+-----------------------------------------------------------------+ UPPER END NAP WEAVE TEXTURE +-----------------+-----------+-----------+---------- PERSIAN l = long f = fine l = loose m = medium m = medium m = medium W/S K T F s = short c = coarse f = firm +------------+-----+---+---+---+-----------+-----------+---------- Bijar W F m m f [S]
Feraghan W F s m m Gorevan F m c l Hamadan W T m/s m f Herat W F m c f Herez F m c l Iran W F m c l Mod. Ispahan W [K][T] F m/s m f Joshaghan W F m f m Kashan W F s f f Karadagh W F m m/c m/f Karaje W F m/l c l Kermanshah W F m c f Khorassan W F m m/f m/f Kirman W F s f f +-----------------------------------------------------------------+
+------------------------------------------------------------------------+ KNOT WARP +----------------------------+------------------------------ PERSIAN Number to At back Inches G = S = +----------- w = c = +----------- Ghiordes Sehna H P wool cotton s/l e d h +------------+---------+------+-----+-----+-----+-------+----+---+---+--- Persian Kurdistan G 5-9 6-13 w e d Western Kurdistan G 4-7 6-9 w e Mahal G S 7-12 6-12 c e d Meshed [G] S 8-1512-17 [w] c h Mosul G 5-7 7-9 w [c] e Muskabad G S 6-11 6-11 c d [h]
Niris G 6-11 7-15 w d [h]
Sarabend S 8-13 9-13 c e h Sarouk S 12-1812-20 c [l] [d] h Sehna G S 11-2012-24 c [l] e Serapi [G] S 6-10 7-12 c d [h]
Shiraz [G] S 7-12 8-12 w [g] e [d]
Suj-Bulak G 7-10 8-12 w e [d]
Tabriz G 12-2010-22 c [l] h +------------------------------------------------------------------------+
+---------------------------------------------------------------+ WEFT SIDES LOWER END +------------------------+-------+----------------- PERSIAN w = c = wool cotton s/l P O S W/S K L F +------------+-----+-------+----+-----+---+---+-----+---+---+--- Persian Kurdistan w 2 O W L Western Kurdistan w 2 O W [K][L]
Mahal c 2 O W F Meshed w c 2 O W F Mosul w [c] 2/[1] O [S] W Muskabad c 2 O W F Niris w 2 O W K F Sarabend c 2 O [W] F Sarouk c 2 O W F Sehna c 1 O [W] F Serapi c 2 S W L [F]
Shiraz w 2 O W L Suj-Bulak w 2 S W F Tabriz [w] c [l] 2 S W F +---------------------------------------------------------------+
+-----------------------------------------------------------------+ UPPER END NAP WEAVE TEXTURE +-----------------+-----------+-----------+---------- PERSIAN l = long f = fine l = loose m = medium m = medium m = medium W/S K T F s = short c = coarse f = firm +------------+-----+---+---+---+-----------+-----------+---------- Persian Kurdistan W F l c f Western Kurdistan W [K] T F l c f Mahal [W] F m c m/f Meshed W F m m m/f Mosul W/[S] [T] F m c m/f Muskabad [W] F m c m/f Niris W K F m m l Sarabend W F m/s m/f f Sarouk W F s f f Sehna W F s m m Serapi W F m c f Shiraz W F m m l Suj-Bulak W [T] F m m/c m/l Tabriz W F s f f +-----------------------------------------------------------------+
[] indicates the less frequent condition.
CHAPTER X
ASIA MINOR RUGS
ALL rugs that are woven in the Turkish provinces of Asia are frequently grouped together and called "Turkish" rugs; but a more natural classification is to distinguish between those made to the east and those made to the west of a line drawn from the Gulf of Iskenderoon to Trebizond, deflecting slightly in its course so as to follow the ridges that divide the watershed of the western forks of the Euphrates river from the plateau of Anatolia. With the exception of the very few pieces that come from Syria or other southerly districts, those woven in the Turkish provinces east of this line show such a relationship to those of Persia that they are more properly classed with them; while on the other hand, with the exception of the rugs of the wandering Yuruks, those woven to the west of this line and in the neighbouring islands of the Mediterranean conform so closely to a common type that they fall naturally into a separate group. It is better, therefore, to treat them separately and to call them the Asia Minor Rugs.
