,,the ,,mentor #aiaf4jc4ja1 ,no4 #ajb1 ,chinese ,rugs ,,learn ,,one ,,thing ,,every ,,day ,,march #a #aiaf ,,serial ,,no4 #ajb ,,the ,,mentor ,illustration3 ,a ,,rug ,,of ,,mixed ,,designs ,the ,center ,is a ,faded ,magenta ,red4 ,the ,border ,ground ,is ,pale ,yellow ,,chinese ,,rugs ,by ,,john ,k4 ,,mumford ,author and ,expert on ,oriental ,rugs ,,department ,,of ,,volume #d ,,fine ,,arts ,,number #b ,,fifteen ,,cents ,a ,,copy ,a ,thing of ,beauty ,no word in the language is more abused than 8beauty40 ,a pretty thing is a thing of beauty2 a pretty picture is a picture of beauty2 and so following4 ,lacking a proper descriptive term for anything attractive1 we1 too often1 employ the word 8beauty40 ,what term have we then with which to pay just tribute to true beauty8 99 99 99 99 99 ,the real1 final test of beauty is that it wears well--not in a material way1 but in the qualities that are truly beautiful4 ,the rose is fragile material and its life is brief1 but rose beauty is lasting and rose fragrance clings sweetly to the memory--so that the rose has become a synonym of beauty4 ,the message of true beauty is enduring and1 oft repeated1 grows in charm4 8,a thing of beauty is a joy forever40 99 99 99 99 99 ,a distinguishing attribute of true beauty is authority4 ,a thing of beauty bears on its very forefront the stamp of authority4 ,it does not plead for recognition--it commands it4 ,the snow-capped summit at sundown1 the ,madonna face on a master's canvas1 the poet's 8lofty rhyme10 the fragrant flower1 the harmonious symphony1 the 8frozen music0 of architecture--the countless varied forms of beauty in nature1 art and life ask no favor nor do they play to the fancy of the moment4 ,created in intelligence1 sincerity and truth1 and inspired by lofty devotion1 they compel a lasting homage4 ,illustration3 ,,plate ,i ,,loaned ,,by ,,mr4 ,,carll ,,tucker ,,antique ,,chinese ,,rug ,,chinese ,,rugs ,,antique ,,chinese ,,rug ,monograph ,number ,one in ,the ,mentor ,reading ,course ,length1 nine feet nine inches4 ,width1 five feet five inches4 ,forty-two hand-tied knots to the square inch4 ,this attractive rug is representative of a very admirable class of ,chinese floor fabrics1 and illustrates in the clearest manner some interesting and important features in the rug weaving art of ,china4 ,the knottage1 as will be learned from the specification above1 is not great4 ,a ,mohammedan sedjadeh with only #db knots to the square inch would be held of small merit1 unless it came from one of two or three districts in ,asia ,minor--,bergamo for example1 or else had some individual element of value1 such as great age1 phenomenal color1 or uncommon design4 ,in ,china1 however1 as has been pointed out in the accompanying text1 high textures are not accounted of large importance4 ,this rug is not of great antiquity1 nor yet is it of very recent manufacture4 ,it might with safety be attributed to the ,kien ,lung time1 or some reign immediately thereafter4 ,the best artistic tenets of ,persia--so far as they appertain to rug weaving--have been conscientiously followed4 ,the ,mohammedan influence is not difficult to trace1 and yet at no time can a foreign or vagrant note be discovered4 ,the rug is thoroughly ,chinese1 not only in spirit but in every detail4 ,it will bear careful study in the light of what has been said regarding the absorbent and adaptive quality of ,chinese art in all ages4 ,the border area is relatively narrow1 wherein marked deference is paid to the oldest and best ,chinese standards1 and for all a distinctly floral character prevails1 the utmost simplicity is maintained4 ,it is a notably consistent rug4 ,there is perfect harmony between border and center1 and the most perfect manifestation of the ,chinese artistic sense1 perhaps1 lies in the fact that1 to the end of preserving simplicity and balance1 the weaver has carefully refrained from 8cluttering up0 the border section with 8guard stripes0 requiring additional patterns1 which in a rug of this character would have been superfluous and therefore disturbing4 ,throughout the field of the rug1 despite a decidedly ornate touch1 there is still a careful avoidance of excess4 ,only two elements appear--the emblematic butterfly and floral devices1 which not only are combined to form the fine medallion1 but which1 with the utmost refinement of handling1 suffice for all the secondary and tertiary constituents of the design4 ,referring again to the fidelity with which the ,persian theory has been followed1 observe that the design works out from a mathematically precise central point1 and is built in all directions with perfect equality4 ,every figure has its exact counterpart on the opposite side2 side or end1 the balance is preserved even to the corner patterns4 ,given such impeccable skill in the adjustment of the design1 there remains only one test point2 namely1 the distribution of color4 ,observe in this regard with what nicety the dainty touches of light and dark blue are balanced against one another1 from the central medallion outward2 and also how the little note of irregularity which is held of such vital importance by the superstitious ,persian1 even in his greatest masterpieces1 is struck here by employing blue in some of the smaller field devices1 butterflies and flowers alike1 and omitting it from the corresponding figures at the opposite side4 ,herein lies the human charm in the old weaving of ,asia1 the touch which makes us know the ancient weaver and his thought1 across the space of lifetimes4 ,,prepared ,,by ,,the ,,editorial ,,staff ,,of ,,the ,,mentor ,,association ,,illustration ,,for ,,the ,,mentor1 ,,vol4 #d1 ,no4 #b1 ,,serial ,no4 #ajb ,,copyright1 #aiaf1 ,,by ,,the ,,mentor ,,association1 ,,inc4 ,illustration3 ,,plate ,,ii ,,antique ,,chinese ,,rug ,,chinese ,,rugs ,,antique ,,chinese ,,rug ,monograph ,number ,two in ,the ,mentor ,reading ,course ,length1 eight feet ten inches4 ,width1 five feet seven inches4 ,thirty hand-tied knots to the square inch4 ,the student should compare this rug1 in all its details1 with that reproduced in ,plate ,i1 the property of ,mr4 ,carll ,tucker4 ,the two fabrics belong practically to the same school1 and are not widely separated in period4 ,they have many points in common4 ,those in which they do not agree are the more important4 ,for many reasons ,i am inclined to accord the honors to the other rug on the score of age4 ,this piece 7,plate ,,ii7 is in some ways superior in point of color4 ,in treatment1 in concept1 in artistry1 it is not the equal of the rug in ,plate ,i1 and yet to look at1 it would by most people be considered more beautiful4 ,this is probably due almost wholly to coloring4 ,something has been said in the accompanying text regarding the yellowish cast given to ,chinese reds1 and the manner in which the peach and apricot shades are produced by dyeing loose red over fast yellow4 ,the rug in ,plate ,i is an illustration of that trick in dyeing4 ,this piece 7,plate ,,ii7 is the very rare exception4 ,its ground color is pure and cool4 ,in certain lights it is almost a shell pink4 ,the years do not reveal in it any trace of fundamental yellow4 ,this rug lacks the exquisite simplicity and refinement of the first4 ,it is richer1 in design as well as in color1 