamo. A city in - Anatolia, forty miles north of Smyrna. Pergamo was the ancient - name. For description of the so-called Bergama rug, see Turkish - classification. - - BIJAR (Be-zhär'). A town in Western Persia in the province of - Kurdistan. The Bijar rug is sometimes known as the Sarakhs or - Lule. - - BIRJAND. The so-called Birjand rugs are woven in the village of - Daraksh, about fifty miles northeast of Birjand. - - BOKHARA (Bō-khä' rä). Meaning "Treasury of Science." A city of - Russian Turkestan. It is the capital of the khanate by the same - name. This province has an area of 142,000 square miles with a - population of less than half. For description of Bokhara rugs, see - Turkoman classification. - - BROUSA (Brö' sä), Brusa. A city in the northern part of Anatolia - near the sea of Marmora. It is the capital of the province by the - same name and has a population of 76,000. - - - CABISTAN, see Kabistan. - - CÆSAREA, see Kaisariyeh. - - CARABAGH, see Karabagh. - - CARIAN, see Meles. - - CASHMERE, see Shemakha. - - CATECHU (Kăt' ē-chū). A dry, brown, astringent extract, obtained - by decoction and evaporation from the acacia catechu. From it a - brown dye is frequently obtained. - - CAUCASUS (Kä-kā' sŭs). An isthmus joining Europe and Asia. It is - bounded on the west by the Black Sea, and on the east by the - Caspian Sea. The Caucasian Mountains extend through it from its - northwestern to its southeastern extremity, dividing it into two - parts, Caucasia proper to the north and Transcaucasia to the - south. It has an area of over 180,000 square miles and the - population is over nine million. - - CHICHI, see Tchetchen. - - CIRCASSIAN (Ser-kash-an), see Tcherkess. - - CYRUS. Founder of the ancient Persian monarchy. - - - DAGHESTAN (Dä' gĕs-tăn). A district in Russian Caucasia on the - Caspian Sea, north of Baku. It covers 11,352 square miles and has - a population of 587,000. For description of the so-called - Daghestan rug, see Caucasian classification. - - DEMIRDJI (Dā-mēr' jĭ). Means "ironsmith" or "blacksmith." A city - of Anatolia. - - DERBEND (Dĕr-bĕnt'), Derbent, meaning "a fortified gate." A city - in the province of Daghestan on the Caspian Sea. The inhabitants - are mostly Tartar. For description of Derbend rugs, see Caucasian - classification. - - DJIDJUM, see Ghileem. - - DJIJUM, see Ghileem. - - DJOSHAGHAN, see Joshaghan. - - - ELIZABETHPOL. Name of a province and a fortified city, the latter - of which was formerly known as Ganga. - - ENILE, Inely. One of the better type of rugs woven at Oushak. - - - FARS (Färs), see Farsistan. - - FARSISTAN or FARS (Fär-sĭs-tăn'). A province in Northwestern - Persia with a population of 1,700,000, composed mostly of the - wandering Arabs and Kashkais, who make high-class rugs of the - softest and best dyed wool. Shiraz is the leading town. - - FERAIDAN. A Persian district ruled by Ispahan. The rugs made there - are woven in imitation of the Feraghan quality. - - FERAGHAN (Fēr' ä-hän). A district in Persia near Sultanabad. For - description of the so-called Feraghan rugs, see Persian - classification. - - - GANGA. A Caucasian city ninety miles southeast of Tiflis. Now - known as Elizabethpol. - - GAROUS. A district in Persia producing a good quality of rugs. - - GENGHIS (Jĕn' gĭs), Guenja, Ganga, Guenje, Guendjie. The name of a - tribe of Nomads living in the vicinity of Elizabethpol. - - GHILEEM, Khilim, Killim, Kilim (Kēē'-lŭm). Names given to a - napless rug which is woven in nearly all of the Oriental - rug-weaving countries. A full description may be found in the - chapter on Ghileems, page 311. - - GUENJA, see Genghis. - - GULESTAN. Meaning "The Rose Garden," name applied to one of the - better type of rugs woven at Oushak. - - - HAMADAN (Hä-mä-dän'), Hamadie, Hamidieh. A city in Northwestern - Persia, southwest of Sultanabad, with a population of 35,000. It - is the ancient Ekbatana where Esther and Mordecai were buried. For - description of Hamadan rugs, see Persian classification. - - HAMIDEH, see Hamadan. - - HARDJLI, or Princess Bokhara. The name given to a rug made by the - Tekke Turkomans. It usually consists of a design of a cross - inclosed in a square. - - HERAT (Hĕr-ät') is the capital of Afghanistan, on the Persian - border, and its principal trade is with Meshed. For description of - Herat rugs, see Persian classification. - - HEREZ (Hė' rēēs), Heriz, Heres. A mountainous district in - Northwestern Persia. For description of Herez rugs, see Persian - classification. - - - INELY, see Enile. - - IRAK AJEMI (E-räk' äj' ě-mē). The largest province in Persia. It - is situated in the central part of the country, its largest city - being Teheran, the Persian capital. - - IRAN (E' răn). The Persian name for Persia. A name commonly and - wrongfully given to rugs, excepting in referring to Persian rugs - in general. - - ISPAHAN (Ǐs' pä-hän), meaning "Place of Horses." A city of 80,000 - inhabitants in the commercial heart of Persia. At one time it was - its capital. For description of Ispahan rugs, see Persian - classification. - - - JEJIUM, see Ghileem. - - JELIUM, see Ghileem. - - JHELUM, see Ghileem. - - JOOSHAGHAN, see Joshaghan. - - JOSHAGHAN, Jooshaghan. A district in Persia, south of Feraghan. - For description of Joshaghan rugs, see Persian classification. - - - KABA-KARAMAN, see Karaman. - - KABISTAN (Kăb' ĭs-tăn), Cabistan. The name given to rugs woven - near Kuba on the shores of the Caspian Sea. - - KAISARIYEH, Kaisarieh, Kaiseriyeh. The Cæsarea of the Bible. An - Anatolian city of 72,000 population, about one hundred and sixty - miles southeast of Angora. An important rug market. - - KARAMAN (Kă-rä-män'). A town in Turkey, southeast of Konieh. The - name Kaba-Karaman is frequently applied to a class of rugs from - this town. The meaning of the prefix Kaba is "coarse." For - description of Karaman rugs, see Turkish classification. - - KARABAGH (Kă-rä-bä'), Carabagh, Shemakinski, "Country of the Sun." - A province in the southern part of Transcaucasia, just north of - Tabriz. For description of Karabagh rugs, see Caucasian - classification. - - KARA DAGH (Kă-rä-dä). Meaning "Black Mountains," mountains in - Persia, north of Tabriz. - - KARAJAH DAGH (Kă-rä-jä' dä). One of the principal rug-making - districts of Turkey in Asia. - - KASHAN (Kă'chăn). City of Persia with 30,000 inhabitants. Located - half way between Teheran and Ispahan. For description of Kashan - rugs, see Persian classification. - - KASHMIR, see Shemakha. - - KAZAK (Kä-zăk'), Kazack. A corruption of the word Cossack. Kazak - rugs are made by the Russian Cossack tribes in Transcaucasia near - Mt. Ararat. For description of these rugs, see Caucasian - classification. - - KERMAN, see Kirman. - - KARMANSHAH (Kěr-män-shä'), Kirmanshah. A city of mud houses in the - Ardelan district of Western Persia. It has a population of some - 40,000 and is a centre of commerce, but no rugs are woven there. - The so-called Kermanshah rugs come from Tabriz. For description of - these rugs, see Persian classification. - - KERMES. An insect found upon oak trees about the Mediterranean - from which a rich, fast carmine dye is obtained. - - KER SHEHR, see Kir Shehr. - - KHILIM, see Ghileem. - - KHIVA (Kē'vä). A principality or khanate in Turkestan. It covers - 23,166 square miles and has a population of 800,000. Khiva Bokhara - is the proper