PART II

GENERAL CLASSIFICATION

In the general market are found over fifty different kinds of rugs, most of which are named after the towns or districts in which they are made, from which they are marketed, or after the people who make them. There is generally also some slight difference in the weave, the material, the color, the design or the finish, which gives each class its distinguishing, technical character. Of late years, however, there has been such an intermingling of races and transmission of ideas from one country to another, that even the expert is often unable to identify a rug with the place in which it was made.

There is occasionally a dealer who has many of his own names which he uses to the extinction of all others and some of the names used in Western countries would not be recognized in the countries from which the rugs come. Under such circumstances classification becomes rather difficult and it is not to be wondered at that authorities sometimes disagree. Importers and dealers in Oriental rugs would find it greatly to their advantage if they had a strict rug nomenclature based on facts and if they discountenanced everything in the trade which tended towards charlatanism or inspired distrust in the minds of buyers.

In the classification to follow we will consider rugs from a geographical stand-point.

To begin, we will consider them in the following order: 1st, Persian; 2nd, Turkish; 3rd, Caucasian; 4th, Turkoman; 5th, Beluchistan; and 6th, Chinese.

No reference will be made to Indian rugs for the reason that, outside of the fact that they are made in India, they can nowadays hardly claim a right to be classed as Oriental products, inasmuch as they are wholly modern creations made merely upon a trade basis, often by machinery, and after designs furnished by American and European designers.

{ Bakhshis { Herez { Gorevan { { Serapi (a) { Azerbijan { Kara Dagh (b) { { Kashan { { Souj-Bulak (c) { { Tabriz { { { Bijar, Sarakhs, (d) Lule (e) { Ardelan { Kermanshah { { Senna (c) { { { Feraghan (f) { { Hamadan PERSIAN OR { { Ispahan IRANIAN { Irak-Ajemi { Joshaghan (g) { { Saraband (h) { { Saruk { { Sultanabad { Mahal (i) { { Muskabad (i) { { Farsistan or Fars { Niris, Laristan (j) { { Shiraz { { { Herat (k) { Khorasan { Khorasan proper { { Meshed { { Kirman { Kirman { { Eastern Kurdistan { Kurdistan proper.

(a) After the village of Serab.

(b) Mountains.

(c) A Kurdish product, named after a city.

(d) More commonly called Sarakhs, after the city by that name, which is situated on the border line between Persia and Turkestan and within a few miles of Afghanistan. They are so called because the people who make them formerly came from this district.

(e) A corruption of the Persian word "roules," which means a pearl.

(f) A province.

(g) A district. Joshaghan is the English way of spelling it and Djoshaghan the French way of spelling it.

(h) A corruption of the word "Sarawan," the name of a district in Persia just south of Feraghan. The name has no connection whatever with the "Saraband Dance."

(i) Terms used for the different grades of rugs from the Sultanabad district.

(j) Laristan is a province in the Kirman district just south of Niris.

(k) Named after the city of Herat, which is not situated in Khorasan at all, but is across the Persian border in Afghanistan. They take this name for two reasons: first, because they are woven by people who formerly lived in Herat, but who, owing to political disturbances, settled in Khorasan; and second, because they are marketed at Herat.

{ Angora { Kir Shehr { { Brousa { Oushak { { { Karaman { { Konieh proper { Anatolian { Konieh { Mujur { { { Ladik (a) { { { Yuruk (b) { { { { { Ak-Hissar { { { Anatolian proper { { { Bergama Turkish { { Smyrna { Ghiordes { { Kulah { { Meles (c) { { Makri { { Smyrna proper { { Kurdistan { Mosul { Mosul proper

(a) A corruption of the word "Laodicea."

(b) The word "Yuruk" means mountaineer.

(c) A corruption of the word "Milassa."

{ Daghestan proper { Caucasia { Daghestan { Derbend { { Kabistan (a) { { Tchetchen, Chichi, { Tzitzi (b) { { { Baku proper CAUCASIAN { { Baku { Shemakha, Soumak (c) { { { Kashmir (d) { { { Shirvan (e) { { { Transcaucasia { Elizabethpol { Genghis, Ganja (f) { { Karabagh (e) { { Erivan Kazak (g)

(a) Should be Kubistan or Kuban, as they are made at Kuba.

(b) Named after a tribe of people who inhabit the mountains north of Daghestan.

(c) A corruption of the word "Shemakha."

(d) Sometimes called Kashmir from the resemblance of the under side to that of Cashmere shawls.

(e) A province.

(f) Named after a tribe of Turkomans who live in the vicinity of Elizabethpol. Sometimes called Ganja, after the ancient name of Elizabethpol.

(g) Named after a tribe of Nomads inhabiting the hills around Lake Goktcha.

{ Khiva Bokhara { Turkestan { Beshir Bokhara { { Tekke Bokhara (a) { { Yomud Bokhara (b) TURKESTAN OR { TURKOMAN { Eastern Turkestan { Kashgar { { Yarkand { { Russian Turkestan { Samarkand

Beluchistan { Beluchistan proper (c)

(a) Made by the Tekke-Turkomans who inhabit the plains to the west of the Oxus.

(b) The name of a tribe of Turkomans who inhabit the western end of Turkestan.

(c) Although these rugs are made in a region far distant from Turkestan, they are so similar to the Turkoman class that they are classified as such by several authorities.

Genghis, of the Caucasian class, being made by a tribe of Turkomans in the Caucasus and resembling closely the Turkoman productions, are classified as such by several prominent writers.

THE PERSIAN CLASSIFICATION AND DESCRIPTION

From the earliest time to the present the Persian has excelled all others in the designing of flowers and in color decoration, therefore the Persian textiles have always shown complex floral designs and harmonious arrangement of colors. Unlike the Turkish fabrics, they almost invariably have a full straight fringe at each end which is composed of loose warp threads.

In Persia both the Senna and the Ghiordes knots are used, and the latter has been adopted in some localities where the former alone was once in vogue.

The weavers of Persia are usually composed of women and children of both sexes. The latter, however, do not take up the work at nearly so early an age as they do in Asia Minor. In Persia they seldom begin earlier than ten years of age, while in Asia Minor thousands of little children from four to six years of age may be seen working at the loom. The usual pay in Persia is fifteen tomans ($0.91) a year for the first two years of their apprenticeship. This amounts to about $13.65 of our money. After the expiration of two years they are paid at the rate of one toman for every 30,000 stitches.

The Persian government has endeavored to uphold the quality of its rugs in the face of demoralizing influences, but alas, Persia too is getting the commercial spirit and aniline dyes are being smuggled into and secretly used all over the country.

One correspondent in Teheran says, "Good rugs are hard to get and are very expensive. There are quantities of the commercial variety, but those can be bought in London as cheap as in Persia." During the recent revolution quite a number of the palaces were sold out by their owners at auction. At these sales the good rugs were quickly picked up at fabulous prices by European residents in Teheran.

There are no rug factories in Persia, but there are several establishments owned by foreigners, especially at Sultanabad and Tabriz, where the wool is dyed and given out to the weavers to take home and weave according to the designs and specifications furnished.

PERSIAN RUG PROVINCES

The following is a short description of the various Persian provinces from which rugs come:

AZERBIJAN is the most northeastern province of Persia. It includes a part of Ancient Armenia and its present population consists mostly of Turks, with some Armenians and Kurds. Tabriz is the capital. Its present output of rugs is very large.

ARDELAN is the province just south of Azerbijan. Its inhabitants are mostly Kurds and its capital is Kermanshah.

IRAK AJEMI is the largest province of Persia. It practically occupies the centre of the country. Its principal city is Teheran, which is the present capital of Persia. Irak Ajemi has a larger output of rugs than any other province of Persia.

FARSISTAN or FARS, as it is sometimes called, lies in the southern part of Persia west of Kirman and south of Irak Ajemi. Shiraz is its capital and it produces a wool which is not excelled, if equalled, by that of any other country in the world.

KHORASAN is Persia's most southeastern province and, next to Irak Ajemi, its largest one. It is sometimes called "The Land of the Sun," and is inhabited by Arabs, Turkomans, Kurds, Afghans, Baluches, and Jews. The western portion is a desert. Meshed is the capital. It is one of the last of the Persian provinces to be affected by outside influences.

KIRMAN is the most southerly province of Persia and the least known. Being so difficult of access, it is seldom visited by the traveller; consequently its products are free from outside influence. It has for its capital the city of the same name.

A complete description of each rug of the Persian class is given in the following pages.

HEREZ

A name applied to all carpets made in the mountainous district of Herez and to some from Tabriz and Sultanabad. The different products of this class are so similar in many respects that it is often difficult and sometimes impossible for the expert to differentiate. There is a great prevalence of Mongolian influence in their designs. Until quite recently the Herez district was one of the few districts from which the modern rugs were a decided improvement on the antique, but they have deteriorated considerably of late. They are marketed at Tabriz.

THE EXAMPLE ILLUSTRATED

In exception to most of the Herez weaves this piece has no medallion centre with corner pieces to match, but the style of the floral motifs which fill the field is somewhat characteristic of the region in Northern Persia where it is made. The Herez products are extremely serviceable.

BAKHSHIS

WHY SO NAMED.--After the village by that name in the Herez district where they are made.

KNOT.--Usually the Senna, sometimes the Ghiordes. Number vertically six to fifteen; number horizontally five to twelve; number to the square inch thirty to one hundred eighty.

WARP.--Always cotton.

WOOF.--Always cotton, sometimes dyed brown.

NAP.--Usually a good quality of wool, trimmed short, but rarely lustrous.

SIDES.--Nearly always overcast with different colored yarns. Occasionally finished flat.

ENDS.--Short fringe with loose warp threads at each end; occasionally they are knotted.

BORDER.--Usually consists of two narrow and one wide central stripe. The latter frequently carries the Herati design.

PREVAILING COLORS.--Different shades of red, blue, and green. Also ivory, white, brown, old rose, and sometimes yellow.

DYES.--As a rule are good. Aniline dyes are found in many of the very new pieces.

DESIGNS.--Usually the medallion centre with or without corners to match. Characteristic angular ornamentation. Shah Abbas, Herati, and Sardar designs frequently used.

COST.[A]--From $1.00 to $2.50 a square foot.

SIZES.--Six to ten by ten to twenty-six feet. Seldom in small sizes.

REMARKS.--Rather rare compared with the rest of the Herez products. Among the most desirable of the large carpets. Until very recently they have been perfectly free from outside influences.

GOREVAN

SYNONYMS.--Goerivan, Ghorevan.

WHY SO NAMED.--After a small village in the Herez district.

WHERE MADE.--Throughout the Herez district.

KNOT.--Usually the Senna, occasionally the Ghiordes. Number vertically from eight to fifteen; number horizontally from six to twelve; number to the square inch forty-eight to one hundred eighty.

WARP.--Always cotton.

WOOF.--Always cotton, sometimes dyed brown.

NAP.--A rather coarse wool, clipped short.

SIDES.--Usually overcast, as a rule with different colored wool, seldom selvaged.

ENDS.--Always a short fringe with loose warp threads at each end. Occasionally they are knotted.

BORDER.--From three to five border stripes, generally three, one wide central stripe with a narrow one on each side. The central stripe frequently carries the Herati design.

PREVAILING COLORS.--Blue, red, and green in all their shades; brown, old ivory, terra cotta, and occasionally yellow.

DYES.--Of the best excepting in some of the new pieces.

DESIGNS.--Similar to those of the Bakhshis. A shaded background is a characteristic feature.

COST.--From $1.25 to $3.50 a square foot.

SIZES.--Six to ten by ten to twenty-six. Seldom smaller than carpet sizes.

REMARKS.--Excellent carpets to wear.

THE EXAMPLE ILLUSTRATED

Like most rugs of its class its field presents a medallion with corners to match, all of which is covered with rectilineal flowers and vines. Like most of the Herez products its main border carries the tortoise design.

SERAPI

SYNONYMS.--Serab, Serabi, Sirab.

WHY SO NAMED.--After the village of Serab in the Herez district.

WHERE MADE.--Sometimes in the Herez district, sometimes on the looms of Tabriz and sometimes on those of Sultanabad.

KNOT.--Usually the Senna, occasionally the Ghiordes. The finest ones are tied with the Senna knot. Number vertically ten to eighteen; number horizontally eight to twelve; making from eighty to two hundred sixteen to the square inch.

WARP.--Always cotton.

WOOF.--Always cotton, sometimes dyed.

NAP.--Rather coarse but durable wool, which is generally clipped short.

SIDES.--Nearly always overcast, seldom selvaged.

ENDS.--Short fringe and loose warp threads at each end. Occasionally knotted.

BORDER.--Similar to that of the Bakhshis and Gorevan. From three to five border stripes, most usually three.

PREVAILING COLORS.--Similar to those of the Bakhshis and Gorevan but, as a rule, somewhat brighter.

DYES.--Usually excellent.

DESIGNS.--Similar to those of the Gorevan, but there are usually more floral elements added to the ground. Frequent inscriptions.

SIZES.--Eight to fifteen by ten to twenty-five. Very few runners and seldom smaller than carpet sizes.

PRICES.--$1.50 to $4.00 per square foot.

REMARKS.--The best grade of the Herez products. Usually of a finer weave and with more detail in design than the Gorevan.

THE EXAMPLE ILLUSTRATED

It is rather difficult to distinguish between the Serapi and the Gorevan. The principal difference is one of quality, although the former usually has more detail in design and usually more floral elements added to the ground.

This carpet presents a peculiar medallion with four pear-shaped offshoots upon a light ground which is strewn with many rectilineal flowers and leaves. Like nearly all of the Herez products it has three border stripes, one wide one with a narrow one on each side. The former carries the tortoise border design with an arrangement similar to the Herati border design and the latter small flowers in profile alternating with buds.

KARA DAGH

WHY SO NAMED.--The words "Kara Dagh" mean Black Mountains, the name of a range in the northern part of the Azerbijan province, where they are woven by shepherd tribes of the most bigoted Shiah sect.

KNOT.--Ghiordes. Number vertically eight to fourteen; number horizontally eight to eleven; number to square inch sixty-four to one hundred fifty-four.

WARP.--Wool.

WOOF.--Natural brown or dyed wool. Usually extra woof threads.

NAP.--Wool of medium length, sometimes camels' hair.

SIDES.--Usually selvaged, occasionally overcast.

ENDS.--One end selvaged and turned back, the other selvaged and finished with a fringe of loose warp threads. The selvage is usually dyed red.

BORDER.--Usually from three to six border stripes of more or less floral character.

PREVAILING COLORS.--Similar to those of the Karabagh, but more diversified. The ground contains considerable natural-colored camels' hair.

DYES.--Usually good. Occasionally an aniline dyed one.

DESIGNS.--More of the Persian character than the Karabaghs, resembling somewhat the rugs of Kurdistan. The field is usually covered with small floral forms, which are thrown broadcast.

PRICES.--From $2.00 to $3.00 per square foot.

SIZES.--From three to four by five to seven feet. Runners two and one-half by eight to fifteen.

REMARKS.--Seldom seen in the American market. They have kept pretty well up to their original standard. In many respects they are similar to the Karabagh, to which they are somewhat superior.

KASHAN

WHY SO NAMED.--After Kashan, a city of 30,000 inhabitants between Teheran and Ispahan, where they are made. Kashan is the centre of the silk rug industry in Persia and it was here that the famous Ardebil carpet was woven.

KNOT.--Ghiordes. Number vertically twelve to thirty-five; number horizontally ten to twenty; number to square inch one hundred fifty to five hundred.

WARP.--Cotton, frequently silk or linen.

WOOF.--Cotton, frequently silk or linen.

NAP.--Fine short wool, frequently silk.

WEAVE.--As a rule very evenly and tightly woven.

SIDES.--Overcast with wool, sometimes with silk.

ENDS.--Short web with loose warp threads at each end.

BORDER.--From three to seven border stripes.

PREVAILING COLORS.--Dark blues, reds, and greens; rose, turquoise, deep wine color, and ivory.

DYES.--Good.

DESIGNS.--Similar to those of the Saruk. Exclusively floral with many connecting vines; medallions; no plain fields.

SIZES.--Only carpet sizes.

PRICES.--From $2.00 to $10.00 a square foot.

REMARKS.--Among the antique Kashans are a number of old "Hunting Carpets" with elaborate detail work showing in their design forests with hunters and dogs pursuing animals of the chase.

THE EXAMPLE ILLUSTRATED

The Kashan silk rugs are as a class the best silk rugs made and this particular one illustrates the best Persian spirit in design and workmanship. Although not as finely woven as some, it has four hundred and eighty-four knots to the square inch and it is made exclusively of the best Persian silk.

SOUJ BULAK

WHY SO NAMED.--After Souj Bulak, the old Kurdish capital some distance south of Tabriz, where they are made by the Kurds.

KNOT.--Ghiordes. Number vertically six to eight; number horizontally eight to eleven; number to square inch forty-eight to eighty-eight.

WARP.--Double yarn of wool. Sometimes half cotton and half wool.

WOOF.--Double yarn of wool. Sometimes of wool and cotton.

NAP.--Best, soft, double-stranded wool.

WEAVE.--Closely and tightly woven, making the nap stand up straight. SIDES.--Overcast like other Kurdish rugs.

ENDS.--One end has plain selvage, the other selvage and loose warp threads like most Kurdish rugs.

BORDER.--From two to five border stripes.

PREVAILING COLORS.--Dark reds, blues, and browns; also white and yellow.

DYES.--Good.

DESIGNS.--Kurdish designs as a rule. The Herati pattern is frequently employed.

SIZES.--Carpet sizes.

PRICES.--Rather rare. From $2.00 to $5.00 per square foot.

REMARKS.--Very compact, strong and serviceable.

TABRIZ

WHY SO NAMED.--After the city of Tabriz, the Persian capital, in the neighborhood of which they are made.

KNOT.--Nearly always the Senna, occasionally Ghiordes. Number vertically twelve to twenty-two; number horizontally ten to twenty; number to square inch one hundred twenty to four hundred forty.

WARP.--Nearly always cotton. Silk in some extra fine specimens. Occasionally linen.

WOOF.--Cotton, sometimes wool or linen. Formerly dyed the predominating color of the rug, but of late not dyed at all.

NAP.--Good wool, closely woven and closely trimmed.

SIDES.--The antiques are usually overcast, while the moderns are generally selvaged.

ENDS.--Narrow web with loose warp threads at each end. Occasionally trimmed. Frequently several strands of colored wool run through the web.

BORDER.--Generally five to eight border stripes; one wide one with an equal number of narrow ones on either side of it.

PREVAILING COLORS.--Bright blues, reds, and browns; ivory is frequently the predominating color of the field.

DYES.--Usually good. Some of the modern pieces have aniline dyes. The blues, reds, and browns are especially likely to be aniline.

DESIGNS.--Nearly always a medallion with field covered with intricate floral designs. Frequently verses from the Koran or of Persian poets are found in the borders. Tree of life patterns are frequent and a heart-shaped lamp often hangs from the niche in the prayer rugs. Seldom are figures of birds, animals, or human beings used.

SIZES.--All sizes, from mats to large carpets.

COST.--From $3.00 to $10.00 per square foot.

REMARKS.--The modern ones are too regular and exact in pattern and show European influences. They are so firm and closely woven that they are stiff and non-flexible.

With the Kirman the Tabriz shares the reputation of having the most graceful floral designs. They are purely Persian and have suffered little from outside influence. Many of them are so closely woven that they are apt to curl on the edges.

THE EXAMPLE ILLUSTRATED

This particular piece is a good example of the average design with its floral medallion and many border stripes.

BIJAR

SYNONYMS.--Sarakhs, Lule.

WHY SO NAMED.--After a town in Western Persia in the province of Kurdistan. Sometimes called Sarakhs because they are made by tribesmen who came from the old city by that name and settled around Bijar.

KNOT.--Ghiordes. Number vertically six to ten; number horizontally eight to twelve; number to the square inch forty-eight to one hundred twenty.

WARP.--Heavy wool.

WOOF.--Heavy wool, occasionally camels' hair.

NAP.--Heavy lustrous wool. The field is often of camels' hair.

SIDES.--Overcast.

ENDS.--Selvaged, sometimes a fringe woven on. The web of one end is frequently turned back and hemmed.

BORDER.--Usually from two to four border stripes.

PREVAILING COLORS.--Field frequently the natural color of the camel. Rich reds, blues, and greens; also white, old ivory, and yellow.

DYES.--Usually good except in some of the modern pieces.

DESIGNS.--Generally floral, often medallion centre with elaborate corner pieces. Inscriptions frequent. Patterns irregular. Modern ones inclined to be rectilinear. Antiques frequently have figures of birds, animals, and human beings.

COST.--$1.50 to $4.00 per square foot.

SIZES.--Modern ones in carpet size; antiques three to five by five to eight.

REMARKS.--The antiques are very rare and the modern ones are much inferior. Many of them are so thick and heavy that they cannot be folded but must be rolled up.

THE EXAMPLE ILLUSTRATED

Maj. L. B. Lawton's Description.--A complete rug in rare design. Usually such rarities are cut up so as to show the breaks in pattern, and fortunate collectors get one fraction. The soft colors in this are unusual even in Bijar.

See also illustration on page 328.

KERMANSHAH (MODERN)

WHY SO NAMED.--After the city of Kermanshah from which they are shipped, it being a great caravan centre.

WHERE MADE.--In the vicinity of Tabriz and of Sultanabad.

KNOT.--Nearly always the Senna, seldom the Ghiordes. Number vertically eight to sixteen; number horizontally eight to twelve; number to the square inch sixty-four to one hundred ninety-two.

WARP.--Always cotton.

WOOF.--Always cotton, occasionally dyed brown.

NAP.--The choicest, lustrous wool, closely woven and usually cut short.

ENDS.--Narrow web with loose warp threads at each end.

SIDES.--Overcast with dark wool.

BORDERS.--From three to five border stripes, most frequently five, one wide with two narrow ones on each side.

PREVAILING COLORS.--Soft shades of pinks, greens, or blues on a field of old ivory.

DYES.--In many the dyes are good, but are toned down with acids, while in others anilines are used.

DESIGNS.--Delicate, artistic and intricate floral designs. Central medallion and corner panels frequent.

SIZES.--All sizes, from mats to carpets as large as thirty-five to fifty-five feet.

COST.--$1.75 to $6.00 per square foot.

REMARKS.--There is as much difference between the modern and the antique Kermanshahs as there is between any two kinds of the Persian class. The former are made at Tabriz or Sultanabad under European supervision, are almost invariably doctored and can be had in abundance, while the latter were made by the mountaineers along the Turkish border, are of the best material, dyes and workmanship and are rarely seen in the market.

THE EXAMPLE ILLUSTRATED

Like most of its class it consists of artistic and intricate floral designs with a central medallion and graceful border stripes. In many Kermanshahs, as in this piece, the pear motif is frequently employed. See illustration at page 118.

SENNA

SYNONYMS.--Sehna, Sinne, Senneh.

WHY SO NAMED.--After the city of Senna in the vicinity of which they are made.

KNOT.--Senna always. Not equalled in number of knots by any other rug. Number vertically ten to thirty; number horizontally ten to thirty-two; number to the square inch one hundred to nine hundred sixty. Some antiques have as high as one thousand to the square inch.

WARP.--Cotton, sometimes silk or linen.

WOOF.--Cotton, sometimes wool, silk or linen.

NAP.--Finest silky wool, very closely cut.

SIDES.--Overcast with red cotton or silk.

ENDS.--Always a narrow web at each end, with a fringe of loose warp threads. Frequently one or two strands of colored yarn run through the web at one end.

BORDER.--From two to seven border stripes, most frequently three, a wide one with a narrow one on either side, the former usually filled with rosettes which are connected by a wavy line. Sometimes it will carry the Herati design. The ground color of the main stripe is almost invariably bright red or yellow.

PREVAILING COLORS.--Usually subdued shades of red, blue, green, yellow, and pink; ivory, gold, sapphire, rose, and peach blow beautifully blended. The modern ones are too bright.

DYES.--Many of the modern ones are aniline dyed.

DESIGNS.--Palm leaf throughout the field is a common design. Also a central diamond or medallion frequently of the pole variety. Sometimes centre field is covered with flowers. A diaper arrangement of the Pear or Herati design is the most common.

SIZES.--Usually of medium size, four to five by six to eight; seldom larger. Saddle bags two and one-half to three by four feet; mats two feet by one foot.

COST.--From $2.00 to $6.00 a square foot.

REMARKS.--Excel in fineness of weave, but edges are likely to curl and pucker, consequently they do not lie well and are too thin to wear well.

THE EXAMPLE ILLUSTRATED

Like this piece most of the Sennas present the serrated diamond-shaped pole medallion with the Herati design. They frequently have the Herati border also, though this piece has not.

FERAGHAN

SYNONYM.--Sometimes erroneously called Iran, which means Persian.

WHY SO NAMED.--Because they are made on the plains of Feraghan, west of the line of travel between Teheran and Ispahan.

KNOT.--All antiques are tied with the Senna knot. Some of the modern ones are tied with the Ghiordes knot. Number vertically, antiques eight to fourteen, moderns six to fourteen; number horizontally, antiques eight to eighteen, moderns five to twelve; number to square inch, antiques sixty-four to two hundred fifty-two, moderns thirty to one hundred sixty-eight.

WARP.--Always cotton.

WOOF.--Nearly always cotton, sometimes dyed.

NAP.--Usually of good wool, frequently of camels' hair.

SIDES.--Overcast, usually with black wool.

ENDS.--Narrow selvage hemmed over at one end, with a selvage and loose warp threads at the other end.

BORDER.--From three to nine border stripes, which usually carry small floral designs. Herati border is the most common and is almost characteristic. Usually one wide border stripe with a background of green and from one to four narrow border stripes on each side of it.

PREVAILING COLORS.--Green usually forms the background of the main border. The field is usually dark blue, soft red or ivory. Yellow is used considerably in the modern ones.

DYES.--Splendid in the antiques. Of inferior quality in the moderns.

DESIGNS.--Herati field the most common. Occasionally the Guli Hinnai is employed. Sometimes a centre of plain red medallions. There may be a repetition of some small figures throughout the field. All animal and bird designs in the Feraghans are represented as in motion.

SIZES.--Usually small sizes, three to four by four to six. Occasionally carpet sizes. Antiques mostly oblong.

PRICES.--Antiques $2.50 to $10.00 per square foot. Moderns $1.00 to $2.50.

REMARKS.--They rank among the best fabrics of Persia, but of late years have fallen to the joblot level. The antiques are soft, durable and heavy, but are scarce.

THE EXAMPLE ILLUSTRATED

OWNER'S DESCRIPTION.--The typical Feraghan rendering of the Herati pattern is here illustrated in which the dark blue field and green main border carry the Persian variant of the Herati design, which is popularly known as the "fish pattern," and which is copied with more or less accuracy all through central Persia.