stronger in key1 but nevertheless splendidly consistent4 ,in addition to the warmer color of the center1 there is a freer use of both light and dark blues1 which however are managed with the greatest skill4 ,there is more vagrancy in design1 due to a manifest effort at elaboration4 ,the added border stripe bearing the wave or fret pattern is a necessary contribution made in order to balance the stronger center4 ,the same may be said of the small round medallions in the main border1 bearing very ancient symbols of longevity4 ,after long study of these two rugs1 ,i have come to the conclusion that the design shown in ,plate ,i is a rug design1 made for that purpose and no other1 and the one here shown1 beautiful as it is1 was borrowed from the porcelain1 perhaps from several vases4 ,there are certain ,persian rugs of the #agth and #ahth centuries1 and many ,perso-,indian rugs of a still earlier period1 which have something in common with this minute floral type of ,chinese design4 ,which artist1 the ,mohammedan or the ,chinese1 was the borrower and which the lender would be difficult to say at this distance4 ,but all this aside1 it is still worthy of note and should never be forgotten in the study of ,chinese rugs1 that whatever and wherever they borrow they are still ,chinese4 ,in this rug 7,plate ,,ii7 there is one concession to the ,persian habit1 which might better have been omitted for the sake of decorative purity2 namely1 the conversion of the narrow inner 8water0 stripes into corner ornaments4 ,not that the shapes thus obtained are ,persian in their character4 ,they are not4 ,on the contrary1 they suggest the conventional corner dragons in the oldest ,ming rugs1 of which a superb example is found in ,plate ,,vi4 ,but the manner in which they are brought out is more that of the heavy ,chinese teak wood carving1 which plays so large a part in the interior decoration of ,china down to the present day4 ,they add an element of strength to the design2 but they distinctly 8do not belong10 and constitute therefore an inharmonious factor when considered in the light of cold analysis4 ,none the less1 with its superb coloring1 the rug is far more beautiful than most that come out of ,china in these days of rug decadence4 ,,prepared ,,by ,,the ,,editorial ,,staff ,,of ,,the ,,mentor ,,association ,,illustration ,,for ,,the ,,mentor1 ,,vol4 #d1 ,no4 #b1 ,,serial ,no4 #ajb ,,copyright1 #aiaf1 ,,by ,,the ,,mentor ,,association1 ,,inc4 ,illustration3 ,,plate ,,iii ,,loaned ,,by ,,mr4 ,,charles ,b4 ,,alexander ,,round ,,chinese ,,rug ,,chinese ,,rugs ,,round ,,chinese ,,rug ,monograph ,number ,three in ,the ,mentor ,reading ,course ,diameter1 nine feet nine inches4 ,eighty hand-tied knots to the square inch4 ,in point of actual age1 this very unusual rug is perhaps the youngest of all the six pieces selected for color reproduction with this number of ,the ,mentor4 ,the general observations that have been made regarding the distinguishing characters of the various periods will be forcibly illustrated by comparing this rug with ,plate ,,vi1 which represents one of the earliest fabrics4 ,the difference between them1 from the standpoint of simplicity in design1 is decidedly marked1 and constitutes an entire lesson on the course of ,chinese art4 ,reserving comment on ,plate ,,vi for its proper place1 it is interesting to note some of the features of the round rug4 ,its elaboration must be emphasized first of all4 ,no effort of which the maker was capable has been spared in the purpose to make this a carpet of note4 ,its shape alone is sufficient proof of this4 ,the circular rugs1 whether ,chinese or ,persian1 are extremely rare4 ,the only other one of great importance is an early ,ming piece owned by a gentleman living in ,new ,york ,city4 ,in ,plate ,,iii1 pursuing the comparison suggested above1 there should be noted the great complexity of design4 ,in the attempt to create a masterpiece1 the weaver has borrowed from all the ,chinese decorative schools and periods4 ,he has multiplied borders and employed a world of material for their ornamentation4 ,dismissing the outer band of blue1 which serves as a sort of protection for the rest1 examine the main stripe4 ,the various spaces herein1 set off in a sort of cartouches after the fashion of ,persian borders but nevertheless with a ,chinese drawing1 are filled with elements of divers sorts4 ,twelve of them bear the repeating patterns used as ground covering in much older rugs1 including the fret or key pattern and the lozenge-shaped diaper1 which is commonly supposed to be ,indian in its origin and of a very early day4 ,the alternating sections have cloud bands1 flowers1 and nature symbols such as were copied into the ,persian weavings after the invasion of ,hulaku ,khan1 and appear in many of the high-school carpets of ,persia of the #aeth and #afth centuries4 ,two1 at least1 of these alternating sections bear plants in pots1 a later decorative form1 and purely ,chinese4 ,inside this there is a wave or 8,greek0 border stripe2 not flat1 as in the older rugs1 but shaded1 or in a sort of perspective4 ,this and the stripe which lies inside1 between it and the field1 with the white spots1 on a ground of blue1 are believed generally to be indisputably of late origin4 ,passing to the center field1 the same ambitious profusion is manifest4 ,the ground design is of most composite character2 flower stems1 potted growths1 suggesting the 8,hundred ,antiques0 pattern1 and1 by way of good measure1 certain of the ,buddhistic emblems of ,happy ,augury1 notably the 8,entrails0 or ,endless ,knot4 ,all these are laid1 in various exquisite colorings1 upon a field of the softest gold yellow4 ,passing to the central medallion1 yet a new element confronts us in the ,foo dogs1 of which several are employed1 somewhat crowded1 and confused by reason of their coloring1 which1 nevertheless1 is good and1 so far as balance is concerned1 well distributed4 ,these are inclosed by a broad band or wreath of more or less conventionalized flowers4 ,the solidity of this center is for the purpose of offsetting the rather too heavy border section4 ,in this the true workman appears4 ,of the coloring1 the wool1 and the technical skill displayed1 only the highest praise is to be spoken4 ,there are few ,chinese rugs that surpass this in textile quality4 ,,prepared ,,by ,,the ,,editorial ,,staff ,,of ,,the ,,mentor ,,association ,,illustration ,,for ,,the ,,mentor1 ,,vol4 #d1 ,no4 #b1 ,,serial ,no4 #ajb ,,copyright1 #aiaf1 ,,by ,,the ,,mentor ,,association1 ,,inc4 ,illustration3 ,,plate ,,iv ,,old ,,chinese ,,rug ,,chinese ,,rugs ,,old ,,chinese ,,rug ,monograph ,number ,four in ,the ,mentor ,reading ,course ,length1 eight feet four inches4 ,width1 five feet seven inches4 ,thirty hand-tied knots to the square inch4 ,this is what is known as the 8grains of rice0 pattern4 ,while the reason for this name is obvious1 the design is really derived from the 8cash0--the familiar ,chinese coin with a square hole in the center4 ,in old rugs1 where the color has faded1 it is difficult to trace the resemblance1 but this derivation is vouched for on good authority4 ,the 8cash0 is a symbol of good luck4 ,it is customary not to fancy this pattern2 but the fact remains that it always sells1 