name for the so-called Afghan rugs, as these rugs - are woven mostly by the Nomadic tribe of Khiva. For a description - of these rugs, see Turkestan classification. - - KHORASAN (Kō' rä-sän). A large province in the northern corner of - Persia, of which Meshed is the capital. For description of - Khorasan rugs, see Persian classification. - - KILIM, see Ghileem. - - KILLIM, see Ghileem. - - KIRMAN (Kǐr' män). Name of a city and a province in Southeastern - Persia. The latter has an area of over 63,000 square miles, has - 600,000 population, and is largely a desert. For a description of - the so-called Kirman rugs, see Persian classification. - - KIRMANSHAH, see Kermanshah. - - KIR SHEHR (Kǐr Shěhr'), Ker Shehr, Keer Shehr, Keer Sherir. A - Turkish town in the province of Angora, just over the Konieh - border. For description of the so-called Kir Shehr rugs, see - Turkish classification. - - KIS, meaning "A girl." Kis Ghileem is the name applied to dowry - rugs woven by young girls. - - KIZ, see Kis. - - KONIAH, see Konieh. - - KONIEH (Kō' ně-ä). The ancient Iconium. A city of Anatolia with a - population of 44,000. Capital of province by the same name which - covers 39,681 square miles and has a population of 1,088,000. For - description of the so-called Konieh rugs, see Turkish - classification. - - KOULAH, see Kulah. - - KOULTUK, see Zangen. - - KUBA (Kōō' bä). Name of a village and a district in Transcaucasia - under the Baku government. Kabistan rugs are woven here. - - KULAH (Kōō' lä), Koulah. A city in Turkey, west of Oushak. For - description of the so-called Kulah rugs, see Turkish - classification. - - KURD (Kōōrd). An inhabitant of Kurdistan. - - KURDISTAN (Kōōr' dǐs-tän). A region occupying the eastern part of - Turkey in Asia, and the western part of Persia. It has an area of - about 74,000 square miles and a population of 3,000,000. - - KURK. A very soft wool obtained by combing the sheep in winter. - - KUTAYAH, Kutaria, Kutaya, Kutchia (Ko-ti-ya). A city of Anatolia - in the Province of Brousa, about sixty miles north of Oushak, with - a population of 22,000. - - - LADIK (Lä-däk), Ladic, Laodicea, Latakia. Name of a rug made in - the ancient village of Laodicea in Anatolia, northeast of Konieh. - See Turkish classification. - - LAODICEA (Lā-od-i-cē' ä), Latakia. An ancient village of Anatolia, - northeast of Konieh, with a population of 22,000. The so-called - Ladik rug comes from here. - - LARISTAN (Lär-ǐs-tän'), see Niris. A mountainous province in - Western Persia. - - LULE (Lū' lā). A corruption of the Persian word "roulez," meaning - "jewel." A term frequently applied to Bijar rugs. - - LURISTAN, see Laristan. - - - MADDER. A dye made from the root of the "rubia tinctorum." From it - are made a multitude of reds. - - MAHAL (Mä' häl). A name given to a class of rugs from Sultanabad. - See Persian classification. - - MAKSOUD. The name of the weaver of the celebrated Ardebil carpet, - which is in the South Kensington Museum. - - MECCA, or MEKKA (Měk' kä), "The Heart of Islam." The holy city of - the Mohammedans containing the Caaba, visited annually by - multitudes of pilgrims. It has a population of 60,000. The name is - frequently applied by retailers to Shiraz rugs. - - MELACE, see Meles. - - MELES (Mē' lăs). The name given to rugs produced in the Smyrna - district. A corruption of the word Milassa, a small town about one - hundred miles south of Smyrna. See Turkish classification. - - MESHED (Mesh-hed'), Meshad. Capital of the province of Khorasan in - Northeastern Persia with a population of 70,000. For description - of the so-called Meshed rugs, see Persian classification. - - MESOPOTAMIA. Consists of that triangular portion of the - southeastern part of Turkey in Asia which lies between the Tigris - and the Euphrates. It has an area of 131,000 square miles and a - population of only six million. - - MILASSA. A town in Anatolia on the coast, about one hundred miles - south of Smyrna. - - MIR (Mǐr). A village in the district of Sarawan, where it is said - that the Mir or Mir Saraband design originated. - - MISKABAD, see Mushkabad. - - MOSUL, Mossoul, Mousoul. A city of Mesopotamia on the Tigris. - Kurdish tribes market their rugs here. For a description of the - so-called Mosul rug, see Turkish classification. - - MUSHKABAD (Mus-ka-bad), Miskabad. A name given to a class of - Sultanabad products. See Persian classification. - - - NIRIS, Laristan, Luristan. Name applied to rugs made by the - hillmen in the uplands around the salt lake of Niris in Laristan. - See Persian classification. - - - OUCHAK, see Oushak. - - OUSHAK (Oō'shäk), Oocuak, Ushak. A city of Anatolia, in the - province of Aidin, about one hundred miles east of Smyrna. - - It has a population of 100,000 and is one of the greatest rug - centres in Anatolia. For description of the so-called Oushak rugs, - see Turkish classification. - - - PARA (Pā-rä'). Piece of Turkish money equivalent to about one mill - of American money. - - PERGAMON (Pĕr' gä-mon), Pergamos. The name of the ancient Greek - Kingdom in the northeastern part of Asia Minor, which is now known - as Bergama. - - PERSIA. A kingdom of Southwestern Asia occupying the western half - of the Iranian plateau, which rises to the height of from six to - eight thousand feet between the valleys of the Indus and the - Tigris. It has an area of more than a million square miles and a - population of over eight million inhabitants. The capital is - Teheran. - - PIASTER (Pǐ-ăs' tẽr). A piece of Turkish money equal to less than - four cents of our money. - - PRINCESS BOKHARA, see Hardjli. - - - ROULEZ. Persian word meaning "jewel." See Lule. - - - SAMARKAND (Săm' är-känd), Samarcand, "The Head of Islam." Name of - province and city in Russian Turkestan. The former with an area of - 26,627 square miles, and a population of 858,000; the latter is a - very interesting city with a population of 55,000. For description - of the so-called Samarkand rugs, see Turkestan classification. - - SARABAND (Săr' ä-bănd), Serebend, Selville. Names given to a class - of rugs woven at Sarawan, a district in Persia just south of - Feraghan. See Persian classification. - - SARAK, see Sarakhs. - - SARAKHS (Sä-räks'). A frontier town of 10,000 inhabitants in the - northeastern corner of Persia on the Tijend River. See Bijar. - - SARAWAN (Să' rä-wän). A district of Persia just south of Feraghan. - See Saraband. - - SAROUK, see Saruk. - - SARUK (Sä-rōōk'), Sarouk. A village in the district of Feraghan, - not far from Sultanabad. See Persian classification. - - SAVALAN (Să' vä-län). The name of a mountain in Azerbijan - province. A name often given in the American market to products of - Sultanabad. For description of the so-called Savalan rugs, see - Sultanabad, under the Persian classification. - - SEDJEDES, means a small rug. - - SEHNA, see Senna. - - SELVILLE, see Saraband. - - SENNA (Sěn' nä), Sehna, Sinneh, Sinn. A city in Western Persia - just north of Hamadan. Here rugs are made which are quite - different from those made anywhere else in the Orient. See Persian - classification. - - SERAB, see Sirab. - - SERAPI (Sě-răp' ě), Serab, Sirab. Name applied to some of the - Herez rugs. See Persian classification. - - SERABAND, see Saraband. - - SHAH ABBAS (Sha-Abbas). A popular Persian ruler of the 16th - century. His name has been given to a favorite