HOMMEL RUG (page 114).--Knot: Ghiordes; number to the inch, vertically nine; horizontally seven; to the square inch, sixty-three.

The field, like that of the majority of Feraghans, is covered with the Herati design. The background is of black and the figures are red, blue, green, pink, yellow and white.

The main border stripe carries eight-petaled flowers of various colors, connected by the fish-bone motif upon a ground of white. On either side of this is a flower and vine design in various colors, the inner one on a ground of old rose and the outer one on a ground of dark brown. The inner and outer border stripes carry the reciprocal saw-teeth; the former in blue and red and the latter in green and red.

The nap is about three-quarters of an inch in length and is exceedingly glossy.

HAMADAN

SYNONYMS.--Hamadieh, Hamadie.

WHY SO NAMED.--After the city of Hamadan, in the vicinity of which they are made. Hamadan is the capital of the province of Irak Ajemi in western Persia and has a population of 35,000.

KNOT.--Ghiordes. Number vertically seven to ten; number horizontally seven to ten; number to square inch forty-nine to one hundred.

WARP.--Antiques always cotton.

WOOF.--Usually considerable camels' hair in natural color. Cotton or wool.

NAP.--Usually good wool or camels' hair of medium length.

WEAVE.--Antiques fine. Moderns coarse.

SIDES.--Overcast.

ENDS.--Fringe at one end and hemmed web at the other.

BORDER.--Three to six border stripes, usually four. The characteristic feature is a broad outside band of camels' hair. The Herati border design is frequently used.

PREVAILING COLORS.--The natural camels' hair brown prevails with soft delicate reds, pinks, blues, and greens.

DYES.--Of the best in the antiques, but generally poor in the modern fabrics.

DESIGNS.--Pole medallion is almost universal. Field is usually filled with floral designs or a trellis arrangement. Antiques resemble animal skins.

SIZES.--Antiques come in all sizes. Moderns two to four by four to six and runners two to four by eight to thirty.

PRICES.--$1.00 to $3.00 per square foot. Antiques rare and expensive.

REMARKS.--The modern ones are poor. The antiques are handsome and durable.

THE EXAMPLES ILLUSTRATED

This piece, like most of its class, has a nap which consists principally of natural-colored camels' hair, as is manifested in the central field and outer border. Like most Hamadans it also has a pole medallion in the centre of the field with corners to match. The weaver has adopted the Kurdish method of shading the field with camels' hair of different shades. The principal border stripe consists of alternate rosette and fish-bone motifs on each side of which there are small floral forms alternating in direction and connected by meandering vines.

STANTON RUG (page 110).--Like most of its class, this piece has a pile which consists mostly of undyed camels' hair. The colors, designs and border stripes are characteristic features, especially the motives in the outer border stripe, which are found in no other product. This piece has an unusually long nap, which not only adds to its wearing quality, but makes it lie better on the floor.

ISPAHAN

SYNONYM.--Isfayan. Sometimes, like the Feraghan, it is called Iran.

WHY SO NAMED.--After the city of Ispahan, the former capital of Persia, where they were made by expert weavers in the employ of the nobility at Ispahan, Teheran, and Saruk during the period of highest art.

KNOT.--Senna. Number vertically ten to twenty; number horizontally eight to fifteen; number to the square inch eighty to three hundred.

WARP.--Cotton.

WOOF.--Cotton.

NAP.--Best, soft, glossy wool.

WEAVE.--Usually close and even.

SIDES.--Overcast.

ENDS.--Narrow web with loose warp ends.

BORDER.--From three to five border stripes, usually three, one wide one between two narrow ones. The wide stripe is commonly of yellow, wine red, and green, especially in those made in the 16th century. The Herati design was frequently employed.

PREVAILING COLORS.--Deep reds, blues, and greens. Beautiful crimson. Deep wine colors known as Ispahan red. Field generally of deep red or blue.

DYES.--The best.

Designs.--Very artistic. Rich in floral and animal decoration of the finest Persian type. Large palmette and rich floral patterns connected by vines and serrated leaves arranged similarly to the Herati pattern. Cypress cones and various tree forms. The Shah Abbas design was freely employed.

SIZES.--Generally long and narrow (runners). Seldom small.

PRICES.--The antiques bring fabulous prices. Fragments have sold in recent years for $300 to $1000, and many carpets have brought from $15,000 to $25,000.

REMARKS.--Extremely rare. Almost impossible to secure a genuine specimen. The Saruks are the Ispahans of the present day. The antiques are examples of the most perfect weaving skill. Many of the so-called Ispahans of the 16th and 17th centuries were really productions of Herat.

THE EXAMPLE ILLUSTRATED

In this choice old piece of the sixteenth century the Shah Abbas design, one of the most beautiful of all ancient designs, is used freely in the field and in the main border stripe. The fir tree and the cloud band are also freely employed in the field, the latter showing the Mongolian influence which was quite prominent in many of the fifteenth and sixteenth century pieces.

JOSHAGHAN

SYNONYMS.--Djoshaghan, Djushaghan, Youraghan.

WHY SO NAMED.--After the Persian village and the district of Joshaghan, where they are made.

KNOT.--Ghiordes. Number vertically eight to twenty; number horizontally eight to twenty: number to square inch sixty-four to four hundred.

WARP.--Wool.

WOOF.--Wool.

NAP.--Fine wool of medium length.

SIDES.--Overcast.

ENDS.--A thin narrow web with loose warp threads at each end.

BORDER.--Usually three border stripes, one wide with a narrow one on either side. The wider stripe generally has for the ground color a lighter tone of the same color which predominates in the field.

PREVAILING COLORS.--Soft-toned colors similar to those of the Hamadan. Ground is usually red.

DYES.--Splendid in the antiques.

DESIGNS.--Generally a sort of scroll carried throughout the margin of the field and forming medallions. A common design is a series of crosses with angular ends and adorned with floral figures; also the eight-pointed star between every four crosses arranged into a lattice. There are usually many four-and six-petaled roses.

SIZES.--Usually large, seven to nine by ten to fourteen.

PRICES.--$2.00 to $5.00 per square foot.

REMARKS.--Antiques excellent. Among the best Persian carpets. They resemble somewhat the Saraband. Not very common in the United States.

SARABAND

SYNONYMS.--Serebend, Sarawan. The finest ones are sometimes called Mir Saraband and the coarsest ones are frequently called Selvile.

WHY SO NAMED.--A corruption of the word Sarawan, which is the name of a mountainous district south of Feraghan, where they are made.

KNOT.--Antiques are always tied with the Senna knot. Some of the modern ones are tied with the Ghiordes knot. Number vertically seven to fourteen; number horizontally eight to twelve; number to square inch fifty-six to one hundred eighty-eight.

WARP.--Always cotton.

WOOF.--Always cotton, sometimes dyed. All good Mir Sarabands have a blue woof thread.

NAP.--Usually even, short cut, silky wool.

SIDES.--Overcast, usually with a dark red wool.

ENDS.--One end usually has a narrow web and short fringe of loose warp threads, while the other is generally a narrow web which is frequently turned over and hemmed. Frequently several strands of colored wool run through the web, as in the Kurdish productions.

BORDER.--Usually from four to twelve border stripes, the principal one of which is from three to four inches wide with an ivory white background and a vine design running through it, at each turn of which is a leaf similar in shape to that in the Herati pattern. The vine design is nearly always present and characterizes the Saraband border from all others. The smaller border stripes are generally filled by various well-known designs, such as the reciprocal trefoil, the barber-pole stripe, the Greek meander, etc.

PREVAILING COLORS.--The field is generally of a dark blue or a rich red. In antiques it is often of a pink or rose shade. The main border stripe is frequently of old ivory or red, while the other border stripes vary, most of them as a rule being the same color as that which predominates in the field.

DYES.--As a rule are excellent. In the modern products some of these colors are liable to be aniline, especially the greens.

DESIGNS.--The field is almost invariably covered with the pear design arranged in rows, the stems of each successive row running in the opposite direction. This is nearly always the case and with the exception of the Shiraz it seems to distinguish the field from that of other rugs such as the Khorasan products, where the same design is frequently used but where the stems usually run in the same direction. The Mir Saraband sometimes has a Herati centre.

SIZES.--Three to five by four to nine, three to nine by twelve to twenty-four.

PRICES.--$2.00 to $6.00 per square foot.

REMARKS.--Sarabands are usually firm in texture, lie well, never grow monotonous, and, on the whole, are most satisfactory.

THE EXAMPLE ILLUSTRATED

This piece beautifully illustrates the most common Saraband designs. The field is covered with rows of the pear motif upon a background of rich dark red. The main border stripe carries the characteristic Saraband border design upon a background of old ivory. The woof is dyed light blue, which shows in the webbing at each end.

SARUK

SYNONYMS.--Sarouk, Sarook.

WHY SO NAMED.--After Saruk, a small village in the Feraghan district, from whence they come.

KNOT.--Always the Senna and usually as many to the square inch as any rug excepting the Senna. Number vertically eight to twenty-two; number horizontally six to twenty; number to square inch forty-eight to four hundred forty.

WARP.--As a rule cotton, occasionally linen.

WOOF.--As a rule cotton, occasionally linen.

NAP.--Fine silky wool cut short.

WEAVE.--Close and hard.

SIDES.--Overcast with dark wool or silk. They frequently curl on account of the tightness of the weave.

ENDS.--Narrow web and loose warp threads at each end.

BORDER.--Three to five border stripes, usually three. Generally the Herati border, occasionally the modern form of the Shah Abbas border design.

PREVAILING COLORS.--Usually dark seal browns, greens, and reds. Generally a field of ivory, blue or red.

DYES.--Generally good except in some of the modern pieces.

DESIGNS.--There is always a medallion. Flowers freely introduced. Often queer-shaped floral figures.

SIZES.--Three to five by five to twenty feet. Usually oblong.

PRICES.--$2.50 to $6.00 per square foot.

REMARKS.--Sometimes called the "Modern Ispahan."

THE EXAMPLES ILLUSTRATED

Two plates in color of Saruks are given--at pages 40 and 166, with description accompanying each.

SULTANABAD

SYNONYMS.--Classed as Muskabad, Mahal and Savalan, according to grade.

WHY SO NAMED.--Muskabad is named after the village by that name and Savalan after a range of mountains in the northern part of the Sultanabad district, while Mahal is but a trade name.

WHERE MADE.--In the Sultanabad district, which is the centre of rug weaving under European control.

KNOT.--Generally the Ghiordes, sometimes the Senna. Number vertically five to eight; number horizontally six to fourteen; number to square inch thirty to one hundred twelve.

WARP.--Cotton.

WOOF.--Cotton.

NAP.--Good quality of wool, usually of medium length.

SIDES.--Overcast.

ENDS.--Short web and loose warp threads of medium length.

BORDER.--Usually three border stripes, one wide one with a narrow one on either side. The Herati border design is the most frequent.

PREVAILING COLORS.--Bright reds, browns, blues, pinks, and greens with white.

DYES.--A large percentage are aniline dyed.

DESIGNS.--Usually large scrolls and floral patterns. The Herati design is quite common.

SIZES.--Carpet sizes only, eight to fifteen by ten to twenty.

PRICES.--From $1.00 to $3.00 a square foot.

REMARKS.--Those with good dyes are quite satisfactory, but at the present time most of the products of Sultanabad are purely commercial products.

THE EXAMPLE ILLUSTRATED

This piece most beautifully shows in its field the Guli Henna design, which is so commonly employed in the Sultanabad products.

NIRIS

SYNONYMS.--Laristan, Luristan.

WHY SO NAMED.--After the salt lake Niris in the province of Laristan, where they are made by the hillmen who inhabit the uplands of that section.

KNOT.--Ghiordes. Number vertically eight to twelve; number horizontally five to eight; number to the square inch forty to ninety-six.

WARP.--Best stout wool.

WOOF.--Best stout wool.

NAP.--Best wool of short or medium length.

WEAVE.--Not so closely woven as the best Shiraz, which they very much resemble.

SIDES.--Overcast.

ENDS.--A checked selvage at each end with a short fringe of warp, like the Shiraz.

BORDER.--Generally from three to five border stripes, some of which are quite elaborate. The barber-pole stripe is commonly used, but generally consists of several colors instead of only two as in the Caucasian fabrics.

PREVAILING COLORS.--Usually rather crude. Madder red predominates.

DYES.--As a rule good.

DESIGNS.--The pear pattern is commonly employed and when used it suggests the crown jewel, being an assemblage of points rather than of lines and more minutely worked out than are the smaller forms so common to the Saraband. No regularity of design, but quite similar to the Shiraz. Often a pronounced striped effect. Alternating rows of geometrical and floral designs.

PRICES.--From $1.50 to $3.00 per square foot.

REMARKS.--Strong and durable. Few reach America. They seem more like products of Turkestan than of Southern Persia.

THE EXAMPLE ILLUSTRATED

This particular design consisting of rows of pears with stems of alternate rows turned in the opposite direction is quite common in rugs of this class. The main border stripe in this piece also consists of the pear motif on each side of which is a barber-pole stripe.

SHIRAZ

SYNONYM.--Mecca, so called because they were so frequently taken by the shriners to the holy city of Mecca.

WHY SO NAMED.--After the city of Shiraz, where they are made.

KNOT.--Generally the Senna, sometimes the Ghiordes. Number vertically seven to sixteen; number horizontally six to twelve; number to square inch forty-two to one hundred ninety-six.

WARP.--Generally heavy wool, sometimes goats' hair in the moderns, and frequently more than two woof threads between each row of knots.

WOOF.--Always wool, frequently dyed.

NAP.--Lustrous, soft, short wool.

WEAVE.--Rather loosely woven as a rule.

SIDES.--Overcast or braided with wool of two or more colors. Little tassels of wool frequently project from the overcasting on the sides.

ENDS.--Web of medium width at each end which is often dyed red, white, and blue, or a plain red selvage with rows of colored yarns running through it.

BORDER.--From two to seven border stripes, some of which frequently carry a vine to which are attached oval-shaped flowers in alternate red and blue. The barber-pole stripe is frequently employed.

PREVAILING COLORS.--Rich colors like wine, autumn foliage, the plumage of birds, deep rich blues, reds, yellows, greens; usually dark blue field.

DYES.--Good.

DESIGNS.--Pole medallions almost universal. Has as a rule more figures of birds and animals than any other class of rugs. Pear pattern very common. The centre field is frequently filled with diagonal stripes. Flowers scattered throughout the field.

SIZES.--Usually medium, four to five by six to eight. Also carpet sizes. Saddle bags are very common.

PRICES.--$1.25 to $3.00 per square foot.

REMARKS.--They seldom lie well. They are often crooked and puffed up. The Bergama is the only other rug made with tassels along the sides.

THE EXAMPLES ILLUSTRATED

The field carries an unusual double arrangement of the pear motif, alternating with small tree forms. The outside border consists of small bird forms, each alternate row facing in the opposite direction. Note the elaborate webbing at each end. (See also page 104.) Prayer rugs of this class are exceedingly rare, in fact they are seldom seen in this country. This one is a gem, but has lost its principal Shiraz character in that the sides have been reovercast with wool of one color instead of with two or more colors, as it originally was. Another very unusual feature is the absence of two of the border stripes on the lower end. (See also color plate at page 52 and doubletone at page 208.)

HERAT

SYNONYMS.--Herati, Heratee.

WHY SO NAMED.--Probably so named because the Herati design, which is characteristic of the rug, originated in the city of Herat.

BY WHOM MADE.--It is also said that the weavers of these rugs were originally from Herat.

WHERE MADE.--In the province of Khorasan.

KNOT.--Usually the Ghiordes. Number vertically six to twelve; number horizontally eight to twelve; number to square inch forty-eight to one hundred forty-four.

WARP.--Cotton. Silk in some of the antiques.

WOOF.--Usually cotton, sometimes wool. As a rule dyed brown.

NAP.--Soft, glossy wool of medium length.

WEAVE.--Very closely woven.

SIDES.--Overcast.

ENDS.--Narrow web with loose warp threads at each end.

BORDER.--Usually from three to seven border stripes. The Herati design is common. Green is usually the background of the main border stripe.

PREVAILING COLORS.--Brilliant reds, greens, blues, and yellows, also ivory. Often a purplish pink cast.

DYES.--Unsurpassed.

DESIGNS.--Similar to those of the Feraghan. Most always the Herati design, the leaves of which are generally shaded on one side. Occasionally the pear pattern with the stems all facing in one direction. Once in a while a medallion centre.

SIZES.--Seldom small. Medium sizes are most common. Some runners and occasionally a saddle bag.

PRICES.--$2.00 to $5.00 per square foot.

REMARKS.--Durable and heavy. Resemble the Khorasan in most respects. Aiyin and Kayin are names sometimes given to a coarse form of Herat. Many of the Herats of the 16th and 17th centuries are now erroneously called Ispahans.

KHORASAN

WHY SO NAMED.--After the most northeastern province of Persia from which they come.

KNOT.--Senna. Number vertically eight to fifteen; number horizontally ten to twenty-five; number to square inch eighty to three hundred seventy-five.

WARP.--Always white cotton.

WOOF.--Usually cotton, occasionally wool.

NAP.--Fine wool of varying lengths.

WEAVE.--Characteristic, there being four or more rows of knots with no weft threads between, then several weft threads, etc., giving a peculiar look to the back of the rug and when it is bent the knots are shown in groups.

SIDES.--Usually overcast. Occasionally an added selvage.

ENDS.--Fringe of loose warp threads at each end.

BORDER.--Usually from three to seven border stripes, most frequently three, one wide one and two narrow ones. Some have as many as sixteen. The Herati border design is common.

PREVAILING COLORS.--Magenta is a prominent color; reds, blues, greens, pinks, and white. Usually a background of rich red, blue, or white.

DYES.--Antiques all good. Modern pieces are usually poor.

DESIGNS.--Pear designs common. Animals and birds frequently depicted. The Herati design is the most frequently seen. Medallion centre with corners to match. Two small pears resting their stems upon a larger one is a design also commonly used. The field is often plain.

SIZES.--All sizes but mostly large, seven to fifteen by ten to twenty-five feet.

PRICES.--$1.50 to $3.50 per square foot.

REMARKS.--Antiques durable, pliable, and soft. Especially suitable for living rooms, libraries, and halls. Modern ones are good in every respect excepting the dyes.

THE EXAMPLE ILLUSTRATED

For description see tissue accompanying color plate at page 32.

MESHED

SYNONYMS.--Mashhed, Meshad.

WHY SO NAMED.--After Meshed, the capital of Khorasan, where they are made.

KNOT.--Usually the Senna, seldom the Ghiordes. Number vertically nine to twenty; number horizontally eight to twelve; number to square inch seventy-two to two hundred forty.

WARP.--Nearly always cotton, seldom wool.

WOOF.--Usually wool, frequently cotton.

NAP.--Soft, silky, even wool of varying lengths.

WEAVE.--Characteristic with its uneven distribution of woof threads, even more so than in the Khorasan proper.

SIDES.--Overcast with wool.

ENDS.--Short web with loose warp threads at each end.

BORDER.--From three to seven border stripes. The Herati design very common.

PREVAILING COLORS.--The antiques have soft, subdued shades of blue, green, and pink, also ivory, while the modern ones have rather bright shades of the same colors.

DYES.--In the antiques good. In the moderns poor.

DESIGNS.--Similar to those of the Khorasan proper. The pear design predominates. The Herati is common. Animals and birds are frequently represented. Medallion centre common.

SIZES.--All sizes from three to ten by four to twenty feet or even larger.

PRICES.--$2.00 to $4.00 per square foot.

REMARKS.--Similar in design to the Khorasan proper, but usually of a finer grade. Also heavier and more durable.

THE EXAMPLE ILLUSTRATED

A color plate of this beautiful rug may be seen on page 22. Its description is given on the accompanying tissue.

KIRMAN

SYNONYM.--Kerman.

WHY SO NAMED.--After the province and city of Kirman from which they come.

BY WHOM MADE.--By the wandering tribes of Afghars.

KNOT.--Always Senna. Number vertically ten to twenty-four; number horizontally eight to twenty; number to square inch eighty to four hundred eighty.

WARP.--Cotton always.

WOOF.--Usually wool, frequently cotton.

NAP.--Fine silky and durable wool.

WEAVE.--Very fine and close.

SIDES.--Overcast.

ENDS.--Narrow web with fringe at each end.

BORDER.--Three to eight border stripes, usually three, one wide one with a narrow one on either side. Frequently there is a narrow strip of plain rose color all around the outer edge.

PREVAILING COLORS.--Light, soft, delicate blue, green, rose, old gold, and fawn.

DYES of the best.

DESIGNS.--Tree of life, birds, fruit, bouquets, vases; more naturalistic and less geometrical than any other Oriental rugs. Frequently a medallion centre.

SIZES.--All sizes from mats to carpets.

PRICES.--From $2.00 to $5.00 per square foot.

REMARKS.--Genuine Kirmans are rather scarce because of the remoteness of the district from the centres of trade. They are not to be compared with the Kermanshahs or the Turkish Kirmans. The latter are coarse, modern, commercial products. Kirman rugs are soft and durable.

THE EXAMPLES ILLUSTRATED

HOLMES RUG (page 212).--The field design, consisting of rows of vases filled with red roses, is quite common to this class of rugs, but the border is rather unusual, being a mixture of Persian and Chinese motifs.

TRUMP RUG (page 210).--A masterpiece both in workmanship and design. In the prayer field is the Tree of Life resting in a large urn. Note the medallion with Arabic inscriptions.

KIRMAN SADDLE BAG (page 326).--The field is filled with the ordinary Kirman rendition of the rose. On one end of the Ghileem part is a piece of leather put there by the proud owner to prevent it from wearing by friction on the donkey's neck. Underneath will be found the original girdle and buckle.

KURDISTAN PROPER

WHY SO NAMED.--After the country in which they are made. A province occupying the eastern part of Turkey in Asia and the western part of Persia.

By Whom Made.--BY THE NOMADIC TRIBES WHO live in the mountains of Kurdistan.

KNOT.--Always the Ghiordes. Number vertically six to eight; number horizontally six to ten; number to square inch thirty-six to eighty.

WARP.--Dark twisted wool or goats' hair. Usually gray.

WOOF.--As a rule wool, sometimes goats' or camels' hair. Usually several woof threads between each row of knots.

NAP.--Usually good heavy gray wool which is cut long; sometimes goats' hair, camels' hair, or kurk.

WEAVE.--Generally good, the knots being well tied.

SIDES.--Always overcast, frequently with different colored wools, most frequently brown.

ENDS.--Usually a thick narrow selvage with knotted fringe or loose warp ends. Nearly always one or two lines of colored wool run through the selvage. This is a Kurdish characteristic and is a distinguishing feature. Often the web of one end is turned back and hemmed.

BORDER.--From two to nine border stripes, usually from three to four, one wide one with one or two narrow ones on each side. The main border stripe usually carries designs in profile.

PREVAILING COLORS.--Usually dark rich reds, greens, blues, yellows, pinks, and terra cotta, beautifully varied. The shading of colors is also a Kurdish characteristic.

DYES.--Usually of the best. The Kurds have clung to the old colors more than any of the other rug-making people.

DESIGNS.--Generally wild, irregular figures of various sizes scattered carelessly and the intervals filled with small indistinct figures. Lattice designs with each division filled with floral forms. The Herati and the pear designs are occasionally used.

SIZES.--Seldom large. From four to five by seven to eight feet and occasionally in carpet sizes.

PRICES.--Usually from $0.75 to $3.00 per square foot. The prayer rugs are rare and expensive.

REMARKS.--Freest of all from outside influences. Hard when new but most durable and satisfactory. In fact it is the best moderate priced rug now on the market.

THE EXAMPLE ILLUSTRATED

OWNER'S DESCRIPTION.--Upon a rich blue ground the Mina Khani design is accurately wrought, and the five-petaled Henna blossoms are symmetrically placed in their customary relation to the dark red, blue and golden yellow floral rosette forms distributed over the field. Three rather narrow borders surround the field, the middle one of which is yellow. The inner and outer borders carry tawny colors and small patterns.

THE TURKISH CLASSIFICATION

THE TURKISH CLASSIFICATION

The term "Turkey" includes all portions of Asia Minor, the principal rug-weaving districts of which are Anatolia and Kurdistan.

The annual importations of rugs into the United States alone from Asia Minor amount to from $2,500,000 to $3,000,000, most of which are shipped directly from Constantinople. In many parts of Asia Minor, especially in Oushak, Smyrna, Ghiordes, Kulah, and Sivas, nearly every home has a loom, some two or three, and in many places factories have been established by European and American capitalists; the weavers are almost all Armenian women and children, the latter ranging from four to thirteen years of age. Moslem women and children will not work in factories. As a rule these people earn barely enough to clothe and feed themselves, but those who have been able to lay by anything generally invest their earnings in carpets, as people of other countries often do in diamonds and precious stones, handing them down from generation to generation and selling one when hard pressed for money, so that the tourist is often surprised to find in the homes a collection of very valuable rugs.

The Ghiordes knot is used exclusively and both warp and woof are always of wool or goats' hair. Fully four-fifths of the present output are aniline dyed. The weave is coarser and the nap longer than in the Persian class and many of them are crooked.

The designs, which vary little, are more geometrical than are those of the Caucasians. The Turks never weave figures of birds, animals and human beings, as their religion forbids it. Those with a cross are always Armenian, as the Turks do not decorate with the cross, while those with the prayer niche are always Turkish, as the Armenians never pray on their rugs. Green, the sacred color of the Mohammedans, is seldom used except in the prayer rugs or those designed for mosques. Most of the large Turkish carpets are modern and are made near Smyrna. Many of the modern fabrics bear no relation to antiques of the same name.

The southern part of Armenia is called Kurdistan. It is inhabited by wandering, warlike tribes of Nomads, who pasture their flocks in the southern plains in the winter and go to the mountain districts in the summer time.

The Kurds possess the skill of shading their colors, but this they have abandoned of late. They also scatter small bits of color through a space otherwise unoccupied. Red is their favorite color.

On the following pages is given a detailed description of the various Turkish rugs.

KIR SHEHR

SYNONYMS.--Kirit Shehr, Kirshehir, Kirshcher.

WHY SO NAMED.--After a town of that name in Turkey just southeast of Smyrna, where they are made.

KNOT.--Ghiordes. Number vertically seven to twelve; number horizontally six to ten; number to square inch forty-two to one hundred twenty.

WARP.--Wool, dyed the predominating color of the rug.

WOOF.--Wool, dyed the predominating color of the rug.

NAP.--Long, fluffy wool.

SIDES.--Colored selvage, sometimes added.