Though a certain glamour attaches to all that comes from Persia, the Indes, or Far Cathay, in no part of the Orient are rugs woven on more classic ground than are the Asia Minor pieces. They are still made in the shadow of the walls where Crsus lived and among villages where Homer trod. Their yarn is spun with crude distaff by the shepherd who still drives his flock along the same road where Artaxerxes marched, across the bridges that Roman legions built, and over the green slopes of Mt. Ida. In fact the names of some of them call to mind pictures of the Crusades, the journey of Paul, the march of Alexander's conquering army, and of cities founded before the beginning of history.
When analysing the rugs of Asia Minor, it is necessary to make a distinction that has been previously noticed in the case of Persian rugs, though with them it is less important. From the time when there arose a large demand in the markets of Europe and America for the rugs of the East the natural supply decreased, and, as a consequence, the price of those that remained increased. To meet this deficiency, and because of the higher prices, there was established a system by which large numbers of women and children were constantly employed; although many worked in their own homes, using such material as was furnished by their employers and receiving fixed daily wages. In the western and southern parts of Asia Minor, which are connected by railroads with seaports, are a number of communities where this system is in vogue. One of these is at Demirdji in the province of Smyrna, where there are a small number of looms; others are in the districts of Ghiordes and Kulah, which together have about one thousand looms; and Oushak, the principal rug-weaving centre of Asia Minor, has as many more.[28] Almost all rugs produced at such places are now shipped to Smyrna, which itself has but very few looms, or to Constantinople, whence they are reshipped to Western markets. These products lack much of the oldtime artistic spirit and individuality of character, on account of the dependence of the weavers on their employers, who demand the largest output consistent with fair quality. Furthermore, the weavers are frequently required to reproduce Western patterns. The result is that most of these rugs possess little of the firmness of texture, the harmonious relations of designs, and the excellent colour of old fabrics. Since, then, they represent in a measure European influences, and are subject to further changes to meet the demands of a fluctuating foreign taste, it would be of little use to describe them, especially as all their original characteristics exist in the old pieces.
The striking features of Asia Minor rugs woven over fifty years ago are the colour schemes, main patterns, and the separate designs, which may be either independent of the pattern or constitute part of it. The colour effect of Asia Minor rugs is as a rule brighter than that of the Central Asian, Indian, or Persian groups; for the reds, blues, and yellows are less subdued. Some of their tones never appear in Chinese rugs, and on the whole they most closely resemble those of the Caucasian pieces; yet it is not unusual to see such colours as mauve, lavender, and canary yellow, that rarely appear even among these. Moreover, in a few of them masses of strongly contrasting colours are placed beside one another without the customary shading of Persian rugs or the artificial device of Caucasian latch-hooks to soften the effect of harsh combinations.
[Illustration: MAP OF ASIA MINOR]
The difference, nevertheless, between the Asia Minor rugs and those of other groups is less apparent in the colour schemes than in the main patterns, for in the Asia Minor rugs is evidence of an independent inspiration and development. There are lacking the rigid octagonal figures of the Central Asian groups; the frets and floral sprays distinctive of Chinese; the naturalistic floral treatment of the Indian; the delicate tracings, rhythm of movement, and wealth of foliage motives that characterise the Persian; as well as the severely geometric forms and conventionalised motives of the Caucasian. Instead of gracefully flowing lines we find strong rectangular ones; instead of flowers realistically balanced on interlacing, foliate stalks, they are arranged separately in formal rows. But if their patterns lack the fertility of invention or the refinement of Persian and Indian pieces, they excel them in the strength of their clear definition, accentuated by massing of colour. It is, however, in the prayer patterns, which appear in the majority of Asia Minor rugs, that the weavers attain their best results; for in such work they have the inspiration of a high religious as well as artistic spirit. In these patterns, which differ from those of any other group of rugs, is often manifest singular beauty and grace, as well as delicate sentiment derived from worship in Moslem chapels; for in many is represented the burning lamp that, projected against a background of sacred green, hangs from the column-supported arch, above which is spread a spandrel of blue typifying the vaulted heavens.