design which - originated during his reign. - - SHAROKH, see Bijar. - - SHEMAKHA (Shē' mä-kä), Shemka, Shemaka, Cashmere, Kashmir, Soumak. - All names given to a class of pileless rugs which are woven by the - Nomadic tribes of Shirvan, near the town of Shemakha, a - manufacturing town of the Baku district, Transcaucasia, with a - population of 20,000. See Caucasian classification. - - SHERAZ, see Shiraz. - - SHIRAZ (Shē-răz'). A manufacturing and commercial town in the Fars - district with a population of 32,000. It was the former capital of - Persia. Shiraz rugs are sometimes erroneously called Mecca rugs. - See Persian classification. - - SHIRVAN (Shǐr' văn). The name of a city and a khanate in Russian - Caucasia, just west of the Caspian Sea and along the southern - slope of the Caucasian Mountains. Shirvan rugs are woven here. See - Caucasian classification. - - SINNA, see Senna. - - SIBAB (Sǐ-räb'), Serab. A village in the Herez district in - Northern Persia. Serapi, a name applied to some of the Herez - products, is a corruption of the name Sirab. - - SIVAS (Sē-väs'), The name of a city and a province in Northern - Asia Minor, south of the Black Sea; the former with a population - of 43,000 and the latter with a population of 1,087,000 and an - area of 24,240 square miles. - - SMYRNA (Směr' nä). Province and city of Eastern Anatolia. The - former has an area of 20,844 square miles and a population of - 1,397,000. The city has a population of 201,000 and is an - important rug market, but not a centre of weaving. For description - of so-called Smyrna rugs, see Turkish classification. - - SOUMAK, see Shemakha. - - SOUJ BULAK (Souge Bū' läk). The name of an old Kurdish capital on - the border south of Tabriz. For a description of the so-called - Souj Bulak rug, see Persian classification. - - SULTANABAD (Sǔl-tān' ä-bäd). A city in Persia about one hundred - and sixty miles east of Kermanshah. It has a population of 25,000 - and is the centre of rug weaving under European control. Rugs from - this district are known as Sultanabad, Savalan, Muskabad, and - Mahal. See Persian classification. - - - TABRIZ (Tă-brěěz'), Tabreez, "Pinnacle of Islam." A commercial - city of the province of Azerbijan in the northwest corner of - Persia. It is an important centre of rug weaving, and has a - population of 180,000. For a description of the so-called Tabriz - rug, see Persian classification. - - TALIM. A drawn or painted copy used by weavers indicating the - pattern which they are to weave. - - TCHECHEN, see Tchetchen. - - TCHERKESS, or Circassia. A province in Northwestern Caucasia on - the Black Sea, once peopled by a tribe which has become almost - extinct. - - TCHETCHEN, Tchechen, Tzitzi, Chichi. A tribe of wandering - shepherds who inhabit the mountains north of Daghestan. They make - a good quality of rugs. See Caucasian classification. - - TEHERAN (Tē' hē-rän), "The Pure." The present capital of Persia, - with a population of 160,000 in summer and 250,000 in winter. - - TEKKE BOKHARA (Tē' kä Bō-khä' rä). The name of a rug woven by the - Tekke Turkoman tribes who inhabit the country along the - Transcaspian Railroad from Askabad to Merv. See Turkestan - classification. - - TIFLIS. The capital of Transcaucasia, next to Constantinople, is - the greatest rug market in the world, especially for the Caucasian - products. It has a population of 161,000, mostly Armenians, - Georgians, and Russians. It is said that more than seventy - languages are spoken here. - - TJOSHAGHAN, see Joshaghan. - - TOMAN (Tō' mān). A piece of Turkish money equivalent to about - $0.91 of our money. - - TRANSCAUCASIA. That part of Russian Caucasia south of the - Caucasian Mountains. - - TURKESTAN is an immense territory lying east of the Caspian. It is - bounded on the south by Persia, Afghanistan, and China, on the - east by China, and on the north by Asiatic Russia. It is divided - into Russian Turkestan on the north with an area of 257,134 square - miles and a population of nearly four millions; Eastern or Chinese - Turkestan with an area of 550,579 and a population of 1,200,000; - and Turkestan proper on the south, which also belongs to Russia. - The rug centres are Samarkand of the northern district, Kashgar, - Yarkand, and Khotan of the eastern district, and Bokhara and Khiva - of the southern district. - - TURKEY IN ASIA. Comprises Anatolia, Syria, the coast of Arabia - bordering on the Red Sea, Armenia, and Mesopotamia. A medley of - races and religions. - - TURKOMAN (Tǔrk' ō-măn). Rugs from Turkestan proper and generally - grouped under the name Turkoman. - - TURKMAN, see Genghis. - - TZITZI. A corruption of the word Tchetchen. - - - VALONIA. The husk of a certain kind of acorn which is used for - dyeing. - - - YAMUD, see Yomud. - - YARKAND (Yär' kănd). A city of Eastern Turkestan. An important - trade centre with a population of 60,000. For description of the - so-called Yarkand rug, see Turkestan classification. - - YEZD (Yäzd), "City of Light." Capital of the province by the same - name with a population of 55,000. - - YOMUD (Yä'mǔd), Yamud, Yamund, Yamut, Yamund. Names - applied to a class of rugs which are woven just east of the - Caspian Sea by the Yomud Turkomans. See Turkestan classification. - - YOURAGHAN, see Joshaghan. - - YOURDEZ, see Ghiordes. - - YURUK (Yū-rūk'), Youruck, Yourouk. The word means mountaineer. - Also the name given to a class of rugs woven by a certain mountain - shepherd tribe of Anatolia. See Turkish classification. - - - ZANJAN (Zăn-jān'). A town in the northwest corner - of the province of Irak Ajemi, Persia. Rugs from this vicinity are - called either Zangan or Koultuk. - - - - -BIBLIOGRAPHY - - - _Architectural Record_, March, 1909, "Old Chinese Rugs." - - - BENJAMIN, SAMUEL GREEN WHEELER. "Persia and the Persians" (_a_). - - BENJAMIN, SAMUEL GREEN WHEELER. "Oriental Rugs," _Cosmopolitan_, - Feb., 1893. - - BERATY, PHILLIPE. "Chefs-D'œuvre of the Industrial Arts" (_b_). - - BIRDWOOD, SIR GEORGE. "The Termless Antiquity of Integral Identity - of the Oriental Manufacture of Sumptuary Carpets" (_c_). - - BIRDWOOD, SIR GEORGE. "The Antiquity of Oriental Carpets," - _Journal of Royal Society of Arts_, vol. lvi, Nov. 6, 1908. - - BODE, DR. WM. BERLIN. "Decorative Animal Figures in Old Oriental - Carpets" (_c_). - - BODE, WM. "Knüpfteppiche." - - BOUVRE, PAULINE. "The Story of the Rug," _New England Magazine_, - Mar., 1906. - - BULLER, W. "Oriental Carpets," _Art Journal_, 34, 141. - - - CHURCHILL, SIDNEY T. A. "The Carpet Industry in Persia," A - Monograph (_c_). - - CLARK, C. PURDON. "Oriental Carpets," A Monograph (_c_). - - CLARKLIN, FRANKLIN. "The Quest of the Magic Carpet," _Everybody's - Magazine_, Feb., 1908. - - CLIFFORD, C. R. "Rugs of the Orient" (_d_). - - CLIFFORD AND LAWTON. "The Rug Primer" (_d_). - - COLE, ALLEN S. "The Egyptian Tapestry," _Journal of Royal Society - of Arts_, Sept. 6, 1889. - - CRISP, ADA. "Illusions Concerning Oriental Rugs," _Good - Housekeeping_, Jan., 1907. - - CURTIS, JESSIE K. "Oriental Rugs, Their Designs and Symbolism," - _The Craftsman_, June, 1904. - - CUTLER, MARTHA. "Rugs, What to Buy and How," _Harper's Bazaar_, - Oct., 1906. - - - DUNN, ELIZA. "Rugs in Their Native Land" (_e_). - - - ELLWANGER, G. H. "The Craft of the Weaver," _The Book Buyer_, - Jan., 1901. - - ELLWANGER, W. D. "The Oriental Rug" (_e_). - - - GLAZIER, R. "A Manual of Historic Ornament" (_b_). - - _Godey's Magazine_, 54, 231, 1837, "The Carpet and Its History" - (_g_). - - _Good Works_, 45, 147, 1904, "Persian Carpets" (_g_). - - GRIFFITT, J. R. G. 