like the equally repeating 8fish pattern0 rugs of ,persia4 ,it is almost certain that the reason for this is the simplicity and cheerfulness of rugs of this type4 ,the yellow used in them is usually not of the most attractive shade1 verging as it does toward the 8lemon0 and 8pale mustard0 quality4 ,altogether1 however1 it provides a most agreeable background1 usually for some figure rather more ornately drawn but usually neat and clean-cut in its effect1 as in this instance4 ,this rug was made somewhat later than ,plates ,i and ,,ii1 and probably after the time of the ,emperor ,kien ,lung4 ,during that reign more or less elaborate use seems to have been made of foliate floral arrangements1 drawn like those seen here in the broader border stripe4 ,from using these patterns in small areas1 such as borders or in individual bits upon a plain field1 was developed the fashion of covering the entire central area with them1 almost always in the same colors1--yellow and blush red4 ,the reds were inclined to fade1 and as the rugs grew older they attained wonderful delicacy of tone4 ,where the 8grains of rice0 pattern is employed there is1 in most cases1 a certain quantity of red or pink interpolated in some part of the rug1 for the obvious purpose of showing up the somewhat cold1 thin yellow1 which otherwise would be too weak to be attractive4 ,it is noticed here in the main border1 the ground of the inner border with fret pattern1 and in the scrolls which inclose the five floral medallions4 ,for some reason1 probably racial1 there appears in these 8rice pattern0 rugs far more often than in any type the 8barring0 of color--that is to say1 a change in the ground color1 usually to a lighter shade--so as to form a bar or transverse stripe across the field4 ,this is a common practice among the ,kurds in western ,persia1 who believe that it makes for good luck4 ,further illustration of this irregularity occurs widely throughout ,chinese weavings in the seemingly 8hit-or-miss0 distribution of many colors1 principally the blues in the border patterns4 ,this peculiarity is very well shown in the present example1 but is confined to the border section4 ,in the medallions of the field every element seems to have been worked out with the greatest regularity and exactitude4 ,,prepared ,,by ,,the ,,editorial ,,staff ,,of ,,the ,,mentor ,,association ,,illustration ,,for ,,the ,,mentor1 ,,vol4 #d1 ,no4 #b1 ,,serial ,no4 #ajb ,,copyright1 #aiaf1 ,,by ,,the ,,mentor ,,association1 ,,inc4 ,illustration3 ,,plate ,v ,,old ,,chinese ,,temple ,,rug ,,chinese ,,rugs ,,old ,,chinese ,,temple ,,rug ,monograph ,number ,five in ,the ,mentor ,reading ,course ,length1 ten feet4 ,width1 eight feet4 ,forty-two hand-tied knots to the square inch4 ,rugs of this type1 which seldom make their way to ,america1 have been attributed to ,mongolia4 ,there are reasons for believing that this piece came direct from a temple in the borders of ,tibet4 ,it resembles in many ways the now famous rug in the ,metropolitan ,museum of ,art1 for which the late ,j4 ,p4 ,morgan paid #be1jjj4 ,although smaller than the ,museum temple carpet1 the one here reproduced is superior to it in textile quality and probably in age4 ,both have the imperial five-clawed dragons of the ,ming1 contesting over the 8jewel0 which is one of the ,buddhist symbols4 ,both rugs also have across their lower end the sacred mountains and the sea1 depicted in their ancient traditional form4 ,there the resemblance may be said to end4 ,it is in the symbols distributed throughout the field that this rug excels the other from the documentary standpoint4 ,in addition to the cloud and cotyledon figures1 with which both rugs are ornamented1 this piece contains all the principal symbols of ,happy ,augury1--the ,flaming ,wheel1 the ,sacred ,lotus1 the ,fishes1 the ,canopy1 the ,jewel1 the ,state ,tent1 the ,endless ,knot1 and the ,conch ,shell4 ,here appears also1 in soft shades of brown1 the bat1 recognized as a symbol of longevity4 ,in the top of the rug and extending from one side to the other1 is a continuous festoon1 made up of conventionalized buds and flowers of the lotus4 ,this appears invariably in rugs woven for the draping of temple pillars1 or for religious hangings1 and it is never found save in fabrics made for some devotional purpose4 ,it will be noted that this part of the rug1 a space about eighteen inches wide1 is very much worn4 ,the most likely explanation of this condition is that the rug was used on an altar and that a rail or other barrier prevented the nearer approach of the devotees4 ,this extraordinary carpet presents the most convincing illustration of what has been said in the text regarding the methods used to secure blush-red shades1--peach1 apricot1 and the like4 ,in ,china it is customary to quilt the backs of nearly all small- and medium-sized rugs that are used on floors1 benches or kongs 7built-in brick heating devices74 ,oftentimes the cotton cloth used to cover the bats of quilting cotton is brought up over the end of the rug and sewed fast4 ,this piece was brought to ,america in some haste1 and the quilting was not removed until after it arrived here4 ,when it was taken off1 the original color was revealed4 ,it may be seen in the color plate1 a brilliant stripe across the lower end of the rug4 ,people are often misled by the absence of border from certain ,chinese rugs1 into the belief that they are not intact4 ,this is of course an error1 and it is worthy of note that the ,sacred rugs1 containing in their designs a high measure of religious symbolism1 are almost invariably without borders4 ,,prepared ,,by ,,the ,,editorial ,,staff ,,of ,,the ,,mentor ,,association ,,illustration ,,for ,,the ,,mentor1 ,,vol4 #d1 ,no4 #b1 ,,serial ,no4 #ajb ,,copyright1 #aiaf1 ,,by ,,the ,,mentor ,,association1 ,,inc4 ,illustration3 ,,plate ,,vi ,,very ,,early ,,chinese ,,rug ,,chinese ,,rugs ,,very ,,early ,,chinese ,,rug ,monograph ,number ,six in ,the ,mentor ,reading ,course ,length1 nine feet nine inches4 ,width1 six feet six inches4 ,sixteen hand-tied knots to the square inch1 double yarns4 ,it should be1 and probably will be1 unnecessary to write any words of praise for the wonderful old carpet so well reproduced in this plate4 ,it has all the marks of great and genuine antiquity4 ,it represents the ,chinese rug-weaving art at its best1 so far as clear concept1 perfect simplicity1 and balance go1 and the marvelous color which distinguishes the highest expression4 ,when this piece came to ,america1 together with the temple carpet shown in ,plate ,v1 it was in a sorry state of disrepair1 although but little of the original web was missing4 ,the work of reparation occupied a very considerable period of time1 but resulted in bringing back to life and utility one of the most perfect examples of early weaving that have ever been imported4 ,if praise of the rug is unnecessary1 analysis of it is next to impossible1 for the good reason that there is nothing much to analyze4 ,in color there are only two shades of tan1 one gold1 the other brown1 and the one shade of very peculiar1 misty blue4 ,these1 together with the wide band of dark brown around the sides and ends1 all softened by age1 complete the narrowest color schedule it could well be possible