Likewise many of the small designs that are found in other groups of rugs are rarely, if ever, seen in this one; as, for instance, animals, birds, fishes, and human beings are never employed, on account of the religious prejudice of the Sunnite Mohammedans, who prevail in the country. Nor, with very few exceptions, is the Herati design, so characteristic of Persian rugs, nor the pear design, so characteristic of both Persian and Indian rugs, ever seen. Furthermore, the reciprocal trefoil, that is used as a motive for a small border stripe in all Caucasian and many Persian rugs, is very rarely found in Asia. Minor pieces woven during the last two centuries, though it appears in some of an earlier era. But in its place are the water motive and ribbon, which are less frequently employed by the weavers of any other country. There are also many small floral motives that appear only in Asia Minor rugs, and that will be noticed in connection with the separate classes.
These characteristics of colour, pattern, and design are not the result of a spontaneous growth unalloyed by foreign influences; for a natural art never existed in Asia Minor, which has never enjoyed a national existence; but they are the results of artistic movements that at different times have swept over that country. Thus, as an heirloom of dynasties that once flourished farther east, are the Cufic characters that appear in some of the early border patterns; and as a relic of the Mongol and Timurid invasions are the dragon and other designs found in the oldest pieces. In Oushaks, as well as others, are seen the evidences of Persian treatment; while the drawing and colour schemes of the prayer rugs forcibly suggest Saracenic, Grecian, and Christian ideas. In fact, the rugs of Asia Minor, while possessing co-ordination of colour and design, are in a measure composite. They never reach the high artistic development of Persian rugs, because the latter were produced under the fostering care of great kings whose royal magnificence could secure from years of patient labour suitable furnishings for palaces and mosques; yet they are none the less interesting subjects for speculation and study.
BERGAMOS.-In the valley of the Cacus and twenty miles from the aegean Sea is the city of Pergamus, that gives its name to the Bergamo rugs. It is of unknown antiquity, and may have stood when Agamemnon was warring with the house of Priam before the walls of that other city of the same name. In turn, Persians, Macedonians, Thracians, Syrians, and Romans had taken possession of it before the Apostle Paul founded there one of the seven churches of Asia. Greek sculptors chiselled its monuments, philosophers taught beneath the shade of its trees, and scholars gathered there the library that rivalled that of Alexandria. Partly encircled by mountains and enclosed by the wall of this old city, that was wellnigh destroyed during the Turkish wars, is the modern city of some fifteen thousand inhabitants. It is to-day one of the flourishing cities of the Levant, yet only in the surrounding ruins is there any reminder of its former greatness and splendour. But in these crumbling relics of the past and in the excellence of its woven fabrics of more recent times are traces of the artistic spirit that once prevailed there.
[Illustration: PLATE 37. ANATOLIAN PRAYER RUG]
It is still possible to obtain many good specimens of Bergamos representing the craftsmanship of fifty or more years ago, when aniline dyes and European patterns were unknown east of the Hellespont. Almost without exception they are sterling fabrics that glory in a wealth of colour accentuated by depth of pile and sheen of soft lustrous wool. An observer is at once impressed by the tones of deep blue and madder red that a few lines or patches of ivory white bring out more clearly, and forms a favourable estimate of the value of these pieces independently of the drawing, which seems subservient to the part of giving spirit and quality to the colour scheme. In fact, it is to the genius of the dyer who applies his knowledge to the tinting of carefully selected wool, and to the pains of the weaver in constructing the foundation of warp and weft rather than to his skill in arranging artistic designs, that these pieces command as high a price as old Kirmans of similar age.
In two particulars Bergamos differ from most Asia Minor rugs: in shape they are nearly square, and prayer rugs are the exception rather than the rule. Nor do all the prayer rugs follow the same general pattern, as is usually the case with other classes. They may have low tent-shaped arches like those of Daghestans, high triangular arches with stepped sides and a panel above the spandrels as in the Kir-Shehrs, or they may have shapes unlike those of any other class. Moreover, the pieces not used as prayer rugs also have great diversity of pattern; but as a rule some large figure, as a medallion, occupies the centre of the field.
