,,the ,,practical ,,book ,,of ,,oriental ,,rugs ,,fourth ,,edition ,,the ,,practical ,,books ,,of ,,home ,,life ,,enrichment ,,each ,,profusely ,,illustrated1 ,,handsomely ,,bound4 ,octavo4 ,cloth4 ,in a slip case4 ,,the ,,practical ,,book ,,of ,,early ,,american ,,arts ,,and ,,crafts ,,by ,,harold ,,donaldson ,,eberlein ,,and ,,abbot ,,mcclure ,,the ,,practical ,,book ,,of ,,architecture ,,by ,c4 ,,matlack ,,price ,,the ,,practical ,,book ,,of ,,oriental ,,rugs ,,by ,,dr4 ,g4 ,,griffin ,,lewis ,,new ,,edition1 ,,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 ,c4 ,,thomas1 ,,jr4 ,,new ,,revised ,,edition ,,the ,,practical ,,book ,,of ,,interior ,,decoration ,illustration3 ,,tekke ,,bokhara ,,rug ,size #e'f #f'd ,,property ,,of ,,mr4 ,f4 ,a4 ,,turner1 ,,boston1 ,,mass4 ,this piece is unusual in many ways4 ,the background of old ivory both in the borders and in the field2 the old rose color of the octagons2 the difference in the number of border stripes and in the designs of same on the sides and ends are all non-,turkoman features4 ,it is the only so called white ,bokhara of which we have any knowledge4 ,,the ,,practical ,,book ,,of ,,oriental ,,rugs ,,by ,,dr4 ,g4 ,,griffin ,,lewis ,,with #bj ,,illustrations ,,in ,,color1 #ic ,,in ,,doubletone #gj ,,designs ,,in ,,line1 ,,chart ,,and ,,map ,,new ,,edition1 ,,revised ,,and ,,enlarged ,illustration3 logo ,,philadelphia ,,london ,j4 ,b4 ,,lippincott ,,company ,,copyright1 #aiaa1 ,,by ,j4 ,b4 ,,lippincott ,,company ,,copyright1 #aiac1 ,,by ,j4 ,b4 ,,lippincott ,,company ,,printed ,,by ,j4 ,b4 ,,lippincott ,,company ,,at ,,the ,,washington ,,square ,,press ,,philadelphia1 ,u4,s4,a4 ,,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 exhausted4 ,its rather remarkable sale1 in spite of the fact that within the past decade1 no less than seven books on the subject have been printed in ,english1 proves that it is the practical part of the book that appeals to the majority4 ,the second edition has been prepared with the same practical idea paramount and quite a few new features have been introduced4 ,the color plates have been increased from ten to twenty2 a chapter on ,chinese rugs has been inserted2 descriptions of three more rugs have been added and numerous changes and additions have been made to the text in general4 ,,preface ,oriental rugs have become as much a necessity in our beautiful1 artistic homes as are the paintings on the walls and the various other works of art4 ,their admirers are rapidly increasing1 and with this increased interest there is naturally an increased demand for more reliable information regarding them4 ,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 attempted4 ,the particulars on identification by prominent characteristics and detail of weaving1 the detailed chapter on design1 illustrated throughout with text cuts1 thus enabling the reader to identify the different varieties by their patterns2 and the price per square foot at which each variety is held by retail dealers1 are features new in rug literature4 ,instructions are also given for the selection1 purchase1 care and cleaning of rugs1 as well as for the detection of fake antiques1 aniline dyes1 etc4 ,in furtherance of this practical idea the illustrations are not of museum pieces and priceless specimens in the possession of wealthy collectors1 but of fine and attractive examples which with knowledge and care can be bought in the open market to-day4 ,these illustrations will therefore be found of the greatest practical value to modern purchasers4 ,in the chapter on famous rugs some few specimens illustrative of notable pieces have been added4 ,in brief1 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 guidance1 and from which dealers and connoisseurs can with the greatest ease of reference refresh their knowledge and determine points which may be in question4 ,for many valuable hints the author wishes to acknowledge indebtedness to the publications referred to in the bibliography2 to ,miss ,lillian ,cole1 of ,sivas1 ,turkey2 to ,major ,p4 ,m4 ,sykes1 the ,english ,consulate ,general at ,meshed1 ,persia2 to ,b4 ,a4 ,gupte1 ,f4 ,z4 ,s41 ,assistant ,director of ,ethnography at the ,indian ,museum1 ,calcutta1 ,india2 to ,prof4 du ,bois-,reymond1 of ,shanghai1 ,china2 to ,dr4 ,john ,g4 ,wishard1 of the ,american ,hospital at ,teheran1 ,persia2 to ,miss ,alice ,c4 ,bewer1 of the ,american ,hospital at ,aintab1 ,turkey2 to ,miss ,annie ,t4 ,allen1 of ,brousa1 ,turkey2 to ,mr4 ,charles ,c4 ,tracy1 president of ,anatolia ,college1 ,morsovan1 ,turkey2 to ,mr4 ,john ,tyler1 of ,teheran1 ,persia2 to ,mr4 ,e4 ,l4 ,harris1 ,united ,states ,consulate ,general of ,smyrna1 ,turkey2 to ,dr4 ,j4 ,arthur ,frank1 ,hamadan1 ,persia2 and to ,miss ,kate ,g4 ,ainslie1 of ,morash1 ,turkey4 ,for the use of some of the plates and photographs acknowledgment is made to ,mr4 ,a4 ,u4 ,dilley1 of ,boston1 ,mass42 to ,h4 ,b4 ,claflin ,co41 of ,new ,york ,city2 to ,mr4 ,charles ,quill ,jones1 of ,new ,york ,city2 to ,miss ,lillian ,cole1 of ,sivas1 ,turkey2 to ,maj4 ,p4 ,m4 ,sykes1 of ,meshed1 ,persia2 to ,maj4 ,l4 ,b4 ,lawton1 of ,seneca ,falls1 ,n4 ,y42 to the late ,william ,e4 ,curtis1 of ,washington1 ,d4 ,c42 to ,the ,scientific ,american and to ,good ,housekeeping magazines2 while thanks are due ,mr4 ,a4 ,u4 ,dilley1 of ,boston1 ,mass42 to ,liberty ,co41 of ,london2 to the ,simplicity ,co41 of ,grand ,rapids1 ,mich42 to the ,tiffany ,studios and to ,nahigian ,bros41 of ,chicago1 ,ill41 for some of the colored plates1 and to ,clifford ,lawton1 of ,new ,york ,city1 for the map of the ,orient4 ,,table ,,of ,,contents ,,part ,i ,,page ,,introduction #ag ,age of the weaving art2 ,biblical reference to the weaving art2 a fascinating study2 the artistic worth and other advantages of the ,oriental products over the domestic2 annual importation4 ,i4 ,,cost ,,and ,,tariff #be ,upon what depends the value2 the various profits made2 transportation charges2 export duties2 import duties2 cost compared with that of domestic products2 some fabulous prices4 ,,ii4 ,,dealers ,,and ,,auctions #ca ,oriental shrewdness2 when rugs are bought by the bale2 the auction a means of disposing of poor fabrics2 fake bidders4 ,,iii4 ,,antiques #ce ,the antique craze2 why age enhances value2 what constitutes an antique2 how to determine age2 antiques in the ,orient2 antiques in ,america2 celebrated antiques2 ,american collectors2 artificial aging4 ,,iv4 ,,advice ,,to ,,buyers #dc ,reliable dealers2 difference between ,oriental and domestic products2 how to examine rugs2 making selections2 selection of rugs for certain rooms4 ,v4 ,,the ,,hygiene ,,of ,,the ,,rug #ee ,the hygienic condition of ,oriental factories and homes2 condition of rugs when leaving the ,orient2 condition of rugs when arriving in ,america2 ,united ,states laws regarding the disinfection of hides2 the duties of retailers4 ,,vi4 ,,the ,,care ,,of ,,rugs #fc ,erroneous ideas regarding the wearing qualities of ,oriental rugs2 treatment of rugs in the ,orient compared with that in ,america2 how and when cleaned2 how and when washed2 moths2 how straightened2 removal of stains1 etc4 ,,vii4 ,,the ,,material ,,of ,,rugs #fi ,wool1 goats' hair1 camels' hair1 cotton1 silk1 hemp2 preparation of the wool2 spinning of the wool4 ,,viii4 ,,dyes ,,and ,,dyers #ge ,secrets of the ,eastern dye pots2 vegetable dyes2 aniline dyes2 ,persian law against the use of aniline2 the process of dyeing2 favorite colors of different rug-weaving nations2 how to distinguish between vegetable and aniline dyes2 symbolism of colors2 the individual dyes and how made4 ,,ix4 ,,weaving ,,and ,,weavers #hg ,the present method compared with that of centuries ago2 ,oriental method compared with the domestic2 pay of the weavers2 the ,eastern loom2 the different methods of weaving4 ,x4 ,,designs ,,and ,,their ,,symbolism #ig ,oriental vs4 ,european designs2 tribal patterns2 the migration of designs2 characteristics of ,persian designs2 characteristics of ,turkish designs2 characteristics of ,caucasian designs2 characteristics of ,turkoman designs2 dates and inscriptions2 quotations from the ,koran2 description and symbolism of designs alphabetically arranged1 with an illustration of each4 ,,xi4 ,,the ,,identification ,,of ,,rugs #adg ,a few characteristic features of certain rugs2 table showing the distinguishing features of all rugs2 an example4 ,,part ,,ii ,,xii4 ,,general ,,classification #afa ,how they receive their names2 trade names2 geographical classification of all rugs4 ,,xiii4 ,,persian ,,classification #afi ,persian characteristics2 the knot2 the weavers2 factories in ,persia2 ,persian rug provinces2 description of each ,persian rug1 as follows3 ,herez1 ,bakhshis1 ,gorevan1 ,serapi1 ,kara ,dagh1 ,kashan1 ,souj ,bulak1 ,tabriz1 ,bijar 7,sarakhs1 ,lule71 ,kermanshah1 ,senna1 ,feraghan 7,iran71 ,hamadan1 ,ispahan 7,iran71 ,joshaghan1 ,saraband 7,sarawan1 ,selvile71 ,saruk1 ,sultanabad 7,muskabad1 ,mahal1 ,savalan71 ,niris 7,laristan71 ,shiraz 7,mecca71 ,herat1 ,khorasan1 ,meshed1 ,kirman1 ,kurdistan4 ,,xiv4 ,,turkish ,,classification #bag ,the rug-making districts of ,turkey in ,asia2 annual importation of ,turkish rugs2 ,turkish weavers2 the knot2 ,turkish characteristics2 the ,kurds2 description of each ,turkish rug1 as follows3 ,kir ,shehr1 ,oushak1 ,karaman1 ,mujur1 ,konieh1 ,ladik1 ,yuruk1 ,ak ,hissar 7,aksar71 ,anatolian1 ,bergama1 ,ghiordes1 ,kulah1 ,makri1 ,meles 7,carian71 ,smyrna 7,aidin1 ,brousa71 ,mosul4 ,,xv4 ,,caucasian ,,classification #bec ,the country2 the people2 ,caucasian characteristics2 description of each ,caucasian rug1 as follows3 ,daghestan1 ,derbend1 ,kabistan 7,kuban71 ,tchetchen 7,tzitzi1 ,chichi71 ,baku1 ,shemakha 7,soumak1 ,kashmir71 ,shirvan1 ,genghis 7,turkman71 ,karabagh1 ,kazak4 ,,xvi4 ,,turkoman ,,classification #bgg ,turkoman territory2 ,turkoman characteristics2 description of each ,turkoman rug1 as follows3 ,khiva ,bokhara 7,afghan71 ,beshir ,bokhara1 ,tekke ,bokhara1 ,yomud 7,yamut71 ,kasghar1 ,yarkand1 ,samarkand 7,malgaran74 ,,xvii4 ,,beluchistan ,,rugs #bie ,the country2 the people2 ,beluchistan characteristics2 description and cost of ,beluchistan rugs4 ,,xviii4 ,,chinese ,,rugs #cja ,slow to grow in public favor2 exorbitant prices2 geographical classification2 classification according to designs2 ,chinese designs and their symbolism2 the materials2 the colors4 ,,xix4 ,,ghileems1 ,,silks1 ,,and ,,felts #caa ,how made2 classification1 characteristics1 uses1 description of each kind4 ,silks #caf ,classification1 colors1 cost1 wearing qualities4 ,felts #cah ,how made2 their use2 cost4 ,,xx4 ,,classification ,,according ,,to ,,their ,,intended ,,use #cba ,prayer ,rugs4 ,how used2 the niche2 designs2 how classified2 prayer niche designs with key4 ,hearth ,rugs1 ,grave ,rugs1 ,dowry or ,wedding ,rugs1 ,mosque ,rugs1 ,bath ,rugs1 ,pillow ,cases1 ,sample ,corners1 ,saddle ,bags1 ,floor ,coverings1 ,runners1 ,hangings4 ,,xxi4 ,,famous ,,rugs #cca ,museum collections2 private collections2 the recent ,metropolitan ,museum exhibit2 age and how determined2 description and pictures of certain famous rugs4 ,,glossary #cda ,giving all rug names and terms alphabetically arranged1 with the proper pronunciation and explanation4 ,,bibliography #cei ,giving an alphabetically arranged list of all rug literature in the ,english language4 ,,index #cfc ,,list ,,of ,,illustrations ,,rugs ,,colored ,,plates ,,page ,tekke ,bokhara rug ,frontispiece ,meshed prayer rug #bb ,khorasan carpet #cb ,saruk rug #dj ,shiraz rug #eb ,anatolian mat #fj ,ghiordes prayer rug #ff ,ladik prayer rug #gd ,daghestan rug #hd ,kazak rug #id ,kazak rug #add ,shirvan rug #aeh ,saruk rug #aff ,kulah hearth rug #baf ,shirvan rug #bej ,beshir ,bokhara prayer rug #bgd ,daghestan prayer rug #bib ,chinese rug #cjj ,chinese rug #cjf ,chinese cushion rug #cah ,,doubletones ,the ,metropolitan animal rug #bf ,bergama prayer rug #df ,symbolic ,persian silk 7,tabriz7 rug #dh ,symbolic ,persian silk rug #ih ,semi-,persian rug 7,european designs7 #ajj ,shiraz prayer rug #ajd ,hamadan rug #aaj ,feraghan rug #aad ,kermanshah rug 7modern7 #aah ,khiva prayer rug #abj ,kir ,shehr prayer rug #acj ,konieh prayer rug #ach ,tekke ,bokhara strip #aej ,tekke ,bokhara saddle half #afb ,herez carpet #agb ,gorevan carpet #agf ,serapi carpet #agh ,kashan silk rug #ahj ,tabriz rug #ahb ,bijar rug #ahf ,senna rug #ahh ,feraghan rug #aij ,hamadan rug #aib ,ispahan rug #aid ,saraband rug #aih ,mahal carpet #bjb ,niris rug #bjd ,shiraz rug #bjf ,shiraz rug #bjh ,kirman prayer rug #baj ,kirman rug #bab ,kurdistan rug 7,mina ,khani design7 #bad ,kir ,shehr prayer rug #bbj ,kir ,shehr hearth rug #bbb ,konieh prayer rug #bbd ,maden 7,mujur7 prayer rug #bbf ,ladik prayer rug #bbh ,yuruk rug #bcj ,ak ,hissar prayer rug #bcb ,bergama rug #bcf ,ghiordes prayer rug #bch ,kulah prayer rug #bdj ,meles rug #bdb ,meles rug #bdd ,makri rug #bdf ,mosul rug #bdh ,daghestan rug #bed ,daghestan prayer rug #bef ,kabistan rug #beh ,tchetchen or ,chichi rug #bfj ,baku rug #bfb ,shemakha1 ,sumak or ,cashmere rug #bfd ,shirvan rug #bff ,genghis rug #bfh ,karabagh rug #bgj ,kazak rug 7,palace design7 #bgb ,khiva ,bokhara rug #bgh ,beshir ,bokhara rug #bhj ,tekke ,bokhara rug #bhb ,tekke ,bokhara 7,princess ,bokhara1 ,khatchlie7 prayer rug #bhd ,yomud rug #bhf ,samarkand rug #bij ,beluchistan rug #bif ,senna ,ghileem rug #cab ,kurdish ,ghileem rug #cad ,merve ,ghileem rug #caf ,kurdish ,ghileem rug #caf ,saddle cloth1 saddle bags and powder bag #cbd ,kirman saddle bags #cbf ,bijar sample corner #cbh ,ardebil ,mosque carpet #ccj ,berlin ,dragon and ,phnix rug #ccb ,east ,indian hunting rug #ccd ,the ,altman prayer rug #ccf ,the ,baker hunting rug #cch ,,rug ,,making1 ,,etc4 ,a ,persian rug merchant #ch ,expert weaver and inspector #ch ,spinning the wool #gb ,persian dye pots #hj ,a ,persian village #hj ,a ,turkish loom #hh ,the ,senna and ,ghiordes knots #ij ,youthful weavers #ij ,a ,persian loom #ib ,a wooden comb #ib ,a ,kurdish guard #abd ,the ,emir of ,bokhara and his ministers #acd ,turkomans at home #acd ,characteristic backs of rugs #aeb ,inspecting rugs at ,ispahan #agj ,persian villages near ,hamadan #agj ,turkomans #bgf ,having a pot of tea at ,bokhara #bhh ,a street in ,samarkand #bhh ,the rug caravan #cgf ,,designs ,angular hook #aja ,barber-pole stripe #ajb ,bat #ajc ,beetle #ajc ,butterfly border design #ajd ,caucasian border design #aje ,chichi border design #aje ,chinese fret #ajf ,chinese cloud band #ajf ,comb #ajh ,crab border design #ajh ,greek cross #aji ,fish bone border design #aab ,galley border design #aab ,georgian border design #aab ,ghiordes border design #aac ,herati border design #aad ,herati field design #aad ,knot of destiny #aaf ,kulah border design #aaf ,lamp #aag ,lattice field #aag ,link #aah ,lotus #aah ,lotus border design #aai ,greek meander #aai ,pole medallion #abj ,mir or ,saraband border design #abj ,octagon #abb ,palace or sunburst #abb ,pear #abc ,pear border design #abd ,reciprocal saw-teeth #abf ,reciprocal trefoil #abf ,lily or ,rhodian field design #abf ,lily or ,rhodian border design #abf ,ribbon border design #abg ,rooster #abg ,rosette #abh ,s forms #abi ,scorpion border design #abi ,shirvan border design #acj ,shou #aca ,solomon's seal #aca ,star #acc ,swastika #acd ,t forms #acd ,tae-kieh #ace ,tarantula #ace ,tekke border designs #ace ,tekke field designs #ace ,tomoye #acf ,tortoise border designs #acf ,tree designs #acg ,wine-glass border designs #ach ,winged disc #aci ,y forms #aci ,various forms of prayer-niche in rugs #cbb ,,nameless ,,designs ,persian border designs #adj ,turkish border designs #ada ,caucasian border designs #adb ,turkoman border designs #adc ,chinese border designs #adc ,chinese field design #adc ,kurdish field designs #adc ,caucasian field design #adc ,turkish field designs #adc ,persian field designs #adc ,,chart ,showing the distinguishing features of the different rugs #aef ,,map ,the ,orient ,at end of volume ,,introduction ,just when the art of weaving originated is an uncertainty1 but there seems to be a consensus of opinion among archologists in general that it was in existence earlier than the #bdth century before ,christ4 ,the first people which we have been able with certainty to associate with this art were the ancient ,egyptians4 ,monuments of ancient ,egypt and of ,mesopotamia bear witness that the products of the hand loom date a considerable time prior to #bdjj ,b4,c41 and on the tombs of ,beni-,hassan are depicted women weaving rugs on looms very much like those of the ,orient at the present time4 ,from ancient literature we learn that the palaces of the ,pharaohs were ornamented with rugs2 that the tomb of ,cyrus1 founder of the ancient ,persian monarchy1 was covered with a ,babylonian carpet and that ,cleopatra was carried into the presence of ,csar wrapped in a rug of the finest texture4 ,ovid vividly described the weaver's loom4 ,in ,homer's ,iliad we find these words3 ,thus as he spoke he led them in and placed on couches spread with purple carpets o'er4 ,the woman in the ,proverbs of ,solomon said1 ,i have woven my bed with cords1 ,i have covered it with painted tapestry from ,egypt4 ,job said3 ,my days are swifter than the weaver's shuttle and are spent without hope4 ,other places in the ,bible where reference is made to the art of weaving are1 ,ex4 #cc1 #ce1 ,sam4 #ag1 #g1 and ,isa4 #ch1 #ab4 ,besides ,biblical writers1 ,plautus1 ,scipio1 ,horace1 ,pliny and ,josephus all speak of rugs4 ,the ,egyptian carpets were not made of the same material and weave as are the so-called ,oriental rugs of to-day4 ,the pile surface was not made by tying small tufts of wool upon the warp thread4 ,the ,chinese seem to have been the first to have made rugs in this way4 ,persia acquired the art from ,babylon many centuries before ,christ1 since which time she has held the foremost place as a rug weaving nation4 ,there is no more fascinating study than that of ,oriental rugs and there are few hobbies that claim so absorbing a devotion4 ,to the connoisseur it proves a veritable enchantment3 to the busy man a mental salvation4 ,he reads from his rugs the life history of both a bygone and a living people4 ,a fine rug ranks second to no other creation as a work of art and although many of them are made by semi-barbaric people1 they possess rare artistic beauty of design and execution to which the master hand of ,time puts the finishing touches4 ,each masterpiece has its individuality1 no two being alike1 although each may be true in general to the family patterns1 and therein consists their enchantment4 ,the longer you study them the more they fascinate4 ,is it strange then that this wonderful reproduction of colors appeals to connoisseurs and art lovers of every country8 ,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 history1 so to speak1 of many of these gems of the ,eastern loom is plainly legible in their weave1 designs and colors4 ,the family or tribal legends worked out in the patterns1 the religious or ethical meaning of the blended colors1 the death of a weaver before the completion of his work1 which is afterwards taken up by another1 the toil and privation of which every rug is witness1 are all matters of interest only to the student4 ,americans have been far behind ,europeans in recognizing the artistic worth and the many other advantages of the ,oriental rug over any other kind4 ,twenty-five years ago few ,american homes possessed even one4 ,since then a marked change in public taste has taken place4 ,all classes have become interested and1 according to their resources1 have purchased them in a manner characteristic of the ,american people1 so that now some of the choicest gems in existence have found a home in the ,united ,states4 ,to what extent this is true may be shown by the custom house statistics1 which prove that1 even under a tariff of nearly #ej per cent41 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 world4 ,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 past4 ,already the western demand has been so great that the dyes1 materials and quality of workmanship have greatly deteriorated and the ,orientals are even importing machine made rugs from ,europe for their own use4 ,it therefore behooves us to cherish the ,oriental rugs now in our possession4 ,both ,europe and the ,united ,states are manufacturing artistic carpets of a high degree of excellence1 but they never have and never will be able to produce any that will compare with those made in the ,east4 ,they may copy the designs and match the shades1 to a certain extent1 but they lack the inspiration and the knack of blending1 both of which are combined in the ,oriental product4 ,only in a land where time is of little value and is not considered as an equivalent to money1 can such artistic perfection be brought about4 ,,part ,i ,illustration3 ,,meshed ,,prayer ,,rug ,size #d' #c' ,,from ,,the ,,collection ,,of ,,the ,,author ,prayer rugs of this class are exceedingly rare4 ,this is the only one the author has ever seen4 ,it is extremely fine in texture1 having twenty-eight ,senna knots to the inch vertically and sixteen horizontally1 making four hundred and forty-eight knots to the square inch1 tied so closely that it is quite difficult to separate the pile sufficiently to see the wool or warp threads4 ,the central field consists of the tree of life in dark blue with red1 blue and pink flowers upon a background of rich red4 ,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 blue4 7,see page #bji7 ,,cost ,,and ,,tariff ,the value of an ,oriental rug cannot be gauged by measurement any more than can that of a fine painting2 it depends upon the number of knots to the square inch1 the fineness of the material1 the richness and stability of its colors1 the amount of detail in design1 its durability and1 last but not least1 its age4 ,none of these qualifications being at sight apparent to the novice1 he is unable to make a fair comparison of prices1 as frequently rugs which appear to him to be quite alike and equally valuable may be far apart in actual worth4 ,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 thereon1 it is no wonder that the prices at times seem exorbitant4 ,the transportation charges amount to about ten cents per square foot4 ,the ,turkish government levies one per cent4 export duty and the heavily protected ,united ,states levies forty per cent4 ad valorem and ten cents per square foot besides1 all of which alone adds over fifty per cent4 to the original cost in ,america1 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 prices4 ,to furnish a home with ,oriental rugs is not as expensive as it would at first seem4 ,they can be bought piece by piece at intervals1 as circumstances warrant1 and when a room is once provided for it is for all time1 whereas the carpet account is one that is never closed4 ,in the ,united ,states good1 durable ,eastern rugs may be bought for from sixty cents to ten dollars per square foot1 and in ,england for much less4 ,extremely choice pieces may run up to the thousands4 ,at the ,marquand sale in ,new ,york ,city in #aijb1 a fifteenth century ,persian rug 7#aj-aj x #f-a7 was sold for #cf1jjj1 nearly #eej a square foot4 ,the holy carpet of the ,mosque at ,ardebil1 woven at ,kashan in #aecf and now owned by the ,south ,kensington ,museum1 of ,london1 is valued at #cj1jjj4 ,the famous hunting rug1 which was presented some years ago by the late ,ex-,governor ,ames of ,massachusetts to the ,boston ,museum of ,fine ,arts1 is said to have cost #ce1jjj4 ,the late ,mr4 ,yerkes of ,new ,york ,city paid #fj1jjj for his ,holy ,carpet1 the highest price ever paid for a rug4 ,mr4 ,j4 ,p4 ,morgan recently paid #ag1jjj for one #bj x #ae4 ,two years ago ,h4 ,c4 ,frick paid #afj1jjj for eight small ,persians1 #bj1jjj apiece4 ,senator ,clark's collection cost #c1jjj1jjj1 ,h4 ,o4 ,havemeyer's #bej1jjj1 and ,o4 ,h4 ,payne's #bjj1jjj4 ,illustration3 ,,the ,,metropolitan ,,animal ,,rug ,,by ,,courtesy ,,of ,,the ,,metropolitan ,,museum ,,of ,,fine ,,arts ,,new ,,york ,,city 7,see page #ccg7 ,everything considered1 the difference in cost per square foot between the average ,oriental and the home product amounts to little in comparison to the difference in endurance4 ,if one uses the proper judgment in selecting1 his money is much better spent when invested in the former than when invested in the latter4 ,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 value4 ,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 dyes4 ,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 money4 ,also the question of health involved in the use of carpets is a very serious one4 ,they retain dust and germs of all kinds and are taken up and cleaned1 as a rule1 but once a year4 ,with rugs the room is much more easily kept clean and the furniture does not have to be moved whenever sweeping time comes around4 ,,dealers ,,and ,,auctions ,few ,europeans or ,americans penetrate to the interior markets of the ,east where home-made rugs find their first sale4 ,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 varied4 ,we have in this country many honest1 reliable foreign dealers1 but occasionally one meets with one of the class above referred to4 ,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 you4 ,also never show special preference for any particular piece1 otherwise you will be charged more for it4 ,no dealer or authority may lay claim to infallibility1 but few of these people have any adequate knowledge of their stock and are1 as a rule1 uncertain authorities1 excepting in those fabrics which come from the vicinity of the province in which they lived4 ,they buy their stock in large quantities1 usually by the bale at so much a square foot1 and then mark each according to their judgment so as to make the bale average up well and pay a good profit4 ,so it is that an expert may occasionally select a choice piece at a bargain while the novice usually pays more than the actual worth4 ,every rug has three values1 first the art value depending upon its colors and designs1 second the collector's value depending upon its rarity1 and third the utility value depending upon its durability4 ,no dealer can buy rugs on utility value alone and he who sells ,oriental rugs very cheap usually sells very cheap rugs4 ,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 ones4 ,dealers can always find an eager market for good rugs1 but poor ones often go begging1 and in order to dispose of them the auction is resorted to4 ,they are put up under a bright reflected light which shows them off to the best advantage2 the bidder is allowed no opportunity for a thorough examination and almost invariably there are present several fake bidders4 ,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 price1 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 store4 ,illustration3 ,,khorasan ,,carpet ,size #ad' #aj' ,,loaned ,,by ,a4 ,u4 ,,dilley ,,co4 ,,owner',s ,,description ,an ,east ,persian rug of especially heavy weave in robin egg blue1 soft red and cream4 ,design3 ,serrated centre medallion1 confined by broad blue corner bands and seven border strips4 ,a rug of elaborate conventionalized floral decoration1 with a modern rendition of ,shah ,abbas design in border4 7,see page #bjg7 ,,antiques ,the passion for antiques in this country has in the past been so strong that rugs showing signs of hard wear1 with ragged edges and plenty of holes1 were quite as salable as those which were perfect in every respect and the amateur collector of so-called antiques was usually an easy victim4 ,of late1 however1 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 one4 ,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 fabric1 especially to the collector1 to whom the latter has little value4 ,in order to be classed as an antique a rug should be at least fifty years old1 having been made before the introduction of aniline dyes4 ,an expert can determine the age by the method of weaving1 the material used1 the color combination1 and the design1 with more certainty than can the art connoisseur tell the age of certain ,european pictures1 to which he assigns dates by their peculiarities in style4 ,every time a design is copied it undergoes some slight change until1 perhaps1 the original design is lost4 ,this modification of designs also affords great assistance in determining their age4 ,in the ,tiffany studios in ,new ,york ,city can be seen a series of ,feraghan rugs showing the change in design for several generations4 ,as a rule more knowledge concerning the age of a rug can be obtained from the colors and the materials employed than from the designs4 ,an antique appears light and glossy when the nap runs from you1 whereas it will appear dark and rich but without lustre when viewed from the other end4 ,such rugs are usually more or less shiny on the back and their edges are either somewhat ragged or have been overcast anew4 ,with the exception of a few rare old pieces which may be found in the palaces of rulers and certain noblemen1 the ,orient has been pretty well stripped of its antiques4 ,mr4 ,charles ,quill ,jones1 who has made three trips through the ,orient in search of old rugs1 reports that region nearly bare of gems4 ,during his last sojourn in those parts he has succeeded in collecting a considerable number of valuable pieces1 but his success may be attributed to the poverty and disruption of households occasioned by the losses of the recent revolution in ,persia4 ,as especially rare he writes of having secured five pieces which were made during the reign of ,shah ,abbas in the #afth century4 ,in ,england1 ,france1 ,germany1 ,russia1 ,austria1 ,poland1 and especially ,bavaria1 there are many fine old pieces1 those of ,london1 ,paris1 ,berlin1 ,vienna1 and ,budapest being particularly noteworthy4 ,the ,rothschild collection in ,paris contains many matchless pieces and the ,ardebil ,mosque carpet1 which is in the ,south ,kensington ,museum1 ,london1 is without doubt the most famous piece of weaving in the world4 ,according to the inscription upon it1 it was woven by ,maksoud1 the slave of the ,holy ,place of ,kashan1 in #aecf4 ,it measures thirty-four feet by seventeen feet six inches and contains #cb1jjj1jjj knots4 ,no doubt there are more good genuine antiques in ,europe and ,america than in the entire ,orient4 ,they are to be found1 as a rule1 in museums and in private collections4 ,a number of really old and very valuable pieces may be seen at the ,metropolitan ,museum of ,fine ,arts in ,new ,york ,city4 ,the ,yerkes collection of ,oriental rugs1 which has recently been disposed of at public sale by the ,american ,art ,galleries1 contained nothing but ,polish fabrics and ,persian carpets of royal origin1 made at some early date prior to the seventeenth century4 ,some of the most prominent collectors of the ,united ,states are ,mr4 ,j4 ,pierpont ,morgan of ,new ,york ,city1 who has one of the most valuable collections in the world2 ,mr4 ,h4 ,c4 ,frick of ,pittsburg1 ,pa41 ,miss ,a4 ,l4 ,pease of ,hartford1 ,conn41 ,mr4 ,c4 ,f4 ,williams of ,morristown1 ,pa41 the ,hon4 ,w4 ,a4 ,clark and ,mr4 ,benjamin ,altman of ,new ,york ,city1 ,mr4 ,theodore ,m4 ,davis of ,newport1 ,r4 ,i41 ,mr4 ,frank ,loftus1 ,mr4 ,f4 ,a4 ,turner and ,mr4 ,l4 ,a4 ,shortell of ,boston2 ,mr4 ,j4 ,f4 ,ballard of ,st4 ,louis and ,mr4 ,p4 ,a4 ,b4 ,widener of ,elkins ,park1 ,pa4 ,the late ,ex-,governor ,ames of ,massachusetts was an enthusiastic collector and possessed many fine pieces4 ,the late ,a4 ,t4 ,sinclair of ,allston1 ,mass41 possessed over one hundred and fifty antiques1 which he himself collected over twenty years ago from the various districts of ,persia1 ,asia ,minor1 the ,caucasus1 ,turkestan1 and ,beluchistan4 ,many of these pieces are from one hundred and fifty to two hundred and fifty years old and every one is a gem4 ,illustration3 ,a ,,persian ,,rug ,,merchant ,illustration3 ,,expert ,,weaver ,,and ,,inspector ,with the exception of an occasional old ,ghiordes1 ,kulah1 ,bergama or ,mosul1 for which are asked fabulous prices1 few antiques can now be found for sale4 ,it is on account of the enormous prices which antiques bring that faked antiques have found their way into the market4 ,rugs may be artificially aged but never without detriment to them4 ,the aging process is mostly done by cunning adepts in ,persia or ,constantinople before they are exported1 although in recent years the doctoring process has been practised to quite an extent in the ,united ,states1 and a large portion of the undoctored rugs which reach these shores are soon afterwards put through this process4 ,the majority of dealers will tell you that there is comparatively little sale for the undoctored pieces4 ,the chemically subdued tones and artificial sheen appeal to most people who know little about ,oriental rugs4 ,for toning down the bright colors they use chloride of lime1 oxalic acid or lemon juice2 for giving them an old appearance they use coffee grounds1 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 wax2 they are sometimes buried in the ground for a time1 and water color paints are frequently used to restore the color in spots where the acid has acted too vigorously4 ,such rugs usually show a slight tinge of pink in the white4 ,there is a class of modern rugs of good quality1 good material1 and vegetable dyed1 but with colors too bright for ,occidental taste4 ,such rugs are sometimes treated with water1 acid1 and alkali4 ,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 material4 ,what the trade speaks of as a washed rug is not necessarily a doctored one4 ,there is a legitimate form of washing which is really a finishing process and which does not injure the fabric4 ,it merely washes out the surplus color and sets the rest4 ,the belief that only aniline dyes will rub off when wet and that vegetable ones will not do so is erroneous4 ,if a rug is new and never has been washed the case is quite the opposite4 ,for the reader's own satisfaction1 let him moisten and rub a piece of domestic carpet4 ,he will find that the aniline of the latter fabric is comparatively fast1 whereas1 in a newly made vegetable dyed ,oriental1 certain colors1 especially the blues1 reds and greens1 will wipe off to a certain extent4 ,after this first washing out1 however1 nothing other than a chemical will disturb the vegetable color4 ,illustration3 ,,saruk ,,rug ,size #ad' #aj' ,,loaned ,,by ,a4 ,u4 ,,dilley ,,co4 ,,owner',s ,,description ,the field3 ,three fawn and blue flower colored medallions and four arabesques in a line arrangement on a rose-colored background1 strewn with garlands4 ,the border3 ,one broad stripe1 carrying elaborate floral sprays and arabesques1 separated by four elongated corner designs in blue4 ,an elegant combination of brilliant color and ornate floral design4 ,cotton foundation and wool pile4 7,see page #bjj7 ,,advice ,,to ,,buyers ,no set of rules can be furnished which will fully protect purchasers against deception4 ,it is well1 however1 for one1 before purchasing1 to acquire some knowledge of the characteristics of the most common varieties as well as of the different means employed in examining them4 ,in the first place1 avoid dealers who fail to mark their goods in plain figures4 ,be on the safe side and go to a reliable house with an established reputation4 ,they will not ask you fancy prices4 ,if it is in a department store be sure you deal with some one who is regularly connected with the ,oriental rug department4 ,you would never dream of buying a piano of one who knows nothing of music4 ,so many domestic rugs copy ,oriental patterns that many uninformed people cannot tell the difference4 ,the following are some of the characteristics of the ,eastern fabrics which are not possessed by the ,western ones4 ,first1 they show their whole pattern and color in detail on the back side2 second1 the pile is composed of rows of distinctly tied knots1 which are made plainly visible by separating it2 third1 the sides are either overcast with colored wool or have a narrow selvage2 and fourth1 the ends have either a selvage or fringe or both4 ,in buying1 first select what pleases you in size1 color1 and design1 then take time and go over it as thoroughly as a horseman would over a horse which he contemplates buying4 ,lift it to test the weight4 ,oriental rugs are much heavier in proportion to their size than are the domestics4 ,see if it lies straight and flat on the floor and has no folds4 ,crookedness detracts much from its value4 ,take hold of the centre and pull it up into a sort of cone shape4 ,if compactly woven it will stand alone just as a piece of good silk will4 ,examine the pile and see whether it is long1 short or worn in places down to the warp threads2 whether it lies down as in loosely woven rugs or stands up nearly straight as in closely woven rugs2 also note the number of knots to the square inch and whether or not they are firmly tied4 ,the wearing qualities depend upon the length of the pile and the compactness of weaving4 ,separate the pile1 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 color4 ,vegetable dyes usually fade to lighter shades of the original color1 while anilines fade to different colors1 one or another of the dyes used in combination entirely disappearing at times and others remaining4 ,this will also be noticeable1 to a certain extent1 when one end of the fabric is turned over and the two sides are compared4 ,two rugs may be almost exactly alike in every respect excepting the dye1 the one being worth ten to fifteen times as much as the other4 ,a good way to test the material is to slightly burn its surface with a match1 thus producing a black spot4 ,if the wool is good the singed part can be brushed off without leaving the slightest trace of the burn4 ,the smell of the burnt wool will also easily be recognized4 ,ascertain the relative strength of the material1 making sure that the warp is the heaviest and strongest1 the pile next and the woof the lightest4 ,if the warp is lighter than the pile it will break easily or if the warp is light and the weaving loose it will pucker4 ,rugs whose foundation threads are dry and rotten from age are worthless4 ,in such pieces the woof threads1 which are the lightest1 will break in seams along the line of the warp when slightly twisted4 ,examine the selvage4 ,it will often indicate the method of its manufacture1 showing whether it is closely or loosely woven1 for the selvage is a continuation of the groundwork of the rug itself4 ,also notice the material1 whether of hair1 wool or cotton4 ,separate the pile and examine the woof1 noting the number of threads between each row of knots4 ,if possible pull one of them out4 ,in the cheaper grade of rugs you will often find two strands of cotton and one of wool twisted together4 ,such rugs are very likely some time to bunch up1 especially if washed4 ,see if the selvage or warp threads on the sides are broken in places4 ,if so it would be an unwise choice4 ,now turn the rug over and view it from the back1 noting whether repairs have been made and1 if so1 to what extent4 ,view it from the back with the light shining into the pile to see if there are any moths4 ,pat it and knock out the dust4 ,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 patting4 ,rub your hand over the surface with the nap4 ,if the wool is of a fine quality a feeling of electric smoothness will result1 such as is experienced when stroking the back of a cat in cold weather4 ,finally1 before coming to a decision regarding its purchase1 have it sent to your home for a few days4 ,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 colors4 ,while you have it there do not forget to take soap1 water and a stiff brush and scrub well some portion of it1 selecting a part where some bright color such as green1 blue or red joins a white4 ,after the rug has thoroughly dried notice whether or not the white has taken any of the other colors4 ,if so1 they are aniline4 ,illustration3 ,,bergama ,,prayer ,,rug ,size #c'h #b'g ,,property ,,of ,,mr4 ,,george ,,bausch 7,see page #bcg7 ,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 well4 ,if chemically treated it will have a peculiar1 disagreeable1 pungent odor4 ,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 it1 even after days of soaking in water4 ,unless one is an expert1 he should refrain from relying upon his own judgment in buying a rug for an antique4 ,it may be interesting to know the meaning of the tags and seals so frequently found on rugs4 ,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 washer1 the exporter1 the importer and the custom officials4 ,the rug is recorded by its number instead of by its name to avoid confusion and to save labor4 ,the round lead seal which is frequently attached to one corner of the rug by a flexible wire or a string1 especially among the larger pieces1 is the importer's seal1 on one side of which will be found his initials4 ,these also are of great assistance to the custom officials4 ,before closing this chapter a few words in regard to the selection of rugs for certain rooms might be acceptable1 though this is1 to a large extent1 a matter of individual taste2 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 walls1 whether the harmony be one of analogy or of contrast4 ,the floor of a room is the base upon which the scheme of decoration is to be built4 ,its covering should carry the strongest tones4 ,if a single tint is to be used the walls must take the next gradation and the ceiling the last4 ,these gradations must be far enough removed from each other in depth of tone to be quite apparent but not to lose their relation4 ,contrasting colors do not always harmonize4 ,a safe rule to follow would be to select a color with any of its complementary colors4 ,for instance1 the primary colors are red1 blue1 and yellow4 ,the complementary color of red would be the color formed by the combination of the other two1 which in this case would be green composed of yellow and blue2 therefore red and green would form a harmony of contrast4 ,likewise red and blue make violet1 which would harmonize with yellow2 red and yellow make orange1 which would harmonize with blue1 etc4 ,illustration3 ,,symbolic ,,persian ,,silk 7,,tabriz7 ,,rug 7,see page #caf7 ,light rooms of ,louis ,,xvi style would hardly look as well with bright1 rich colored rugs as they would with delicately tinted ,kirmans1 ,saruks1 and ,sennas4 ,nor would the latter styles look as well in a ,dutch dining room1 finished in black oak1 as would the rich1 dark ,bokharas and ,feraghans4 ,mission rooms also require the dark colored rugs4 ,if the room is pleasing in its proportion and one rug is used it should conform as nearly in proportion as possible4 ,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 length4 ,a rug used in the centre of a room with considerable floor area around it decreases the apparent size of the room4 ,long rugs placed lengthwise of a room increase its apparent length1 while short rugs placed across a room decrease its apparent length1 and rugs with large patterns1 like wall paper with large patterns1 will dwarf the whole apartment4 ,the following ideas are merely offered as suggestions without any pretension whatever to superiority of judgment4 ,for a ,,vestibule a long-naped mat1 which corresponds in shape to the vestibule and covers fully one-half of its surface1 such for instance as a ,beluchistan or a ,mosul4 ,appropriate shorter naped pieces may be found among the ,anatolians1 ,meles1 ,ladiks or ,yuruks4 ,as a rule the dark colored ones are preferable4 ,,hall4--,if the hall is a long1 narrow one1 use long runners which cover fully two-thirds of its surface4 ,such may be found among the ,mosuls1 ,sarabands1 ,hamadans1 ,ispahans1 ,shirvans1 and ,genghis4 ,for a reception hall a ,khiva ,bokhara1 a ,yomud1 a dark colored ,mahal1 or several ,kazaks or ,karabaghs would look well if the woodwork is dark4 ,if the woodwork is light several light colored ,caucasian or ,persian pieces such as the ,daghestans1 ,kabistans1 ,sarabands1 ,hamadans1 or ,shiraz would be appropriate4 ,,reception ,,room4--,a light colored ,kermanshah1 ,tabriz1 ,saruk1 ,senna1 or ,khorasan4 ,usually one large piece which covers from two-thirds to three-fourths of the floor surface is the most desirable4 ,,living ,,room4--,for this room1 which is the most used of any in the home1 we should have the most durable rugs and as a rule a number of small or medium sized pieces1 which can be easily shifted from one position to another1 are preferable4 ,here1 too1 respect must be had for harmony with the side walls1 woodwork and furniture1 as it is here that the family spend most of their time and decorative discord would hardly add to one's personal enjoyment4 ,many appropriate selections may be made from the ,feraghans1 ,ispahans1 ,sarabands1 ,shiraz1 ,mosuls1 ,daghestans1 ,kabistans1 and ,beluchistans4 ,,dining ,,room4--,ordinarily nothing would be more appropriate than one of the ,herez or ,sultanabad productions unless the room be one of the ,mission style1 in which case a ,khiva ,bokhara would be most desirable4 ,small pieces would not be suitable4 ,,library ,,or ,,den4--,one large or several small pieces1 usually the dark rich shades are preferable1 such for instance as are found in the ,khivas1 ,yomuds1 ,kurdistans1 ,feraghans1 ,shiraz1 ,kazaks1 ,beluchistans or ,tekke ,bokharas1 the predominating color selected according to the decorations of the room4 ,,bath ,,room4--,one heavy long-piled1 soft piece such as are some of the ,bijars or ,mosuls in light colors4 ,,bedrooms4--,for chambers where colors rather than period styles are dominant and where large rugs are never appropriate1 prayer rugs like those of the ,kulah1 ,ghiordes1 ,ladik1 ,anatolian1 or ,daghestan varieties are to be desired4 ,those with yellow as the predominating color blend especially well with mahogany furniture if the walls are in buff or yellow tones4 ,the ,nomad products are especially desirable for bedrooms on account of the comfort which they afford4 ,being thick and soft the sensation to the tread is luxurious4 ,an occasional ,anatolian1 ,ladik1 ,bergama1 ,meles1 or ,bokhara mat placed before a dresser or a wash-stand2 a ,shiraz pillow on the sofa2 a ,senna ,ghileem thrown over a divan2 a ,shiraz1 ,mosul1 or ,beluchistan saddle-bag on a ,mission standard as a receptacle for magazines2 a silk rug as a table spread1 etc41 will all add greatly to the ,oriental effect4 ,illustration3 ,,shiraz ,,rug ,,by ,,courtesy ,,of ,,nahigian ,,bros41 ,,chicago1 ,,ill4 ,this piece is typical of its class with the small tassels of wool on the side edging2 with the ornamental web and the braided warp threads at each end1 also the pole medallion and the numerous bird forms