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"A Collection of Antique Chinese Rugs." - - - MARQUIS, W. G. "Oriental Rugs," _Brush and Pencil_, Sept., 1901. - - MICHEAL, WM. H. "Rug Making in India," _Daily Consular and Trade - Reports_, July 23, 1908. - - MUKERJI, N. G. "Carpet Weaving in Bengal," A Monograph. - - MUMFORD, J. K. "Oriental Rugs," _Nation_, 1908. - - MUMFORD, J. K. "Oriental Rugs" (_f_). - - MUMFORD, J. K. "The Oriental Rug Problem," _Harper's Bazaar_, Nov. - 18, 1889. - - - NAHIGIAN BROS. "Oriental Rugs in the Home," A Monograph. - - _Nation_, Sept. 27, 1906. "The Disappearing Eastern Rug" (_g_). - - NEUGEBAUER and ORENDIO. "Handbuch der Orientalischen Teppichkunde" - (_u_). - - NEWTON, G. W. "More Anent the Oriental Rug," _Brush and Pencil_, - 16, 227. - - - PRESBREY, FRANK. "To the Orient in Search of Rugs" (_l_). - - PUSHMAN, G. T. "Art Panels from the Hand Looms of the Orient" - (_m_). - - - REIDPATH, ROBERT J. "Something About Oriental Rugs not Generally - Known," Pamphlet. - - RICHARDS, CALVIN. "Tapestries for the Floor," _House Beautiful_. - - RIPLEY, MARY CHURCHILL. "The Oriental Rug Book" (_n_). - - RIPLEY, MARY CHURCHILL. "Antique Chinese Rugs" (_o_). - - ROBINSON, VINCENT. "Eastern Carpets," A Monograph (_c_). - - ROBINSON, VINCENT. "Eastern Art Carpets," _Journal of Society of - Arts_, March, 1906. - - RUSSELL, EDWARD. "A Lesson in Rugs," _Good Housekeeping_, Oct., - 1908. - - - SAMUELSON, H. K. "Oriental Rugs," _House Beautiful_. - - _Saturday Review_, 53, 808. "Persian Carpets" (_g_). - - _Saturday Review_, 54, 289. "Eastern Carpets" (_g_). - - _Scientific American_, Jan. 6, 1906. "Interesting Facts Concerning - the Carpet Industry of Persia" (_g_). - - _Scientific American_, Supplement, Jan. 27, 1906. "Artificial - Versus Natural Dyes" (_g_). - - _Scientific American_, Supplement, Apr. 25, 1903. "The Rug - Industry of the Caucasus and of the Transcaspian Countries" (_g_). - - _Scientific American_, Supplement, Sept. 28, 1901. "Oriental Rug - Weaving" (_g_). - - STERLING, ADA. "Concerning Rugs," _Harper's Bazaar_, Nov., 1903. - - STOECKEL, J. M. "Modern Turkey Carpets," A Monograph (_c_). - - STURGESS, DINAH. "Fine Rugs," _Overland Monthly_, July, 1900. - - STURGESS, DINAH. "Carpets," _Nation_, 2, 363. - - SYKES, ELLA C. "Through Persia in a Side Saddle" (_q_). - - - TOWLE, MARY K. "Concerning Oriental Rugs," _New England Magazine_, - May, 1904. - - - UNITED STATES COMMERCE, _Special Consular Reports_, vol. i, p. - 307. "Report on Carpet Manufacture in Foreign Countries," 1890. - - - VERBECK, LOUIS A. "How to Tell an Oriental Rug from a Domestic," - _Country Life in America_, Oct., 1907. - - - WILLS, C. J. "The Land of the Lion and Sun, or Modern Persia" - (_r_). - - WINTERS, LAWRENCE. "Rugs and Carpets from the Orient" (_s_). - - WISHARD, JOHN G. "Twenty Years in Persia" (_t_). - - WRIGHT, LELAND. "How to Take Care of Oriental Rugs," _House - Beautiful_. - - (_a_) Published by Ticknor and Co., Boston, Mass. - - (_b_) Published by D. Appleton & Co., New York City. - - (_c_) Published by the Royal Austrian Museum, 1892. - - (_d_) Published by Clifford & Lawton, New York City. - - (_e_) Published by Dodd, Mead & Co., New York City. - - (_f_) Published by Chas. Scribner's Sons, New York City. - - (_g_) Author not mentioned. - - (_h_) Published by Cardinal and Hartford, London. - - (_i_) Published by F. Tennyson Neely Co., New York City. - - (_j_) Published by A. C. McClurg & Co., Chicago, Ill. - - (_k_) Published by A. and C. Black, London. - - (_l_) Published by T. Fisher Unwin, London. - - (_m_) Published by R. R. Donnelly & Sons Co., Chicago, Ill. - - (_n_) Published by Frederick A. Stokes & Co., New York City. - - (_o_) Published by the Tiffany Studios, New York City. - - (_p_) Number unknown. - - (_q_) Published by J. B. Lippincott Company, Philadelphia. - - (_r_) Published by Macmillan & Co., London. - - (_s_) Published by H. B. Claflin & Co., New York City. - - (_t_) Published by Fleming H. Revell Co., London and New York - City. - - (_u_) Published by Karl W. Hiersemann, Berlin. - - - - -INDEX - - - A - - Abrashes in design, 341 - - Acid for bleaching, 39 - - Advice to buyers, 43 - - Afghan rugs, see Khiva Bokhara, 278 - - Afghanistan, 341 - - Age of rugs, how told, 36, 332 - - Age of weaving art, 17 - - Aging of rugs artificially, 39 - - Ak Hissar (city), 341 - - Ak Hissar rugs (description), 232 - - Ak Hissar rugs (illustration), 232 - - Alcohol in design, 64 - - Alligator in design, see Kulah border design, 116 - - Almond in design, see Pear, 123 - - Altman collection of rugs, 38 - - Altman prayer rug (illustration), 336 - - Alum used in dyeing, 76 - - Amber beads for testing dyes, 79 - - Ames collection of rugs, 27, 38 - - Anatolia (country), 217 - - Anatolian Ghileems (description), 312 - - Anatolian rugs, 50, 52, 323, 325 - - Anatolian rugs (description), 234 - - Anatolian rugs (illustration), 60 - - Angora (province and city), 341 - - Angular hook in design, 101 - - Aniline dyes, 27, 40, 44, 77, 78, 170 - - Aniline dyes, effect on the wool, 78 - - Aniline dyes, how detected, 44, 45, 47, 79, 80 - - Aniline dyes in the Orient, 77, 78 - - Aniline dyed rugs, 218 - - Animals in design, 99 - - Anthemion design, 102 - - Antique rugs, 35, 36, 37, 38, 331, 332 - - Antique rugs, Cost of, 26, 39 - - Antique rugs, Craze for, 35 - - Antique rugs, Exhibition of, 331 - - Antique rugs, how told, 35, 47 - - Antique rug, What constitutes an, 35, 36, 47 - - Apple in design, see Silibik, 131 - - Arabic figures and letters in design, 100 - - Ardebil (town), 341 - - Ardebil mosque carpet, 26, 37, 333 - - Ardebil mosque carpet (description), 333 - - Ardebil mosque carpet (illustration), 330 - - Ardelan (province), 171 - - Armenia, 218, 342 - - Armenians, 56, 217, 218 - - Artificial aging, 39 - - Asia Minor, 342 - - Askabad, 342 - - Auctions, 31, 32 - - Austria, Antiques in, 37 - - Austrian royal hunting carpet, 335 - - Azerbijan (province), 171 - - - B - - Backs of rugs (characteristic), 153 - - Bagdad (province and city), 343 - - Baker hunting rug (description), 337 - - Baker hunting rug (illustration), 338 - - Bakhshis (village), 343 - - Bakhshis rugs (description), 173 - - Baku (province and city), 343 - - Baku rugs, 150 - - Baku rugs (characteristics), 150 - - Baku rugs (description), 261 - - Baku rugs (illustration), 262 - - Bale, Rugs bought by the, 31, 32 - - Ball and claw design, 102 - - Ballard collection of rugs, 38 - - Barber pole stripe design, 102 - - Basket in design, 102 - - Bat in design, 103 - - Bath rooms, Rugs suitable for, 51 - - Bath rugs, 325 - - Bavaria, Antiques in, 37 - - Beads in design, 103 - - Beating of rugs, 63 - - Bed rooms, Rugs suitable for, 51 - - Bee in design, 103 - - Beetle in design, 103 - - Beets used in making dyes, 82 - - Beluchistan (country), 295, 343 - - Beluchistan rugs, 50, 51, 52, 70, 106, 326 - - Beluchistan rugs (characteristics), 151, 295 - - Beluchistan rugs (description), 296 - - Beluchistan rugs (illustration), 296 - - Bergama rugs, 38, 52, 105, 323 - - Bergama rugs (characteristics), 150 - - Bergama rugs (description), 235 - - Bergama rugs (illustration), 46, 236 - - Berlin, Antiques