Very frequently it is of hexagonal shape, with the sides at upper and lower ends of the rug serrated or fringed with latch-hooks. As is not the case with many of the Persian rugs, the field surrounding the medallion is almost always covered with small designs, arranged with careful precision so as to show a perfect balance with reference to the centre. Eight-pointed stars and other geometric figures are frequently used, but there is a leaning to floral designs, which, however, are often so conventionalised as almost to lose their identity. Most prominent of these is the Rhodian lily and the pomegranate; but the lily never shows such graceful drawing or such dainty colouring as in the Kulahs, and in some pieces even loses all resemblance to a floral form.
The pomegranate, which suggests the Ladik, is more frequently seen in the main border stripe. Undulating vines do not find favour among the Bergamo weavers, and small isolated geometric designs are largely employed in the narrow border stripes, while larger, more complex figures often replace the floral in the main stripe.
In no other class of rugs are so many and such painstaking devices to avert the spell of the evil eye. Should an unexpected visitor surprise the weaver while at work, he may be required to part with a bit of his frock, which is then attached to the wide web of the end; should a similar occurrence of ill omen follow, another bit of different material and colour may be sewn upon this; and as a crowning talisman, a button may be affixed to both. Small cowrie shells from the aegean shores are often used for such purposes; and now and then may be seen a woollen tassel dangling from the centre or from one of the ends of the rug.
_Type Characteristics._ _Colours_, principally red and blue, with minor quantities of yellow, white, and green. _Knot_, Ghiordes. Knots to inch horizontally five and one half to nine; perpendicularly, seven to eleven. The rows of knots are pressed down, so that the warp is concealed at back. _Warp_, wool; each of the two threads encircled by a knot is equally prominent at back. _Weft_, wool of fine diameter, dyed red. A thread of weft crosses from two to six times between every two rows of knots. _Pile_, wool; generally of medium length but frequently long. _Border_, from one to four stripes; most frequently of three.
_Sides_, a weft selvage of two, three, or four cords, coloured red or blue, with occasionally some green or yellow. _Both ends_, a web, that is sometimes six or seven inches wide, coloured red and crossed by broad longitudinal stripes, which are generally blue, but may be black, white, brown, or yellow. Some device to avert the evil eye is frequently attached to the webs. Beyond the web is a tasselled warp fringe.
_Texture_, moderately firm. _Weave_ at back is of fine grain. _Usual length_, three to seven feet. _Usual width_, three quarters to nine tenths length.
GHIORDES.-Whether, as has been maintained, the town of Ghiordes, that lies a day's journey to the east of Pergamus, is on the site of the ancient Gordion where tradition says the father of Midas dedicated his chariot to Jupiter, and Alexander severed the bark which bound the pole to the yoke, it claims attention from the fact that the rugs woven there one and two centuries ago not only excelled similar products in all other parts of Asia Minor, but equalled the best fabrics woven in Persia during the same period. Indeed, a few connoisseurs would rank them still higher; yet with reference to technique of weave and delicacy of colour and drawing, very few should be classed with those woven in the previous century by the proteges of Tamasp and Shah Abbas.
[Illustration: PLATE 38. MUDJAR PRAYER RUG]
So essentially do the modern rugs of the Ghiordes district differ from the old pieces in weave, colour, and pattern, and so great is their inferiority, that they have little interest; but fortunately it is still possible to purchase pieces from seventy-five to one hundred and fifty years of age, and others still older are in the hands of collectors or in museums. In determining their age the colours and drawing, as well as weave and pattern, are important indices. For instance, the reddish tones of the fields of pieces less than a century old have a pinkish or even magenta tinge, while in the oldest the red is of rich, deep colour.
Similarly, in the case of blues, greens, yellows, and even the ivories that rarely occupy the field, a riper and richer colour marks the greater age. Likewise with the drawing, greater painstaking and higher artistic skill are apparent in the older rugs; though in some of the oldest the designs are less ornate than in those of a subsequent period.
This is also true of the patterns as a whole; since the best types are found in rugs that are probably from one hundred and fifty to two hundred and fifty years old, whereas in the extremely old pieces there is an approach to archaic forms.