ENDS.--A colored web of various lengths at each end, also a fringe of loose or braided warp ends. Some of the smaller mats have on these webs several parti-colored tufts composed of all the different colored yarns which are used in the body of the rug.

BORDER.--From five to eight border stripes, most frequently five, the main stripe carrying the most pretentious form of ornamentation.

PREVAILING COLORS.--Brilliant reds, blues, and greens, especially the latter, of which there are phenomenal shades skilfully blended.

DYES.--As a rule splendid.

DESIGNS.--Attempted Persian designs. Prayer design with one cross panel at the bottom instead of at the top as in the Kulah.

SIZES.--Medium sizes only, two and one-half to four by four to six feet.

PRICES.--From $1.50 to $2.50 per square foot.

REMARKS.--They are very scarce in the United States. They resemble the Bergama and are thick and durable.

THE EXAMPLES ILLUSTRATED

OWNER'S DESCRIPTION.--Ghiordes knot, 7 horizontal by 10 vertical. An unusual specimen of Kir Shehr in prayer design, marked by a radical departure from the accepted type of prayer arch formation peculiar to this weave. The flatness of the arch and the multiplicity of borders and stripes suggest Kula influence. The outer border, on ivory, has a conventionalized floral design, green, yellow and pale blue flower devices on waving vine tracery. Two medium stripes in different red values enclose the second border, which carries the S device in lavender and blue on black. The inner border displays the carnation in blue, lavender and red on canary. The prayer field is flat and non-serrate at top, border outlined in an ancient Kir Shehr motif in red and ash white on light blue. About the mihrab is an arrangement of carnations, while the top of arch and on outer side of field are more pinks and a small shrub device. The field is in shades of rose, the softened end result of an original magenta, and carries three plateaus superposed, each sustaining four trees; two bearing fruits outlined against soft green foliage, and the other two, coniferæ. Between each outer pair of trees is a little temple. Above and below in the field are curious devices evidently picturing some presumably sacred edifice. This rug bears evidence of age and use, while the chromatic ensemble is soft and refined. Technically, it has a two strand yellow selvage; two red wool weft threads between each row of knots, and a two strand cream wool warp. Both ends are finished with a short, light brown web and plain, long fringe.

SIEGEL RUG.--This piece is similar to one exhibited in the Berlin museum under the name of Kir Shehr, although it has some characteristics of other Anatolian products, such as the Kulah, the Konieh and the Meles. Having only the photograph to assist us in the classification, we are obliged to accept that of the Berlin connoisseur.

STANTON RUG (page 130).--The small border stripes in this piece are Kulah in character, while the main stripe is found more or less in all the Anatolian products, especially the Ghiordes.

OUSHAK

WHY SO NAMED.--After the city of Oushak, one of the greatest rug markets of Asia Minor, on account of its railroad connection with the Mediterranean seaboard.

BY WHOM MADE.--Mostly by Greek Mohammedans who reside in the vicinity of Oushak.

KNOT.--Ghiordes. Number vertically four to eight; number horizontally four to ten; number to square inch sixteen to eighty.

WARP.--Wool of the same grade as that in the pile. It is generally dyed the predominating color of the rug.

WOOF.--Wool, same as that used for the warp and pile, and it also is dyed.

NAP.--Good wool of varying lengths.

WEAVE.--Loosely woven.

SIDES.--No rule.

ENDS.--No rule; most frequently a short green or red web with loose warp threads.

BORDER.--No rule; usually three border stripes, one wide one with a narrow one on each side.

PREVAILING COLORS.--Usually bright reds, greens, blues, browns, and yellows, with more or less white.

DYES.--Aniline mostly.

DESIGNS.--No rule. Generally large medallions and geometrical figures. Some are patterned after the Persians and some after the Turkish designs, but the great majority are European.

SIZES.--Mostly carpet sizes from ten to twenty-five by fifteen to fifty feet. Usually nearly square.

PRICES.--$0.75 to $2.00 per square foot.

REMARKS.--There are several varieties which in order of excellence are named Gulistan, Enile, Kerman, Yaprak and Sparta.

KARAMAN

SYNONYM.--Kaba Karaman.

WHY SO NAMED.--After the town of Karaman, southeast of Konieh, where they are made by Nomadic tribes of Turkoman descent. The word "Kaba" means coarse.

KNOT.--Ghiordes. Number vertically four to six; number horizontally four to eight; number to square inch ten to forty-eight.

WARP.--Coarse wool. Usually dyed red.

WOOF.--Always coarse wool. Usually dyed red.

NAP.--Of medium or long, coarse wool.

WEAVE.--Very loosely woven.

SIDES.--Usually overcast, sometimes selvaged.

ENDS.--No special rule. Frequently short web with loose warp threads.

BORDER.--Usually from three to five border stripes; one wide one with one or two narrow ones on either side.

PREVAILING COLORS.--Usually a great deal of white with dark reds, blues, greens, and yellows.

DYES.--Good in antiques, poor in the moderns.

DESIGNS.--Rather bold Caucasian designs.

SIZES.--Most of those which come to America are small.

PRICES.--Very cheap, from $0.50 to $1.50 per square foot.

REMARKS.--Coarse and unattractive but rather durable.

KONIEH

SYNONYM.--Koniah.

WHY SO NAMED.--After the city of Konieh (the ancient Iconium), capital of the province of the same name, where rug weaving is an important industry.

KNOT.--Ghiordes. Number vertically eight to twelve; number horizontally seven to ten; number to square inch fifty-six to one hundred twenty.

WARP.--Fine wool in the antiques; coarse wool in the moderns; frequently dyed.

WOOF.--Fine wool in the antiques; coarse wool in the moderns.

NAP.--Fine selected wool of medium length.

WEAVE.--Antiques evenly and tightly woven; moderns loose and irregular in weave.

SIDES.--Antiques usually selvaged, moderns usually overcast.

ENDS.--Web and selvage, sometimes fringe of loose warp ends.

BORDER.--As a rule there are from three to four border stripes, one wide one and two or three narrow ones.

PREVAILING COLORS.--Antiques have soft shades of blue, red, and yellow. No rule in the moderns. Often there are two colors in one yarn.

DYES.--Splendid in the antiques. Some of the modern ones are aniline dyed.

DESIGNS.--Rather crude. Generally plain centre. Prayer design common.

SIZES.--Three to five by four to seven. Also mats.

PRICES.--Antiques rare; from $2.00 to $10.00 per square foot. Moderns from $1.00 to $2.25 per square foot.

REMARKS.--The modern pieces are large and thick. They resemble the Oushak carpets. Some of them are of sterling texture and good color and design, while others are very coarse and cheap in every way.

THE EXAMPLES ILLUSTRATED

MAJ. L. B. LAWTON'S DESCRIPTION.--A most unique and rare specimen of an obscure Anatolian weave. Good Koniehs are quite as scarce as good Kulahs or Ghiordes, are less known and have therefore less demand. The right and left Rhodian lilies are green, the centre one is azure--all on rose pink. The space above shades from Nile green to sea green. Main border is golden buff. This old rug is as thick as a Kazak. For softness of tone it rivals the most delicate silk rug.

MERCER RUG (page 138).--This is a rug of considerable age, and a very fine specimen of its kind. The center is in soft tints of undyed wool, while the peacock blues of the field above the niche are almost metallic in their brilliancy and lustre. The delicate form of the Rhodian lily is used with much nicety of feeling throughout the border and to break the mass of the centre. (Owner's description.)

MUJUR

SYNONYM.--Maden.

WHY SO NAMED.--After the city of Mujur in the Kir Shehr district of the Province of Konieh, from which they come.

KNOT.--Always the Ghiordes.

WARP.--Always the wool.

WOOF.--Wool, dyed red.

NAP.--Short wool.

BORDERS.--Usually three border stripes, one wide one, with a narrow one on either side. The main stripe usually carries floral forms arranged in square or diamond shaped medallions. The reciprocal saw teeth design is frequently employed.

ENDS.--Usually a wide red web with or without short knotted warp ends.

SIDES.--Finished with a three or four corded selvage.

PREVAILING COLORS.--Red, green, blue, cream, and yellow.

DESIGNS.--This class of rug nearly always comes in the prayer form. There is generally a cross panel above the prayer niche and the field is, as a rule, filled with designs.

SIZES.--From two and a half to five feet wide by four to seven long.

PRICES.--Rather high on account of their scarcity. From $2.00 to $10.00 a square foot.

REMARKS.--This class of rugs is so rare that it is not mentioned by any of the American or English authors.

THE EXAMPLE ILLUSTRATED

OWNER'S DESCRIPTION.--This rug comes from the town of Maden, in the Kir Shehr district of Konieh province. Mudjar, a better known rug producing town, is within twenty miles. It has the remarkable wool and dye qualities that make the production of Kir Shehr. This rug is so very bright that the assertion that it is fifty to seventy-five years old might be disputed, but the unequal color erosion, the remarkable bald shine of the back, and the well marked thinning of the pile where the knees of the devotee rested while at his devotion, evidence its antiquity. The panel of lavender above the prayer arch is notable, as is the pigeon blood ruby of the field. While this rug has evidently done duty for many years, it was probably folded away after use at prayer, and given little exposure to sunlight.

LADIK

WHY SO NAMED.--A corruption of the word Laodicea, the name of a most primitive old town of 500 population in the midst of a mound of ruins near Konieh, where they are made.

KNOT.--Ghiordes. Number vertically eight to twelve; number horizontally eight to fourteen; number to square inch sixty-four to one hundred sixty-eight.

WARP.--Always wool, generally of a fine texture and dyed the predominating color of the rug.

WOOF.--Always wool and usually dyed the predominating color of the rug.

NAP.--In the antiques the finest, selected, lustrous wool, which is generally cut short. In the moderns a coarse wool of loose texture.

WEAVE.--Antiques closely and evenly woven. Moderns loosely woven.

SIDES.--A fairly wide colored selvage, made by weaving the woof threads upon three or four of the outside warp threads. Sometimes the selvage is added.

ENDS.--Usually a two-or three-inch red web at each end, which is frequently striped with yellow or blue. A fringe formed by the loose warp ends.

BORDER.--From three to five border stripes, generally three, one wide one with a narrow one on each side. The main border stripe in many of the oldest specimens has the Rhodian lily design alternating with the rosette.

PREVAILING COLORS.--Subdued rich colors. Usually greens, reds, blues, and yellows, with more or less old ivory or white. Magenta is very frequently employed.

DYES.--Good, as a rule.

DESIGNS.--Prayer design most frequent. The pattern is so characteristic as to be unmistakable. Figures are usually bold and large in comparison to the size of the rug. The prayer niche always contains five tree-like branches alternately capped with a floral and a geometrical design. A mosque lamp usually hangs from the niche.

SIZES.--Prayer rug sizes and mats similar to the so-called "Anatolian" mats.

PRICES.--From $1.75 to $3.50 per square foot.

REMARKS.--Not many modern ones. They somewhat resemble the Bergama, but are somewhat brighter and heavier.

THE EXAMPLE ILLUSTRATED

MAJ. L. B. LAWTON'S DESCRIPTION.--Choice antique Ladiks are considerably rarer than either Kulahs or Ghiordes. Many collectors owning all other Anatolians have never seen a Ladik. This weave almost invariably shows the Rhodian lilies both above and below the niche. The specimen here shown has a rich red field doubly hooked with gold; spaces above and below are gentian blue, main border is yellow. This latter color has until recently been in disfavor with American collectors; but the French and German critics have always shown a great liking for yellow, and it is now coming into its own in America.

See also color plate at page 74.

YURUK

SYNONYMS.--Yurouk, Yaruk.

WHY SO NAMED.--The word "Yuruk" means mountaineer, and the rugs are so named because they are woven by the mountaineers who wander with their flocks on the southern and middle ranges of Anatolia.

KNOT.--Ghiordes. Number vertically six to twelve; number horizontally seven to ten; number to square inch fifty-six to one hundred twenty.

WARP.--Brown wool or goats' hair. Frequently dyed.

WOOF.--Brown wool or goats' hair. Frequently dyed.

NAP.--Fine, long, fluffy, lustrous wool, sometimes mixed with goats' hair.

WEAVE.--Loosely woven as a rule.

SIDES.--Selvaged with goats' hair or overcast with colored yarns.

ENDS.--Narrow colored webs with warp ends braided.

BORDER.--Usually two or three stripes, which are, as a rule, rather narrow in proportion to the size of the rug.

PREVAILING COLORS.--Brilliant dark colors. Browns and blues seem to predominate.

DYES.--Generally good.

DESIGNS.--Large, irregular, rude geometrical designs, somewhat similar to those of the Kazak. The latch hook is frequently employed.

SIZES.--Usually small.

PRICES.--From $1.50 to $3.00 per square foot.

REMARKS.--Antiques glossy and rare. The modern ones are invariably crooked and lack symmetry, but wear well. In many respects they resemble the Kazaks.

THE EXAMPLE ILLUSTRATED

In design this piece is more Caucasian than Turkish. The main border design is similar to those so frequently found in the old Shirvans. Note the letter S, borders, the tarantulas and the swastikas.

AK HISSAR

SYNONYMS.--Akhissar, Aksar, Axar.

WHY SO NAMED.--After a town by that name lying in the mountains less than one hundred miles north of Smyrna, where they are made.

KNOT.--Ghiordes. Number vertically four to eight; number horizontally four to ten; number to square inch sixteen to eighty.

WARP.--Coarse wool.

WOOF.--Coarse wool.

=Nap.=--Thick wool and mohair.

WEAVE.--Loosely woven.

SIDES.--Usually overcast, occasionally selvaged.

ENDS.--Narrow web at each end with loose warp threads.

BORDER.--Similar to those of the Ghiordes.

PREVAILING COLORS.--Mostly dark green, red, and blue, with some white.

DYES.--Like most of the Turkish rugs, the moderns are apt to be chemically dyed.

DESIGNS.--Similar to those of the Ghiordes and Oushak.

SIZES.--From four to six by six to eight feet.

PRICES.--Usually cheap.

REMARKS.--Similar to the modern Ghiordes. Very few reach the United States.

THE EXAMPLE ILLUSTRATED

MAJ. L. B. LAWTON'S DESCRIPTION.--A typical specimen, showing double and single latch hooks in the niche. The eight borders might cause a beginner to name the rug Kulah, except for the reason that Kulahs are paler in tone and usually much larger, and decidedly thinner. A good Ak Hissar is intrinsically worth as much as a Kulah of same quality, but, being less rare, may be had for about ten per centum of the cost of a Kulah. This Ak Hissar is a study in rose and green; the niche is rose, the oblong field is green; inside border is canary, next is black; other borders alternate rose and ivory. The pattern above the niche is a Ghiordes conceit, as is the main border.

ANATOLIAN PROPER

SYNONYM.--Yesteklik, a name frequently applied to the mats.

WHY SO NAMED.--After the country of Anatolia, which is another name for Asia Minor.

WHERE MADE.--Most of them come from the province of Angora and Konieh. The so-called Anatolian mats come from all parts of Anatolia.

KNOT.--Always Ghiordes. Number vertically six to fifteen; number horizontally six to ten; number to square inch thirty-six to one hundred fifty.

WARP.--Always wool.

WOOF.--Always wool, which is usually dyed.

NAP.--Usually a long, shaggy, soft wool. Sometimes mohair.

WEAVE.--Very good as a rule, but apt to be somewhat irregular.

SIDES.--Always selvaged.

ENDS.--Nearly always a wide red webbing with loose warp threads at each end.

BORDER.--From one to six border stripes, most usually three.

PREVAILING COLORS.--Rich reds, yellows, greens, and blues, with more or less white.

DYES.--Good in the antiques. Few modern pieces that are not aniline dyed.

DESIGNS.--Usually bold geometrical designs. Every sort of a device both curved and rectilineal. The latch hook is especially common. The prayer rugs are patterned somewhat after the Ghiordes and Ladik.

SIZES.--From one to four by one and one-half to six feet. Seldom larger.

PRICES.--From $0.25 to $3.00 per square foot.

REMARKS.--Frequently crooked. Attractive on account of their oddity. Very serviceable. Some of the antique Anatolians are made in sections and afterwards sewed together.

THE EXAMPLE ILLUSTRATED

See color plate at page 60 with accompanying description.

BERGAMA

SYNONYMS.--Bergamo, Pergamo.

WHY SO NAMED.--A corruption of the word Pergamo, which is the name of a small village of 3000 inhabitants, about forty miles northeast of Smyrna, where they are made.

KNOT.--Ghiordes. Number vertically ten to fourteen; number horizontally six to twelve; number to square inch sixty to one hundred sixty-eight.

WARP.--Always dyed wool, usually of a splendid quality.

WOOF.--Always dyed wool.

NAP.--The best soft, silky wool, usually quite long.

WEAVE.--Frequently several woof threads between each row of knots.

SIDES.--Usually broad red selvaged sides, made by weaving the woof threads upon three or four outside warp threads. Frequently have small tassels of wool along the sides. The only rug that has these excepting the Shiraz.

ENDS.--Rather broad web with braided fringe at each end. The web often carries a woven design or blue stripes. Until recently the Bergama was the only rug which sometimes had rosettes woven on the webbing. Nowadays an occasional Anatolian may be found with this feature.

BORDER.--From three to five border stripes, usually three. They are generally wide with flowers in profile.

PREVAILING COLORS.--Red, green, blue, yellow, ivory, and orange. Rather dark.

DYES.--Nearly always of the best.

DESIGNS.--The Bergama designs are somewhat characteristic. The Bergama weavers are inventors of patterns rather than copyists. Medallions frequent, with a well covered field. Sometimes the checker-board pattern. Figures generally bold and large in proportion to size of the rug.

SIZES.--Usually nearly square. One and one-half to four by two to six feet. Antiques usually run smaller than the modern ones.

PRICES.--Rather high. From $2.00 to $10.00 per square foot.

REMARKS.--Very scarce.

THE EXAMPLES ILLUSTRATED

BERGAMA RUG.--The unusual medallion in this piece is characteristic of the Bergama only. In its centre is the octagon and eight-pointed star of the Medes, a motif which is found more or less in nearly all classes of rugs, but in none more frequently than in the Bergama.

The main border stripe is composed of lily blossoms in profile and in full.

* * * * *

BERGAMA PRAYER RUG (see page 46).--Knot: Ghiordes. Number to the inch, horizontally seven; vertically seven; to the square inch, seventy-seven.

Bergama prayer rugs are not often seen in this country and this particular piece is a very uncommon and choice one. The designs are unusual, the colors the best and the nap has the hammered-brass appearance so common in many of the old Bergamas.

The prayer field is of a beautiful terracotta; the space just above the niche is in light and dark blue; the panels carry most peculiar geometrical designs in white, yellow, blue and brown, the upper one on a ground of terracotta and the lower one on a ground of old rose. The main border stripe carries a variety of nameless geometrical designs in red, yellow, blue, brown and drab upon a white background. The outer border stripe consists of an eight-petaled flower alternating with a motif which might have been intended for the wine glass, so frequently found in the Caucasian fabrics.

GHIORDES

SYNONYMS.--Ghiordez, Gurdiz, Guerdi, Yourdez, Yurdi, and many others.

WHY SO NAMED.--After the city of Ghiordes, fifty miles north of Smyrna, where they are made. It is the ancient Gordium from which was named the Gordian knot that Alexander the Great cut.

KNOT.--Always the Ghiordes knot. Number vertically eight to fourteen; number horizontally eight to twelve; number to square inch sixty-four to one hundred sixty-eight.

WARP.--Usually wool, antiques occasionally cotton or silk.

WOOF.--Usually cotton, occasionally wool or linen.

NAP.--Short, fine, lustreless wool, occasionally cotton. It has the shortest nap of any of the Turkish rugs. Seldom acquires sheen.

SIDES.--Frequently finished with an added silk selvage in pale colors.

ENDS.--The fringe on the upper end, as a rule, instead of being a continuation of the warp threads, is a separate piece sewed on.

BORDER.--From three to ten border stripes, usually one wide and one with from one to four narrower ones on each side. A favorite arrangement is to alternate light and dark border stripes.

PREVAILING COLORS.--Light blues, yellows, reds, and greens. Usually considerable white or ivory.

DYES.--Of the best.

DESIGNS.--A great majority of them are of the prayer designs. Usually with a centre of solid color and two cross panels, one at each end of the field.

SIZES.--Usually prayer rug sizes. Modern ones run larger than the antiques.

PRICES.--Antiques exceedingly high.

REMARKS.--Antiques are among the best, while the modern ones are among the poorest.

THE EXAMPLE ILLUSTRATED

OWNER'S DESCRIPTION.--The field of this old Ghiordes rug is of jade green, edged with small flower forms in cream, canary color, and brown. The high prayer niche penetrates the light blue space in which is a most symmetrical and formal arrangement of a leaf worked in light green, brown and red. The outer and inner border stripes carry the Ghiordes "Tarantula" design, and in the main border the design is squared off in tile fashion, a stiff leaf in light blue filling one-half the square and two red blossoms with yellow centres the other half. The stems are wrought in dark brown. See also color plate, page 66.

KULAH

SYNONYMS.--Koula, Coula.

WHY SO NAMED.--After the town of Kulah, which is southeast of Ghiordium and east of Smyrna, in the vicinity of which they are made.

KNOT.--Ghiordes. Number vertically eight to twelve; number horizontally eight to fourteen; number to square inch sixty-four to one hundred sixty-eight.

WARP.--Always fine wool.

WOOF.--Usually fine wool. Moderns occasionally of cotton.

NAP.--Fine, short, silky wool in the antiques, mohair in some of the modern ones.

WEAVE.--Generally close, well tied knots.

SIDES.--Antiques always selvaged, moderns usually overcast and occasionally selvaged.

ENDS.--Narrow web with loose warp ends. Generally dyed yellow.

BORDER.--From seven to fourteen border stripes, having as a rule more than any other class of rugs. Usually one wide stripe with a multiplication of peculiarly marked small ones, which alternate in colors and carry minute designs. A distinguishing feature is the so-called "Kulah" border stripe, which consists of the repetition of a figure which somewhat resembles an alligator and is quite Chinese in character.

PREVAILING COLORS.--In the antiques, red, blue, golden brown, and yellow are the prevailing colors. The modern ones have a purplish tint instead of crimson.

DYES.--In the antiques the dyes are of the best. Anilines are frequently used in the modern product.

DESIGNS.--The great majority of the Kulah rugs are of the prayer variety. The inner field is frequently filled, or partly filled, with small floral patterns. A figure resembling the Shamrock is quite common. Usually one panel above the prayer field, whereas the Ghiordes generally has two panels: one above and one below the prayer field.

SIZES.--Antiques from three and one-half to five by five to seven feet. Moderns all sizes from mats to carpets.

PRICES.--Antiques costly, from $5.00 to $20.00 per square foot. Modern ones cheap, from $1.50 to $4.00.

REMARKS.--So similar to the Ghiordes that it is sometimes difficult to differentiate. Of the modern ones the better grades are made by the Christians, while the poorer grades are made by the Mohammedans. The distinguishing features of the Kulah are first its characteristic border stripes, second the filled or partly filled centre field, while in the Ghiordes the centre field is generally of a solid color, and third, the single panel, while the Ghiordes generally has two panels.

THE EXAMPLE ILLUSTRATED

OWNER'S DESCRIPTION.--The coloring in this rug has a gem-like brilliancy combined with great refinement. The field is of deep rich blue, and the flower forms that rest upon it are of soft canary and azure. Seven borders alternately of tan and blue surround the field and carry the "fleck" design commonly found in borders of this style. Occasional touches of blood red are also distinctive features of these Kulah fabrics.

MELES

SYNONYMS.--Melhaz, Melace, Milas, Carian, Karian.

WHY SO NAMED.--A corruption of the word Milassa, the name of a town a few miles southwest of Smyrna, where they are marketed.

WHERE MADE.--In some of the seacoast towns south of Smyrna and on many of the scattered islands in the Gulf of Makri.

KNOT.--Ghiordes. Number vertically five to ten; number horizontally four to nine; number to square inch twenty to ninety.

WARP.--Wool, often colored at the end.

WOOF.--Cotton or wool, most frequently the former.

NAP.--Coarse, loose, lustrous wool, generally cut short.

SIDES.--Selvaged. This selvage is formed by the woof threads when they are wool and added on when the woof threads are cotton.

ENDS.--Web of varying length at each end with fringe of loose warp threads.

BORDER.--Generally six or more border stripes; the wider one usually carries flowers in profile.

PREVAILING COLORS.--The antiques are noted for their rich golden yellow combined with blues, reds, and greens.

DYES.--Generally good. Some of the modern pieces are dyed with brilliant chemical dyes.

DESIGNS.--Mostly Caucasian in character. The latch hook is prominent. Besides the usual prayer designs, perpendicular stripes of yellow, red, and blue, with zigzag lines running through them, are characteristic designs of the Meles. Many small detached figures.

SIZES.--Usually small and almost square. Three to four by four to five feet.

PRICES.--Antiques are rare and few of the modern pieces reach the United States. From $1.50 to $3.00 per square foot.

REMARKS.--They are similar to the so-called Anatolian, but are lighter in color and woven better. In some respects they resemble the Bergama. Getting scarce as few new ones are woven.

THE EXAMPLES ILLUSTRATED

OWNER'S DESCRIPTION.--This rug comes from a city of great antiquity in Southwestern Asia Minor, near the coast, opposite the island of Rhodes.

The design and coloring are archaic in simplicity and suggest the interests of a people dwelling by the sea. Observe the turtle figures interspersed between the curves of vine in the panels; also the fin-like appearance of the leaf-forms attached to the vine, the line of fish-hook heads bordering the panels and wave design on either side of same. The striped character of the field is a feature to be noted in this rug, also the introduction of an exceptional design in the fourth stripe.

The border is seen to be very inconspicuous and of remarkably few stripes for a product of the Anatolian country. The simple nature of the small detached floral forms indicates an early origin, before the enriching influence of the Persian invasion.

Brilliant colors were chosen for use in the rug, though of such mellow tone as to be in excellent, subdued harmony. The predominating colors are golden canary-yellow, madder red, and green, with blue, violet and white as secondary tones.

The shades in which these colors appear are quite indescribable, doubtless on account of careless methods of dyeing or the chances of home-made mixtures. Thus the green is of a bluish cast, the blue is mottled with lighter shades (a well-known characteristic of this variety of rug) and the violet, which, as the most typical and exclusive of Meles colors, should be pure in tone, is of dingy look, apparently having succeeded brown in the dye-pot.

All the colors have remained absolutely fast, despite the long exposure of time. The kaleidoscopic effect which has been noted as a quality in many old Meles rug patterns, may be easily detected in this specimen.