to employ in a rug4 ,the range of design is still more limited4 ,there is nothing but the fret in the central medallion and the single border1 and the small medallions and corners1 which1 while not pretending to actual depiction1 even conventionally1 are nevertheless doubtless derived from the simple dragon forms so widely used at the remote period when this rug was made4 ,in all this there is nothing complex1 nothing pretentious1 and yet the whole has a decorative atmosphere1 and a completeness1 which could not have been more impressive and which a free use of divers patterns could only have impaired4 ,from the standpoint of composition1 particular attention should be paid to this blue4 ,the color printing process has fortunately reproduced it with astonishing fidelity4 ,it is not alone unique among the multitude of wonderful blues in which the old ,chinese dyers excelled1 but it would be difficult for the most skilful of present day colorists to have selected or devised a shade which would have taken its place in complementing to the shades of gold brown which dominate the entire fabric4 ,in the light of such an accomplishment1 it is difficult to believe that the scientific theory of color was worked out by a ,frenchman1 at so very late a day4 ,some importance1 finally1 attaches to the brown band formed around the outside of the rug4 ,wide observation of old ,chinese rugs reveals the fact that brown1 used for this purpose1 is an almost unfailing mark of very early origin4 ,as time went on1 blue began to supersede it1 and through recent centuries the blue band has been well nigh universal2 though in some few localities1 apparently1 brown has been adhered to for this purpose1 down to a comparatively late day4 ,,prepared ,,by ,,the ,,editorial ,,staff ,,of ,,the ,,mentor ,,association ,,illustration ,,for ,,the ,,mentor1 ,,vol4 #d1 ,no4 #b1 ,,serial ,no4 #ajb ,,copyright1 #aiaf1 ,,by ,,the ,,mentor ,,association1 ,,inc4 ,,chinese ,,rugs ,by ,,john ,,kimberly ,,mumford ,author and ,expert on ,rugs ,,color ,,plates ,,antique ,,chinese ,,rug ,,antique ,,chinese ,,rug ,,round ,,chinese ,,rug ,,color ,,plates ,,old ,,chinese ,,rug ,,old ,,chinese ,,temple ,,rug ,,very ,,early ,,chinese ,,rug ,illustration3 ,a ,,very ,,consistent ,,design ,center and border have a single motive4 ,the fret and spot stripes furnish the accent ,,the ,,mentor ,,department ,,of ,,fine ,,arts ,,march #a1 #aiaf ,entered at the ,post-office at ,new ,york1 ,n4 ,y41 as second-class matter4 ,copyright1 #aiaf1 by ,the ,mentor ,association1 ,inc4 ,there are many reasons for believing that the weaving of rugs was not indigenous to ,china1 but was borrowed1 perhaps a very long time ago1 from ,persia1 or1 possibly even earlier1 from the ,turkomans1 to whom has generally been attributed the invention of the piled or upstanding knot4 ,recent investigations lead one to disbelieve in this1 and to consider even these ancient ,turkomans as more or less modern4 ,but they nevertheless confirm the belief that rug weaving was an acquired art with the ,chinese4 ,this conviction is further sustained by the relatively small part rugs or rug weaving have had in the ,chinese artistic tradition1 the absence of reference to them in literature1 and the fewness of fine ,chinese rugs as compared with the multitude of wonderful pieces that have emanated from ,persia1 ,turkestan1 ,india1 and ,turkey4 ,in ,china rugs do not appear to have been so much a part of the daily1 intimate life of the people as they are and always have been in the ,moslem countries1 nor have they received so much of reverent attention4 ,true1 much of ,chinese religious symbolism has been woven into the rugs1 but chiefly in the few special pieces made for the ornamentation or furnishing of the temples4 ,the ,mohammedan's rug is closely related to his daily devotions4 ,in ,china the rug has no such place1 but is in the main a utility2 and for this reason1 perhaps1 efforts to produce masterpieces have been far fewer in ,china1 and there appears to have been no record or tradition of individual weavers of renown4 ,in only a few instances is there found in ,chinese rugs the studious and wonderful elaboration displayed1 for example1 in the sixteenth-century ,persian rugs1 the fine fabrics of old ,damascus1 or the superlative weavings of the ,perso-,indian artists4 ,illustration3 ,a ,,very ,,ambitious ,,design ,the garden idea is apparent4 ,the deer1 stork1 tree1 and cotyledon 7seed leaf7 forms are of the 8,shou0 order suggestive of long life4 ,the round fret forms at the corners likewise symbolize this ,the art of ,china1 as expressed in porcelain and in painting1 took hold upon the fancy of the ,west long ago3 witness the ,delft ware1 which of course owes its inspiration to ,chinese sources4 ,europe had a passable notion of ,chinese artistic tenets at a rather early period4 ,so1 relatively1 had ,america4 ,it is interesting to note that of the ,chinese rugs1 now so amazingly popular in this country1 practically nothing was known until fifteen or twenty years ago1 save to an exceedingly small number of people4 ,the period of their predominance in popular favor has been brief2 but already the supply of old pieces with real merit is exhausted1 particularly in the larger sizes4 ,,sudden ,,popularity ,the vogue of the ,chinese rug in this country is unquestionably due to the artistic sense and discernment of the late ,stanford ,white4 ,in a certain establishment in ,new ,york there had grown up an accumulation of old ,chinese pieces1 some of them very rare and beautiful1 which had been 8thrown in0 with other art objects purchased4 ,they begged for attention at thirty or forty dollars each1 until ,mr4 ,white placed one or two of them in the hall of the late ,william ,c4 ,whitney's house4 ,from that moment the demand for them1 and consequently their market value1 advanced at a prodigious rate4 ,no matter what anybody may claim1 it is doubtful if there has ever been in ,europe or ,america any definite or systematized knowledge of the locality of origin or the period of ,chinese rugs4 ,aside from the small importance usually attached to them as art products by the ,chinese themselves1 this dearth of specific knowledge has been due to the fact that the rugs were not woven in ,eastern ,china1 but in the interior provinces1 and1 even after a demand arose for them in the ,west1 buyers were well content to await arrivals in the ,treaty ,ports1 rather than court the perils of travel into the ,chinese hinterland4 ,it was believed that as soon as the demand became known there would be great influx of desirable fabrics to ,peking4 ,there was2 but it lasted only for a little space1 and today in the ,chinese capital a rug of any merit whatsoever commands a price almost prohibitive4 ,this has led to a great volume of manufacture in ,peking1 both in new designs and in more or less creditable copies of the old4 ,but so violently has this commercial production been promoted that the very multitude of modern ,chinese rugs has begun to work injury to the enterprise2 although the texture of the new rugs is finer than that in many of the old ones4 ,in fact1 ,chinese rug weaving as a whole does not show any impressively high measure of technical accomplishment4 ,,texture ,,of ,,chinese ,,rugs ,the texture of ,chinese floor coverings is usually far coarser than the ,persian1 or even the ,turkish1 notwithstanding that they are woven in the ,persian knot1 which lends itself to amazing fineness of detail4 ,in addition to this coarseness a very heavy weft or cross-thread is used1 sometimes four heavy strands after each transverse row of knots4 ,this results in a very flat 8lie0 of the pile4 ,the difference between this and the fine1 almost perpendicular pile found in the rugs of ,ispahan 7so-called7 of ,tabriz and of ,kashan1 is striking2 but it doubtless expresses the general attitude of the ,chinese toward the rug4 ,they evidently regarded it merely as a medium for the presentation of simple patterns and broad masses of color1 and the quickest method of securing these was the best4 ,,design ,,and ,,treatment ,chinese rug design and treatment are plainly impressionistic1 as contrasted with the infinite detail that marks the high-school weavings of ,persia4 ,illustration3 ,,covering ,,for ,a ,,chair ,,seat ,,and ,,back ,this fabric is in yellow and blue4 ,the sacred mountain is the chief feature of the design ,the ,chinese weaver adapted the method to his requirements1 and some of the most beautiful effects in the ,chinese fabrics are found in absurdly coarse specimens4 ,on the other hand1 when he did undertake finer accomplishments1 he vindicated all the high artistic traditions of his race4 ,perhaps the most impressive illustration of the racial skill and deftness is the cut work with which1 in the better rugs1 many of the patterns are outlined4 ,this consists in the seemingly simple device of cutting away half the knot along the lines of a pattern2 such1 for example1 as a flower or vine1 a wave or a bird4 ,the result is to leave the pattern clearly defined and in actual relief1 without the interjection of another color4 ,this cutting takes the place of the color outline almost universally used in ,persia4 ,in this1 as in almost every phase of artistic accomplishment1 the ,chinese individuality and conservatism are manifest4 ,when we consider ,chinese history and note the multitude of race factors that have gone into ,china-,arabs1 ,jews1 ,nestorians1 ,hindus1 ,armenians1 and ,turks1 the wonder is that the ,chinese weaving art is not manifestly and obtrusively composite2 that is to say1 that it does not show on its surface these various elements4 ,but1 on the contrary1 it has taken the 8busy0 patterns of the races farther west1 stripped them of their masses of confusing detail1 and imbued them with the dignity and indefinable calm which seems to be the inevitable ,chinese mark4 ,anyone familiar with rugs can discern1 in a certain school of ,chinese fabrics1 the ,persian characteristics as found in the rugs of ,khorassan2 but always1 and from whatever source derived1 these patterns have been touched with the purely ,chinese character1 laid in the ,chinese color1 and so in the course of time have become thoroughly localized4 ,china converted the hard octagons of the ,turkoman rugs into circular scrolls or medallions1 beautifying them meanwhile with some floral character manifestly borrowed from the ,persians--and yet by no means ,persian4 ,there has been in all the world probably no more perfect example of racial individuality in art4 ,illustration3 ,a ,,composite ,,design ,of a rather late period4 ,in the border are found somewhat overloaded ,mohammedan characteristics ,,chinese ,,influence ,,on ,,rug ,,design ,it should be said1 however1 that ,chinese influence has been equally effective outside its own pale4 ,in the thirteenth century1 ,hulaku ,khan1 leading his ,mongol hordes in conquest1 took ,chinese artists and workmen as far west as ,bagdad4 ,traces of this transportation may be found in a great many ,persian and ,turkish rugs1 particularly the palace pieces made for three hundred years after that time4 ,the so-called 8cloud band0 and the cotyledon symbol 7representing the life idea7 may be seen in many fine ,persian rugs4 ,the dragon1 which plays so large a part in ,chinese ornament1 has also been imparted to other races4 ,the best illustration of this is the large ,bagdad carpet from the ,yerkes ,collection1 now in the ,metropolitan ,museum of ,art4 ,in eliminating the overactive quality in ,persian design1 ,china made use of 8background0 in a way which the most advanced theorists in artistic composition must approve4 ,the field of plain color became paramount2 but it was rarely used1 in the best early periods1 as it is in the ,west1 as a hard1 defined area with central medallion and corner spaces4 ,where this was done the softest color was used throughout1 such as a golden brown1 relieved by dull blues and perhaps a deeper brown or a touch of gold yellow4 ,in by far the most cases the pattern is distributed over the field sparsely instead of densely as in so many of the ,persian rugs4 ,almost the only exceptions to this rule are small1 repetitious diaper patterns1 usually in mild coloring4 ,generally speaking1 the patterns in ,chinese rugs are large in proportion to the fabric2 but it will be noticed that each has a more distinctive value4 ,the natural effect of this would have been excessive strength in general effect2 but here again the ,chinese art intuition rose to the requirement4 ,the difficulty was obviated by an entire change of color scheme4 ,illustration3 ,a ,,rug ,,of ,,unusual ,,quality1 ,,texture ,,and ,,color ,the strength of the patterns is well distributed ,,color ,,in ,,chinese ,,rugs ,while the ,chinese of early times were master color makers1 a very narrow schedule of colors has always served for the rugs1 until the later decadent periods2 in fact1 this holds true in all ,chinese art4 ,there is in the entire kingdom of ,chinese rug weaving no such jumble of unrelated colors as we find in the ,persians4 ,i have had occasion heretofore to make clear the ,persian theory of color1 that of neutralization by juxtaposition1 in which a score of naturally conflicting colors are thrown together with great freedom1 with the purpose that they shall neutralize one another4 ,the ,chinese had a concept more nearly approaching our own4 ,he dealt in simple colors rather than in complex ones1 and what neutralizations he accomplished were done before the actual weaving or else effected by the fading of the dyes after the rug was completed4 ,in ,chinese rugs art takes precedence of workmanship1 and as the art declines1 in the moderns1 the texture seems to improve4 ,illustration3 ,,an ,,old ,,rug ,,in ,,gray ,,and ,,soft ,,brown ,,colors ,simple and effective4 ,the lattice ground of the border has been used very intelligently ,with this wide view of the ,chinese habit and tendency before us1 it is well to consider the all important matter of color4 ,the range of coloring is noticeably narrow and correspondingly simple2 though at first glance it does not always seem to be so4 ,to this fact is doubtless due the restfulness which is the great charm of ,chinese rugs4 ,there are1 to be sure1 designs which are to the ,western eye hard and discordant2 but it will be found that most of these are in rugs of a religious sort1 where the patterns include the dragons1 ,foo dogs1 and other symbolic devices which seem to us grotesque and even repellent4 ,it will