throughout the field4 7,see page #bjd7 ,,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 homes4 ,in response to a letter of inquiry1 one of our ,american missionaries1 a young lady stationed at ,sivas1 ,turkey in ,asia1 who very modestly objects to the use of her name1 so well explained the condition of affairs that portions of her letter given verbatim will prove most interesting4 ,she says3 ,in ,sivas there are a number of rug factories in which are employed many thousand little girls1 ages ranging from four years upward4 ,they work from twelve to fourteen hours a day and ,i believe the largest amount received by them is five piasters 7less than twenty cents7 and the small girls receive ten to twenty paras 7a cent or two74 ,these factories are hotbeds of tuberculosis and we have many of these cases in our ,mission ,hospital4 ,of course this amount of money scarcely keeps them in bread and in this underfed condition1 working so long in ill ventilated rooms1 they quickly succumb to this disease4 ,these girls are all ,armenians in that region4 ,the ,turks do not allow their women and children to work in public places4 ,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 factories4 ,these rugs are all exported to ,europe and ,america4 ,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 family1 especially the women and children1 working on these rugs1 and it is very interesting to watch them and to see how skilful even the small children grow in weaving these intricate patterns4 ,making rugs in the homes is quite different from making them in the factories1 for in the summer at least they have plenty of fresh air4 ,no doubt many rugs made in these homes are filled with germs of contagious diseases1 for they use no precautions here when they have such diseases in the family1 and usually the poor people only have one room1 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 room4 ,another correspondent from ,marash1 ,turkey in ,asia1 says1 ,if you are interested in humanity as well as in rugs1 please put in a strong plea against some of these factories which are employing children who can scarcely speak4 ,these little babies sit from morning till evening tying and cutting knots in damp and poorly ventilated places4 ,is it a wonder that diseases1 especially tuberculosis1 are developing rapidly among them8 ,a third correspondent says1 ,often rugs upon which patients have died from contagious diseases are sold without cleaning4 ,in fact1 they are rarely cleaned4 ,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 country1 to which we were informed that ,the ,surgeon-,general of the ,public ,health and ,marine ,hospital ,service stated that such rugs1 if originating in parts or places infected with quarantinable diseases1 would be required to be disinfected under the quarantine laws4 ,this sounds sensible1 but when the rugs are sent from all parts of the ,orient to ,constantinople1 from whence they are shipped in bales to the ,united ,states1 pray how can the ,surgeon-,general discriminate8 ,the only safe way is for the government to have strict laws regarding their immediate and thorough disinfection4 ,we already have a law which requires the disinfection of hides before they are shipped to this country4 ,it reads3 ,officers of the customs are directed to treat hides of neat cattle shipped to the ,united ,states without proper disinfection as prohibited importations1 and to refuse entry of such hides4 ,also1 the disinfection of such hides in this country or storage of the same in general order warehouses will not be permitted1 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 ,states4 7,see ,section #ab of the ,tariff ,act of ,august #e1 #aiji47 ,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 nation4 ,if his suggestions are carried out no doubt the question of disinfecting ,oriental imports will be satisfactorily disposed of4 ,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 homes4 ,the great majority of these rugs1 when leaving the ,orient1 are impregnated with dust from their adobe floors and1 if free of this dust1 they have in all probability been pretty thoroughly cleaned by some reliable importer or dealer1 the majority of whom are beginning to realize the importance of this procedure4 ,illustration3 ,,antique ,,anatolian ,,mat ,size #c'e #a'aj ,,from ,,the ,,collection ,,of ,,the ,,author ,knot4 ,nine to the inch vertically and eight horizontally1 making seventy-two to the square inch4 ,this is a most unusual piece4 ,it has a long nap1 is tied with the ,turkish knot and in many respects resembles the ,bergama while on the back it has a distinctly ,khorasan appearance4 ,it is an old piece with a most lustrous sheen and the colors are of the best1 every one being of exactly the same tint on the surface as it is down next to the warp threads4 ,the prevailing color is a rich terra cotta with figures of lilies in olive-green1 old rose1 blue and white4 ,there are also a number of six-petaled flowers in red1 white and blue4 ,in the centre there is a diamond-shaped medallion with triangular corner pieces to match1 all of which are outlined in natural black wool4 ,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 pieces4 7,see page #bcd7 ,,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 grow4 ,this is an erroneous idea and many rugs that would be almost priceless now are beyond repair1 having fallen into the hands of people who did not appreciate them and give them the proper care4 ,oriental rugs cannot be handled and beaten like the domestics without serious injury4 ,in the ,orient they receive much better treatment than they do at our hands4 ,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 feet4 ,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 shoes4 ,large rugs1 having a longer pile1 resist more the wear and tear from the shoes1 but they must be handled with greater care than the small ones1 as1 being heavier1 the warp or woof threads are more liable to break4 ,as a rule rugs should be cleaned every week or two4 ,never shake them or hang them on a line1 as the foundation threads may break1 letting the knots slip and spread apart4 ,there are more rugs worn out in this way than by actual service4 ,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 strips4 ,with a clean broom sweep the back1 then turning them over1 sweep across the nap each way1 then with the nap4 ,brushing against the nap is most harmful1 as it may loosen the knots and force the dust and dirt into the texture4 ,finally dampen the broom or1 better still1 dampen a clean white cloth in water to which a little alcohol has been added1 and wipe over the entire rug in the direction in which the nap lies4 ,the sweeping process keeps the end of the pile clean and bright and gives it a silky1 lustrous appearance4 ,sometimes clean1 dampened sawdust can be used and1 in the winter time1 nothing is better than snow1 which will clean and brighten them wonderfully4 ,many rugs are improved by an occasional washing4 ,it is usually advisable to have some reliable man1 who understands this work1 to do it for you1 as it is quite a task and few homes have a suitable place for it4 ,a good concrete floor will answer nicely4 ,with a stiff brush1 a cake of castile or wool soap and some warm water give the pile a thorough scrubbing in every direction excepting against the nap4 ,rinse with warm water1 then with cold1 turning the hose upon it for fifteen or twenty minutes4 ,soft water is preferable if it can be obtained4 ,finally1 with a smooth stick or a wooden roller1 squeeze the water out by stroking it in the direction of the nap4 ,this stroking process should be continued for some time1 after which the rug is spread out on a roof face upward for several clear days4 ,unless rugs are frequently moved or cleaned moths are sure to get into them4 ,sweeping alone is not always sufficient to keep them out4 ,for this purpose the compressed air method is par excellence4 ,if you expect to close your home for several weeks or months do not leave your rugs on the floor4 ,after having all necessary repairs made1 have them thoroughly cleaned by the compressed air process1 then place them in canvas or strong paper bags1 sealing them tightly4 ,a large rug may be wrapped with clean white paper1 then with tar paper4 ,it is better to roll than to fold them1 but if folded always see that the pile is on the inside1 else bad creases may be made in them which may never come out4 ,they should be stored in a dry1 airy room1 as they readily absorb moisture4 ,when a rug shows a tendency to curl on the corners only1 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 long1 one inch wide and one-eighth of an inch thick4 ,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 warp4 ,many rugs that are crooked may easily be straightened by tacking them face downward in the proper shape and wetting them4 ,they should be kept in that position until thoroughly dried and shrunken to the proper shape4 ,obstinate and conspicuous stains may be removed by clipping the discolored pile down flat to the warp1 carefully pulling out the knots from the back of the rug and having new ones inserted4 ,this1 however1 with all other extensive repairs1 should be done by one especially skilled in that line4 ,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 possession4 ,illustration3 ,,ghiordes ,,prayer ,,rug ,,property ,,of ,,liberty ,,co41 ,,london1 ,,england4 ,the prayer niche1 the cross panels and the main border stripe are all characteristic of its class4 7,see page #bch7 ,,the ,,material ,,of ,,rugs ,the materials from which rugs are made1 named in order of the ratio in which they are used1 are wool1 goats' hair1 camels' hair1 cotton1 silk1 and hemp4 ,,wool4--,the wool produced in the colder provinces is softer and better than that produced in the warmer provinces4 ,likewise that produced at a high altitude is superior to that from a lower altitude4 ,the quality of the pasturage plays a most important part in the quality of the wool4 ,for this reason no better wool is to be found anywhere in the world than from the provinces of ,khorasan and ,kurdistan4 ,very often the sheep are covered over with a sheet to protect and keep the wool in a clean1 lustrous condition4 ,the quality of the wool also depends to no small extent upon the age of the sheep from which it is taken1 that from the young lambs being softer and more pliable than that from the older animals4 ,the softest and most lustrous wool is that which is obtained by combing the sheep in winter and is known as kurk4 ,from this some of the choicest prayer rugs are made4 ,,goats' ,,hair4--,from the goats of some localities1 especially in ,asia ,minor and ,turkestan1 is obtained a soft down which is used to a large extent in the manufacture of rugs4 ,the straight hair of the goat is also used4 ,it is of a light brown color and1 as it will not dye well1 is sometimes used without dyeing to produce brown grounds1 as in some of the ,kurdistan products4 ,it is quite commonly used as a selvage and fringe in the ,turkoman products4 ,when wet it curls so tightly that it is difficult to spin it1 therefore it is not always washed4 ,this accounts for the strong odor which is especially noticeable in warm weather4 ,mohair is obtained from the ,angora goat of ,asia ,minor1 while cashmere consists of the soft under-wool of the ,cashmere goat of ,tibet4 ,,camels' ,,hair4--,in ,eastern ,persia1 ,afghanistan1 and ,beluchistan are camels which produce a long woolly hair suitable for rug weaving which is never dyed1 is silky and soft1 has phenomenal durability and is used quite freely in the ,hamadan1 ,mosul1 and ,beluchistan products4 ,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 odor4 ,most of the alleged camels' hair of commerce is a goats' hair pure and simple4 ,,cotton4--,the majority of the finer ,persian rugs have cotton warp and woof4 ,it makes a much lighter1 better and more compact foundation on which to tie the pile1 and a rug with such a foundation will hold its shape much better4 ,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 cotton4 ,,silk4--,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 rugs1 not only for the nap but frequently for the warp and woof as well4 ,it makes a beautiful fabric1 but of course will not wear like wool4 ,,hemp4--,hemp is seldom used in rug making for the reason that it rots quickly after being wet and the entire fabric is soon gone4 ,,preparation ,,of ,,the ,,wool4--,after being sorted1 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 removed1 leaving the animal fat which gives it the soft1 silky appearance4 ,the results of washing depend to a certain extent upon the quality of the water used in the process1 soft water giving much better results than does the hard4 ,after a thorough bleaching in the sun's rays it is placed in a stone vessel1 covered with a mixture of flour and starch1 then pounded with wooden mallets1 after which it is again washed in running water for several hours and again dried in the sun4 ,under this process it shrinks in weight from forty to fifty per cent41 and after being spun the yarn is sold everywhere for the same price as twice the amount of the raw material4 ,it is spun in three different ways4 ,that which is intended for the warp is spun tightly and of medium thickness1 that for the woof rather fine1 and that for the pile heavy and loose4 ,there are so many different natural shades of wool that much of it can be utilized in its natural color4 ,the dyeing is always done in the yarn1 never in the loose fibres1 and will be explained in the chapter under ,dyes4 ,illustration3 ,,spinning ,,the ,,wool ,,courtesy ,,of ,,pushman ,,bros41 ,,chicago ,illustration3 ,,ladik ,,prayer ,,rug ,size #g'b #d' ,,by ,,courtesy ,,of ,,nahigian ,,bros41 ,,chicago1 ,,ill4 ,,owners' ,,description4--,these rare rugs1 so renowned for their splendid coloring1 are well represented by this specimen4 ,the very unusual shade of green1 the sacred color1 the deep ivory1 and the rich reds and blues are blended into each other in an artistic manner4 ,in and above the ,mihrab or niche will be noted the ,ubrech or pitcher1 a most interesting design4 ,it is from this ,ubrech that water is poured upon the hands of the ,mohammedan as he makes his ablutions4 ,wash basins are unknown in the ,orient and no follower of ,mohammed will consent to wash in anything except running water4 ,so the ,ubrech is almost as important as the prayer rug itself1 and the four reproductions on this rug emphasize to the devout ,mohammedan owner that cleanliness is next important to ,godliness4 ,rhodian lilies1 with long stems and inverted in the frieze below the ,mihrab or niche1 are an often noted feature of the ,ladik prayer rugs4 7,see page #bbh7 ,,dyes ,,and ,,dyers ,the secrets of the ,eastern dye-pot are responsible for the unrivalled beauty and durability of the ,oriental rug4 ,these secrets of extracting coloring matter from roots1 leaves1 flowers1 barks1 and various other vegetable and animal products by a process of boiling1 fermenting1 etc41 were guarded religiously and descended from father to son1 many of them having been lost as the family became extinct4 ,each dyer or family of dyers has some peculiar and secret method of producing certain shades4 ,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 whatever4 ,every kind of plant from which dyestuff is obtained is a product of geographic environment1 the quality of which depends upon certain conditions of climate and soil4 ,for this reason those of one locality may be superior to those of another4 ,on the other hand it must not be forgotten that there are many classes of vegetable dyes which are not scientifically or honestly made4 ,after the wool has gone through the washing process and dried it is dipped into one or more pots1 according to the shade desired1 for a certain length of time1 when1 without being wrung out1 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 sun4 ,even when the same process is followed each time it is seldom that two bunches of material dyed have exactly the same shade1 as the density of the dye and its shade differs somewhat with each dip of wool from a previous pot4 ,this probably accounts in part for the innumerable shadings seen in the rugs of certain localities4 ,formerly the dyers employed as mordants1 valonia1 pomegranate rind1 sumac1 and the barks of certain trees1 but in some districts of late they use alum4 ,this1 with the lime solution in which the wool is washed before dyeing to increase the brilliancy of the dyes1 makes the yarn brittle and lessens its wearing quality4 ,most vegetable dyes fade1 but they fade into softer and more pleasing shades4 ,the best colors for service are1 as a rule1 the blues1 yellows1 and reds1 all of which improve greatly with age4 ,the browns are apt to lose their lustre1 while the blacks1 which are really mineral1 being made by the action of vinegar on iron shavings1 seem most corrosive and gradually eat the wool4 ,many of the antiques you will find in a splendid state of preservation with the exception of the black1 which has eaten the pile down to the warp threads4 ,natural colored black and brown wools and brown camels' hair are frequently used and they are1 of course1 durable4 ,there is no doubt that the increasing demand in this country for the ,eastern rug1 together with the ,russian influence in the ,orient1 tends towards more hasty commercial methods of manufacture and is1 to a great extent1 responsible for the introduction there of aniline dyes4 ,the coal tar products have been readily accepted by the ,eastern dyers1 as they are cheaper1 more easily used1 and offer a greater number of brilliant shades1 all of which appeal very much to the ,oriental taste4 ,the aniline dyes are more commonly used through ,asia ,minor and1 to some extent1 in the ,caucasus and even in ,persia4 ,in #aijc a law was enacted by the ,persian government forbidding the importation of chemical dyes and seizing and destroying all fabrics in which they were used4 ,it was also decreed that a dyer found guilty of using them would have his right hand cut off4 ,the government has never been very strict in enforcing this law1 else there would be at the present time many one-handed men in ,persia4 ,as there is no such law in ,asia ,minor1 fully seventy-five per cent4 of the rugs now imported from that country are aniline dyed4 ,the ,kurdistan1 ,khorasan1 and ,kirman products1 as well as those made by the ,nomads in the ,fars district of ,persia1 have been particularly free from outside influences and as a rule are honestly dyed4 ,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 dyes4 ,now that they do not roam as much the result is1 less vegetable and more aniline dyes4 ,formerly also1 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 well4 ,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 defect4 ,some of the coal tar products will resist light1 water1 and air even better than many of the vegetable pigments1 but the former have a tendency to make the wool fibres more brittle so that they break easily1 while the latter preserve the wool and lengthen the life of the fabric4 ,each nation uses to a large extent its favorite color1 thus the ,persian is partial to the dark greens and yellows1 the ,turk to the reds1 and the ,armenian to the blues4 ,asia ,minor and ,persia being countries of intense sunshine1 in which the colors of the sky and land are most pronounced1 the neutral tints and hues make little impression on such surroundings and are therefore little used4 ,all the rug making people use more or less yellow1 blue1 orange1 red1 ruby1 and green1 excepting the ,turk1 who regards the latter as a sacred color and not to be trodden on4 ,he therefore seldom uses it in any but those of the prayer design4 ,an expert can often distinguish between an aniline dyed rug and a vegetable dyed one merely by feeling of it1 as the coal tar product robs the wool of its oil1 making it stiffer1 harder1 and dryer4 ,another way to differentiate is to examine some of the white which lies next to some bright color like blue1 red1 orange1 or green and see if it has become tinted with the brighter color4 ,if not1 wet the two and after they dry see if the white has taken any of the other color4 ,if so it is probably aniline4 ,in the ,orient they use a string of amber beads with which to test the dyes4 ,the beads are drawn over the surface of the rug so that the colors reflect through them4 ,if aniline they are said to have a cloudy appearance1 while if vegetable they have a clear wavy appearance4 ,if there is any knowledge imparted by this test it certainly is only in the hands of the experienced4 ,a vegetable dye will fade into a lighter tone of itself1 while in a chemical dye some one of the colors used to make up the composite color will disappear4 ,for instance a blue1 which has been used with yellow to make green1 may entirely disappear1 leaving the yellow2 thus in the aniline product the surface will show the changed color and the original color will show down next to the warp1 while in the vegetable dyed product there will simply be two shades of the same color4 ,weavers frequently choose colors according to their symbolic significance1 so that they work into their rugs a sort of poetry which only the initiated can read4 ,thus to the ,persian1 the ,chinese1 and the ,indian ,mohammedan1 white is an emblem of mourning2 green is regarded by the ,mohammedan as a sacred color and denotes immortality2 blue to the ,persian means air1 while to the ,mongolian it means authority and power2 black denotes sorrow1 evil1 and vice2 red denotes joy1 happiness1 life1 truth1 virtue1 and sincerity2 yellow is a ,chinese color for royalty2 orange is the ,buddhist and ,mohammedan color for sorrow1 and rose for divine wisdom4 ,the following is a list of some of the most common ,oriental colors with a short description of the sources from which they are derived3 ,illustration3 ,,persian ,,dye ,,pots ,illustration3 ,a ,,persian ,,village ,,red4--,the best and most lasting is the rich carmine known as ,kermes and consists of dried insects which live on a species of oak tree4 ,these insects are collected in the month of ,june and are killed by being exposed to the vapors of acetic acid evolved by heating vinegar4 ,kermes was known to have been used in ,syria in the time of ,moses1 and is probably the most lasting and most preservative of all dyestuffs4 ,of late years1 however1 it has been to a large extent supplemented by cochineal1 which is more brilliant4 ,madder root1 ground and boiled1 is the basis of a multitude of reds and is also noted for its fastness4 ,from it can be obtained many degrees of red from pink to intense scarlet1 but the shade most commonly used by the ,persians of to-day is obtained by combining madder with alum and grape juice4 ,although cochineal is used considerably by ,eastern dyers1 it is really a modern dye1 being obtained from dried insects which are found on the cacti of ,mexico4 ,it gives soft1 beautiful reds1 is absolutely fast and is very expensive4 ,with bichromate of potash it gives purple2 with sulphuric acid1 crimson and scarlet1 and with madder1 cherry and various shades of pink4 ,one of the best1 richest and most lasting vermilions was made by a secret process from sheep's blood1 but the secret has long since been lost4 ,in recent years many reds have had as a basis the dye woods1 such as ,campeachy wood1 ,brazil wood1 and others4 ,they are sometimes obtained from onion skins1 ivy berries1 beets1 and other plants1 but these latter pigments are not as enduring as those previously mentioned4 ,,blue4--,indigo dissolved in sulphuric acid1 to which is added alum1 forms a basis of most blues and was used long before the ,christian era4 ,it is obtained from the leaves of various specimens of ,indigofera which are cultivated largely in ,india4 ,the deep ,persian blue is obtained by applying indigo over madder4 ,it can be compounded with almost any other dyeing material known and it is by this mixing process that beautiful violets1 porcelain blues and pinks are obtained4 ,a superb dark blue found in some of the antique ,persian rugs has been in disuse for nearly a half century4 ,the secret of making it seems to have been lost and no one has been able to reproduce it4 ,,green4--,indigo in combination with one of the yellows furnishes most of the greens4 ,with buckthorn it produces ,chinese greens1 both bright and dull4 ,,brown4--,browns are most frequently obtained by mixing madder with yellow or by dyeing with madder over yellow4 ,valonia1 catechu1 gall-nuts1 and the green husks of walnuts also enter largely into the making of browns4 ,,yellow4--,the principal yellows are obtained from the ,persian berries1 from turmeric1 from saffron and sumac roots4 ,persian berries give a fast dull yellow4 ,turmeric is from the root of a plant growing abundantly in ,east ,india and ,china and it gives a bright orange color4 ,orange yellow is also obtained from henna and by combining madder and turmeric4 ,a light yellow is obtained from larkspur2 a greenish yellow from a fungus of the mulberry1 and1 of late years1 a buff colored yellow has been obtained from quercitron bark4 ,,black4--,black seems to be the only color which the rug makers of older days were unable to produce from vegetable or animal sources4 ,the principal black used was that made from iron filings with vinegar and pomegranate rind1 but it destroyed the fibres of the wool4 ,for this reason very little black was used in the antique pieces excepting where the fleece of black sheep could be obtained4 ,nowadays logwood1 which grows in ,central ,america1 is the essential basis of all blacks in wool1 although other colors are frequently used with it to modify or intensify the shade4 ,,purple4--,from very early times the ,phnicians were renowned for a purple which they obtained from a shellfish found in the gean ,sea1 but the secret of making it has long since become a lost art4 ,a great many shades of purple1 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 mollusks4 ,,gray4--,gray is secured from ,smyrna gall-nuts with copperas4 ,,salmon4--,salmon is obtained by mixing madder with valonia4 ,,violet4--,violet is frequently made from milk1 sour grape juice1 madder and water4 ,illustration3 ,,daghestan ,,rug ,size #h' #c'f ,,from ,,the ,,collection ,,of ,,the ,,author ,knot3 ,ghiordes4 ,seven to the inch horizontally and eight vertically1 making fifty-six to the square inch4 ,this rug illustrates the best ,caucasian spirit in design and workmanship4 ,it is glorious in color and its combination of blues1 reds1 yellows and greens belong to an age which is bygone in the textile art of ,caucasia4 ,the ,georgian design in the outer border is a ,caucasian characteristic and especially of the ,daghestans4 7,see page #bed7 ,,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 exception1 perhaps1 that there are now fewer crooked fabrics woven than in the days gone by4 ,next to the quality of the material from which it is made1 and the dye with which it is colored1 the splendid durability of the ,oriental rug is due to the manner in which the pile is tied to the warp thread4 ,it is so secure that it is impossible to remove it by pulling either end of the knot4 ,this differs from the domestic method in which the pile is merely drawn between the warp threads without tying or fastening4 ,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 down1 then the knot is distinctly seen4 ,in some parts of ,persia the best artisans are men but in most other sections the weavers are mostly women and children4 ,the latter begin working at the loom as early as four or five years of age and serve an apprenticeship of two years1 after which they receive a few pennies a day4 ,a skilful woman weaver will earn from three to six shillings a week and they usually work from sunrise to sunset1 week after week1 month after month1 year after year4 ,as a rule they have no education1 can neither read nor write1 and have absolutely nothing else to do but weave and gossip4 ,rug weaving proves a sort of an amusement and a source of income2 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 workmanship4 ,each rug is given in charge of a master weaver who usually gets one anna 7two cents7 for every eleven hundred knots tied4 ,he it is who hires and pays the weavers and makes himself responsible for the quality of the work done4 ,the girls1 especially those of ,asia ,minor1 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 headgear4 ,these coins not only serve to make known their skill as weavers1 but also answer as dowries for their future husbands4 ,a skilful weaver can tie from twelve to fourteen knots a minute or from seven to eight thousand knots a day4 ,this would be equal to from fourteen square inches to three square feet1 according to the fineness of the rug4 ,for this she receives1 on the average1 nine cents a day4 ,for a rug #aj #f with #ahb knots to the square inch1 she would receive1 in rough figures1 from #ah4jj to #bj4jj1 and the rug would sell in ,constantinople for no less than #ge4jj4 ,if the women of the ,orient are ever emancipated we will have to pay much higher prices for ,eastern carpets than we do now4 ,illustration3 ,a ,,turkish ,,loom ,the ,eastern loom1 which is the same to-day as it was a thousand years ago1 consists merely of four poles joined together by ropes according to the size of the rug to be woven4 ,on these the warp threads are strung and kept at the proper tension by weights1 which are attached to one of the cross poles4 ,from one to six1 or even more1 weavers work on a rug at the same time1 according to its size4 ,they sit cross-legged either on the floor or on a raised frame1 so that their work will be on a level with their knees4 ,before them1 as seen in the accompanying illustration1 is fastened the model which they are to follow or what is known as the talim1 a chart which indicates the colors to be used and the number of knots to be tied in each color4 ,like expert pianists their fingers seem to know the pattern and much of the time their eyes are not even upon the work4 ,illustration3 ,showing the left and right ,senna knots and the ,ghiordes knot both before and after the trimming of the pile4 ,illustration3 ,,youthful ,,weavers ,in many cases the head weaver sings these symbols for the benefit of the other weavers4 ,among the ,nomads the design is frequently kept in the brain1 or roughly drawn on paper or in the sand4 ,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 row4 ,beginning at the bottom and working towards the right1 the wool yarn1 which goes to form the pile1 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 bound4 ,when the ,turkish knot is used1 these two threads are bound side by side4 ,when the ,persian knot is used1 if tied tightly1 one is bound in front of the other4 ,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 comb1 the teeth of which pass between the warp threads4 ,the pile is then trimmed off with the scissors to the desired length4 ,the ,caucasians and ,kurds1 as a rule1 leave a long pile1 while the ,turkomans and ,persians clip theirs quite short4 ,close trimming brings out more minutely the color variations4 ,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 row1 also by the thickness of these threads4 ,the tighter and closer the knots are tied the more perpendicular the pile and more durable the fabric4 ,in coarse fabrics1 like the ,kazak1 there are usually four or five weft threads between each row of knots4 ,in such fabrics the rows of pile yarn overlap1 thus giving it ample opportunity to untwist and become more lustrous4 ,this is why the loosely woven1 long naped rugs have more sheen than do the tightly woven short naped ones4 ,uneven trimming of the pile or unskilled use of the comb will produce unevenness in the completed rug4 ,illustration3 ,a ,wooden ,comb4 ,the fewer and the lighter the weft threads are1 the more flexible is the rug4 ,the great depth of pile is also a good feature in certain rugs1 as the heavier the fabric is the better it will lie4 ,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 dyed1 either in toto or at the ends only1 in order to give a colored webbing to the finished product4 ,illustration3 ,a ,,persian ,,loom ,as a rule the nap of all rugs which are tied with the ,ghiordes knot runs directly towards one end1 while those that are tied with the ,senna knot have a nap which runs towards one corner1 right or left1 according to whether the right or left ,senna knot is employed4 ,frequently rugs are found with either the ,ghiordes or the ,senna knot where the nap runs directly towards one side4 ,this may be due to an untwisting of the pile yarn or to the washing process1 the washer in such cases having scraped the water out towards the side of the rug instead of towards the end4 ,illustration3 ,,kazak ,,rug ,,property ,,of ,,mr4 ,,charles ,,schubert1 ,,chicago1 ,,ill4 ,,plate ,,loaned ,,by ,,the ,,simplicity ,,co41 ,,grand ,,rapids1 ,,mich4 ,the field consists of a series of medallions in dark brown and green upon a field of old rose4 ,the main border stripe is rather foreign to the rugs of this class1 being more like those found in the ,bergama products4 ,the next two important stripes carry the crab design while all the four guard stripes carry the conventional saw teeth4 ,that this piece has some age is quite evident from the condition of its ends4 7,see page #bgb7 ,,designs ,,and ,,their ,,symbolism ,the soul of the ,oriental is in his design1 which is invariably well composed of skilfully conventionalized figures and superbly rich1 harmonious colorings of which one never tires1 while that of the ,european has a stiff set pattern which soon fails to attract4 ,the transmission of ancient patterns has been going on from century to century1 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 ,abraham4 ,each district1 tribe or family had its characteristic patterns and color combinations which were regarded as its individual inheritance and were never copied by other districts1 tribes or families4 ,so it is possible for the expert to tell the locality from which an antique rug came1 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 immigration1 travel and conquest4 ,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 lost4 ,the patterns have also become limited in number1 so that to-day the entire output of ,persian fabrics comprises only about thirty original designs1 but of these the varieties of form1 arrangement and combination are very large4 ,turkey and ,india have even1 in some instances1 adopted ,european designs4 ,the ,nomad products are perhaps the freest of all from outside influences4 ,in the way of characterization we might state that the ,persian designs are usually floral1 while the ,turkish designs are for the most part a mixture of the floral and the geometrical1 the former being much less natural than those of the ,persians4 ,caucasian and ,turkoman designs are nearly always geometrical4 ,occasionally they are floral but of a rectilineal nature and never connected with wavy lines as in the ,persian4 ,the ,kurdish designs are more like the ,persian1 while the ,chinese consist largely of dragons1 monsters1 and animals of all sorts4 ,it is curious to note how the ,persians make many patterns out of one design by employing various methods of coloring4 ,even when the same colors are used there is always a great dissimilarity between the different makes of the same design4 ,illustration3 ,,symbolic ,,persian ,,silk ,,rug ,,loaned ,,by ,h4 ,b4 ,,claflin ,,co4 7,see page #caf7 ,sir ,george ,birdwood says1 ,whatever their type of ornamentation may be1 a deep and complicated symbolism1 originating in ,babylon and possibly ,india1 pervades every denomination of ,oriental carpets4 ,the geometrical figures1 floral designs and the figures of animals and beings all carry with them a mystical1 poetical idea of religious sentiment1 the study of which1 though difficult1 is very fascinating to one who has the ability to interpret them4 ,it seems perfectly natural that the ,oriental who is so passionately devoted to symbols should profusely weave them into his fabrics4 ,the ,turks1 being orthodox ,mohammedans1 never weave figures of animals1 birds or human beings into their rugs1 as the teachings of the ,koran forbid it lest it should lead to idolatry4 ,neither do they1 as a rule1 make their rugs symmetrical1 their idea being to symbolize the fact that only ,allah is perfect4 ,the ,persians and ,chinese1 however1 being more liberal1 exercise greater freedom in these respects1 and in some of their old hunting rugs1 of which but few remain1 are depicted animals of all kinds4 ,it seems strange to us that the weaver1 who worked day after day for months and sometimes for years on a single piece1 seldom signed or dated it4 ,i have seldom seen the name of the weaver1 of the place of manufacture1 or the date1 on an antique rug4 ,many of the modern commercial pieces are provided with dates to make them more attractive to the buyer4 ,inscriptions1 on the other hand1 are frequently found in rugs of all ages and are most frequently on the borders4 ,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 language4 ,the ability to read these inscriptions adds greatly to the charm and interest of their possession4 ,the date1 when present1 will usually be found in one corner of the rug1 sometimes in the border on one side or end1 and should be read from left to right4 ,if the spot is well worn and the figures are indistinct turn the rug over and read on the back from right to left4 ,the following are the ,arabic figures1 of which there are numerous modifications3 ,illustration3 ,arabic figures ,illustration3 ,,semi-,,persian ,,rug2 ,,design ,,furnished ,,by ,,european ,,manufacturers ,,loaned ,,by ,h4 ,b4 ,,claflin ,,co4 ,even the novice can tell at a glance that this is not purely an ,oriental product2 it so closely resembles the ,domestic carpet4 ,if we will but remember that the ,mohammedan reckoning began on ,july #af1 #fbb1 ,a4,d41 when ,mohammed made his pilgrimage to ,mecca1 and that the ,mohammedan year consists of thirty-three days less than ours1 it will be easy to find the year in our calendar corresponding to a given year in the ,mohammedan4 ,the rule is to subtract from the ,mohammedan year one thirty-third of itself and add #fbb to the remainder2 thus1 #acca #cc #dj 7do nothing with the fraction71 #acca-dj #abia #fbb #aiac4 ,the following is an alphabetically arranged list of the different designs with descriptions and suggestive drawings of the same4 ,for that part referring to the ,chinese and ,indian mythology the author is greatly indebted to ,prof4 ,du ,bois ,reymond of ,shanghai1 ,china1 and to ,mr4 ,b4 ,a4 ,gupte1 ,f4 ,z4 ,s41 of ,calcutta1 ,india1 respectively3 ,,alligator1 see ,kulah border design4 ,,almond1 see ,pear4 ,illustration3 ,angular hook4 ,,angular ,,hook ,,or ,,latch ,,hook4--,a modification of the ,swastika and carries the same meaning4 ,it has been called the trade-mark of the ,caucasian rugs1 in which it is almost invariably used2 in fact1 it is apparent in nearly all of the ,western ,asia designs4 ,with the ,chinese the latch hook stands for privacy4 7,see colored plate at p4 #fj1 also doubletone at p4 #bfd47 ,,anthemion ,,or ,,hom consists of an alternate bud and fir cone arrangement with strong lateral markings4 ,it is frequently used as a flower on the sacred tree4 ,,apple1 see ,silibik4 ,,ball ,,and ,,claw4--,similar to that used on the legs of chairs and tables of the #agth and #ahth centuries4 ,,barber-,,pole ,,stripe 7a border design74--,an alternate arrangement of diagonal stripes of red and white or blue and white1 found more or less in the borders of rugs from all parts of the ,orient1 especially the ,caucasian products4 ,frequently the stripes carry some small decorative pattern4 7,see colored plate at p4 #aeh1 also doubletones at pp4 #bjd and #bed47 ,illustration3 ,barber-pole stripe ,,basket4--,one of the ,chinese ,buddhist ornaments4 ,,bat4--,a ,chinese design which is symbolic of happiness4 ,found quite commonly in the ,chinese fabrics4 ,five bats often appear in the centre of ,chinese rugs and represent riches1 longevity1 health1 love of virtue and peaceful end4 ,illustration3 ,bat ,,beads4--,the rosary was anciently used to record time1 and a circle1 being a line without termination1 was the natural emblem of its perpetual continuity2 hence we find circles of beads upon the heads of deities and enclosing the sacred symbols upon coins and other ornaments4 ,beads are always carried by the ,mohammedans to assist them in their prayers4 ,the ,moslem rosary consists of ninety-nine beads1 each one designating one of the ninety-nine beautiful names of ,allah4 ,,bee4--,in ,china it is symbolic of many descendants4 ,in ,india it has been adopted from ,british associations and represents industry1 but is not regarded as an old symbol4 ,illustration3 ,beetle ,,beetle ,,or ,,scarab,,us4--,a ,chinese symbol of creation1 resurrection or new life4 ,in ,india it is a symbol of royalty4 ,wings of the gold beetle are used in decorating peacock feather fans and morchels or royal fly flaps4 ,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 flower4 ,,boar4--,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 7the deluge74 ,,bouquet1 see ,pear4 ,,butterfly4--,the ,chinese symbol of vanity4 ,in ,india it was not used in the older decoration1 but in modern decoration it has the associations of a flirt1 owing to ,english environments4 ,butterfly forms are frequently found in ,chinese rugs intermingled with those of bats4 ,illustration3 ,butterfly ornament ,,bow ,,knot4--,as one of the emblems of ,buddha it is used in ,chinese and ,japanese ornament and is often found in the border of ,chinese rugs4 ,sometimes it partakes of a floral character in the ,shiraz and ,kirman rugs and is very commonly found in the ,shemakha weaving1 where it is a talismanic design4 ,illustration3 ,,shiraz ,,prayer ,,rug ,size #d'e #c' ,,property ,,of ,,mrs4 ,,willis ,,holden1 ,,syracuse1 ,n4 ,y4 7,see page #bjf7 ,,canopy4--,a ,chinese ,buddhist symbol4 ,,caucasian ,,border ,,design4--,so called by the author because it is seldom found in any but the ,caucasian fabrics4 ,it is a sort of an ,s-shaped arrangement of the latch hook design4 7,see doubletones at pp4 #bed and #bef47 ,illustration3 ,caucasian border design ,,checker ,,board4--,an arrangement of squares of two or more different colors similar to that of a checker board4 ,seldom found in any rugs excepting the ,bergama and ,yomud4 ,,chichi ,,border ,,design4--,usually consists of an eight-petaled flower arranged on the alternate steps of the ,greek meander4 ,it is seldom found in any rugs but the ,tchetchen4 7,see doubletone at p4 #bfj47 ,illustration3 ,chichi border design ,,chin1 see ,pearl4 ,,chinese ,,cloud ,,band1 see ,cloud1 ,chinese4 ,,chinese ,,fret1 ,,greek ,,fret1 ,,greek ,,key 7a border design71 suggested by the overlapping of the sea waves4 ,it is commonly found in the borders of the ,samarkand1 ,kashgar1 ,yarkand1 ,beluchistan1 and nearly all of the ,chinese products4 7,see doubletones at pp4 #bfd and #bif47 ,illustration3 ,chinese fret4 ,greek fret4 ,,circle4--,quite commonly used in ,chinese decoration1 where it denotes eternity1 having no commencement and no end4 ,in ,india it is considered inauspicious4 ,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 cushions4 ,,circle ,,of ,,happiness 7see colored plates1 pp4 #cjf and #cah1 and doubletone at p4 #bij74--;,a circle or ovoid within which are usually worked various ,chinese designs1 either floral or animal4 ,found in nearly all classes of ,chinese products4 ,,claw ,,and ,,ball1 see ,ball and ,claw4 ,,cloud ,,band1 see ,cloud1 ,chinese4 ,illustration3 ,chinese cloud design ,,cloud1 ,,chinese1 is one of the most famous of the ,mongolian patterns1 although it is frequently found in ,caucasian and ,kurdish fabrics4 ,it is symbolic of immortality and represents the constellation of ,ursa ,major1 in which1 by the ,mongolian1 the great ,ruler was supposed to reside4 7,see doubletone at p4 #aid and color plate at p4 #cjj47 ,,coat ,,of ,,arms1 ,,persian 7see illustration on p4 #afi74--;,consists of a lion holding an uplifted sword in its right paw and the rising sun dominating from its back4 ,persians from their earliest history have worshipped the sun4 ,the lion was added about eight hundred years ago1 it being the emblem of one of the ,nomadic tribes who were conquered by the ,persians4 ,the sword signifies the absolute power of the ,persian rulers4 ,this emblem is used on their flag and coins as well as in decoration4 ,,coat ,,of ,,arms1 ,,russian 7see illustration on p4 #bec74--,the ,russian double eagle is occasionally found in old ,kazaks4 ,,coat ,,of ,,arms1 ,,turkish 7see illustration on p4 #bag74--,rudely represents a left hand1 originated1 it is said1 by a ,sultan who sealed the treaty of ,ragusa with the imprint of his hand after dipping it in blood4 ,it now appears on the ,turkish stamps1 coins and many of their public documents4 ,,cobra1 see ,serpent4 ,,cock1 crowing1 see ,rooster4 ,illustration3 ,comb design ,,comb4--,an emblem of the ,mohammedan faith to remind the devout that cleanliness is next to godliness4 ,for this reason it appears in its various forms near the niche of many prayer rugs1 especially in the ,daghestans4 ,,compass4--,carried by the ,mohammedans to determine the location so that the niche of their prayer rugs might be pointed in the right direction1 towards ,mecca4 ,,conch ,,shell4--,a ,chinese ,buddhist symbol4 ,,cone1 ,,fir1 see ,pear4 ,,cornucopia4--,represented by a ram's horn filled with flowers and fruit4 ,it symbolizes peace and prosperity4 ,,crab4--,a border design having the appearance of a series of crabs with their claws extended4 ,very common in the ,caucasian fabrics1 especially the ,kazaks4 7,see doubletone at p4 #ahf47 ,illustration3 ,crab design ,,crane4--,in ,india the crane is symbolic of a rogue1 a cheat1 a false prophet1 a religious hypocrite4 ,crane-like 7bakavrata7 means hypocrisy4 ,a poet addressing a crane said1 ,you stand on one leg like a devotee performing austerities1 but you can only cheat senseless fishes4 ,your hypocrisy is well known to the learned2 they are aware of it4 ,,crescent4--,in ,china the crescent is symbolic of coming events4 ,in ,india it signifies descent in the lunar line of kings of the warrior race 7,kehatriya7 or it indicates ,mohammedan faith4 ,when used as a tattoo mark it is associated with a little star below it and it means the devoted love of ,rohini 7,venus7 to the moon 7who is masculine in ,indian mythology74 ,,crocodile4--,in ,indian mythology1 when drawn with a