STANTON RUG.--A much finer weave than the average rug of this class and a very attractive design. Note the peculiar shape of the field which is notched in instead of out, as in the majority of hearth rugs. The yellow and the plum colors in the main border stripe are seldom found in any other class of rugs.

MAKRI

SYNONYM.--Megri.

WHY SO NAMED.--After the Gulf of Makri.

WHERE MADE.--On the islands in the Gulf of Makri and in the towns along its coast.

KNOT.--Always the Ghiordes. Number vertically four to eight; number horizontally four to eight; number to the square inch sixteen to sixty-four.

WEAVE.--Quite similar to that of the Meles, but a trifle coarser.

WARP.--White or gray wool.

WOOF.--White or gray wool.

NAP.--Of long wool, usually from 3/8 to 3/4 of an inch long.

SIDES.--Usually finished with a three or four corded selvage.

ENDS.--A wide web through which generally run blue and red stripes with or without a knotted mesh and loose warp ends.

BORDERS.--Usually three stripes, the designs of which are, as a rule, less floral in character than are those of the Meles.

PREVAILING COLORS.--Quite similar to those employed in the Meles, especially the yellows, reds, blues and plum color. Unlike the Meles, they usually carry green.

DESIGNS.--A sort of a mixture of the Meles and Caucasian designs. The field is most frequently composed of two or three panels which very much resemble those of cathedral windows.

SIZES.--From three and a half to four and a half feet wide by five to seven feet long.

PRICES.--As they are seldom found in the market it is difficult to place any stated value on them.

REMARKS.--One of the rarest rugs in existence.

THE EXAMPLE ILLUSTRATED

The weave, the tawny yellow and the motives in the right hand panel are typically Meles; the motives in the left hand panel are more like those found in the Bergama products; and the cross panel at the upper end of the field is a Kulah or Ghiordes feature. The wide web at either end with the varicolored stripes is a feature quite foreign to the Anatolian products.

SMYRNA

WHY SO NAMED.--Because they are marketed at Smyrna. Smyrna itself is not a centre of rug weaving, but these rugs come from the towns of the western provinces of Turkey in Asia, namely, Aidin and Brousa.

KNOT.--Ghiordes. Number vertically four to eight; number horizontally four to ten; number to square inch sixteen to eighty.

WARP.--Coarse wool.

WOOF.--Coarse wool, generally dyed.

NAP.--Loosely woven.

WEAVE.--Loosely woven and carelessly tied.

SIDES.--No rule, most frequently short web with loose warp ends.

BORDER.--No rule; generally three border stripes, one wide one with a narrow one on each side.

PREVAILING COLORS.--No rule. Bright reds, blues, and greens are commonly employed.

DYES.--Generally chemical.

DESIGNS.--Anything and everything, largely European and seldom artistic.

SIZES.--Carpet sizes only.

PRICES.--From $1.00 to $1.50 per square foot.

REMARKS.--No antiques. The modern ones are purely commercial creations.

MOSUL

SYNONYMS.--Mousoul, Moussoul.

WHY SO NAMED.--After the town of that name in Mesopotamia, where they are marketed. They are made by the Kurds who inhabit the mountainous districts north of Mosul around Lake Van.

KNOT.--Ghiordes. Number vertically six to eight; number horizontally six to ten; number to square inch thirty-six to eighty.

WARP.--Usually coarse, dark wool or goats' hair. Occasionally cotton.

WOOF.--Usually coarse, dyed wool.

NAP.--Excellent, long, lustrous wool, camels' or goats' hair.

WEAVE.--Some closely and tightly woven, but the majority are rather loosely woven.

SIDES.--Corded edges overcast with dark wool. Frequently overcast with wool of different colors after the Kurdish fashion. Occasionally selvaged.

ENDS.--At each end a narrow selvage with one or more stripes of colored yarn running through, usually red and blue. As a rule one of these selvages is turned over and hemmed, while the other is finished with braided warp threads which are knotted at the ends.

BORDER.--From three to six border stripes, usually three, which are separated by lines of dark blue or brown. Frequently there is considerable camels' hair in the border. The Saraband pattern is sometimes copied.

PREVAILING COLORS.--Usually dark, rich blues, yellows, greens, reds, and browns. The browns and yellows predominate as a rule. These colors are shaded as only the Kurds know how.

DYES.--As a rule excellent except in a small proportion of the modern pieces.

DESIGNS.--A multitude of designs which are usually rather striking in character. Probably patterned more after the Persian designs than any others. The Saraband and the Herati patterns are frequently used. Medallions filled with the pear or other small designs.

SIZES.--Usually three to four by four to seven feet, runners from two to four by eight to twenty feet. Saddle bags.

PRICES.--Among the best moderate priced rugs. From $1.00 to $2.00 per square foot.

REMARKS.--Best in the market for very hard service. Quite thick and heavy and generally lie well.

THE EXAMPLE ILLUSTRATED

OWNER'S DESCRIPTION.--This type of rug comes from the largest rug-producing centre of Eastern Asia Minor. The specimen shown illustrates the Mosul at its best, as to closeness of weave, length of pile, symmetry of design and richness of coloring.

The superb lustre of the wool, comparable only to a silk plush, and the great softness of the long pile--features which have made famous the rugs from this region--are here conspicuous.

In shape and design also the specimen is typical. The field is composed of diamond-shaped sections outlined in black and decorated with the conventionalized tarantula. By placing these sections diagonally a latticed effect is produced.

The usual border plan of three stripes, two narrow ones separated by a broader, appears here. The narrow stripes are in the familiar flower-and-vine design, the broad stripe in a formal arrangement of rosette and hour-glass, all conforming to the geometrical and rectangular lines of Turkish design.

The color scheme of the piece is remarkable for its harmony. The dominant color is wine, introduced in many beautifully blended shades, and relieved with correspondingly soft tones of old blue and green, the whole illuminated with well-arranged bands of white.

THE CAUCASIAN CLASSIFICATION

Caucasia and Transcaucasia form an isthmus connecting Europe and Asia. It is bounded on the west by the Black Sea and on the east by the Caspian Sea and it has an area of about 166,500 square miles, with a population of nearly ten million. It was once Persian territory, but was acquired by Russia in 1813. Nowhere in the world is there such a mixture of races and languages, the number of dialects being estimated at about seventy. The carpets of the Caucasians are in coloring and in design identical with those of Ancient Assyria and Babylon and they have preserved their original characteristics, but alas, not their original dyes, for here too the coal-tar products have been well received by these wild mountaineers.

The Caucasian rugs are characterized by their prominent borders and their purely geometrical patterns with sharp outlines. Both warp and woof are usually of wool excepting in some of the Kabistans and Shirvans and, as a rule, the ends are finished with loose or braided warp threads. The predominating colors are the blues and yellows. They are seldom made in large sizes. Some of the most characteristic designs are the eight-pointed star of the Medes, the six-pointed star of the Mohammedans, the triangle, the diamond, the latch hook, the barber-pole stripe, the tarantula, the swastika, the reciprocal trefoil, the link-in-lozenge and the tree of life.

DAGHESTAN

WHY SO NAMED.--Daghestan means "mountain land" and is the name of a district in Caucasian Russia on the Caspian Sea. It has a population of 600,000.

KNOT.--Ghiordes. Number vertically ten to fifteen; number horizontally eight to fourteen; number to square inch eighty to two hundred ten.

WARP.--Usually wool, being as a rule a dark brown or natural color in the antiques and white or gray in the moderns. Some of the moderns have a combination of cotton and wool. The warp threads may be composed of one strand of cotton and one of wool in such a way as to cause a puckering of the fabric, especially after it has been wet.

WOOF.--In the moderns nearly always cotton. In the antiques usually white or gray wool or a mixture of the two.

NAP.--Fine silky wool cut short.

WEAVE.--As a rule finely and closely woven.

SIDES.--Selvaged or overcast with colored wool.

ENDS.--A narrow selvage with loose or knotted warp threads at each end.

BORDER.--Three or more border stripes, usually three, carrying small figures and separated by narrow stripes of solid colors. The main border stripe most frequently has a cream colored ground. The lobster, the crab, the reciprocal trefoil, the reciprocal saw-teeth, the wine glass, the barber-pole stripe, and the Georgian border designs are frequently employed.

PREVAILING COLORS.--The central ground is usually ivory with figures in the different tints of red, blue, green, and yellow.

DYES.--In the antiques all good. Some of the moderns are aniline dyed.

DESIGNS.--The same patterns are employed as were in vogue centuries ago. Diagonal ornamentation of both border and field is frequently employed as in many of the Kabistans. Floral forms seldom used. The centre is never plain, but is always filled with small geometrical figures. The tarantula, the swastika, the link, S forms, octagon, eight-pointed star, and the latch hook variations are common. The Greek cross is almost omnipresent.

SIZES.--From two and one-half to seven by four to ten feet.

PRICES.--Antiques rare; moderns cheap, from $1.00 to $3.00 per square foot.

REMARKS.--Frequently crooked. The Shirvan and Kabistans are often sold as Daghestans.

THE EXAMPLES ILLUSTRATED

COLOR PLATES

with accompanying descriptions at pages 84 and 292.

DOUBLETONES

DAGHESTAN RUG (page 254)

Like most rugs of its class this piece consists wholly of geometrical devices such as the latch hook, star, octagon, barber-pole stripe, etc., all spaces being filled with designs of various sizes. Each motif consists of three eight-pointed star forms, one within another. The second and third borders are purely Caucasian and represent a twig with two leaves and a flower. This motif is seldom found in any but the Caucasian fabrics.

DAGHESTAN PRAYER RUG (see page 256)

The most common form of Daghestan prayer rug with its Caucasian niche and lattice field, each square of which is filled with a peculiar rectilineal floral form. All of the border designs are characteristically Caucasian.

DERBEND

SYNONYM.--Derbent.

WHY SO NAMED.--Derbend, meaning "a fortified gate," is the name of the chief city and capital of the province of Daghestan, in the neighborhood of which these rugs are made by the Tartars and Turkomans.

KNOT.--Ghiordes. Number vertically eight to twelve; number horizontally five to ten; number to square inch forty to one hundred twenty.

WARP.--Brown wool or goats' hair.

WOOF.--Good wool. Usually more than two woof threads between each row of knots.

NAP.--Good, soft, thick, long, lustrous wool.

WEAVE.--Very good, but not as close as that of the Daghestans.

SIDES.--Generally overcast. Occasionally selvaged.

ENDS.--Like the Daghestans, a short web with knotted fringe at each end. Sometimes the web is wide as in the Turkoman products.

BORDER.--From two to four border stripes, carrying large geometrical patterns separated by narrow stripes of plain color.

PREVAILING COLORS.--Fewer colors than the Daghestans. Usually a field of blue or red. Yellow is lavishly employed.

DYES.--Generally good.

DESIGNS.--Similar to those of the Daghestans and Kabistans, but of a coarser nature and purely geometric, the latch hook and the eight-pointed star devices being the most common. The field usually consists of a repetition of the designs in alternate colors.

PRICES.--From $0.50 to $2.50 per square foot.

REMARKS.--Rather rare. Of little artistic value.

KABISTAN

SYNONYMS.--Cabistan, Kuban.

WHY SO NAMED.--After the district of Kuba, which lies southwest of Daghestan near the Caspian Sea, where they are made.

KNOT.--Ghiordes. Number vertically ten to sixteen; number horizontally eight to fourteen; number to square inch eighty to two hundred twenty-four.

WARP.--Sometimes cotton, sometimes wool. They differ from the Daghestans in that the latter always have wool warp.

WOOF.--Usually cotton. Occasionally wool.

NAP.--Short wool, closely clipped, seldom lustrous.

WEAVE.--Closely woven, equal to the Daghestan in that respect.

SIDES.--Nearly always overcast with cotton threads or selvaged with cotton. Some of the modern ones are finished with a cording.

ENDS.--Narrow web with loose or twisted warp threads.

BORDER.--From three to five border stripes. The carnation in profile is one of the most commonly employed border designs.

PREVAILING COLORS.--Rich but not brilliant reds, greens, blues, and yellows, with considerable white.

DYES.--Like all other Caucasian rugs many of the modern ones are more or less chemically dyed.

DESIGNS.--Similar to the Shirvan. The floral forms are usually connected by meander lines, in which respect they differ from those of the Shirvan. An attempt to render geometrical ornament in a floral manner. Small conventional flowers thrown broadcast. The tarantula, the swastika, the link, S forms, diamonds, stars, birds, and animals are all introduced. A field of large rectilineal pear designs arranged in diagonal rows is common.

SIZES.--Usually oblong. Can be had in larger sizes than the Daghestan. From two and one-half to five by five to twenty feet.

PRICES.--From $1.00 to $3.00 per square foot.

REMARKS.--Often sold for the Daghestan. The most durable of the moderate priced rugs. They are thin and flexible and lie well.

THE EXAMPLE ILLUSTRATED

The field is filled with four peculiar oblong medallions and geometrical devices of various kinds, such as the Greek key, diamonds, crosses, etc. All of the border designs are characteristically Caucasian.

TCHETCHEN

SYNONYMS.--Tzitzi, Chichi.

WHY SO NAMED.--The name of a powerful tribe of wandering mountaineers who inhabit the mountains in the northwestern part of Daghestan and who weave them.

KNOT.--Ghiordes. Number vertically six to ten; number horizontally five to ten; number to square inch thirty to one hundred.

WARP.--Usually fine wool, occasionally cotton.

WOOF.--Fine wool. Frequently dyed brown.

NAP.--Fine wool, closely clipped.

WEAVE.--Usually well woven but looser than the Daghestan.

SIDES.--Narrow colored selvage, usually of extra yarns. Sometimes overcast.

ENDS.--Web of varying widths at each end with a fringe of loose warp ends.

BORDER.--From three to six border stripes carrying a combination of floral and geometrical designs. The so-called Chichi border design is nearly always present.

PREVAILING COLORS.--Usually dark colors with considerable dark blue and white.

DYES.--As a rule good.

DESIGNS.--Rather indefinite. Usually a mixture of the Caucasian and Persian designs repeated over the field so as to form a trellis. Diamond-shaped figures, rosettes, trefoils, and tarantula forms. Field rather narrow in comparison with the borders.

SIZES.--Nearly square, four to five by five to six feet.

PRICES.--From $0.75 to $2.50 per square foot.

REMARKS.--Resemble the Shirvan in texture, for which they are frequently sold.

THE EXAMPLE ILLUSTRATED

MAJ. L. B. LAWTON'S DESCRIPTION.--A typical specimen of this weave, with the many small Chinese figures in blue. A star border, an interlocking border and a wide basket border. This specimen is unusual in being lighter toned in the ground.

BAKU

WHY SO NAMED.--After the city of Baku, a seaport on the Caspian in the district of Shirvan, from whence they are shipped.

KNOT.--Ghiordes. Number vertically eight to sixteen; number horizontally eight to twelve; number to square inch sixty-four to one hundred ninety-two.

WARP.--Cotton or wool. Frequently camels' hair.

WOOF.--Usually cotton. Sometimes wool.

NAP.--Wool with more or less camels' or goats' hair, cut short.

WEAVE.--Generally closely woven and well tied.

SIDES.--Usually overcast, occasionally selvaged.

ENDS.--A small streak of camels' hair is usually thrown across one end. This is one of the characteristic Baku features.

BORDER.--From three to six border stripes, most frequently three, one wide one with a narrow one on either side.

PREVAILING COLORS.--Similar to those of the Daghestan.

DYES.--Generally good.

DESIGNS.--The large-sized pear pattern is perhaps the most common. It is generally of a rectilineal nature. Frequently there is a central medallion with corners to match.

SIZES.--From three to seven by four to nine feet. The length is generally double or more than the width.

PRICES.--Rather high priced on account of their scarcity; $1.50 to $4.00 per square foot.

REMARKS.--Not very common in the United States.

THE EXAMPLE ILLUSTRATED

The design of this piece, the large pear motif with central serrated medallion and corner pieces to match, is the most common one employed in the Baku district. In contrast to the Persian rendition of the pear design those in the Baku are larger and more rectilineal. Like the Saraband the stems point in the opposite direction in alternate rows. All of the border stripes are purely Caucasian, the central one being a form of latch hook border.

SHEMAKHA

SYNONYMS.--Soumak, Sumak, Kashmir, Cashmere.

WHY SO NAMED.--After the city of Shemakha, the capital and principal commercial city of the ancient Khanate of Shirvan, which was ceded to Persia in 1813. Soumak is a corruption of the word Shemakha. Sometimes called Kashmir or Cashmere on account of the resemblance of the weave to that of the Cashmere shawl.

BY WHOM MADE.--By the Nomadic tribes of Shirvan.

STITCHES.--In antiques ten to twelve rows of stitches to the inch. In moderns seven is the average.

WARP.--Always wool. Usually white in the antiques and coarse grayish brown in the moderns.

WOOF.--Always wool.

WEAVE.--Woven in the same primitive fashion as of old. The only pileless Oriental rug besides the Ghileems. The different colored woof threads are twisted over and under the warp threads by means of a needle in such a way that each stitch is made diagonally, taking in two of the warp threads and leaving every alternate row of stitches to face in the opposite direction after the herring-bone pattern. On the under side the shaggy ends of the colored woof threads are left loose. They never have any lustre.

SIDES.--Usually overcast in dark wool, sometimes selvaged.

ENDS.--A long fringe at both ends formed by the loose warp ends. Usually white in the antiques and grayish brown in the moderns.

BORDER.--From two to five border stripes, usually four, the main one carrying a zigzag design. The Georgian border design is common, as is also the Chinese fret.

PREVAILING COLORS.--Light and dark blue, green, yellow, red, orange, black, and white. The field is most frequently of dark blue or red.

DYES.--Good in antiques and poor in moderns.

DESIGNS.--Similar to those of the Daghestan and Shirvan and have remained unchanged for centuries. All designs are outlined in black and the Mongolian influence is quite perceptible, the knot of destiny, mountains, etc., being very frequently used, together with the usual Caucasian designs such as the latch hook, octagon, and various other geometrical devices. Animals are frequently portrayed.

SIZES.--From three to seven by four to twelve feet. Seldom larger than seven by ten. Antiques were not made in carpet sizes.

PRICES.--From $0.75 to $1.75 per square foot.

REMARKS.--Durable, but they lack animation compared with other rugs.

THE EXAMPLE ILLUSTRATED

Unlike other classes, the Shemakha has no pile but has a flat stitch made by winding the dyed woof thread around the warp yarn. This piece is one of the finest, having thirteen stitches to the inch. Like in most rugs of its class, the designs are typically Caucasian, among which are freely interspersed plenty of eight-pointed stars, swastikas and knots of destiny. The latter motif is nearly always present in this variety.

SHIRVAN

WHY SO NAMED.--After the district of Shirvan, south of Daghestan and extending from the Caspian Sea to the river Kur. Marketed at Baku, the trade centre of the district.

BY WHOM MADE.--Woven by the Lesgie tribes.

KNOT.--Ghiordes. Number vertically six to twelve; number horizontally five to nine; number to square inch thirty to one hundred eight.

WARP.--Generally white or gray wool or a mixture of the two in the antiques, while the moderns are of brown or white wool or a mixture of the two. Sometimes the warp is of cotton or goats' hair.

WOOF.--Usually wool in the antiques. In modern pieces, usually of wool, occasionally of cotton and sometimes cotton and wool strands will be twisted together in such a manner as to cause more or less puckering of the fabric, especially after same has been wet.

NAP.--Wool, cut short.

WEAVE.--Cheaply and roughly woven.

SIDES.--Overcast or selvaged.

ENDS.--Usually both ends are finished alike with a short web and an extra large fringe of loose or knotted warp threads.

BORDER.--Three to five border stripes, generally four, one wide one and several narrow ones. As a rule they carry small designs either of a Caucasian or Persian character. The latch hook, the tarantula, the scorpion, and the wine glass designs are common.

PREVAILING COLORS.--Quiet tints of red, blue, yellow, and salmon, with considerable white.

DYES.--Moderns very apt to be chemical.

DESIGNS.--Quite similar to those of the Daghestan and Kabistan, but more inclined to imitate the Persian designs without the connecting vine or meander effect and inclined to be rather large in proportion to the size of the rug. The tarantula, the swastika, the link, the S form, and the palace patterns are commonly employed.

SIZES.--From three to five by four to seven feet. No carpet sizes.

PRICES.--Among the cheapest of the Caucasian products. From $0.50 to $2.00 per square foot.

REMARKS.--Moderns made only to sell.

THE EXAMPLES ILLUSTRATED

COLOR PLATES

with accompanying description at pages 158 and 250.

DOUBLETONE

OWNER'S DESCRIPTION.--Unusually fine for Shirvan. This rug is in the century class. The three borders are not often seen, but are characteristic of the older rugs of the Daghestan district. The glory of this rug is in the marvelous centre. At first sight one might think of the famous "rose" Kirmans. The treatment of the roses, lilies, peonies, etc., merit more than a passing glance. No weaver could possibly show greater fidelity to nature in the shading of leaf and petal than did the now forgotten factor of this unusual rug. The erosion of time has given the surface an appearance of brocade velvet. Casual examination would indicate a green background, but in reality it is black, the profusion of green being an intricate and realistic arrangement of leaves.

GENGHIS

SYNONYMS.--Guenja, Guendja, Guenges, Turkman.

WHY SO NAMED.--Authorities differ greatly as to the origin of the name. Some say that the proper name should be Guenja, which was the ancient name of Elizabethpol, from whence they came. Others insist they should be called Genghis, which is the name of the tribe of Nomads living in the vicinity of Elizabethpol who weave them.

KNOT.--Ghiordes. Number vertically six to ten; number horizontally five to eight; number to square inch thirty to eighty.

WARP.--A three-strand thread of brown wool or goats' hair.

WOOF.--Gray or brown wool, frequently dyed. Generally several woof threads between each row of knots.

NAP.--Usually rather long wool or goats' hair. Of a much finer quality in the antiques.

WEAVE.--As a rule coarsely woven.

SIDES.--Selvaged or overcast, with different colored wool, most frequently the former.

ENDS.--Web with small knotted fringe on one or both ends. Sometimes the web is wide as in the Turkoman rugs.

BORDER.--From two to five border stripes, most frequently three, one wide one with a narrow one on each side, all carrying geometrical designs.

PREVAILING COLORS.--Similar to those of the Kazaks. Usually considerable white with rather bright red, light and dark blue.

DYES.--Apt to be inferior.

DESIGNS.--Similar to those of the Kazaks and Karabaghs. Geometrical as a rule, sometimes flowers and vines. The pear is frequently employed, usually in alternate rows of red and blue. Birds and animals.

SIZES.--Seldom square, mostly runners three to five by four to nineteen feet.

PRICES.--The lowest priced Caucasian rug as a rule. From $0.50 to $2.00 per square foot.

REMARKS.--Durable. Often sold as Karabaghs.

THE EXAMPLE ILLUSTRATED

KNOT: Ghiordes. Nine to the inch vertically and seven horizontally, making sixty-three to the square inch.

This is a very old piece. Note that the outer border appears in the ends and is lacking on the sides, having been cut off on account of its worn-out condition.

The field is covered with the pear design in alternating rows of light and dark colors upon a rich red ground. The inner border carries the Greek meander in red and white upon a blue ground, while the main stripe is filled with the octagon and the eight-pointed star of the Medes in different colors upon a white ground. The third border, which remains on the ends only, carries the Greek meander in blue and white upon a red ground. Both warp and woof are of wool.

KARABAGH

SYNONYM.--Carabagh.

WHY SO NAMED.--After Karabagh, the name of a province in Transcaucasia just across the Persian border north of Tabriz, where they are made.

KNOT.--Ghiordes. Number vertically six to twelve; number horizontally five to ten; number to square inch thirty to one hundred twenty.

WARP.--Coarse white or brown wool.

WOOF.--Coarse wool, sometimes dyed. Generally several strands between each row of knots.

NAP.--Long, heavy wool or camels' hair.

WEAVE.--Coarsely woven and carelessly knotted.

SIDES.--Antiques usually selvaged. Moderns nearly always overcast with colored wool.

ENDS.--Short webs, one of which is generally turned back and hemmed. The other end has a fringe of loose or twisted warp threads.

BORDER.--From two to fourteen border stripes with a large range of geometrical designs. The reciprocal trefoil is especially common. Frequently a border of camels' hair.

PREVAILING COLORS.--More subdued in antiques than in the moderns. Magenta is used lavishly. Strong reds, yellows, and blues, with considerable white.

DYES.--Nearly all of the modern pieces are chemically dyed.

DESIGNS.--Similar to the Kazaks, only a trifle more Persian in character, that is, more Persian floral forms are introduced. Sometimes the field is plain, sometimes it is filled with some tree patterns or with numerous floral and geometrical figures. In some of the antiques the field is covered with black and tan spots, giving it the appearance of a leopard's skin, which no doubt it was intended to represent.

SIZES.--Two to six by four to eight feet. Usually small. Never in carpet sizes.

PRICES.--Antiques rare and rather costly. Moderns among the cheapest of the Oriental weave. From $0.50 to $1.50 per square foot.

REMARKS.--One of the most inferior products of the Eastern loom, but artistic. Have deteriorated considerably of late years.

THE EXAMPLE ILLUSTRATED

OWNER'S DESCRIPTION.--An exceptional Karabagh. The design shows evident attempt at Persian elaboration, this weave being about the only Caucasian that shows such tendency. The floral display in the centre; the beautiful old ivory of the corner pieces, and the exquisite canary, coral and blue of the three borders, evidence that the artisan that wrought this fabric had thoroughly mastered the harmony of color. The blacks in this piece have gone fully down to the knot. Such Karabaghs have not been made for a hundred years.

KAZAK

SYNONYM.--Small Kazaks are called Kazakdjie.

WHY SO NAMED.--A corruption of the word Cossack.

WHERE MADE.--In the Transcaucasian district of Erivan, near Mt. Ararat, where Russia, Persia, and Turkey meet.

BY WHOM MADE.--By the Cossack Nomads, whose origin seems to be unknown. They were probably related to the Cossacks of Russia.

KNOT.--Ghiordes. Number vertically six to twelve; number horizontally six to ten; number to square inch thirty-six to one hundred twenty. Fewer than any of the other Caucasian fabrics.

WARP.--Always wool.

WOOF.--Nearly always wool, usually dyed. A characteristic feature is the number of woof threads between each row of knots, usually four or more.

NAP.--Fine lustrous wool, which is usually cut long. The great number of woof threads causes the nap to lie so that the side of the yarn is exposed more than the ends.

SIDES.--Usually a wide selvage in colored wool. Occasionally overcast.

ENDS.--Usually a short colored selvage at each end, one of which is sometimes turned back and hemmed. A fringe of knotted or braided warp ends. When braided the ends of the rug are apt to be drawn and twisted so that it does not lie well.