be observed1 however1 when one has acquired familiarity with the ,chinese rugs1 that the adjustment of color values is most accurate1 always bearing in mind that the ,chinese seem to have discounted in the oldest and best periods of artistic production the mellowing influence of time4 ,illustration3 ,a ,,coherent ,,and ,,well ,,balanced ,,design ,the colors are blue and white ,most noticeable in ,chinese rug coloring is the wonderful scope and quality of the blues4 ,the highest expression of ,persian skill in dyeing has always been found in blue2 but even in this art--which1 by the way1 the ,persians have now in a great measure lost--they must yield place to the ,chinese4 ,in the older rugs the ,chinese blues show a range1 a depth1 and a luminous quality which are not surpassed in the world1 and even the best modern pieces now being produced in ,peking are in this respect superior to their ,persian contemporaries4 ,second1 certainly1 to the blues in importance come the yellows4 ,while yellow has been used freely in ,persian rugs1 and more so in those of ,kurdistan and ,asia ,minor1 the fact of its royal and semi-religious value in ,china has caused it to be employed in some of the ,chinese fabrics with a frankness not equaled elsewhere4 ,twenty years ago1 before popular taste in ,america had attained its present appreciative attitude toward all ,chinese art1 the prevalence of yellow in strong values and large areas in the rugs was one of the chief causes of ,american dislike for them4 ,it is unpleasant to admit this now1 when old ,chinese rugs in yellow1 and some not so old1 are sought with an avidity that disregards the question of price4 ,,imperial ,,yellow ,since ,chinese rugs have come into demand we have heard a great deal of 8imperial yellow40 ,almost any yellow is 8imperial0 when a sale hangs in the balance4 ,but it should be unnecessary to say that true imperial yellow is quite as rare in ,chinese rugs as are imperial persons among the #djj1jjj1jjj of ,chinese population4 ,its actual frequency is about equal to that of 8inscriptions from the ,koran in the modern rugs of ,persia40 ,to describe it would tax the skill of ,lafcadio ,hearn1 who would not have been so rash as to undertake it4 ,perhaps the most descriptive thing one can say is that it outyellows all the gold that ever shone4 ,illustration3 ,,inharmonious ,,design ,it is too strong for a small fabric4 ,the sacred mountain and the ,foo dogs are combined badly with a border stripe derived from ,india or ,khorassan ,the green schedule is very limited and the employment of green even more uncommon than in ,moslem countries1 where its religious importance restricts its use4 ,when green does occur in ,chinese fabrics1 it has usually an admixture of yellow which converts it to olive1 or else is a frank attempt to reproduce the color of jade4 ,the colorings of old ,chinese rugs1 in the order of their frequency1 are about as follows3 #a4 ,blue and white1 with the pattern in two or even three shades of blue1 on white background1 or occasionally with a splash of some salmon shade to give warmth and accent4 #b4 ,reds and pinks1 with design in two blues1 yellow1 tan1 and white4 #c4 ,yellow and blue1 yellow ground with design in two shades of blue1 with admixture of white and secondary elements in soft shades of tan and brown4 #d4 ,browns and fawns1 with patterns in blues1 white1 red1 or yellow4 #e4 ,dark blues1 with design in white1 or far less frequently in gold tan1 relieved by small bits of light blue and white1 sometimes one note of rust red for luck4 7,this seems to be common in all parts of ,asia47 #f4 ,light blues1 with pattern in white and the softer shades of yellow1 pink1 and fawn or brown1 and small display of dark blue4 #g4 ,green grounds1 usually olive1 with pattern in dark and light blue1 yellow1 and some red4 ,there are some other eccentric colorings1 but these are the chief4 ,the blue and white pieces are scarce now for the reason that they contribute to the 8cool effects10 the attainment of which has of late been one of the chief aims of the highest practitioners in the art of decoration4 ,the reds and certain 8mustardy0 shades of yellow have perhaps been least liked and linger longest on the shelf4 ,blue or yellow has proved a more attractive color arrangement4 ,the dark blue and light blue grounds have always been very rare1 and a green rug is an episode4 ,illustration3 ,a ,,temple ,,fabric ,when fastened around a pillar the dragon is complete and appears twined spirally ,red appears in ,chinese silks in clear tones4 ,in the rugs it almost always has a yellowish cast4 ,there are many shades of salmon pink and red1 but very few pieces with pink of a cool character1 such as the 8shell0 shades1 rose pink1 or the famous ,du ,barry4 ,all these appear in ,persian and ,kurdish rugs1 and to one knowing how infinitely skilful ,chinese dyers have been it is at first hard to understand why the schedules of this common and popular color included chiefly the yellowish tints1 from pale apricot to a deep red which nevertheless verged toward orange4 ,the reason for it is still difficult to discern3 the method of obtaining these shades1 in a softness which increases with age1 is now clear4 ,if a ,persian dyer wished to secure any particular shade of color1 he would mix his dyes to that end1 and the color1 when applied1 would remain4 ,the oldtime ,chinese dyer was more ingenious4 ,he dyed the wool first in a fast yellow4 ,when this was dry and thoroughly set it was dipped into a rather strong red1 more or less fugitive4 ,upon long exposure to the air the red faded and the yellow came through2 enough of the red remaining to leave the degree of warmth desired4 ,the delicacy of these colors increases with age4 ,in some old pieces1 obviously of the ,ming period1 the wool which was originally red has come down to pale gold1 with only the faintest blush over it1 and in the faded color there is a quality which no accurate one-color dying can give4 ,the ,chinese dyer evidently counted upon the softening effect of the years1 a foresight which could be found nowhere save among a race of collectors4 ,,features ,,of ,,chinese ,,rug ,,patterns ,the simplicity which distinguishes ,chinese coloring may be said equally to distinguish the design4 ,this is more true of the old fabrics than of those of later origin4 ,in fact1 one of the distinguishing marks of the old rugs is the use of very simple patterns and usually a narrow border1 consisting of some form of the fret or wave pattern which in architecture is known as 8,greek10 but which appears with the swastika 771 of which it is a clear development1 in the primitive art of all races1 and which in ,china has been employed most freely from the earliest times4 ,illustration3 ,a ,,rug ,,consistent ,,in ,,its ,,strictly ,,floral ,,character ,well balanced1 and modelled after the ,kien ,lung designs1 but probably made later4 ,the color effect is sprightly ,just when or at what stage of ,chinese religious culture the dragon came into ,chinese art we probably do not know2 but it is found in the earliest rugs we have trace of4 ,in these1 however1 it shares the prevailing simplicity1 is strictly conventional in character1 usually laid in blue and worked into the shape of a circular