in, 37 - - Berlin dragon and phœnix rug (illustration), 332 - - Beshir Bokhara rugs (description), 280 - - Beshir Bokhara rugs (illustration), 274, 280 - - Bibliography, 359 - - Bijar (town), 343 - - Bijar rugs, 51 - - Bijar rugs (characteristics), 148 - - Bijar rugs (description), 185 - - Bijar rugs (illustration), 186, 328 - - Black (color), 76, 77, 80, 83 - - Blue (color), 80, 82 - - Boar in design, 104 - - Bokhara (city), 343 - - Bokhara, Beshir (description), 280 - - Bokhara, Beshir (illustration), 274, 280 - - Bokhara, Camel Bag Half (illustration), 162 - - Bokhara, Emir of (illustration), 134 - - Bokhara, Khiva, 50, 51, 52, 327 - - Bokhara, Khiva (characteristics), 151 - - Bokhara, Khiva (description), 278 - - Bokhara, Khiva (illustration), 278 - - Bokhara, Tekke, 51 - - Bokhara, Tekke (characteristics), 151 - - Bokhara, Tekke (description), 281 - - Bokhara, Tekke (illustration), 282 - - Bokhara, Yomud, 50, 51, 105, 327 - - Bokhara, Yomud (characteristics), 151 - - Bokhara, Yomud (description), 285 - - Bokhara, Yomud (illustration), 286 - - Boquet in design, see Pear, 123 - - Boston hunting rug, 26, 335 - - Boston hunting rug (illustration), 334 - - Bow knot in design, 104 - - Brazil wood used in dyeing, 82 - - Brown (color), 76, 77, 83 - - Brushing rugs, 164 - - Buckthorn used in dyeing, 83 - - Budapest, Antiques in, 37 - - Butterfly in design, 104, 304 - - Buyers, Advice to, 43 - - Buying rugs by the bale, 31, 32 - - - C - - Camels' hair, 70, 77 - - Campeachy wood used in dyeing, 82 - - Canopy in design, 105 - - Care of rugs, 63 - - Carmine (color), 81 - - Cashmere goat, 70 - - Cashmere rug, see Shemaka, 263 - - Catechu used in dyeing, 83 - - Caucasia, 253, 344 - - Caucasian design, 98 - - Caucasian border design, 105 - - Caucasian classification, 165, 253 - - Caucasian rugs (characteristics), 253, 254 - - Change in design, 36 - - Characteristics of different rugs, 147, 148, 149, 150, 151 - - Chart of distinguishing features, 156 - - Checker board in design, 105 - - Chemically treated rugs, 39 - - Chichi rugs (see Tchetchen), 260 - - Chichi border design, 105 - - Children as weavers, 55, 56, 57 - - Chinese Cloud band design, see Cloud, 105 - - Chinese colors, 306, 307 - - Chinese designs, 98, 303, 304, 305 - - Chinese fret, 105, 304 - - Chinese materials, 305 - - Chinese rugs, 106, 112, 301 - - Chinese rugs (characteristics), 154 - - Chinese rugs, Classification of, 302, 303 - - Chinese rugs (description), 303, 304 - - Chinese rugs, Growing scarcity of, 301 - - Chinese rugs (illustrations), 300, 306, 318 - - Chinese rugs, Increased value of, 301 - - Chinese rugs of the 16th and 17th centuries, 306 - - Chinese rugs, Weave of, 154 - - Chinese weavers, 18, 303 - - Chinese weaving, 154, 305 - - Circle of happiness in design, 106, 304 - - Circle in design, 106 - - Clark collection of rugs, 27, 38 - - Classification of rugs according to intended use, 321 - - Classification of rugs, Caucasian, 165, 253 - - Classification of rugs, Chinese 302 - - Classification of rugs, General 161 - - Classification of rugs, Geographical, 162 - - Classification of rugs, Persian, 163, 169 - - Classification of rugs, Turkish, 164, 217 - - Classification of rugs, Turkoman, 165, 277 - - Claw and Ball in design, see Ball and Claw, 102 - - Cleaning of rugs, 63, 64, 65 - - Cloud band in design,--see Cloud, Chinese, 106 - - Coat of arms, Chinese (illustration), 301 - - Coat of arms, Persian, 107 - - Coat of arms, Persian (illustration), 169 - - Coat of arms, Russian, 107 - - Coat of arms, Russian (illustration), 253 - - Coat of arms, Turkish, 107 - - Coat of arms, Turkish (illustration), 217 - - Cochineal used in dyeing, 81 - - Cock in design, see Rooster, 127 - - Coffee grounds used for aging rugs, 39 - - Collection of Rugs, American, 27, 37, 38 - - Colors, Fast, 40 - - Colors, Harmony of, 48 - - Colors of different nations, 79 - - Colors employed in Chinese rugs, 306, 307 - - Comb in design, 108 - - Commercial methods of rug making, 77 - - Compass in design, 108 - - Compressed air for cleaning rugs, 65 - - Conch shell in design, 108 - - Cone in design, see Pear, 123 - - Contagious diseases in the Orient, 56, 57 - - Constantinople, 217 - - Convenience of Oriental rugs, 28 - - Cornucopia in design, 108 - - Cost of Oriental rugs, 25, 26, 27, 174 - - Cotton employed in making rugs, 71 - - Crab in design, 108 - - Crane in design, 108 - - Crescent in design, 109 - - Crimson (color), 82 - - Crocodile in design, 109 - - Crooked rugs, 44, 46, 87 - - Cross, Greek, in design, 109 - - Crow in design, 110 - - Crown jewel in design, see Pear, 123 - - Curling of rugs, 66 - - Custom house statistics, 20 - - Cypress tree, see Tree, 136, 137 - - Cyrus (ancient ruler), 344 - - - D - - Daghestan (district), 344 - - Daghestan rugs, 50, 51, 112, 138 - - Daghestan rugs (characteristics), 150 - - Daghestan rugs (description), 254 - - Daghestan rugs (illustrations), 84, 254, 256, 292 - - Daghestan rugs, Weave of, 154 - - Dates in design, 100 - - David's shield in design, see Star, six pointed, 132 - - Davis collection of rugs, 38 - - Dealers and auctions, 31 - - Dealers, Foreign, 31, 43 - - Dealers' profits, 25, 32 - - Dealers, Reliable, 43 - - Decoration of rooms, 48 - - Deer in design, 110 - - Demirdji (city), 344 - - Den, Rugs suitable for a, 51 - - Department stores, 43 - - Derbend (city), 344 - - Derbend rugs (characteristics), 150 - - Derbend rugs (description), 257 - - Designs, Animals in, 99 - - Designs, Caucasian, 98 - - Designs, Change in, 36, 97 - - Designs, Chinese, 98, 303, 304, 305 - - Designs, Dates in, 100 - - Designs, European, 98 - - Designs, Floral, 98 - - Designs, Geometrical, 99 - - Designs, Humans in, 99 - - Designs, Indian, 98 - - Designs, Inscriptions in, 100 - - Designs, Names in, 100 - - Designs, Persian, 98, 169 - - Designs, Symbolism of, 99 - - Designs, Transmission of, 97 - - Designs, Tribal or family, 97 - - Designs, Turkish, 98 - - Designs, Turkoman, 98 - - Diamond in design, 110 - - Diaper design, see Lattice design, 117 - - Dining room, Rugs suitable for, 51 - - Disc, Winged, in design, see winged globe, 139 - - Disinfection of rugs, 57, 58 - - Distinguishing features of rugs (chart), 156 - - Doctored rugs, 39, 40 - - Doctoring rugs, Method of, 39, 40, 47 - - Domestic rugs, 43 - - Dog in design, 110 - - Dove in design, 111 - - Dowry rugs, 324 - - Dragon in design, 111, 305 - - Dragon and Phœnix rug (illustration), 332 - - Duck in design, 111 - - Durability of Oriental rugs, 87 - - Dust in rugs, 46, 59 - - Dutch rooms, Rugs suitable for, 49 - - Duty on rugs, 26 - - Dye pots (illustration), 80 - - Dye stuff, 75 - - Dyeing, Method of, 76 - - Dyeing of wool, 72 - - Dyeing, Secrets of, 75 - - Dyes and Dyers, 73 - - Dyes, Aniline, 40, 44, 170 - - Dyes, Fading of aniline, 76, 80 - - Dyes, Testing of, 40, 44, 46, 47 - - Dyes, vegetable 40, 44, 75, 76, 78 - - - E - - Eagle in design, 111 - - Eastern rug markets, 31 - - East India rug (illustration), 334 - - Egg in design, 111 - - Egyptian carpets, 18 - - Elephant in design, 111 - - England, Antiques in, 37 - - European designs, 98 - - Exhibitions of Oriental rugs, 331, 332 - - Exorbitant prices for rugs, 26, 27 - - - F - - Factories, Rug, 55, 57, 170, 217 - - Fading of rugs, 76 - - Famous rugs, 331 - - Farsistan (province), 171 - - Fast colors, 40 - - Favorite colors of different nations, 79 - - Feather in design, see Pear, 