BORDER.--From three to four border stripes, usually three. The crab, wine glass, reciprocal saw-teeth, reciprocal trefoil, tarantula, and latch hook variations are common.

PREVAILING COLORS.--Rather bright shades of red, green, yellow, brown, and rose, with more or less ivory or white. These colors are more subdued in the antiques.

DYES.--Poor in some of the modern pieces.

DESIGNS.--Similar to those of the Shirvan and Genghis. Bold geometrical figures which are characteristic of the people who weave them. The tarantula, diamond, palm, animals, and human beings are profusely portrayed. The Greek cross is almost always present and the Russian coat of arms common.

SIZES.--Small and medium, three to six by five to eight feet. Usually square or nearly so.

PRICES.--Antiques few and valuable. The moderns are among the cheapest of the Oriental products. From $0.75 to $2.00 per square foot.

REMARKS.--As a rule thick and heavy though soft and durable.

THE EXAMPLES ILLUSTRATED

COLOR PLATES

with accompanying descriptions at pages 94 and 144.

DOUBLETONE (page 272)

The field design is known as the Palace or Sunburst. It is common in the Kazaks and Shirvans, but never used in any other rugs. This piece shows the most common form of Kazak with the Palace design in the centre and the Crab border, on each side of which is the reciprocal saw-teeth.

THE TURKOMAN CLASSIFICATION

The territory from which the so-called "Turkoman" rugs come is that part of Central Asia consisting of Turkestan, Eastern Turkestan and Russian Turkestan lying north of Persia and Afghanistan and west of the Caspian Sea.

It comprises thousands upon thousands of square miles and is inhabited by numerous rug-making tribes of Nomads. The distinguishing marks of the Turkoman products are their wide web, their octagon and medallion designs and their old traditional colors of predominating red with patches of white, brown, and green. The dyes are usually fast and the knot is always Persian with the exception of an occasional Yomud or Samarkand, which may be tied with the Turkish knot. The rugs of Eastern and Russian Turkestan are really Chinese, but geographically should be classed with the other Turkoman products. Having been in the past less accessible they are now found in relative abundance and are therefore the least costly.

KHIVA BOKHARA

SYNONYM.--Afghan.

WHY SO NAMED.--After the city of Khiva, in the province of Bokhara, from the vicinity of which they come. The name Afghan is sometimes used because some of the inhabitants of northern Afghanistan contribute to the supply.

BY WHOM MADE.--By the Kirzig tribe of Nomads living in the province of Bokhara and in Northern Afghanistan.

KNOT.--Senna. Number vertically seven to twelve; number horizontally six to eight; number to square inch forty-two to ninety-six.

WARP.--Dark wool or goats' hair.

WOOF.--Black or gray wool or goats' hair.

NAP.--Fine lustrous wool or goats' hair of various lengths.

WEAVE.--Loosely tied so that on the back it has the appearance of the Ghiordes knot.

SIDES.--Usually a wide selvage of black or dark brown goats' hair, sometimes containing as many as seven cords.

ENDS.--Wide selvage at each end in plain red or striped with blue lines. The long, shaggy fringe of the loose goats' hair warp is a characteristic feature.

BORDER.--From two to four narrow border stripes, usually three.

PREVAILING COLORS.--A lavish use of the Turkoman reds in the field with designs in blue, orange, brown, green, and white.

DYES.--Good in the antiques. Nearly all of the new pieces are chemically dyed.

DESIGNS.--The octagon is almost universally employed and is quartered by alternating colors. Animal forms are seldom seen. The prayer form is also seldom found.

PRICES.--$1.25 to $2.00 per square foot.

SIZES.--They are the largest of the Turkoman rugs, being nearly always in carpet sizes and almost square, six to nine by eight to eleven feet.

REMARKS.--One of the best inexpensive rugs on the market. Coarser and heavier than the other Turkoman products and in damp weather they are liable to have more or less of the smell of goats. The Khiva is about the only antique carpet now on the market.

THE EXAMPLES ILLUSTRATED

KNOT: Senna. Ten to the inch vertically and seven horizontally, making seventy to the square inch; unusually close for a rug of this class.

This piece is of an unusually fine grade with a long nap and beautiful colors. The field, like that of nearly all Khivas, is filled with conventional octagon and diamond forms with a small eight-pointed star between each.

SHORTELL RUG (page 120).--Prayer rugs of this particular class are extremely rare and the peculiar prayer niche in this one is certainly most unique and unusual. Note the hands in the two upper corners of the field. It is on these that the worshipper is supposed to place his hands while prostrating himself in the act of prayer.

BESHIR

WHY SO NAMED.--After the words "Bech Schehr," meaning "Five Villages," being woven in five adjoining villages west of Khiva on the shores of the Amour Daria River in Turkestan.

KNOT.--Either the Senna or the Ghiordes, usually the former. Number vertically five to ten; number horizontally six to twelve; number to the square inch thirty to one hundred twenty.

WARP.--Wool or goat's hair.

WOOF.--Wool or goat's hair.

NAP.--Wool.

BORDERS.--Few stripes and narrow in proportion to the size of the rug. The designs are usually Tekke in character. The reciprocal saw teeth design is a feature.

ENDS.--A fairly wide web which is usually dyed red through which generally pass blue stripes or strands of colored yarn. Knotted or loose warp ends.

SIDES.--A three or four corded selvage.

PREVAILING COLORS.--The free use of yellow is characteristic. Browns, brownish reds and blue with very little white, as a rule.

DESIGNS.--Those of the border are Tekke in character while those of the field are usually composed of tree motifs arranged in strips with alternating colored background. Caucasian and Mongol designs are commonly employed. Occasionally the field is filled with Chinese cloud bands.

SIZES.--From three to eight feet in width by five to twelve feet in length.

PRICES.--From $1.75 to $5.00 a square foot.

REMARKS.--One of the rarest of the Turkoman products. Most of those brought to this country are antiques.

THE EXAMPLE ILLUSTRATED

OWNER'S DESCRIPTION.--This rug differs from the Bokhara commonly seen, as it has the Tree of Life pattern drawn in the conventional form of the Bokhara weavers, but very artistically done, the wool used being the very best, very silky, and the selvage is finished in a very workmanlike manner. It was a skilful weaver who made this rug and it probably was his masterpiece. See also color plate at page 274.

TEKKE BOKHARA

WHY SO NAMED.--Because they are made by the Tekke Turkoman tribes of Nomads, one of the most numerous and powerful of the Turkoman tribes, who inhabit the country extending to Afghanistan on the south and Khorasan on the west.

KNOT.--Senna. Number vertically eight to twenty-eight; number horizontally five to twenty-five; number to square inch forty to four hundred.

WARP.--Splendid wool.

WOOF.--Wool, dyed red or brown.

NAP.--Splendid soft, velvety, closely clipped wool. Sometimes some goats' hair or silk.

WEAVE.--Renowned for its close texture.

SIDES.--Overcast in wool which is dyed the predominating color of the rug. Occasionally selvaged.

ENDS.--A web from ten to twelve inches in width at each end which is colored the same as the body of the rug. This is finished with a fringe of loose warp ends. Sometimes there are twisted ropes at one end, showing that it was intended for hanging. This is especially common in the prayer Tekke.

BORDER.--One to five border stripes, usually three.

DESIGNS.--Elongated octagon forms arranged in rows alternating with rows of diamond forms with straight lines connecting the centres of the octagon, each of which is divided into four equal parts. In the centre of each octagon is frequently found the eight-pointed star. Sometimes the field is covered with octagon or the diamond forms alone without the alternate arrangement. In the prayer rug the field is covered with little candlestick patterns and divided into four sections by a large cross, the arms of which carry designs similar to those found in the border stripes.

PREVAILING COLORS.--Ground usually of a rich dark mahogany red with designs in blue, green, orange, old rose, wine, and pink, with more or less white or cream.

DYES.--Usually good. Of late years some aniline has been used.

PRICES.--The antiques are rather scarce and are of good value. From $2.00 to $5.00 per square foot.

SIZES.--Mats to carpet size. Two to eight by three to eighteen feet. The prayer rugs are nearly square, from four to four and one-half by five feet.

REMARKS.--Their durability is phenomenal. The modern pieces are vastly inferior to the antiques. The prayer rugs differ so greatly from the others of their class that they might almost be arranged under a separate heading, in fact they are separately classed by some authorities under the name of Hardjli or Princess Bokhara. The Armenians call them Khatchlie Bokhara for the reason that the bands that divide the field into four sections form a cross, and the word "khatchlie" in the Armenian language means a cross. This class of rugs is growing rapidly scarce.

THE EXAMPLES ILLUSTRATED

Page 284. This is the prayer Tekke, the so-called Hardjli, Khatchlie or Princess Bokhara. The Greek cross divides the field into quarters, each one of which is filled with rows of candle sticks. The niche, the "Tekke border design" and the "Indian fish bone" are here employed as in most prayer rugs of the class.

Page 282. In design this piece is quite characteristic of its class. The octagon is invariably present, sometimes alone, sometimes in an alternate arrangement with diamond forms or with smaller octagons as in this example. Here the smaller octagons only are quartered. The peculiar arrangement of the "fish bone" design, the wide web and the loose warp threads at each end are also characteristic features.

Page 150. KNOT: Senna. Number to the inch horizontally sixteen, vertically eighteen, to the square inch two hundred eighty-eight. The predominating color throughout is a beautiful terracotta. The four diamond forms through the centre are filled with geometrical figures in buff and terracotta upon a dark blue ground. Of the semi-diamond forms the first and third upper and the second lower have an old ivory background, while the second upper and the first and third lower have a background of a most beautiful buff shade. The figures on all of these are in blue, terracotta and white. The first and third border stripes carry an S form on the top and bottom, while on the sides they carry a form of barber-pole stripe, all upon a dark blue background. The main border stripe carries a peculiar rectilineal eight-petaled flower in different colors upon an old ivory background; the loose yarn ends hanging alternate in red and blue every four inches. The color combination and sheen of this piece are unexcelled.

STANTON RUG (page 162).--The predominating dark mahogany color and long thick nap, together with a touch of blue in the octagons, makes this piece most attractive. See also frontispiece.

YOMUD

SYNONYMS.--Yamoud, Yamut. Sometimes called yellow or brown Bokhara.

WHY SO NAMED.--After a tribe of Nomadic Turkomans by that name who dwell in the western part of Turkestan on the plains along the shores of the Caspian.

KNOT.--Either the Senna or the Ghiordes. Number vertically eight to fifteen; number horizontally seven to twelve; number to square inch fifty-six to one hundred eighty.

WARP.--Brown wool or goats' hair.

WOOF.--Good wool of medium length or goats' hair. Frequently dyed red.

NAP.--Fine wool of medium length or goats' hair.

SIDES.--A coarse selvage of two cords which are colored in alternate squares of red and blue, red and brown, or two shades of red, giving it a checker-board effect.

ENDS.--A wide web at each end in plain red or with blue stripes. Frequently stripes of colored wool are worked into the web with apparently as much care and skill as that given to the body of the rug. Finished with a fringe of loose warp threads which are occasionally twisted at irregular intervals.

BORDER.--There are usually three border stripes, one medium sized one with a narrow one on each side. The barber-pole stripe, the reciprocal saw-teeth, and the latch hook variations are the predominating border designs.

PREVAILING COLORS.--Ground almost invariably of a rich brownish red which is softer and deeper in tone than that of the Khivas and Tekkes. Figures in drab, blue, green, and yellow.

DYES.--Usually the best.

DESIGNS.--The tribal patterns show great individuality and combine the Turkoman octagon with many of the Caucasian designs. A common arrangement is that of octagons and elongated diamond forms in alternate rows with plenty of latch hook variations. Very frequently the field is covered with the diamond forms alone.

PRICES.--From $0.75 to $2.50 per square foot.

SIZES.--Seldom smaller than five by eight or larger than eight by eleven feet.

REMARKS.--They resemble the Bokharas in some respects and the Caucasian products in others. About the only antique, in carpet sizes, now found in the market.

THE EXAMPLE ILLUSTRATED

MAJ. L. B. LAWTON'S DESCRIPTION.--This weave is the rarest of the Turkomans. So rare is it that Mr. Mumford in his article in the _Century Magazine_, January, 1910, states that to his knowledge no bales of antique Yomuds had been imported for seven years. Nearly all Yomuds have the cross pattern, are usually deeper in tone than their cousins the prayer Bokharas, and lack the little niche. Yomuds are silkier than prayer Bokharas, and have the color of the Delaware grape. This specimen has an unique pattern as a panel across the end, otherwise it is typical. Yomuds adhere more closely to their type than do any other weave.

KASHGAR

WHY SO NAMED.--After the city of Kashgar, a city of Eastern Turkestan which enjoys a great caravan trade and is one of the richest markets in Central Asia.

KNOT.--Senna. Number vertically five to nine; number horizontally four to seven; number to square inch twenty to sixty-three.

WARP.--Coarse cotton.

WOOF.--Four-stranded cotton.

NAP.--Wool of medium length, frequently part silk.

WEAVE.--Coarse and poorly tied.

SIDES.--An added yarn selvage.

ENDS.--Selvage of varying lengths with a fringe of loose warp threads at each end.

BORDER.--Chinese in character. Swastika border common.

PREVAILING COLORS.--Usually strong yellow, blue, red, pink, green, and orange with white or old ivory. Pale terracotta is common.

DYES.--Good as a rule.

DESIGNS.--Chinese in character. Generally fretted grounds or trellis covered with figures of bats, butterflies, cranes, dragons, fish, and trees. The knot of destiny is very commonly employed.

PRICES.--$1.00 to $3.00 per square foot.

SIZES.--From three to six by six to twelve feet.

REMARKS.--Not very many found in the markets.

YARKAND

WHY SO NAMED.--After a city of that name in Eastern Turkestan, in the vicinity of which they are made.

KNOT.--Senna. Number vertically five to nine; number horizontally four to seven; number to square inch twenty to sixty-three.

WARP.--Coarse wool or cotton.

WOOF.--Coarse wool or cotton. Generally four strands between each row of knots.

NAP.--Coarse wool of medium length, sometimes more or less silk.

SIDES.--A selvage of two cords.

ENDS.--Web of varying lengths with loose warp threads at each end.

BORDER.--Usually three border stripes, one of medium width with a narrow one on each side.

As a rule the borders are small in proportion to the size of the rug. The swastika border design is commonly employed.

PREVAILING COLORS.--Resemble those of the Bokhara with a field of rich brownish reds. Sometimes the field is of tan color. The designs may be in blue, red, green, yellow, pink, and terracotta.

DESIGNS.--Resemble those of the Bokhara and Kashgar. Fretted grounds with figures of animals, dragons, bats, butterflies, circles, and octagons. A common design is the arrangement of four dragons in the form of a swastika.

PRICES.--$0.75 to $2.50 per square foot.

SIZES.--From three to six by six to twelve feet.

REMARKS.--Quite similar to the Kashgar. The modern ones are not attractive.

SAMARKAND

SYNONYM.--The trade name of "Malgaran" is given to an inferior grade.

WHY SO NAMED.--After the city of Samarkand, a city of Western Turkestan in the valley of Zarab-Shan, one hundred miles east of Bokhara, which was once the centre of learning in Asia, having had several universities there.

WHERE MADE.--In the vicinity of Samarkand.

KNOT.--Nearly always the Senna, seldom the Ghiordes. Number vertically five to seven; number horizontally six to ten; number to square inch thirty to seventy.

WARP.--Wool, cotton or silk, usually dyed blue or yellow.

WOOF.--In the antiques cotton or wool. In the moderns cotton. Like the Kazaks there are three or four woof threads between each row of knots.

NAP.--Good, heavy, loose, lustrous wool. Sometimes silk or a mixture of silk and wool.

WEAVE.--Loosely woven.

SIDES.--Antiques have a narrow selvage added sometimes with two colors like the Yomuds. Modern pieces are overcast.

ENDS.--Similar to those of the Turkoman products. Wide web with fringe of loose or twisted warp threads.

BORDER.--From three to five border stripes, usually three. The inner border usually carries the Greek meander, the outer one floral designs and the middle one figures corresponding to the central designs. The undulating vine and lotus pattern are frequently used.

PREVAILING COLORS.--Field usually blue, red, or golden brown. Bokhara reds and yellows are lavishly used.

DYES.--Of the best.

DESIGNS.--There are usually five medallions (circles of happiness), one at each corner of the field and one in the centre bearing some dragons, animal, or floral forms. Very little trace of Persian, Turkish, or Caucasian influence; Mongolian characteristics predominate with some trace of Turkoman. Chinese fret, swastika, dragon, fish, and floral forms.

SIZES.--From three to nine by nine to fifteen feet.

PRICES.--Antiques rare and costly, moderns from $1.00 to $2.50 per square foot.

REMARKS.--The moderns are much inferior to the antiques. They are suitable for library and hall use.

THE EXAMPLE ILLUSTRATED

Although made in Russian Turkestan, Samarkand weavings are Chinese in every respect.

This particular piece displays three round medallions or circles of happiness, also butterflies and various Chinese plant forms. The first and third border stripes are composed of one of the Chinese lotus bud border designs, while the central stripe consists of the swastika fret.

THE BELUCHISTAN RUGS

Beluchistan is a vast, wild and mountainous country extending from Kirman to India and from Afghanistan to the South Arabian Sea, partly under Persian rule and partly under the protection of Great Britain. It has an area of about 146,000 square miles with but 800,000 population. The capital, Kelat, has a population of 15,000. The inhabitants are principally Nomad tribes of primitive habits and of the Mohammedan faith. The rugs of Beluchistan are taken way across Afghanistan to Bokhara to be marketed. On this account and also because of their great likeness to the Turkoman products they are classified as such by several prominent writers. Like the latter they invariably have a wide web at each end, usually with a woven design. The colors and designs are similar to those of the Turkoman class and the dyes are good, but nowadays unwashed ones are extremely scarce.

BELUCHISTAN

SYNONYMS.--Balooch, Baloochee, Bilooz, Bilouche, etc. Sometimes wrongly called "Blue Bokhara."

BY WHOM MADE.--By the Nomadic tribes of Beluchistan and by Beluches residing in Afghanistan and Eastern Persia.

KNOT.--Always Senna. Number vertically six to ten; number horizontally five to twelve; number to square inch thirty to one hundred twenty.

WARP.--Usually wool, frequently goats' hair.

WOOF.--Always dark wool.

NAP.--Fine, long, compact, lustrous wool, goats' and camels' hair.

SIDES.--Overcast or selvaged, usually with goats' or horses' hair.

ENDS.--Wide ornamented selvage with loose or twisted warp ends. Often a row of colored yarns run through the web.

BORDER.--From three to four border stripes, usually one wide one and two narrow ones.

PREVAILING COLORS.--Usually dark reds and dark browns with a sprinkling of white. Tan is frequently employed in the field and is generally the undyed camel's hair.

DESIGNS.--Geometrical devices, hexagons, octagons, etc. Occasionally stiff floral patterns.

SIZES.--Mostly small, two to seven by three to eleven feet.

COST.--From $1.00 to $2.50 per square foot.

REMARKS.--One of the last rugs to be affected by outside influences. Although scarcely any chemical dyes are used, the "doctoring" process has been adopted so that nowadays an unwashed Beluchistan is a scarce article. The modern ones are inferior to the antiques, although all wear well.

THE EXAMPLE ILLUSTRATED

KNOT: Senna. Eight to the inch vertically and thirteen horizontally, making one hundred eight to the square inch. The centre field of dark blue is covered with the Mina Khani design, which, being a Kurdish design, is seldom found in Beluchistan products. The two narrow border stripes in white are of the Greek key design upon a background of dark brown, while the main border stripe consists of rectilineal vines and flowers arranged similarly to the Herati border design upon a varying background of light and dark Turkoman red. The webbing at each end is covered with fine designs and stripes and in several places are talismanic tufts of wool.

CHINESE RUGS

CHINA

CHINESE RUGS.

It is practically within the last decade or so that the artistic merits of the Chinese rugs have been fully appreciated. Previous to that time they were promptly laid aside to make place for the other Oriental weaves. A few wise connoisseurs were in the meantime securing all the choice pieces available and some have made themselves independently wealthy by their sagacious forethought. At the present time Chinese rugs are eagerly sought and treasured more than those of any other class, good ones bringing fabulous prices.

To illustrate the rapid advance in the value of choice pieces the writer will relate one incident out of many similar ones which to his knowledge have occurred.

About eighteen years ago a wealthy horseman of Central New York died leaving a stable which, together with its furnishings, was worth many thousands of dollars. Sometime after his death the furnishings were sold at public auction. Among the articles thus disposed of was a Chinese rug 10 × 12 which was bid in by a New York man for $150.00. Two years ago it was resold for $25,000.

Excluding those of recent make, Chinese rugs are of good workmanship and honest dyes, the weavers being little influenced by modern ideas, consequently they are durable and, on account of their original Mongolian designs, can easily be distinguished from the other Oriental products. Unfortunately, on account of the growing scarcity of wool in China and on account of foreign invasion, the rug industry seems to be dying out.

The classification of Chinese rugs is a difficult matter, in fact anything like an accurate classification is impossible even for a connoisseur for they cannot be assigned to the different provinces by the finish of their sides and ends as are the other Oriental weaves, but the classification must depend mostly upon the colors, materials and workmanship, which were in vogue at certain periods, as well as the effect of time upon these colors and materials.

Those which reach our own shores are generally divided into three classes according to the districts from which they came, namely, Pekin, Tientsin and Thibet, the latter being practically Chinese although not geographically so. The above are named in order of their excellence, the finest pieces, as a rule, coming from northern China.

Unlike other Oriental textiles those of China may be interestingly classified according to the symbolism of their designs, thus we may have the longevity rug in which are depicted the crane, the stork, the deer, or the tortoise, all of which are symbols of longevity. The literary rug is decorated with books, ink stands, pencils, brushes, scrolls, and sceptres. The bat, the gourd, the circle of happiness, and the shou denote happiness; the dragon, the lion, the phœnix, and the sword authority and power; the swastika, the knot of destiny, the swallow, and the magpie are symbols of good luck, while in the religious rugs are found the rosary, the incense burner and various altar implements.

The Chinese weaver is fond of filling every available space with objects with which he comes in daily contact, thus among the animate things may be mentioned butterflies, dogs, doves, ducks and swans. Among the inanimate things are vases, chess boards, jars, stands, baskets, wheels, ribbons, shells, pots and plates, while among the flowers are the peony, the primrose, the peach, the magnolia and tea blossom, the lotus, the orchid, the chrysanthemum, the sun flower and the aster.

There are seven designs, which on account of the great frequency with which they are used, are worthy of special mention. Named in order of their employment, they are the circle of happiness, the Chinese fret, the swastika, the butterfly, the bat, the shou, and the dragon.

The circle of happiness which is found in nearly all classes of Chinese rugs is a circle or ovoid within which are worked various Mongolian designs. The Chinese, or Greek fret, as it is sometimes called, is a border design suggested by the overlapping of the sea waves and is found in fully two-thirds of the Chinese products. The swastika needs little explanation other than the statement that for centuries it has symbolized good luck to many tribes in distant parts of the world. Butterflies, symbols of vanity, are frequently found intermingled with flowers or bats, the latter being symbolic of happiness. The shou, which stands for prosperity, has nearly a hundred different forms, many of which are similar in shape to the Egyptian scarab. The dragon, the Chinese symbol for sovereignty, always has five claws, unlike the Japanese dragon, which has but three. It is frequently represented as holding or looking towards a round object, the so-called "chin" or jewel.

The materials from which the Chinese make their rugs are practically the same as are used in the other rug making countries with perhaps the exception that the wool varies more in quality, being on an average considerably coarser than that of Persia or Anatolia. The Chinese also employ considerable hair, which in appearance very much resembles that of a cow. Rugs made of this hair are known as Yak rugs.

Chinese weaving differs little from that of other parts of the Orient. Both the Senna and the Ghiordes knots are employed, most frequently the former, but the appearance is different on account of the size and looseness of the warp and pile yarn, which, in many instances, makes it impossible for the weaver to tie over eight to ten knots to the square inch. During the early part of the eighteenth century, designs were frequently made to stand out in relief by cutting somewhat shorter the wool around them.

Chinese designs are characteristic and interesting, being similar to those found in the old Chinese porcelains. As a rule they are simple, with little detail and are outlined with a contrasting color. No family or tribal designs are employed as in the other rug making countries. Each rug being usually the work of one weaver, both in design and execution, it is frequently symbolic of his creed.

During the 16th and 17th centuries the majority of Chinese rugs had a field of solid color or were covered with the trellis design. They also had but few narrow border stripes, either in plain colors or carrying simple geometric designs, but about the middle of the 18th century, they began to show Persian influence, floral patterns being adopted especially for the borders.

Like the designs, the colors employed by the weavers are quite similar to those used in the old porcelains. As a rule, they are dull, warm and harmonious, but few shades being used in the same piece.

The colors and shades most frequently used in Chinese rugs, named in order of their employment, are dark blue, yellow, light blue, apricot, ivory white, dark brown, cream, old red, tan, fawn, robin's egg blue, green, fruit red, persimmon red, ash white, sapphire blue, peach blow, salmon pink, brownish red, brick red, greenish yellow, turquoise blue, copper pink, and black.

The different shades are of considerable assistance to the connoisseur in estimating the age of a rug, for instance, robin's egg blue, golden brown, and tan were mostly in vogue during the 17th century, and during that period, green and lemon citron, greenish and reddish yellows were never employed.

THE EXAMPLES ILLUSTRATED

Three color plates of these attractive rugs are given, with accompanying descriptions (see pages 300, 306 and 318).

GHILEEMS, SILKS, AND FELTS

GHILEEMS

Also spelled Gileem, Gilim, Khilim, Kilim, Killim. A pileless rug which is made by binding a dyed weft thread around the warp threads by means of a shuttle or needle, making the fabric alike on both sides and leaving open spaces between the warp threads where the changes of color are made. This is the primitive mode of weaving and requires much more skill than does the pile method. Ghileems are woven at the present day more than ever all over the Caucasus, Anatolia, Kurdistan, Persia, and in some parts of Turkestan. Those which are found in the Western markets come mostly from Cæsarea, Senna, Shirvan, Kurdistan, and Merve.

As a rule each variety adopts the designs and colors which are in vogue in the particular locality from which they come, but frequently the border stripes do not extend around the whole fabric as is almost invariably the rule with the pile carpets. By the Oriental the Ghileems have been used as floor coverings from the earliest times; by the Occidental they are used almost exclusively as portières, couch covers, and table spreads. As a rule, they are sold in the Orient by weight, and, like most of the other textiles, have of late years not been extremely free from outside influences.