medallion1 or sometimes1 in conjunction with the fret1 into corner devices4 ,these1 however1 seem to have been appropriated from the ,persian along with the central medallion4 ,illustration3 ,,mat ,,of ,a ,,very ,,early ,,period ,the purest of designs in gold and brown ,as time and the art progressed there crept into the design a greater opulence1 a higher degree of elaboration4 ,something of the floral richness of ,persia was absorbed1 and it abides to this day2 but everything adopted was transformed1 in color and treatment1 to fit into the ,chinese decorative scheme4 ,instead of a profuse mass of floral material1 one flower was taken as a motive and presented in repeating fashion1 duly emphasized1 and with no multiplicity of other floral factors to detract from it4 ,in almost every case the flower had an ethical or religious meaning which became the keynote of the rug4 ,in this connection it may be said that there is no art in the world in which so great a part of the prevailing figures has a generally recognized symbolic meaning4 ,,chinese ,,symbolism ,very comprehensive is this symbolism4 ,it includes not alone a multitude of things from the floral and animal kingdoms1 but even certain utensils had a meaning2 social1 ethical1 or moral1 if not religious4 ,the bat1 the bird1 the butterfly1 the dragon1 the kylin1 the ,foo dog1 the leopard1 the elephant1 the horse1 the phnix1 the stork1--the list is altogether too long to permit of any thorough tabulation4 ,the old symbols of primitive religion1 found in ,turanian rugs and dating back to the very morning of mankind1 do not seem to appear in the ,chinese weavings2 but it is manifest that somewhere1 at some time1 the ,chinese symbols and their attendant meanings were derived directly from some imaginative form of nature worship 7witness the cotyledon or seed germ1 which was adopted by ,persia from ,china and appears so often in the high-school ,persian rugs of ,sefavian times74 ,the meanings1 once established1 have been maintained in popular understanding4 ,every intelligent ,chinaman today knows them as his remote ancestors did4 ,it is a part of the great fund of popular information that bird1 bat1 deer1 and butterfly convey wishes for long life and good fortune4 ,illustration3 ,,one ,,of ,,the ,,oldest ,,and ,,finest ,,examples ,,of ,,chinese ,,rugs ,the dragons at the center and the corners are in marvellous blue on a background of pure gold4 ,the 8tiger0 marks are in brown ,chinese symbolism has developed some eccentric and even egregious things2 such1 for example1 as the dragon and the kylin4 ,each and every of such impossible creatures had his sphere and his legend4 ,of the dragons1 there are several kinds1--one of the heavens1 one of the mountains1 one of the sea4 ,the emperor's dragon has five claws4 ,so has that of the first- and second-class princes4 ,the next two classes of the royal family may display only a four-clawed one2 while ordinary mortals must be content with three4 ,a four-clawed serpent bespeaks a mandarin or a prince of the fifth rank4 ,illustration3 ,,an ,,unusual ,,saddle ,,cloth ,it has religious symbols in the center on a yellow background4 ,the border shows ,hindu influence4 ,the coloring is splendid ,the kylin1 a fearsome four-footed beast1 means long life and good government4 ,the phnix1 in addition to his indestructible life1 was reputed to live high in the air1 and to descend to earth only as the bearer of good news4 ,the catalogue is endless1 and perhaps to the ,occidental useless1 unless it be for the information of the collector or to divert the curious mind4 ,many of the superstitions common in ,turkey and ,persia1 seem to prevail throughout ,china4 ,for example1 ,i have found a 8cash0 7perforated ,chinese coin7 sewed fast to an old ,chinese rug to bring good luck4 ,it should be noted that the 8cash0 is one of the ,buddhistic 8symbols of happy augury40 ,few people in any part of the world will fail to see the fitness of this4 ,the ,mohammedans indulge this same practice1 using sometimes a gay bead or a scrap of cloth4 ,in weaving rugs the ,chinese in earlier times had one custom of which ,i have found no trace in western ,asia2 namely1 that of weaving a rug in two1 three1 or four sections1 breaking an elaborate design without respect for its continuity1 and knitting the parts together by the warp threads1 evidently to produce just the required size4 ,this is most prevalent in large temple rugs4 ,a word should be said concerning the assigning of rugs to specific periods4 ,there are persons who will name a period for any ,chinese rug4 ,i believe more of these are wrong than right4 ,there are some rugs which present coloring or design of distinct period character1 and in general it is probable that the earliest are the simplest4 ,the poor old ,ming dynasty has had an awful burden to carry4 ,ability to tell when any and every rug was made would imply an intimate and detailed familiarity with the civil and artistic history of ,china for unnumbered years1 and the person who professes such knowledge should be ready to give a reason for the faith that is in him4 ,not too much is known about ,chinese rugs4 ,they offer an ideal field for the ambitious student1 and when he has mastered it thoroughly he will know much besides rugs4 ,,supplementary ,,reading ,there is a scarcity of literature dealing with ,chinese rugs4 ,a knowledge of ,chinese rugs is based on a knowledge of rugs in the general ,asiatic sense1 and on ,chinese art in all its developments4 ,,chinese ,,art ,by ,stephen ,w4 ,bushell ,london1 #aiaj4 ,chap4 ,v1 8,textiles1 ,woven ,silks1 etc40 ,,chinese ,,pictorial ,,art ,by ,herbert ,a4 ,giles ,shanghai1 #aije4 ,,chinese ,,pottery ,,and ,,porcelain ,by ,r4 ,l4 ,hobson ,two ,volumes4 ,,bulletin ,,of ,,the ,,metropolitan ,,museum ,,of ,,art ,february1 #aiji4 ,l',,art ,,chinois ,by ,m4 ,paleologue ,paris1 #ahhh4 ,,chinesische ,,kunst ,,geschichte ,by ,o4 ,mnsterberg ,esslingen1 #aiab4 ,,the ,,tiffany ,,studios ,,collection ,,of ,,antique ,,chinese ,,rugs ,by ,mrs4 ,m4 ,c4 ,ripley ,new ,york1 #aijh4 ,,oriental ,,rugs ,,before #ahjj ,by ,f4 ,martin ,london1 #aiji4 ,,oriental ,,rugs ,,antique ,,and ,,modern ,by ,w4 ,a4 ,hawley ,new ,york1 #aiac4 ,,the ,,flight ,,of ,,the ,,dragon ,by ,binyon ,london1 #aijh4 ,,epochs ,,of ,,chinese ,,art ,by ,ernest ,f4 ,fenellosa ,new ,york1 #aiac4 ,,the ,,open ,,letter ,illustration3 ,a ,,rug ,,of ,,early ,,design ,it is of heavy quality1 dignified1 and harmonious1 in brown and gray colors4 ,the device in the center is a symbol standing for long life ,it is a curious fact that1 while ,china is the oldest nation that we know1 and the history of her civilization stretches back to the early morning of time1 there are many interesting ,chinese things with which we have only in recent years become familiar4 ,the ,chinese rug is a case in point4 ,how long the ,chinese have been making fine rugs no one can tell4 ,it is safe1 however1 to say that1 like their other arts1 ,chinese rugmaking is of very great antiquity4 99 99 99 99 99 ,and yet1 as ,mr4 ,mumford points out1 the ,chinese rug has come into vogue in the west only within the past fifteen or twenty years4 ,it is true the vogue was anticipated by a few collectors in ,england and ,america1 but they can be