female figure seated on it1 it signifies the ,goddess ,ganga 7personification of the river ,ganges72 when drawn as holding an elephant in its tremendous jaws1 it shows distress and tenacity4 ,illustration3 ,cross design ,,cross1 ,,greek 7sometimes called the ,square ,cross74--,a plain cross with four equal arms4 ,most of the ,eastern churches are built in the form of this cross4 ,the cross is never found in rugs that are woven by the orthodox ,mohammedans4 ,,cross1 ,,square1 see ,cross1 ,greek4 ,,crow4--,chinese1 harbinger of bad luck2 ,indian1 an evil foreboder among the ,hindus and a good omen among the ,mohammedans4 ,it is said that ,sir ,salar ,jang1 the late ,minister of ,hyderabad1 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 window4 ,,crowing ,,cock1 see ,rooster4 ,,crown ,,jewel1 see ,pear4 ,,david',s ,,shield1 see ,star1 six-pointed4 ,,david',s ,,signet ,,or ,,shield1 see ,star1 six-pointed4 ,,deer4--,in ,china it is symbolic of longevity and success4 ,in ,india a doe is symbolic of love towards animals because of its association with ,shakuntala in the ,lost ,ring1 a very popular drama by ,kalidas4 ,,diamond4--,found in rugs of most every class1 but more especially in those of the ,caucasus4 ,as far as we are able to learn the diamond has no special symbolic significance4 7,see doubletone at p4 #aaj47 ,,diaper1 see ,lattice4 ,,disc1 ,winged1 see ,winged ,globe or ,disc4 ,,dog4--,the dog is considered a sacred animal for the reason that one preceded ,mohammed the prophet1 when he made his first triumphal entry into ,mecca4 ,illustration3 ,,hamadan ,,rug ,size #f'aj #c'd ,,property ,,of ,,mr4 ,j4 ,h4 ,,stanton1 ,,auburn1 ,n4 ,y4 7,see page #aid7 ,,dove4--,chinese1 companionship2 ,indian1 no significance except through ,british associations for innocence4 ,,dragon4--,the ,imperial ,chinese dragon is represented with five claws and no wings1 also with scales like a crocodile4 ,it is frequently represented as either holding or looking towards a round object which is said to represent a pearl4 ,in ,india the dragon is the symbol for death4 ,the ,japanese dragon has but three claws4 7,see color plate at p4 #cjj1 and doubletone at p4 #ccb47 ,,duck4--,in ,china the duck is the symbol of connubial felicity4 ,,eagle4--,in ,indian ,mythology1 ,garud1 the ,eagle of ,heaven1 is the charger of ,vishnu and the destroyer of venomous snakes4 ,,egg4--,in ,china it is symbolic of productiveness1 plenty4 ,in ,india1 an egg with the figure of a babe inside of it indicates the universe4 ,,elephant4--,chinese1 high official rank2 ,indian1 sign of royalty1 as kings possess them4 ,,feather1 see ,pear4 ,,feraghan1 see ,herati4 ,,fir ,,cone1 see ,pear4 ,,fish1 see ,herati4 ,,fish ,,bones4--,sometimes called ,indian fish bone1 suggests the skeleton of a fish4 ,it is sometimes arranged somewhat similar to the ,herati4 7,see doubletone at p4 #bhd47 ,illustration3 ,fish bones design ,,flame1 see ,pear4 ,,flower ,,of ,,henna1 see ,guli ,henna4 ,,flower ,,and ,,knop1 see ,knop and ,flower4 ,,fly4--,with the ,chinese the fly is symbolic of worthlessness4 ,,four ,,flowers1 see ,roses1 four4 ,,four ,,roses1 see ,roses1 four4 ,,fret1 ,,chinese1 see ,chinese fret4 ,,fret1 ,,greek1 see ,chinese fret4 ,illustration3 ,galley border design ,,galley 7a border design74--,originated among the people who inhabit the section of country between the shores of the ,mediterranean1 ,black and ,caspian ,seas4 ,illustration3 ,georgian border design ,,georgian ,,border ,,design4--,generally found in ,caucasian fabrics1 especially the ,daghestan and ,shemakha1 occasionally in the ,saruk4 ,there are several forms of this design1 the two most common ones being herewith illustrated4 7,see color plate at p4 #hd and doubletone at p4 #bff47 ,illustration3 ,ghiordes border stripe ,,ghiordes ,,border ,,stripe4--,several forms1 the two most commonly used are herewith illustrated1 one being two rosettes one above the other1 each joined by a long1 narrow stem to a leaf form on the right1 while the other has but half of a rosette1 which is similarly joined to a leaf form below4 7,see color plate at p4 #hd and doubletone at p4 #bff47 ,,gourd4--,chinese1 receptacle of mysteries2 ,indian1 when shaped like a bowl it represents the drinking vessel of a ,sanyasi or recluse4 ,,greek ,,cross1 see ,cross1 ,greek4 ,,greek ,,fret 7border design71 see ,chinese fret4 ,,greek ,,key1 see ,chinese fret4 ,,guli ,,henna 7see field design of illustration at p4 #bjb74--;,consists of the small yellow henna flowers arranged in rows with floral forms connecting them similarly in arrangements to the ,herati design4 ,it is common in ,persian rugs1 especially old ,feraghans4 ,,hand1 see ,coat of ,arms1 ,turkish2 also ,pear4 ,,hare4--,chinese1 in connection with the moon4 ,,henna ,,flower1 see ,guli ,henna4 ,illustration3 ,herati design ,illustration3 ,herati design ,,herati4--,also known as the fish1 twin fish and ,feraghan designs4 ,better known as the ,herati4 ,it originated in the old city of ,herat4 ,it consists of a rosette between two lancet-shaped leaves which very much resemble fish4 ,on account of this resemblance it is often called the fish pattern4 ,it has been utilized with many modifications in half of the rug-making sections of the ,orient4 ,it may be found in its original form in many of the ,persian fabrics1 especially the ,herat1 the ,feraghan1 the ,khorasan1 and the ,senna4 ,when in the body of the rug it is generally arranged as a diaper1 covering all or a considerable portion of it4 ,sometimes it appears in combination with square or diamond-shaped figures4 ,the ,herati border is found in a great many of the ,persian and in some of the ,caucasian fabrics4 7,see color plate at p4 #bb1 and doubletones at pp4 #aad1 #aij and #cab47 ,illustration3 ,,feraghan ,,rug 7,,herati ,,design7 ,size #g'f #d' ,,loaned ,,by ,,mr4 ,,edw4 ,,hommel 7,see page #aib7 ,,hexagon4--,found in rugs of most every class1 but more especially in those of the ,caucasus4 ,it apparently has no special symbolic significance4 ,,hog4--,in ,china the hog is symbolic of depravity and imbecility4 ,,hom1 see ,anthemion4 ,,hook1 ,angular1 see ,angular hook4 ,,hook1 ,latch1 see ,angular hook4 ,,horse ,,shoe4--,emblem of good luck4 ,frequently used in combination with cloud forms4 ,,hound4--,chinese1 fidelity or loyalty4 ,,hour-,,glass4--,formed by the joining of two triangles at their apices2 is symbolic of fire and water4 ,,indian ,,fish ,,bone1 see ,fish bone4 ,,jewel1 see ,pear4 ,,jug4--,in ,india the jug with the bust of a woman on the top represents the sacred water of the ,ganges4 ,,key1 ,,greek1 see ,chinese fret4 ,,knop ,,and ,,flower4--,a closed bud alternating with a rosette or a palmette4 ,it is supposed to have had its origin in the ,egyptian lotus4 ,it is used chiefly in border designs4 ,,knot4--,a ,buddhist symbol4 ,illustration3 ,knot of destiny ,,knot ,,of ,,destiny4--,dates back to ,solomon's time4 ,it is one of the ,chinese ,buddhist ornaments and is therefore quite commonly found in the ,samarkand1 ,yarkand1 ,kashgar1 and the various ,chinese products4 ,also used more or less throughout the ,caucasus and especially in the ,shemakha2 in fact1 it is present somewhere in most rugs of the latter class1 as a talismanic design4 ,in some of the ,persian fabrics it partakes of a floral character4 ,,konieh ,,field1 see ,rhodian4 ,,koran is a sacred design and few rugs with it ever leave ,persia4 ,illustration3 ,kulah border design ,,kulah ,,border ,,design4--,claimed by some to have originally been intended to represent an alligator4 ,there are exceedingly few ,kulah rugs that do not show it and seldom is it seen in any other class of fabrics4 7,see doubletone at p4 #bdj47 ,,lamp4--,crude figures of lamps1 like miniature tea-pots1 often hang from the prayer niche of the ,turkish prayer rugs1 especially those of the ,konieh1 ,ghiordes1 and ,ladik varieties4 ,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 mosque4 ,illustration3 ,lamp design ,,latch ,,hook1 see ,angular ,hook4 ,,lattice4--,also known as trellis1 diaper1 and network4 ,these names are applied to any design which is repeated in such a way as to form a lattice arrangement4 ,it is more or less common in all classes of rugs1 especially the ,persians4 ,a peculiar compact lattice pattern known as the mirror design is frequently found in the ,hamadans4 7,see doubletone at p4 #beh47 ,illustration3 ,lattice design ,,leaf1 see ,pear4 ,,leopard4--,the ,chinese symbol for ferocity4 ,,lily1 see ,rhodian4 ,,link4--,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 line4 ,it is found in the borders of ,asia ,minor rugs1 also in the field of many ,nomad productions4 ,especially common in the ,kurdistans and ,shirvans4 ,illustration3 ,link ,,lion4--,chinese1 strength1 power1 authority2 ,indian1 a lion's figure on the arms of a chair indicates that it is a throne4 ,a throne is called ,sivasan1 which means a lion seat4 ,a lion is also one of the chargers of the goddess ,durga4 ,,loop1 see ,pear4 ,illustration3 ,lotus design ,illustration3 ,,modern ,,kermanshah ,,rug ,,loaned ,,by ,h4 ,b4 ,,claflin ,,co 7,see page #ahh7 ,,lotus4--,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 water4 ,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 subsided4 ,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 purity4 ,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 country4 ,in ornament the lotus is handled by many different nations1 being used in both circular and profile forms1 figuring as flowers1 wheels1 medallions1 etc4 ,illustration3 ,lotus design ,,magpie4--,the ,chinese harbinger of good luck4 ,,meander1 ,,greek 7a border design74--,also known as the zigzag1 the wave crest1 or the water motif4 ,it consists of a series of diagonal lines at regular intervals representing waves or running water4 ,found in nearly all classes1 especially the ,caucasian4 ,illustration3 ,meander design ,,medallion4--,a ,mongolian element which no doubt originated from the lotus4 ,found in most ,chinese and many ,persian rugs1 especially the ,gorevans1 ,serapi1 ,hamadans1 ,kirmans1 ,shiraz1 and ,khorasans4 ,a modification known as the pole medallion1 in which the ends of the design project out like a pole1 is especially common to the rugs of ,hamadan and ,shiraz4 ,in the ,chinese rugs the medallion is usually of the form known as the ,circle of ,happiness4 7,see doubletones at pp4 #ahj1 #ahh1 #aib1 and #bbb2 also color plates at pp4 #eb and #aff47 ,illustration3 ,medaillon design ,,mina ,,khani 7see field design of plates at pp4 #bad and #bif74--,named after ,mina ,khan1 one of the ancient rulers in ,western ,persia4 ,it is a combination of red1 yellow1 and parti-colored red and blue florals joined by rhomboidal vines of olive green in such a manner as to form a lattice arrangement4 ,it is distinctly a ,kurdish design1 although it is found frequently in the ,persian fabrics1 especially in those from the province of ,khorasan4 ,illustration3 ,mir design ,illustration3 ,,khiva ,,bokhara ,,prayer ,,rug ,size #d' #b'f ,,property ,,of ,,mr4 ,l4 ,a4 ,,shortell1 ,,boston1 ,,mass4 7,see page #bhj7 ,,mir 7a border design74--,so called after the village where it is said to have originated4 ,it consists of small rectilinear flowers connected by an undulating vine and is an almost universal design of the ,sarabands4 ,seldom seen in other fabrics4 7,see doubletone at p4 #aih47 ,,mirror ,,design1 see ,trellis4 ,,monkey4--,symbolic in ,china of high official rank4 ,,mosque ,,design4--,found in many prayer rugs4 ,it consists of a column on each side of the prayer niche and a floral lamp hanging from the niche1 usually in a field of solid color such as dark red or blue4 ,,mountains are represented with from one to five peaks4 ,of ,mongolian origin1 although they are occasionally found in some of the ,caucasian1 ,turkestan1 and ,persian fabrics4 ,the ancient ,mongolians believed that the souls of the righteous mounted to heaven from the mountain tops and for this reason they are revered4 ,,network1 see ,lattice4 ,,niche ,,or ,,mihrab 7see plate at p4 #cbb74--,the name applied to the pointed design at one end of a prayer rug4 ,it is supposed to imitate the form of the ,mihrab in the temple at ,mecca4 ,when a prayer rug is used the niche is invariably pointed towards the holy city of ,mecca4 ,,octagon4--,represents the eight directions of location and is found in ,turkoman1 ,chinese1 and ,caucasian products4 ,it is characteristic of the ,turkestan rugs4 7,see doubletones at pp4 #afb1 #bfd and #bgh2 also frontispiece47 ,illustration3 ,octagon ,,owl4--,chinese1 a bird of ill-omen4 ,in ,eastern ,india the owl is considered auspicious because it is the charger of ,laxni1 the ,goddess of ,wealth1 but in ,western ,india it is considered an ominous bird4 ,,ox4--,chinese1 friend of man1 agriculture2 ,indian1 the charger of ,shiva4 ,the sacred nature of the humped bull in ,india is well known4 ,,palace ,,or ,,sunburst4--,known by the latter name inasmuch as its shape suggests the radii around the sun4 ,a very common design in ,kazaks and ,shirvans1 especially the antiques4 ,never found in any but the ,caucasian products4 7,see doubletone at p4 #bgb47 ,illustration3 ,palace or sunburst ,,palmette4--,a little cup-shaped object with fan-shaped leaves around it4 ,believed by some to have had its derivation from the human hand with all the digits extended2 by others it is believed to have been derived from the palm growth4 ,,panel4--,supposed to have been intended to represent mosque windows4 ,they usually vary in number from one to three and are found in the ,shiraz more than in any other class4 7,see doubletone at p4 #bdf47 ,,parrot4--,in ,india this bird is symbolized as a messenger of love4 ,,peacock4--,chinese1 beauty2 ,indian1 it is always auspicious because it is the royal bird4 ,its feathers supply material for the morchel brushes held by pages on each side of a ,maharajah or king4 ,illustration3 ,pear design ,illustration3 ,pear design ,,pear4--,also known as the cone1 the palm leaf1 the river loop1 the crown jewel1 the seal1 the almond1 the feather1 the bouquet1 and the flame4 ,there is a vast difference of opinion as to the origin and meaning of this motif4 ,some authorities claim it was intended for the fir cone1 which served as an emblem of immortality and was revered by the ancients2 some say it was intended for the palm leaf1 which has been handed down by the ,greeks as a symbol of victory2 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 ,mosque4 ,by some it is said to represent the crown jewels or chief ornament in the old ,iranian crown1 which is a composite jewel of pear shape4 ,a great many believe it to represent an ancient seal which was made by the closed hand after dipping it in human blood4 ,tradition tells us that the signing of documents in such a manner was a custom well known in the ,east4 ,this design has also been called the almond1 the feather1 the bouquet1 and the flame on account of its fancied resemblance to these objects4 ,we have selected the name pear because the image it conveys is more clearly recognized by the western mind4 ,it is that which its shape most suggests4 ,the ,pear design is common in many kinds of rugs1 especially in those of ,persia and ,kurdistan1 but it varies greatly in varieties of form and size4 ,the large size is usually employed in the ,caucasus and ,southern ,persia1 while the small size is used more frequently in ,central and ,western ,persia4 ,in the ,saraband1 ,shiraz1 ,herat1 ,khorasan1 and ,senna1 it frequently covers the whole field4 ,in the two former alternate rows usually have the stems of the pears turned in opposite directions1 while in the three latter the stems are usually turned in the same direction4 7,see doubletones at pp4 #aih1 #bjd1 #bjh and #bfb2 also color plate at p4 #bib47 ,illustration3 ,a ,,kurdish ,,guard ,,pearl ,,or ,,chin4--,a ,mongolian design4 ,frequently found in ,chinese1 ,tibetan1 and ,turkoman rugs4 ,it stands for purity and is generally associated with the dragon1 which is supposed to be guarding it from the grasp of the demons4 ,,peony4--,symbol in ,china of wealth and official position4 ,,persian ,,coat ,,of ,,arms1 see ,coat of ,arms1 ,persian4 ,,ph,,nix4--,chinese1 prosperity1 a bride4 7,see doubletone at p4 #ccb47 ,,pineapple has furnished many designs4 ,it is even claimed by some authorities that the palmette of the famous ,shah ,abbas design was originally suggested by the pineapple4 ,,pine ,,tree1 see ,tree4 ,,pole ,,medallion1 see ,medallion4 ,,pomegranate4--,many descendants4 ,the pomegranate takes a prominent place in ,mohammedan art1 especially in the ,anatolian provinces4 ,it is highly regarded as a food and from its juice a delicious drink is made4 ,,ram1 ,,indian4--,if drawn with a four-headed figure riding it1 it means ,mars4 ,,reciprocal ,,saw-,,teeth is sometimes called by the ,persians sechrudisih1 meaning teeth of the rat4 ,almost distinctive of ,caucasian fabrics1 especially the ,kazaks4 ,occasionally present in the ,turkish and ,turkoman rugs also4 7,see doubletone at p4 #bdb47 ,illustration3 ,reciprocal saw-teeth design ,,reciprocal ,,trefoil4--,so named by ,european experts who claim it to be an essential mark of the ,polish carpets4 ,like the barber pole stripe it is found in rugs of nearly all classes1 but more especially the ,caucasians4 ,probably found more frequently in the ,karabaghs than in any other rug4 7,see color plate at p4 #aff47 ,illustration3 ,reciprocal trefoil ,illustration3 ,rhodian or lily design ,,rhodian ,,or ,,lily4--,composed of small flowers with three triangular petals and a long stem4 ,has the appearance somewhat of a shamrock leaf4 ,it may be found in any of the ,asia ,minor rugs1 especially in the field of the ,konieh and ,ladik4 ,in the former it is nearly always present and for this reason is sometimes known as the ,konieh design4 7,see color plate at p4 #fj and doubletones at pp4 #ach and #bcf47 ,,rhomboid4--,common in rugs of most every country1 but more especially in those of the ,caucasus4 ,it carries no special symbolic significance4 ,,ribbon4--,representation of a twisted ribbon4 ,like the barber pole stripe1 the reciprocal trefoil1 and the ,greek meander1 it is found in nearly all classes of rugs4 7,see color plate at p4 #ade and doubletone at p4 #acj47 ,illustration3 ,ribbon design ,,rice4--,sometimes referred to as the grains of rice pattern2 consists of pinkish brown colored spots sprinkled on a field of dull white4 ,often arranged in a network4 ,found only in ,samarkand and ,chinese products4 ,,river ,,loop1 see ,pear4 ,illustration3 ,rooster ,,rooster4--,the people of ,shiraz personify the ,devil in the form of a rooster1 which they weave in some of their choicest rugs in order to avert the evil eye4 ,some forms of the crowing cock1 so called1 are easily confused with the ,pear pattern4 ,,rosary1 see ,beads4 ,,roses1 ,,four4--,an ancient design appearing in many forms4 ,common in the ,kurdish products and it is thought by some to be a ,kurdish form of the tree of life4 ,it appears in several different forms4 ,,rosette4--,a floral-shaped design which is said to resemble the ,star of ,bethlehem1 an early spring flower of ,persia4 ,it is much used in border designs and it alternates with the palmette in forming the ,shah ,abbas pattern4 ,it also forms the design known as the ,knop and ,flower by alternating with a closed bud4 ,some authorities claim that it originated from the lotus4 ,illustration3 ,rosette design ,,russian ,,coat ,,or ,,arms1 see ,coat of ,arms1 ,russian4 ,s ,,forms1 especially repeated in the form of a border1 are very common in the ,caucasian fabrics1 especially in the ,kabistans and ,shirvans4 ,also found to some extent in the ,turkish and ,persian weaves4 7,see doubletone at p4 #bbj47 ,illustration3 ,s forms ,,saraband ,,border ,,design1 see ,mir4 ,,sardar4--,named after the ,sardar ,aziz ,khan1 who was at one time governor of ,azerbijan4 ,this design consists of narrow leaf forms1 which are connected by vines and relieved by bold floral shapes4 ,quite commonly used in modern fabrics1 especially the large-sized ones4 ,,saw-,,teeth1 ,,reciprocal1 see ,reciprocal ,saw-teeth4 ,,scarab,,us1 see ,beetle4 ,,sceptre4--,one of the most distinctive and famous of the ,mongolian patterns4 ,illustration3 ,scorpion or spider ,,scorpion ,,or ,,spider4--,chinese1 viciousness1 poison4 ,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 insect4 ,as a design it is quite common in the borders of ,caucasian fabrics1 especially the ,shirvans4 ,,scroll4--,one of the distinctive ,mongolian patterns which is said to represent the sun4 ,found in the ,turkestan1 ,chinese1 and ,tibetan fabrics4 ,,seal1 see ,pear4 ,,seal ,,of ,,solomon1 see ,solomon's ,seal4 ,,serpent4--,in ,india it is inauspicious because it reminds one of death4 ,,shah ,,abbas 7see border design in cut of ,ispahan rug at p4 #aid74--,named after the most revered of monarchs1 who was born in #aehf and died in #afbh4 ,it is one of the most beautiful of the ancient designs4 ,it consists of yellow1 red1 and blue flowers with connecting vines upon a background of blue4 ,the so-called ,shah ,abbas design of to-day has very little resemblance to the ancient design4 7,see color plate at p4 #cb and doubletone at p4 #aid47 ,,shaul ,,design1 see ,pear4 ,,shield ,,of ,,david1 see ,star1 six-pointed4 ,illustration3 ,shirvan design ,,shirvan ,,design is composed of a diamond figure1 each side of which is formed by a series of steps4 ,frequently the centre is filled with small geometrical figures4 ,this design is found more or less in the majority of the ,caucasian products1 but more especially in the ,shirvans4 ,illustration3 ,,kir ,,shehr ,,prayer ,,rug ,size #c'aj #e'e ,,property ,,of ,,mr4 ,j4 ,h4 ,,stanton1 ,,auburn1 ,n4 ,y4 7,see page #bbb7 ,,shou appears in many forms1 but the three forms illustrated herewith are the most common1 not only in ,chinese rugs but also as decoration in old porcelain and as embroidered designs on silk4 ,illustration3 ,shou design ,,signet ,,of ,,david4--,based upon the equilateral triangle and from it have originated many of the ,turkish designs4 ,see ,star1 six-pointed4 ,,silibik ,,or ,,apple4--,a ,kurdish design which bears very little resemblance to the fruit after which it is named4 ,it is usually arranged in perpendicular rows throughout the field4 ,,sixteen ,,lucky ,,squares1 see ,knot of ,destiny4 ,,snake1 see ,serpent4 ,,solomon',s ,,seal4--,built on the right angle triangle and1 like the ,signet of ,david1 it is found in many of the ,turkish and ,caucasian fabrics and to it scores of patterns may be traced4 ,illustration3 ,solomon's seal ,,sparrow4--,in ,india it indicates bumper crops4 ,,spider1 see ,scorpion4 ,,spiral1 see ,link4 ,,square4--,found in the rugs of nearly every class1 but more especially in those of the ,caucasus4 ,it apparently has no special symbolic significance4 ,,square ,,cross1 see ,cross1 ,greek4 ,,squirrel4--,in ,india it is sacred to ,rana1 the seventh incarnation of ,vishnu1 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 grains1 which adhered to its bushy coat1 into the sea4 ,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 bridge4 ,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 it4 ,the stripes on the squirrel's back are still believed to be ,rana's finger marks and no good ,hindu1 therefore1 will kill a squirrel4 ,its presence is auspicious1 signifying ,divine protection4 ,,star4--,an emblem seen the world over in decoration1 especially in synagogues4 ,it is common in the ,caucasian and ,turkoman products1 especially in the form of the elongated eight-pointed star4 ,this eight-pointed star in the centre of an octagon is said to have represented the ,deity of the ancient ,medes4 ,in all probability the six-pointed star was an adaptation of the ,shield of ,david4 ,it is supposed to have been symbolic of divinity4 ,to it may be traced scores of ,turkish patterns4 7,see doubletone at p4 #afb and color plate at p4 #id47 ,illustration3 ,star ,,stork4--,chinese1 longevity4 ,indian--the ,indian heron has been associated with cunning and deceit4 ,it is said that it stands on one leg like an ,indian ascetic as if it had been performing austerities1 but as soon as a fish comes within reach it pounces on it and devours it4 ,people who assume the garb of religious men and cheat others are called 7bak7 storks1 herons4 ,,sunburst1 see ,palace4 ,,swan4--,in ,india the swan is the charger of ,brahma4 ,,swastika4--,derived from the ,sanscrit word ,svasti1 which means good pretence4 ,it dates back three or four thousand years ,b4,c4 and has been found in nearly all excavations of prehistoric times and among the relics of primitive people all over the world4 ,it has been known alike to ,ancient ,greeks1 ,egyptians1 ,chinese1 ,japanese1 ,east ,indians1 ,aztecs1 mound builders1 and the ,north and ,south ,american ,indians1 with all of whom it has a similar meaning1 viz41 good luck and happiness4 ,in ,india it is drawn below the seats intended for bridegrooms1 below the plates containing food to be offered to gods and is tattooed on the arms4 ,it is drawn on the scalp at the thread ceremony and on the dorsum of the feet on all auspicious ceremonies1 such as marriages1 etc4 ,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 hand1 although it has been given different forms1 as shown by the accompanying illustrations4 ,it is very commonly used as a rug design1 especially in the ,chinese1 ,caucasian1 ,turkish1 and ,turkoman products4 7,see color plate at p4 #cjf and doubletone at p4 #bij47 ,illustration3 ,swastika ,t ,,forms 7a border design7 figure largely in the decoration of ,samarkand and ,chinese rugs4 ,similar to the ,chinese fret4 ,illustration4 ,t forms ,illustration3 ,,the ,,emir ,,of ,,bokhara ,,and ,,his ,,ministers ,illustration3 ,,turkomans ,,at ,,home ,,tae-,,kieh ,,or ,,yang ,,and ,,yin is a circle separated by two semicircles into comet-shaped halves4 ,distinctly a ,chinese symbol and found in ,chinese1 ,tibetan1 and ,turkoman textiles4 ,used as a charm and found in decorations on all sorts of articles4 ,illustration3 ,yang and ,yin ,,tarantula4--,a design which has been so modified as to almost obscure the resemblance4 ,it is almost omnipresent in all of the ,caucasian fabrics1 especially the ,kazaks1 ,kabistans1 and ,shirvans4 7,see doubletone at p4 #bdh47 ,illustration3 ,tarantula ,,tekke ,,border ,,designs4--,two forms1 one a sort of a double ,t border1 the other a diagonal arrangement of the ,indian fish bone4 7,see doubletones at pp4 #bhj and #bhd47 ,illustration3 ,tekke border design ,,tekke ,,field ,,design4--,a repetition of a ,y-shaped design4 ,found only in the ,tekke rugs1 especially those of the prayer variety4 7,see doubletone at p4 #bhd47 ,illustration3 ,tekke field design ,,tomoye owes its origin to some ancient conception of elemental forces4 ,it has been adopted by ,korea and ,japan as a national and heraldic crest4 ,frequently used in ,mongolian ornament4 ,illustration3 ,tomoye ,,tortoise ,,or ,,turtle ,,border ,,design4--,a design in which the figure of the tortoise is arrayed in a manner similar to that of the ,herati border design4 ,in ,china the tortoise stands for longevity and immortality4 ,in ,india it is also auspicious inasmuch as it represents the second incarnation of ,vishnu where it supports the earth on its back4 7,see doubletones at pp4 #agh and #bjb47 ,illustration3 ,tortoise of turtle border design ,,tree4--,sometimes called the tree of life4 ,always associated with religious belief4 ,it symbolizes ,divine power and perpetual life4 ,it has furnished more different art motives than any other object and is almost omnipresent in ,persian prayer rugs4 ,the palm signifies a blessing or benediction1 the weeping willow stands for death1 and the cypress1 while being an emblem of mourning1 in its perennial freshness and the durability of its wood1 is also a very practical symbol of the life to come4 ,it is an ,oriental custom to plant cypress trees on the graves of the dead1 to place its twigs in the coffins of the dead1 and to use its branches to indicate the houses of mourning4 7,see frontispiece and doubletone at p4 #ii47 ,in ,india the cocoanut palm is considered the tree of desire or one that fulfils all desires4 ,its stem serves as a pillar or beam1 as a water conduit and as fuel2 its leaves supply mats for roofing the houses2 its kernel supplies oil2 its shell makes water bowls1 and the oil of the shell is used as an external application in certain skin affections1 etc4 ,it is all useful and supplies all the primitive wants and therefore was much cultivated by the ,rishis 7,saints7 of old1 who called it kalpa taru1 literally the tree that supplies all desires4 ,its presence therefore is auspicious4 7,see color plate at p4 #bb2 also doubletones at pp4 #dh1 #ih1 #baj1 #bbj1 and #bbb47 ,illustration3 ,tree ,,trefoil1 ,,reciprocal1 see ,reciprocal ,trefoil4 ,,trellis1 see ,lattice4 ,,triangle4--,scores of ,turkish patterns may be traced from the triangle4 ,it is frequently found tattooed upon the body of the ,turks as a talisman4 ,frequently appears as a design in the ,daghestans4 ,in ,india it represents mother earth and is very auspicious4 ,,turkish ,,coat ,,of ,,arms1 see ,coat of ,arms1 ,turkish4 ,,turtle1 see ,tortoise4 ,,twin ,,fish1 see ,herati4 ,,umbrella4--,a ,buddhist symbol which is occasionally found in ,chinese rugs4 ,,urn1 see ,vase4 ,,vase ,,or ,,urn4--,a ,buddhist symbol occasionally found in ,chinese decoration4 7,see doubletone at pp4 #baj and #bab2 also color plate at p4 #bb47 ,,vulture4--,indian1 death4 ,,water ,,crest1 see ,meander1 ,greek4 ,,wheel4--,a ,buddhist symbol which is sacred to ,vishnu1 who holds it in his hand4 ,it also symbolizes the wheel of the law4 ,found in ,chinese ornament4 ,illustration3 ,wine-glass border design ,,wine-,,glass ,,border4--,a border which resembles a wine glass and is especially common in the ,caucasian textiles1 particularly the ,kazaks and ,shirvans4 ,it appears in various forms1 but the most common is the one in combination with the fish-bone design4 7,see color plate at p4 #bib47 ,illustration3 ,,konieh ,,prayer ,,rug ,size #e'f #c'h ,,property ,,of ,,dr4 ,a4 ,,clifford ,,mercer1 ,,syracuse1 ,n4 ,y4 7,see page #bbf7 ,,winged ,,globe ,,or ,,disc4--,an ,egyptian design consisting of a small ball1 on the sides of which are two asps with extended wings1 expressing by these extended wings the power of protection afforded by the ,egyptian government4 ,also an emblem of religious sincerity and appreciation of benefits derived from ,god4 ,illustration3 ,winged globe ,,wolf4--,chinese1 ingratitude1 heartlessness4 ,in ,india it is inauspicious and is never drawn or embroidered on fabrics4 ,y ,,form 7a border design74--,one of the most famous of the ,mongolian patterns and figures largely in the decoration of ,chinese rugs4 ,see also ,tekke ,field ,design4 ,illustration3 ,y form ,,yang ,,and ,,yin1 see ,tae-kieh4 ,,zigzag1 see ,meander1 ,greek4 ,illustration3 #a-ah1 ,some nameless ,persian border designs4 ,illustration3 #ai-cf1 ,some nameless ,turkish border designs4 ,illustration3 #cg-ed1 ,some nameless ,caucasian border designs4 ,illustration3 #ee1 #ef1 #eg ,turkoman border designs4 ,illustration3 #eh1 #ei ,chinese border designs4 ,illustration3 #fj1 ,a ,chinese field design4 ,illustration3 #fa1 ,kurdish field designs4 ,illustration3 #fb1 ,caucasian field designs4 ,illustration3 #fc1 ,turkish field designs4 ,illustration3 #fd1 ,persian field designs4 ,illustration3 ,,kazak ,,rug ,size #f'c #d'h ,,property ,,of ,s4 ,f4 ,,hipes1 ,,trinidad1 ,,col4 ,knot3 ,ghiordes4 ,nine to the inch vertically and eight horizontally1 making seventy-two to the square inch4 ,one will seldom see a more beautiful and more glossy piece1 especially among the ,caucasian fabrics1 and neither the material nor dyes can be excelled4 ,the black in the background is of natural black sheep's wool covered with all sorts of animals1 birds and symbols1 most of which are in a rich rose color4 ,the main border stripe consists of the crab design in subdued tones of yellow1 blue and red with more or less white4 7,see page #bgb7 ,,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 them4 ,realizing this1 the author has included a chapter on the identification of rugs which contains many features new to rug literature and which1 he trusts1 will greatly simplify and render easy the process of identification2 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 puzzled4 ,oriental rugs are identified not alone by their designs and colors1 but by their material1 texture and finish1 therefore1 there is given first1 a list of those which are distinguishable by their outstanding or prominent characteristics2 second1 reproductions of the backs of those rugs which are characteristic in their appearance1 and third1 an exhaustive chart giving complete details as to weave1 material1 texture and finish of each variety of rug4 ,the chapter on ,design1 which precedes this1 is the most complete consideration ever given to this detail of rug making1 and its numerous descriptions and drawings will enable the reader to identify1 with reasonable certainty1 rugs by this feature alone4 ,the numerous pictures of the representative types of rugs will also familiarize the readers with many distinguishing patterns1 while the chapters in ,part ,,ii take up and gather together all of the various features of each kind of rug upon the market1 so arranged and described that a clear and comprehensive idea of it will be formed in the mind of the reader4 ,a ,,few ,,characteristic ,,features ,,of ,,certain ,,rugs ,named in the order of their importance and given to assist the reader in differentiating1 although few are absolute criterions4 ,,herez4--,characteristic angular ornamentation2 shaded background 7see doubletone1 page #agb74 ,,kara ,,dagh4--,the pile contains considerable natural colored camels' hair4 ,,tabriz4--,almost invariably a medallion centre 7see doubletone1 page #ahb74 ,very frequently curl on the sides4 ,,bijar4--,considerable camels' hair in the field4 ,,kermanshah4--,colors soft and light2 sides overcast with dark wool4 ,,senna4--,characteristic weave 7see plate on weaves1 page #aeb72 pear design and ,herati field and border design very common2 pole medallion 7see doubletone1 page #ahh74 ,,feraghan4--,herati border and field design in the great majority 7see doubletones1 pages #aad and #aij74 ,,hamadan4--,broad outside band of natural colored camels' hair2 pole medallion nearly always a prominent feature 7see doubletones1 pages #aaj and #aib74 ,,saraband 7,,mir74--,the characteristic ,saraband border stripe2 field consisting of the pear design in rows with the stems of alternate rows turned in the opposite direction2 light blue web 7see doubletone1 page #aih74 ,,saruk4--,overcast with silk or dark wool2 ,herati border designs2 intricate floral designs2 frequently curled on the sides 7see color plate1 page #aff74 ,,sultanabad4--,generally large scroll and floral pattern 7see doubletone of ,mahal1 page #bjb74 ,,niris4--,madder red predominates2 pear pattern common4 ,,shiraz4--,sides overcast with wool of two colors2 pole medallion a prominent feature2 little tassels of wool frequently along the sides2 strand of colored yarn in web 7see color plate1 page #eb1 and doubletones1 pages #bjf and #bjh74 ,,herat4--,herati border and field designs common2 pear designs in field with stems all turned in the same direction4 ,,khorasan 7,,meshed74--,uneven distribution of woof threads 7see plate on weave1 page #aeb74 ,two small pears resting their stems upon a larger one is one of the common designs4 ,herati border and field also common4 ,magenta a prominent color 7see color plates1 pages #bb and #cb74 ,,kirman4--,bouquets and vases in design most frequent 7see doubletone1 page #bab74 ,,kurdistan4--,one or two strands of colored wool in web of one end2 overcast with yarn of different colors2 shading of colors4 ,,kir ,,shehr4---,many have several tufts of wool composed of all the different colored yarns which are used in the body of the rug4 ,,ghiordes4--,the fringe on the upper end1 as a rule1 instead of being a continuation of the warp threads1 is a separate piece sewed on4 ,it also usually has two cross panels1 one above and one below the prayer field 7see color plate1 page #ff74 ,,ladik4--,wide red web striped with yellow or blue2 figures large in comparison to the size of the rug2 magenta freely employed4 ,,yuruk4--,border narrow in proportion to size of rug4 ,,bergama4--,designs generally broad and large in proportion to rug 7see doubletones1 pages #df and #bcf72 frequently small tassels of wool along the sides of the rug2 several woof threads between each row of knots and a wide web which frequently carries a design or rosettes which are woven in4 ,,kulah4--,the ,kulah border design nearly always in one or more of the stripes2 the ends are generally dyed yellow2 a large number of narrow border stripes which are filled with minute designs1 usually the fleck4 ,a filled or partly filled centre field2 usually one cross panel 7see doubletone1 page #bdj74 ,,meles4--,field is frequently composed of perpendicular stripes of yellow1 red and blue with zigzag lines or peculiar angular designs running through them 7see doubletone1 page #bdb74 ,,mosul4--,one or more strands of colored yarn run through the selvage1 usually red and blue4 ,,daghestan4--,diagonal ornamentations of both field and border2 all spaces well filled with a small geometrical design 7see color plates1 pages #hd and #bib1 also doubletones1 pages #bed and #bef74 ,,derbend4--,yellow lavishly used2 field likely to consist of a repetition of designs in alternate colors4 ,,tchetchen4--,the characteristic ,tchetchen 7,chichi7 border design is nearly always found 7see doubletone1 page #bfj74 ,,baku4--,small strand of camels' hair crosses one end4 ,,shemakha4--,pileless2 loose shaggy yarn ends on the under side 7see plate of weaves at page #aec74 ,,genghis4---,field often filled with the pear design1 each row alternating in color 7see design on page #bfh74 ,,kazak4--,from two to six woof threads between each row of knots2 diagonal position of pile 7see plate on weaves1 page #aeb74 ,palace design commonly employed4 ,bold figures and bright colors 7see doubletone1 page #bgb74 ,illustration3 ,,tekke ,,bokhara ,,strip ,size #a'b ,x #d'aa ,,property ,,of ,,the ,,author 7,see page #bhd7 ,,khiva4--,large detached octagon and diamond forms2 goats' hair warp 7see doubletone1 page #bgh74 ,,tekke4--,small detached octagon and diamond forms 7see doubletone1 page #bhb74 ,,yomud4--,checker-board effect of selvage on the sides2 strands of colored wool in the web 7see doubletone1 page #bhf74 ,,yarkand4--,generally four strands of woof between each row of knots4 ,,samarkand4--,one or more circles of happiness2 three or four woof threads between each row of knots2 lavish use of yellow and ,bokhara red2 designs mostly ,chinese 7see doubletone1 page #bij74 ,,beluchistan4--,sides frequently finished in horse hair2 dark subdued colors4 ,if there is any white it is nearly always in one of the border stripes 7see doubletone1 page #bif74 ,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' reflection4 ,to illustrate1 try your skill on the following description3 ,knot--,senna1 weave close and rows of knots very uneven2 warp and woof both of undyed cotton4 ,pile of very fine wool1 short and upright2 ends both have narrow white webs through which runs a strand of parti-colored yarn4 ,there is also a fringe of loose warp ends4 ,the sides are overcast with silk4 ,there is a diamond-shaped pole medallion upon a field which is covered with a minute ,herati design2 the colors are subdued shades of red1 blue1 green1 yellow and old rose with more or less white4 ,after consulting the table of distinguishing features you will find that the ,senna knot excludes all ,caucasian and ,turkish fabrics2 the cotton warp and woof excludes all ,turkoman fabrics excepting the ,kashgar and the ,yarkand4 ,the overcasting of the sides1 as well as the ,herati design1 excludes these two1 therefore it must belong to the ,persian class4 ,a great many of this class are tied with the ,senna knot2 have cotton warp and woof2 a short1 upright wool pile and narrow webs with loose warp ends1 but only two are ever overcast with silk1 namely the ,senna and the ,saruk4 ,upon referring to the characteristic features mentioned in the first part of this chapter 7page #adh7 you will see that the ,herati design is common to both of these rugs1 but that the uneven weave1 the pole medallion and the strand of colored yarn in the web are all ,senna features1 therefore you have a ,senna4 ,a thorough knowledge of designs and colors would have enabled you to name the piece at first sight1 as would also the character of the weave in this particular instance4 ,most of the prayer rugs may be accurately classified by consulting the chart illustrating rug niches 7page #cbb71 while the distinguishing characteristics of the different ,ghileems may be found in the chapter on ,ghileems4 ,illustration3 ,characteristic ,backs of ,rugs ,illustration3 ,,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 weave4 ,there are many rugs1 the weaves of which differ so minutely that their reproduction on paper would be of no material help4 ,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 down4 ,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 inch4 ,a magnifying glass will aid materially in bringing out the minute details4 ,,no4 #a4 ,,khorasan4--,twelve knots to the inch vertically1 and six horizontally4 ,this peculiar weave is due to the fact that several rows of knots are tied with no woof thread to separate them2 then two or three strands of the woof are thrown in1 one after the other1 followed by several more rows of knots4 ,this method of weaving is a ,khorasan feature4 ,,no4 #b4 ,,senna4--,eighteen ,senna knots to the inch vertically1 and eighteen horizontally4 ,notice the closeness and irregularity of the rows of knots4 ,contrast the appearance of this with that of the ,saruk 7,no4 #c7 which is tied with the same kind of knot and has very nearly the same number to the square inch4 ,,no4 #c4 ,,saruk4--,fifteen ,senna knots to the inch vertically1 and sixteen horizontally4 ,one of the most closely and most evenly woven of the ,oriental fabrics4 ,in this illustration the rows of knots can easily be counted horizontally1 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 designs4 ,,no4 #d4 ,,kazak4--,six ,ghiordes knots to the inch vertically1 and nine horizontally4 ,notice the wide spacing between each row4 ,this is due to the great number of woof threads between each row1 a characteristic of the ,kazak4 ,this cut beautifully illustrates the appearance of the ,ghiordes knot on the back4 ,note that each one has two loops as compared with the one loop in the ,senna knot1 as illustrated in ,no4 #c4 ,,no4 #e4 ,,saraband4--,ten ,senna knots to the inch vertically and ten horizontally4 ,the white or light blue woof threads are distinctly seen in each row1 even in those which are closely woven4 ,the spaces between the rows vary a little in places1 giving it an appearance somewhat similar to the ,khorasan weave4 ,,no4 #f4 ,,daghestan4--,eight ,ghiordes knots to the inch vertically1 and eight horizontally4 ,this piece has the same number of knots to the square inch as does the ,chinese 7,no4 #g71 and1 although of a different kind1 the appearance of the weave is quite similar4 ,,no4 #g4 ,,chinese4--,nine knots to the inch vertically1 and nine horizontally4 ,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 7,no4 #f74 ,,no4 #h4 ,,merve ,,ghileem4--,eight stitches to the inch4 ,compare the difference in weave to that of the ,kurdish ghileem 7,no4 #i74 ,the colors of the latter are always at right angles to or with the warp and woof threads1 while that of the former is diagonal to the warp and woof threads4 ,this method of weaving gives the ,merve fewer and smaller open spaces4 ,,no4 #i4 ,,kurdish ,,ghileem4--,notice the many open spaces1 also the loose yarn ends1 a characteristic of this class of ghileems4 ,,no4 #aj4 ,,shemakha 7coarse74--,eight stitches to the inch4 ,showing the front of the rug in order to illustrate the ,shemakha weave1 which is a flat weave and yet quite different from that of the ghileems4 ,note its braided appearance4 ,,no4 #aa4 ,,shemakha 7coarse74--,back of the same rug as shown in ,no4 #aj4 ,note the quantity of loose yarn ends4 ,,no4 #ab4 ,,shemakha 7fine74--,ten stitches to the inch4 ,note the difference in the number of loose yarn ends in this piece compared with those in the coarsely woven fabrics 7,no4 #aa74 ,,chart ,,showing ,,the ,,distinguishing ,,features ,,of ,,the ,,different ,,rugs 7left side7 ,column ,key ---------- ,a7 ,ghiordes ,j7 ,wool ,b7 ,senna ,k7 ,cotton ,c7 ,wool ,l7 ,goat's ,hair ,d7 ,cotton ,m7 ,camel's ,hair ,e7 ,goat's ,hair ,n7 ,silk ,f7 ,camel's ,hair ,o7 ,linen ,g7 ,silk ,p7 ,dyed ,h7 ,linen ,q7 ,extra ,thr'ds ,i7 ,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 ,mo4,o,an4,a ,a ,s ,r ,o ,mo4,r ,,hamadan ,a ,a ,o ,r ,o ,,ispahan ,a ,a ,a ,,joshaghan ,a ,a ,a ,,saraband ,mo4,r,an4,a ,a ,a ,flb ,mo4,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 ,an4,a ,mo4,f ,a ,r ,f ,mo4,r ,,herat ,r ,s ,o ,r ,an4 ,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 ,an4,r,an4,o ,an4 ,o ,o ,r ,s ,mo4,a ,,kulah ,a ,a ,an4,a,mo4,o ,mo4,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 ,an4,r,mo4,r ,f ,mo4,o,an4,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 ,mo4b ,r ,o g or pc ,,genghis ,a ,r ,f b4g ,a ,fb1r,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 7right side7 ,column ,key ---------- a7 ,wool j7 ,narrow ,web r7 ,overcast b7 ,cotton k7 ,wide ,web s7 ,selvaged c7 ,goat's ,hair l7 ,hemmed ,web d7 ,camel's ,hair m7 ,parti-colored ,strands in ,web e7 ,silk n7 ,dyed ,web f7 ,short o7 ,loose ,warp ,ends g7 ,medium p7 ,braided ,warp ,ends h7 ,long q7 ,knotted ,warp ,ends i7 ,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 ,an4,r,an4,s ,mo4,o,mo4,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 ,an4,r,mo4,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 ,an4,r,mo4,r fl ,a ,a ,mo4,r,an4,r ,an4,o,mo4,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 ,mo4,r ,mo4,f ,f ,r fl ,a ,a ,r ,o ,an4,a ,r ,o ,r ,o fl ,o ,r ,rw ,o ,r ,ah ,a ,o ,r fl ,a ,rr ,o ,r ,aw ,r ,o ,mo4,a ,an4,r f ,a ,an4,r ,mo4,r ,a ad ,mo4,s s ,r ,o ,an4,r ,o ,mo4,r ,a ,ry ,a ,mo4,r,an4,a ad ,mo4,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 g4 r4 ,r ,o ,rh or b ,r ,o ,o ,r ,a ,r ,rr ,r oe ,mo4,r,an4,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 ,mo4,r,an4,r y ,an4,o,mo4,o ---------------------------------------- ----------------------- ,r ,f ,o ,o ,r ,o ,a ,f ,rd ,mo4,o,an4,a ,o hh ---------------------------------------- ----------------------- ,r ,o ,f ,r ,c ,a ,r ,mo4,r,an4,r ---------------------------------------- ----------------------- ,explanation of ,symbols3 ,a always2 ,r as a rule2 ,f frequently2 ,o occasionally2 ,s seldom2 ,an4 antiques2 ,mo4 moderns2 em embroidered2 ad added2 c coarse2 f fine2 fl fluffy2 h heavy2 t thick2 w wide2 u upright2 oe one end2 pa part2 p pileless2 pc parti-colored2 g gray2 lb light blue2 y yellow2 r red2 d dark2 b brown2 bl black2 ic if cotton2 iw if wool2 gh goats' hair2 hh horse hair2 s silk4 ,from the foregoing table the following facts may be advantageously emphasized1 viz3 7#a7 ,comparatively few rugs are tied with the ,senna knot1 and these are mostly of the ,persian and ,turkoman classes4 7#b7 ,all ,persian and ,caucasian rugs are tied with the ,ghiordes knot4 7#c7 ,most of the finest ,persian rugs have cotton warp and woof1 and are tied with the ,senna knot4 7#d7 ,the ,kurdistan is the only one of the ,persian classification which ever has a dyed warp1 but many of them have a dyed woof4 7#f7 ,the ,turkish and ,caucasian rugs1 as a rule1 have a wool warp and woof4 7#g7 ,the ,persians nearly all have narrow webs1 with the exception of the ,niris and the ,shiraz1 which have wide ones4 7#h7 ,all ,turkish rugs have narrow webs1 with the exception of the ,karaman1 the ,ladik and the ,bergama1 which have wide ones4 7#i7 ,as a rule the ,caucasians have narrow webs1 and the ,turkoman have wide ones4 7#aj7 ,the knotted warp ends are found especially among the ,caucasian rugs4 7#aa7 ,as a rule the ,persians are overcast on the sides1 and the ,turkish and ,turkoman are selvaged1 while the ,caucasians are as much one way as the other4 7#ab7 ,the length of the pile is of very little assistance in classifying4 ,,part ,,ii ,illustration3 ,,shirvan ,,rug ,,property ,,of ,,liberty ,,co41 ,,london1 ,,england ,of a rather unusual color combination for a ,caucasian product1 drab1 light and dark blue being the only colors of much prominence4 ,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 fabrics4 ,note the numerous small animal and bird forms scattered throughout the field4 7,see page #bfe7 ,,general ,,classification ,in the general market are found over fifty different kinds of rugs1 most of which are named after the towns or districts in which they are made1 from which they are marketed1 or after the people who make them4 ,there is generally also some slight difference in the weave1 the material1 the color1 the design or the finish1 which gives each class its distinguishing1 technical character4 ,of late years1 however1 there has been such an intermingling of races and transmission of ideas from one country to another1 that even the expert is often unable to identify a rug with the place in which it was made4 ,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 come4 ,under such circumstances classification becomes rather difficult and it is not to be wondered at that authorities sometimes disagree4 ,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 buyers4 ,in the classification to follow we will consider rugs from a geographical stand-point4 ,to begin1 we will consider them in the following order3 #ast1 ,persian2 #bnd1 ,turkish2 #crd1 ,caucasian2 #dth1 ,turkoman2 #eth1 ,beluchistan2 and #fth1 ,chinese4 ,no reference will be made to ,indian rugs for the reason that1 outside of the fact that they are made in ,india1 they can nowadays hardly claim a right to be classed as ,oriental products1 inasmuch as they are wholly modern creations made merely upon a trade basis1 often by machinery1 and after designs furnished by ,american and ,european designers4 ,illustration3 ,,bokhara ,,camel ,,bag ,,half ,size #d' #b'aj ,,property ,,of ,,mr4 ,j4 ,h4 ,,stanton1 ,,auburn1 ,n4 ,y4 7,see page #bhd7 ,bakhshis ,herez ,gorevan ,serapi 7a7 ,azerbijan ,kara ,dagh 7b7 ,kashan ,souj-,bulak 7c7 ,tabriz ,bijar1 ,sarakhs1 7d7 ,lule 7e7 ,ardelan ,kermanshah ,senna 7c7 ,feraghan 7f7 ,hamadan ,,persian ,,or ,ispahan ,,iranian ,irak-,ajemi ,joshaghan 7g7 ,saraband 7h7 ,saruk ,sultanabad ,mahal 7i7 ,muskabad 7i7 ,farsistan or ,fars ,niris1 ,laristan 7j7 ,shiraz ,herat 7k7 ,khorasan ,khorasan proper ,meshed ,kirman ,kirman ,eastern ,kurdistan ,kurdistan proper4 7a7 ,after the village of ,serab4 7b7 ,mountains4 7c7 ,a ,kurdish product1 named after a city4 7d7 ,more commonly called ,sarakhs1 after the city by that name1 which is situated on the border line between ,persia and ,turkestan and within a few miles of ,afghanistan4 ,they are so called because the people who make them formerly came from this district4 7e7 ,a corruption of the ,persian word roules1 which means a pearl4 7f7 ,a province4 7g7 ,a district4 ,joshaghan is the ,english way of spelling it and ,djoshaghan the ,french way of spelling it4 7h7 ,a corruption of the word ,sarawan1 the name of a district in ,persia just south of ,feraghan4 ,the name has no connection whatever with the ,saraband ,dance4 7i7 ,terms used for the different grades of rugs from the ,sultanabad district4 7j7 ,laristan is a province in the ,kirman district just south of ,niris4 7k7 ,named after the city of ,herat1 which is not situated in ,khorasan at all1 but is across the ,persian border in ,afghanistan4 ,they take this name for two reasons3 first1 because they are woven by people who formerly lived in ,herat1 but who1 owing to political disturbances1 settled in ,khorasan2 and second1 because they are marketed at ,herat4 ,angora ,kir ,shehr ,brousa ,oushak ,karaman ,konieh proper ,anatolian ,konieh ,mujur ,ladik 7a7 ,yuruk 7b7 ,ak-,hissar ,anatolian proper ,bergama ,turkish ,smyrna ,ghiordes ,kulah ,meles 7c7 ,makri ,smyrna proper ,kurdistan ,mosul ,mosul proper 7a7 ,a corruption of the word ,laodicea4 7b7 ,the word ,yuruk means mountaineer4 7c7 ,a corruption of the word ,milassa4 ,daghestan proper ,caucasia ,daghestan ,derbend ,kabistan 7a7 ,tchetchen1 ,chichi1 ,tzitzi 7b7 ,baku proper ,,caucasian ,baku ,shemakha1 ,soumak 7c7 ,kashmir 7d7 ,shirvan 7e7 ,transcaucasia ,elizabethpol ,genghis1 ,ganja 7f7 ,karabagh 7e7 ,erivan ,kazak 7g7 7a7 ,should be ,kubistan or ,kuban1 as they are made at ,kuba4 7b7 ,named after a tribe of people who inhabit the mountains north of ,daghestan4 7c7 ,a corruption of the word ,shemakha4 7d7 ,sometimes called ,kashmir from the resemblance of the under side to that of ,cashmere shawls4 7e7 ,a province4 7f7 ,named after a tribe of ,turkomans who live in the vicinity of ,elizabethpol4 ,sometimes called ,ganja1 after the ancient name of ,elizabethpol4 7g7 ,named after a tribe of ,nomads inhabiting the hills around ,lake ,goktcha4 ,khiva ,bokhara ,turkestan ,beshir ,bokhara ,tekke ,bokhara 7a7 ,yomud ,bokhara 7b7 ,,turkestan ,,or ,,turkoman ,eastern ,turkestan ,kashgar ,yarkand ,russian ,turkestan ,samarkand ,beluchistan ,beluchistan proper 7c7 7a7 ,made by the ,tekke-,turkomans who inhabit the plains to the west of the ,oxus4 7b7 ,the name of a tribe of ,turkomans who inhabit the western end of ,turkestan4 7c7 ,although these rugs are made in a region far distant from ,turkestan1 they are so similar to the ,turkoman class that they are classified as such by several authorities4 ,genghis1 of the ,caucasian class1 being made by a tribe of ,turkomans in the ,caucasus and resembling closely the ,turkoman productions1 are classified as such by several prominent writers4 ,illustration3 ,,saruk ,,rug ,size #f' #d #d' #a ,,from ,,the ,,collection ,,of ,,the ,,author ,knot3 ,senna4 ,fourteen to the inch horizontally and seventeen to the inch vertically1 making two hundred and thirty-eight to the square inch4 ,the design is characteristic but the colors are unusual for a ,saruk4 ,there is a central pole medallion within another medallion4 ,the predominating color of the former is an old rose with figures in light and dark blue1 white and yellow1 especially the latter4 ,the outside medallion has an old ivory background and is strewn with beautiful undulating vines covered with flowers of various colors1 those at one end being principally in old rose while at the other end a rich red seems to predominate4 ,each corner of the field outside of the medallion has a rich blue background with scroll figures and large flowers1 differing considerably in color at the two ends4 ,there are four border strips1 the outside one being of plain ivory4 ,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 red1 blue and white4 7,see page #bjj7 ,illustration3 ,,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 decoration1 therefore the ,persian textiles have always shown complex floral designs and harmonious arrangement of colors4 ,unlike the ,turkish fabrics1 they almost invariably have a full straight fringe at each end which is composed of loose warp threads4 ,in ,persia both the ,senna and the ,ghiordes knots are used1 and the latter has been adopted in some localities where the former alone was once in vogue4 ,the weavers of ,persia are usually composed of women and children of both sexes4 ,the latter1 however1 do not take up the work at nearly so early an age as they do in ,asia ,minor4 ,in ,persia they seldom begin earlier than ten years of age1 while in ,asia ,minor thousands of little children from four to six years of age may be seen working at the loom4 ,the usual pay in ,persia is fifteen tomans 7#j4ia7 a year for the first two years of their apprenticeship4 ,this amounts to about #ac4fe of our money4 ,after the expiration of two years they are paid at the rate of one toman for every #cj1jjj stitches4 ,the ,persian government has endeavored to uphold the quality of its rugs in the face of demoralizing influences1 but alas1 ,persia too is getting the commercial spirit and aniline dyes are being smuggled into and secretly used all over the country4 ,one correspondent in ,teheran says1 ,good rugs are hard to get and are very expensive4 ,there are quantities of the commercial variety1 but those can be bought in ,london as cheap as in ,persia4 ,during the recent revolution quite a number of the palaces were sold out by their owners at auction4 ,at these sales the good rugs were quickly picked up at fabulous prices by ,european residents in ,teheran4 ,there are no rug factories in ,persia1 but there are several establishments owned by foreigners1 especially at ,sultanabad and ,tabriz1 where the wool is dyed and given out to the weavers to take home and weave according to the designs and specifications furnished4 ,illustration3 ,,inspecting ,,rugs ,,at ,,ispahan ,illustration3 ,,persian ,,villagers ,,near ,,hamadan ,,persian ,,rug ,,provinces ,the following is a short description of the various ,persian provinces from which rugs come3 ,,azerbijan is the most northeastern province of ,persia4 ,it includes a part of ,ancient ,armenia and its present population consists mostly of ,turks1 with some ,armenians and ,kurds4 ,tabriz is the capital4 ,its present output of rugs is very large4 ,,ardelan is the province just south of ,azerbijan4 ,its inhabitants are mostly ,kurds and its capital is ,kermanshah4 ,,irak ,,ajemi is the largest province of ,persia4 ,it practically occupies the centre of the country4 ,its principal city is ,teheran1 which is the present capital of ,persia4 ,irak ,ajemi has a larger output of rugs than any other province of ,persia4 ,,farsistan or ,,fars1 as it is sometimes called1 lies in the southern part of ,persia west of ,kirman and south of ,irak ,ajemi4 ,shiraz is its capital and it produces a wool which is not excelled1 if equalled1 by that of any other country in the world4 ,,khorasan is ,persia's most southeastern province and1 next to ,irak ,ajemi1 its largest one4 ,it is sometimes called ,the ,land of the ,sun1 and is inhabited by ,arabs1 ,turkomans1 ,kurds1 ,afghans1 ,baluches1 and ,jews4 ,the western portion is a desert4 ,meshed is the capital4 ,it is one of the last of the ,persian provinces to be affected by outside influences4 ,,kirman is the most southerly province of ,persia and the least known4 ,being so difficult of access1 it is seldom visited by the traveller2 consequently its products are free from outside influence4 ,it has for its capital the city of the same name4 ,a complete description of each rug of the ,persian class is given in the following pages4 ,illustration3 ,,herez ,,carpet ,,from ,,the ,,collection ,,of ,,mr4 ,a4 ,u4 ,,dilley ,,herez ,a name applied to all carpets made in the mountainous district of ,herez and to some from ,tabriz and ,sultanabad4 ,the different products of this class are so similar in many respects that it is often difficult and sometimes impossible for the expert to differentiate4 ,there is a great prevalence of ,mongolian influence in their designs4 ,until quite recently the ,herez district was one of the few districts from which the modern rugs were a decided improvement on the antique1 but they have deteriorated considerably of late4 ,they are marketed at ,tabriz4 ,,the ,,example ,,illustrated ,in exception to most of the ,herez weaves this piece has no medallion centre with corner pieces to match1 but the style of the floral motifs which fill the field is somewhat characteristic of the region in ,northern ,persia where it is made4 ,the ,herez products are extremely serviceable4 ,,bakhshis ,,why ,,so ,,named4--,after the village by that name in the ,herez district where they are made4 ,,knot4--,usually the ,senna1 sometimes the ,ghiordes4 ,number vertically six to fifteen2 number horizontally five to twelve2 number to the square inch thirty to one hundred eighty4 ,,warp4--,always cotton4 ,,woof4--,always cotton1 sometimes dyed brown4 ,,nap4--,usually a good quality of wool1 trimmed short1 but rarely lustrous4 ,,sides4--,nearly always overcast with different colored yarns4 ,occasionally finished flat4 ,,ends4--,short fringe with loose warp threads at each end2 occasionally they are knotted4 ,,border4--,usually consists of two narrow and one wide central stripe4 ,the latter frequently carries the ,herati design4 ,,prevailing ,,colors4--,different shades of red1 blue1 and green4 ,also ivory1 white1 brown1 old rose1 and sometimes yellow4 ,,dyes4--,as a rule are good4 ,aniline dyes are found in many of the very new pieces4 ,,designs4--,usually the medallion centre with or without corners to match4 ,characteristic angular ornamentation4 ,shah ,abbas1 ,herati1 and ,sardar designs frequently used4 ,,cost4,a--,from #a4jj to #b4ej a square foot4 ,,sizes4--,six to ten by ten to twenty-six feet4 ,seldom in small sizes4 ,,remarks4--,rather rare compared with the rest of the ,herez products4 ,among the most desirable of the large carpets4 ,until very recently they have been perfectly free from outside influences4 ,,gorevan ,,synonyms4--,goerivan1 ,ghorevan4 ,,why ,,so ,,named4--,after a small village in the ,herez district4 ,,where ,,made4--,throughout the ,herez district4 ,,knot4--,usually the ,senna1 occasionally the ,ghiordes4 ,number vertically from eight to fifteen2 number horizontally from six to twelve2 number to the square inch forty-eight to one hundred eighty4 ,,warp4--,always cotton4 ,,woof4--,always cotton1 sometimes dyed brown4 ,,nap4--,a rather coarse wool1 clipped short4 ,,sides4--,usually overcast1 as a rule with different colored wool1 seldom selvaged4 ,,ends4--,always a short fringe with loose warp threads at each end4 ,occasionally they are knotted4 ,,border4--,from three to five border stripes1 generally three1 one wide central stripe with a narrow one on each side4 ,the central stripe frequently carries the ,herati design4 ,,prevailing ,,colors4--,blue1 red1 and green in all their shades2 brown1 old ivory1 terra cotta1 and occasionally yellow4 ,,dyes4--,of the best excepting in some of the new pieces4 ,,designs4--,similar to those of the ,bakhshis4 ,a shaded background is a characteristic feature4 ,,cost4--,from #a4be to #c4ej a square foot4 ,,sizes4--,six to ten by ten to twenty-six4 ,seldom smaller than carpet sizes4 ,,remarks4--,excellent carpets to wear4 ,,the ,,example ,,illustrated ,like most rugs of its class its field presents a medallion with corners to match1 all of which is covered with rectilineal flowers and vines4 ,like most of the ,herez products its main border carries the tortoise design4 ,,serapi ,,synonyms4--,serab1 ,serabi1 ,sirab4 ,,why ,,so ,,named4--,after the village of ,serab in the ,herez district4 ,,where ,,made4--,sometimes in the ,herez district1 sometimes on the looms of ,tabriz and sometimes on those of ,sultanabad4 ,,knot4--,usually the ,senna1 occasionally the ,ghiordes4 ,the finest ones are tied with the ,senna knot4 ,number vertically ten to eighteen2 number horizontally eight to twelve2 making from eighty to two hundred sixteen to the square inch4 ,illustration3 ,,gorevan ,,carpet ,,loaned ,,by ,h4 ,b4 ,,claflin ,,co4 ,,warp4--,always cotton4 ,,woof4--,always cotton1 sometimes dyed4 ,,nap4--,rather coarse but durable wool1 which is generally clipped short4 ,,sides4--,nearly always overcast1 seldom selvaged4 ,,ends4--,short fringe and loose warp threads at each end4 ,occasionally knotted4 ,,border4--,similar to that of the ,bakhshis and ,gorevan4 ,from three to five border stripes1 most usually three4 ,,prevailing ,,colors4--,similar to those of the ,bakhshis and ,gorevan but1 as a rule1 somewhat brighter4 ,,dyes4--,usually excellent4 ,,designs4--,similar to those of the ,gorevan1 but there are usually more floral elements added to the ground4 ,frequent inscriptions4 ,,sizes4--,eight to fifteen by ten to twenty-five4 ,very few runners and seldom smaller than carpet sizes4 ,,prices4--#a4ej to #d4jj per square foot4 ,,remarks4--,the best grade of the ,herez products4 ,usually of a finer weave and with more detail in design than the ,gorevan4 ,,the ,,example ,,illustrated ,it is rather difficult to distinguish between the ,serapi and the ,gorevan4 ,the principal difference is one of quality1 although the former usually has more detail in design and usually more floral elements added to the ground4 ,this carpet presents a peculiar medallion with four pear-shaped offshoots upon a light ground which is strewn with many rectilineal flowers and leaves4 ,like nearly all of the ,herez products it has three border stripes1 one wide one with a narrow one on each side4 ,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 buds4 ,,kara ,,dagh ,,why ,,so ,,named4--,the words ,kara ,dagh mean ,black ,mountains1 the name of a range in the northern part of the ,azerbijan province1 where they are woven by shepherd tribes of the most bigoted ,shiah sect4 ,,knot4--,ghiordes4 ,number vertically eight to fourteen2 number horizontally eight to eleven2 number to square inch sixty-four to one hundred fifty-four4 ,,warp4--,wool4 ,,woof4--,natural brown or dyed wool4 ,usually extra woof threads4 ,,nap4--,wool of medium length1 sometimes camels' hair4 ,,sides4--,usually selvaged1 occasionally overcast4 ,illustration3 ,,serapi ,,carpet ,,loaned ,,by ,h4 ,b4 ,,claflin ,,co4 ,,ends4--,one end selvaged and turned back1 the other selvaged and finished with a fringe of loose warp threads4 ,the selvage is usually dyed red4 ,,border4--,usually from three to six border stripes of more or less floral character4 ,,prevailing ,,colors4--,similar to those of the ,karabagh1 but more diversified4 ,the ground contains considerable natural-colored camels' hair4 ,,dyes4--,usually good4 ,occasionally an aniline dyed one4 ,,designs4--,more of the ,persian character than the ,karabaghs1 resembling somewhat the rugs of ,kurdistan4 ,the field is usually covered with small floral forms1 which are thrown broadcast4 ,,prices4--,from #b4jj to #c4jj per square foot4 ,,sizes4--,from three to four by five to seven feet4 ,runners two and one-half by eight to fifteen4 ,,remarks4--,seldom seen in the ,american market4 ,they have kept pretty well up to their original standard4 ,in many respects they are similar to the ,karabagh1 to which they are somewhat superior4 ,,kashan ,,why ,,so ,,named4--,after ,kashan1 a city of #cj1jjj inhabitants between ,teheran and ,ispahan1 where they are made4 ,kashan is the centre of the silk rug industry in ,persia and it was here that the famous ,ardebil carpet was woven4 ,,knot4--,ghiordes4 ,number vertically twelve to thirty-five2 number horizontally ten to twenty2 number to square inch one hundred fifty to five hundred4 ,,warp4--,cotton1 frequently silk or linen4 ,,woof4--,cotton1 frequently silk or linen4 ,,nap4--,fine short wool1 frequently silk4 ,,weave4--,as a rule very evenly and tightly woven4 ,,sides4--,overcast with wool1 sometimes with silk4 ,,ends4--,short web with loose warp threads at each end4 ,,border4--,from three to seven border stripes4 ,,prevailing ,,colors4--,dark blues1 reds1 and greens2 rose1 turquoise1 deep wine color1 and ivory4 ,,dyes4--,good4 ,,designs4--,similar to those of the ,saruk4 ,exclusively floral with many connecting vines2 medallions2 no plain fields4 ,illustration3 ,,kashan ,,silk ,,rug ,,from ,,the ,,collection ,,of ,,mr4 ,a4 ,u4 ,,dilley ,,sizes4--,only carpet sizes4 ,,prices4--,from #b4jj to #aj4jj a square foot4 ,,remarks4--,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 chase4 ,,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 workmanship4 ,although not as finely woven as some1 it has four hundred and eighty-four knots to the square inch and it is made exclusively of the best ,persian silk4 ,,souj ,,bulak ,,why ,,so ,,named4--,after ,souj ,bulak1 the old ,kurdish capital some distance south of ,tabriz1 where they are made by the ,kurds4 ,,knot4--,ghiordes4 ,number vertically six to eight2 number horizontally eight to eleven2 number to square inch forty-eight to eighty-eight4 ,,warp4--,double yarn of wool4 ,sometimes half cotton and half wool4 ,,woof4--,double yarn of wool4 ,sometimes of wool and cotton4 ,,nap4--,best1 soft1 double-stranded wool4 ,,weave4--,closely and tightly woven1 making the nap stand up straight4 ,,sides4--,overcast like other ,kurdish rugs4 ,,ends4--,one end has plain selvage1 the other selvage and loose warp threads like most ,kurdish rugs4 ,,border4--,from two to five border stripes4 ,,prevailing ,,colors4--,dark reds1 blues1 and browns2 also white and yellow4 ,,dyes4--,good4 ,,designs4--,kurdish designs as a rule4 ,the ,herati pattern is frequently employed4 ,,sizes4--,carpet sizes4 ,,prices4--,rather rare4 ,from #b4jj to #e4jj per square foot4 ,,remarks4--,very compact1 strong and serviceable4 ,,tabriz ,,why ,,so ,,named4--,after the city of ,tabriz1 the ,persian capital1 in the neighborhood of which they are made4 ,,knot4--,nearly always the ,senna1 occasionally ,ghiordes4 ,number vertically twelve to twenty-two2 number horizontally ten to twenty2 number to square inch one hundred twenty to four hundred forty4 ,,warp4--,nearly always cotton4 ,silk in some extra fine specimens4 ,occasionally linen4 ,illustration3 ,,tabriz ,,rug ,,loaned ,,by ,h4 ,b4 ,,claflin ,,co4 ,,woof4--,cotton1 sometimes wool or linen4 ,formerly dyed the predominating color of the rug1 but of late not dyed at all4 ,,nap4--,good wool1 closely woven and closely trimmed4 ,,sides4--,the antiques are usually overcast1 while the moderns are generally selvaged4 ,,ends4--,narrow web with loose warp threads at each end4 ,occasionally trimmed4 ,frequently several strands of colored wool run through the web4 ,,border4--,generally five to eight border stripes2 one wide one with an equal number of narrow ones on either side of it4 ,,prevailing ,,colors4--,bright blues1 reds1 and browns2 ivory is frequently the predominating color of the field4 ,,dyes4--,usually good4 ,some of the modern pieces have aniline dyes4 ,the blues1 reds1 and browns are especially likely to be aniline4 ,,designs4--,nearly always a medallion with field covered with intricate floral designs4 ,frequently verses from the ,koran or of ,persian poets are found in the borders4 ,tree of life patterns are frequent and a heart-shaped lamp often hangs from the niche in the prayer rugs4 ,seldom are figures of birds1 animals1 or human beings used4 ,,sizes4--,all sizes1 from mats to large carpets4 ,,cost4--,from #c4jj to #aj4jj per square foot4 ,,remarks4--,the modern ones are too regular and exact in pattern and show ,european influences4 ,they are so firm and closely woven that they are stiff and non-flexible4 ,with the ,kirman the ,tabriz shares the reputation of having the most graceful floral designs4 ,they are purely ,persian and have suffered little from outside influence4 ,many of them are so closely woven that they are apt to curl on the edges4 ,,the ,,example ,,illustrated ,this particular piece is a good example of the average design with its floral medallion and many border stripes4 ,,bijar ,,synonyms4--,sarakhs1 ,lule4 ,,why ,,so ,,named4--,after a town in ,western ,persia in the province of ,kurdistan4 ,sometimes called ,sarakhs because they are made by tribesmen who came from the old city by that name and settled around ,bijar4 ,,knot4--,ghiordes4 ,number vertically six to ten2 number horizontally eight to twelve2 number to the square inch forty-eight to one hundred twenty4 ,,warp4--,heavy wool4 ,,woof4--,heavy wool1 occasionally camels' hair4 ,,nap4--,heavy lustrous wool4 ,the field is often of camels' hair4 ,,sides4--,overcast4 ,,ends4--,selvaged1 sometimes a fringe woven on4 ,the web of one end is frequently turned back and hemmed4 ,,border4--,usually from two to four border stripes4 ,,prevailing ,,colors4--,field frequently the natural color of the camel4 ,rich reds1 blues1 and greens2 also white1 old ivory1 and yellow4 ,,dyes4--,usually good except in some of the modern pieces4 ,,designs4--,generally floral1 often medallion centre with elaborate corner pieces4 ,inscriptions frequent4 ,patterns irregular4 ,modern ones inclined to be rectilinear4 ,antiques frequently have figures of birds1 animals1 and human beings4 ,,cost4--#a4ej to #d4jj per square foot4 ,,sizes4--,modern ones in carpet size2 antiques three to five by five to eight4 ,,remarks4--,the antiques are very rare and the modern ones are much inferior4 ,many of them are so thick and heavy that they cannot be folded but must be rolled up4 ,,the ,,example ,,illustrated ,maj4 ,l4 ,b4 ,lawton's ,description4--,a complete rug in rare design4 ,usually such rarities are cut up so as to show the breaks in pattern1 and fortunate collectors get one fraction4 ,the soft colors in this are unusual even in ,bijar4 ,see also illustration on page #cbh4 ,,kermanshah 7,,modern7 ,,why ,,so ,,named4--,after the city of ,kermanshah from which they are shipped1 it being a great caravan centre4 ,,where ,,made4--,in the vicinity of ,tabriz and of ,sultanabad4 ,,knot4--,nearly always the ,senna1 seldom the ,ghiordes4 ,number vertically eight to sixteen2 number horizontally eight to twelve2 number to the square inch sixty-four to one hundred ninety-two4 ,illustration3 ,,bijar ,,rug ,size #c'i #b'i ,,property ,,of ,,miss ,,emily ,,davis1 ,,buffalo1 ,n4 ,y4 ,,warp4--,always cotton4 ,,woof4--,always cotton1 occasionally dyed brown4 ,,nap4--,the choicest1 lustrous wool1 closely woven and usually cut short4 ,,ends4--,narrow web with loose warp threads at each end4 ,,sides4--,overcast with dark wool4 ,,borders4--,from three to five border stripes1 most frequently five1 one wide with two narrow ones on each side4 ,,prevailing ,,colors4--,soft shades of pinks1 greens1 or blues on a field of old ivory4 ,,dyes4--,in many the dyes are good1 but are toned down with acids1 while in others anilines are used4 ,,designs4--,delicate1 artistic and intricate floral designs4 ,central medallion and corner panels frequent4 ,,sizes4--,all sizes1 from mats to carpets as large as thirty-five to fifty-five feet4 ,,cost4--#a4ge to #f4jj per square foot4 ,,remarks4--,there is as much difference between the modern and the antique ,kermanshahs as there is between any two kinds of the ,persian class4 ,the former are made at ,tabriz or ,sultanabad under ,european supervision1 are almost invariably doctored and can be had in abundance1 while the latter were made by the mountaineers along the ,turkish border1 are of the best material1 dyes and workmanship and are rarely seen in the market4 ,,the ,,example ,,illustrated ,like most of its class it consists of artistic and intricate floral designs with a central medallion and graceful border stripes4 ,in many ,kermanshahs1 as in this piece1 the pear motif is frequently employed4 ,see illustration at page #aah4 ,,senna ,,synonyms4--,sehna1 ,sinne1 ,senneh4 ,,why ,,so ,,named4--,after the city of ,senna in the vicinity of which they are made4 ,,knot4--,senna always4 ,not equalled in number of knots by any other rug4 ,number vertically ten to thirty2 number horizontally ten to thirty-two2 number to the square inch one hundred to nine hundred sixty4 ,some antiques have as high as one thousand to the square inch4 ,,warp4--,cotton1 sometimes silk or linen4 ,,woof4--,cotton1 sometimes wool1 silk or linen4 ,,nap4--,finest silky wool1 very closely cut4 ,,sides4--,overcast with red cotton or silk4 ,,ends4--,always a narrow web at each end1 with a fringe of loose warp threads4 ,frequently one or two strands of colored yarn run through the web at one end4 ,illustration3 ,,senna ,,rug 7,,herati ,,design7 ,,owned ,,by ,h4 ,b4 ,,claflin ,,co4 ,,border4--,from two to seven border stripes1 most frequently three1 a wide one with a narrow one on either side1 the former usually filled with rosettes which are connected by a wavy line4 ,sometimes it will carry the ,herati design4 ,the ground color of the main stripe is almost invariably bright red or yellow4 ,,prevailing ,,colors4--,usually subdued shades of red1 blue1 green1 yellow1 and pink2 ivory1 gold1 sapphire1 rose1 and peach blow beautifully blended4 ,the modern ones are too bright4 ,,dyes4--,many of the modern ones are aniline dyed4 ,,designs4--,palm leaf throughout the field is a common design4 ,also a central diamond or medallion frequently of the pole variety4 ,sometimes centre field is covered with flowers4 ,a diaper arrangement of the ,pear or ,herati design is the most common4 ,,sizes4--,usually of medium size1 four to five by six to eight2 seldom larger4 ,saddle bags two and one-half to three by four feet2 mats two feet by one foot4 ,,cost4--,from #b4jj to #f4jj a square foot4 ,,remarks4--,excel in fineness of weave1 but edges are likely to curl and pucker1 consequently they do not lie well and are too thin to wear well4 ,,the ,,example ,,illustrated ,like this piece most of the ,sennas present the serrated diamond-shaped pole medallion with the ,herati design4 ,they frequently have the ,herati border also1 though this piece has not4 ,,feraghan ,,synonym4--,sometimes erroneously called ,iran1 which means ,persian4 ,,why ,,so ,,named4--,because they are made on the plains of ,feraghan1 west of the line of travel between ,teheran and ,ispahan4 ,,knot4--,all antiques are tied with the ,senna knot4 ,some of the modern ones are tied with the ,ghiordes knot4 ,number vertically1 antiques eight to fourteen1 moderns six to fourteen2 number horizontally1 antiques eight to eighteen1 moderns five to twelve2 number to square inch1 antiques sixty-four to two hundred fifty-two1 moderns thirty to one hundred sixty-eight4 ,,warp4--,always cotton4 ,,woof4--,nearly always cotton1 sometimes dyed4 ,,nap4--,usually of good wool1 frequently of camels' hair4 ,,sides4--,overcast1 usually with black wool4 ,,ends4--,narrow selvage hemmed over at one end1 with a selvage and loose warp threads at the other end4 ,illustration3 ,,feraghan ,,rug 7,,herati ,,design7 ,,property ,,of ,,the ,,tiffany ,,studios1 ,,new ,,york ,,city ,,border4--,from three to nine border stripes1 which usually carry small floral designs4 ,herati border is the most common and is almost characteristic4 ,usually one wide border stripe with a background of green and from one to four narrow border stripes on each side of it4 ,,prevailing ,,colors4--,green usually forms the background of the main border4 ,the field is usually dark blue1 soft red or ivory4 ,yellow is used considerably in the modern ones4 ,,dyes4--,splendid in the antiques4 ,of inferior quality in the moderns4 ,,designs4--,herati field the most common4 ,occasionally the ,guli ,hinnai is employed4 ,sometimes a centre of plain red medallions4 ,there may be a repetition of some small figures throughout the field4 ,all animal and bird designs in the ,feraghans are represented as in motion4 ,,sizes4--,usually small sizes1 three to four by four to six4 ,occasionally carpet sizes4 ,antiques mostly oblong4 ,,prices4--,antiques #b4ej to #aj4jj per square foot4 ,moderns #a4jj to #b4ej4 ,,remarks4--,they rank among the best fabrics of ,persia1 but of late years have fallen to the joblot level4 ,the antiques are soft1 durable and heavy1 but are scarce4 ,,the ,,example ,,illustrated ,,owner',s ,,description4--,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 design1 which is popularly known as the fish pattern1 and which is copied with more or less accuracy all through central ,persia4 ,,hommel ,,rug 7page #aad74--,knot3 ,ghiordes2 number to the inch1 vertically nine2 horizontally seven2 to the square inch1 sixty-three4 ,the field1 like that of the majority of ,feraghans1 is covered with the ,herati design4 ,the background is of black and the figures are red1 blue1 green1 pink1 yellow and white4 ,the main border stripe carries eight-petaled flowers of various colors1 connected by the fish-bone motif upon a ground of white4 ,on either side of this is a flower and vine design in various colors1 the inner one on a ground of old rose and the outer one on a ground of dark brown4 ,the inner and outer border stripes carry the reciprocal saw-teeth2 the former in blue and red and the latter in green and red4 ,the nap is about three-quarters of an inch in length and is exceedingly glossy4 ,,hamadan ,,synonyms4--,hamadieh1 ,hamadie4 ,,why ,,so ,,named4--,after the city of ,hamadan1 in the vicinity of which they are made4 ,hamadan is the capital of the province of ,irak ,ajemi in western ,persia and has a population of #ce1jjj4 ,,knot4--,ghiordes4 ,number vertically seven to ten2 number horizontally seven to ten2 number to square inch forty-nine to one hundred4 ,,warp4--,antiques always cotton4 ,,woof4--,usually considerable camels' hair in natural color4 ,cotton or wool4 ,illustration3 ,,hamadan ,,rug ,,property ,,of ,,mr4 ,a4 ,u4 ,,dilley ,,nap4--,usually good wool or camels' hair of medium length4 ,,weave4--,antiques fine4 ,moderns coarse4 ,,sides4--,overcast4 ,,ends4--,fringe at one end and hemmed web at the other4 ,,border4--,three to six border stripes1 usually four4 ,the characteristic feature is a broad outside band of camels' hair4 ,the ,herati border design is frequently used4 ,,prevailing ,,colors4--,the natural camels' hair brown prevails with soft delicate reds1 pinks1 blues1 and greens4 ,,dyes4--,of the best in the antiques1 but generally poor in the modern fabrics4 ,,designs4--,pole medallion is almost universal4 ,field is usually filled with floral designs or a trellis arrangement4 ,antiques resemble animal skins4 ,,sizes4--,antiques come in all sizes4 ,moderns two to four by four to six and runners two to four by eight to thirty4 ,,prices4--#a4jj to #c4jj per square foot4 ,antiques rare and expensive4 ,,remarks4--,the modern ones are poor4 ,the antiques are handsome and durable4 ,,the ,,examples ,,illustrated ,this piece1 like most of its class1 has a nap which consists principally of natural-colored camels' hair1 as is manifested in the central field and outer border4 ,like most ,hamadans it also has a pole medallion in the centre of the field with corners to match4 ,the weaver has adopted the ,kurdish method of shading the field with camels' hair of different shades4 ,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 vines4 ,,stanton ,,rug 7page #aaj74--,like most of its class1 this piece has a pile which consists mostly of undyed camels' hair4 ,the colors1 designs and border stripes are characteristic features1 especially the motives in the outer border stripe1 which are found in no other product4 ,this piece has an unusually long nap1 which not only adds to its wearing quality1 but makes it lie better on the floor4 ,,ispahan ,,synonym4--,isfayan4 ,sometimes1 like the ,feraghan1 it is called ,iran4 ,,why ,,so ,,named4--,after the city of ,ispahan1 the former capital of ,persia1 where they were made by expert weavers in the employ of the nobility at ,ispahan1 ,teheran1 and ,saruk during the period of highest art4 ,,knot4--,senna4 ,number vertically ten to twenty2 number horizontally eight to fifteen2 number to the square inch eighty to three hundred4 ,,warp4--,cotton4 ,,woof4--,cotton4 ,,nap4--,best1 soft1 glossy wool4 ,,weave4--,usually close and even4 ,,sides4--,overcast4 ,,ends4--,narrow web with loose warp ends4 ,illustration3 ,,ispahan ,,rug 7,,shah ,,abbas ,,design7 ,,by ,,courtesy ,,of ,,the ,,metropolitan ,,museum ,,of ,,new ,,york ,,city ,,border4--,from three to five border stripes1 usually three1 one wide one between two narrow ones4 ,the wide stripe is commonly of yellow1 wine red1 and green1 especially in those made in the #afth century4 ,the ,herati design was frequently employed4 ,,prevailing ,,colors4--,deep reds1 blues1 and greens4 ,beautiful crimson4 ,deep wine colors known as ,ispahan red4 ,field generally of deep red or blue4 ,,dyes4--,the best4 ,designs4--,very artistic4 ,rich in floral and animal decoration of the finest ,persian type4 ,large palmette and rich floral patterns connected by vines and serrated leaves arranged similarly to the ,herati pattern4 ,cypress cones and various tree forms4 ,the ,shah ,abbas design was freely employed4 ,,sizes4--,generally long and narrow 7runners74 ,seldom small4 ,,prices4--,the antiques bring fabulous prices4 ,fragments have sold in recent years for #cjj to #ajjj1 and many carpets have brought from #ae1jjj to #be1jjj4 ,,remarks4--,extremely rare4 ,almost impossible to secure a genuine specimen4 ,the ,saruks are the ,ispahans of the present day4 ,the antiques are examples of the most perfect weaving skill4 ,many of the so-called ,ispahans of the #afth and #agth centuries were really productions of ,herat4 ,,the ,,example ,,illustrated ,in this choice old piece of the sixteenth century the ,shah ,abbas design1 one of the most beautiful of all ancient designs1 is used freely in the field and in the main border stripe4 ,the fir tree and the cloud band are also freely employed in the field1 the latter showing the ,mongolian influence which was quite prominent in many of the fifteenth and sixteenth century pieces4 ,,joshaghan ,,synonyms4--,djoshaghan1 ,djushaghan1 ,youraghan4 ,,why ,,so ,,named4--,after the ,persian village and the district of ,joshaghan1 where they are made4 ,,knot4--,ghiordes4 ,number vertically eight to twenty2 number horizontally eight to twenty3 number to square inch sixty-four to four hundred4 ,,warp4--,wool4 ,,woof4--,wool4 ,,nap4--,fine wool of medium length4 ,,sides4--,overcast4 ,,ends4--,a thin narrow web with loose warp threads at each end4 ,,border4--,usually three border stripes1 one wide with a narrow one on either side4 ,the wider stripe generally has for the ground color a lighter tone of the same color which predominates in the field4 ,,prevailing ,,colors4--,soft-toned colors similar to those of the ,hamadan4 ,ground is usually red4 ,,dyes4--,splendid in the antiques4 ,,designs4--,generally a sort of scroll carried throughout the margin of the field and forming medallions4 ,a common design is a series of crosses with angular ends and adorned with floral figures2 also the eight-pointed star between every four crosses arranged into a lattice4 ,there are usually many four-and six-petaled roses4 ,,sizes4--,usually large1 seven to nine by ten to fourteen4 ,,prices4--#b4jj to #e4jj per square foot4 ,,remarks4--,antiques excellent4 ,among the best ,persian carpets4 ,they resemble somewhat the ,saraband4 ,not very common in the ,united ,states4 ,,saraband ,,synonyms4--,serebend1 ,sarawan4 ,the finest ones are sometimes called ,mir ,saraband and the coarsest ones are frequently called ,selvile4 ,,why ,,so ,,named4--,a corruption of the word ,sarawan1 which is the name of a mountainous district south of ,feraghan1 where they are made4 ,,knot4--,antiques are always tied with the ,senna knot4 ,some of the modern ones are tied with the ,ghiordes knot4 ,number vertically seven to fourteen2 number horizontally eight to twelve2 number to square inch fifty-six to one hundred eighty-eight4 ,,warp4--,always cotton4 ,,woof4--,always cotton1 sometimes dyed4 ,all good ,mir ,sarabands have a blue woof thread4 ,,nap4--,usually even1 short cut1 silky wool4 ,,sides4--,overcast1 usually with a dark red wool4 ,,ends4--,one end usually has a narrow web and short fringe of loose warp threads1 while the other is generally a narrow web which is frequently turned over and hemmed4 ,frequently several strands of colored wool run through the web1 as in the ,kurdish productions4 ,,border4--,usually from four to twelve border stripes1 the principal one of which is from three to four inches wide with an ivory white background and a vine design running through it1 at each turn of which is a leaf similar in shape to that in the ,herati pattern4 ,the vine design is nearly always present and characterizes the ,saraband border from all others4 ,the smaller border stripes are generally filled by various well-known designs1 such as the reciprocal trefoil1 the barber-pole stripe1 the ,greek meander1 etc4 ,,prevailing ,,colors4--,the field is generally of a dark blue or a rich red4 ,in antiques it is often of a pink or rose shade4 ,the main border stripe is frequently of old ivory or red1 while the other border stripes vary1 most of them as a rule being the same color as that which predominates in the field4 ,illustration3 ,,saraband ,,rug ,size #c' #d #e' ,,property ,,of ,,mrs4 ,,thomas ,e4 ,,matthews1 ,,mt4 ,,clemens1 ,,mich4 ,,dyes4--,as a rule are excellent4 ,in the modern products some of these colors are liable to be aniline1 especially the greens4 ,,designs4--,the field is almost invariably covered with the pear design arranged in rows1 the stems of each successive row running in the opposite direction4 ,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 products1 where the same design is frequently used but where the stems usually run in the same direction4 ,the ,mir ,saraband sometimes has a ,herati centre4 ,,sizes4--,three to five by four to nine1 three to nine by twelve to twenty-four4 ,,prices4--#b4jj to #f4jj per square foot4 ,,remarks4--,sarabands are usually firm in texture1 lie well1 never grow monotonous1 and1 on the whole1 are most satisfactory4 ,,the ,,example ,,illustrated ,this piece beautifully illustrates the most common ,saraband designs4 ,the field is covered with rows of the pear motif upon a background of rich dark red4 ,the main border stripe carries the characteristic ,saraband border design upon a background of old ivory4 ,the woof is dyed light blue1 which shows in the webbing at each end4 ,,saruk ,,synonyms4--,sarouk1 ,sarook4 ,,why ,,so ,,named4--,after ,saruk1 a small village in the ,feraghan district1 from whence they come4 ,,knot4--,always the ,senna and usually as many to the square inch as any rug excepting the ,senna4 ,number vertically eight to twenty-two2 number horizontally six to twenty2 number to square inch forty-eight to four hundred forty4 ,,warp4--,as a rule cotton1 occasionally linen4 ,,woof4--,as a rule cotton1 occasionally linen4 ,,nap4--,fine silky wool cut short4 ,,weave4--,close and hard4 ,,sides4--,overcast with dark wool or silk4 ,they frequently curl on account of the tightness of the weave4 ,,ends4--,narrow web and loose warp threads at each end4 ,,border4--,three to five border stripes1 usually three4 ,generally the ,herati border1 occasionally the modern form of the ,shah ,abbas border design4 ,,prevailing ,,colors4--,usually dark seal browns1 greens1 and reds4 ,generally a field of ivory1 blue or red4 ,,dyes4--,generally good except in some of the modern pieces4 ,,designs4--,there is always a medallion4 ,flowers freely introduced4 ,often queer-shaped floral figures4 ,,sizes4--,three to five by five to twenty feet4 ,usually oblong4 ,,prices4--#b4ej to #f4jj per square foot4 ,,remarks4--,sometimes called the ,modern ,ispahan4 ,,the ,,examples ,,illustrated ,two plates in color of ,saruks are given--at pages #dj and #aff1 with description accompanying each4 ,,sultanabad ,,synonyms4--,classed as ,muskabad1 ,mahal and ,savalan1 according to grade4 ,,why ,,so ,,named4--,muskabad is named after the village by that name and ,savalan after a range of mountains in the northern part of the ,sultanabad district1 while ,mahal is but a trade name4 ,,where ,,made4--,in the ,sultanabad district1 which is the centre of rug weaving under ,european control4 ,,knot4--,generally the ,ghiordes1 sometimes the ,senna4 ,number vertically five to eight2 number horizontally six to fourteen2 number to square inch thirty to one hundred twelve4 ,,warp4--,cotton4 ,,woof4--,cotton4 ,,nap4--,good quality of wool1 usually of medium length4 ,,sides4--,overcast4 ,,ends4--,short web and loose warp threads of medium length4 ,,border4--,usually three border stripes1 one wide one with a narrow one on either side4 ,the ,herati border design is the most frequent4 ,,prevailing ,,colors4--,bright reds1 browns1 blues1 pinks1 and greens with white4 ,,dyes4--,a large percentage are aniline dyed4 ,,designs4--,usually large scrolls and floral patterns4 ,the ,herati design is quite common4 ,,sizes4--,carpet sizes only1 eight to fifteen by ten to twenty4 ,,prices4--,from #a4jj to #c4jj a square foot4 ,,remarks4--,those with good dyes are quite satisfactory1 but at the present time most of the products of ,sultanabad are purely commercial products4 ,,the ,,example ,,illustrated ,this piece most beautifully shows in its field the ,guli ,henna design1 which is so commonly employed in the ,sultanabad products4 ,,niris ,,synonyms4--,laristan1 ,luristan4 ,,why ,,so ,,named4--,after the salt lake ,niris in the province of ,laristan1 where they are made by the hillmen who inhabit the uplands of that section4 ,illustration3 ,,mahal ,,carpet 7,,guli ,,henna ,,design7 ,,loaned ,,by ,,mr4 ,a4 ,u4 ,,dilley ,,knot4--,ghiordes4 ,number vertically eight to twelve2 number horizontally five to eight2 number to the square inch forty to ninety-six4 ,,warp4--,best stout wool4 ,,woof4--,best stout wool4 ,,nap4--,best wool of short or medium length4 ,,weave4--,not so closely woven as the best ,shiraz1 which they very much resemble4 ,,sides4--,overcast4 ,,ends4--,a checked selvage at each end with a short fringe of warp1 like the ,shiraz4 ,,border4--,generally from three to five border stripes1 some of which are quite elaborate4 ,the barber-pole stripe is commonly used1 but generally consists of several colors instead of only