SENNA GHILEEM

Senna Ghileem is the finest quality of Ghileem produced, being much finer in texture than any of the other Ghileems. As a rule they have small intricate patterns, with an opening at each change of color, in fact they are exact duplicates of the Senna pile rugs in design and have the same finish on the sides and ends. The Herati design is commonly used in the field but seldom in the border. In sizes they vary from three and one-half to four and one-half by five and one-half to seven feet, seldom larger or smaller.

THE EXAMPLE ILLUSTRATED

The main border stripe carries a meandering vine with a pear-shaped leaf at each turn and on either side of it is a narrow stripe consisting of floral forms which are connected by leaves arranged in the form of a meander.

ANATOLIAN GHILEEM

Anatolian Ghileems are, as a rule, light in weight and coarse in texture, with many open spaces and with bold geometrical Turkish designs and bright colors. They are made of good wool and are finished with a fringe at each end. As a rule they can be distinguished by their prayer niche or by a seam through the centre, the larger sizes, which do not come in the prayer design, usually being made by sewing two long, narrow pieces together.

KIS GHILEEM

Kis Ghileem, which means "girl rug," are Turkish Ghileems made by the Mohammedan girls for their suitors, it being a Turkish custom for a girl, as soon as she becomes engaged, to weave one of these rugs to present to her future husband in order to show the quality of her handiwork; therefore, being judged to a certain extent by the grade of her weaving, she naturally does her best. For this reason many of the so-called Kis Ghileems are of excellent workmanship. They carry typical Turkish designs and are finished with a fringe at each end. In size they vary from two and one-half to seven by four to fifteen feet, the smaller sizes usually being of the prayer style, while the larger ones are made of two parts sewed together, little care being taken to make the patterns of the two pieces match well. Frequently we will find small tufts of wool, beads or a lock of the weaver's hair attached to the warp threads as a talisman.

SHIRVAN GHILEEM

Shirvan Ghileems are always recognized by their designs, which are like those of no other Ghileem, being composed of numerous stripes running across the whole width of the rug and covered with geometrical devices similar to those of the Daghestan. These stripes are from eight to twelve inches wide with narrow plain blue, green, or red stripes between. They are nearly always woven in one piece and of good wool, but are heavy and coarse, with large openwork spaces. In size they vary from three to eight by six to twelve feet, the average being five by nine feet.

KURDISH GHILEEM

Kurdish Ghileems, like other Kurdish rugs, rank among the best of their class, being made of the finest of wool and closely woven. They usually consist of two or more pieces sewed together or joined by embroidered geometrical designs and many yarn ends are left loose on the under side, giving a shaggy appearance like the under side of the Shemakha rugs. In this respect they are unlike any of the other Ghileems. The colors are as a rule subdued, dark shades of crimson, blue, yellow, and green, with more or less black and white. The prayer design is frequent, with a niche like that of the Ghiordes. The ends are finished with a web upon which an attractive design is woven or through which runs a parti-colored thread similar to that in other Kurdish rugs. The antiques are very scarce. In sizes they vary from four to six by seven to twelve feet.

THE EXAMPLE ILLUSTRATED

This is one of two strips which were originally sewed together like many of the Ghileems of this class. The predominating colors are green, red, dark brown and white. Each end is finished with a short web and braided warp threads. It also has many loose yarn ends on the back side, which is a characteristic feature of the Kurdish Ghileems.

MERVE GHILEEM

Merve Ghileems are made in the vicinity of Merve, in the Turkoman district. They differ from all other Ghileems in that the colors are divided diagonally instead of vertically or horizontally with the warp or woof threads. For this reason no open spaces are left. The colors are few and subdued, white especially being seldom used, and in design they are most modest, the field as a rule being divided transversely into three or four parts by ornate line patterns resembling in some respects the Kurdish Ghileems. They frequently come in prayer form with designs less striking than those of the Kurdish Ghileems and strongly resembling those of the Beluchistan. Some are of great size.

THE EXAMPLE ILLUSTRATED

One of two strips which were originally sewed together. Like many of its class the field of this piece is divided transversely into a number of stripes, each about a foot wide. Each stripe is of a different color, being tan, green, white and brown, and the whole field is covered with a trellis of serrated latch hook designs in red, the divisions of which contain diamond forms in different colors. There is a short web at each end, one with loose warp threads and the other knotted.

SILK RUGS

Silk rugs were first made in China and afterwards in Anatolia and Northern Persia, where silk is produced in great quantities. They were formerly made for mosques, for royalty, or for very rich people, expert weavers being hired for the occasion and the material being furnished by the one who ordered the work done.

Fine silk rugs are unsurpassed in beauty, rich, exquisite coloring, and rare sheen, but they have never been practical as floor coverings; first, because they require such luxurious surroundings, and second, because the wearing quality of silk does not compare with that of wool.

The genuine Persian silk rugs are getting scarce and almost priceless. Strange as it may seem, few of these pieces have been sought by either the museums or collectors of America.

Those made at Kashan in Northern Persia are the best of the present day products. As a rule they are made entirely of silk having a narrow web and a fringe of loose warp threads at each end and with beautiful shades of red, rose, turquoise, old ivory, and green.

In Persia they sell for from $10.00 to $15.00 per square foot and in the United States for from $15.00 to several hundred dollars a square foot.

A much cheaper and a purely commercial product comes from Kaisarieh or Cæsarea, in Asia Minor. These, as a rule, have a cotton warp and weft and are copied after the old Persian and Ghiordes designs, especially the so-called "Mosque design" with the hanging lamp. These rugs are undesirable in color, dyes and workmanship and are invariably worth much less than the prices asked for them. The great majority of them can be detected by the direction in which the pile runs, it being inclined towards the top instead of towards the bottom.

It is easy to go astray in the purchase of silk rugs on account of the numerous mercerized and wool silk imitations, many of them not even being hand-tied but machine made.

FELT RUGS

Felt rugs are made to a certain extent in nearly every part of Persia, but chiefly at Ispahan, Astrabad, and Yezd. They are made of wool, goats' hair or camels' hair or of a combination of two or all of these substances, according to the color desired. As no dyes are employed and the finished product is the same in color as that of the materials used, they are usually gray, white or buff, most frequently the latter. The material is matted together by being pounded, occasionally sprinkled with water in which rapeseed-oil cakes have been soaked for a long time, and then pounded more until it becomes compact and solid. The finished product varies in thickness from three-quarters of an inch to three inches and is as soft and pliable as cloth, but too heavy for exportation, consequently few come to Western markets. In the Orient they are used as floor coverings on top of which ordinary pile carpets are placed. In this country they have been used in bedrooms, also as a covering for dining tables, and as silence cloths, but they will not stand the wear of chairs and are an easy mark for moths. They can be purchased for from $7.00 to $10.00 per yard.

CLASSIFICATION ACCORDING TO THEIR INTENDED USE

PRAYER RUGS (NAMAZLIK)

In all ages fine rugs have been used for religious purposes by the faithful followers of the prophet. Every Mohammedan has his prayer rug, more or less valuable according to his means, which he always carries with him and upon which he prostrates himself five times a day when the appointed hour for prayer arrives.

By means of a small compass he spreads his rug so that the mihrab or niche points towards Mecca, where Mohammed's body lies. Then after removing all jewelry and money from his person, in order to appear before God in the most abject humility, he combs his beard, produces a rosary of ninety-nine beads and a dried cake of earth which came from Mecca. These he places just under the niche and then, resting his head on the earth with his hands outstretched on either side, he performs his devotions.

The mihrab or niche on which the worshipper places his head represents the door of a mosque and reminds those who use it of the sacred mosque at Mecca.

Occasionally prayer rugs will be found with three or more niches, especially among the Caucasian products. These are intended for children or for family worship. Others may have instead of a prayer niche, three small medallions, one each for the hands and one to receive the forehead.

For convenience the prayer rug is of small size, usually from two and one-half to four by four to six feet. Those intended for personal use frequently have the name of the owner on and are of the very best workmanship. Combs and other objects used in the act of worship are frequently depicted in or near the prayer niche.

The prayer niche takes various forms in different kinds of rugs, seldom more than one class having the same form. As a rule that of the Persians is formed by curved lines, while all others are formed by straight lines, those of both the Persian and Turkish classes being pointed, while those of the Caucasian and Turkoman classes may either be pointed or flat at the top, usually the latter.

In differentiating between these different classes we are assisted not only by the shape of the mihrab, but also by the various field designs, such for instance as the panels above and below the prayer field, the lanterns or pendants which hang from the centre of the niche, etc.

SINGLE PANELS.--When only one panel is used it is invariably above the prayer field. The Kulah nearly always has but one, the Anatolian generally, and the Ghiordes seldom.

DOUBLE PANELS.--The Ghiordes nearly always has two, the Bergama generally, and the Kulah seldom.

HANGING PENDANTS are always present in the Kaisarieh, frequently in the Ghiordes, and seldom in the Kulah.

PILLARS are always present in the Kaisarieh, frequently in the Kulah, and only occasionally in the Ghiordes.

PLAIN PRAYER FIELDS (excepting the lamp) are most frequent in the Turkish rugs.

FILLED PRAYER FIELDS are invariably present in the Caucasian and Turkoman rugs and generally in the Persians.

HEARTH RUGS (ODJAKLIK)

Hearth rugs may be distinguished by the shape of their field, each end of which resembles the niche of the prayer rugs belonging to the same class. They are usually from three and one-half to four by five to seven feet and are very precious to the family, who always spread them before the fire upon the arrival of a guest, and once a fugitive, fleeing from his enemies, enters a tent and sets his foot upon the hearth rug, the owner and his people were bound to defend him.

GRAVE RUGS (TURBEHLIK)

Grave rugs are usually the combined handiwork of all the members of the household and, in accordance with an ancient custom, are used to cover the dead before interment and the grave after interment, having practically the same import as flowers do with us. They are usually woven in sombre tints to express grief and in light colors to denote resurrection. The cypress tree, which is symbolic of sorrow, is usually the leading feature of the design and there are generally some inscriptions from the Koran.

DOWRY OR WEDDING RUGS (KIS GHILEEM)

Dowry or wedding rugs are woven by the Eastern maiden for her dowry. They are usually small in size and are seldom seen in America, as they are always greatly prized by the Oriental. A more definite description of them will be found under the heading of Ghileems.

MOSQUE OR MECCA RUGS

Mosque or Mecca rugs are sometimes called Tribute rugs. The wealthy Mohammedan rulers vied with each other in taking with them on their pilgrimage to Mecca rugs of the finest materials and choicest designs for presentation to the mosque, the whole interior of which was usually hung with carpets, beautiful and costly beyond description. Many of these so-called mosque rugs were of the Shiraz class. It is still the custom in some parts of the Orient to give rugs to the mosque as thank offerings for special blessings received and frequently the Mohammedan bequeaths a rug when he dies to the mosque where he worshipped.

BATH RUGS (HAMMANLIK)

Bath rugs are usually about three feet square and have a peculiar lustre due to their frequent contact with soap and water. One of these bath rugs is usually presented to the bride by her parents on her wedding day.

PILLOW CASES (YESTEKLIK)

Pillow cases are known in the United States as Anatolian mats and are described as such in the chapter on Turkish Classification.

SAMPLE CORNERS

Sample corners are mats about two feet square and are woven for the purpose of showing the variation of border, color, and design to some wealthy ruler who wishes a carpet woven. They are afterwards used in the weaver's family and seldom reach the market. (See p. 328.)

SADDLE BAGS (HEHBELIK)

Saddle bags always come in pieces of varying widths, according to the kind of animal for which they are intended. Those intended for donkeys usually run from one to one and one-half by one and one-half to two feet, while those intended for horses or camels usually run from one and one-half to two and one-half by five to six feet or more. Those from Persia and Anatolia are usually small and nearly square, while those from Bokhara and Beluchistan are usually large and oblong. These saddle bags are quite appropriate for bachelor apartments, artists' studios, or smoking rooms and are sometimes used on a suitable standard as a newspaper or magazine receptacle. (See illustration at p. 326.)

SADDLE COVER (SEMERLIK)

Saddle covers are used by the wealthy class. They are nearly square, ranging from two and one-half to three by four to four and one-half feet, and have an opening at one end for the pommel of the saddle to pass through. The finest ones are from Senna.

FLOOR COVERINGS

Sedjadeh is the Persian name applied to those of the larger size, while Hali is the name applied to those of medium size. Oriental carpets are of modern make with very few exceptions, most of them being just as well made as were the antiques, although they show considerable deterioration in dyes. Those which are commonly found in the Western market are the Feraghans, Gorevans, Hamadans, Kermanshahs, Khorasans, Kirmans, Kurdistans, Sarabands, Sennas, Sultanabads, and Tabriz among the Persians; the Kazaks and Shemakhas among the Caucasians; the Gulistans, Oushaks, and Smyrnas among the Turkish; and the Khivas and Yomuds among the Turkoman. Large rugs cost more per square foot, as a rule, than the small ones, as their size makes heavier construction imperative and increases the difficulty of weaving as well as the amount of yarn required.

RUNNERS (KENNAR)

Runners properly belong to this class, as they are used in the Orient mostly to lay along the sides of a room. In this country they have been found extremely convenient as hall rugs.

HANGINGS (BERDELIK)

To this class belong all of the silk rugs as well as many of the delicately colored and extremely light fabrics, especially those that picture gardens and portraits or have on them quotations from the Koran. Ghileems may also be classed under this head.

FAMOUS RUGS

The interest in the very old weavings is not as manifest in the American cities as in many of the European cities, such for instance as Vienna, London, Paris, and Berlin. This is due to several reasons. In the first place, Europe began the importation of Oriental textiles many years before the United States did. In the second place, most of the choice pieces in the United States belong to private individuals instead of to museums, consequently they are seldom, if ever, seen by the public. In the third place, many of the European cities, especially London and Vienna, have given a number of public exhibitions of old rugs, while the recent exhibit at the Metropolitan Museum of Fine Arts in New York City was the first one ever held in the United States. At this exhibit there were forty-seven pieces of the 14th, 15th, 16th, 17th and 18th centuries, pieces that would compare favorably with those of any country, all owned by private collectors in the Eastern States.

Great credit is due Dr. Wm. R. Valentiner and his assistants for the promotion and successful management of this exhibition. Let us hope that it is but the beginning of a series of such exhibits which will stimulate a more formal interest and desire to know more about these wonderful products of the Eastern loom.

The age of old rugs can be at least as accurately determined as the age of old paintings and in many cases even more so. According to Dr. Valentiner the so-called Polanaise and Ispahan rugs belong to the 17th century and the Persian animal or hunting rugs belong to the 16th century, while the so-called dragon rugs belong to the 15th century. Many of the rugs from Armenia and the eastern part of Asia Minor date back as far as the 13th and 14th centuries.

Every old rug has its individual character manifest by its designs, colors, weave, and material, all of which are peculiar to the time when it was made or the locality in which it was made, so that it can be located and dated with greater accuracy than would be supposed.

Many early rugs were used for decorative purposes in the pictures of the early Italian and Flemish painters.

According to recognized authorities the so-called Polish carpets were not woven in Poland at all, but were products of Persia, and the so-called Ispahan rugs were not made at Ispahan or even in Persia, but came from the city of Herat in Western Afghanistan. Of the former several hundred are still in existence, the best of which are in the European courts and museums, about forty being in the United States, while nearly every collection contains one or more of the Herats.

THE ARDEBIL CARPET.--Without a doubt the most famous Oriental carpet now known is the mosque carpet of Ardebil owned by the South Kensington Museum in London.

It is a Persian masterpiece and was made in 1536 by one Maksoud for the Ardebil Mosque. In size it is thirty-four and one-half by seventeen and one-half feet and contains in the neighborhood of 32,000,000 knots, about 530 to the square inch, and was purchased by the South Kensington Museum for $12,500, although, if put up at auction to-day, it would doubtless bring many times that sum. The ground is of a rich blue and is covered with the most intricate of old Persian floral designs. It has a central medallion in pale yellow with corners to match. There are three border stripes, one wide one with a narrow one on either side of it. The ground of the outer stripe is of a tawny yellow with small floral designs; the ground of the inner stripe is cream colored and that of the main stripe is of a rich brown with round and elongated panels alternating and surrounded by a profusion of floral lines. Within these panels are to be found in Arabic the following inscription: "I have no refuge in the world other than thy threshold; My head has no protection other than this porch way; The work of the slave of the Holy place, Maksoud of Kashan." In the year 942 (which corresponds to A.D. 1536.)[B]

THE DRAGON AND PHŒNIX RUG of the Kaiser Frederich Museum, Berlin, is a Central Asia Minor weave of the 14th century and is probably the oldest existing rug that has been identified with the representation of a similar fabric in a painting. It was purchased for the Berlin museum by Dr. Bode, from a church in Central Italy on account of its resemblance to a rug in the fresco painting representing the "Marriage of the Foundlings," one of the series painted by Domenico di Bartolo in Spedale di Santa Maria della Scala in Senna about 1440.

In design it represents a dragon and a phœnix in deadly combat.

THE AUSTRIAN ROYAL HUNTING CARPET.--Next in prominence to the Ardebil Carpet comes the Royal Hunting Carpet of the Austrian Imperial and Royal Court, which is said to have been presented by Peter the Great. It is a Persian rug of great antiquity and shows Chinese influence in the design, which includes elaborately woven horsemen in pursuit of deer and other animals and winged gods in contest with lions and buffaloes.

THE INDIAN HUNTING RUG of the Boston Museum of Fine Arts is perhaps the most noted of the forty-seven pieces which were in the recent Metropolitan exhibit. It was made in India about 1640, is eight feet three inches long by five feet three inches wide and contains about three hundred and sixty knots to the square inch. Its predominating color is red. In the upper left-hand corner are a couple of buildings in which are seated in Oriental style several individuals. Below these buildings are several deer, a chained leopard in a cart drawn by a bullock, hunters, a winged elephant, tigers, and goats, all of which are interspersed with floral and tree forms. There are three border stripes, the centre one of which is the wider and carries leaf-shaped panels containing faces. Each one of these panels is separated by a bird and small floral forms upon a cream-colored ground. The two narrow stripes carry designs in light and dark blue, pink and red. This rug was purchased at $35,000 by the late Governor Ames of Massachusetts and presented to the Boston Museum of Fine Arts.

THE ALTMAN PRAYER RUG, owned by Mr. Benjamin Altman of New York City, was made in North Persia about 1580. It is similar to one which was in the Yerkes sale and to another one which was shown at the recent Munich exhibition of Mohammedan art. It has beautiful floral designs with arabesques and Chinese motifs in deep shades of red, blue, and yellow, many of the designs being worked with light yellow or silver thread in the ghileem style. The Mihrab is the Persian style, from which hangs a mosque lamp which is covered with red, yellow, and pink flowers on a green ground. The lower part of the field is covered with various floral and tree forms in yellow with pink blossoms. There are two border stripes. The inner one has a yellow ground, the lower part of which is covered with arabesques and the upper part with Arabic inscriptions in blue which read "May the Blessing of God rest upon them all. There is no God but Allah (the true God); Mohammed is the prophet of God. Ali is the saint of God. God the exalted one says: Verily God and His angel shower their blessings upon the prophet. Oh ye faithful send your blessings with Him, as well as offer your salutations unto Him." The outer border has a blue ground upon which are rounded octagons and oblong panels in gray, the latter containing inscriptions from the Koran in black. Size five feet five inches by three feet three inches.

THE METROPOLITAN ANIMAL RUG (see illustration at p. 26), from the Ardebil Mosque, was made in Northern Persia about 1530. It was purchased by the Metropolitan Museum of Art from the Yerkes collection. On a claret colored ground are the repeated figures of a lion, a jackal, and a spotted deer in deadly combat. There are also running boars amid a profusion of flowers. There are three border stripes, a wide one with a narrow one on either side. The former is filled with arabesques and cloud bands in blue and pink on a ground of dark blue. The inner stripe carries a green design on a yellow ground and the outer stripes carry a floral design on a red ground. In size it is ten feet eleven inches long by five feet ten inches wide and has in the neighborhood of four hundred knots to the square inch.

THE BAKER HUNTING RUG (see illustration at page 338), owned by Mr. George F. Baker of New York City, is also one of the four famous mosque rugs of Ardebil. It was woven about the middle of the 16th century; it is about fourteen by six feet and contains upwards of five hundred knots to the square inch. It is a harmonious blending of red, blue, green, pink, brown, old rose, cream, white, and silver, the predominating color of the field being a dark red. It has three central medallions, one large one and a smaller one just above and below it, with a quarter segment of a cusped circle in each corner of the field to match. Intermediate spaces are filled with flowering branches, fish and animals, the latter being worked with silver thread in the ghileem stitch. There is one wide border stripe with a narrow one on either side. The former has a back of cream and carries alternately round and oblong medallions which contain verses from the Koran in silver.

GLOSSARY[C]

ABRASHES. The name applied to an irregularity in weaving in which the color of the groundwork in a rug is suddenly changed, giving it the appearance of having changed weavers' hands at that part. This is a Kurdish characteristic.

AFGHAN (Ăf-găn), see Khiva.

AFGHANISTAN (Ăf-găn' ĭs-tăn). Bounded on the north by Turkestan, on the south by Beluchistan, on the west by Persia, and on the east by India. It covers about 215,444 square miles and has a population of nearly five millions. It is generally mountainous and the climate is severe, being hot and dry in the summer and cold and stormy in the winter. The government is an hereditary absolute monarchy of an Oriental despotic type.

AINE. A Persian word meaning an oasis or fountain. It is sometimes used by retailers, but is not a specific trade name.

AK HISSAR (Ä-khis-sär'), Akhissar, Aksar, Axar. A city of Western Anatolia, near Smyrna, with a population of 12,000. The meaning of the name is "White Fortress." For description of the so-called Akhissar rug, see Turkish classification.

AKSAR, see Ak Hissar.

ANATOLIA (Ăn-ä-tō' liä). Another name for Asia Minor.

ANGORA (Ăn-gō' rä). Name of a province and a city, the latter being the capital of the former with a population of 28,000. The province is noted for the so-called Angora goats.

ARDEBIL (Är-dĕ-bēl'). Name of a Persian town on the west shore of the Caspian Sea in the Azerbijan province. It is from here that the celebrated Ardebil carpet, which is now in the South Kensington Museum, came.

ARDELAN (Är-de-län'). A province in Western Persia in the Kurdish district. It furnishes the highest grade of rugs.

ARMENIA (Är-mē'nĭ-ä) is situated partly in Transcaucasia, partly in Persia, and partly in Turkey in Asia. On the west it is bounded by the Black Sea, Asia Minor, and the Taurus Mountains; on the south by Mesopotamia, and on the east by Persia, while on the north it extends almost to the Caucasian Mountains. It is a mountainous country and gives rise to nearly all of the great rivers of Western Asia. It is a country of special interest to the world inasmuch as it is supposed to have been "the cradle of the human race," the Garden of Eden, in all probability, having been located among its mountains near the head of the river Euphrates, and it also contains the celebrated Mount Masis, better known as Ararat, upon which the Ark of Noah rested when the waters of the great flood subsided. It has an area of more than 70,000 square miles, but the population is less than two and one-half millions.

ASIA MINOR. That part of Turkey in Asia bounded on the east by Kurdistan and Persia, on the west by the Mediterranean Sea, on the north by the Black Sea, and on the south by Arabia, the Mediterranean and Red Seas. It is sometimes known as Anatolia.

ASKABAD (Äs-kä-bäd'). A town in Persia peopled by wandering Turkoman tribes who make numerous rugs of the usual Persian variety. A name sometimes used by retailers, but it has no commercial meaning. The Tekke rugs are usually marketed at Askabad.

AXAR, see Ak Hissar.

AZERBIJAN (Äz-er-bĭ-jän'), Azerbiajan, Aserbaijan. An agricultural province in Northwestern Persia, bordering on Lake Urumiah, of which Tabriz is the principal city. It covers 40,000 square miles and has a population of 1,000,000. Many fine rugs come from this province.

BAGDAD (Băg'dăd). The name implies "Abode of Peace." The name of a province and a city of Mesopotamia on the Tigris. The province covers 54,503 square miles and has a population of 850,000. The city has a population of 145,000 and is a market for the products of Western Persia.

BAKHSHIS, Bakshaish. A small village east of Tabriz in the Herez district. A great rug centre for the so-called Herez rugs. See Persian classification.

BAKSHAISH, see Bakhshis.

BAKU (Bä-kö'). The name signifies "Place of the Winds." A province and a city. The former covers an area of 15,095 square miles and has a population of 790,000. The latter is a port on the Caspian Sea in the heart of the Russian petroleum district with a population of 112,000. Many Caucasian rugs are marketed here. For description of the so-called Baku rugs, see Caucasian classification.

BELUCHISTAN (Be-lōō' chĭs-tăn), Baluchistan, Beloochistan, Belloch. A mountainous and desert country bounded by Persia on the west, Afghanistan on the north, India on the east, and the Arabian Sea on the south. It has an area of about 130,000 square miles and has a population of about 800,000. For description of the Beluchistan rug, see page 296.

BERGAMA (Bēr'gä-mä), Bergamo, Berghama, Pergamo. A city in Anatolia, forty miles north of Smyrna. Pergamo was the ancient name. For description of the so-called Bergama rug, see Turkish classification.

BIJAR (Be-zhär'). A town in Western Persia in the province of Kurdistan. The Bijar rug is sometimes known as the Sarakhs or Lule.

BIRJAND. The so-called Birjand rugs are woven in the village of Daraksh, about fifty miles northeast of Birjand.

BOKHARA (Bō-khä' rä). Meaning "Treasury of Science." A city of Russian Turkestan. It is the capital of the khanate by the same name. This province has an area of 142,000 square miles with a population of less than half. For description of Bokhara rugs, see Turkoman classification.

BROUSA (Brö' sä), Brusa. A city in the northern part of Anatolia near the sea of Marmora. It is the capital of the province by the same name and has a population of 76,000.

CABISTAN, see Kabistan.

CÆSAREA, see Kaisariyeh.

CARABAGH, see Karabagh.

CARIAN, see Meles.

CASHMERE, see Shemakha.

CATECHU (Kăt' ē-chū). A dry, brown, astringent extract, obtained by decoction and evaporation from the acacia catechu. From it a brown dye is frequently obtained.

CAUCASUS (Kä-kā' sŭs). An isthmus joining Europe and Asia. It is bounded on the west by the Black Sea, and on the east by the Caspian Sea. The Caucasian Mountains extend through it from its northwestern to its southeastern extremity, dividing it into two parts, Caucasia proper to the north and Transcaucasia to the south. It has an area of over 180,000 square miles and the population is over nine million.

CHICHI, see Tchetchen.

CIRCASSIAN (Ser-kash-an), see Tcherkess.

CYRUS. Founder of the ancient Persian monarchy.