123 - - Felt rugs, 318 - - Feraghan (district), 345 - - Feraghan design, see Herati design, 114 - - Feraghan rugs, 49, 50, 51 - - Feraghan rugs (characteristics), 149 - - Feraghan rugs (description), 190 - - Feraghan rugs (illustration), 114, 190 - - Figures in design, 100 - - Fir cone in design, see Pear, 123 - - Fish in design, 111 - - Fish bone in design, 112 - - Flame in design, see Pear, 123 - - Floor coverings, 327 - - Floral designs, 98 - - Flower of Henna in design, see Guli Henna, 113 - - Flower and Knop design, see Knop and Flower, 215 - - Fly in design, 112 - - Folding of rugs, 65 - - Foreign rug dealers, 31 - - Four flower design, see Roses, Four, 128 - - Four roses in design, see Roses, Four, 128 - - France, Antiques in, 37 - - Fret, Chinese or Greek, see Chinese fret, 105, 304 - - Frick collection of rugs, 27, 38 - - - G - - Gall nuts used in dyeing, 83, 84 - - Galley in design, 112 - - Ganga (city), 345 - - Genghis (tribe), 345 - - Genghis rugs, 50, 166 - - Genghis rugs (characteristics), 150 - - Genghis rugs (description), 267 - - Genghis rugs (illustration), 268 - - Geometrical designs, 99 - - Georgian border design, 112 - - Germany, Antiques in, 37 - - Ghileems, 311 - - Ghileems (description), 311 - - Ghileems, Anatolian, 312 - - Ghileems, Kurdish (characteristics), 154 - - Ghileems, Kurdish (description), 314 - - Ghileems, Kurdish (illustration), 314, 316 - - Ghileems, Kurdish, Weave of, 154 - - Ghileems, Merve (characteristic), 154 - - Ghileems, Merve (description), 315 - - Ghileems Merve (illustration), 316 - - Ghileems, Merve, Weave of, 154 - - Ghileems, Senna, 52 - - Ghileems, Senna (description), 312 - - Ghileems, Senna (illustration), 312 - - Ghileems, Shirvan (description), 314 - - Ghiordes border stripe, 113 - - Ghiordes knot, 169 - - Ghiordes rugs, 38, 52, 113, 117, 323 - - Ghiordes rugs (characteristics), 149 - - Ghiordes rugs (description), 238 - - Ghiordes rugs (illustration), 66, 238 - - Glossary, 341 - - Glycerine used in rugs, 39 - - Goats' hair, 70 - - Gorevan rugs, 120, 327 - - Gorevan rugs (description), 175 - - Gorevan rugs (illustration), 176 - - Gourd in design, 113 - - Grape juice used in dyeing, 84 - - Grave rugs, 324 - - Gray (color), 84 - - Greek cross in design, see Cross, Greek, 109 - - Greek fret, see Chinese fret, 105, 304 - - Greek key, see Chinese fret, 105, 304 - - Greek meander in design, see Meander, Greek, 119 - - Green (color), 79, 80, 83, 218 - - Guli Henna design, 113 - - - H - - Hair used in rugs, 305 - - Hall, Rugs suitable for, 50 - - Hamadan (city), 345 - - Hamadan rugs, 50, 70, 120, 327 - - Hamadan rugs (characteristics), 149 - - Hamadan rugs (description), 192 - - Hamadan rugs (illustration), 110, 192 - - Hand in design, see coat of arms, Turkish, also Pear, 107, 123 - - Hanging rugs, 63, 64 - - Hangings, 328 - - Hardjli Rugs, 283 - - Harmony of colors, 48 - - Havemeyer collection of rugs, 27 - - Hearth rugs, 323 - - Heliotrope (color), 84 - - Henna flower in design, see Guli Henna design, 113 - - Herat (city), 346 - - Herat rugs, 114, 125 - - Herat rugs (characteristics), 149 - - Herat rugs (description), 206 - - Herati design, 114 - - Herez (district), 346 - - Herez rugs, 51 - - Herez rugs (characteristics), 148 - - Herez rugs (description), 173 - - Herez rugs (illustration), 172 - - Hexagon in design, 115 - - Hog in design, 115 - - Holy carpet, Yerkes, 27 - - Hom in design, see Anthemion, 102 - - Home looms, 56 - - Hook, Angular, see Angular hook, 101 - - Hook, Latch, see Angular hook, 101 - - Horse shoe in design, 115 - - Hound in design, 115 - - Hour glass in design, 115 - - Human beings in design, 99 - - Hygiene of Oriental rugs, 28 - - - I - - Identification of rugs, 147 - - Importation of Oriental rugs, 20, 217 - - Indian designs, 98 - - Indian fish bone design, see Fish bone, 112 - - Indian hunting rug, 26, 335 - - Indian rugs, 162 - - Indigo used in dyeing, 82, 84 - - Inscriptions in design, 100 - - Inspecting rugs at Ispahan (illustration), 170 - - Introduction, 17 - - Irak Ajemi (province), 171 - - Iron filings used in dyeing, 83 - - Ispahan (city), 346 - - Ispahan rugs, 50, 51, 332, 333 - - Ispahan rugs (description), 194 - - Ispahan rugs (illustration), 194 - - Ivy berries used in dyeing, 82 - - - J - - Jewel in design, see Pear, 123 - - Jones, Mr. Quill, 36 - - Joshaghan (district), 346 - - Jug in design, 115 - - - K - - Kabistan rugs, 50, 51, 128, 135 - - Kabistan rugs (description), 258 - - Kabistan rugs (illustration), 258 - - Karabagh (province), 347 - - Karabagh rugs, 50, 126 - - Karabagh rugs (characteristics), 126 - - Karabagh rugs (description), 269 - - Karabagh rugs (illustration), 270 - - Kara Dagh (mountains), 347 - - Kara Dagh rugs (characteristics), 148 - - Kara Dagh rugs (description), 178 - - Karaman (town), 347 - - Karaman rugs (description), 223 - - Kashan city, 347 - - Kashan rugs (description), 180 - - Kashan rugs (illustration), 180 - - Kashgar rugs (characteristics), 152 - - Kashgar rugs (description), 287 - - Kazak rugs, 50, 51, 108, 122, 126, 135, 138, 154, 327 - - Kazak rugs (characteristics), 150, 154 - - Kazak rugs (description), 272 - - Kazak rugs (illustration), 94, 144, 272 - - Kazak rugs, Weave of, 154 - - Kermanshah (city), 347 - - Kermanshah rugs 50, 327 - - Kermanshah rugs (characteristics), 148 - - Kermanshah rugs (description), 186 - - Kermanshah rugs (illustration), 118 - - Kermes used in dyeing, 81 - - Key, Greek, see Chinese fret, 105, 304 - - Khilims, see Ghileems, 311 - - Khiva (principality), 348 - - Kiva Bokhara rugs, 50, 51, 327 - - Khiva Bokhara rugs (characteristics), 151 - - Khiva Bokhara rugs (description), 278 - - Khiva Bokhara rugs (illustration), 120, 278 - - Khorasan (province), 172, 348 - - Khorasan rugs, 50, 78, 114, 120, 125, 153, 327 - - Khorasan rugs (characteristics), 149 - - Khorasan rugs (description), 207 - - Khorasan rugs (illustration), 32 - - Khorasan rugs, Weave of, 153 - - Kilims, see Ghileems, 311 - - Kirman (city and province), 172, 348 - - Kirman rugs, 49, 104, 120, 327 - - Kirman rugs (characteristics), 149 - - Kirman rugs (description), 211 - - Kirman rugs (illustrations), 210, 212 - - Kir Shehr (town), 348 - - Kir Shehr rugs (characteristics), 149 - - Kir Shehr rugs (description), 220 - - Kir Shehr rugs (illustration), 130, 220, 222 - - Kis Ghileem, 313, 324 - - Knop and flower design, 115 - - Knot in design, 104, 116 - - Knot of destiny design, 116 - - Knot, Persian or Senna, 91, 93, 169 - - Knot, Turkish or Ghiordes, 91, 93, 169 - - Knots used in weaving (illustration), 90 - - Konieh (city), 348 - - Konieh field design, see Rhodian, 126 - - Konieh rugs, 117, 127 - - Konieh rugs (description), 225 - - Konieh rugs (illustration), 138, 224 - - Koran, 99, 100, 116 - - Kulah border design, 150 - - Kulah (city), 349 - - Kulah rugs, 38, 52, 323 - - Kulah rugs (characteristics), 150 - - Kulah rugs (description), 239 - - Kulah rugs (illustrated), 216, 240 - - Kurdish ghileems, 314 - - Kurdish ghileems (illustration), 314, 316 - - Kurdish ghileems, Weave of, 154 - - Kurdish guard (illustration), 124 - - Kurdish weavers, 219 - - Kurdistan (country), 349 - - Kurdistan rugs, 51, 327 - - Kurdistan rugs (characteristics), 149 - - Kurdistan rugs (description), 212 - - Kurdistan rugs (illustration), 214 - - Kurds, 78 - - Kurk, 70 - - - L - - Ladik rugs, 50, 52, 117, 127 - - Ladik rugs (characteristics), 150 - - Ladik rugs (description), 228 - - Ladik rugs (illustration), 74, 228 - - Laodicea (village), 349 - - Large patterns in rugs, 49 - - Laristan (province), 349 - - Latch hook in design, see angular hook, 101 - - Lattice design, 117 - - Lavender (color), 84 - - Law against use of aniline dyes, 77 - - Leaf in design, see Pear, 123 - - Leopard in design, 117 - - Lemon juice used on rugs, 39 - - Library, Rugs suitable for, 51 - - Lily in design, see Rhodian, 126 - - Lime used on rugs, 76 - - Link in design, 118 - - Lion in design, 118 - - Living room, Rugs suitable for, 50 - - Loftus collection of rugs, 38 - - Logwood used in dyeing, 84 - - London, Antiques in, 37 - - Long rugs, 49 - - Loom, Eastern, 89 - - Loom, Persian (illustration), 92 - - Looms in homes, 56 - - Loom, Turkish (illustration), 88 - - Loop in design, see Pear, 123 - - Lotus in design, 118 - - - M - - Madder used in dyeing, 81, 83, 84 - - Maden rug (description), 227 - - Maden rug (illustration), 226 - - Magpie in design, 119 - - Mahal rugs, 50 - - Mahal rugs (description), 201 - - Mahal rugs (illustration), 202 - - Mahogany furniture, Rugs suitable with, 52 - - Makri rugs (description), 245 - - Makri rugs (illustration), 246 - - Maksoud, 37 - - Marquand sale of antique rugs, 26 - - Material of rugs, 45, 69 - - Material of Chinese rugs, 305 - - Materials, Testing, 45 - - Meander, Greek, in design, 119 - - Mecca rugs, 325 - - Medallion in design, 120 - - Meles rugs, 50, 52 - - Meles rugs (characteristics), 150 - - Meles rugs (description), 242 - - Meles rugs (illustrations), 242, 244 - - Merchant, Persian rug (illustration), 38 - - Merve ghileem (characteristic), 154 - - Merve ghileem (description), 315 - - Merve ghileem (illustration), 316 - - Merve ghileem, weave of, 154 - - Meshed (city), 350 - - Meshed rugs (characteristics), 149 - - Meshed rugs (description), 209 - - Meshed rugs (illustration), 22 - - Metropolitan animal rug (illustration), 26 - - Metropolitan exhibition of antiques, 37, 331 - - Mihrab, 121 - - Milassa (town), 350 - - Mina Khani design, 120 - - Mina Khani design (illustrated), 214 - - Mir design, 120 - - Mirror design, see Lattice design, 117 - - Mission rooms, Rugs suitable for, 49, 51 - - Mohair, 70 - - Mohammedan calendar, 100, 101 - - Monkey in design, 121 - - Mordants used in dyeing, 76 - - Morgan collection of rugs, 27, 38 - - Mosque design, 121, 317 - - Mosque rugs, 325 - - Mosul (city), 350 - - Mosul rugs, 38, 50, 51, 52, 70 - - Mosul rugs (characteristics), 150 - - Mosul rugs (description), 247 - - Mosul rugs (illustrated), 248 - - Mountains in design, 121 - - Mulberry fungus used in dyeing, 83 - - Mujur rugs (description), 227 - - - N - - Names of weavers in design, 100 - - Names of rugs, how derived, 161, 162 - - Nap, Direction of the, 93 - - Network in design, see Lattice design, 117 - - Niche, Prayer, 121 - - Niche, Prayer (illustrated), 322 - - Niris rugs (characteristics), 149 - - Niris rugs (description), 202 - - Niris rugs (illustration), 204 - - Nomad rugs, 52 - - Nomads, 78 - - Nomenclature of rugs, 162 - - Numerals in design, 100 - - - O - - Octagon in design, 122 - - Odor in rugs, 71 - - Onion skins used in dyeing, 82 - - Orange (color), 80, 83 - - Oriental rugs, Characteristics of, 43 - - Oriental shrewdness, 31 - - Oriental versus domestic rugs, 27 - - Oushak (city), 350 - - Oushak rugs (description), 222 - - Owl in design, 122 - - Ox in design, 122 - - Oxalic acid used for doctoring rugs, 39 - - - P - - Paint used on rugs, 39 - - Palace design, 122 - - Palace design (illustrated), 272 - - Palm in design, see Pear, 123 - - Palmette design, 122 - - Palm tree, see Tree, 136, 137 - - Panel in design, 123, 323 - - Paraffin used on rugs, 39 - - Paris, Antiques in, 37 - - Parrot in design, 123 - - Pay of weavers, 55, 170 - - Payne collection of rugs, 27 - - Peacock in design, 123 - - Pear in design, 115, 123, 124, 125 - - Pearl in design, 125 - - Pease collection of rugs, 38 - - Pekin rugs, 303 - - Pendants, Hanging, 323 - - Peony in design, 125 - - Pergamon (country), 351 - - Persia, 351 - - Persian berries used in dyeing, 83 - - Persian coat of arms, see Coat of arms, Persian, 107 - - Persian classification, 162 - - Persian designs, 98, 169 - - Persian dye pots (illustration), 80 - - Persian knot, 169 - - Persian rug provinces, 171 - - Persian village (illustration), 80 - - Persian weavers, 169, 170 - - Phœnix in design, 125 - - Piaster (coin), 351 - - Pile of a rug, 44, 91, 92 - - Pillow cases, 325 - - Pineapple in design, 125 - - Pine tree in design, 125 - - Pink (color), 82 - - Poems in design, 100 - - Polanaise rugs, 332 - - Pole medallion in design, see Medallion, 120 - - Polish rugs, 332 - - Pomegranate in design, 125 - - Powder bag (illustration), 324 - - Prayers of Mohammedans, 100 - - Prayer niches (illustration), 322 - - Prayer rugs, 321 - - Prayer rugs, Classification of 152 - - Profits on rugs, 25 - - Purple (color), 84 - - - R - - Ram in design, 126 - - Reception hall, Rugs suitable for, 50 - - Reception room, Rugs suitable for, 50 - - Reciprocal saw teeth in design, 126 - - Reciprocal trefoil in design, 126 - - Red (color), 76, 80, 81, 82 - - Reliable rug dealers, 43 - - Rhodian design, 126 - - Rhomboid in design, 127 - - Ribbon in design, 127 - - Rice in design, 127 - - River loop in design, see Pear, 123 - - Room decorations, 48 - - Rooms, Rugs suitable for certain, 48 - - Rooster in design, 127 - - Rosary, Mohammedan, see Beads, 103 - - Rose (color), 81 - - Roses Four, in design, 128 - - Rosette in design, 128 - - Rothschild collection of rugs, 37 - - Rug exhibitions, 331 - - Rug factories in the Orient, 55, 57, 170, 217 - - Rug nomenclature, 162 - - Runners, 328 - - Russia, Antiques in, 37 - - Russia, coat of arms, see Coat of arms, Russian, 107 - - - S - - Saddlebags, 52, 326 - - Saddle bag (illustrated), 324, 326 - - Saddlecloth, 327 - - Saddle cloth (illustrated), 324 - - Salmon (color), 84 - - Samarkand (province and city), 351 - - Samarkand rugs, 106, 116, 134 - - Samarkand rugs (characteristics), 151 - - Samarkand rugs (description), 289 - - Samarkand rugs (illustration), 290 - - Samarkand, Street in (illustration), 288 - - Sample corners, 326 - - Sample corner (illustration), 328 - - Saraband border design, see Mir design, 120 - - Saraband dance, 164 - - Saraband rugs, 50, 51, 125, 154, 327 - - Saraband rugs (characteristics), 149 - - Saraband rugs (description), 197 - - Saraband rugs (illustration), 198 - - Saraband, Weave of, 154 - - Sarak rug, see Bijar, 185 - - Sarakhs (town), 351 - - Sarawan (district), 351 - - Sardar design, 129 - - Saruk (village), 352 - - Saruk rug, 49, 50, 112, 152, 153 - - Saruk rugs (characteristics), 149 - - Saruk rugs (description), 200 - - Saruk rugs (illustration), 40, 166 - - Saruk rugs, weave of, 153 - - Saw-teeth, Reciprocal, in design, see Reciprocal, 126 - - Scarabæus in design, see Beetle 103 - - Scarlet (color), 81, 82 - - Sceptre in design, 129 - - Scorpion in design, 129 - - Scroll in design, 130 - - Seals on rugs, 47 - - Secrets of dyeing, 75 - - Selection of rugs for rooms, 48 - - Selvage of rugs, 45 - - Semi-Persian rug (illustrated), 100 - - Senna (city), 352 - - Senna ghileems, 312 - - Senna ghileems (characteristics), 312 - - Senna ghileems (description), 312 - - Senna ghileems (illustration), 312 - - Senna knot, 169 - - Senna rugs, 49, 50, 114, 125, 153, 327 - - Senna rugs (characteristics), 148, 151, 152 - - Senna rugs (description), 188 - - Senna rugs (illustration), 188 - - Senna, Weave of, 153 - - Serapi rugs (description), 178 - - Serapi rugs (illustration), 178 - - Serpent in design, 130 - - Shah Abbas (ruler), 352 - - Shah Abbas design, 37, 130 - - Shawl design, see Pear, 123 - - Sheen, 39, 63, 92 - - Sheep's blood used in dyeing, 82 - - Shemakha (town), 352 - - Shemakha rugs, 112, 155, 327 - - Shemakha rugs (characteristic), 155 - - Shemakha rugs (description), 263 - - Shemakha rugs (illustrations), 264 - - Shemakha rugs, Weave of, 155 - - Shiraz (town), 352 - - Shiraz rugs, 50, 51, 52, 104, 120, 125, 127, 325, 326 - - Shiraz rugs (characteristics), 149 - - Shiraz rugs (description), 204 - - Shiraz rugs (illustrations), 52, 104, 206, 208 - - Shirvan (city), 353 - - Shirvan design, 130 - - Shirvan rugs, 50, 118, 122, 128, 131, 135, 139 - - Shirvan rugs (description), 265 - - Shirvan rugs (illustration), 158 - - Shirvan ghileems (description), 314 - - Shirvan ghileems (illustrated), 250 - - Short rugs, 49 - - Shortell collection, 38 - - Shou design, 131, 304, 305 - - Signet of David in Design, 131 - - Silibik design, 131 - - Silk, 71 - - Silk rugs, 316 - - Sinclair collection, 38 - - Sirab (village), 353 - - Sixteen lucky squares in design, see Knot of destiny, 116 - - Smyrna (province and city), 353 - - Smyrna rugs, 327 - - Smyrna rugs (description), 246 - - Snake in design, see serpent, 130 - - Snow for cleaning rugs, 64 - - Solomon's seal in Design, 131 - - Souj Bulak (city), 353 - - Souj Bulak rugs (description), 181 - - Sparrow in design, 131 - - Spider in design, see Scorpion, 129 - - Spinning the wool (illustration), 72 - - Square in design, 132 - - Squirrel in design, 132 - - Stains on rugs, 66 - - Star in design, 132, 133 - - Storing rugs, 65 - - Stork in design, 133 - - Sultanabad (city), 353 - - Sultanabad rugs, 327 - - Sultanabad rugs (characteristics), 149 - - Sultanabad rugs (description), 201 - - Sumac used for dyeing, 76 - - Sumak rugs see Shemakha, 263 - - Sunburst design, see Palace design, 122, 133 - - Swan in design, 133 - - Swastika in design, 133, 134, 304 - - Symbolism of designs, 99, 303 - - Symbolic Persian silk rug (illustration), 48, 98 - - Symmetry of Oriental rugs, 99 - - - T - - T, forms in design, 134 - - Tabriz (city), 353 - - Tabriz rugs, 50, 327 - - Tabriz rugs (characteristics), 148 - - Tabriz rugs (description), 182 - - Tabriz rugs (illustration), 182 - - Tae-kieh design, 135 - - Tags and seals on rugs, Purpose of, 47 - - Talim, 354 - - Tarantula in design, 135 - - Tariff on rugs, 20, 25, 26 - - Tcherkess (province), 354 - - Tchetchen (tribe), 354 - - Tchetchen rugs (characteristics), 150 - - Tchetchen rugs (description), 260 - - Tchetchen rugs (illustration), 260 - - Teheran (city), 354 - - Tekke border design, 135 - - Tekke field design, 135 - - Tekke Bokhara rugs, 51, 135 - - Tekke Bokhara rugs (characteristics), 151 - - Tekke Bokhara rugs (description), 281 - - Tekke Bokhara rugs (illustrations), frontispiece, 150, 162, 282, 284 - - Testing of dyes, 79 - - Testing of materials, 45 - - Thibet rugs, 303 - - Tientsin rugs, 303 - - Tiflis (city), 354 - - Toman (coin), 354 - - Tomoye design, 136 - - Tortoise in design, 136 - - Transcaucasia, 253 - - Transportation charges on rugs, 25 - - Tree in design, 135, 137 - - Trefoil in design, see Reciprocal trefoil, 126 - - Trellis in design (see Lattice), 117 - - Triangle in design, 137 - - Tribal or Family designs, 97 - - Tuberculosis in the Orient, 55, 57 - - Turkey in Asia, 355 - - Turkish classification, 164 - - Turkish coat of arms, 107 - - Turkish designs, 98 - - Turkish exportation of rugs, 217 - - Turkish or Ghiordes knot, 169 - - Turkish weavers, 217 - - Turkestan, 277, 354 - - Turkoman classification, 165 - - Turkoman designs, 98 - - Turkoman rugs, 277 - - Turkoman rugs (characteristics), 277 - - Turner collection of rugs, 38 - - Turtle border design, 136 - - Turtle in design, see tortoise, 136 - - Twin fish design, see Herati, 114 - - - U - - Umbrella in design, 138 - - Urn in design, see Vase, 138 - - - V - - Valonia used in dyeing, 76, 83, 84 - - Value of rugs, 25, 32 - - Vegetable dyes, 40, 44, 75, 76, 78 - - Vermilion (color), 82 - - Vestibule, Rugs suitable for, 49 - - Violet (color), 84 - - Vulture in design, 138 - - - W - - Walnut husks used in dyeing, 83 - - Warp, 45, 92 - - Washed rugs, 40, 64, 93 - - Washing, Legitimate, 40 - - Washing of rugs, 64, 65 - - Wearing qualities of rugs, 63 - - Weavers, 55, 87, 89, 91, 170, 217, 218 - - Weavers, Chinese, 18, 303 - - Weavers, Diseases among, 55, 56, 57 - - Weavers, Expert (illustration), 38 - - Weavers, Kurdish, 219 - - Weavers, Pay of, 55, 88, 89, 90, 170 - - Weavers, Persian, 18, 91, 169 - - Weavers, Turkish, 217 - - Weavers, Turkoman, 91 - - Weavers, Youthful, 55, 57 - - Weavers, Youthful (illustration), 90 - - Weaving, Age of, 17 - - Weaving, Biblical reference to, 17 - - Weaving, Chinese, 305 - - Weaving, Methods of, 89, 90, 91 - - Wedding rugs, 324 - - Weight of rugs, 44 - - Widener collection of rugs, 38 - - Williams collection of rugs, 38 - - Willow tree in design, see Tree, 136 - - Wine glass border design, 138 - - Winged globe in design, 139 - - Wolf in design, 139 - - Woof, 92 - - Wool, 69 - - Wool, Preparation of, 71 - - - Y - - Y form in design, 139 - - Yak rugs, 305 - - Yang and Yin design (see Tae-kieh), 135 - - Yarkand (city), 355 - - Yarkand rugs (characteristics), 151 - - Yarkand rugs (description), 288 - - Yellow (color), 76, 80, 83 - - Yerkes collection of rugs, 37 - - Yezd (city), 355 - - Yomud (tribe), 355 - - Yomud Bokhara rugs, 50, 51, 105, 327 - - Yomud Bokhara rugs (characteristics), 151 - - Yomud Bokhara rugs (description), 285 - - Yomud Bokhara rugs (illustration), 286 - - Yuruk, 355 - - Yuruk rugs, 50 - - Yuruk rugs (characteristics), 150 - - Yuruk rugs (description), 231 - - Yuruk rugs (illustration), 230 - - - Z - - Zanjan (town), 355 - - Zigzag design, see Meander, Greek, 119 - - - - - [Illustration: THE RUG CARAVAN] - - - - -FOOTNOTES: - -[A] The retail prices given in this book with the description -of each rug refer only to the different grades of such pieces which are -ordinarily found in the market and in no way allude to antiques, upon -which it would be impossible to set a fixed value. - -[B] In 1892 Robson & Sons, of London, published a monograph on -the Ardebil mosque carpet by Edward Stebbing, who describes it ably. - -[C] In the Turkish and Persian languages the vowels are -frequently silent and the characters do not stand for single consonants, -but represent combinations of sounds as in short-hand, so that the same -word is spelled in a great variety of ways when it is translated into -English; therefore, the result is rather misleading, and each person -must, to a certain extent, interpret the phonetic spelling to suit -himself. - - - - -Transcriber's Notes: - -Combined left sides (pg. 223a and 223c) - and right sides (pg. 223b and 223d) for better readability. - -Tried to reduce width of table(s) on pages 223a - 223d. - -Obvious typographical errors have been silently corrected, but other -variations in spelling and punctuation remain unchanged. - - - - - -End of the Project Gutenberg EBook of The Practical Book of Oriental Rugs, by -George Griffin Lewis - -*** END OF THIS PROJECT GUTENBERG EBOOK ORIENTAL RUGS *** - 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