two as in the ,caucasian fabrics4 ,,prevailing ,,colors4--,usually rather crude4 ,madder red predominates4 ,,dyes4--,as a rule good4 ,,designs4--,the pear pattern is commonly employed and when used it suggests the crown jewel1 being an assemblage of points rather than of lines and more minutely worked out than are the smaller forms so common to the ,saraband4 ,no regularity of design1 but quite similar to the ,shiraz4 ,often a pronounced striped effect4 ,alternating rows of geometrical and floral designs4 ,,prices4--,from #a4ej to #c4jj per square foot4 ,,remarks4--,strong and durable4 ,few reach ,america4 ,they seem more like products of ,turkestan than of ,southern ,persia4 ,,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 class4 ,the main border stripe in this piece also consists of the pear motif on each side of which is a barber-pole stripe4 ,,shiraz ,,synonym4--,mecca1 so called because they were so frequently taken by the shriners to the holy city of ,mecca4 ,,why ,,so ,,named4--,after the city of ,shiraz1 where they are made4 ,,knot4--,generally the ,senna1 sometimes the ,ghiordes4 ,number vertically seven to sixteen2 number horizontally six to twelve2 number to square inch forty-two to one hundred ninety-six4 ,,warp4--,generally heavy wool1 sometimes goats' hair in the moderns1 and frequently more than two woof threads between each row of knots4 ,,woof4--,always wool1 frequently dyed4 ,,nap4--,lustrous1 soft1 short wool4 ,,weave4--,rather loosely woven as a rule4 ,illustration3 ,,niris 7,,laristan7 ,,rug ,,property ,,of ,,mr4 ,,frederic ,p4 ,,warfield1 ,,new ,,york ,,city ,,sides4--,overcast or braided with wool of two or more colors4 ,little tassels of wool frequently project from the overcasting on the sides4 ,,ends4--,web of medium width at each end which is often dyed red1 white1 and blue1 or a plain red selvage with rows of colored yarns running through it4 ,,border4--,from two to seven border stripes1 some of which frequently carry a vine to which are attached oval-shaped flowers in alternate red and blue4 ,the barber-pole stripe is frequently employed4 ,,prevailing ,,colors4--,rich colors like wine1 autumn foliage1 the plumage of birds1 deep rich blues1 reds1 yellows1 greens2 usually dark blue field4 ,,dyes4--,good4 ,,designs4--,pole medallions almost universal4 ,has as a rule more figures of birds and animals than any other class of rugs4 ,pear pattern very common4 ,the centre field is frequently filled with diagonal stripes4 ,flowers scattered throughout the field4 ,,sizes4--,usually medium1 four to five by six to eight4 ,also carpet sizes4 ,saddle bags are very common4 ,,prices4--#a4be to #c4jj per square foot4 ,,remarks4--,they seldom lie well4 ,they are often crooked and puffed up4 ,the ,bergama is the only other rug made with tassels along the sides4 ,,the ,,examples ,,illustrated ,the field carries an unusual double arrangement of the pear motif1 alternating with small tree forms4 ,the outside border consists of small bird forms1 each alternate row facing in the opposite direction4 ,note the elaborate webbing at each end4 7,see also page #ajd47 ,prayer rugs of this class are exceedingly rare1 in fact they are seldom seen in this country4 ,this one is a gem1 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 colors1 as it originally was4 ,another very unusual feature is the absence of two of the border stripes on the lower end4 7,see also color plate at page #eb and doubletone at page #bjh47 ,,herat ,,synonyms4--,herati1 ,heratee4 ,,why ,,so ,,named4--,probably so named because the ,herati design1 which is characteristic of the rug1 originated in the city of ,herat4 ,,by ,,whom ,,made4--,it is also said that the weavers of these rugs were originally from ,herat4 ,,where ,,made4--,in the province of ,khorasan4 ,,knot4--,usually the ,ghiordes4 ,number vertically six to twelve2 number horizontally eight to twelve2 number to square inch forty-eight to one hundred forty-four4 ,,warp4--,cotton4 ,silk in some of the antiques4 ,,woof4--,usually cotton1 sometimes wool4 ,as a rule dyed brown4 ,,nap4--,soft1 glossy wool of medium length4 ,,weave4--,very closely woven4 ,,sides4--,overcast4 ,illustration3 ,,shiraz ,,rug ,size #c'f #d'h ,,property ,,of ,,mr4 ,j4 ,h4 ,,stanton1 ,,auburn1 ,n4 ,y4 ,,ends4--,narrow web with loose warp threads at each end4 ,,border4--,usually from three to seven border stripes4 ,the ,herati design is common4 ,green is usually the background of the main border stripe4 ,,prevailing ,,colors4--,brilliant reds1 greens1 blues1 and yellows1 also ivory4 ,often a purplish pink cast4 ,,dyes4--,unsurpassed4 ,,designs4--,similar to those of the ,feraghan4 ,most always the ,herati design1 the leaves of which are generally shaded on one side4 ,occasionally the pear pattern with the stems all facing in one direction4 ,once in a while a medallion centre4 ,,sizes4--,seldom small4 ,medium sizes are most common4 ,some runners and occasionally a saddle bag4 ,,prices4--#b4jj to #e4jj per square foot4 ,,remarks4--,durable and heavy4 ,resemble the ,khorasan in most respects4 ,aiyin and ,kayin are names sometimes given to a coarse form of ,herat4 ,many of the ,herats of the #afth and #agth centuries are now erroneously called ,ispahans4 ,,khorasan ,,why ,,so ,,named4--,after the most northeastern province of ,persia from which they come4 ,,knot4--,senna4 ,number vertically eight to fifteen2 number horizontally ten to twenty-five2 number to square inch eighty to three hundred seventy-five4 ,,warp4--,always white cotton4 ,,woof4--,usually cotton1 occasionally wool4 ,,nap4--,fine wool of varying lengths4 ,,weave4--,characteristic1 there being four or more rows of knots with no weft threads between1 then several weft threads1 etc41 giving a peculiar look to the back of the rug and when it is bent the knots are shown in groups4 ,,sides4--,usually overcast4 ,occasionally an added selvage4 ,,ends4--,fringe of loose warp threads at each end4 ,,border4--,usually from three to seven border stripes1 most frequently three1 one wide one and two narrow ones4 ,some have as many as sixteen4 ,the ,herati border design is common4 ,,prevailing ,,colors4--,magenta is a prominent color2 reds1 blues1 greens1 pinks1 and white4 ,usually a background of rich red1 blue1 or white4 ,,dyes4--,antiques all good4 ,modern pieces are usually poor4 ,,designs4--,pear designs common4 ,animals and birds frequently depicted4 ,the ,herati design is the most frequently seen4 ,medallion centre with corners to match4 ,two small pears resting their stems upon a larger one is a design also commonly used4 ,the field is often plain4 ,illustration3 ,,shiraz ,,rug ,,loaned ,,by ,,mr4 ,a4 ,u4 ,,dilley 7,see page #bjf7 ,,sizes4--,all sizes but mostly large1 seven to fifteen by ten to twenty-five feet4 ,,prices4--#a4ej to #c4ej per square foot4 ,,remarks4--,antiques durable1 pliable1 and soft4 ,especially suitable for living rooms1 libraries1 and halls4 ,modern ones are good in every respect excepting the dyes4 ,,the ,,example ,,illustrated ,for description see tissue accompanying color plate at page #cb4 ,,meshed ,,synonyms4--,mashhed1 ,meshad4 ,,why ,,so ,,named4--,after ,meshed1 the capital of ,khorasan1 where they are made4 ,,knot4--,usually the ,senna1 seldom the ,ghiordes4 ,number vertically nine to twenty2 number horizontally eight to twelve2 number to square inch seventy-two to two hundred forty4 ,,warp4--,nearly always cotton1 seldom wool4 ,,woof4--,usually wool1 frequently cotton4 ,,nap4--,soft1 silky1 even wool of varying lengths4 ,,weave4--,characteristic with its uneven distribution of woof threads1 even more so than in the ,khorasan proper4 ,,sides4--,overcast with wool4 ,,ends4--,short web with loose warp threads at each end4 ,,border4--,from three to seven border stripes4 ,the ,herati design very common4 ,,prevailing ,,colors4--,the antiques have soft1 subdued shades of blue1 green1 and pink1 also ivory1 while the modern ones have rather bright shades of the same colors4 ,,dyes4--,in the antiques good4 ,in the moderns poor4 ,,designs4--,similar to those of the ,khorasan proper4 ,the pear design predominates4 ,the ,herati is common4 ,animals and birds are frequently represented4 ,medallion centre common4 ,,sizes4--,all sizes from three to ten by four to twenty feet or even larger4 ,,prices4--#b4jj to #d4jj per square foot4 ,,remarks4--,similar in design to the ,khorasan proper1 but usually of a finer grade4 ,also heavier and more durable4 ,,the ,,example ,,illustrated ,a color plate of this beautiful rug may be seen on page #bb4 ,its description is given on the accompanying tissue4 ,illustration3 ,,kirman ,,prayer ,,rug ,size #f' #d' ,,property ,,of ,,mrs4 ,e4 ,n4 ,,trump1 ,,syracuse1 ,n4 ,y4 ,,kirman ,,synonym4--,kerman4 ,,why ,,so ,,named4--,after the province and city of ,kirman from which they come4 ,,by ,,whom ,,made4--,by the wandering tribes of ,afghars4 ,,knot4--,always ,senna4 ,number vertically ten to twenty-four2 number horizontally eight to twenty2 number to square inch eighty to four hundred eighty4 ,,warp4--,cotton always4 ,,woof4--,usually wool1 frequently cotton4 ,,nap4--,fine silky and durable wool4 ,,weave4--,very fine and close4 ,,sides4--,overcast4 ,,ends4--,narrow web with fringe at each end4 ,,border4--,three to eight border stripes1 usually three1 one wide one with a narrow one on either side4 ,frequently there is a narrow strip of plain rose color all around the outer edge4 ,,prevailing ,,colors4--,light1 soft1 delicate blue1 green1 rose1 old gold1 and fawn4 ,,dyes of the best4 ,,designs4--,tree of life1 birds1 fruit1 bouquets1 vases2 more naturalistic and less geometrical than any other ,oriental rugs4 ,frequently a medallion centre4 ,,sizes4--,all sizes from mats to carpets4 ,,prices4--,from #b4jj to #e4jj per square foot4 ,,remarks4--,genuine ,kirmans are rather scarce because of the remoteness of the district from the centres of trade4 ,they are not to be compared with the ,kermanshahs or the ,turkish ,kirmans4 ,the latter are coarse1 modern1 commercial products4 ,kirman rugs are soft and durable4 ,,the ,,examples ,,illustrated ,,holmes ,,rug 7page #bab74--,the field design1 consisting of rows of vases filled with red roses1 is quite common to this class of rugs1 but the border is rather unusual1 being a mixture of ,persian and ,chinese motifs4 ,,trump ,,rug 7page #baj74--;,a masterpiece both in workmanship and design4 ,in the prayer field is the ,tree of ,life resting in a large urn4 ,note the medallion with ,arabic inscriptions4 ,,kirman ,,saddle ,,bag 7page #cbf74--,the field is filled with the ordinary ,kirman rendition of the rose4 ,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 neck4 ,underneath will be found the original girdle and buckle4 ,,kurdistan ,,proper ,,why ,,so ,,named4--,after the country in which they are made4 ,a province occupying the eastern part of ,turkey in ,asia and the western part of ,persia4 ,by ,whom ,made4--,,by ,,the ,,nomadic ,,tribes ,,who live in the mountains of ,kurdistan4 ,illustration3 ,,kirman ,,rug ,,property ,,of ,,mrs4 ,c4 ,b4 ,,holmes1 ,,waterbury1 ,,conn4 ,,knot4--,always the ,ghiordes4 ,number vertically six to eight2 number horizontally six to ten2 number to square inch thirty-six to eighty4 ,,warp4--,dark twisted wool or goats' hair4 ,usually gray4 ,,woof4--,as a rule wool1 sometimes goats' or camels' hair4 ,usually several woof threads between each row of knots4 ,,nap4--,usually good heavy gray wool which is cut long2 sometimes goats' hair1 camels' hair1 or kurk4 ,,weave4--,generally good1 the knots being well tied4 ,,sides4--,always overcast1 frequently with different colored wools1 most frequently brown4 ,,ends4--,usually a thick narrow selvage with knotted fringe or loose warp ends4 ,nearly always one or two lines of colored wool run through the selvage4 ,this is a ,kurdish characteristic and is a distinguishing feature4 ,often the web of one end is turned back and hemmed4 ,,border4--,from two to nine border stripes1 usually from three to four1 one wide one with one or two narrow ones on each side4 ,the main border stripe usually carries designs in profile4 ,,prevailing ,,colors4--,usually dark rich reds1 greens1 blues1 yellows1 pinks1 and terra cotta1 beautifully varied4 ,the shading of colors is also a ,kurdish characteristic4 ,,dyes4--,usually of the best4 ,the ,kurds have clung to the old colors more than any of the other rug-making people4 ,,designs4--,generally wild1 irregular figures of various sizes scattered carelessly and the intervals filled with small indistinct figures4 ,lattice designs with each division filled with floral forms4 ,the ,herati and the pear designs are occasionally used4 ,,sizes4--,seldom large4 ,from four to five by seven to eight feet and occasionally in carpet sizes4 ,,prices4--,usually from #j4ge to #c4jj per square foot4 ,the prayer rugs are rare and expensive4 ,,remarks4--,freest of all from outside influences4 ,hard when new but most durable and satisfactory4 ,in fact it is the best moderate priced rug now on the market4 ,,the ,,example ,,illustrated ,,owner',s ,,description4--,upon a rich blue ground the ,mina ,khani design is accurately wrought1 and the five-petaled ,henna blossoms are symmetrically placed in their customary relation to the dark red1 blue and golden yellow floral rosette forms distributed over the field4 ,three rather narrow borders surround the field1 the middle one of which is yellow4 ,the inner and outer borders carry tawny colors and small patterns4 ,illustration3 ,,kurdistan ,,rug 7,,mina ,,khani ,,design7 ,,property ,,of ,,the ,,tiffany ,,studios1 ,,new ,,york ,,city ,,the ,,turkish ,,classification ,illustration3 ,,kulah ,,hearth ,,rug ,size1 #g'b #d'd ,,by ,,courtesy ,,of ,,nahigian ,,bros41 ,,chicago1 ,,ill4 ,,owners' ,,description4--,no rug of any type that has come to our notice has had a color tone that was so subdued and mellow as this rug4 ,the artist who conceived and created this masterpiece seems to have woven into it a suggestion of his dreamy nature4 ,he used shades where others would have used colors and the result is a beautiful study in browns4 ,the points at both ends of the field indicate its use as a hearth rug or family rug1 an heirloom about which one generation after another gathered and told and retold the tales of their ancestors4 ,it is such rugs as this that were the sanctuary in that turbulent land2 strangers were far from safe1 and especially members of some opposing tribe1 but let them once gain access to the tent in which was spread the hearth rug1 and let them place foot upon it1 and they became at once the guest of not only the chief but his whole tribe1 and the entire tribe was pledged to their safe keeping until they had been safely sped upon their way4 ,the narrow ribbon stripes on the border of this rug1 with the small floral conceits woven throughout them1 are typical of the old ,kulahs4 7,see page #bci7 ,illustration3 ,,turkey ,,the ,,turkish ,,classification ,the term ,turkey includes all portions of ,asia ,minor1 the principal rug-weaving districts of which are ,anatolia and ,kurdistan4 ,the annual importations of rugs into the ,united ,states alone from ,asia ,minor amount to from #b1ejj1jjj to #c1jjj1jjj1 most of which are shipped directly from ,constantinople4 ,in many parts of ,asia ,minor1 especially in ,oushak1 ,smyrna1 ,ghiordes1 ,kulah1 and ,sivas1 nearly every home has a loom1 some two or three1 and in many places factories have been established by ,european and ,american capitalists2 the weavers are almost all ,armenian women and children1 the latter ranging from four to thirteen years of age4 ,moslem women and children will not work in factories4 ,as a rule these people earn barely enough to clothe and feed themselves1 but those who have been able to lay by anything generally invest their earnings in carpets1 as people of other countries often do in diamonds and precious stones1 handing them down from generation to generation and selling one when hard pressed for money1 so that the tourist is often surprised to find in the homes a collection of very valuable rugs4 ,the ,ghiordes knot is used exclusively and both warp and woof are always of wool or goats' hair4 ,fully four-fifths of the present output are aniline dyed4 ,the weave is coarser and the nap longer than in the ,persian class and many of them are crooked4 ,the designs1 which vary little1 are more geometrical than are those of the ,caucasians4 ,the ,turks never weave figures of birds1 animals and human beings1 as their religion forbids it4 ,those with a cross are always ,armenian1 as the ,turks do not decorate with the cross1 while those with the prayer niche are always ,turkish1 as the ,armenians never pray on their rugs4 ,green1 the sacred color of the ,mohammedans1 is seldom used except in the prayer rugs or those designed for mosques4 ,most of the large ,turkish carpets are modern and are made near ,smyrna4 ,many of the modern fabrics bear no relation to antiques of the same name4 ,the southern part of ,armenia is called ,kurdistan4 ,it is inhabited by wandering1 warlike tribes of ,nomads1 who pasture their flocks in the southern plains in the winter and go to the mountain districts in the summer time4 ,the ,kurds possess the skill of shading their colors1 but this they have abandoned of late4 ,they also scatter small bits of color through a space otherwise unoccupied4 ,red is their favorite color4 ,on the following pages is given a detailed description of the various ,turkish rugs4 ,,kir ,,shehr ,,synonyms4--,kirit ,shehr1 ,kirshehir1 ,kirshcher4 ,,why ,,so ,,named4--,after a town of that name in ,turkey just southeast of ,smyrna1 where they are made4 ,,knot4--,ghiordes4 ,number vertically seven to twelve2 number horizontally six to ten2 number to square inch forty-two to one hundred twenty4 ,,warp4--,wool1 dyed the predominating color of the rug4 ,,woof4--,wool1 dyed the predominating color of the rug4 ,,nap4--,long1 fluffy wool4 ,,sides4--,colored selvage1 sometimes added4 ,,ends4--,a colored web of various lengths at each end1 also a fringe of loose or braided warp ends4 ,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 rug4 ,,border4--,from five to eight border stripes1 most frequently five1 the main stripe carrying the most pretentious form of ornamentation4 ,,prevailing ,,colors4--,brilliant reds1 blues1 and greens1 especially the latter1 of which there are phenomenal shades skilfully blended4 ,illustration3 ,,kir ,,shehr ,,prayer ,,rug ,,property ,,of ,e4 ,b4 ,,guile1 ,,utica1 ,n4 ,y4 ,,dyes4--,as a rule splendid4 ,,designs4--,attempted ,persian designs4 ,prayer design with one cross panel at the bottom instead of at the top as in the ,kulah4 ,,sizes4--,medium sizes only1 two and one-half to four by four to six feet4 ,,prices4--,from #a4ej to #b4ej per square foot4 ,,remarks4--,they are very scarce in the ,united ,states4 ,they resemble the ,bergama and are thick and durable4 ,,the ,,examples ,,illustrated ,,owner',s ,,description4--,ghiordes knot1 #g horizontal by #aj vertical4 ,an unusual specimen of ,kir ,shehr in prayer design1 marked by a radical departure from the accepted type of prayer arch formation peculiar to this weave4 ,the flatness of the arch and the multiplicity of borders and stripes suggest ,kula influence4 ,the outer border1 on ivory1 has a conventionalized floral design1 green1 yellow and pale blue flower devices on waving vine tracery4 ,two medium stripes in different red values enclose the second border1 which carries the ,s device in lavender and blue on black4 ,the inner border displays the carnation in blue1 lavender and red on canary4 ,the prayer field is flat and non-serrate at top1 border outlined in an ancient ,kir ,shehr motif in red and ash white on light blue4 ,about the mihrab is an arrangement of carnations1 while the top of arch and on outer side of field are more pinks and a small shrub device4 ,the field is in shades of rose1 the softened end result of an original magenta1 and carries three plateaus superposed1 each sustaining four trees2 two bearing fruits outlined against soft green foliage1 and the other two1 conifer4 ,between each outer pair of trees is a little temple4 ,above and below in the field are curious devices evidently picturing some presumably sacred edifice4 ,this rug bears evidence of age and use1 while the chromatic ensemble is soft and refined4 ,technically1 it has a two strand yellow selvage2 two red wool weft threads between each row of knots1 and a two strand cream wool warp4 ,both ends are finished with a short1 light brown web and plain1 long fringe4 ,,siegel ,,rug4--,this piece is similar to one exhibited in the ,berlin museum under the name of ,kir ,shehr1 although it has some characteristics of other ,anatolian products1 such as the ,kulah1 the ,konieh and the ,meles4 ,having only the photograph to assist us in the classification1 we are obliged to accept that of the ,berlin connoisseur4 ,,stanton ,,rug 7page #acj74--,the small border stripes in this piece are ,kulah in character1 while the main stripe is found more or less in all the ,anatolian products1 especially the ,ghiordes4 ,,oushak ,,why ,,so ,,named4--,after the city of ,oushak1 one of the greatest rug markets of ,asia ,minor1 on account of its railroad connection with the ,mediterranean seaboard4 ,,by ,,whom ,,made4--,mostly by ,greek ,mohammedans who reside in the vicinity of ,oushak4 ,,knot4--,ghiordes4 ,number vertically four to eight2 number horizontally four to ten2 number to square inch sixteen to eighty4 ,,warp4--,wool of the same grade as that in the pile4 ,it is generally dyed the predominating color of the rug4 ,,woof4--,wool1 same as that used for the warp and pile1 and it also is dyed4 ,illustration3 ,,kir ,,shehr ,,hearth ,,rug ,,property ,,of ,,mr4 ,,henry ,,siegel1 ,,boston1 ,,mass4 ,,nap4--,good wool of varying lengths4 ,,weave4--,loosely woven4 ,,sides4--,no rule4 ,,ends4--,no rule2 most frequently a short green or red web with loose warp threads4 ,,border4--,no rule2 usually three border stripes1 one wide one with a narrow one on each side4 ,,prevailing ,,colors4--,usually bright reds1 greens1 blues1 browns1 and yellows1 with more or less white4 ,,dyes4--,aniline mostly4 ,,designs4--,no rule4 ,generally large medallions and geometrical figures4 ,some are patterned after the ,persians and some after the ,turkish designs1 but the great majority are ,european4 ,,sizes4--,mostly carpet sizes from ten to twenty-five by fifteen to fifty feet4 ,usually nearly square4 ,,prices4--#j4ge to #b4jj per square foot4 ,,remarks4--,there are several varieties which in order of excellence are named ,gulistan1 ,enile1 ,kerman1 ,yaprak and ,sparta4 ,,karaman ,,synonym4--,kaba ,karaman4 ,,why ,,so ,,named4--,after the town of ,karaman1 southeast of ,konieh1 where they are made by ,nomadic tribes of ,turkoman descent4 ,the word ,kaba means coarse4 ,,knot4--,ghiordes4 ,number vertically four to six2 number horizontally four to eight2 number to square inch ten to forty-eight4 ,,warp4--,coarse wool4 ,usually dyed red4 ,,woof4--,always coarse wool4 ,usually dyed red4 ,,nap4--,of medium or long1 coarse wool4 ,,weave4--,very loosely woven4 ,,sides4--,usually overcast1 sometimes selvaged4 ,,ends4--,no special rule4 ,frequently short web with loose warp threads4 ,,border4--,usually from three to five border stripes2 one wide one with one or two narrow ones on either side4 ,,prevailing ,,colors4--,usually a great deal of white with dark reds1 blues1 greens1 and yellows4 ,,dyes4--,good in antiques1 poor in the moderns4 ,,designs4--,rather bold ,caucasian designs4 ,,sizes4--,most of those which come to ,america are small4 ,,prices4--,very cheap1 from #j4ej to #a4ej per square foot4 ,,remarks4--,coarse and unattractive but rather durable4 ,illustration3 ,,konieh ,,prayer ,,rug ,size #e'c #c'aj ,,loaned ,,by ,,major ,l4 ,b4 ,,lawton1 ,u4 ,s4 ,,army ,,konieh ,,synonym4--,koniah4 ,,why ,,so ,,named4--,after the city of ,konieh 7the ancient ,iconium71 capital of the province of the same name1 where rug weaving is an important industry4 ,,knot4--,ghiordes4 ,number vertically eight to twelve2 number horizontally seven to ten2 number to square inch fifty-six to one hundred twenty4 ,,warp4--,fine wool in the antiques2 coarse wool in the moderns2 frequently dyed4 ,,woof4--,fine wool in the antiques2 coarse wool in the moderns4 ,,nap4--,fine selected wool of medium length4 ,,weave4--,antiques evenly and tightly woven2 moderns loose and irregular in weave4 ,,sides4--,antiques usually selvaged1 moderns usually overcast4 ,,ends4--,web and selvage1 sometimes fringe of loose warp ends4 ,,border4--,as a rule there are from three to four border stripes1 one wide one and two or three narrow ones4 ,,prevailing ,,colors4--,antiques have soft shades of blue1 red1 and yellow4 ,no rule in the moderns4 ,often there are two colors in one yarn4 ,,dyes4--,splendid in the antiques4 ,some of the modern ones are aniline dyed4 ,,designs4--,rather crude4 ,generally plain centre4 ,prayer design common4 ,,sizes4--,three to five by four to seven4 ,also mats4 ,,prices4--,antiques rare2 from #b4jj to #aj4jj per square foot4 ,moderns from #a4jj to #b4be per square foot4 ,,remarks4--,the modern pieces are large and thick4 ,they resemble the ,oushak carpets4 ,some of them are of sterling texture and good color and design1 while others are very coarse and cheap in every way4 ,,the ,,examples ,,illustrated ,,maj4 ,l4 ,b4 ,,lawton',s ,,description4--,a most unique and rare specimen of an obscure ,anatolian weave4 ,good ,koniehs are quite as scarce as good ,kulahs or ,ghiordes1 are less known and have therefore less demand4 ,the right and left ,rhodian lilies are green1 the centre one is azure--all on rose pink4 ,the space above shades from ,nile green to sea green4 ,main border is golden buff4 ,this old rug is as thick as a ,kazak4 ,for softness of tone it rivals the most delicate silk rug4 ,,mercer ,,rug 7page #ach74--,this is a rug of considerable age1 and a very fine specimen of its kind4 ,the center is in soft tints of undyed wool1 while the peacock blues of the field above the niche are almost metallic in their brilliancy and lustre4 ,the delicate form of the ,rhodian lily is used with much nicety of feeling throughout the border and to break the mass of the centre4 7,owner's description47 ,illustration3 ,,maden ,,prayer ,,rug ,size #d'e #c'c ,,property ,,of ,,dr4 ,e4 ,b4 ,,guile1 ,,utica1 ,n4 ,y4 ,,mujur ,,synonym4--,maden4 ,,why ,,so ,,named4--,after the city of ,mujur in the ,kir ,shehr district of the ,province of ,konieh1 from which they come4 ,,knot4--,always the ,ghiordes4 ,,warp4--,always the wool4 ,,woof4--,wool1 dyed red4 ,,nap4--,short wool4 ,,borders4--,usually three border stripes1 one wide one1 with a narrow one on either side4 ,the main stripe usually carries floral forms arranged in square or diamond shaped medallions4 ,the reciprocal saw teeth design is frequently employed4 ,,ends4--,usually a wide red web with or without short knotted warp ends4 ,,sides4--,finished with a three or four corded selvage4 ,,prevailing ,,colors4--,red1 green1 blue1 cream1 and yellow4 ,,designs4--,this class of rug nearly always comes in the prayer form4 ,there is generally a cross panel above the prayer niche and the field is1 as a rule1 filled with designs4 ,,sizes4--,from two and a half to five feet wide by four to seven long4 ,,prices4--,rather high on account of their scarcity4 ,from #b4jj to #aj4jj a square foot4 ,,remarks4--,this class of rugs is so rare that it is not mentioned by any of the ,american or ,english authors4 ,,the ,,example ,,illustrated ,,owner',s ,,description4--,this rug comes from the town of ,maden1 in the ,kir ,shehr district of ,konieh province4 ,mudjar1 a better known rug producing town1 is within twenty miles4 ,it has the remarkable wool and dye qualities that make the production of ,kir ,shehr4 ,this rug is so very bright that the assertion that it is fifty to seventy-five years old might be disputed1 but the unequal color erosion1 the remarkable bald shine of the back1 and the well marked thinning of the pile where the knees of the devotee rested while at his devotion1 evidence its antiquity4 ,the panel of lavender above the prayer arch is notable1 as is the pigeon blood ruby of the field4 ,while this rug has evidently done duty for many years1 it was probably folded away after use at prayer1 and given little exposure to sunlight4 ,,ladik ,,why ,,so ,,named4--,a corruption of the word ,laodicea1 the name of a most primitive old town of #ejj population in the midst of a mound of ruins near ,konieh1 where they are made4 ,,knot4--,ghiordes4 ,number vertically eight to twelve2 number horizontally eight to fourteen2 number to square inch sixty-four to one hundred sixty-eight4 ,illustration3 ,,ladik ,,prayer ,,rug ,size #e'aj #c'aa ,,property ,,of ,,colonel ,,george ,g4 ,,briggs1 ,,grand ,,rapids1 ,,mich4 ,,warp4--,always wool1 generally of a fine texture and dyed the predominating color of the rug4 ,,woof4--,always wool and usually dyed the predominating color of the rug4 ,,nap4--,in the antiques the finest1 selected1 lustrous wool1 which is generally cut short4 ,in the moderns a coarse wool of loose texture4 ,,weave4--,antiques closely and evenly woven4 ,moderns loosely woven4 ,,sides4--,a fairly wide colored selvage1 made by weaving the woof threads upon three or four of the outside warp threads4 ,sometimes the selvage is added4 ,,ends4--,usually a two-or three-inch red web at each end1 which is frequently striped with yellow or blue4 ,a fringe formed by the loose warp ends4 ,,border4--,from three to five border stripes1 generally three1 one wide one with a narrow one on each side4 ,the main border stripe in many of the oldest specimens has the ,rhodian lily design alternating with the rosette4 ,,prevailing ,,colors4--,subdued rich colors4 ,usually greens1 reds1 blues1 and yellows1 with more or less old ivory or white4 ,magenta is very frequently employed4 ,,dyes4--,good1 as a rule4 ,,designs4--,prayer design most frequent4 ,the pattern is so characteristic as to be unmistakable4 ,figures are usually bold and large in comparison to the size of the rug4 ,the prayer niche always contains five tree-like branches alternately capped with a floral and a geometrical design4 ,a mosque lamp usually hangs from the niche4 ,,sizes4--,prayer rug sizes and mats similar to the so-called ,anatolian mats4 ,,prices4--,from #a4ge to #c4ej per square foot4 ,,remarks4--,not many modern ones4 ,they somewhat resemble the ,bergama1 but are somewhat brighter and heavier4 ,,the ,,example ,,illustrated ,,maj4 ,l4 ,b4 ,,lawton',s ,,description4--,choice antique ,ladiks are considerably rarer than either ,kulahs or ,ghiordes4 ,many collectors owning all other ,anatolians have never seen a ,ladik4 ,this weave almost invariably shows the ,rhodian lilies both above and below the niche4 ,the specimen here shown has a rich red field doubly hooked with gold2 spaces above and below are gentian blue1 main border is yellow4 ,this latter color has until recently been in disfavor with ,american collectors2 but the ,french and ,german critics have always shown a great liking for yellow1 and it is now coming into its own in ,america4 ,see also color plate at page #gd4 ,illustration3 ,,yuruk ,,rug ,size #d'b #f'c ,,property ,,of ,,mr4 ,f4 ,a4 ,,turner1 ,,boston1 ,,mass4 ,,yuruk ,,synonyms4--,yurouk1 ,yaruk4 ,,why ,,so ,,named4--,the word ,yuruk means mountaineer1 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 ,anatolia4 ,,knot4--,ghiordes4 ,number vertically six to twelve2 number horizontally seven to ten2 number to square inch fifty-six to one hundred twenty4 ,,warp4--,brown wool or goats' hair4 ,frequently dyed4 ,,woof4--,brown wool or goats' hair4 ,frequently dyed4 ,,nap4--,fine1 long1 fluffy1 lustrous wool1 sometimes mixed with goats' hair4 ,,weave4--,loosely woven as a rule4 ,,sides4--,selvaged with goats' hair or overcast with colored yarns4 ,,ends4--,narrow colored webs with warp ends braided4 ,,border4--,usually two or three stripes1 which are1 as a rule1 rather narrow in proportion to the size of the rug4 ,,prevailing ,,colors4--,brilliant dark colors4 ,browns and blues seem to predominate4 ,,dyes4--,generally good4 ,,designs4--,large1 irregular1 rude geometrical designs1 somewhat similar to those of the ,kazak4 ,the latch hook is frequently employed4 ,,sizes4--,usually small4 ,,prices4--,from #a4ej to #c4jj per square foot4 ,,remarks4--,antiques glossy and rare4 ,the modern ones are invariably crooked and lack symmetry1 but wear well4 ,in many respects they resemble the ,kazaks4 ,,the ,,example ,,illustrated ,in design this piece is more ,caucasian than ,turkish4 ,the main border design is similar to those so frequently found in the old ,shirvans4 ,note the letter ,s1 borders1 the tarantulas and the swastikas4 ,,ak ,,hissar ,,synonyms4--,akhissar1 ,aksar1 ,axar4 ,,why ,,so ,,named4--,after a town by that name lying in the mountains less than one hundred miles north of ,smyrna1 where they are made4 ,,knot4--,ghiordes4 ,number vertically four to eight2 number horizontally four to ten2 number to square inch sixteen to eighty4 ,,warp4--,coarse wool4 ,,woof4--,coarse wool4 ,nap4--,thick wool and mohair4 ,,weave4--,loosely woven4 ,illustration3 ,,ak ,,hissar ,,prayer ,,rug ,size #e'i #c'g ,,property ,,of ,,colonel ,,george ,g4 ,,briggs1 ,,grand ,,rapids1 ,,mich4 ,,sides4--,usually overcast1 occasionally selvaged4 ,,ends4--,narrow web at each end with loose warp threads4 ,,border4--,similar to those of the ,ghiordes4 ,,prevailing ,,colors4--,mostly dark green1 red1 and blue1 with some white4 ,,dyes4--,like most of the ,turkish rugs1 the moderns are apt to be chemically dyed4 ,,designs4--,similar to those of the ,ghiordes and ,oushak4 ,,sizes4--,from four to six by six to eight feet4 ,,prices4--,usually cheap4 ,,remarks4--,similar to the modern ,ghiordes4 ,very few reach the ,united ,states4 ,,the ,,example ,,illustrated ,,maj4 ,l4 ,b4 ,,lawton',s ,,description4--,a typical specimen1 showing double and single latch hooks in the niche4 ,the eight borders might cause a beginner to name the rug ,kulah1 except for the reason that ,kulahs are paler in tone and usually much larger1 and decidedly thinner4 ,a good ,ak ,hissar is intrinsically worth as much as a ,kulah of same quality1 but1 being less rare1 may be had for about ten per centum of the cost of a ,kulah4 ,this ,ak ,hissar is a study in rose and green2 the niche is rose1 the oblong field is green2 inside border is canary1 next is black2 other borders alternate rose and ivory4 ,the pattern above the niche is a ,ghiordes conceit1 as is the main border4 ,,anatolian ,,proper ,,synonym4--,yesteklik1 a name frequently applied to the mats4 ,,why ,,so ,,named4--,after the country of ,anatolia1 which is another name for ,asia ,minor4 ,,where ,,made4--,most of them come from the province of ,angora and ,konieh4 ,the so-called ,anatolian mats come from all parts of ,anatolia4 ,,knot4--,always ,ghiordes4 ,number vertically six to fifteen2 number horizontally six to ten2 number to square inch thirty-six to one hundred fifty4 ,,warp4--,always wool4 ,,woof4--,always wool1 which is usually dyed4 ,,nap4--,usually a long1 shaggy1 soft wool4 ,sometimes mohair4 ,,weave4--,very good as a rule1 but apt to be somewhat irregular4 ,,sides4--,always selvaged4 ,,ends4--,nearly always a wide red webbing with loose warp threads at each end4 ,,border4--,from one to six border stripes1 most usually three4 ,,prevailing ,,colors4--,rich reds1 yellows1 greens1 and blues1 with more or less white4 ,,dyes4--,good in the antiques4 ,few modern pieces that are not aniline dyed4 ,,designs4--,usually bold geometrical designs4 ,every sort of a device both curved and rectilineal4 ,the latch hook is especially common4 ,the prayer rugs are patterned somewhat after the ,ghiordes and ,ladik4 ,,sizes4--,from one to four by one and one-half to six feet4 ,seldom larger4 ,,prices4--,from #j4be to #c4jj per square foot4 ,,remarks4--,frequently crooked4 ,attractive on account of their oddity4 ,very serviceable4 ,some of the antique ,anatolians are made in sections and afterwards sewed together4 ,,the ,,example ,,illustrated ,see color plate at page #fj with accompanying description4 ,,bergama ,,synonyms4--,bergamo1 ,pergamo4 ,,why ,,so ,,named4--,a corruption of the word ,pergamo1 which is the name of a small village of #cjjj inhabitants1 about forty miles northeast of ,smyrna1 where they are made4 ,,knot4--,ghiordes4 ,number vertically ten to fourteen2 number horizontally six to twelve2 number to square inch sixty to one hundred sixty-eight4 ,,warp4--,always dyed wool1 usually of a splendid quality4 ,,woof4--,always dyed wool4 ,,nap4--,the best soft1 silky wool1 usually quite long4 ,,weave4--,frequently several woof threads between each row of knots4 ,,sides4--,usually broad red selvaged sides1 made by weaving the woof threads upon three or four outside warp threads4 ,frequently have small tassels of wool along the sides4 ,the only rug that has these excepting the ,shiraz4 ,,ends4--,rather broad web with braided fringe at each end4 ,the web often carries a woven design or blue stripes4 ,until recently the ,bergama was the only rug which sometimes had rosettes woven on the webbing4 ,nowadays an occasional ,anatolian may be found with this feature4 ,,border4--,from three to five border stripes1 usually three4 ,they are generally wide with flowers in profile4 ,,prevailing ,,colors4--,red1 green1 blue1 yellow1 ivory1 and orange4 ,rather dark4 ,,dyes4--,nearly always of the best4 ,,designs4--,the ,bergama designs are somewhat characteristic4 ,the ,bergama weavers are inventors of patterns rather than copyists4 ,medallions frequent1 with a well covered field4 ,sometimes the checker-board pattern4 ,figures generally bold and large in proportion to size of the rug4 ,illustration3 ,,bergama ,,rug ,,property ,,of ,a4 ,u4 ,,dilley ,,co4 ,,sizes4--,usually nearly square4 ,one and one-half to four by two to six feet4 ,antiques usually run smaller than the modern ones4 ,,prices4--,rather high4 ,from #b4jj to #aj4jj per square foot4 ,,remarks4--,very scarce4 ,,the ,,examples ,,illustrated ,,bergama ,,rug4--,the unusual medallion in this piece is characteristic of the ,bergama only4 ,in its centre is the octagon and eight-pointed star of the ,medes1 a motif which is found more or less in nearly all classes of rugs1 but in none more frequently than in the ,bergama4 ,the main border stripe is composed of lily blossoms in profile and in full4 99 99 99 99 99 ,,bergama ,,prayer ,,rug 7see page #df74--,knot3 ,ghiordes4 ,number to the inch1 horizontally seven2 vertically seven2 to the square inch1 seventy-seven4 ,bergama prayer rugs are not often seen in this country and this particular piece is a very uncommon and choice one4 ,the designs are unusual1 the colors the best and the nap has the hammered-brass appearance so common in many of the old ,bergamas4 ,the prayer field is of a beautiful terracotta2 the space just above the niche is in light and dark blue2 the panels carry most peculiar geometrical designs in white1 yellow1 blue and brown1 the upper one on a ground of terracotta and the lower one on a ground of old rose4 ,the main border stripe carries a variety of nameless geometrical designs in red1 yellow1 blue1 brown and drab upon a white background4 ,the outer border stripe consists of an eight-petaled flower alternating with a motif which might have been intended for the wine glass1 so frequently found in the ,caucasian fabrics4 ,,ghiordes ,,synonyms4--,ghiordez1 ,gurdiz1 ,guerdi1 ,yourdez1 ,yurdi1 and many others4 ,,why ,,so ,,named4--,after the city of ,ghiordes1 fifty miles north of ,smyrna1 where they are made4 ,it is the ancient ,gordium from which was named the ,gordian knot that ,alexander the ,great cut4 ,,knot4--,always the ,ghiordes knot4 ,number vertically eight to fourteen2 number horizontally eight to twelve2 number to square inch sixty-four to one hundred sixty-eight4 ,,warp4--,usually wool1 antiques occasionally cotton or silk4 ,,woof4--,usually cotton1 occasionally wool or linen4 ,,nap4--,short1 fine1 lustreless wool1 occasionally cotton4 ,it has the shortest nap of any of the ,turkish rugs4 ,seldom acquires sheen4 ,,sides4--,frequently finished with an added silk selvage in pale colors4 ,,ends4--,the fringe on the upper end1 as a rule1 instead of being a continuation of the warp threads1 is a separate piece sewed on4 ,,border4--,from three to ten border stripes1 usually one wide and one with from one to four narrower ones on each side4 ,a favorite arrangement is to alternate light and dark border stripes4 ,illustration3 ,,ghiordes ,,prayer ,,rug ,,property ,,of ,,the ,,tiffany ,,studios1 ,,new ,,york ,,city ,,prevailing ,,colors4--,light blues1 yellows1 reds1 and greens4 ,usually considerable white or ivory4 ,,dyes4--,of the best4 ,,designs4--,a great majority of them are of the prayer designs4 ,usually with a centre of solid color and two cross panels1 one at each end of the field4 ,,sizes4--,usually prayer rug sizes4 ,modern ones run larger than the antiques4 ,,prices4--,antiques exceedingly high4 ,,remarks4--,antiques are among the best1 while the modern ones are among the poorest4 ,,the ,,example ,,illustrated ,,owner',s ,,description4--,the field of this old ,ghiordes rug is of jade green1 edged with small flower forms in cream1 canary color1 and brown4 ,the high prayer niche penetrates the light blue space in which is a most symmetrical and formal arrangement of a leaf worked in light green1 brown and red4 ,the outer and inner border stripes carry the ,ghiordes ,tarantula design1 and in the main border the design is squared off in tile fashion1 a stiff leaf in light blue filling one-half the square and two red blossoms with yellow centres the other half4 ,the stems are wrought in dark brown4 ,see also color plate1 page #ff4 ,,kulah ,,synonyms4--,koula1 ,coula4 ,,why ,,so ,,named4--,after the town of ,kulah1 which is southeast of ,ghiordium and east of ,smyrna1 in the vicinity of which they are made4 ,,knot4--,ghiordes4 ,number vertically eight to twelve2 number horizontally eight to fourteen2 number to square inch sixty-four to one hundred sixty-eight4 ,,warp4--,always fine wool4 ,,woof4--,usually fine wool4 ,moderns occasionally of cotton4 ,,nap4--,fine1 short1 silky wool in the antiques1 mohair in some of the modern ones4 ,,weave4--,generally close1 well tied knots4 ,,sides4--,antiques always selvaged1 moderns usually overcast and occasionally selvaged4 ,,ends4--,narrow web with loose warp ends4 ,generally dyed yellow4 ,,border4--,from seven to fourteen border stripes1 having as a rule more than any other class of rugs4 ,usually one wide stripe with a multiplication of peculiarly marked small ones1 which alternate in colors and carry minute designs4 ,a distinguishing feature is the so-called ,kulah border stripe1 which consists of the repetition of a figure which somewhat resembles an alligator and is quite ,chinese in character4 ,,prevailing ,,colors4--,in the antiques1 red1 blue1 golden brown1 and yellow are the prevailing colors4 ,the modern ones have a purplish tint instead of crimson4 ,illustration3 ,,kulah ,,prayer ,,rug ,,property ,,of ,,the ,,tiffany ,,studios1 ,,new ,,york ,,city ,,dyes4--,in the antiques the dyes are of the best4 ,anilines are frequently used in the modern product4 ,,designs4--,the great majority of the ,kulah rugs are of the prayer variety4 ,the inner field is frequently filled1 or partly filled1 with small floral patterns4 ,a figure resembling the ,shamrock is quite common4 ,usually one panel above the prayer field1 whereas the ,ghiordes generally has two panels3 one above and one below the prayer field4 ,,sizes4--,antiques from three and one-half to five by five to seven feet4 ,moderns all sizes from mats to carpets4 ,,prices4--,antiques costly1 from #e4jj to #bj4jj per square foot4 ,modern ones cheap1 from #a4ej to #d4jj4 ,,remarks4--,so similar to the ,ghiordes that it is sometimes difficult to differentiate4 ,of the modern ones the better grades are made by the ,christians1 while the poorer grades are made by the ,mohammedans4 ,the distinguishing features of the ,kulah are first its characteristic border stripes1 second the filled or partly filled centre field1 while in the ,ghiordes the centre field is generally of a solid color1 and third1 the single panel1 while the ,ghiordes generally has two panels4 ,,the ,,example ,,illustrated ,,owner',s ,,description4--,the coloring in this rug has a gem-like brilliancy combined with great refinement4 ,the field is of deep rich blue1 and the flower forms that rest upon it are of soft canary and azure4 ,seven borders alternately of tan and blue surround the field and carry the fleck design commonly found in borders of this style4 ,occasional touches of blood red are also distinctive features of these ,kulah fabrics4 ,,meles ,,synonyms4--,melhaz1 ,melace1 ,milas1 ,carian1 ,karian4 ,,why ,,so ,,named4--,a corruption of the word ,milassa1 the name of a town a few miles southwest of ,smyrna1 where they are marketed4 ,,where ,,made4--,in some of the seacoast towns south of ,smyrna and on many of the scattered islands in the ,gulf of ,makri4 ,,knot4--,ghiordes4 ,number vertically five to ten2 number horizontally four to nine2 number to square inch twenty to ninety4 ,,warp4--,wool1 often colored at the end4 ,,woof4--,cotton or wool1 most frequently the former4 ,,nap4--,coarse1 loose1 lustrous wool1 generally cut short4 ,,sides4--,selvaged4 ,this selvage is formed by the woof threads when they are wool and added on when the woof threads are cotton4 ,,ends4--,web of varying length at each end with fringe of loose warp threads4 ,illustration3 ,,antique ,,meles ,,rug ,size #f' #d' ,,property ,,of ,,mrs4 ,,lieber ,,whittic ,,border4--,generally six or more border stripes2 the wider one usually carries flowers in profile4 ,,prevailing ,,colors4--,the antiques are noted for their rich golden yellow combined with blues1 reds1 and greens4 ,,dyes4--,generally good4 ,some of the modern pieces are dyed with brilliant chemical dyes4 ,,designs4--,mostly ,caucasian in character4 ,the latch hook is prominent4 ,besides the usual prayer designs1 perpendicular stripes of yellow1 red1 and blue1 with zigzag lines running through them1 are characteristic designs of the ,meles4 ,many small detached figures4 ,,sizes4--,usually small and almost square4 ,three to four by four to five feet4 ,,prices4--,antiques are rare and few of the modern pieces reach the ,united ,states4 ,from #a4ej to #c4jj per square foot4 ,,remarks4--,they are similar to the so-called ,anatolian1 but are lighter in color and woven better4 ,in some respects they resemble the ,bergama4 ,getting scarce as few new ones are woven4 ,,the ,,examples ,,illustrated ,,owner',s ,,description4--,this rug comes