DAGHESTAN (Dä' gĕs-tăn). A district in Russian Caucasia on the Caspian Sea, north of Baku. It covers 11,352 square miles and has a population of 587,000. For description of the so-called Daghestan rug, see Caucasian classification.

DEMIRDJI (Dā-mēr' jĭ). Means "ironsmith" or "blacksmith." A city of Anatolia.

DERBEND (Dĕr-bĕnt'), Derbent, meaning "a fortified gate." A city in the province of Daghestan on the Caspian Sea. The inhabitants are mostly Tartar. For description of Derbend rugs, see Caucasian classification.

DJIDJUM, see Ghileem.

DJIJUM, see Ghileem.

DJOSHAGHAN, see Joshaghan.

ELIZABETHPOL. Name of a province and a fortified city, the latter of which was formerly known as Ganga.

ENILE, Inely. One of the better type of rugs woven at Oushak.

FARS (Färs), see Farsistan.

FARSISTAN or FARS (Fär-sĭs-tăn'). A province in Northwestern Persia with a population of 1,700,000, composed mostly of the wandering Arabs and Kashkais, who make high-class rugs of the softest and best dyed wool. Shiraz is the leading town.

FERAIDAN. A Persian district ruled by Ispahan. The rugs made there are woven in imitation of the Feraghan quality.

FERAGHAN (Fēr' ä-hän). A district in Persia near Sultanabad. For description of the so-called Feraghan rugs, see Persian classification.

GANGA. A Caucasian city ninety miles southeast of Tiflis. Now known as Elizabethpol.

GAROUS. A district in Persia producing a good quality of rugs.

GENGHIS (Jĕn' gĭs), Guenja, Ganga, Guenje, Guendjie. The name of a tribe of Nomads living in the vicinity of Elizabethpol.

GHILEEM, Khilim, Killim, Kilim (Kēē'-lŭm). Names given to a napless rug which is woven in nearly all of the Oriental rug-weaving countries. A full description may be found in the chapter on Ghileems, page 311.

GUENJA, see Genghis.

GULESTAN. Meaning "The Rose Garden," name applied to one of the better type of rugs woven at Oushak.

HAMADAN (Hä-mä-dän'), Hamadie, Hamidieh. A city in Northwestern Persia, southwest of Sultanabad, with a population of 35,000. It is the ancient Ekbatana where Esther and Mordecai were buried. For description of Hamadan rugs, see Persian classification.

HAMIDEH, see Hamadan.

HARDJLI, or Princess Bokhara. The name given to a rug made by the Tekke Turkomans. It usually consists of a design of a cross inclosed in a square.

HERAT (Hĕr-ät') is the capital of Afghanistan, on the Persian border, and its principal trade is with Meshed. For description of Herat rugs, see Persian classification.

HEREZ (Hė' rēēs), Heriz, Heres. A mountainous district in Northwestern Persia. For description of Herez rugs, see Persian classification.

INELY, see Enile.

IRAK AJEMI (E-räk' äj' ě-mē). The largest province in Persia. It is situated in the central part of the country, its largest city being Teheran, the Persian capital.

IRAN (E' răn). The Persian name for Persia. A name commonly and wrongfully given to rugs, excepting in referring to Persian rugs in general.

ISPAHAN (Ǐs' pä-hän), meaning "Place of Horses." A city of 80,000 inhabitants in the commercial heart of Persia. At one time it was its capital. For description of Ispahan rugs, see Persian classification.

JEJIUM, see Ghileem.

JELIUM, see Ghileem.

JHELUM, see Ghileem.

JOOSHAGHAN, see Joshaghan.

JOSHAGHAN, Jooshaghan. A district in Persia, south of Feraghan. For description of Joshaghan rugs, see Persian classification.

KABA-KARAMAN, see Karaman.

KABISTAN (Kăb' ĭs-tăn), Cabistan. The name given to rugs woven near Kuba on the shores of the Caspian Sea.

KAISARIYEH, Kaisarieh, Kaiseriyeh. The Cæsarea of the Bible. An Anatolian city of 72,000 population, about one hundred and sixty miles southeast of Angora. An important rug market.

KARAMAN (Kă-rä-män'). A town in Turkey, southeast of Konieh. The name Kaba-Karaman is frequently applied to a class of rugs from this town. The meaning of the prefix Kaba is "coarse." For description of Karaman rugs, see Turkish classification.

KARABAGH (Kă-rä-bä'), Carabagh, Shemakinski, "Country of the Sun." A province in the southern part of Transcaucasia, just north of Tabriz. For description of Karabagh rugs, see Caucasian classification.

KARA DAGH (Kă-rä-dä). Meaning "Black Mountains," mountains in Persia, north of Tabriz.

KARAJAH DAGH (Kă-rä-jä' dä). One of the principal rug-making districts of Turkey in Asia.

KASHAN (Kă'chăn). City of Persia with 30,000 inhabitants. Located half way between Teheran and Ispahan. For description of Kashan rugs, see Persian classification.

KASHMIR, see Shemakha.

KAZAK (Kä-zăk'), Kazack. A corruption of the word Cossack. Kazak rugs are made by the Russian Cossack tribes in Transcaucasia near Mt. Ararat. For description of these rugs, see Caucasian classification.

KERMAN, see Kirman.

KARMANSHAH (Kěr-män-shä'), Kirmanshah. A city of mud houses in the Ardelan district of Western Persia. It has a population of some 40,000 and is a centre of commerce, but no rugs are woven there. The so-called Kermanshah rugs come from Tabriz. For description of these rugs, see Persian classification.

KERMES. An insect found upon oak trees about the Mediterranean from which a rich, fast carmine dye is obtained.

KER SHEHR, see Kir Shehr.

KHILIM, see Ghileem.

KHIVA (Kē'vä). A principality or khanate in Turkestan. It covers 23,166 square miles and has a population of 800,000. Khiva Bokhara is the proper name for the so-called Afghan rugs, as these rugs are woven mostly by the Nomadic tribe of Khiva. For a description of these rugs, see Turkestan classification.

KHORASAN (Kō' rä-sän). A large province in the northern corner of Persia, of which Meshed is the capital. For description of Khorasan rugs, see Persian classification.

KILIM, see Ghileem.

KILLIM, see Ghileem.

KIRMAN (Kǐr' män). Name of a city and a province in Southeastern Persia. The latter has an area of over 63,000 square miles, has 600,000 population, and is largely a desert. For a description of the so-called Kirman rugs, see Persian classification.

KIRMANSHAH, see Kermanshah.

KIR SHEHR (Kǐr Shěhr'), Ker Shehr, Keer Shehr, Keer Sherir. A Turkish town in the province of Angora, just over the Konieh border. For description of the so-called Kir Shehr rugs, see Turkish classification.

KIS, meaning "A girl." Kis Ghileem is the name applied to dowry rugs woven by young girls.

KIZ, see Kis.

KONIAH, see Konieh.

KONIEH (Kō' ně-ä). The ancient Iconium. A city of Anatolia with a population of 44,000. Capital of province by the same name which covers 39,681 square miles and has a population of 1,088,000. For description of the so-called Konieh rugs, see Turkish classification.

KOULAH, see Kulah.

KOULTUK, see Zangen.

KUBA (Kōō' bä). Name of a village and a district in Transcaucasia under the Baku government. Kabistan rugs are woven here.

KULAH (Kōō' lä), Koulah. A city in Turkey, west of Oushak. For description of the so-called Kulah rugs, see Turkish classification.

KURD (Kōōrd). An inhabitant of Kurdistan.

KURDISTAN (Kōōr' dǐs-tän). A region occupying the eastern part of Turkey in Asia, and the western part of Persia. It has an area of about 74,000 square miles and a population of 3,000,000.

KURK. A very soft wool obtained by combing the sheep in winter.

KUTAYAH, Kutaria, Kutaya, Kutchia (Ko-ti-ya). A city of Anatolia in the Province of Brousa, about sixty miles north of Oushak, with a population of 22,000.

LADIK (Lä-däk), Ladic, Laodicea, Latakia. Name of a rug made in the ancient village of Laodicea in Anatolia, northeast of Konieh. See Turkish classification.

LAODICEA (Lā-od-i-cē' ä), Latakia. An ancient village of Anatolia, northeast of Konieh, with a population of 22,000. The so-called Ladik rug comes from here.

LARISTAN (Lär-ǐs-tän'), see Niris. A mountainous province in Western Persia.

LULE (Lū' lā). A corruption of the Persian word "roulez," meaning "jewel." A term frequently applied to Bijar rugs.

LURISTAN, see Laristan.

MADDER. A dye made from the root of the "rubia tinctorum." From it are made a multitude of reds.

MAHAL (Mä' häl). A name given to a class of rugs from Sultanabad. See Persian classification.

MAKSOUD. The name of the weaver of the celebrated Ardebil carpet, which is in the South Kensington Museum.

MECCA, or MEKKA (Měk' kä), "The Heart of Islam." The holy city of the Mohammedans containing the Caaba, visited annually by multitudes of pilgrims. It has a population of 60,000. The name is frequently applied by retailers to Shiraz rugs.

MELACE, see Meles.

MELES (Mē' lăs). The name given to rugs produced in the Smyrna district. A corruption of the word Milassa, a small town about one hundred miles south of Smyrna. See Turkish classification.

MESHED (Mesh-hed'), Meshad. Capital of the province of Khorasan in Northeastern Persia with a population of 70,000. For description of the so-called Meshed rugs, see Persian classification.

MESOPOTAMIA. Consists of that triangular portion of the southeastern part of Turkey in Asia which lies between the Tigris and the Euphrates. It has an area of 131,000 square miles and a population of only six million.

MILASSA. A town in Anatolia on the coast, about one hundred miles south of Smyrna.

MIR (Mǐr). A village in the district of Sarawan, where it is said that the Mir or Mir Saraband design originated.

MISKABAD, see Mushkabad.

MOSUL, Mossoul, Mousoul. A city of Mesopotamia on the Tigris. Kurdish tribes market their rugs here. For a description of the so-called Mosul rug, see Turkish classification.

MUSHKABAD (Mus-ka-bad), Miskabad. A name given to a class of Sultanabad products. See Persian classification.

NIRIS, Laristan, Luristan. Name applied to rugs made by the hillmen in the uplands around the salt lake of Niris in Laristan. See Persian classification.

OUCHAK, see Oushak.

OUSHAK (Oō'shäk), Oocuak, Ushak. A city of Anatolia, in the province of Aidin, about one hundred miles east of Smyrna.

It has a population of 100,000 and is one of the greatest rug centres in Anatolia. For description of the so-called Oushak rugs, see Turkish classification.

PARA (Pā-rä'). Piece of Turkish money equivalent to about one mill of American money.

PERGAMON (Pĕr' gä-mon), Pergamos. The name of the ancient Greek Kingdom in the northeastern part of Asia Minor, which is now known as Bergama.

PERSIA. A kingdom of Southwestern Asia occupying the western half of the Iranian plateau, which rises to the height of from six to eight thousand feet between the valleys of the Indus and the Tigris. It has an area of more than a million square miles and a population of over eight million inhabitants. The capital is Teheran.

PIASTER (Pǐ-ăs' tẽr). A piece of Turkish money equal to less than four cents of our money.

PRINCESS BOKHARA, see Hardjli.

ROULEZ. Persian word meaning "jewel." See Lule.

SAMARKAND (Săm' är-känd), Samarcand, "The Head of Islam." Name of province and city in Russian Turkestan. The former with an area of 26,627 square miles, and a population of 858,000; the latter is a very interesting city with a population of 55,000. For description of the so-called Samarkand rugs, see Turkestan classification.

SARABAND (Săr' ä-bănd), Serebend, Selville. Names given to a class of rugs woven at Sarawan, a district in Persia just south of Feraghan. See Persian classification.

SARAK, see Sarakhs.

SARAKHS (Sä-räks'). A frontier town of 10,000 inhabitants in the northeastern corner of Persia on the Tijend River. See Bijar.

SARAWAN (Să' rä-wän). A district of Persia just south of Feraghan. See Saraband.

SAROUK, see Saruk.

SARUK (Sä-rōōk'), Sarouk. A village in the district of Feraghan, not far from Sultanabad. See Persian classification.

SAVALAN (Să' vä-län). The name of a mountain in Azerbijan province. A name often given in the American market to products of Sultanabad. For description of the so-called Savalan rugs, see Sultanabad, under the Persian classification.

SEDJEDES, means a small rug.

SEHNA, see Senna.

SELVILLE, see Saraband.

SENNA (Sěn' nä), Sehna, Sinneh, Sinn. A city in Western Persia just north of Hamadan. Here rugs are made which are quite different from those made anywhere else in the Orient. See Persian classification.

SERAB, see Sirab.

SERAPI (Sě-răp' ě), Serab, Sirab. Name applied to some of the Herez rugs. See Persian classification.

SERABAND, see Saraband.

SHAH ABBAS (Sha-Abbas). A popular Persian ruler of the 16th century. His name has been given to a favorite design which originated during his reign.

SHAROKH, see Bijar.

SHEMAKHA (Shē' mä-kä), Shemka, Shemaka, Cashmere, Kashmir, Soumak. All names given to a class of pileless rugs which are woven by the Nomadic tribes of Shirvan, near the town of Shemakha, a manufacturing town of the Baku district, Transcaucasia, with a population of 20,000. See Caucasian classification.

SHERAZ, see Shiraz.

SHIRAZ (Shē-răz'). A manufacturing and commercial town in the Fars district with a population of 32,000. It was the former capital of Persia. Shiraz rugs are sometimes erroneously called Mecca rugs. See Persian classification.

SHIRVAN (Shǐr' văn). The name of a city and a khanate in Russian Caucasia, just west of the Caspian Sea and along the southern slope of the Caucasian Mountains. Shirvan rugs are woven here. See Caucasian classification.

SINNA, see Senna.

SIBAB (Sǐ-räb'), Serab. A village in the Herez district in Northern Persia. Serapi, a name applied to some of the Herez products, is a corruption of the name Sirab.

SIVAS (Sē-väs'), The name of a city and a province in Northern Asia Minor, south of the Black Sea; the former with a population of 43,000 and the latter with a population of 1,087,000 and an area of 24,240 square miles.

SMYRNA (Směr' nä). Province and city of Eastern Anatolia. The former has an area of 20,844 square miles and a population of 1,397,000. The city has a population of 201,000 and is an important rug market, but not a centre of weaving. For description of so-called Smyrna rugs, see Turkish classification.

SOUMAK, see Shemakha.

SOUJ BULAK (Souge Bū' läk). The name of an old Kurdish capital on the border south of Tabriz. For a description of the so-called Souj Bulak rug, see Persian classification.

SULTANABAD (Sǔl-tān' ä-bäd). A city in Persia about one hundred and sixty miles east of Kermanshah. It has a population of 25,000 and is the centre of rug weaving under European control. Rugs from this district are known as Sultanabad, Savalan, Muskabad, and Mahal. See Persian classification.

TABRIZ (Tă-brěěz'), Tabreez, "Pinnacle of Islam." A commercial city of the province of Azerbijan in the northwest corner of Persia. It is an important centre of rug weaving, and has a population of 180,000. For a description of the so-called Tabriz rug, see Persian classification.

TALIM. A drawn or painted copy used by weavers indicating the pattern which they are to weave.

TCHECHEN, see Tchetchen.

TCHERKESS, or Circassia. A province in Northwestern Caucasia on the Black Sea, once peopled by a tribe which has become almost extinct.

TCHETCHEN, Tchechen, Tzitzi, Chichi. A tribe of wandering shepherds who inhabit the mountains north of Daghestan. They make a good quality of rugs. See Caucasian classification.

TEHERAN (Tē' hē-rän), "The Pure." The present capital of Persia, with a population of 160,000 in summer and 250,000 in winter.

TEKKE BOKHARA (Tē' kä Bō-khä' rä). The name of a rug woven by the Tekke Turkoman tribes who inhabit the country along the Transcaspian Railroad from Askabad to Merv. See Turkestan classification.

TIFLIS. The capital of Transcaucasia, next to Constantinople, is the greatest rug market in the world, especially for the Caucasian products. It has a population of 161,000, mostly Armenians, Georgians, and Russians. It is said that more than seventy languages are spoken here.

TJOSHAGHAN, see Joshaghan.

TOMAN (Tō' mān). A piece of Turkish money equivalent to about $0.91 of our money.

TRANSCAUCASIA. That part of Russian Caucasia south of the Caucasian Mountains.

TURKESTAN is an immense territory lying east of the Caspian. It is bounded on the south by Persia, Afghanistan, and China, on the east by China, and on the north by Asiatic Russia. It is divided into Russian Turkestan on the north with an area of 257,134 square miles and a population of nearly four millions; Eastern or Chinese Turkestan with an area of 550,579 and a population of 1,200,000; and Turkestan proper on the south, which also belongs to Russia. The rug centres are Samarkand of the northern district, Kashgar, Yarkand, and Khotan of the eastern district, and Bokhara and Khiva of the southern district.

TURKEY IN ASIA. Comprises Anatolia, Syria, the coast of Arabia bordering on the Red Sea, Armenia, and Mesopotamia. A medley of races and religions.

TURKOMAN (Tǔrk' ō-măn). Rugs from Turkestan proper and generally grouped under the name Turkoman.

TURKMAN, see Genghis.

TZITZI. A corruption of the word Tchetchen.

VALONIA. The husk of a certain kind of acorn which is used for dyeing.

YAMUD, see Yomud.

YARKAND (Yär' kănd). A city of Eastern Turkestan. An important trade centre with a population of 60,000. For description of the so-called Yarkand rug, see Turkestan classification.

YEZD (Yäzd), "City of Light." Capital of the province by the same name with a population of 55,000.

YOMUD (Yä'mǔd), Yamud, Yamund, Yamut, Yamund. Names applied to a class of rugs which are woven just east of the Caspian Sea by the Yomud Turkomans. See Turkestan classification.

YOURAGHAN, see Joshaghan.

YOURDEZ, see Ghiordes.

YURUK (Yū-rūk'), Youruck, Yourouk. The word means mountaineer. Also the name given to a class of rugs woven by a certain mountain shepherd tribe of Anatolia. See Turkish classification.

ZANJAN (Zăn-jān'). A town in the northwest corner of the province of Irak Ajemi, Persia. Rugs from this vicinity are called either Zangan or Koultuk.

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(_a_) Published by Ticknor and Co., Boston, Mass.

(_b_) Published by D. Appleton & Co., New York City.

(_c_) Published by the Royal Austrian Museum, 1892.

(_d_) Published by Clifford & Lawton, New York City.

(_e_) Published by Dodd, Mead & Co., New York City.

(_f_) Published by Chas. Scribner's Sons, New York City.

(_g_) Author not mentioned.

(_h_) Published by Cardinal and Hartford, London.

(_i_) Published by F. Tennyson Neely Co., New York City.

(_j_) Published by A. C. McClurg & Co., Chicago, Ill.

(_k_) Published by A. and C. Black, London.

(_l_) Published by T. Fisher Unwin, London.

(_m_) Published by R. R. Donnelly & Sons Co., Chicago, Ill.

(_n_) Published by Frederick A. Stokes & Co., New York City.

(_o_) Published by the Tiffany Studios, New York City.

(_p_) Number unknown.

(_q_) Published by J. B. Lippincott Company, Philadelphia.

(_r_) Published by Macmillan & Co., London.

(_s_) Published by H. B. Claflin & Co., New York City.

(_t_) Published by Fleming H. Revell Co., London and New York City.

(_u_) Published by Karl W. Hiersemann, Berlin.