numbered on the fingers of one hand4 ,mr4 ,h4 ,o4 ,havemeyer1 some twenty-five years ago1 took a fancy to ,chinese rugs and made quite a collection of them4 ,they had no special market value then1 for they were not sought after4 ,mr4 ,havemeyer collected them because he was attracted to them as unusual products of the loom1 and then because1 he found them to be an interesting and profitable subject of study4 ,his collection is no doubt in the possession of his family today1 and if a present day value were set upon those rugs they would probably show an appreciation over their original prices of fully a thousand per cent1 if not more4 99 99 99 99 99 ,mr4 ,mumford calls attention to the fact that the ,chinese rug was made popular in this country by the late ,mr4 ,stanford ,white4 ,mr4 ,white was a very strong and original figure in art4 ,he did not look to others for suggestions4 ,he led the way and others followed4 ,so when he picked out a number of old ,chinese rugs that he found in a ,new ,york shop and placed them in ,mr4 ,william ,c4 ,whitney's house1 connoisseurs and collectors took notice and very soon the ,chinese rug became the vogue4 ,all that were to be had in ,america were soon bought up and the prices rose sensationally4 ,some time ago a ,new ,york collector bought a ,chinese rug for #cj4 ,this was in the days before the vogue4 ,two years later he found a mate to this rug in the same shop1 ordered it without hesitation--and it was delivered to him with a bill for #c1fjj4 ,this shows the increase of value that can be effected by a quick growth in demand4 ,and today few genuine old ,chinese rugs can be had at any price4 ,illustration3 ,w4 ,d4 ,moffat ,,editor ,,the ,,mentor ,,association ,,established ,,for ,,the ,,development ,,of ,a ,,popular ,,interest ,,in ,,art1 ,,literature1 ,,science1 ,,history1 ,,nature1 ,,and ,,travel ,,the ,,advisory ,,board ,,john ,g4 ,,hibben1 ,president of ,princeton ,university ,,hamilton ,w4 ,,mabie1 ,author and ,editor ,,john ,c4 ,,van ,,dyke1 ,professor of the ,history of ,art1 ,rutgers ,college ,,albert ,,bushnell ,,hart1 ,professor of ,government1 ,harvard ,university ,,william ,t4 ,,hornaday1 ,director ,new ,york ,zoological ,park ,,dwight ,l4 ,,elmendorf1 ,lecturer and ,traveler ,the purpose of ,the ,mentor ,association is to give its members1 in an interesting and attractive way1 the information in various fields of knowledge which everybody wants to have4 ,the information is imparted by interesting reading matter1 prepared under the direction of leading authorities1 and by beautiful pictures1 produced by the most highly perfected modern processes4 ,,the ,,mentor ,,is ,,published ,,twice ,a ,,month ,,subscription1 ,,three ,,dollars ,a ,,year4 ,,foreign 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#de4 ,makers of ,american ,art #df4 ,the ,ruins of ,rome #dg4 ,makers of ,modern ,opera #dh4 ,drer and ,holbein #di4 ,vienna1 the ,queen ,city #ej4 ,ancient ,athens #ea4 ,the ,barbizon ,painters #eb4 ,abraham ,lincoln ,volume #b #ec4 ,george ,washington #ed4 ,mexico #ee4 ,famous ,american ,women ,painters #ef4 ,the ,conquest of the ,air #eg4 ,court ,painters of ,france #eh4 ,holland #ei4 ,our ,feathered ,friends #fj4 ,glacier ,national ,park #fa4 ,michelangelo #fb4 ,american ,colonial ,furniture #fc4 ,american ,wild ,flowers #fd4 ,gothic ,architecture #fe4 ,the ,story of the ,rhine #ff4 ,shakespeare #fg4 ,american ,mural ,painters #fh4 ,celebrated ,animal ,characters #fi4 ,japan #gj4 ,the ,story of the ,french ,revolution #ga4 ,rugs and ,rug ,making #gb4 ,alaska #gc4 ,charles ,dickens #gd4 ,grecian ,masterpieces #ge4 ,fathers of the ,constitution #gf4 ,masters of the ,piano ,volume #c #gg4 ,american ,historic ,homes #gh4 ,beauty ,spots of ,india #gi4 ,etchers and ,etching #hj4 ,oliver ,cromwell #ha4 ,china #hb4 ,favorite ,trees #hc4 ,yellowstone ,national ,park #hd4 ,famous ,women ,writers of ,england #he4 ,painters of ,western ,life #hf4 ,china and ,pottery of ,our ,forefathers #hg4 ,the ,story of ,the ,american ,railroad #hh4 ,butterflies #hi4 ,the ,philippines #ij4 ,great ,galleries of ,the ,world3 ,the ,louvre #ia4 ,william ,m4 ,thackeray #ib4 ,grand ,canyon of ,arizona #ic4 ,architecture in ,american ,country ,homes #id4 ,the ,story of ,the ,danube #ie4 ,animals in ,art #if4 ,the ,holy ,land #ig4 ,john ,milton #ih4 ,joan ,of ,arc #ii4 ,furniture of the ,revolutionary ,period #ajj4 ,the ,ring of the ,nibelung ,volume #d #aja4 ,the ,golden ,age of ,greece ,,numbers ,,to ,,follow ,mar4 #ae4 ,,the ,,war ,,of #ahab4 ,by ,albert ,bushnell ,hart1 ,professor of ,government1 ,harvard ,university4 ,this number is one of the series 8,america ,in ,story and ,picture40 ,it follows 8,fathers ,of ,the ,constitution10 and will tell in an entertaining manner of all the interesting events that took place before1 during1 and shortly after the ,war of #ahab4 ,april #a4 ,,great ,,art ,,galleries ,,of ,,the ,,world--,,the ,,national ,,gallery1 ,,london ,by ,professor ,john ,c4 ,van ,dyke4 ,this number continues the series on the ,great ,art ,galleries of the ,world1 of which that on the ,louvre at ,paris1 was the first4 ,this number1 will1 if possible1 be even more beautiful and interesting4 ,many of the works of the great masters will be reproduced4 ,professor ,van ,dyke's text is as entertaining as it is instructive4 ,,the ,,mentor ,,association1 ,,inc4 #eb ,,east #aith ,,street1 ,,new ,,york1 ,n4 ,y4 ,,the ,,mentor ,,the ,,mentor ,,as ,a ,,reference ,,library ,every number of ,the ,mentor is valuable4 ,the back numbers are as useful and entertaining at any time as on the date of publication4 ,therefore1 many members wish to own a complete file of back numbers4 ,for those who own a complete set and desire to use ,the ,mentor as a reference library1 we have provided a simple and convenient method of filing and cataloguing ,the ,mentor4 ,in a booklet which we have especially provided for our members1 the various ,mentors are grouped under headings which link similar numbers together in sets4 ,attached to the name of each ,mentor is a list of the gravure pictures accompanying it1 together with a short synopsis of the contents4 ,this gives immediate information as to what each ,mentor contains4 ,we will be glad to send this booklet free of charge4 ,we also provide for our members file boxes the size of ,the ,mentor4 ,these are furnished stamped in gold lettering for forty cents apiece4 ,in these ,the ,mentors may be grouped according to sets4 ,we also supply a binder which holds twelve or thirteen ,mentors and has proved satisfactory in every way4 ,this binder has been arranged so as to hold ,the ,mentor complete1 and it has tie-pins to which the pictures are attached1 so that they swing freely in their place and the pictures can be enjoyed as well as the text on the back4 ,the price of these binders is one dollar each4 ,when our members desire to refer to a picture or look up a fact1 it is only necessary for them to consult the booklet1 finding there in which ,mentor the information may be sought4 ,the price of all back numbers of ,the ,mentor is fifteen cents each4 ,write and let us explain the plan more fully4 ,,the ,,mentor ,,association1 ,,inc4 #eb ,east ,nineteenth ,street--,new ,york ,city1 ,n4 ,y4 ,,make ,,the ,,spare ,,moment ,,count