from a city of great antiquity in ,southwestern ,asia ,minor1 near the coast1 opposite the island of ,rhodes4 ,the design and coloring are archaic in simplicity and suggest the interests of a people dwelling by the sea4 ,observe the turtle figures interspersed between the curves of vine in the panels2 also the fin-like appearance of the leaf-forms attached to the vine1 the line of fish-hook heads bordering the panels and wave design on either side of same4 ,the striped character of the field is a feature to be noted in this rug1 also the introduction of an exceptional design in the fourth stripe4 ,the border is seen to be very inconspicuous and of remarkably few stripes for a product of the ,anatolian country4 ,the simple nature of the small detached floral forms indicates an early origin1 before the enriching influence of the ,persian invasion4 ,brilliant colors were chosen for use in the rug1 though of such mellow tone as to be in excellent1 subdued harmony4 ,the predominating colors are golden canary-yellow1 madder red1 and green1 with blue1 violet and white as secondary tones4 ,the shades in which these colors appear are quite indescribable1 doubtless on account of careless methods of dyeing or the chances of home-made mixtures4 ,thus the green is of a bluish cast1 the blue is mottled with lighter shades 7a well-known characteristic of this variety of rug7 and the violet1 which1 as the most typical and exclusive of ,meles colors1 should be pure in tone1 is of dingy look1 apparently having succeeded brown in the dye-pot4 ,all the colors have remained absolutely fast1 despite the long exposure of time4 ,the kaleidoscopic effect which has been noted as a quality in many old ,meles rug patterns1 may be easily detected in this specimen4 ,,stanton ,,rug4--,a much finer weave than the average rug of this class and a very attractive design4 ,note the peculiar shape of the field which is notched in instead of out1 as in the majority of hearth rugs4 ,the yellow and the plum colors in the main border stripe are seldom found in any other class of rugs4 ,illustration3 ,,meles ,,rug ,size #c'c #d'g ,,property ,,of ,,mr4 ,j4 ,h4 ,,stanton1 ,,auburn1 ,n4,y4 ,,makri ,,synonym4--,megri4 ,,why ,,so ,,named4--,after the ,gulf of ,makri4 ,,where ,,made4--,on the islands in the ,gulf of ,makri and in the towns along its coast4 ,,knot4--,always the ,ghiordes4 ,number vertically four to eight2 number horizontally four to eight2 number to the square inch sixteen to sixty-four4 ,,weave4--,quite similar to that of the ,meles1 but a trifle coarser4 ,,warp4--,white or gray wool4 ,,woof4--,white or gray wool4 ,,nap4--,of long wool1 usually from #c_/h to #c_/d of an inch long4 ,,sides4--,usually finished with a three or four corded selvage4 ,,ends4--,a wide web through which generally run blue and red stripes with or without a knotted mesh and loose warp ends4 ,,borders4--,usually three stripes1 the designs of which are1 as a rule1 less floral in character than are those of the ,meles4 ,,prevailing ,,colors4--,quite similar to those employed in the ,meles1 especially the yellows1 reds1 blues and plum color4 ,unlike the ,meles1 they usually carry green4 ,,designs4--,a sort of a mixture of the ,meles and ,caucasian designs4 ,the field is most frequently composed of two or three panels which very much resemble those of cathedral windows4 ,,sizes4--,from three and a half to four and a half feet wide by five to seven feet long4 ,,prices4--,as they are seldom found in the market it is difficult to place any stated value on them4 ,,remarks4--,one of the rarest rugs in existence4 ,,the ,,example ,,illustrated ,the weave1 the tawny yellow and the motives in the right hand panel are typically ,meles2 the motives in the left hand panel are more like those found in the ,bergama products2 and the cross panel at the upper end of the field is a ,kulah or ,ghiordes feature4 ,the wide web at either end with the varicolored stripes is a feature quite foreign to the ,anatolian products4 ,,smyrna ,,why ,,so ,,named4--,because they are marketed at ,smyrna4 ,smyrna itself is not a centre of rug weaving1 but these rugs come from the towns of the western provinces of ,turkey in ,asia1 namely1 ,aidin and ,brousa4 ,illustration3 ,,makri ,,rug ,size #c'aa x #e'aj ,,property ,,of ,,mr4 ,j4 ,h4 ,,stanton1 ,,auburn1 ,n4 ,y4 ,,knot4--,ghiordes4 ,number vertically four to eight2 number horizontally four to ten2 number to square inch sixteen to eighty4 ,,warp4--,coarse wool4 ,,woof4--,coarse wool1 generally dyed4 ,,nap4--,loosely woven4 ,,weave4--,loosely woven and carelessly tied4 ,,sides4--,no rule1 most frequently short web with loose warp ends4 ,,border4--,no rule2 generally three border stripes1 one wide one with a narrow one on each side4 ,,prevailing ,,colors4--,no rule4 ,bright reds1 blues1 and greens are commonly employed4 ,,dyes4--,generally chemical4 ,,designs4--,anything and everything1 largely ,european and seldom artistic4 ,,sizes4--,carpet sizes only4 ,,prices4--,from #a4jj to #a4ej per square foot4 ,,remarks4--,no antiques4 ,the modern ones are purely commercial creations4 ,,mosul ,,synonyms4--,mousoul1 ,moussoul4 ,,why ,,so ,,named4--,after the town of that name in ,mesopotamia1 where they are marketed4 ,they are made by the ,kurds who inhabit the mountainous districts north of ,mosul around ,lake ,van4 ,,knot4--,ghiordes4 ,number vertically six to eight2 number horizontally six to ten2 number to square inch thirty-six to eighty4 ,,warp4--,usually coarse1 dark wool or goats' hair4 ,occasionally cotton4 ,,woof4--,usually coarse1 dyed wool4 ,,nap4--,excellent1 long1 lustrous wool1 camels' or goats' hair4 ,,weave4--,some closely and tightly woven1 but the majority are rather loosely woven4 ,,sides4--,corded edges overcast with dark wool4 ,frequently overcast with wool of different colors after the ,kurdish fashion4 ,occasionally selvaged4 ,,ends4--,at each end a narrow selvage with one or more stripes of colored yarn running through1 usually red and blue4 ,as a rule one of these selvages is turned over and hemmed1 while the other is finished with braided warp threads which are knotted at the ends4 ,,border4--,from three to six border stripes1 usually three1 which are separated by lines of dark blue or brown4 ,frequently there is considerable camels' hair in the border4 ,the ,saraband pattern is sometimes copied4 ,,prevailing ,,colors4--,usually dark1 rich blues1 yellows1 greens1 reds1 and browns4 ,the browns and yellows predominate as a rule4 ,these colors are shaded as only the ,kurds know how4 ,illustration3 ,,mosul ,,rug ,size #d' #g'b ,,property ,,of ,,mrs4 ,,lieber ,,whittic ,,dyes4--,as a rule excellent except in a small proportion of the modern pieces4 ,,designs4--,a multitude of designs which are usually rather striking in character4 ,probably patterned more after the ,persian designs than any others4 ,the ,saraband and the ,herati patterns are frequently used4 ,medallions filled with the pear or other small designs4 ,,sizes4--,usually three to four by four to seven feet1 runners from two to four by eight to twenty feet4 ,saddle bags4 ,,prices4--,among the best moderate priced rugs4 ,from #a4jj to #b4jj per square foot4 ,,remarks4--,best in the market for very hard service4 ,quite thick and heavy and generally lie well4 ,,the ,,example ,,illustrated ,,owner',s ,,description4--,this type of rug comes from the largest rug-producing centre of ,eastern ,asia ,minor4 ,the specimen shown illustrates the ,mosul at its best1 as to closeness of weave1 length of pile1 symmetry of design and richness of coloring4 ,the superb lustre of the wool1 comparable only to a silk plush1 and the great softness of the long pile--features which have made famous the rugs from this region--are here conspicuous4 ,in shape and design also the specimen is typical4 ,the field is composed of diamond-shaped sections outlined in black and decorated with the conventionalized tarantula4 ,by placing these sections diagonally a latticed effect is produced4 ,the usual border plan of three stripes1 two narrow ones separated by a broader1 appears here4 ,the narrow stripes are in the familiar flower-and-vine design1 the broad stripe in a formal arrangement of rosette and hour-glass1 all conforming to the geometrical and rectangular lines of ,turkish design4 ,the color scheme of the piece is remarkable for its harmony4 ,the dominant color is wine1 introduced in many beautifully blended shades1 and relieved with correspondingly soft tones of old blue and green1 the whole illuminated with well-arranged bands of white4 ,illustration3 ,,shirvan ,,rug ,size #g'c #d' ,,from ,,the ,,collection ,,of ,,the ,,author ,knot3 ,ghiordes4 ,seven to the inch horizontally and nine vertically1 making sixty-three to the square inch4 ,a splendid specimen of ,caucasian weaving1 being a perfect gem for color1 quality and sheen1 although in design it differs somewhat from the ordinary ,shirvan4 ,the field is covered with octagons each of which contains an eight-petaled flower1 no two of which are alike in color4 ,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 petal4 ,between the octagons are strewn various floral1 pear and goat forms and the weaver has indulged in the ,kurdish trick of shading the background1 which shows no less than three distinct shades of green4 ,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 meander1 the outer one on a field of yellow and the inner one on a field of red4 ,this is a very old piece with dyes equal to those found in any part of the ,orient1 even in olden times1 and although the colors are rather pronounced they are very pleasing to the eye4 7,see page #bfe7 ,illustration3 ,,russia ,,the ,,caucasian ,,classification ,caucasia and ,transcaucasia form an isthmus connecting ,europe and ,asia4 ,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 #aff1ejj square miles1 with a population of nearly ten million4 ,it was once ,persian territory1 but was acquired by ,russia in #ahac4 ,nowhere in the world is there such a mixture of races and languages1 the number of dialects being estimated at about seventy4 ,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 characteristics1 but alas1 not their original dyes1 for here too the coal-tar products have been well received by these wild mountaineers4 ,the ,caucasian rugs are characterized by their prominent borders and their purely geometrical patterns with sharp outlines4 ,both warp and woof are usually of wool excepting in some of the ,kabistans and ,shirvans and1 as a rule1 the ends are finished with loose or braided warp threads4 ,the predominating colors are the blues and yellows4 ,they are seldom made in large sizes4 ,some of the most characteristic designs are the eight-pointed star of the ,medes1 the six-pointed star of the ,mohammedans1 the triangle1 the diamond1 the latch hook1 the barber-pole stripe1 the tarantula1 the swastika1 the reciprocal trefoil1 the link-in-lozenge and the tree of life4 ,,daghestan ,,why ,,so ,,named4--,daghestan means mountain land and is the name of a district in ,caucasian ,russia on the ,caspian ,sea4 ,it has a population of #fjj1jjj4 ,,knot4--,ghiordes4 ,number vertically ten to fifteen2 number horizontally eight to fourteen2 number to square inch eighty to two hundred ten4 ,,warp4--,usually wool1 being as a rule a dark brown or natural color in the antiques and white or gray in the moderns4 ,some of the moderns have a combination of cotton and wool4 ,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 fabric1 especially after it has been wet4 ,illustration3 ,,daghestan ,,rug ,,owned ,,by ,a4 ,u4 ,,dilley ,,co4 ,,woof4--,in the moderns nearly always cotton4 ,in the antiques usually white or gray wool or a mixture of the two4 ,,nap4--,fine silky wool cut short4 ,,weave4--,as a rule finely and closely woven4 ,,sides4--,selvaged or overcast with colored wool4 ,,ends4--,a narrow selvage with loose or knotted warp threads at each end4 ,,border4--,three or more border stripes1 usually three1 carrying small figures and separated by narrow stripes of solid colors4 ,the main border stripe most frequently has a cream colored ground4 ,the lobster1 the crab1 the reciprocal trefoil1 the reciprocal saw-teeth1 the wine glass1 the barber-pole stripe1 and the ,georgian border designs are frequently employed4 ,,prevailing ,,colors4--,the central ground is usually ivory with figures in the different tints of red1 blue1 green1 and yellow4 ,,dyes4--,in the antiques all good4 ,some of the moderns are aniline dyed4 ,,designs4--,the same patterns are employed as were in vogue centuries ago4 ,diagonal ornamentation of both border and field is frequently employed as in many of the ,kabistans4 ,floral forms seldom used4 ,the centre is never plain1 but is always filled with small geometrical figures4 ,the tarantula1 the swastika1 the link1 ,s forms1 octagon1 eight-pointed star1 and the latch hook variations are common4 ,the ,greek cross is almost omnipresent4 ,,sizes4--,from two and one-half to seven by four to ten feet4 ,,prices4--,antiques rare2 moderns cheap1 from #a4jj to #c4jj per square foot4 ,,remarks4--,frequently crooked4 ,the ,shirvan and ,kabistans are often sold as ,daghestans4 ,,the ,,examples ,,illustrated ,,color ,,plates with accompanying descriptions at pages #hd and #bib4 ,,doubletones ,,daghestan ,,rug 7page #bed7 ,like most rugs of its class this piece consists wholly of geometrical devices such as the latch hook1 star1 octagon1 barber-pole stripe1 etc41 all spaces being filled with designs of various sizes4 ,each motif consists of three eight-pointed star forms1 one within another4 ,the second and third borders are purely ,caucasian and represent a twig with two leaves and a flower4 ,this motif is seldom found in any but the ,caucasian fabrics4 ,,daghestan ,,prayer ,,rug 7see page #bef7 ,the most common form of ,daghestan prayer rug with its ,caucasian niche and lattice field1 each square of which is filled with a peculiar rectilineal floral form4 ,all of the border designs are characteristically ,caucasian4 ,illustration3 ,,daghestan ,,prayer ,,rug ,,property ,,of ,h4 ,b4 ,,claflin ,,co4 7,description on page #bef7 ,,derbend ,,synonym4--,derbent4 ,,why ,,so ,,named4--,derbend1 meaning a fortified gate1 is the name of the chief city and capital of the province of ,daghestan1 in the neighborhood of which these rugs are made by the ,tartars and ,turkomans4 ,,knot4--,ghiordes4 ,number vertically eight to twelve2 number horizontally five to ten2 number to square inch forty to one hundred twenty4 ,,warp4--,brown wool or goats' hair4 ,,woof4--,good wool4 ,usually more than two woof threads between each row of knots4 ,,nap4--,good1 soft1 thick1 long1 lustrous wool4 ,,weave4--,very good1 but not as close as that of the ,daghestans4 ,,sides4--,generally overcast4 ,occasionally selvaged4 ,,ends4--,like the ,daghestans1 a short web with knotted fringe at each end4 ,sometimes the web is wide as in the ,turkoman products4 ,,border4--,from two to four border stripes1 carrying large geometrical patterns separated by narrow stripes of plain color4 ,,prevailing ,,colors4--,fewer colors than the ,daghestans4 ,usually a field of blue or red4 ,yellow is lavishly employed4 ,,dyes4--,generally good4 ,,designs4--,similar to those of the ,daghestans and ,kabistans1 but of a coarser nature and purely geometric1 the latch hook and the eight-pointed star devices being the most common4 ,the field usually consists of a repetition of the designs in alternate colors4 ,,prices4--,from #j4ej to #b4ej per square foot4 ,,remarks4--,rather rare4 ,of little artistic value4 ,,kabistan ,,synonyms4--,cabistan1 ,kuban4 ,,why ,,so ,,named4--,after the district of ,kuba1 which lies southwest of ,daghestan near the ,caspian ,sea1 where they are made4 ,,knot4--,ghiordes4 ,number vertically ten to sixteen2 number horizontally eight to fourteen2 number to square inch eighty to two hundred twenty-four4 ,,warp4--,sometimes cotton1 sometimes wool4 ,they differ from the ,daghestans in that the latter always have wool warp4 ,,woof4--,usually cotton4 ,occasionally wool4 ,,nap4--,short wool1 closely clipped1 seldom lustrous4 ,illustration3 ,,kabistan ,,rug ,,loaned ,,by ,h4 ,b4 ,,claflin ,,co4 ,,weave4--,closely woven1 equal to the ,daghestan in that respect4 ,,sides4--,nearly always overcast with cotton threads or selvaged with cotton4 ,some of the modern ones are finished with a cording4 ,,ends4--,narrow web with loose or twisted warp threads4 ,,border4--,from three to five border stripes4 ,the carnation in profile is one of the most commonly employed border designs4 ,,prevailing ,,colors4--,rich but not brilliant reds1 greens1 blues1 and yellows1 with considerable white4 ,,dyes4--,like all other ,caucasian rugs many of the modern ones are more or less chemically dyed4 ,,designs4--,similar to the ,shirvan4 ,the floral forms are usually connected by meander lines1 in which respect they differ from those of the ,shirvan4 ,an attempt to render geometrical ornament in a floral manner4 ,small conventional flowers thrown broadcast4 ,the tarantula1 the swastika1 the link1 ,s forms1 diamonds1 stars1 birds1 and animals are all introduced4 ,a field of large rectilineal pear designs arranged in diagonal rows is common4 ,,sizes4--,usually oblong4 ,can be had in larger sizes than the ,daghestan4 ,from two and one-half to five by five to twenty feet4 ,,prices4--,from #a4jj to #c4jj per square foot4 ,,remarks4--,often sold for the ,daghestan4 ,the most durable of the moderate priced rugs4 ,they are thin and flexible and lie well4 ,,the ,,example ,,illustrated ,the field is filled with four peculiar oblong medallions and geometrical devices of various kinds1 such as the ,greek key1 diamonds1 crosses1 etc4 ,all of the border designs are characteristically ,caucasian4 ,,tchetchen ,,synonyms4--,tzitzi1 ,chichi4 ,,why ,,so ,,named4--,the name of a powerful tribe of wandering mountaineers who inhabit the mountains in the northwestern part of ,daghestan and who weave them4 ,,knot4--,ghiordes4 ,number vertically six to ten2 number horizontally five to ten2 number to square inch thirty to one hundred4 ,,warp4--,usually fine wool1 occasionally cotton4 ,,woof4--,fine wool4 ,frequently dyed brown4 ,,nap4--,fine wool1 closely clipped4 ,,weave4--,usually well woven but looser than the ,daghestan4 ,,sides4--,narrow colored selvage1 usually of extra yarns4 ,sometimes overcast4 ,,ends4--,web of varying widths at each end with a fringe of loose warp ends4 ,illustration3 ,,tchetchen ,,or ,,chichi ,,rug ,size #e'h #c'aa ,property of ,maj4 ,l4 ,b4 ,lawton1 ,seneca ,falls1 ,n4 ,y4 ,,border4--,from three to six border stripes carrying a combination of floral and geometrical designs4 ,the so-called ,chichi border design is nearly always present4 ,,prevailing ,,colors4--,usually dark colors with considerable dark blue and white4 ,,dyes4--,as a rule good4 ,,designs4--,rather indefinite4 ,usually a mixture of the ,caucasian and ,persian designs repeated over the field so as to form a trellis4 ,diamond-shaped figures1 rosettes1 trefoils1 and tarantula forms4 ,field rather narrow in comparison with the borders4 ,,sizes4--,nearly square1 four to five by five to six feet4 ,,prices4--,from #j4ge to #b4ej per square foot4 ,,remarks4--,resemble the ,shirvan in texture1 for which they are frequently sold4 ,,the ,,example ,,illustrated ,,maj4 ,l4 ,b4 ,,lawton',s ,,description4--,a typical specimen of this weave1 with the many small ,chinese figures in blue4 ,a star border1 an interlocking border and a wide basket border4 ,this specimen is unusual in being lighter toned in the ground4 ,,baku ,,why ,,so ,,named4--,after the city of ,baku1 a seaport on the ,caspian in the district of ,shirvan1 from whence they are shipped4 ,,knot4--,ghiordes4 ,number vertically eight to sixteen2 number horizontally eight to twelve2 number to square inch sixty-four to one hundred ninety-two4 ,,warp4--,cotton or wool4 ,frequently camels' hair4 ,,woof4--,usually cotton4 ,sometimes wool4 ,,nap4--,wool with more or less camels' or goats' hair1 cut short4 ,,weave4--,generally closely woven and well tied4 ,,sides4--,usually overcast1 occasionally selvaged4 ,,ends4--,a small streak of camels' hair is usually thrown across one end4 ,this is one of the characteristic ,baku features4 ,,border4--,from three to six border stripes1 most frequently three1 one wide one with a narrow one on either side4 ,,prevailing ,,colors4--,similar to those of the ,daghestan4 ,,dyes4--,generally good4 ,,designs4--,the large-sized pear pattern is perhaps the most common4 ,it is generally of a rectilineal nature4 ,frequently there is a central medallion with corners to match4 ,,sizes4--,from three to seven by four to nine feet4 ,the length is generally double or more than the width4 ,illustration3 ,,baku ,,rug ,,property ,,of ,a4 ,u4 ,,dilley ,,co4 ,,prices4--,rather high priced on account of their scarcity2 #a4ej to #d4jj per square foot4 ,,remarks4--,not very common in the ,united ,states4 ,,the ,,example ,,illustrated ,the design of this piece1 the large pear motif with central serrated medallion and corner pieces to match1 is the most common one employed in the ,baku district4 ,in contrast to the ,persian rendition of the pear design those in the ,baku are larger and more rectilineal4 ,like the ,saraband the stems point in the opposite direction in alternate rows4 ,all of the border stripes are purely ,caucasian1 the central one being a form of latch hook border4 ,,shemakha ,,synonyms4--,soumak1 ,sumak1 ,kashmir1 ,cashmere4 ,,why ,,so ,,named4--,after the city of ,shemakha1 the capital and principal commercial city of the ancient ,khanate of ,shirvan1 which was ceded to ,persia in #ahac4 ,soumak is a corruption of the word ,shemakha4 ,sometimes called ,kashmir or ,cashmere on account of the resemblance of the weave to that of the ,cashmere shawl4 ,,by ,,whom ,,made4--,by the ,nomadic tribes of ,shirvan4 ,,stitches4--,in antiques ten to twelve rows of stitches to the inch4 ,in moderns seven is the average4 ,,warp4--,always wool4 ,usually white in the antiques and coarse grayish brown in the moderns4 ,,woof4--,always wool4 ,,weave4--,woven in the same primitive fashion as of old4 ,the only pileless ,oriental rug besides the ,ghileems4 ,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 diagonally1 taking in two of the warp threads and leaving every alternate row of stitches to face in the opposite direction after the herring-bone pattern4 ,on the under side the shaggy ends of the colored woof threads are left loose4 ,they never have any lustre4 ,,sides4--,usually overcast in dark wool1 sometimes selvaged4 ,,ends4--,a long fringe at both ends formed by the loose warp ends4 ,usually white in the antiques and grayish brown in the moderns4 ,,border4--,from two to five border stripes1 usually four1 the main one carrying a zigzag design4 ,the ,georgian border design is common1 as is also the ,chinese fret4 ,,prevailing ,,colors4--,light and dark blue1 green1 yellow1 red1 orange1 black1 and white4 ,the field is most frequently of dark blue or red4 ,,dyes4--,good in antiques and poor in moderns4 ,illustration3 ,,shemakha1 ,,sumak ,,or ,,cashmere ,,rug ,size #f'b #d'i ,property of ,mr4 ,h4 ,j4 ,gaylord1 ,syracuse1 ,n4 ,y4 ,,designs4--,similar to those of the ,daghestan and ,shirvan and have remained unchanged for centuries4 ,all designs are outlined in black and the ,mongolian influence is quite perceptible1 the knot of destiny1 mountains1 etc41 being very frequently used1 together with the usual ,caucasian designs such as the latch hook1 octagon1 and various other geometrical devices4 ,animals are frequently portrayed4 ,,sizes4--,from three to seven by four to twelve feet4 ,seldom larger than seven by ten4 ,antiques were not made in carpet sizes4 ,,prices4--,from #j4ge to #a4ge per square foot4 ,,remarks4--,durable1 but they lack animation compared with other rugs4 ,,the ,,example ,,illustrated ,unlike other classes1 the ,shemakha has no pile but has a flat stitch made by winding the dyed woof thread around the warp yarn4 ,this piece is one of the finest1 having thirteen stitches to the inch4 ,like in most rugs of its class1 the designs are typically ,caucasian1 among which are freely interspersed plenty of eight-pointed stars1 swastikas and knots of destiny4 ,the latter motif is nearly always present in this variety4 ,,shirvan ,,why ,,so ,,named4--,after the district of ,shirvan1 south of ,daghestan and extending from the ,caspian ,sea to the river ,kur4 ,marketed at ,baku1 the trade centre of the district4 ,,by ,,whom ,,made4--,woven by the ,lesgie tribes4 ,,knot4--,ghiordes4 ,number vertically six to twelve2 number horizontally five to nine2 number to square inch thirty to one hundred eight4 ,,warp4--,generally white or gray wool or a mixture of the two in the antiques1 while the moderns are of brown or white wool or a mixture of the two4 ,sometimes the warp is of cotton or goats' hair4 ,,woof4--,usually wool in the antiques4 ,in modern pieces1 usually of wool1 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 fabric1 especially after same has been wet4 ,,nap4--,wool1 cut short4 ,,weave4--,cheaply and roughly woven4 ,,sides4--,overcast or selvaged4 ,,ends4--,usually both ends are finished alike with a short web and an extra large fringe of loose or knotted warp threads4 ,,border4--,three to five border stripes1 generally four1 one wide one and several narrow ones4 ,as a rule they carry small designs either of a ,caucasian or ,persian character4 ,the latch hook1 the tarantula1 the scorpion1 and the wine glass designs are common4 ,,prevailing ,,colors4--,quiet tints of red1 blue1 yellow1 and salmon1 with considerable white4 ,,dyes4--,moderns very apt to be chemical4 ,,designs4--,quite similar to those of the ,daghestan and ,kabistan1 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 rug4 ,the tarantula1 the swastika1 the link1 the ,s form1 and the palace patterns are commonly employed4 ,illustration3 ,,shirvan ,,rug ,size #e'f #c'f ,,property ,,of ,,dr4 ,e4 ,b4 ,,guile1 ,,utica1 ,n4 ,y4 ,,sizes4--,from three to five by four to seven feet4 ,no carpet sizes4 ,,prices4--,among the cheapest of the ,caucasian products4 ,from #j4ej to #b4jj per square foot4 ,,remarks4--,moderns made only to sell4 ,,the ,,examples ,,illustrated ,,color ,,plates with accompanying description at pages #aeh and #bej4 ,,doubletone ,,owner',s ,,description4--,unusually fine for ,shirvan4 ,this rug is in the century class4 ,the three borders are not often seen1 but are characteristic of the older rugs of the ,daghestan district4 ,the glory of this rug is in the marvelous centre4 ,at first sight one might think of the famous rose ,kirmans4 ,the treatment of the roses1 lilies1 peonies1 etc41 merit more than a passing glance4 ,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 rug4 ,the erosion of time has given the surface an appearance of brocade velvet4 ,casual examination would indicate a green background1 but in reality it is black1 the profusion of green being an intricate and realistic arrangement of leaves4 ,,genghis ,,synonyms4--,guenja1 ,guendja1 ,guenges1 ,turkman4 ,,why ,,so ,,named4--,authorities differ greatly as to the origin of the name4 ,some say that the proper name should be ,guenja1 which was the ancient name of ,elizabethpol1 from whence they came4 ,others insist they should be called ,genghis1 which is the name of the tribe of ,nomads living in the vicinity of ,elizabethpol who weave them4 ,,knot4--,ghiordes4 ,number vertically six to ten2 number horizontally five to eight2 number to square inch thirty to eighty4 ,,warp4--,a three-strand thread of brown wool or goats' hair4 ,,woof4--,gray or brown wool1 frequently dyed4 ,generally several woof threads between each row of knots4 ,,nap4--,usually rather long wool or goats' hair4 ,of a much finer quality in the antiques4 ,,weave4--,as a rule coarsely woven4 ,,sides4--,selvaged or overcast1 with different colored wool1 most frequently the former4 ,,ends4--,web with small knotted fringe on one or both ends4 ,sometimes the web is wide as in the ,turkoman rugs4 ,,border4--,from two to five border stripes1 most frequently three1 one wide one with a narrow one on each side1 all carrying geometrical designs4 ,,prevailing ,,colors4--,similar to those of the ,kazaks4 ,usually considerable white with rather bright red1 light and dark blue4 ,illustration3 ,,genghis ,,runner ,size #h'i #b'h ,,property ,,of ,,the ,,author ,,dyes4--,apt to be inferior4 ,,designs4--,similar to those of the ,kazaks and ,karabaghs4 ,geometrical as a rule1 sometimes flowers and vines4 ,the pear is frequently employed1 usually in alternate rows of red and blue4 ,birds and animals4 ,,sizes4--,seldom square1 mostly runners three to five by four to nineteen feet4 ,,prices4--,the lowest priced ,caucasian rug as a rule4 ,from #j4ej to #b4jj per square foot4 ,,remarks4--,durable4 ,often sold as ,karabaghs4 ,,the ,,example ,,illustrated ,,knot3 ,ghiordes4 ,nine to the inch vertically and seven horizontally1 making sixty-three to the square inch4 ,this is a very old piece4 ,note that the outer border appears in the ends and is lacking on the sides1 having been cut off on account of its worn-out condition4 ,the field is covered with the pear design in alternating rows of light and dark colors upon a rich red ground4 ,the inner border carries the ,greek meander in red and white upon a blue ground1 while the main stripe is filled with the octagon and the eight-pointed star of the ,medes in different colors upon a white ground4 ,the third border1 which remains on the ends only1 carries the ,greek meander in blue and white upon a red ground4 ,both warp and woof are of wool4 ,,karabagh ,,synonym4--,carabagh4 ,,why ,,so ,,named4--,after ,karabagh1 the name of a province in ,transcaucasia just across the ,persian border north of ,tabriz1 where they are made4 ,,knot4--,ghiordes4 ,number vertically six to twelve2 number horizontally five to ten2 number to square inch thirty to one hundred twenty4 ,,warp4--,coarse white or brown wool4 ,,woof4--,coarse wool1 sometimes dyed4 ,generally several strands between each row of knots4 ,,nap4--,long1 heavy wool or camels' hair4 ,,weave4--,coarsely woven and carelessly knotted4 ,,sides4--,antiques usually selvaged4 ,moderns nearly always overcast with colored wool4 ,,ends4--,short webs1 one of which is generally turned back and hemmed4 ,the other end has a fringe of loose or twisted warp threads4 ,,border4--,from two to fourteen border stripes with a large range of geometrical designs4 ,the reciprocal trefoil is especially common4 ,frequently a border of camels' hair4 ,,prevailing ,,colors4--,more subdued in antiques than in the moderns4 ,magenta is used lavishly4 ,strong reds1 yellows1 and blues1 with considerable white4 ,,dyes4--,nearly all of the modern pieces are chemically dyed4 ,illustration3 ,,karabagh ,,rug ,size #e' #c'c ,,property ,,of ,,dr4 ,e4 ,b4 ,,guile1 ,,utica1 ,n4 ,y4 ,,designs4--,similar to the ,kazaks1 only a trifle more ,persian in character1 that is1 more ,persian floral forms are introduced4 ,sometimes the field is plain1 sometimes it is filled with some tree patterns or with numerous floral and geometrical figures4 ,in some of the antiques the field is covered with black and tan spots1 giving it the appearance of a leopard's skin1 which no doubt it was intended to represent4 ,,sizes4--,two to six by four to eight feet4 ,usually small4 ,never in carpet sizes4 ,,prices4--,antiques rare and rather costly4 ,moderns among the cheapest of the ,oriental weave4 ,from #j4ej to #a4ej per square foot4 ,,remarks4--,one of the most inferior products of the ,eastern loom1 but artistic4 ,have deteriorated considerably of late years4 ,,the ,,example ,,illustrated ,,owner',s ,,description4--,an exceptional ,karabagh4 ,the design shows evident attempt at ,persian elaboration1 this weave being about the only ,caucasian that shows such tendency4 ,the floral display in the centre2 the beautiful old ivory of the corner pieces1 and the exquisite canary1 coral and blue of the three borders1 evidence that the artisan that wrought this fabric had thoroughly mastered the harmony of color4 ,the blacks in this piece have gone fully down to the knot4 ,such ,karabaghs have not been made for a hundred years4 ,,kazak ,,synonym4--,small ,kazaks are called ,kazakdjie4 ,,why ,,so ,,named4--,a corruption of the word ,cossack4 ,,where ,,made4--,in the ,transcaucasian district of ,erivan1 near ,mt4 ,ararat1 where ,russia1 ,persia1 and ,turkey meet4 ,,by ,,whom ,,made4--,by the ,cossack ,nomads1 whose origin seems to be unknown4 ,they were probably related to the ,cossacks of ,russia4 ,,knot4--,ghiordes4 ,number vertically six to twelve2 number horizontally six to ten2 number to square inch thirty-six to one hundred twenty4 ,fewer than any of the other ,caucasian fabrics4 ,,warp4--,always wool4 ,,woof4--,nearly always wool1 usually dyed4 ,a characteristic feature is the number of woof threads between each row of knots1 usually four or more4 ,,nap4--,fine lustrous wool1 which is usually cut long4 ,the great number of woof threads causes the nap to lie so that the side of the yarn is exposed more than the ends4 ,,sides4--,usually a wide selvage in colored wool4 ,occasionally overcast4 ,illustration3 ,,kazak ,,rug 7,,palace ,,design7 ,,property ,,of ,,mr4 ,,frederic ,p4 ,,warfield1 ,,new ,,york ,,city ,,ends4--,usually a short colored selvage at each end1 one of which is sometimes turned back and hemmed4 ,a fringe of knotted or braided warp ends4 ,when braided the ends of the rug are apt to be drawn and twisted so that it does not lie well4 ,,border4--,from three to four border stripes1 usually three4 ,the crab1 wine glass1 reciprocal saw-teeth1 reciprocal trefoil1 tarantula1 and latch hook variations are common4 ,,prevailing ,,colors4--,rather bright shades of red1 green1 yellow1 brown1 and rose1 with more or less ivory or white4 ,these colors are more subdued in the antiques4 ,,dyes4--,poor in some of the modern pieces4 ,,designs4--,similar to those of the ,shirvan and ,genghis4 ,bold geometrical figures which are characteristic of the people who weave them4 ,the tarantula1 diamond1 palm1 animals1 and human beings are profusely portrayed4 ,the ,greek cross is almost always present and the ,russian coat of arms common4 ,,sizes4--,small and medium1 three to six by five to eight feet4 ,usually square or nearly so4 ,,prices4--,antiques few and valuable4 ,the moderns are among the cheapest of the ,oriental products4 ,from #j4ge to #b4jj per square foot4 ,,remarks4--,as a rule thick and heavy though soft and durable4 ,,the ,,examples ,,illustrated ,,color ,,plates with accompanying descriptions at pages #id and #add4 ,,doubletone 7page #bgb7 ,the field design is known as the ,palace or ,sunburst4 ,it is common in the ,kazaks and ,shirvans1 but never used in any other rugs4 ,this piece shows the most common form of ,kazak with the ,palace design in the centre and the ,crab border1 on each side of which is the reciprocal saw-teeth4 ,illustration3 ,,beshir ,,bokhara ,,prayer ,,rug ,,property ,,of ,,liberty ,,co41 ,,london1 ,,england ,quite dissimilar to any other form of prayer rug although the niche resembles very closely that of the ,meles4 ,the designs are unlike those used in the other ,turkoman products and the color combination is quite pleasing4 ,this piece is evidently of some age as the woof threads in the lower end are gone1 leaving a fringe of loose warp threads instead of a variegated webbing as on the other end4 7,see page #bhj7 ,,the ,,turkoman ,,classification ,illustration3 ,,turkomans ,the territory from which the so-called ,turkoman rugs come is that part of ,central ,asia consisting of ,turkestan1 ,eastern ,turkestan and ,russian ,turkestan lying north of ,persia and ,afghanistan and west of the ,caspian ,sea4 ,it comprises thousands upon thousands of square miles and is inhabited by numerous rug-making tribes of ,nomads4 ,the distinguishing marks of the ,turkoman products are their wide web1 their octagon and medallion designs and their old traditional colors of predominating red with patches of white1 brown1 and green4 ,the dyes are usually fast and the knot is always ,persian with the exception of an occasional ,yomud or ,samarkand1 which may be tied with the ,turkish knot4 ,the rugs of ,eastern and ,russian ,turkestan are really ,chinese1 but geographically should be classed with the other ,turkoman products4 ,having been in the past less accessible they are now found in relative abundance and are therefore the least costly4 ,,khiva ,,bokhara ,,synonym4--,afghan4 ,,why ,,so ,,named4--,after the city of ,khiva1 in the province of ,bokhara1 from the vicinity of which they come4 ,the name ,afghan is sometimes used because some of the inhabitants of northern ,afghanistan contribute to the supply4 ,,by ,,whom ,,made4--,by the ,kirzig tribe of ,nomads living in the province of ,bokhara and in ,northern ,afghanistan4 ,,knot4--,senna4 ,number vertically seven to twelve2 number horizontally six to eight2 number to square inch forty-two to ninety-six4 ,,warp4--,dark wool or goats' hair4 ,,woof4--,black or gray wool or goats' hair4 ,,nap4--,fine lustrous wool or goats' hair of various lengths4 ,,weave4--,loosely tied so that on the back it has the appearance of the ,ghiordes knot4 ,,sides4--,usually a wide selvage of black or dark brown goats' hair1 sometimes containing as many as seven cords4 ,,ends4--,wide selvage at each end in plain red or striped with blue lines4 ,the long1 shaggy fringe of the loose goats' hair warp is a characteristic feature4 ,illustration3 ,,khiva ,,bokhara 7,,afghan7 ,,carpet ,,property ,,of ,,prof4 ,,delmar ,,hawkins ,,border4--,from two to four narrow border stripes1 usually three4 ,,prevailing ,,colors4--,a lavish use of the ,turkoman reds in the field with designs in blue1 orange1 brown1 green1 and white4 ,,dyes4--,good in the antiques4 ,nearly all of the new pieces are chemically dyed4 ,,designs4--,the octagon is almost universally employed and is quartered by alternating colors4 ,animal forms are seldom seen4 ,the prayer form is also seldom found4 ,,prices4--#a4be to #b4jj per square foot4 ,,sizes4--,they are the largest of the ,turkoman rugs1 being nearly always in carpet sizes and almost square1 six to nine by eight to eleven feet4 ,,remarks4--,one of the best inexpensive rugs on the market4 ,coarser and heavier than the other ,turkoman products and in damp weather they are liable to have more or less of the smell of goats4 ,the ,khiva is about the only antique carpet now on the market4 ,,the ,,examples ,,illustrated ,,knot3 ,senna4 ,ten to the inch vertically and seven horizontally1 making seventy to the square inch2 unusually close for a rug of this class4 ,this piece is of an unusually fine grade with a long nap and beautiful colors4 ,the field1 like that of nearly all ,khivas1 is filled with conventional octagon and diamond forms with a small eight-pointed star between each4 ,,shortell ,,rug 7page #abj74--,prayer rugs of this particular class are extremely rare and the peculiar prayer niche in this one is certainly most unique and unusual4 ,note the hands in the two upper corners of the field4 ,it is on these that the worshipper is supposed to place his hands while prostrating himself in the act of prayer4 ,,beshir ,,why ,,so ,,named4--,after the words ,bech ,schehr1 meaning ,five ,villages1 being woven in five adjoining villages west of ,khiva on the shores of the ,amour ,daria ,river in ,turkestan4 ,,knot4--,either the ,senna or the ,ghiordes1 usually the former4 ,number vertically five to ten2 number horizontally six to twelve2 number to the square inch thirty to one hundred twenty4 ,,warp4--,wool or goat's hair4 ,,woof4--,wool or goat's hair4 ,,nap4--,wool4 ,,borders4--,few stripes and narrow in proportion to the size of the rug4 ,the designs are usually ,tekke in character4 ,the reciprocal saw teeth design is a feature4 ,,ends4--,a fairly wide web which is usually dyed red through which generally pass blue stripes or strands of colored yarn4 ,knotted or loose warp ends4 ,,sides4--,a three or four corded selvage4 ,illustration3 ,,beshir ,,bokhara ,,rug ,,property ,,of ,,mr4 ,l4 ,a4 ,,shortell1 ,,boston1 ,,mass4 ,,prevailing ,,colors4--,the free use of yellow is characteristic4 ,browns1 brownish reds and blue with very little white1 as a rule4 ,,designs4--,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 background4 ,caucasian and ,mongol designs are commonly employed4 ,occasionally the field is filled with ,chinese cloud bands4 ,,sizes4--,from three to eight feet in width by five to twelve feet in length4 ,,prices4--,from #a4ge to #e4jj a square foot4 ,,remarks4--,one of the rarest of the ,turkoman products4 ,most of those brought to this country are antiques4 ,,the ,,example ,,illustrated ,,owner',s ,,description4--,this rug differs from the ,bokhara commonly seen1 as it has the ,tree of ,life pattern drawn in the conventional form of the ,bokhara weavers1 but very artistically done1 the wool used being the very best1 very silky1 and the selvage is finished in a very workmanlike manner4 ,it was a skilful weaver who made this rug and it probably was his masterpiece4 ,see also color plate at page #bgd4 ,,tekke ,,bokhara ,,why ,,so ,,named4--,because they are made by the ,tekke ,turkoman tribes of ,nomads1 one of the most numerous and powerful of the ,turkoman tribes1 who inhabit the country extending to ,afghanistan on the south and ,khorasan on the west4 ,,knot4--,senna4 ,number vertically eight to twenty-eight2 number horizontally five to twenty-five2 number to square inch forty to four hundred4 ,,warp4--,splendid wool4 ,,woof4--,wool1 dyed red or brown4 ,,nap4--,splendid soft1 velvety1 closely clipped wool4 ,sometimes some goats' hair or silk4 ,,weave4--,renowned for its close texture4 ,,sides4--,overcast in wool which is dyed the predominating color of the rug4 ,occasionally selvaged4 ,,ends4--,a web from ten to twelve inches in width at each end which is colored the same as the body of the rug4 ,this is finished with a fringe of loose warp ends4 ,sometimes there are twisted ropes at one end1 showing that it was intended for hanging4 ,this is especially common in the prayer ,tekke4 ,,border4--,one to five border stripes1 usually three4 ,illustration3 ,,tekke ,,bokhara ,,rug ,,by ,,courtesy ,,nahigian ,,bros41 ,,chicago1 ,,ill4 ,,designs4--,elongated octagon forms arranged in rows alternating with rows of diamond forms with straight lines connecting the centres of the octagon1 each of which is divided into four equal parts4 ,in the centre of each octagon is frequently found the eight-pointed star4 ,sometimes the field is covered with octagon or the diamond forms alone without the alternate arrangement4 ,in the prayer rug the field is covered with little candlestick patterns and divided into four sections by a large cross1 the arms of which carry designs similar to those found in the border stripes4 ,,prevailing ,,colors4--,ground usually of a rich dark mahogany red with designs in blue1 green1 orange1 old rose1 wine1 and pink1 with more or less white or cream4 ,,dyes4--,usually good4 ,of late years some aniline has been used4 ,,prices4--,the antiques are rather scarce and are of good value4 ,from #b4jj to #e4jj per square foot4 ,,sizes4--,mats to carpet size4 ,two to eight by three to eighteen feet4 ,the prayer rugs are nearly square1 from four to four and one-half by five feet4 ,,remarks4--,their durability is phenomenal4 ,the modern pieces are vastly inferior to the antiques4 ,the prayer rugs differ so greatly from the others of their class that they might almost be arranged under a separate heading1 in fact they are separately classed by some authorities under the name of ,hardjli or ,princess ,bokhara4 ,the ,armenians call them ,khatchlie ,bokhara for the reason that the bands that divide the field into four sections form a cross1 and the word khatchlie in the ,armenian language means a cross4 ,this class of rugs is growing rapidly scarce4 ,,the ,,examples ,,illustrated ,page #bhd4 ,this is the prayer ,tekke1 the so-called ,hardjli1 ,khatchlie or ,princess ,bokhara4 ,the ,greek cross divides the field into quarters1 each one of which is filled with rows of candle sticks4 ,the niche1 the ,tekke border design and the ,indian fish bone are here employed as in most prayer rugs of the class4 ,page #bhb4 ,in design this piece is quite characteristic of its class4 ,the octagon is invariably present1 sometimes alone1 sometimes in an alternate arrangement with diamond forms or with smaller octagons as in this example4 ,here the smaller octagons only are quartered4 ,the peculiar arrangement of the fish bone design1 the wide web and the loose warp threads at each end are also characteristic features4 ,page #aej4 ,,knot3 ,senna4 ,number to the inch horizontally sixteen1 vertically eighteen1 to the square inch two hundred eighty-eight4 ,the predominating color throughout is a beautiful terracotta4 ,the four diamond forms through the centre are filled with geometrical figures in buff and terracotta upon a dark blue ground4 ,of the semi-diamond forms the first and third upper and the second lower have an old ivory background1 while the second upper and the first and third lower have a background of a most beautiful buff shade4 ,the figures on all of these are in blue1 terracotta and white4 ,the first and third border stripes carry an ,s form on the top and bottom1 while on the sides they carry a form of barber-pole stripe1 all upon a dark blue background4 ,the main border stripe carries a peculiar rectilineal eight-petaled flower in different colors upon an old ivory background2 the loose yarn ends hanging alternate in red and blue every four inches4 ,the color combination and sheen of this piece are unexcelled4 ,,stanton ,,rug 7page #afb74--,the predominating dark mahogany color and long thick nap1 together with a touch of blue in the octagons1 makes this piece most attractive4 ,see also frontispiece4 ,illustration3 ,,tekke ,,bokhara ,,prayer ,,rug 7,,princess ,,bokhara1 ,,khatchlie7 ,,by ,,courtesy ,,of ,,nahigian ,,bros41 ,,chicago1 ,,ill4 ,,yomud ,,synonyms4--,yamoud1 ,yamut4 ,sometimes called yellow or brown ,bokhara4 ,,why ,,so ,,named4--,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 ,caspian4 ,,knot4--,either the ,senna or the ,ghiordes4 ,number vertically eight to fifteen2 number horizontally seven to twelve2 number to square inch fifty-six to one hundred eighty4 ,,warp4--,brown wool or goats' hair4 ,,woof4--,good wool of medium length or goats' hair4 ,frequently dyed red4 ,,nap4--,fine wool of medium length or goats' hair4 ,,sides4--,a coarse selvage of two cords which are colored in alternate squares of red and blue1 red and brown1 or two shades of red1 giving it a checker-board effect4 ,,ends4--,a