INDEX

A

Abrashes in design, 341

Acid for bleaching, 39

Advice to buyers, 43

Afghan rugs, see Khiva Bokhara, 278

Afghanistan, 341

Age of rugs, how told, 36, 332

Age of weaving art, 17

Aging of rugs artificially, 39

Ak Hissar (city), 341

Ak Hissar rugs (description), 232

Ak Hissar rugs (illustration), 232

Alcohol in design, 64

Alligator in design, see Kulah border design, 116

Almond in design, see Pear, 123

Altman collection of rugs, 38

Altman prayer rug (illustration), 336

Alum used in dyeing, 76

Amber beads for testing dyes, 79

Ames collection of rugs, 27, 38

Anatolia (country), 217

Anatolian Ghileems (description), 312

Anatolian rugs, 50, 52, 323, 325

Anatolian rugs (description), 234

Anatolian rugs (illustration), 60

Angora (province and city), 341

Angular hook in design, 101

Aniline dyes, 27, 40, 44, 77, 78, 170

Aniline dyes, effect on the wool, 78

Aniline dyes, how detected, 44, 45, 47, 79, 80

Aniline dyes in the Orient, 77, 78

Aniline dyed rugs, 218

Animals in design, 99

Anthemion design, 102

Antique rugs, 35, 36, 37, 38, 331, 332

Antique rugs, Cost of, 26, 39

Antique rugs, Craze for, 35

Antique rugs, Exhibition of, 331

Antique rugs, how told, 35, 47

Antique rug, What constitutes an, 35, 36, 47

Apple in design, see Silibik, 131

Arabic figures and letters in design, 100

Ardebil (town), 341

Ardebil mosque carpet, 26, 37, 333

Ardebil mosque carpet (description), 333

Ardebil mosque carpet (illustration), 330

Ardelan (province), 171

Armenia, 218, 342

Armenians, 56, 217, 218

Artificial aging, 39

Asia Minor, 342

Askabad, 342

Auctions, 31, 32

Austria, Antiques in, 37

Austrian royal hunting carpet, 335

Azerbijan (province), 171

B

Backs of rugs (characteristic), 153

Bagdad (province and city), 343

Baker hunting rug (description), 337

Baker hunting rug (illustration), 338

Bakhshis (village), 343

Bakhshis rugs (description), 173

Baku (province and city), 343

Baku rugs, 150

Baku rugs (characteristics), 150

Baku rugs (description), 261

Baku rugs (illustration), 262

Bale, Rugs bought by the, 31, 32

Ball and claw design, 102

Ballard collection of rugs, 38

Barber pole stripe design, 102

Basket in design, 102

Bat in design, 103

Bath rooms, Rugs suitable for, 51

Bath rugs, 325

Bavaria, Antiques in, 37

Beads in design, 103

Beating of rugs, 63

Bed rooms, Rugs suitable for, 51

Bee in design, 103

Beetle in design, 103

Beets used in making dyes, 82

Beluchistan (country), 295, 343

Beluchistan rugs, 50, 51, 52, 70, 106, 326

Beluchistan rugs (characteristics), 151, 295

Beluchistan rugs (description), 296

Beluchistan rugs (illustration), 296

Bergama rugs, 38, 52, 105, 323

Bergama rugs (characteristics), 150

Bergama rugs (description), 235

Bergama rugs (illustration), 46, 236

Berlin, Antiques in, 37

Berlin dragon and phœnix rug (illustration), 332

Beshir Bokhara rugs (description), 280

Beshir Bokhara rugs (illustration), 274, 280

Bibliography, 359

Bijar (town), 343

Bijar rugs, 51

Bijar rugs (characteristics), 148

Bijar rugs (description), 185

Bijar rugs (illustration), 186, 328

Black (color), 76, 77, 80, 83

Blue (color), 80, 82

Boar in design, 104

Bokhara (city), 343

Bokhara, Beshir (description), 280

Bokhara, Beshir (illustration), 274, 280

Bokhara, Camel Bag Half (illustration), 162

Bokhara, Emir of (illustration), 134

Bokhara, Khiva, 50, 51, 52, 327

Bokhara, Khiva (characteristics), 151

Bokhara, Khiva (description), 278

Bokhara, Khiva (illustration), 278

Bokhara, Tekke, 51

Bokhara, Tekke (characteristics), 151

Bokhara, Tekke (description), 281

Bokhara, Tekke (illustration), 282

Bokhara, Yomud, 50, 51, 105, 327

Bokhara, Yomud (characteristics), 151

Bokhara, Yomud (description), 285

Bokhara, Yomud (illustration), 286

Boquet in design, see Pear, 123

Boston hunting rug, 26, 335

Boston hunting rug (illustration), 334

Bow knot in design, 104

Brazil wood used in dyeing, 82

Brown (color), 76, 77, 83

Brushing rugs, 164

Buckthorn used in dyeing, 83

Budapest, Antiques in, 37

Butterfly in design, 104, 304

Buyers, Advice to, 43

Buying rugs by the bale, 31, 32

C

Camels' hair, 70, 77

Campeachy wood used in dyeing, 82

Canopy in design, 105

Care of rugs, 63

Carmine (color), 81

Cashmere goat, 70

Cashmere rug, see Shemaka, 263

Catechu used in dyeing, 83

Caucasia, 253, 344

Caucasian design, 98

Caucasian border design, 105

Caucasian classification, 165, 253

Caucasian rugs (characteristics), 253, 254

Change in design, 36

Characteristics of different rugs, 147, 148, 149, 150, 151

Chart of distinguishing features, 156

Checker board in design, 105

Chemically treated rugs, 39

Chichi rugs (see Tchetchen), 260

Chichi border design, 105

Children as weavers, 55, 56, 57

Chinese Cloud band design, see Cloud, 105

Chinese colors, 306, 307

Chinese designs, 98, 303, 304, 305

Chinese fret, 105, 304

Chinese materials, 305

Chinese rugs, 106, 112, 301

Chinese rugs (characteristics), 154

Chinese rugs, Classification of, 302, 303

Chinese rugs (description), 303, 304

Chinese rugs, Growing scarcity of, 301

Chinese rugs (illustrations), 300, 306, 318

Chinese rugs, Increased value of, 301

Chinese rugs of the 16th and 17th centuries, 306

Chinese rugs, Weave of, 154

Chinese weavers, 18, 303

Chinese weaving, 154, 305

Circle of happiness in design, 106, 304

Circle in design, 106

Clark collection of rugs, 27, 38

Classification of rugs according to intended use, 321

Classification of rugs, Caucasian, 165, 253

Classification of rugs, Chinese 302

Classification of rugs, General 161

Classification of rugs, Geographical, 162

Classification of rugs, Persian, 163, 169

Classification of rugs, Turkish, 164, 217

Classification of rugs, Turkoman, 165, 277

Claw and Ball in design, see Ball and Claw, 102

Cleaning of rugs, 63, 64, 65

Cloud band in design,--see Cloud, Chinese, 106

Coat of arms, Chinese (illustration), 301

Coat of arms, Persian, 107

Coat of arms, Persian (illustration), 169

Coat of arms, Russian, 107

Coat of arms, Russian (illustration), 253

Coat of arms, Turkish, 107

Coat of arms, Turkish (illustration), 217

Cochineal used in dyeing, 81

Cock in design, see Rooster, 127

Coffee grounds used for aging rugs, 39

Collection of Rugs, American, 27, 37, 38

Colors, Fast, 40

Colors, Harmony of, 48

Colors of different nations, 79

Colors employed in Chinese rugs, 306, 307

Comb in design, 108

Commercial methods of rug making, 77

Compass in design, 108

Compressed air for cleaning rugs, 65

Conch shell in design, 108

Cone in design, see Pear, 123

Contagious diseases in the Orient, 56, 57

Constantinople, 217

Convenience of Oriental rugs, 28

Cornucopia in design, 108

Cost of Oriental rugs, 25, 26, 27, 174

Cotton employed in making rugs, 71

Crab in design, 108

Crane in design, 108

Crescent in design, 109

Crimson (color), 82

Crocodile in design, 109

Crooked rugs, 44, 46, 87

Cross, Greek, in design, 109

Crow in design, 110

Crown jewel in design, see Pear, 123

Curling of rugs, 66

Custom house statistics, 20

Cypress tree, see Tree, 136, 137

Cyrus (ancient ruler), 344

D

Daghestan (district), 344

Daghestan rugs, 50, 51, 112, 138

Daghestan rugs (characteristics), 150

Daghestan rugs (description), 254

Daghestan rugs (illustrations), 84, 254, 256, 292

Daghestan rugs, Weave of, 154

Dates in design, 100

David's shield in design, see Star, six pointed, 132

Davis collection of rugs, 38

Dealers and auctions, 31

Dealers, Foreign, 31, 43

Dealers' profits, 25, 32

Dealers, Reliable, 43

Decoration of rooms, 48

Deer in design, 110

Demirdji (city), 344

Den, Rugs suitable for a, 51

Department stores, 43

Derbend (city), 344

Derbend rugs (characteristics), 150

Derbend rugs (description), 257

Designs, Animals in, 99

Designs, Caucasian, 98

Designs, Change in, 36, 97

Designs, Chinese, 98, 303, 304, 305

Designs, Dates in, 100

Designs, European, 98

Designs, Floral, 98

Designs, Geometrical, 99

Designs, Humans in, 99

Designs, Indian, 98

Designs, Inscriptions in, 100

Designs, Names in, 100

Designs, Persian, 98, 169

Designs, Symbolism of, 99

Designs, Transmission of, 97

Designs, Tribal or family, 97

Designs, Turkish, 98

Designs, Turkoman, 98

Diamond in design, 110

Diaper design, see Lattice design, 117

Dining room, Rugs suitable for, 51

Disc, Winged, in design, see winged globe, 139

Disinfection of rugs, 57, 58

Distinguishing features of rugs (chart), 156

Doctored rugs, 39, 40

Doctoring rugs, Method of, 39, 40, 47

Domestic rugs, 43

Dog in design, 110

Dove in design, 111

Dowry rugs, 324

Dragon in design, 111, 305

Dragon and Phœnix rug (illustration), 332

Duck in design, 111

Durability of Oriental rugs, 87

Dust in rugs, 46, 59

Dutch rooms, Rugs suitable for, 49

Duty on rugs, 26

Dye pots (illustration), 80

Dye stuff, 75

Dyeing, Method of, 76

Dyeing of wool, 72

Dyeing, Secrets of, 75

Dyes and Dyers, 73

Dyes, Aniline, 40, 44, 170

Dyes, Fading of aniline, 76, 80

Dyes, Testing of, 40, 44, 46, 47

Dyes, vegetable 40, 44, 75, 76, 78

E

Eagle in design, 111

Eastern rug markets, 31

East India rug (illustration), 334

Egg in design, 111

Egyptian carpets, 18

Elephant in design, 111

England, Antiques in, 37

European designs, 98

Exhibitions of Oriental rugs, 331, 332

Exorbitant prices for rugs, 26, 27

F

Factories, Rug, 55, 57, 170, 217

Fading of rugs, 76

Famous rugs, 331

Farsistan (province), 171

Fast colors, 40

Favorite colors of different nations, 79

Feather in design, see Pear, 123

Felt rugs, 318

Feraghan (district), 345

Feraghan design, see Herati design, 114

Feraghan rugs, 49, 50, 51

Feraghan rugs (characteristics), 149

Feraghan rugs (description), 190

Feraghan rugs (illustration), 114, 190

Figures in design, 100

Fir cone in design, see Pear, 123

Fish in design, 111

Fish bone in design, 112

Flame in design, see Pear, 123

Floor coverings, 327

Floral designs, 98

Flower of Henna in design, see Guli Henna, 113

Flower and Knop design, see Knop and Flower, 215

Fly in design, 112

Folding of rugs, 65

Foreign rug dealers, 31

Four flower design, see Roses, Four, 128

Four roses in design, see Roses, Four, 128

France, Antiques in, 37

Fret, Chinese or Greek, see Chinese fret, 105, 304

Frick collection of rugs, 27, 38

G

Gall nuts used in dyeing, 83, 84

Galley in design, 112

Ganga (city), 345

Genghis (tribe), 345

Genghis rugs, 50, 166

Genghis rugs (characteristics), 150

Genghis rugs (description), 267

Genghis rugs (illustration), 268

Geometrical designs, 99

Georgian border design, 112

Germany, Antiques in, 37

Ghileems, 311

Ghileems (description), 311

Ghileems, Anatolian, 312

Ghileems, Kurdish (characteristics), 154

Ghileems, Kurdish (description), 314

Ghileems, Kurdish (illustration), 314, 316

Ghileems, Kurdish, Weave of, 154

Ghileems, Merve (characteristic), 154

Ghileems, Merve (description), 315

Ghileems Merve (illustration), 316

Ghileems, Merve, Weave of, 154

Ghileems, Senna, 52

Ghileems, Senna (description), 312

Ghileems, Senna (illustration), 312

Ghileems, Shirvan (description), 314

Ghiordes border stripe, 113

Ghiordes knot, 169

Ghiordes rugs, 38, 52, 113, 117, 323

Ghiordes rugs (characteristics), 149

Ghiordes rugs (description), 238

Ghiordes rugs (illustration), 66, 238

Glossary, 341

Glycerine used in rugs, 39

Goats' hair, 70

Gorevan rugs, 120, 327

Gorevan rugs (description), 175

Gorevan rugs (illustration), 176

Gourd in design, 113

Grape juice used in dyeing, 84

Grave rugs, 324

Gray (color), 84

Greek cross in design, see Cross, Greek, 109

Greek fret, see Chinese fret, 105, 304

Greek key, see Chinese fret, 105, 304

Greek meander in design, see Meander, Greek, 119

Green (color), 79, 80, 83, 218

Guli Henna design, 113

H

Hair used in rugs, 305

Hall, Rugs suitable for, 50

Hamadan (city), 345

Hamadan rugs, 50, 70, 120, 327

Hamadan rugs (characteristics), 149

Hamadan rugs (description), 192

Hamadan rugs (illustration), 110, 192

Hand in design, see coat of arms, Turkish, also Pear, 107, 123

Hanging rugs, 63, 64

Hangings, 328

Hardjli Rugs, 283

Harmony of colors, 48

Havemeyer collection of rugs, 27

Hearth rugs, 323

Heliotrope (color), 84

Henna flower in design, see Guli Henna design, 113

Herat (city), 346

Herat rugs, 114, 125

Herat rugs (characteristics), 149

Herat rugs (description), 206

Herati design, 114

Herez (district), 346

Herez rugs, 51

Herez rugs (characteristics), 148

Herez rugs (description), 173

Herez rugs (illustration), 172

Hexagon in design, 115

Hog in design, 115

Holy carpet, Yerkes, 27

Hom in design, see Anthemion, 102

Home looms, 56

Hook, Angular, see Angular hook, 101

Hook, Latch, see Angular hook, 101

Horse shoe in design, 115

Hound in design, 115

Hour glass in design, 115

Human beings in design, 99

Hygiene of Oriental rugs, 28

I

Identification of rugs, 147

Importation of Oriental rugs, 20, 217

Indian designs, 98

Indian fish bone design, see Fish bone, 112

Indian hunting rug, 26, 335

Indian rugs, 162

Indigo used in dyeing, 82, 84

Inscriptions in design, 100

Inspecting rugs at Ispahan (illustration), 170

Introduction, 17

Irak Ajemi (province), 171

Iron filings used in dyeing, 83

Ispahan (city), 346

Ispahan rugs, 50, 51, 332, 333

Ispahan rugs (description), 194

Ispahan rugs (illustration), 194

Ivy berries used in dyeing, 82

J

Jewel in design, see Pear, 123

Jones, Mr. Quill, 36

Joshaghan (district), 346

Jug in design, 115

K

Kabistan rugs, 50, 51, 128, 135

Kabistan rugs (description), 258

Kabistan rugs (illustration), 258

Karabagh (province), 347

Karabagh rugs, 50, 126

Karabagh rugs (characteristics), 126

Karabagh rugs (description), 269

Karabagh rugs (illustration), 270

Kara Dagh (mountains), 347

Kara Dagh rugs (characteristics), 148

Kara Dagh rugs (description), 178

Karaman (town), 347

Karaman rugs (description), 223

Kashan city, 347

Kashan rugs (description), 180

Kashan rugs (illustration), 180

Kashgar rugs (characteristics), 152

Kashgar rugs (description), 287

Kazak rugs, 50, 51, 108, 122, 126, 135, 138, 154, 327

Kazak rugs (characteristics), 150, 154

Kazak rugs (description), 272

Kazak rugs (illustration), 94, 144, 272

Kazak rugs, Weave of, 154

Kermanshah (city), 347

Kermanshah rugs 50, 327

Kermanshah rugs (characteristics), 148

Kermanshah rugs (description), 186

Kermanshah rugs (illustration), 118

Kermes used in dyeing, 81

Key, Greek, see Chinese fret, 105, 304

Khilims, see Ghileems, 311

Khiva (principality), 348

Kiva Bokhara rugs, 50, 51, 327

Khiva Bokhara rugs (characteristics), 151

Khiva Bokhara rugs (description), 278

Khiva Bokhara rugs (illustration), 120, 278

Khorasan (province), 172, 348

Khorasan rugs, 50, 78, 114, 120, 125, 153, 327

Khorasan rugs (characteristics), 149

Khorasan rugs (description), 207

Khorasan rugs (illustration), 32

Khorasan rugs, Weave of, 153

Kilims, see Ghileems, 311

Kirman (city and province), 172, 348

Kirman rugs, 49, 104, 120, 327

Kirman rugs (characteristics), 149

Kirman rugs (description), 211

Kirman rugs (illustrations), 210, 212

Kir Shehr (town), 348

Kir Shehr rugs (characteristics), 149

Kir Shehr rugs (description), 220

Kir Shehr rugs (illustration), 130, 220, 222

Kis Ghileem, 313, 324

Knop and flower design, 115

Knot in design, 104, 116

Knot of destiny design, 116

Knot, Persian or Senna, 91, 93, 169

Knot, Turkish or Ghiordes, 91, 93, 169

Knots used in weaving (illustration), 90

Konieh (city), 348

Konieh field design, see Rhodian, 126

Konieh rugs, 117, 127

Konieh rugs (description), 225

Konieh rugs (illustration), 138, 224

Koran, 99, 100, 116

Kulah border design, 150

Kulah (city), 349

Kulah rugs, 38, 52, 323

Kulah rugs (characteristics), 150

Kulah rugs (description), 239

Kulah rugs (illustrated), 216, 240

Kurdish ghileems, 314

Kurdish ghileems (illustration), 314, 316

Kurdish ghileems, Weave of, 154

Kurdish guard (illustration), 124

Kurdish weavers, 219

Kurdistan (country), 349

Kurdistan rugs, 51, 327

Kurdistan rugs (characteristics), 149

Kurdistan rugs (description), 212

Kurdistan rugs (illustration), 214

Kurds, 78

Kurk, 70

L

Ladik rugs, 50, 52, 117, 127

Ladik rugs (characteristics), 150

Ladik rugs (description), 228

Ladik rugs (illustration), 74, 228

Laodicea (village), 349

Large patterns in rugs, 49

Laristan (province), 349

Latch hook in design, see angular hook, 101

Lattice design, 117

Lavender (color), 84

Law against use of aniline dyes, 77

Leaf in design, see Pear, 123

Leopard in design, 117

Lemon juice used on rugs, 39

Library, Rugs suitable for, 51

Lily in design, see Rhodian, 126

Lime used on rugs, 76

Link in design, 118

Lion in design, 118

Living room, Rugs suitable for, 50

Loftus collection of rugs, 38

Logwood used in dyeing, 84

London, Antiques in, 37

Long rugs, 49

Loom, Eastern, 89

Loom, Persian (illustration), 92

Looms in homes, 56

Loom, Turkish (illustration), 88

Loop in design, see Pear, 123

Lotus in design, 118

M

Madder used in dyeing, 81, 83, 84

Maden rug (description), 227

Maden rug (illustration), 226

Magpie in design, 119

Mahal rugs, 50

Mahal rugs (description), 201

Mahal rugs (illustration), 202

Mahogany furniture, Rugs suitable with, 52

Makri rugs (description), 245

Makri rugs (illustration), 246

Maksoud, 37

Marquand sale of antique rugs, 26

Material of rugs, 45, 69

Material of Chinese rugs, 305

Materials, Testing, 45

Meander, Greek, in design, 119

Mecca rugs, 325

Medallion in design, 120

Meles rugs, 50, 52

Meles rugs (characteristics), 150

Meles rugs (description), 242

Meles rugs (illustrations), 242, 244

Merchant, Persian rug (illustration), 38

Merve ghileem (characteristic), 154

Merve ghileem (description), 315

Merve ghileem (illustration), 316

Merve ghileem, weave of, 154

Meshed (city), 350

Meshed rugs (characteristics), 149

Meshed rugs (description), 209

Meshed rugs (illustration), 22

Metropolitan animal rug (illustration), 26

Metropolitan exhibition of antiques, 37, 331

Mihrab, 121

Milassa (town), 350

Mina Khani design, 120

Mina Khani design (illustrated), 214

Mir design, 120

Mirror design, see Lattice design, 117

Mission rooms, Rugs suitable for, 49, 51

Mohair, 70

Mohammedan calendar, 100, 101

Monkey in design, 121

Mordants used in dyeing, 76

Morgan collection of rugs, 27, 38

Mosque design, 121, 317

Mosque rugs, 325

Mosul (city), 350

Mosul rugs, 38, 50, 51, 52, 70

Mosul rugs (characteristics), 150

Mosul rugs (description), 247

Mosul rugs (illustrated), 248

Mountains in design, 121

Mulberry fungus used in dyeing, 83

Mujur rugs (description), 227

N

Names of weavers in design, 100

Names of rugs, how derived, 161, 162

Nap, Direction of the, 93

Network in design, see Lattice design, 117

Niche, Prayer, 121

Niche, Prayer (illustrated), 322

Niris rugs (characteristics), 149

Niris rugs (description), 202

Niris rugs (illustration), 204

Nomad rugs, 52

Nomads, 78

Nomenclature of rugs, 162

Numerals in design, 100

O

Octagon in design, 122

Odor in rugs, 71

Onion skins used in dyeing, 82

Orange (color), 80, 83

Oriental rugs, Characteristics of, 43

Oriental shrewdness, 31

Oriental versus domestic rugs, 27

Oushak (city), 350

Oushak rugs (description), 222

Owl in design, 122

Ox in design, 122

Oxalic acid used for doctoring rugs, 39

P

Paint used on rugs, 39

Palace design, 122

Palace design (illustrated), 272

Palm in design, see Pear, 123

Palmette design, 122

Palm tree, see Tree, 136, 137

Panel in design, 123, 323

Paraffin used on rugs, 39

Paris, Antiques in, 37

Parrot in design, 123

Pay of weavers, 55, 170

Payne collection of rugs, 27

Peacock in design, 123

Pear in design, 115, 123, 124, 125

Pearl in design, 125

Pease collection of rugs, 38

Pekin rugs, 303

Pendants, Hanging, 323

Peony in design, 125

Pergamon (country), 351

Persia, 351

Persian berries used in dyeing, 83

Persian coat of arms, see Coat of arms, Persian, 107

Persian classification, 162

Persian designs, 98, 169

Persian dye pots (illustration), 80

Persian knot, 169

Persian rug provinces, 171

Persian village (illustration), 80

Persian weavers, 169, 170

Phœnix in design, 125

Piaster (coin), 351

Pile of a rug, 44, 91, 92

Pillow cases, 325

Pineapple in design, 125

Pine tree in design, 125

Pink (color), 82

Poems in design, 100

Polanaise rugs, 332

Pole medallion in design, see Medallion, 120

Polish rugs, 332

Pomegranate in design, 125

Powder bag (illustration), 324

Prayers of Mohammedans, 100

Prayer niches (illustration), 322

Prayer rugs, 321

Prayer rugs, Classification of 152

Profits on rugs, 25

Purple (color), 84

R

Ram in design, 126

Reception hall, Rugs suitable for, 50

Reception room, Rugs suitable for, 50

Reciprocal saw teeth in design, 126

Reciprocal trefoil in design, 126

Red (color), 76, 80, 81, 82

Reliable rug dealers, 43

Rhodian design, 126

Rhomboid in design, 127

Ribbon in design, 127

Rice in design, 127

River loop in design, see Pear, 123

Room decorations, 48

Rooms, Rugs suitable for certain, 48

Rooster in design, 127

Rosary, Mohammedan, see Beads, 103

Rose (color), 81

Roses Four, in design, 128

Rosette in design, 128

Rothschild collection of rugs, 37

Rug exhibitions, 331

Rug factories in the Orient, 55, 57, 170, 217

Rug nomenclature, 162

Runners, 328

Russia, Antiques in, 37

Russia, coat of arms, see Coat of arms, Russian, 107

S

Saddlebags, 52, 326

Saddle bag (illustrated), 324, 326

Saddlecloth, 327

Saddle cloth (illustrated), 324

Salmon (color), 84

Samarkand (province and city), 351

Samarkand rugs, 106, 116, 134

Samarkand rugs (characteristics), 151

Samarkand rugs (description), 289

Samarkand rugs (illustration), 290

Samarkand, Street in (illustration), 288

Sample corners, 326

Sample corner (illustration), 328

Saraband border design, see Mir design, 120

Saraband dance, 164

Saraband rugs, 50, 51, 125, 154, 327

Saraband rugs (characteristics), 149

Saraband rugs (description), 197

Saraband rugs (illustration), 198

Saraband, Weave of, 154

Sarak rug, see Bijar, 185

Sarakhs (town), 351

Sarawan (district), 351

Sardar design, 129

Saruk (village), 352

Saruk rug, 49, 50, 112, 152, 153

Saruk rugs (characteristics), 149

Saruk rugs (description), 200

Saruk rugs (illustration), 40, 166

Saruk rugs, weave of, 153

Saw-teeth, Reciprocal, in design, see Reciprocal, 126

Scarabæus in design, see Beetle 103

Scarlet (color), 81, 82

Sceptre in design, 129

Scorpion in design, 129

Scroll in design, 130

Seals on rugs, 47

Secrets of dyeing, 75

Selection of rugs for rooms, 48

Selvage of rugs, 45

Semi-Persian rug (illustrated), 100

Senna (city), 352

Senna ghileems, 312

Senna ghileems (characteristics), 312

Senna ghileems (description), 312

Senna ghileems (illustration), 312

Senna knot, 169

Senna rugs, 49, 50, 114, 125, 153, 327

Senna rugs (characteristics), 148, 151, 152

Senna rugs (description), 188

Senna rugs (illustration), 188

Senna, Weave of, 153

Serapi rugs (description), 178

Serapi rugs (illustration), 178

Serpent in design, 130

Shah Abbas (ruler), 352

Shah Abbas design, 37, 130

Shawl design, see Pear, 123

Sheen, 39, 63, 92

Sheep's blood used in dyeing, 82

Shemakha (town), 352

Shemakha rugs, 112, 155, 327

Shemakha rugs (characteristic), 155

Shemakha rugs (description), 263

Shemakha rugs (illustrations), 264

Shemakha rugs, Weave of, 155

Shiraz (town), 352

Shiraz rugs, 50, 51, 52, 104, 120, 125, 127, 325, 326

Shiraz rugs (characteristics), 149

Shiraz rugs (description), 204

Shiraz rugs (illustrations), 52, 104, 206, 208

Shirvan (city), 353

Shirvan design, 130

Shirvan rugs, 50, 118, 122, 128, 131, 135, 139

Shirvan rugs (description), 265

Shirvan rugs (illustration), 158

Shirvan ghileems (description), 314

Shirvan ghileems (illustrated), 250

Short rugs, 49

Shortell collection, 38

Shou design, 131, 304, 305

Signet of David in Design, 131

Silibik design, 131

Silk, 71

Silk rugs, 316

Sinclair collection, 38

Sirab (village), 353

Sixteen lucky squares in design, see Knot of destiny, 116

Smyrna (province and city), 353

Smyrna rugs, 327

Smyrna rugs (description), 246

Snake in design, see serpent, 130

Snow for cleaning rugs, 64

Solomon's seal in Design, 131

Souj Bulak (city), 353

Souj Bulak rugs (description), 181

Sparrow in design, 131

Spider in design, see Scorpion, 129

Spinning the wool (illustration), 72

Square in design, 132

Squirrel in design, 132

Stains on rugs, 66

Star in design, 132, 133

Storing rugs, 65

Stork in design, 133

Sultanabad (city), 353

Sultanabad rugs, 327

Sultanabad rugs (characteristics), 149

Sultanabad rugs (description), 201

Sumac used for dyeing, 76

Sumak rugs see Shemakha, 263

Sunburst design, see Palace design, 122, 133

Swan in design, 133

Swastika in design, 133, 134, 304

Symbolism of designs, 99, 303

Symbolic Persian silk rug (illustration), 48, 98

Symmetry of Oriental rugs, 99

T

T, forms in design, 134

Tabriz (city), 353

Tabriz rugs, 50, 327

Tabriz rugs (characteristics), 148

Tabriz rugs (description), 182

Tabriz rugs (illustration), 182

Tae-kieh design, 135

Tags and seals on rugs, Purpose of, 47

Talim, 354

Tarantula in design, 135

Tariff on rugs, 20, 25, 26

Tcherkess (province), 354

Tchetchen (tribe), 354

Tchetchen rugs (characteristics), 150

Tchetchen rugs (description), 260

Tchetchen rugs (illustration), 260

Teheran (city), 354

Tekke border design, 135

Tekke field design, 135

Tekke Bokhara rugs, 51, 135

Tekke Bokhara rugs (characteristics), 151

Tekke Bokhara rugs (description), 281

Tekke Bokhara rugs (illustrations), frontispiece, 150, 162, 282, 284

Testing of dyes, 79

Testing of materials, 45

Thibet rugs, 303

Tientsin rugs, 303

Tiflis (city), 354

Toman (coin), 354

Tomoye design, 136

Tortoise in design, 136

Transcaucasia, 253

Transportation charges on rugs, 25

Tree in design, 135, 137

Trefoil in design, see Reciprocal trefoil, 126

Trellis in design (see Lattice), 117

Triangle in design, 137

Tribal or Family designs, 97

Tuberculosis in the Orient, 55, 57

Turkey in Asia, 355

Turkish classification, 164

Turkish coat of arms, 107

Turkish designs, 98

Turkish exportation of rugs, 217

Turkish or Ghiordes knot, 169

Turkish weavers, 217

Turkestan, 277, 354

Turkoman classification, 165

Turkoman designs, 98

Turkoman rugs, 277

Turkoman rugs (characteristics), 277

Turner collection of rugs, 38

Turtle border design, 136

Turtle in design, see tortoise, 136

Twin fish design, see Herati, 114

U

Umbrella in design, 138

Urn in design, see Vase, 138

V

Valonia used in dyeing, 76, 83, 84

Value of rugs, 25, 32

Vegetable dyes, 40, 44, 75, 76, 78

Vermilion (color), 82

Vestibule, Rugs suitable for, 49

Violet (color), 84

Vulture in design, 138

W

Walnut husks used in dyeing, 83

Warp, 45, 92

Washed rugs, 40, 64, 93

Washing, Legitimate, 40

Washing of rugs, 64, 65

Wearing qualities of rugs, 63

Weavers, 55, 87, 89, 91, 170, 217, 218

Weavers, Chinese, 18, 303

Weavers, Diseases among, 55, 56, 57

Weavers, Expert (illustration), 38

Weavers, Kurdish, 219

Weavers, Pay of, 55, 88, 89, 90, 170

Weavers, Persian, 18, 91, 169

Weavers, Turkish, 217

Weavers, Turkoman, 91

Weavers, Youthful, 55, 57

Weavers, Youthful (illustration), 90

Weaving, Age of, 17

Weaving, Biblical reference to, 17

Weaving, Chinese, 305

Weaving, Methods of, 89, 90, 91

Wedding rugs, 324

Weight of rugs, 44

Widener collection of rugs, 38

Williams collection of rugs, 38

Willow tree in design, see Tree, 136

Wine glass border design, 138

Winged globe in design, 139

Wolf in design, 139

Woof, 92

Wool, 69

Wool, Preparation of, 71

Y

Y form in design, 139

Yak rugs, 305

Yang and Yin design (see Tae-kieh), 135

Yarkand (city), 355

Yarkand rugs (characteristics), 151

Yarkand rugs (description), 288

Yellow (color), 76, 80, 83

Yerkes collection of rugs, 37

Yezd (city), 355

Yomud (tribe), 355

Yomud Bokhara rugs, 50, 51, 105, 327

Yomud Bokhara rugs (characteristics), 151

Yomud Bokhara rugs (description), 285

Yomud Bokhara rugs (illustration), 286

Yuruk, 355

Yuruk rugs, 50

Yuruk rugs (characteristics), 150

Yuruk rugs (description), 231

Yuruk rugs (illustration), 230

Z

Zanjan (town), 355

Zigzag design, see Meander, Greek, 119

FOOTNOTES:

[A] The retail prices given in this book with the description of each rug refer only to the different grades of such pieces which are ordinarily found in the market and in no way allude to antiques, upon which it would be impossible to set a fixed value.

[B] In 1892 Robson & Sons, of London, published a monograph on the Ardebil mosque carpet by Edward Stebbing, who describes it ably.

[C] In the Turkish and Persian languages the vowels are frequently silent and the characters do not stand for single consonants, but represent combinations of sounds as in short-hand, so that the same word is spelled in a great variety of ways when it is translated into English; therefore, the result is rather misleading, and each person must, to a certain extent, interpret the phonetic spelling to suit himself.

Transcriber's Notes:

Combined left sides (pg. 223a and 223c) and right sides (pg. 223b and 223d) for better readability.

Tried to reduce width of table(s) on pages 223a - 223d.

Obvious typographical errors have been silently corrected, but other variations in spelling and punctuation remain unchanged.