wide web at each end in plain red or with blue stripes4 ,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 rug4 ,finished with a fringe of loose warp threads which are occasionally twisted at irregular intervals4 ,,border4--,there are usually three border stripes1 one medium sized one with a narrow one on each side4 ,the barber-pole stripe1 the reciprocal saw-teeth1 and the latch hook variations are the predominating border designs4 ,,prevailing ,,colors4--,ground almost invariably of a rich brownish red which is softer and deeper in tone than that of the ,khivas and ,tekkes4 ,figures in drab1 blue1 green1 and yellow4 ,,dyes4--,usually the best4 ,,designs4--,the tribal patterns show great individuality and combine the ,turkoman octagon with many of the ,caucasian designs4 ,a common arrangement is that of octagons and elongated diamond forms in alternate rows with plenty of latch hook variations4 ,very frequently the field is covered with the diamond forms alone4 ,,prices4--,from #j4ge to #b4ej per square foot4 ,,sizes4--,seldom smaller than five by eight or larger than eight by eleven feet4 ,,remarks4--,they resemble the ,bokharas in some respects and the ,caucasian products in others4 ,about the only antique1 in carpet sizes1 now found in the market4 ,,the ,,example ,,illustrated ,,maj4 ,l4 ,b4 ,,lawton',s ,,description4--,this weave is the rarest of the ,turkomans4 ,so rare is it that ,mr4 ,mumford in his article in the ,century ,magazine1 ,january1 #aiaj1 states that to his knowledge no bales of antique ,yomuds had been imported for seven years4 ,nearly all ,yomuds have the cross pattern1 are usually deeper in tone than their cousins the prayer ,bokharas1 and lack the little niche4 ,yomuds are silkier than prayer ,bokharas1 and have the color of the ,delaware grape4 ,this specimen has an unique pattern as a panel across the end1 otherwise it is typical4 ,yomuds adhere more closely to their type than do any other weave4 ,illustration3 ,,yomud ,,rug ,size #e'g #d'd ,,property ,,of ,,colonel ,,george ,g4 ,,briggs1 ,,grand ,,rapids1 ,,mich4 ,,kashgar ,,why ,,so ,,named4--,after the city of ,kashgar1 a city of ,eastern ,turkestan which enjoys a great caravan trade and is one of the richest markets in ,central ,asia4 ,,knot4--,senna4 ,number vertically five to nine2 number horizontally four to seven2 number to square inch twenty to sixty-three4 ,,warp4--,coarse cotton4 ,,woof4--,four-stranded cotton4 ,,nap4--,wool of medium length1 frequently part silk4 ,,weave4--,coarse and poorly tied4 ,,sides4--,an added yarn selvage4 ,,ends4--,selvage of varying lengths with a fringe of loose warp threads at each end4 ,,border4--,chinese in character4 ,swastika border common4 ,,prevailing ,,colors4--,usually strong yellow1 blue1 red1 pink1 green1 and orange with white or old ivory4 ,pale terracotta is common4 ,,dyes4--,good as a rule4 ,,designs4--,chinese in character4 ,generally fretted grounds or trellis covered with figures of bats1 butterflies1 cranes1 dragons1 fish1 and trees4 ,the knot of destiny is very commonly employed4 ,,prices4--#a4jj to #c4jj per square foot4 ,,sizes4--,from three to six by six to twelve feet4 ,,remarks4--,not very many found in the markets4 ,,yarkand ,,why ,,so ,,named4--,after a city of that name in ,eastern ,turkestan1 in the vicinity of which they are made4 ,,knot4--,senna4 ,number vertically five to nine2 number horizontally four to seven2 number to square inch twenty to sixty-three4 ,,warp4--,coarse wool or cotton4 ,,woof4--,coarse wool or cotton4 ,generally four strands between each row of knots4 ,,nap4--,coarse wool of medium length1 sometimes more or less silk4 ,,sides4--,a selvage of two cords4 ,,ends4--,web of varying lengths with loose warp threads at each end4 ,,border4--,usually three border stripes1 one of medium width with a narrow one on each side4 ,illustration3 ,,having ,a ,,pot ,,of ,,tea ,,at ,,bokhara ,illustration3 ,a ,,street ,,in ,,samarkand ,as a rule the borders are small in proportion to the size of the rug4 ,the swastika border design is commonly employed4 ,,prevailing ,,colors4--,resemble those of the ,bokhara with a field of rich brownish reds4 ,sometimes the field is of tan color4 ,the designs may be in blue1 red1 green1 yellow1 pink1 and terracotta4 ,,designs4--,resemble those of the ,bokhara and ,kashgar4 ,fretted grounds with figures of animals1 dragons1 bats1 butterflies1 circles1 and octagons4 ,a common design is the arrangement of four dragons in the form of a swastika4 ,,prices4--#j4ge to #b4ej per square foot4 ,,sizes4--,from three to six by six to twelve feet4 ,,remarks4--,quite similar to the ,kashgar4 ,the modern ones are not attractive4 ,,samarkand ,,synonym4--,the trade name of ,malgaran is given to an inferior grade4 ,,why ,,so ,,named4--,after the city of ,samarkand1 a city of ,western ,turkestan in the valley of ,zarab-,shan1 one hundred miles east of ,bokhara1 which was once the centre of learning in ,asia1 having had several universities there4 ,,where ,,made4--,in the vicinity of ,samarkand4 ,,knot4--,nearly always the ,senna1 seldom the ,ghiordes4 ,number vertically five to seven2 number horizontally six to ten2 number to square inch thirty to seventy4 ,,warp4--,wool1 cotton or silk1 usually dyed blue or yellow4 ,,woof4--,in the antiques cotton or wool4 ,in the moderns cotton4 ,like the ,kazaks there are three or four woof threads between each row of knots4 ,,nap4--,good1 heavy1 loose1 lustrous wool4 ,sometimes silk or a mixture of silk and wool4 ,,weave4--,loosely woven4 ,,sides4--,antiques have a narrow selvage added sometimes with two colors like the ,yomuds4 ,modern pieces are overcast4 ,,ends4--,similar to those of the ,turkoman products4 ,wide web with fringe of loose or twisted warp threads4 ,,border4--,from three to five border stripes1 usually three4 ,the inner border usually carries the ,greek meander1 the outer one floral designs and the middle one figures corresponding to the central designs4 ,the undulating vine and lotus pattern are frequently used4 ,,prevailing ,,colors4--,field usually blue1 red1 or golden brown4 ,bokhara reds and yellows are lavishly used4 ,illustration3 ,,samarkand ,,rug ,,property ,,of ,,mr4 ,a4 ,u4 ,,dilley ,,dyes4--,of the best4 ,,designs4--,there are usually five medallions 7circles of happiness71 one at each corner of the field and one in the centre bearing some dragons1 animal1 or floral forms4 ,very little trace of ,persian1 ,turkish1 or ,caucasian influence2 ,mongolian characteristics predominate with some trace of ,turkoman4 ,chinese fret1 swastika1 dragon1 fish1 and floral forms4 ,,sizes4--,from three to nine by nine to fifteen feet4 ,,prices4--,antiques rare and costly1 moderns from #a4jj to #b4ej per square foot4 ,,remarks4--,the moderns are much inferior to the antiques4 ,they are suitable for library and hall use4 ,,the ,,example ,,illustrated ,although made in ,russian ,turkestan1 ,samarkand weavings are ,chinese in every respect4 ,this particular piece displays three round medallions or circles of happiness1 also butterflies and various ,chinese plant forms4 ,the first and third border stripes are composed of one of the ,chinese lotus bud border designs1 while the central stripe consists of the swastika fret4 ,illustration3 ,,daghestan ,,prayer ,,rug ,size1 #d'h #d'b4 ,,by ,,courtesy ,,of ,,nahigian ,,bros41 ,,chicago1 ,,ill4 ,,owners' ,,description4--,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 ,daghestan4 ,it has as many knots to the square inch as the finest ,kashan rugs1 which1 as is well understood1 are the finest products of the ,persian looms4 ,the barber pole stripes in the border1 the reciprocal ,van ,dyke design1 and the wine glass figure in the widest border are all characteristic designs found in ,caucasian rugs4 ,even the niche is similar to other ,daghestan prayer rugs4 ,but we see at once ,persian influences in the field of the rug4 ,the flame design as it is called here1 which is in reality a variation of the familiar river loop or ,el-,ayassi pattern1 and which is distinctly a ,persian figure1 is here used throughout the field4 ,as if to emphasize the theory that the flame1 which the early ,persians worshipped1 is represented by this design1 each individual figure is made to give off rays of light and warmth4 ,another interesting and noticeable feature in this rug is that while in ,persian fabrics like the ,sereband1 where this or a very similar design is used1 the figures are almost all exactly alike1 whereas here they differ considerably and no two are alike in detail4 7,see page #bed7 ,,the ,,beluchistan ,,rugs ,beluchistan is a vast1 wild and mountainous country extending from ,kirman to ,india and from ,afghanistan to the ,south ,arabian ,sea1 partly under ,persian rule and partly under the protection of ,great ,britain4 ,it has an area of about #adf1jjj square miles with but #hjj1jjj population4 ,the capital1 ,kelat1 has a population of #ae1jjj4 ,the inhabitants are principally ,nomad tribes of primitive habits and of the ,mohammedan faith4 ,the rugs of ,beluchistan are taken way across ,afghanistan to ,bokhara to be marketed4 ,on this account and also because of their great likeness to the ,turkoman products they are classified as such by several prominent writers4 ,like the latter they invariably have a wide web at each end1 usually with a woven design4 ,the colors and designs are similar to those of the ,turkoman class and the dyes are good1 but nowadays unwashed ones are extremely scarce4 ,,beluchistan ,,synonyms4--,balooch1 ,baloochee1 ,bilooz1 ,bilouche1 etc4 ,sometimes wrongly called ,blue ,bokhara4 ,,by ,,whom ,,made4--,by the ,nomadic tribes of ,beluchistan and by ,beluches residing in ,afghanistan and ,eastern ,persia4 ,,knot4--,always ,senna4 ,number vertically six to ten2 number horizontally five to twelve2 number to square inch thirty to one hundred twenty4 ,,warp4--,usually wool1 frequently goats' hair4 ,,woof4--,always dark wool4 ,,nap4--,fine1 long1 compact1 lustrous wool1 goats' and camels' hair4 ,,sides4--,overcast or selvaged1 usually with goats' or horses' hair4 ,,ends4--,wide ornamented selvage with loose or twisted warp ends4 ,often a row of colored yarns run through the web4 ,,border4--,from three to four border stripes1 usually one wide one and two narrow ones4 ,,prevailing ,,colors4--,usually dark reds and dark browns with a sprinkling of white4 ,tan is frequently employed in the field and is generally the undyed camel's hair4 ,illustration3 ,,beluchistan ,,rug ,size #f'h #c'd 7,without the webbing1 which is one foot long at each end7 7,,mina ,,khani ,,design7 ,,from ,,the ,,collection ,,of ,,the ,,author ,,designs4--,geometrical devices1 hexagons1 octagons1 etc4 ,occasionally stiff floral patterns4 ,,sizes4--,mostly small1 two to seven by three to eleven feet4 ,,cost4--,from #a4jj to #b4ej per square foot4 ,,remarks4--,one of the last rugs to be affected by outside influences4 ,although scarcely any chemical dyes are used1 the doctoring process has been adopted so that nowadays an unwashed ,beluchistan is a scarce article4 ,the modern ones are inferior to the antiques1 although all wear well4 ,,the ,,example ,,illustrated ,,knot3 ,senna4 ,eight to the inch vertically and thirteen horizontally1 making one hundred eight to the square inch4 ,the centre field of dark blue is covered with the ,mina ,khani design1 which1 being a ,kurdish design1 is seldom found in ,beluchistan products4 ,the two narrow border stripes in white are of the ,greek key design upon a background of dark brown1 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 red4 ,the webbing at each end is covered with fine designs and stripes and in several places are talismanic tufts of wool4 ,,chinese ,,rugs ,illustration3 ,,chinese ,,rug ,size1 #bc' #bd' ,,by ,,courtesy ,,of ,,costikyan ,,co41 ,,new ,,york ,,city4 ,presented by the late ,mr4 ,j4 ,pierpont ,morgan to the ,metropolitan ,museum of ,art1 ,new ,york ,city4 ,a very unique and beautiful piece4 ,it is one of the most celebrated and costly rugs in ,america4 ,the cloud bands and the five clawed ,chinese dragons are framed in by the ,chinese fret4 7,see page #cja7 ,,china ,,chinese ,,rugs4 ,it is practically within the last decade or so that the artistic merits of the ,chinese rugs have been fully appreciated4 ,previous to that time they were promptly laid aside to make place for the other ,oriental weaves4 ,a few wise connoisseurs were in the meantime securing all the choice pieces available and some have made themselves independently wealthy by their sagacious forethought4 ,at the present time ,chinese rugs are eagerly sought and treasured more than those of any other class1 good ones bringing fabulous prices4 ,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 occurred4 ,about eighteen years ago a wealthy horseman of ,central ,new ,york died leaving a stable which1 together with its furnishings1 was worth many thousands of dollars4 ,sometime after his death the furnishings were sold at public auction4 ,among the articles thus disposed of was a ,chinese rug #aj #ab which was bid in by a ,new ,york man for #aej4jj4 ,two years ago it was resold for #be1jjj4 ,excluding those of recent make1 ,chinese rugs are of good workmanship and honest dyes1 the weavers being little influenced by modern ideas1 consequently they are durable and1 on account of their original ,mongolian designs1 can easily be distinguished from the other ,oriental products4 ,unfortunately1 on account of the growing scarcity of wool in ,china and on account of foreign invasion1 the rug industry seems to be dying out4 ,the classification of ,chinese rugs is a difficult matter1 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 weaves1 but the classification must depend mostly upon the colors1 materials and workmanship1 which were in vogue at certain periods1 as well as the effect of time upon these colors and materials4 ,those which reach our own shores are generally divided into three classes according to the districts from which they came1 namely1 ,pekin1 ,tientsin and ,thibet1 the latter being practically ,chinese although not geographically so4 ,the above are named in order of their excellence1 the finest pieces1 as a rule1 coming from northern ,china4 ,unlike other ,oriental textiles those of ,china may be interestingly classified according to the symbolism of their designs1 thus we may have the longevity rug in which are depicted the crane1 the stork1 the deer1 or the tortoise1 all of which are symbols of longevity4 ,the literary rug is decorated with books1 ink stands1 pencils1 brushes1 scrolls1 and sceptres4 ,the bat1 the gourd1 the circle of happiness1 and the shou denote happiness2 the dragon1 the lion1 the phnix1 and the sword authority and power2 the swastika1 the knot of destiny1 the swallow1 and the magpie are symbols of good luck1 while in the religious rugs are found the rosary1 the incense burner and various altar implements4 ,the ,chinese weaver is fond of filling every available space with objects with which he comes in daily contact1 thus among the animate things may be mentioned butterflies1 dogs1 doves1 ducks and swans4 ,among the inanimate things are vases1 chess boards1 jars1 stands1 baskets1 wheels1 ribbons1 shells1 pots and plates1 while among the flowers are the peony1 the primrose1 the peach1 the magnolia and tea blossom1 the lotus1 the orchid1 the chrysanthemum1 the sun flower and the aster4 ,there are seven designs1 which on account of the great frequency with which they are used1 are worthy of special mention4 ,named in order of their employment1 they are the circle of happiness1 the ,chinese fret1 the swastika1 the butterfly1 the bat1 the shou1 and the dragon4 ,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 designs4 ,the ,chinese1 or ,greek fret1 as it is sometimes called1 is a border design suggested by the overlapping of the sea waves and is found in fully two-thirds of the ,chinese products4 ,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 world4 ,butterflies1 symbols of vanity1 are frequently found intermingled with flowers or bats1 the latter being symbolic of happiness4 ,the shou1 which stands for prosperity1 has nearly a hundred different forms1 many of which are similar in shape to the ,egyptian scarab4 ,the dragon1 the ,chinese symbol for sovereignty1 always has five claws1 unlike the ,japanese dragon1 which has but three4 ,it is frequently represented as holding or looking towards a round object1 the so-called chin or jewel4 ,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 quality1 being on an average considerably coarser than that of ,persia or ,anatolia4 ,the ,chinese also employ considerable hair1 which in appearance very much resembles that of a cow4 ,rugs made of this hair are known as ,yak rugs4 ,chinese weaving differs little from that of other parts of the ,orient4 ,both the ,senna and the ,ghiordes knots are employed1 most frequently the former1 but the appearance is different on account of the size and looseness of the warp and pile yarn1 which1 in many instances1 makes it impossible for the weaver to tie over eight to ten knots to the square inch4 ,during the early part of the eighteenth century1 designs were frequently made to stand out in relief by cutting somewhat shorter the wool around them4 ,chinese designs are characteristic and interesting1 being similar to those found in the old ,chinese porcelains4 ,as a rule they are simple1 with little detail and are outlined with a contrasting color4 ,no family or tribal designs are employed as in the other rug making countries4 ,each rug being usually the work of one weaver1 both in design and execution1 it is frequently symbolic of his creed4 ,during the #afth and #agth centuries the majority of ,chinese rugs had a field of solid color or were covered with the trellis design4 ,they also had but few narrow border stripes1 either in plain colors or carrying simple geometric designs1 but about the middle of the #ahth century1 they began to show ,persian influence1 floral patterns being adopted especially for the borders4 ,like the designs1 the colors employed by the weavers are quite similar to those used in the old porcelains4 ,as a rule1 they are dull1 warm and harmonious1 but few shades being used in the same piece4 ,the colors and shades most frequently used in ,chinese rugs1 named in order of their employment1 are dark blue1 yellow1 light blue1 apricot1 ivory white1 dark brown1 cream1 old red1 tan1 fawn1 robin's egg blue1 green1 fruit red1 persimmon red1 ash white1 sapphire blue1 peach blow1 salmon pink1 brownish red1 brick red1 greenish yellow1 turquoise blue1 copper pink1 and black4 ,illustration3 ,,antique ,,chinese ,,rug ,size #c'f #e'f ,,property ,,of ,a4 ,u4 ,,dilley ,,co4 ,,owner',s ,,description ,color3 ,blue and gold4 ,field3 ,elaborate peony leaf and flower decoration4 ,border3 ,intricate swastika-fret motive4 ,date3 #agij4 ,the different shades are of considerable assistance to the connoisseur in estimating the age of a rug1 for instance1 robin's egg blue1 golden brown1 and tan were mostly in vogue during the #agth century1 and during that period1 green and lemon citron1 greenish and reddish yellows were never employed4 ,,the ,,examples ,,illustrated ,three color plates of these attractive rugs are given1 with accompanying descriptions 7see pages #cjj1 #cjf and #cah74 ,,ghileems1 ,,silks1 ,,and ,,felts ,,ghileems ,also spelled ,gileem1 ,gilim1 ,khilim1 ,kilim1 ,killim4 ,a pileless rug which is made by binding a dyed weft thread around the warp threads by means of a shuttle or needle1 making the fabric alike on both sides and leaving open spaces between the warp threads where the changes of color are made4 ,this is the primitive mode of weaving and requires much more skill than does the pile method4 ,ghileems are woven at the present day more than ever all over the ,caucasus1 ,anatolia1 ,kurdistan1 ,persia1 and in some parts of ,turkestan4 ,those which are found in the ,western markets come mostly from ,csarea1 ,senna1 ,shirvan1 ,kurdistan1 and ,merve4 ,as a rule each variety adopts the designs and colors which are in vogue in the particular locality from which they come1 but frequently the border stripes do not extend around the whole fabric as is almost invariably the rule with the pile carpets4 ,by the ,oriental the ,ghileems have been used as floor coverings from the earliest times2 by the ,occidental they are used almost exclusively as portires1 couch covers1 and table spreads4 ,as a rule1 they are sold in the ,orient by weight1 and1 like most of the other textiles1 have of late years not been extremely free from outside influences4 ,,senna ,,ghileem ,senna ,ghileem is the finest quality of ,ghileem produced1 being much finer in texture than any of the other ,ghileems4 ,as a rule they have small intricate patterns1 with an opening at each change of color1 in fact they are exact duplicates of the ,senna pile rugs in design and have the same finish on the sides and ends4 ,the ,herati design is commonly used in the field but seldom in the border4 ,in sizes they vary from three and one-half to four and one-half by five and one-half to seven feet1 seldom larger or smaller4 ,,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 meander4 ,,anatolian ,,ghileem ,anatolian ,ghileems are1 as a rule1 light in weight and coarse in texture1 with many open spaces and with bold geometrical ,turkish designs and bright colors4 ,they are made of good wool and are finished with a fringe at each end4 ,as a rule they can be distinguished by their prayer niche or by a seam through the centre1 the larger sizes1 which do not come in the prayer design1 usually being made by sewing two long1 narrow pieces together4 ,illustration3 ,,senna ,,ghileem 7,,herati ,,design7 ,,property ,,of ,a4 ,u4 ,,dilley ,,co4 ,,kis ,,ghileem ,kis ,ghileem1 which means girl rug1 are ,turkish ,ghileems made by the ,mohammedan girls for their suitors1 it being a ,turkish custom for a girl1 as soon as she becomes engaged1 to weave one of these rugs to present to her future husband in order to show the quality of her handiwork2 therefore1 being judged to a certain extent by the grade of her weaving1 she naturally does her best4 ,for this reason many of the so-called ,kis ,ghileems are of excellent workmanship4 ,they carry typical ,turkish designs and are finished with a fringe at each end4 ,in size they vary from two and one-half to seven by four to fifteen feet1 the smaller sizes usually being of the prayer style1 while the larger ones are made of two parts sewed together1 little care being taken to make the patterns of the two pieces match well4 ,frequently we will find small tufts of wool1 beads or a lock of the weaver's hair attached to the warp threads as a talisman4 ,,shirvan ,,ghileem ,shirvan ,ghileems are always recognized by their designs1 which are like those of no other ,ghileem1 being composed of numerous stripes running across the whole width of the rug and covered with geometrical devices similar to those of the ,daghestan4 ,these stripes are from eight to twelve inches wide with narrow plain blue1 green1 or red stripes between4 ,they are nearly always woven in one piece and of good wool1 but are heavy and coarse1 with large openwork spaces4 ,in size they vary from three to eight by six to twelve feet1 the average being five by nine feet4 ,,kurdish ,,ghileem ,kurdish ,ghileems1 like other ,kurdish rugs1 rank among the best of their class1 being made of the finest of wool and closely woven4 ,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 side1 giving a shaggy appearance like the under side of the ,shemakha rugs4 ,in this respect they are unlike any of the other ,ghileems4 ,the colors are as a rule subdued1 dark shades of crimson1 blue1 yellow1 and green1 with more or less black and white4 ,the prayer design is frequent1 with a niche like that of the ,ghiordes4 ,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 rugs4 ,the antiques are very scarce4 ,in sizes they vary from four to six by seven to twelve feet4 ,illustration3 ,,kurdish ,,ghileem ,,by ,,courtesy ,,of ,,nahigian ,,bros41 ,,chicago1 ,,ill4 ,,the ,,example ,,illustrated ,this is one of two strips which were originally sewed together like many of the ,ghileems of this class4 ,the predominating colors are green1 red1 dark brown and white4 ,each end is finished with a short web and braided warp threads4 ,it also has many loose yarn ends on the back side1 which is a characteristic feature of the ,kurdish ,ghileems4 ,,merve ,,ghileem ,merve ,ghileems are made in the vicinity of ,merve1 in the ,turkoman district4 ,they differ from all other ,ghileems in that the colors are divided diagonally instead of vertically or horizontally with the warp or woof threads4 ,for this reason no open spaces are left4 ,the colors are few and subdued1 white especially being seldom used1 and in design they are most modest1 the field as a rule being divided transversely into three or four parts by ornate line patterns resembling in some respects the ,kurdish ,ghileems4 ,they frequently come in prayer form with designs less striking than those of the ,kurdish ,ghileems and strongly resembling those of the ,beluchistan4 ,some are of great size4 ,,the ,,example ,,illustrated ,one of two strips which were originally sewed together4 ,like many of its class the field of this piece is divided transversely into a number of stripes1 each about a foot wide4 ,each stripe is of a different color1 being tan1 green1 white and brown1 and the whole field is covered with a trellis of serrated latch hook designs in red1 the divisions of which contain diamond forms in different colors4 ,there is a short web at each end1 one with loose warp threads and the other knotted4 ,,silk ,,rugs ,silk rugs were first made in ,china and afterwards in ,anatolia and ,northern ,persia1 where silk is produced in great quantities4 ,they were formerly made for mosques1 for royalty1 or for very rich people1 expert weavers being hired for the occasion and the material being furnished by the one who ordered the work done4 ,fine silk rugs are unsurpassed in beauty1 rich1 exquisite coloring1 and rare sheen1 but they have never been practical as floor coverings2 first1 because they require such luxurious surroundings1 and second1 because the wearing quality of silk does not compare with that of wool4 ,the genuine ,persian silk rugs are getting scarce and almost priceless4 ,strange as it may seem1 few of these pieces have been sought by either the museums or collectors of ,america4 ,illustration3 ,,merve ,,ghileem ,size #aj' #b'h ,,kurdish ,,ghileem ,size #ae'd #b'f ,,property ,,of ,,mr4 ,,joseph ,,shehadi ,those made at ,kashan in ,northern ,persia are the best of the present day products4 ,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 red1 rose1 turquoise1 old ivory1 and green4 ,in ,persia they sell for from #aj4jj to #ae4jj per square foot and in the ,united ,states for from #ae4jj to several hundred dollars a square foot4 ,a much cheaper and a purely commercial product comes from ,kaisarieh or ,csarea1 in ,asia ,minor4 ,these1 as a rule1 have a cotton warp and weft and are copied after the old ,persian and ,ghiordes designs1 especially the so-called ,mosque design with the hanging lamp4 ,these rugs are undesirable in color1 dyes and workmanship and are invariably worth much less than the prices asked for them4 ,the great majority of them can be detected by the direction in which the pile runs1 it being inclined towards the top instead of towards the bottom4 ,it is easy to go astray in the purchase of silk rugs on account of the numerous mercerized and wool silk imitations1 many of them not even being hand-tied but machine made4 ,,felt ,,rugs ,felt rugs are made to a certain extent in nearly every part of ,persia1 but chiefly at ,ispahan1 ,astrabad1 and ,yezd4 ,they are made of wool1 goats' hair or camels' hair or of a combination of two or all of these substances1 according to the color desired4 ,as no dyes are employed and the finished product is the same in color as that of the materials used1 they are usually gray1 white or buff1 most frequently the latter4 ,the material is matted together by being pounded1 occasionally sprinkled with water in which rapeseed-oil cakes have been soaked for a long time1 and then pounded more until it becomes compact and solid4 ,the finished product varies in thickness from three-quarters of an inch to three inches and is as soft and pliable as cloth1 but too heavy for exportation1 consequently few come to ,western markets4 ,in the ,orient they are used as floor coverings on top of which ordinary pile carpets are placed4 ,in this country they have been used in bedrooms1 also as a covering for dining tables1 and as silence cloths1 but they will not stand the wear of chairs and are an easy mark for moths4 ,they can be purchased for from #g4jj to #aj4jj per yard4 ,illustration3 ,,antique ,,chinese ,,cushion ,,rug ,size #b'b #b'b ,,from ,,the ,,collection ,,of ,,the ,,author ,,knot3 ,senna4 ,eight to the inch horizontally and six vertically1 making only forty-eight to the square inch1 but the pile wool is so fluffy that it has the appearance of being quite closely woven4 ,this piece is undoubtedly a very old one4 ,it has a long silky pile with deep ,chinese blue ground1 displaying a central medallion of floral forms1 frets and swastikas woven in soft red1 yellow1 drab and white4 ,also corner motifs in similar colors1 all of which is framed by three harmonious borders1 an inner band consisting of white dots on a blue background2 the main border stripe composed of graceful floral scrolls and blossoms in yellow1 light blue1 drab1 red and white on a blue ground1 and the other border of plain blue4 7,see page #cja7 ,,classification ,,according ,,to ,,their ,,intended ,,use ,,prayer ,,rugs 7,,namazlik7 ,in all ages fine rugs have been used for religious purposes by the faithful followers of the prophet4 ,every ,mohammedan has his prayer rug1 more or less valuable according to his means1 which he always carries with him and upon which he prostrates himself five times a day when the appointed hour for prayer arrives4 ,by means of a small compass he spreads his rug so that the mihrab or niche points towards ,mecca1 where ,mohammed's body lies4 ,then after removing all jewelry and money from his person1 in order to appear before ,god in the most abject humility1 he combs his beard1 produces a rosary of ninety-nine beads and a dried cake of earth which came from ,mecca4 ,these he places just under the niche and then1 resting his head on the earth with his hands outstretched on either side1 he performs his devotions4 ,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 ,mecca4 ,occasionally prayer rugs will be found with three or more niches1 especially among the ,caucasian products4 ,these are intended for children or for family worship4 ,others may have instead of a prayer niche1 three small medallions1 one each for the hands and one to receive the forehead4 ,for convenience the prayer rug is of small size1 usually from two and one-half to four by four to six feet4 ,those intended for personal use frequently have the name of the owner on and are of the very best workmanship4 ,combs and other objects used in the act of worship are frequently depicted in or near the prayer niche4 ,the prayer niche takes various forms in different kinds of rugs1 seldom more than one class having the same form4 ,as a rule that of the ,persians is formed by curved lines1 while all others are formed by straight lines1 those of both the ,persian and ,turkish classes being pointed1 while those of the ,caucasian and ,turkoman classes may either be pointed or flat at the top1 usually the latter4 ,in differentiating between these different classes we are assisted not only by the shape of the mihrab1 but also by the various field designs1 such for instance as the panels above and below the prayer field1 the lanterns or pendants which hang from the centre of the niche1 etc4 ,illustration3 ,,various ,,forms ,,of ,,the ,,prayer-,,niche ,,in ,,rugs #a4 ,persian #b4 ,persian #c4 ,persian and ,konieh #d4 ,meshed and ,saruk #e4 ,tabriz #f4 ,kirman #g4 ,kirman #h4 ,kirman and ,kulah #i4 ,herez and ,kulah #aj4 ,kulah #aa4 ,kulah #ab4 ,kulah #ac4 ,kulah #ad4 ,ghiordes #ae4 ,ghiordes #af4 ,ghiordes #ag4 ,ghiordes #ah4 ,anatolian #ai4 ,anatolian #bj4 ,konieh #ba4 ,konieh and ,meles #bb4 ,ladik #bc4 ,ladik #bd4 ,kaisariyeh #be4 ,bergama1 ,genghis1 ,daghestan1 ,bokhara #bf4 ,bergama #bg4 ,meles #bh4 ,meles #bi4 ,daghestan and ,kazak #cj4 ,kazak and ,beluchistan ,,single ,,panels4--,when only one panel is used it is invariably above the prayer field4 ,the ,kulah nearly always has but one1 the ,anatolian generally1 and the ,ghiordes seldom4 ,,double ,,panels4--,the ,ghiordes nearly always has two1 the ,bergama generally1 and the ,kulah seldom4 ,,hanging ,,pendants are always present in the ,kaisarieh1 frequently in the ,ghiordes1 and seldom in the ,kulah4 ,,pillars are always present in the ,kaisarieh1 frequently in the ,kulah1 and only occasionally in the ,ghiordes4 ,,plain ,,prayer ,,fields 7excepting the lamp7 are most frequent in the ,turkish rugs4 ,,filled ,,prayer ,,fields are invariably present in the ,caucasian and ,turkoman rugs and generally in the ,persians4 ,,hearth ,,rugs 7,,odjaklik7 ,hearth rugs may be distinguished by the shape of their field1 each end of which resembles the niche of the prayer rugs belonging to the same class4 ,they are usually from three and one-half to four by five to seven feet and are very precious to the family1 who always spread them before the fire upon the arrival of a guest1 and once a fugitive1 fleeing from his enemies1 enters a tent and sets his foot upon the hearth rug1 the owner and his people were bound to defend him4 ,,grave ,,rugs 7,,turbehlik7 ,grave rugs are usually the combined handiwork of all the members of the household and1 in accordance with an ancient custom1 are used to cover the dead before interment and the grave after interment1 having practically the same import as flowers do with us4 ,they are usually woven in sombre tints to express grief and in light colors to denote resurrection4 ,the cypress tree1 which is symbolic of sorrow1 is usually the leading feature of the design and there are generally some inscriptions from the ,koran4 ,,dowry ,,or ,,wedding ,,rugs 7,,kis ,,ghileem7 ,dowry or wedding rugs are woven by the ,eastern maiden for her dowry4 ,they are usually small in size and are seldom seen in ,america1 as they are always greatly prized by the ,oriental4 ,a more definite description of them will be found under the heading of ,ghileems4 ,illustration3 ,,saddle ,,cloth1 ,,saddle ,,bags ,,and ,,powder ,,bag ,,mosque ,,or ,,mecca ,,rugs ,mosque or ,mecca rugs are sometimes called ,tribute rugs4 ,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 mosque1 the whole interior of which was usually hung with carpets1 beautiful and costly beyond description4 ,many of these so-called mosque rugs were of the ,shiraz class4 ,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 worshipped4 ,,bath ,,rugs 7,,hammanlik7 ,bath rugs are usually about three feet square and have a peculiar lustre due to their frequent contact with soap and water4 ,one of these bath rugs is usually presented to the bride by her parents on her wedding day4 ,,pillow ,,cases 7,,yesteklik7 ,pillow cases are known in the ,united ,states as ,anatolian mats and are described as such in the chapter on ,turkish ,classification4 ,,sample ,,corners ,sample corners are mats about two feet square and are woven for the purpose of showing the variation of border1 color1 and design to some wealthy ruler who wishes a carpet woven4 ,they are afterwards used in the weaver's family and seldom reach the market4 7,see p4 #cbh47 ,,saddle ,,bags 7,,hehbelik7 ,saddle bags always come in pieces of varying widths1 according to the kind of animal for which they are intended4 ,those intended for donkeys usually run from one to one and one-half by one and one-half to two feet1 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 more4 ,those from ,persia and ,anatolia are usually small and nearly square1 while those from ,bokhara and ,beluchistan are usually large and oblong4 ,these saddle bags are quite appropriate for bachelor apartments1 artists' studios1 or smoking rooms and are sometimes used on a suitable standard as a newspaper or magazine receptacle4 7,see illustration at p4 #cbf47 ,illustration3 ,a ,,convenient ,,periodical ,,holder 7,see page #bab7 ,,saddle ,,cover 7,,semerlik7 ,saddle covers are used by the wealthy class4 ,they are nearly square1 ranging from two and one-half to three by four to four and one-half feet1 and have an opening at one end for the pommel of the saddle to pass through4 ,the finest ones are from ,senna4 ,,floor ,,coverings ,sedjadeh is the ,persian name applied to those of the larger size1 while ,hali is the name applied to those of medium size4 ,oriental carpets are of modern make with very few exceptions1 most of them being just as well made as were the antiques1 although they show considerable deterioration in dyes4 ,those which are commonly found in the ,western market are the ,feraghans1 ,gorevans1 ,hamadans1 ,kermanshahs1 ,khorasans1 ,kirmans1 ,kurdistans1 ,sarabands1 ,sennas1 ,sultanabads1 and ,tabriz among the ,persians2 the ,kazaks and ,shemakhas among the ,caucasians2 the ,gulistans1 ,oushaks1 and ,smyrnas among the ,turkish2 and the ,khivas and ,yomuds among the ,turkoman4 ,large rugs cost more per square foot1 as a rule1 than the small ones1 as their size makes heavier construction imperative and increases the difficulty of weaving as well as the amount of yarn required4 ,,runners 7,,kennar7 ,runners properly belong to this class1 as they are used in the ,orient mostly to lay along the sides of a room4 ,in this country they have been found extremely convenient as hall rugs4 ,,hangings 7,,berdelik7 ,to this class belong all of the silk rugs as well as many of the delicately colored and extremely light fabrics1 especially those that picture gardens and portraits or have on them quotations from the ,koran4 ,ghileems may also be classed under this head4 ,illustration3 ,a ,,bijar ,,sample ,,corner 7,showing colors1 designs and different borders7 ,,property ,,of ,,col4 ,a4 ,s4 ,,ludlow1 ,,wankesha1 ,,wis4 ,,famous ,,rugs ,illustration3 ,,the ,,ardebil ,,mosque ,,carpet 7,see page #ccc7 ,the interest in the very old weavings is not as manifest in the ,american cities as in many of the ,european cities1 such for instance as ,vienna1 ,london1 ,paris1 and ,berlin4 ,this is due to several reasons4 ,in the first place1 ,europe began the importation of ,oriental textiles many years before the ,united ,states did4 ,in the second place1 most of the choice pieces in the ,united ,states belong to private individuals instead of to museums1 consequently they are seldom1 if ever1 seen by the public4 ,in the third place1 many of the ,european cities1 especially ,london and ,vienna1 have given a number of public exhibitions of old rugs1 while the recent exhibit at the ,metropolitan ,museum of ,fine ,arts in ,new ,york ,city was the first one ever held in the ,united ,states4 ,at this exhibit there were forty-seven pieces of the #adth1 #aeth1 #afth1 #agth and #ahth centuries1 pieces that would compare favorably with those of any country1 all owned by private collectors in the ,eastern ,states4 ,great credit is due ,dr4 ,wm4 ,r4 ,valentiner and his assistants for the promotion and successful management of this exhibition4 ,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 loom4 ,the age of old rugs can be at least as accurately determined as the age of old paintings and in many cases even more so4 ,according to ,dr4 ,valentiner the so-called ,polanaise and ,ispahan rugs belong to the #agth century and the ,persian animal or hunting rugs belong to the #afth century1 while the so-called dragon rugs belong to the #aeth century4 ,many of the rugs from ,armenia and the eastern part of ,asia ,minor date back as far as the #acth and #adth centuries4 ,every old rug has its individual character manifest by its designs1 colors1 weave1 and material1 all of which are peculiar to the time when it was made or the locality in which it was made1 so that it can be located and dated with greater accuracy than would be supposed4 ,many early rugs were used for decorative purposes in the pictures of the early ,italian and ,flemish painters4 ,illustration3 ,,berlin ,,dragon ,,and ,,ph,,nix ,,rug 7,see page #ccd7 ,according to recognized authorities the so-called ,polish carpets were not woven in ,poland at all1 but were products of ,persia1 and the so-called ,ispahan rugs were not made at ,ispahan or even in ,persia1 but came from the city of ,herat in ,western ,afghanistan4 ,of the former several hundred are still in existence1 the best of which are in the ,european courts and museums1 about forty being in the ,united ,states1 while nearly every collection contains one or more of the ,herats4 ,,the ,,ardebil ,,carpet4--,without a doubt the most famous ,oriental carpet now known is the mosque carpet of ,ardebil owned by the ,south ,kensington ,museum in ,london4 ,it is a ,persian masterpiece and was made in #aecf by one ,maksoud for the ,ardebil ,mosque4 ,in size it is thirty-four and one-half by seventeen and one-half feet and contains in the neighborhood of #cb1jjj1jjj knots1 about #ecj to the square inch1 and was purchased by the ,south ,kensington ,museum for #ab1ejj1 although1 if put up at auction to-day1 it would doubtless bring many times that sum4 ,the ground is of a rich blue and is covered with the most intricate of old ,persian floral designs4 ,it has a central medallion in pale yellow with corners to match4 ,there are three border stripes1 one wide one with a narrow one on either side of it4 ,the ground of the outer stripe is of a tawny yellow with small floral designs2 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 lines4 ,within these panels are to be found in ,arabic the following inscription3 ,i have no refuge in the world other than thy threshold2 ,my head has no protection other than this porch way2 ,the work of the slave of the ,holy place1 ,maksoud of ,kashan4 ,in the year #idb 7which corresponds to ,a4,d4 #aecf47;,b ,,the ,,dragon ,,and ,,ph,,nix ,,rug of the ,kaiser ,frederich ,museum1 ,berlin1 is a ,central ,asia ,minor weave of the #adth century and is probably the oldest existing rug that has been identified with the representation of a similar fabric in a painting4 ,it was purchased for the ,berlin museum by ,dr4 ,bode1 from a church in ,central ,italy on account of its resemblance to a rug in the fresco painting representing the ,marriage of the ,foundlings1 one of the series painted by ,domenico di ,bartolo in ,spedale di ,santa ,maria della ,scala in ,senna about #addj4 ,in design it represents a dragon and a phnix in deadly combat4 ,illustration3 ,,east ,,indian ,,hunting ,,rug ,,in ,,the ,,boston ,,museum ,,of ,,fine ,,arts ,,by ,,courtesy ,,of ,,mr4 ,,sidney ,n4 ,,deane 7,see page #cce7 ,,the ,,austrian ,,royal ,,hunting ,,carpet4--,next in prominence to the ,ardebil ,carpet comes the ,royal ,hunting ,carpet of the ,austrian ,imperial and ,royal ,court1 which is said to have been presented by ,peter the ,great4 ,it is a ,persian rug of great antiquity and shows ,chinese influence in the design1 which includes elaborately woven horsemen in pursuit of deer and other animals and winged gods in contest with lions and buffaloes4 ,,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 exhibit4 ,it was made in ,india about #afdj1 is eight feet three inches long by five feet three inches wide and contains about three hundred and sixty knots to the square inch4 ,its predominating color is red4 ,in the upper left-hand corner are a couple of buildings in which are seated in ,oriental style several individuals4 ,below these buildings are several deer1 a chained leopard in a cart drawn by a bullock1 hunters1 a winged elephant1 tigers1 and goats1 all of which are interspersed with floral and tree forms4 ,there are three border stripes1 the centre one of which is the wider and carries leaf-shaped panels containing faces4 ,each one of these panels is separated by a bird and small floral forms upon a cream-colored ground4 ,the two narrow stripes carry designs in light and dark blue1 pink and red4 ,this rug was purchased at #ce1jjj by the late ,governor ,ames of ,massachusetts and presented to the ,boston ,museum of ,fine ,arts4 ,,the ,,altman ,,prayer ,,rug1 owned by ,mr4 ,benjamin ,altman of ,new ,york ,city1 was made in ,north ,persia about #aehj4 ,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 art4 ,it has beautiful floral designs with arabesques and ,chinese motifs in deep shades of red1 blue1 and yellow1 many of the designs being worked with light yellow or silver thread in the ghileem style4 ,the ,mihrab is the ,persian style1 from which hangs a mosque lamp which is covered with red1 yellow1 and pink flowers on a green ground4 ,the lower part of the field is covered with various floral and tree forms in yellow with pink blossoms4 ,there are two border stripes4 ,the inner one has a yellow ground1 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 all4 ,there is no ,god but ,allah 7the true ,god72 ,mohammed is the prophet of ,god4 ,ali is the saint of ,god4 ,god the exalted one says3 ,verily ,god and ,his angel shower their blessings upon the prophet4 ,oh ye faithful send your blessings with ,him1 as well as offer your salutations unto ,him4 ,the outer border has a blue ground upon which are rounded octagons and oblong panels in gray1 the latter containing inscriptions from the ,koran in black4 ,size five feet five inches by three feet three inches4 ,illustration3 ,,the ,,altman ,,prayer ,,rug ,,by ,,courtesy ,,of ,,mr4 ,,benjamin ,,altman ,,the ,,metropolitan ,,animal ,,rug 7see illustration at p4 #bf71 from the ,ardebil ,mosque1 was made in ,northern ,persia about #aecj4 ,it was purchased by the ,metropolitan ,museum of ,art from the ,yerkes collection4 ,on a claret colored ground are the repeated figures of a lion1 a jackal1 and a spotted deer in deadly combat4 ,there are also running boars amid a profusion of flowers4 ,there are three border stripes1 a wide one with a narrow one on either side4 ,the former is filled with arabesques and cloud bands in blue and pink on a ground of dark blue4 ,the inner stripe carries a green design on a yellow ground and the outer stripes carry a floral design on a red ground4 ,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 inch4 ,,the ,,baker ,,hunting ,,rug 7see illustration at page #cch71 owned by ,mr4 ,george ,f4 ,baker of ,new ,york ,city1 is also one of the four famous mosque rugs of ,ardebil4 ,it was woven about the middle of the #afth century2 it is about fourteen by six feet and contains upwards of five hundred knots to the square inch4 ,it is a harmonious blending of red1 blue1 green1 pink1 brown1 old rose1 cream1 white1 and silver1 the predominating color of the field being a dark red4 ,it has three central medallions1 one large one and a smaller one just above and below it1 with a quarter segment of a cusped circle in each corner of the field to match4 ,intermediate spaces are filled with flowering branches1 fish and animals1 the latter being worked with silver thread in the ghileem stitch4 ,there is one wide border stripe with a narrow one on either side4 ,the former has a back of cream and carries alternately round and oblong medallions which contain verses from the ,koran in silver4 ,illustration3 ,,the ,,baker ,,hunting ,,rug ,,by ,,courtesy ,,of ,,mr4 ,,george ,f4 ,,baker 7,see page #ccg7 ,,glossary,c ,,abrashes4 ,the name applied to an irregularity in weaving in which the color of the groundwork in a rug is suddenly changed1 giving it the appearance of having changed weavers' hands at that part4 ,this is a ,kurdish characteristic4 ,,afghan 7f-gn71 see ,khiva4 ,,afghanistan 7f-gn' s-tn74 ,bounded on the north by ,turkestan1 on the south by ,beluchistan1 on the west by ,persia1 and on the east by ,india4 ,it covers about #bae1ddd square miles and has a population of nearly five millions4 ,it is generally mountainous and the climate is severe1 being hot and dry in the summer and cold and stormy in the winter4 ,the government is an hereditary absolute monarchy of an ,oriental despotic type4 ,,aine4 ,a ,persian word meaning an oasis or fountain4 ,it is sometimes used by retailers1 but is not a specific trade name4 ,,ak ,,hissar 7-khis-sr'71 ,akhissar1 ,aksar1 ,axar4 ,a city of ,western ,anatolia1 near ,smyrna1 with a population of #ab1jjj4 ,the meaning of the name is ,white ,fortress4 ,for description of the so-called ,akhissar rug1 see ,turkish classification4 ,,aksar1 see ,ak ,hissar4 ,,anatolia 7n--t' li74 ,another name for ,asia ,minor4 ,,angora 7n-g' r74 ,name of a province and a city1 the latter being the capital of the former with a population of #bh1jjj4 ,the province is noted for the so-called ,angora goats4 ,,ardebil 7r-d-bl'74 ,name of a ,persian town on the west shore of the ,caspian ,sea in the ,azerbijan province4 ,it is from here that the celebrated ,ardebil carpet1 which is now in the ,south ,kensington ,museum1 came4 ,,ardelan 7r-de-ln'74 ,a province in ,western ,persia in the ,kurdish district4 ,it furnishes the highest grade of rugs4 ,,armenia 7r-m'n-7 is situated partly in ,transcaucasia1 partly in ,persia1 and partly in ,turkey in ,asia4 ,on the west it is bounded by the ,black ,sea1 ,asia ,minor1 and the ,taurus ,mountains2 on the south by ,mesopotamia1 and on the east by ,persia1 while on the north it extends almost to the ,caucasian ,mountains4 ,it is a mountainous country and gives rise to nearly all of the great rivers of ,western ,asia4 ,it is a country of special interest to the world inasmuch as it is supposed to have been the cradle of the human race1 the ,garden of ,eden1 in all probability1 having been located among its mountains near the head of the river ,euphrates1 and it also contains the celebrated ,mount ,masis1 better known as ,ararat1 upon which the ,ark of ,noah rested when the waters of the great flood subsided4 ,it has an area of more than #gj1jjj square miles1 but the population is less than two and one-half millions4 ,,asia ,,minor4 ,that part of ,turkey in ,asia bounded on the east by ,kurdistan and ,persia1 on the west by the ,mediterranean ,sea1 on the north by the ,black ,sea1 and on the south by ,arabia1 the ,mediterranean and ,red ,seas4 ,it is sometimes known as ,anatolia4 ,,askabad 7s-k-bd'74 ,a town in ,persia peopled by wandering ,turkoman tribes who make numerous rugs of the usual ,persian variety4 ,a name sometimes used by retailers1 but it has no commercial meaning4 ,the ,tekke rugs are usually marketed at ,askabad4 ,,axar1 see ,ak ,hissar4 ,,azerbijan 7z-er-b-jn'71 ,azerbiajan1 ,aserbaijan4 ,an agricultural province in ,northwestern ,persia1 bordering on ,lake ,urumiah1 of which ,tabriz is the principal city4 ,it covers #dj1jjj square miles and has a population of #a1jjj1jjj4 ,many fine rugs come from this province4 ,,bagdad 7,bg'dd74 ,the name implies ,abode of ,peace4 ,the name of a province and a city of ,mesopotamia on the ,tigris4 ,the province covers #ed1ejc square miles and has a population of #hej1jjj4 ,the city has a population of #ade1jjj and is a market for the products of ,western ,persia4 ,,bakhshis1 ,bakshaish4 ,a small village east of ,tabriz in the ,herez district4 ,a great rug centre for the so-called ,herez rugs4 ,see ,persian classification4 ,,bakshaish1 see ,bakhshis4 ,,baku 7,b-k'74 ,the name signifies ,place of the ,winds4 ,a province and a city4 ,the former covers an area of #ae1jie square miles and has a population of #gij1jjj4 ,the latter is a port on the ,caspian ,sea in the heart of the ,russian petroleum district with a population of #aab1jjj4 ,many ,caucasian rugs are marketed here4 ,for description of the so-called ,baku rugs1 see ,caucasian classification4 ,,beluchistan 7,be-l' chs-tn71 ,baluchistan1 ,beloochistan1 ,belloch4 ,a mountainous and desert country bounded by ,persia on the west1 ,afghanistan on the north1 ,india on the east1 and the ,arabian ,sea on the south4 ,it has an area of about #acj1jjj square miles and has a population of about #hjj1jjj4 ,for description of the ,beluchistan rug1 see page #bif4 ,,bergama 7,br'g-m71 ,bergamo1 ,berghama1 ,pergamo4 ,a city in ,anatolia1 forty miles north of ,smyrna4 ,pergamo was the ancient name4 ,for description of the so-called ,bergama rug1 see ,turkish classification4 ,,bijar 7,be-zhr'74 ,a town in ,western ,persia in the province of ,kurdistan4 ,the ,bijar rug is sometimes known as the ,sarakhs or ,lule4 ,,birjand4 ,the so-called ,birjand rugs are woven in the village of ,daraksh1 about fifty miles northeast of ,birjand4 ,,bokhara 7,b-kh' r74 ,meaning ,treasury of ,science4 ,a city of ,russian ,turkestan4 ,it is the capital of the khanate by the same name4 ,this province has an area of #adb1jjj square miles with a population of less than half4 ,for description of ,bokhara rugs1 see ,turkoman classification4 ,,brousa 7,br' s71 ,brusa4 ,a city in the northern part of ,anatolia near the sea of ,marmora4 ,it is the capital of the province by the same name and has a population of #gf1jjj4 ,,cabistan1 see ,kabistan4 ,c,,sarea1 see ,kaisariyeh4 ,,carabagh1 see ,karabagh4 ,,carian1 see ,meles4 ,,cashmere1 see ,shemakha4 ,,catechu 7,kt' -ch74 ,a dry1 brown1 astringent extract1 obtained by decoction and evaporation from the acacia catechu4 ,from it a brown dye is frequently obtained4 ,,caucasus 7,k-k' ss74 ,an isthmus joining ,europe and ,asia4 ,it is bounded on the west by the ,black ,sea1 and on the east by the ,caspian ,sea4 ,the ,caucasian ,mountains extend through it from its northwestern to its southeastern extremity1 dividing it into two parts1 ,caucasia proper to the north and ,transcaucasia to the south4 ,it has an area of over #ahj1jjj square miles and the population is over nine million4 ,,chichi1 see ,tchetchen4 ,,circassian 7,ser-kash-an71 see ,tcherkess4 ,,cyrus4 ,founder of the ancient ,persian monarchy4 ,,daghestan 7,d' gs-tn74 ,a district in ,russian ,caucasia on the ,caspian ,sea1 north of ,baku4 ,it covers #aa1ceb square miles and has a population of #ehg1jjj4 ,for description of the so-called ,daghestan rug1 see ,caucasian classification4 ,,demirdji 7,d-mr' j74 ,means ironsmith or blacksmith4 ,a city of ,anatolia4 ,,derbend 7,dr-bnt'71 ,derbent1 meaning a fortified gate4 ,a city in the province of ,daghestan on the ,caspian ,sea4 ,the inhabitants are mostly ,tartar4 ,for description of ,derbend rugs1 see ,caucasian classification4 ,,djidjum1 see ,ghileem4 ,,djijum1 see ,ghileem4 ,,djoshaghan1 see ,joshaghan4 ,,elizabethpol4 ,name of a province and a fortified city1 the latter of which was formerly known as ,ganga4 ,,enile1 ,inely4 ,one of the better type of rugs woven at ,oushak4 ,,fars 7,frs71 see ,farsistan4 ,,farsistan or ,,fars 7,fr-ss-tn'74 ,a province in ,northwestern ,persia with a population of #a1gjj1jjj1 composed mostly of the wandering ,arabs and ,kashkais1 who make high-class rugs of the softest and best dyed wool4 ,shiraz is the leading town4 ,,feraidan4 ,a ,persian district ruled by ,ispahan4 ,the rugs made there are woven in imitation of the ,feraghan quality4 ,,feraghan 7,fr' -hn74 ,a district in ,persia near ,sultanabad4 ,for description of the so-called ,feraghan rugs1 see ,persian classification4 ,,ganga4 ,a ,caucasian city ninety miles southeast of ,tiflis4 ,now known as ,elizabethpol4 ,,garous4 ,a district in ,persia producing a good quality of rugs4 ,,genghis 7,jn' gs71 ,guenja1 ,ganga1 ,guenje1 ,guendjie4 ,the name of a tribe of ,nomads living in the vicinity of ,elizabethpol4 ,,ghileem1 ,khilim1 ,killim1 ,kilim 7,k'-lm74 ,names given to a napless rug which is woven in nearly all of the ,oriental rug-weaving countries4 ,a full description may be found in the chapter on ,ghileems1 page #caa4 ,,guenja1 see ,genghis4 ,,gulestan4 ,meaning ,the ,rose ,garden1 name applied to one of the better type of rugs woven at ,oushak4 ,,hamadan 7,h-m-dn'71 ,hamadie1 ,hamidieh4 ,a city in ,northwestern ,persia1 southwest of ,sultanabad1 with a population of #ce1jjj4 ,it is the ancient ,ekbatana where ,esther and ,mordecai were buried4 ,for description of ,hamadan rugs1 see ,persian classification4 ,,hamideh1 see ,hamadan4 ,,hardjli1 or ,princess ,bokhara4 ,the name given to a rug made by the ,tekke ,turkomans4 ,it usually consists of a design of a cross inclosed in a square4 ,,herat 7,hr-t'7 is the capital of ,afghanistan1 on the ,persian border1 and its principal trade is with ,meshed4 ,for description of ,herat rugs1 see ,persian classification4 ,,herez 7,h' rs71 ,heriz1 ,heres4 ,a mountainous district in ,northwestern ,persia4 ,for description of ,herez rugs1 see ,persian classification4 ,,inely1 see ,enile4 ,,irak ,,ajemi 7,e-rk' j' -m74 ,the largest province in ,persia4 ,it is situated in the central part of the country1 its largest city being ,teheran1 the ,persian capital4 ,,iran 7,e' rn74 ,the ,persian name for ,persia4 ,a name commonly and wrongfully given to rugs1 excepting in referring to ,persian rugs in general4 ,,ispahan 7s' p-hn71 meaning ,place of ,horses4 ,a city of #hj1jjj inhabitants in the commercial heart of ,persia4 ,at one time it was its capital4 ,for description of ,ispahan rugs1 see ,persian classification4 ,,jejium1 see ,ghileem4 ,,jelium1 see ,ghileem4 ,,jhelum1 see ,ghileem4 ,,jooshaghan1 see ,joshaghan4 ,,joshaghan1 ,jooshaghan4 ,a district in ,persia1 south of ,feraghan4 ,for description of ,joshaghan rugs1 see ,persian classification4 ,,kaba-,,karaman1 see ,karaman4 ,,kabistan 7,kb' s-tn71 ,cabistan4 ,the name given to rugs woven near ,kuba on the shores of the ,caspian ,sea4 ,,kaisariyeh1 ,kaisarieh1 ,kaiseriyeh4 ,the ,csarea of the ,bible4 ,an ,anatolian city of #gb1jjj population1 about one hundred and sixty miles southeast of ,angora4 ,an important rug market4 ,,karaman 7,k-r-mn'74 ,a town in ,turkey1 southeast of ,konieh4 ,the name ,kaba-,karaman is frequently applied to a class of rugs from this town4 ,the meaning of the prefix ,kaba is coarse4 ,for description of ,karaman rugs1 see ,turkish classification4 ,,karabagh 7,k-r-b'71 ,carabagh1 ,shemakinski1 ,country of the ,sun4 ,a province in the southern part of ,transcaucasia1 just north of ,tabriz4 ,for description of ,karabagh rugs1 see ,caucasian classification4 ,,kara ,,dagh 7,k-r-d74 ,meaning ,black ,mountains1 mountains in ,persia1 north of ,tabriz4 ,,karajah ,,dagh 7,k-r-j' d74 ,one of the principal rug-making districts of ,turkey in ,asia4 ,,kashan 7,k'chn74 ,city of ,persia with #cj1jjj inhabitants4 ,located half way between ,teheran and ,ispahan4 ,for description of ,kashan rugs1 see ,persian classification4 ,,kashmir1 see ,shemakha4 ,,kazak 7,k-zk'71 ,kazack4 ,a corruption of the word ,cossack4 ,kazak rugs are made by the ,russian ,cossack tribes in ,transcaucasia near ,mt4 ,ararat4 ,for description of these rugs1 see ,caucasian classification4 ,,kerman1 see ,kirman4 ,,karmanshah 7,kr-mn-sh'71 ,kirmanshah4 ,a city of mud houses in the ,ardelan district of ,western ,persia4 ,it has a population of some #dj1jjj and is a centre of commerce1 but no rugs are woven there4 ,the so-called ,kermanshah rugs come from ,tabriz4 ,for description of these rugs1 see ,persian classification4 ,,kermes4 ,an insect found upon oak trees about the ,mediterranean from which a rich1 fast carmine dye is obtained4 ,,ker ,,shehr1 see ,kir ,shehr4 ,,khilim1 see ,ghileem4 ,,khiva 7,k'v74 ,a principality or khanate in ,turkestan4 ,it covers #bc1aff square miles and has a population of #hjj1jjj4 ,khiva ,bokhara is the proper name for the so-called ,afghan rugs1 as these rugs are woven mostly by the ,nomadic tribe of ,khiva4 ,for a description of these rugs1 see ,turkestan classification4 ,,khorasan 7,k' r-sn74 ,a large province in the northern corner of ,persia1 of which ,meshed is the capital4 ,for description of ,khorasan rugs1 see ,persian classification4 ,,kilim1 see ,ghileem4 ,,killim1 see ,ghileem4 ,,kirman 7,kr' mn74 ,name of a city and a province in ,southeastern ,persia4 ,the latter has an area of over #fc1jjj square miles1 has #fjj1jjj population1 and is largely a desert4 ,for a description of the so-called ,kirman rugs1 see ,persian classification4 ,,kirmanshah1 see ,kermanshah4 ,,kir ,,shehr 7,kr ,shhr'71 ,ker ,shehr1 ,keer ,shehr1 ,keer ,sherir4 ,a ,turkish town in the province of ,angora1 just over the ,konieh border4 ,for description of the so-called ,kir ,shehr rugs1 see ,turkish classification4 ,,kis1 meaning ,a girl4 ,kis ,ghileem is the name applied to dowry rugs woven by young girls4 ,,kiz1 see ,kis4 ,,koniah1 see ,konieh4 ,,konieh 7,k' n-74 ,the ancient ,iconium4 ,a city of ,anatolia with a population of #dd1jjj4 ,capital of province by the same name which covers #ci1fha square miles and has a population of #a1jhh1jjj4 ,for description of the so-called ,konieh rugs1 see ,turkish classification4 ,,koulah1 see ,kulah4 ,,koultuk1 see ,zangen4 ,,kuba 7,k' b74 ,name of a village and a district in ,transcaucasia under the ,baku government4 ,kabistan rugs are woven here4 ,,kulah 7,k' l71 ,koulah4 ,a city in ,turkey1 west of ,oushak4 ,for description of the so-called ,kulah rugs1 see ,turkish classification4 ,,kurd 7,krd74 ,an inhabitant of ,kurdistan4 ,,kurdistan 7,kr' ds-tn74 ,a region occupying the eastern part of ,turkey in ,asia1 and the western part of ,persia4 ,it has an area of about #gd1jjj square miles and a population of #c1jjj1jjj4 ,,kurk4 ,a very soft wool obtained by combing the sheep in winter4 ,,kutayah1 ,kutaria1 ,kutaya1 ,kutchia 7,ko-ti-ya74 ,a city of ,anatolia in the ,province of ,brousa1 about sixty miles north of ,oushak1 with a population of #bb1jjj4 ,,ladik 7,l-dk71 ,ladic1 ,laodicea1 ,latakia4 ,name of a rug made in the ancient village of ,laodicea in ,anatolia1 northeast of ,konieh4 ,see ,turkish classification4 ,,laodicea 7,l-od-i-c' 71 ,latakia4 ,an ancient village of ,anatolia1 northeast of ,konieh1 with a population of #bb1jjj4 ,the so-called ,ladik rug comes from here4 ,,laristan 7,lr-s-tn'71 see ,niris4 ,a mountainous province in ,western ,persia4 ,,lule 7,l' l74 ,a corruption of the ,persian word roulez1 meaning jewel4 ,a term frequently applied to ,bijar rugs4 ,,luristan1 see ,laristan4 ,,madder4 ,a dye made from the root of the rubia tinctorum4 ,from it are made a multitude of reds4 ,,mahal 7,m' hl74 ,a name given to a class of rugs from ,sultanabad4 ,see ,persian classification4 ,,maksoud4 ,the name of the weaver of the celebrated ,ardebil carpet1 which is in the ,south ,kensington ,museum4 ,,mecca1 or ,,mekka 7,mk' k71 ,the ,heart of ,islam4 ,the holy city of the ,mohammedans containing the ,caaba1 visited annually by multitudes of pilgrims4 ,it has a population of #fj1jjj4 ,the name is frequently applied by retailers to ,shiraz rugs4 ,,melace1 see ,meles4 ,,meles 7,m' ls74 ,the name given to rugs produced in the ,smyrna district4 ,a corruption of the word ,milassa1 a small town about one hundred miles south of ,smyrna4 ,see ,turkish classification4 ,,meshed 7,mesh-hed'71 ,meshad4 ,capital of the province of ,khorasan in ,northeastern ,persia with a population of #gj1jjj4 ,for description of the so-called ,meshed rugs1 see ,persian classification4 ,,mesopotamia4 ,consists of that triangular portion of the southeastern part of ,turkey in ,asia which lies between the ,tigris and the ,euphrates4 ,it has an area of #aca1jjj square miles and a population of only six million4 ,,milassa4 ,a town in ,anatolia on the coast1 about one hundred miles south of ,smyrna4 ,,mir 7,mr74 ,a village in the district of ,sarawan1 where it is said that the ,mir or ,mir ,saraband design originated4 ,,miskabad1 see ,mushkabad4 ,,mosul1 ,mossoul1 ,mousoul4 ,a city of ,mesopotamia on the ,tigris4 ,kurdish tribes market their rugs here4 ,for a description of the so-called ,mosul rug1 see ,turkish classification4 ,,mushkabad 7,mus-ka-bad71 ,miskabad4 ,a name given to a class of ,sultanabad products4 ,see ,persian classification4 ,,niris1 ,laristan1 ,luristan4 ,name applied to rugs made by the hillmen in the uplands around the salt lake of ,niris in ,laristan4 ,see ,persian classification4 ,,ouchak1 see ,oushak4 ,,oushak 7,o'shk71 ,oocuak1 ,ushak4 ,a city of ,anatolia1 in the province of ,aidin1 about one hundred miles east of ,smyrna4 ,it has a population of #ajj1jjj and is one of the greatest rug centres in ,anatolia4 ,for description of the so-called ,oushak rugs1 see ,turkish classification4 ,,para 7,p-r'74 ,piece of ,turkish money equivalent to about one mill of ,american money4 ,,pergamon 7,pr' g-mon71 ,pergamos4 ,the name of the ancient ,greek ,kingdom in the northeastern part of ,asia ,minor1 which is now known as ,bergama4 ,,persia4 ,a kingdom of ,southwestern ,asia occupying the western half of the ,iranian plateau1 which rises to the height of from six to eight thousand feet between the valleys of the ,indus and the ,tigris4 ,it has an area of more than a million square miles and a population of over eight million inhabitants4 ,the capital is ,teheran4 ,,piaster 7,p-s' tr74 ,a piece of ,turkish money equal to less than four cents of our money4 ,,princess ,,bokhara1 see ,hardjli4 ,,roulez4 ,persian word meaning jewel4 ,see ,lule4 ,,samarkand 7,sm' r-knd71 ,samarcand1 ,the ,head of ,islam4 ,name of province and city in ,russian ,turkestan4 ,the former with an area of #bf1fbg square miles1 and a population of #heh1jjj2 the latter is a very interesting city with a population of #ee1jjj4 ,for description of the so-called ,samarkand rugs1 see ,turkestan classification4 ,,saraband 7,sr' -bnd71 ,serebend1 ,selville4 ,names given to a class of rugs woven at ,sarawan1 a district in ,persia just south of ,feraghan4 ,see ,persian classification4 ,,sarak1 see ,sarakhs4 ,,sarakhs 7,s-rks'74 ,a frontier town of #aj1jjj inhabitants in the northeastern corner of ,persia on the ,tijend ,river4 ,see ,bijar4 ,,sarawan 7,s' r-wn74 ,a district of ,persia just south of ,feraghan4 ,see ,saraband4 ,,sarouk1 see ,saruk4 ,,saruk 7,s-rk'71 ,sarouk4 ,a village in the district of ,feraghan1 not far from ,sultanabad4 ,see ,persian classification4 ,,savalan 7,s' v-ln74 ,the name of a mountain in ,azerbijan province4 ,a name often given in the ,american market to products of ,sultanabad4 ,for description of the so-called ,savalan rugs1 see ,sultanabad1 under the ,persian classification4 ,,sedjedes1 means a small rug4 ,,sehna1 see ,senna4 ,,selville1 see ,saraband4 ,,senna 7,sn' n71 ,sehna1 ,sinneh1 ,sinn4 ,a city in ,western ,persia just north of ,hamadan4 ,here rugs are made which are quite different from those made anywhere else in the ,orient4 ,see ,persian classification4 ,,serab1 see ,sirab4 ,,serapi 7,s-rp' 71 ,serab1 ,sirab4 ,name applied to some of the ,herez rugs4 ,see ,persian classification4 ,,seraband1 see ,saraband4 ,,shah ,,abbas 7,sha-,abbas74 ,a popular ,persian ruler of the #afth century4 ,his name has been given to a favorite design which originated during his reign4 ,,sharokh1 see ,bijar4 ,,shemakha 7,sh' m-k71 ,shemka1 ,shemaka1 ,cashmere1 ,kashmir1 ,soumak4 ,all names given to a class of pileless rugs which are woven by the ,nomadic tribes of ,shirvan1 near the town of ,shemakha1 a manufacturing town of the ,baku district1 ,transcaucasia1 with a population of #bj1jjj4 ,see ,caucasian classification4 ,,sheraz1 see ,shiraz4 ,,shiraz 7,sh-rz'74 ,a manufacturing and commercial town in the ,fars district with a population of #cb1jjj4 ,it was the former capital of ,persia4 ,shiraz rugs are sometimes erroneously called ,mecca rugs4 ,see ,persian classification4 ,,shirvan 7,shr' vn74 ,the name of a city and a khanate in ,russian ,caucasia1 just west of the ,caspian ,sea and along the southern slope of the ,caucasian ,mountains4 ,shirvan rugs are woven here4 ,see ,caucasian classification4 ,,sinna1 see ,senna4 ,,sibab 7,s-rb'71 ,serab4 ,a village in the ,herez district in ,northern ,persia4 ,serapi1 a name applied to some of the ,herez products1 is a corruption of the name ,sirab4 ,,sivas 7,s-vs'71 ,the name of a city and a province in ,northern ,asia ,minor1 south of the ,black ,sea2 the former with a population of #dc1jjj and the latter with a population of #a1jhg1jjj and an area of #bd1bdj square miles4 ,,smyrna 7,smr' n74 ,province and city of ,eastern ,anatolia4 ,the former has an area of #bj1hdd square miles and a population of #a1cig1jjj4 ,the city has a population of #bja1jjj and is an important rug market1 but not a centre of weaving4 ,for description of so-called ,smyrna rugs1 see ,turkish classification4 ,,soumak1 see ,shemakha4 ,,souj ,,bulak 7,souge ,b' lk74 ,the name of an old ,kurdish capital on the border south of ,tabriz4 ,for a description of the so-called ,souj ,bulak rug1 see ,persian classification4 ,,sultanabad 7,sl-tn' -bd74 ,a city in ,persia about one hundred and sixty miles east of ,kermanshah4 ,it has a population of #be1jjj and is the centre of rug weaving under ,european control4 ,rugs from this district are known as ,sultanabad1 ,savalan1 ,muskabad1 and ,mahal4 ,see ,persian classification4 ,,tabriz 7,t-brz'71 ,tabreez1 ,pinnacle of ,islam4 ,a commercial city of the province of ,azerbijan in the northwest corner of ,persia4 ,it is an important centre of rug weaving1 and has a population of #ahj1jjj4 ,for a description of the so-called ,tabriz rug1 see ,persian classification4 ,,talim4 ,a drawn or painted copy used by weavers indicating the pattern which they are to weave4 ,,tchechen1 see ,tchetchen4 ,,tcherkess1 or ,circassia4 ,a province in ,northwestern ,caucasia on the ,black ,sea1 once peopled by a tribe which has become almost extinct4 ,,tchetchen1 ,tchechen1 ,tzitzi1 ,chichi4 ,a tribe of wandering shepherds who inhabit the mountains north of ,daghestan4 ,they make a good quality of rugs4 ,see ,caucasian classification4 ,,teheran 7,t' h-rn71 ,the ,pure4 ,the present capital of ,persia1 with a population of #afj1jjj in summer and #bej1jjj in winter4 ,,tekke ,,bokhara 7,t' k ,b-kh' r74 ,the name of a rug woven by the ,tekke ,turkoman tribes who inhabit the country along the ,transcaspian ,railroad from ,askabad to ,merv4 ,see ,turkestan classification4 ,,tiflis4 ,the capital of ,transcaucasia1 next to ,constantinople1 is the greatest rug market in the world1 especially for the ,caucasian products4 ,it has a population of #afa1jjj1 mostly ,armenians1 ,georgians1 and ,russians4 ,it is said that more than seventy languages are spoken here4 ,,tjoshaghan1 see ,joshaghan4 ,,toman 7,t' mn74 ,a piece of ,turkish money equivalent to about #j4ia of our money4 ,,transcaucasia4 ,that part of ,russian ,caucasia south of the ,caucasian ,mountains4 ,,turkestan is an immense territory lying east of the ,caspian4 ,it is bounded on the south by ,persia1 ,afghanistan1 and ,china1 on the east by ,china1 and on the north by ,asiatic ,russia4 ,it is divided into ,russian ,turkestan on the north with an area of #beg1acd square miles and a population of nearly four millions2 ,eastern or ,chinese ,turkestan with an area of #eej1egi and a population of #a1bjj1jjj2 and ,turkestan proper on the south1 which also belongs to ,russia4 ,the rug centres are ,samarkand of the northern district1 ,kashgar1 ,yarkand1 and ,khotan of the eastern district1 and ,bokhara and ,khiva of the southern district4 ,,turkey ,,in ,,asia4 ,comprises ,anatolia1 ,syria1 the coast of ,arabia bordering on the ,red ,sea1 ,armenia1 and ,mesopotamia4 ,a medley of races and religions4 ,,turkoman 7,trk' -mn74 ,rugs from ,turkestan proper and generally grouped under the name ,turkoman4 ,,turkman1 see ,genghis4 ,,tzitzi4 ,a corruption of the word ,tchetchen4 ,,valonia4 ,the husk of a certain kind of acorn which is used for dyeing4 ,,yamud1 see ,yomud4 ,,yarkand 7,yr' knd74 ,a city of ,eastern ,turkestan4 ,an important trade centre with a population of #fj1jjj4 ,for description of the so-called ,yarkand rug1 see ,turkestan classification4 ,,yezd 7,yzd71 ,city of ,light4 ,capital of the province by the same name with a population of #ee1jjj4 ,,yomud 7,y'md71 ,yamud1 ,yamund1 ,yamut1 ,yamund4 ,names applied to a class of rugs which are woven just east of the ,caspian ,sea by the ,yomud ,turkomans4 ,see ,turkestan classification4 ,,youraghan1 see ,joshaghan4 ,,yourdez1 see ,ghiordes4 ,,yuruk 7,y-rk'71 ,youruck1 ,yourouk4 ,the word means mountaineer4 ,also the name given to a class of rugs woven by a certain mountain shepherd tribe of ,anatolia4 ,see ,turkish classification4 ,,zanjan 7,zn-jn'74 ,a town in the northwest corner of the province of ,irak ,ajemi1 ,persia4 ,rugs from this vicinity are called either ,zangan or ,koultuk4 ,,bibliography ,architectural ,record1 ,march1 #aiji1 ,old ,chinese ,rugs4 ,,benjamin1 ,,samuel ,,green ,,wheeler4 ,persia and the ,persians 7a74 ,,benjamin1 ,,samuel ,,green ,,wheeler4 ,oriental ,rugs1 ,cosmopolitan1 ,feb41 #ahic4 ,,beraty1 ,,phillipe4 ,chefs-,d'uvre of the ,industrial ,arts 7b74 ,,birdwood1 ,,sir ,,george4 ,the ,termless ,antiquity of ,integral ,identity of the ,oriental ,manufacture of ,sumptuary ,carpets 7c74 ,,birdwood1 ,,sir ,,george4 ,the ,antiquity of ,oriental ,carpets1 ,journal of ,royal ,society of ,arts1 vol4 lvi1 ,nov4 #f1 #aijh4 ,,bode1 ,,dr4 ,,wm4 ,,berlin4 ,decorative ,animal ,figures in ,old ,oriental ,carpets 7c74 ,,bode1 ,,wm4 ,knpfteppiche4 ,,bouvre1 ,,pauline4 ,the ,story of the ,rug1 ,new ,england ,magazine1 ,mar41 #aijf4 ,,buller1 ,w4 ,oriental ,carpets1 ,art ,journal1 #cd1 #ada4 ,,churchill1 ,,sidney ,t4 ,a4 ,the ,carpet ,industry in ,persia1 ,a ,monograph 7c74 ,,clark1 ,c4 ,,purdon4 ,oriental ,carpets1 ,a ,monograph 7c74 ,,clarklin1 ,,franklin4 ,the ,quest of the ,magic ,carpet1 ,everybody's ,magazine1 ,feb41 #aijh4 ,,clifford1 ,c4 ,r4 ,rugs of the ,orient 7d74 ,,clifford ,,and ,,lawton4 ,the ,rug ,primer 7d74 ,,cole1 ,,allen ,s4 ,the ,egyptian ,tapestry1 ,journal of ,royal ,society of ,arts1 ,sept4 #f1 #ahhi4 ,,crisp1 ,,ada4 ,illusions ,concerning ,oriental ,rugs1 ,good ,housekeeping1 ,jan41 #aijg4 ,,curtis1 ,,jessie ,k4 ,oriental ,rugs1 ,their ,designs and ,symbolism1 ,the ,craftsman1 ,june1 #aijd4 ,,cutler1 ,,martha4 ,rugs1 ,what to ,buy and ,how1 ,harper's ,bazaar1 ,oct41 #aijf4 ,,dunn1 ,,eliza4 ,rugs in ,their ,native ,land 7e74 ,,ellwanger1 ,g4 ,h4 ,the ,craft of the ,weaver1 ,the ,book ,buyer1 ,jan41 #aija4 ,,ellwanger1 ,w4 ,d4 ,the ,oriental ,rug 7e74 ,,glazier1 ,r4 ,a ,manual of ,historic ,ornament 7b74 ,godey's ,magazine1 #ed1 #bca1 #ahcg1 ,the ,carpet and ,its ,history 7g74 ,good ,works1 #de1 #adg1 #aijd1 ,persian ,carpets 7g74 ,,griffitt1 ,j4 ,r4 ,g4 ,turkey ,carpets and ,their ,manufacture 7h74 ,,gurdji1 ,v4 ,oriental ,rug ,weaving 7i74 ,harper's ,weekly1 ,march #ad1 #aijh4 ,chinese ,rug ,makers 7g74 ,,herringham1 ,,christina ,j4 ,oriental ,rugs1 ,burlington ,magazine1 vol4 viii1 p4 #ce2 vol4 xiv1 pp4 #bh1 #hd1 #adc1 #adg1 #bah1 and #bib2 vol4 xv1 p4 #ic4 ,,holt1 ,,rosa ,,belle4 ,rugs1 ,oriental and ,occidental 7j74 ,,howe1 ,,samuel4 ,rugs1 ,their ,character and ,functions1 ,country ,life in ,america1 ,jan41 #aijf4 ,,humphries1 ,,sidney4 ,oriental ,carpets1 ,runners and ,rugs2 ,some ,jacquard ,reproductions 7k74 ,,hunter1 ,,geo4 ,,leland4 ,animals in ,oriental ,rugs1 ,house ,beautiful1 ,sept41 #aijg4 ,hunter1 ,geo4 ,leland4 ,the ,truth ,about ',doctored' ,rugs1 ,country ,life in ,america1 ,july1 #aijf4 ,,hunter1 ,,geo4 ,,leland4 ,the ,use of ,oriental ,rugs in the ,country ,house1 ,country ,life in ,america1 ,may1 #aijf4 ,,langton1 ,,mary ,,beach4 ,how to ,know ,oriental ,rugs 7b74 ,,larkin1 ,t4 ,j4 ,a ,collection of ,antique ,chinese ,rugs4 ,,marquis1 ,w4 ,g4 ,oriental ,rugs1 ,brush and ,pencil1 ,sept41 #aija4 ,,micheal1 ,,wm4 ,h4 ,rug ,making in ,india1 ,daily ,consular and 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7description71 #bjf ,herati design1 #aad ,herez 7district71 #cdf ,herez rugs1 #ea ,herez rugs 7characteristics71 #adh ,herez rugs 7description71 #agc ,herez rugs 7illustration71 #agb ,hexagon in design1 #aae ,hog in design1 #aae ,holy carpet1 ,yerkes1 #bg ,hom in design1 see ,anthemion1 #ajb ,home looms1 #ef ,hook1 ,angular1 see ,angular hook1 #aja ,hook1 ,latch1 see ,angular hook1 #aja ,horse shoe in design1 #aae ,hound in design1 #aae ,hour glass in design1 #aae ,human beings in design1 #ii ,hygiene of ,oriental rugs1 #bh ,i ,identification of rugs1 #adg ,importation of ,oriental rugs1 #bj1 #bag ,indian designs1 #ih ,indian fish bone design1 see ,fish bone1 #aab ,indian hunting rug1 #bf1 #cce ,indian rugs1 #afb ,indigo used in dyeing1 #hb1 #hd ,inscriptions in design1 #ajj ,inspecting rugs at ,ispahan 7illustration71 #agj ,introduction1 #ag ,irak ,ajemi 7province71 #aga ,iron filings used in dyeing1 #hc ,ispahan 7city71 #cdf ,ispahan rugs1 #ej1 #ea1 #ccb1 #ccc ,ispahan rugs 7description71 #aid ,ispahan rugs 7illustration71 #aid ,ivy berries used in dyeing1 #hb ,j ,jewel in design1 see ,pear1 #abc ,jones1 ,mr4 ,quill1 #cf ,joshaghan 7district71 #cdf ,jug in design1 #aae ,k ,kabistan rugs1 #ej1 #ea1 #abh1 #ace ,kabistan rugs 7description71 #beh ,kabistan rugs 7illustration71 #beh ,karabagh 7province71 #cdg ,karabagh rugs1 #ej1 #abf ,karabagh rugs 7characteristics71 #abf ,karabagh rugs 7description71 #bfi ,karabagh rugs 7illustration71 #bgj ,kara ,dagh 7mountains71 #cdg ,kara ,dagh rugs 7characteristics71 #adh ,kara ,dagh rugs 7description71 #agh ,karaman 7town71 #cdg ,karaman rugs 7description71 #bbc ,kashan city1 #cdg ,kashan rugs 7description71 #ahj ,kashan rugs 7illustration71 #ahj ,kashgar rugs 7characteristics71 #aeb ,kashgar rugs 7description71 #bhg ,kazak rugs1 #ej1 #ea1 #ajh1 #abb1 #abf1 #ace1 #ach1 #aed1 #cbg ,kazak rugs 7characteristics71 #aej1 #aed ,kazak rugs 7description71 #bgb ,kazak rugs 7illustration71 #id1 #add1 #bgb ,kazak rugs1 ,weave of1 #aed ,kermanshah 7city71 #cdg ,kermanshah rugs #ej1 #cbg ,kermanshah rugs 7characteristics71 #adh ,kermanshah rugs 7description71 #ahf ,kermanshah rugs 7illustration71 #aah ,kermes used in dyeing1 #ha ,key1 ,greek1 see ,chinese fret1 #aje1 #cjd ,khilims1 see ,ghileems1 #caa ,khiva 7principality71 #cdh ,kiva ,bokhara rugs1 #ej1 #ea1 #cbg ,khiva ,bokhara rugs 7characteristics71 #aea ,khiva ,bokhara rugs 7description71 #bgh ,khiva ,bokhara rugs 7illustration71 #abj1 #bgh ,khorasan 7province71 #agb1 #cdh ,khorasan rugs1 #ej1 #gh1 #aad1 #abj1 #abe1 #aec1 #cbg ,khorasan rugs 7characteristics71 #adi ,khorasan rugs 7description71 #bjg ,khorasan rugs 7illustration71 #cb ,khorasan rugs1 ,weave of1 #aec ,kilims1 see ,ghileems1 #caa ,kirman 7city and province71 #agb1 #cdh ,kirman rugs1 #di1 #ajd1 #abj1 #cbg ,kirman rugs 7characteristics71 #adi ,kirman rugs 7description71 #baa ,kirman rugs 7illustrations71 #baj1 #bab ,kir ,shehr 7town71 #cdh ,kir ,shehr rugs 7characteristics71 #adi ,kir ,shehr rugs 7description71 #bbj ,kir ,shehr rugs 7illustration71 #acj1 #bbj1 #bbb ,kis ,ghileem1 #cac1 #cbd ,knop and flower design1 #aae ,knot in design1 #ajd1 #aaf ,knot of destiny design1 #aaf ,knot1 ,persian or ,senna1 #ia1 #ic1 #afi ,knot1 ,turkish or ,ghiordes1 #ia1 #ic1 #afi ,knots used in weaving 7illustration71 #ij ,konieh 7city71 #cdh ,konieh field design1 see ,rhodian1 #abf ,konieh rugs1 #aag1 #abg ,konieh rugs 7description71 #bbe ,konieh rugs 7illustration71 #ach1 #bbd ,koran1 #ii1 #ajj1 #aaf ,kulah border design1 #aej ,kulah 7city71 #cdi ,kulah rugs1 #ch1 #eb1 #cbc ,kulah rugs 7characteristics71 #aej ,kulah rugs 7description71 #bci ,kulah rugs 7illustrated71 #baf1 #bdj ,kurdish ghileems1 #cad ,kurdish ghileems 7illustration71 #cad1 #caf ,kurdish ghileems1 ,weave of1 #aed ,kurdish guard 7illustration71 #abd ,kurdish weavers1 #bai ,kurdistan 7country71 #cdi ,kurdistan rugs1 #ea1 #cbg ,kurdistan rugs 7characteristics71 #adi ,kurdistan rugs 7description71 #bab ,kurdistan rugs 7illustration71 #bad ,kurds1 #gh ,kurk1 #gj ,l ,ladik rugs1 #ej1 #eb1 #aag1 #abg ,ladik rugs 7characteristics71 #aej ,ladik rugs 7description71 #bbh ,ladik rugs 7illustration71 #gd1 #bbh ,laodicea 7village71 #cdi ,large patterns in rugs1 #di ,laristan 7province71 #cdi ,latch hook in design1 see angular hook1 #aja ,lattice design1 #aag ,lavender 7color71 #hd ,law against use of aniline dyes1 #gg ,leaf in design1 see ,pear1 #abc ,leopard in design1 #aag ,lemon juice used on rugs1 #ci ,library1 ,rugs suitable for1 #ea ,lily in design1 see ,rhodian1 #abf ,lime used on rugs1 #gf ,link in design1 #aah ,lion in design1 #aah ,living room1 ,rugs suitable for1 #ej ,loftus collection of rugs1 #ch ,logwood used in dyeing1 #hd ,london1 ,antiques in1 #cg ,long rugs1 #di ,loom1 ,eastern1 #hi ,loom1 ,persian 7illustration71 #ib ,looms in homes1 #ef ,loom1 ,turkish 7illustration71 #hh ,loop in design1 see ,pear1 #abc ,lotus in design1 #aah ,m ,madder used in dyeing1 #ha1 #hc1 #hd ,maden rug 7description71 #bbg ,maden rug 7illustration71 #bbf ,magpie in design1 #aai ,mahal rugs1 #ej ,mahal rugs 7description71 #bja ,mahal rugs 7illustration71 #bjb ,mahogany furniture1 ,rugs suitable with1 #eb ,makri rugs 7description71 #bde ,makri rugs 7illustration71 #bdf ,maksoud1 #cg ,marquand sale of antique rugs1 #bf ,material of rugs1 #de1 #fi ,material of ,chinese rugs1 #cje ,materials1 ,testing1 #de ,meander1 ,greek1 in design1 #aai ,mecca rugs1 #cbe ,medallion in design1 #abj ,meles rugs1 #ej1 #eb ,meles rugs 7characteristics71 #aej ,meles rugs 7description71 #bdb ,meles rugs 7illustrations71 #bdb1 #bdd ,merchant1 ,persian rug 7illustration71 #ch ,merve ghileem 7characteristic71 #aed ,merve ghileem 7description71 #cae ,merve ghileem 7illustration71 #caf ,merve ghileem1 weave of1 #aed ,meshed 7city71 #cej ,meshed rugs 7characteristics71 #adi ,meshed rugs 7description71 #bji ,meshed rugs 7illustration71 #bb ,metropolitan animal rug 7illustration71 #bf ,metropolitan exhibition of antiques1 #cg1 #cca ,mihrab1 #aba ,milassa 7town71 #cej ,mina ,khani design1 #abj ,mina ,khani design 7illustrated71 #bad ,mir design1 #abj ,mirror design1 see ,lattice design1 #aag ,mission rooms1 ,rugs suitable for1 #di1 #ea ,mohair1 #gj ,mohammedan calendar1 #ajj1 #aja ,monkey in design1 #aba ,mordants used in dyeing1 #gf ,morgan collection of rugs1 #bg1 #ch ,mosque design1 #aba1 #cag ,mosque rugs1 #cbe ,mosul 7city71 #cej ,mosul rugs1 #ch1 #ej1 #ea1 #eb1 #gj ,mosul rugs 7characteristics71 #aej ,mosul rugs 7description71 #bdg ,mosul rugs 7illustrated71 #bdh ,mountains in design1 #aba ,mulberry fungus used in dyeing1 #hc ,mujur rugs 7description71 #bbg ,n ,names of weavers in design1 #ajj ,names of rugs1 how derived1 #afa1 #afb ,nap1 ,direction of the1 #ic ,network in design1 see ,lattice design1 #aag ,niche1 ,prayer1 #aba ,niche1 ,prayer 7illustrated71 #cbb ,niris rugs 7characteristics71 #adi ,niris rugs 7description71 #bjb ,niris rugs 7illustration71 #bjd ,nomad rugs1 #eb ,nomads1 #gh ,nomenclature of rugs1 #afb ,numerals in design1 #ajj ,o ,octagon in design1 #abb ,odor in rugs1 #ga ,onion skins used in dyeing1 #hb ,orange 7color71 #hj1 #hc ,oriental rugs1 ,characteristics of1 #dc ,oriental shrewdness1 #ca ,oriental versus domestic rugs1 #bg ,oushak 7city71 #cej ,oushak rugs 7description71 #bbb ,owl in design1 #abb ,ox in design1 #abb ,oxalic acid used for doctoring rugs1 #ci ,p ,paint used on rugs1 #ci ,palace design1 #abb ,palace design 7illustrated71 #bgb ,palm in design1 see ,pear1 #abc ,palmette design1 #abb ,palm tree1 see ,tree1 #acf1 #acg ,panel in design1 #abc1 #cbc ,paraffin used on rugs1 #ci ,paris1 ,antiques in1 #cg ,parrot in design1 #abc ,pay of weavers1 #ee1 #agj ,payne collection of rugs1 #bg ,peacock in design1 #abc ,pear in design1 #aae1 #abc1 #abd1 #abe ,pearl in design1 #abe ,pease collection of rugs1 #ch ,pekin rugs1 #cjc ,pendants1 ,hanging1 #cbc ,peony in design1 #abe ,pergamon 7country71 #cea ,persia1 #cea ,persian berries used in dyeing1 #hc ,persian coat of arms1 see ,coat of arms1 ,persian1 #ajg ,persian classification1 #afb ,persian designs1 #ih1 #afi ,persian dye pots 7illustration71 #hj ,persian knot1 #afi ,persian rug provinces1 #aga ,persian village 7illustration71 #hj ,persian weavers1 #afi1 #agj ,phnix in design1 #abe ,piaster 7coin71 #cea ,pile of a rug1 #dd1 #ia1 #ib ,pillow cases1 #cbe ,pineapple in design1 #abe ,pine tree in design1 #abe ,pink 7color71 #hb ,poems in design1 #ajj ,polanaise rugs1 #ccb ,pole medallion in design1 see ,medallion1 #abj ,polish rugs1 #ccb ,pomegranate in design1 #abe ,powder bag 7illustration71 #cbd ,prayers of ,mohammedans1 #ajj ,prayer niches 7illustration71 #cbb ,prayer rugs1 #cba ,prayer rugs1 ,classification of #aeb ,profits on rugs1 #be ,purple 7color71 #hd ,r ,ram in design1 #abf ,reception hall1 ,rugs suitable for1 #ej ,reception room1 ,rugs suitable for1 #ej ,reciprocal saw teeth in design1 #abf ,reciprocal trefoil in design1 #abf ,red 7color71 #gf1 #hj1 #ha1 #hb ,reliable rug dealers1 #dc ,rhodian design1 #abf ,rhomboid in design1 #abg ,ribbon in design1 #abg ,rice in design1 #abg ,river loop in design1 see ,pear1 #abc ,room decorations1 #dh ,rooms1 ,rugs suitable for certain1 #dh ,rooster in design1 #abg ,rosary1 ,mohammedan1 see ,beads1 #ajc ,rose 7color71 #ha ,roses ,four1 in design1 #abh ,rosette in design1 #abh ,rothschild collection of rugs1 #cg ,rug exhibitions1 #cca ,rug factories in the ,orient1 #ee1 #eg1 #agj1 #bag ,rug nomenclature1 #afb ,runners1 #cbh ,russia1 ,antiques in1 #cg ,russia1 coat of arms1 see ,coat of arms1 ,russian1 #ajg ,s ,saddlebags1 #eb1 #cbf ,saddle bag 7illustrated71 #cbd1 #cbf ,saddlecloth1 #cbg ,saddle cloth 7illustrated71 #cbd ,salmon 7color71 #hd ,samarkand 7province and city71 #cea ,samarkand rugs1 #ajf1 #aaf1 #acd ,samarkand rugs 7characteristics71 #aea ,samarkand rugs 7description71 #bhi ,samarkand rugs 7illustration71 #bij ,samarkand1 ,street in 7illustration71 #bhh ,sample corners1 #cbf ,sample corner 7illustration71 #cbh ,saraband border design1 see ,mir design1 #abj ,saraband dance1 #afd ,saraband rugs1 #ej1 #ea1 #abe1 #aed1 #cbg ,saraband rugs 7characteristics71 #adi ,saraband rugs 7description71 #aig ,saraband rugs 7illustration71 #aih ,saraband1 ,weave of1 #aed ,sarak rug1 see ,bijar1 #ahe ,sarakhs 7town71 #cea ,sarawan 7district71 #cea ,sardar design1 #abi ,saruk 7village71 #ceb ,saruk rug1 #di1 #ej1 #aab1 #aeb1 #aec ,saruk rugs 7characteristics71 #adi ,saruk rugs 7description71 #bjj ,saruk rugs 7illustration71 #dj1 #aff ,saruk rugs1 weave of1 #aec ,saw-teeth1 ,reciprocal1 in design1 see ,reciprocal1 #abf ,scarabus in design1 see ,beetle #ajc ,scarlet 7color71 #ha1 #hb ,sceptre in design1 #abi ,scorpion in design1 #abi ,scroll in design1 #acj ,seals on rugs1 #dg ,secrets of dyeing1 #ge ,selection of rugs for rooms1 #dh ,selvage of rugs1 #de ,semi-,persian rug 7illustrated71 #ajj ,senna 7city71 #ceb ,senna ghileems1 #cab ,senna ghileems 7characteristics71 #cab ,senna ghileems 7description71 #cab ,senna ghileems 7illustration71 #cab ,senna knot1 #afi ,senna rugs1 #di1 #ej1 #aad1 #abe1 #aec1 #cbg ,senna rugs 7characteristics71 #adh1 #aea1 #aeb ,senna rugs 7description71 #ahh ,senna rugs 7illustration71 #ahh ,senna1 ,weave of1 #aec ,serapi rugs 7description71 #agh ,serapi rugs 7illustration71 #agh ,serpent in design1 #acj ,shah ,abbas 7ruler71 #ceb ,shah ,abbas design1 #cg1 #acj ,shawl design1 see ,pear1 #abc ,sheen1 #ci1 #fc1 #ib ,sheep's blood used in dyeing1 #hb ,shemakha 7town71 #ceb ,shemakha rugs1 #aab1 #aee1 #cbg ,shemakha rugs 7characteristic71 #aee ,shemakha rugs 7description71 #bfc ,shemakha rugs 7illustrations71 #bfd ,shemakha rugs1 ,weave of1 #aee ,shiraz 7town71 #ceb ,shiraz rugs1 #ej1 #ea1 #eb1 #ajd1 #abj1 #abe1 #abg1 #cbe1 #cbf ,shiraz rugs 7characteristics71 #adi ,shiraz rugs 7description71 #bjd ,shiraz rugs 7illustrations71 #eb1 #ajd1 #bjf1 #bjh ,shirvan 7city71 #cec ,shirvan design1 #acj ,shirvan rugs1 #ej1 #aah1 #abb1 #abh1 #aca1 #ace1 #aci ,shirvan rugs 7description71 #bfe ,shirvan rugs 7illustration71 #aeh ,shirvan ghileems 7description71 #cad ,shirvan ghileems 7illustrated71 #bej ,short rugs1 #di ,shortell collection1 #ch ,shou design1 #aca1 #cjd1 #cje ,signet of ,david in ,design1 #aca ,silibik design1 #aca ,silk1 #ga ,silk rugs1 #caf ,sinclair collection1 #ch ,sirab 7village71 #cec ,sixteen lucky squares in design1 see ,knot of destiny1 #aaf ,smyrna 7province and city71 #cec ,smyrna rugs1 #cbg ,smyrna rugs 7description71 #bdf ,snake in design1 see serpent1 #acj ,snow for cleaning rugs1 #fd ,solomon's seal in ,design1 #aca ,souj ,bulak 7city71 #cec ,souj ,bulak rugs 7description71 #aha ,sparrow in design1 #aca ,spider in design1 see ,scorpion1 #abi ,spinning the wool 7illustration71 #gb ,square in design1 #acb ,squirrel in design1 #acb ,stains on rugs1 #ff ,star in design1 #acb1 #acc ,storing rugs1 #fe ,stork in design1 #acc ,sultanabad 7city71 #cec ,sultanabad rugs1 #cbg ,sultanabad rugs 7characteristics71 #adi ,sultanabad rugs 7description71 #bja ,sumac used for dyeing1 #gf ,sumak rugs see ,shemakha1 #bfc ,sunburst design1 see ,palace design1 #abb1 #acc ,swan in design1 #acc ,swastika in design1 #acc1 #acd1 #cjd ,symbolism of designs1 #ii1 #cjc ,symbolic ,persian silk rug 7illustration71 #dh1 #ih ,symmetry of ,oriental rugs1 #ii ,t ,t1 forms in design1 #acd ,tabriz 7city71 #cec ,tabriz rugs1 #ej1 #cbg ,tabriz rugs 7characteristics71 #adh ,tabriz rugs 7description71 #ahb ,tabriz rugs 7illustration71 #ahb ,tae-kieh design1 #ace ,tags and seals on rugs1 ,purpose of1 #dg ,talim1 #ced ,tarantula in design1 #ace ,tariff on rugs1 #bj1 #be1 #bf ,tcherkess 7province71 #ced ,tchetchen 7tribe71 #ced ,tchetchen rugs 7characteristics71 #aej ,tchetchen rugs 7description71 #bfj ,tchetchen rugs 7illustration71 #bfj ,teheran 7city71 #ced ,tekke border design1 #ace ,tekke field design1 #ace ,tekke ,bokhara rugs1 #ea1 #ace ,tekke ,bokhara rugs 7characteristics71 #aea ,tekke ,bokhara rugs 7description71 #bha ,tekke ,bokhara rugs 7illustrations71 frontispiece1 #aej1 #afb1 #bhb1 #bhd ,testing of dyes1 #gi ,testing of materials1 #de ,thibet rugs1 #cjc ,tientsin rugs1 #cjc ,tiflis 7city71 #ced ,toman 7coin71 #ced ,tomoye design1 #acf ,tortoise in design1 #acf ,transcaucasia1 #bec ,transportation charges on rugs1 #be ,tree in design1 #ace1 #acg ,trefoil in design1 see ,reciprocal trefoil1 #abf ,trellis in design 7see ,lattice71 #aag ,triangle in design1 #acg ,tribal or ,family designs1 #ig ,tuberculosis in the ,orient1 #ee1 #eg ,turkey in ,asia1 #cee ,turkish classification1 #afd ,turkish coat of arms1 #ajg ,turkish designs1 #ih ,turkish exportation of rugs1 #bag ,turkish or ,ghiordes knot1 #afi ,turkish weavers1 #bag ,turkestan1 #bgg1 #ced ,turkoman classification1 #afe ,turkoman designs1 #ih ,turkoman rugs1 #bgg ,turkoman rugs 7characteristics71 #bgg ,turner collection of rugs1 #ch ,turtle border design1 #acf ,turtle in design1 see tortoise1 #acf ,twin fish design1 see ,herati1 #aad ,u ,umbrella in design1 #ach ,urn in design1 see ,vase1 #ach ,v ,valonia used in dyeing1 #gf1 #hc1 #hd ,value of rugs1 #be1 #cb ,vegetable dyes1 #dj1 #dd1 #ge1 #gf1 #gh ,vermilion 7color71 #hb ,vestibule1 ,rugs suitable for1 #di ,violet 7color71 #hd ,vulture in design1 #ach ,w ,walnut husks used in dyeing1 #hc ,warp1 #de1 #ib ,washed rugs1 #dj1 #fd1 #ic ,washing1 ,legitimate1 #dj ,washing of rugs1 #fd1 #fe ,wearing qualities of rugs1 #fc ,weavers1 #ee1 #hg1 #hi1 #ia1 #agj1 #bag1 #bah ,weavers1 ,chinese1 #ah1 #cjc ,weavers1 ,diseases among1 #ee1 #ef1 #eg ,weavers1 ,expert 7illustration71 #ch ,weavers1 ,kurdish1 #bai ,weavers1 ,pay of1 #ee1 #hh1 #hi1 #ij1 #agj ,weavers1 ,persian1 #ah1 #ia1 #afi ,weavers1 ,turkish1 #bag ,weavers1 ,turkoman1 #ia ,weavers1 ,youthful1 #ee1 #eg ,weavers1 ,youthful 7illustration71 #ij ,weaving1 ,age of1 #ag ,weaving1 ,biblical reference to1 #ag ,weaving1 ,chinese1 #cje ,weaving1 ,methods of1 #hi1 #ij1 #ia ,wedding rugs1 #cbd ,weight of rugs1 #dd ,widener collection of rugs1 #ch ,williams collection of rugs1 #ch ,willow tree in design1 see ,tree1 #acf ,wine glass border design1 #ach ,winged globe in design1 #aci ,wolf in design1 #aci ,woof1 #ib ,wool1 #fi ,wool1 ,preparation of1 #ga ,y ,y form in design1 #aci ,yak rugs1 #cje ,yang and ,yin design 7see ,tae-kieh71 #ace ,yarkand 7city71 #cee ,yarkand rugs 7characteristics71 #aea ,yarkand rugs 7description71 #bhh ,yellow 7color71 #gf1 #hj1 #hc ,yerkes collection of rugs1 #cg ,yezd 7city71 #cee ,yomud 7tribe71 #cee ,yomud ,bokhara rugs1 #ej1 #ea1 #aje1 #cbg ,yomud ,bokhara rugs 7characteristics71 #aea ,yomud ,bokhara rugs 7description71 #bhe ,yomud ,bokhara rugs 7illustration71 #bhf ,yuruk1 #cee ,yuruk rugs1 #ej ,yuruk rugs 7characteristics71 #aej ,yuruk rugs 7description71 #bca ,yuruk rugs 7illustration71 #bcj ,z ,zanjan 7town71 #cee ,zigzag design1 see ,meander1 ,greek1 #aai ,illustration3 ,,the ,,rug ,,caravan ,,footnotes3 ,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 antiques1 upon which it would be impossible to set a fixed value4 ,b ,in #ahib ,robson ,sons1 of ,london1 published a monograph on the ,ardebil mosque carpet by ,edward ,stebbing1 who describes it ably4 ,c ,in the ,turkish and ,persian languages the vowels are frequently silent and the characters do not stand for single consonants1 but represent combinations of sounds as in short-hand1 so that the same word is spelled in a great variety of ways when it is translated into ,english2 therefore1 the result is rather misleading1 and each person must1 to a certain extent1 interpret the phonetic spelling to suit himself4 ,transcriber's ,notes3 ,combined left sides 7pg4 #bbc;a and #bbc;c7 and right sides 7pg4 #bbc;b and #bbc;d7 for better readability4 ,tried to reduce width of table7s7 on pages #bbc;a - #bbc;d4 ,obvious typographical errors have been silently corrected1 but other variations in spelling and punctuation remain unchanged4