The difference between the odjaliks and namazliks, which are the kinds most frequently seen, is most noticeable. The colours, to be sure, are much the same, though as a rule lighter and duller tones predominate in the odjaliks. Their borders show a greater tendency to use geometric figures, some of which are profusely fringed with latch-hooks suggestive of Caucasian influences. They also contain archaic designs believed to be associated with sun worship, as well as many floral forms common to the prayer rugs. It is, however, in the fields that the distinction is most noticeable; since the large masses of uniform colour that make the namazliks so effective are wanting, and instead are frequently seen hexagonal-shaped medallions that are fringed with large rounded latch-hooks and contain a lozenge or other geometric design in the centre. At both ends of the fields are sometimes narrow panels containing quasi-floral forms, and stiff conventions occupy the intervening corner spaces.
In striking contrast to these odjaliks are the old Ghiordes prayer rugs, with the rich tones of solid colour in the fields and the delicate drawing of the borders. No doubt they were made with unusual care, since they were intended for religious purposes. The pattern represents an entrance into a mosque; and it is not improbable that some of the earliest rugs were copied directly from archways, many of which still exist in Mohammedan countries.[29] Near the base of all Ghiordes arches, at each side, is a shoulder, which in old pieces was supported by a single pilaster or a pair. Sometimes these were ornamented with scroll work or floral forms, but finally many of them degenerated into floral devices that bore slight resemblance to columns, and in other rugs they have entirely disappeared. In some very old pieces the shoulders and the mihrab were rounded, but as a rule the shoulders are flattened at a very obtuse angle; and the mihrab is either plain or has stepped sides that culminate in a blunted apex. To further suggest the sacred purposes of the rug a lamp is often suspended from the niche, though floral forms may take its place, and not infrequently these too are wanting. Almost without exception some reminder of the tree of life, such as the small floral sprig or the Rhodian lily, is projected from the inner side of the arch and from all sides of the border against the field. In the spandrel, also, is almost invariably some floral or leaf form; though these may be very much conventionalised or even supplanted by geometric figures. Above the spandrel is a panel, which may contain some floral form, scroll device, or verse from the Koran; and another panel, though generally with different design, is almost invariably placed beneath the field. A scroll resembling a large S (Plate O, Fig. 9, Page 291) frequently appears in these panels. Its resemblance to forms found in Armenian dragon carpets of earlier centuries is very noticeable.
The border surrounding the field is as characteristic of this class as is the prayer arch. There are invariably a number of stripes, which generally consist of a wide central one, two secondary, and two or more small guard stripes. The drawing is distinctly floral, yet is widely different from the Persian. A design (Plate G, Fig. 1, opp. Page 192) frequently seen in the central stripe represents a large palmette or rosette partly surrounded by leaves, suggestive of the Herati design, and connected by tendrils with more delicate flowers or leaves.
But the more usual design (Plate G, Fig. 3) consists of flowers and fruits that are arranged in quadrangular shape, so that the alternate units face in different directions as they extend around the border.
Though it is far from naturalistic, its delicate lace-like drawing with clear definition and its tones in harmony with the central field, contribute largely to the beauty of the rug. The secondary stripes have generally repetitive leaf forms; and running through the guard stripes is a simple vine, ribbon, or wave design. Occasionally, however, the typical Ghiordes border is replaced by one borrowed from the near district of Kulah, and instead of the broad central stripe are several narrow parallel stripes studded by perpendicular rows of small floral figures (Plate G, Fig. 12). An unusual feature of these rugs is the linen nap which is sometimes used in the field instead of wool, for the reason that it retains its colour while wool darkens with age; and another is the silken fringe which is often seen at the corners of fine specimens. The nap is always short, and the rugs are closely woven.
_Type Characteristics._ _Colours_, principally red, blue, yellow, and white. _Knot_, Ghiordes. Knots to inch horizontally seven to twelve; perpendicularly, eight to sixteen. The rows of knots are pressed down, so that the warp is concealed and the weft is partly hidden at back.
_Warp_, wool or cotton and in a few pieces raw silk. One of the two threads encircled by a knot is usually slightly depressed below the other at the back. _Weft_, wool or cotton. A thread of weft crosses twice between every two rows of knots. _Pile_, wool, and occasionally some cotton, clipped very short so as to be harsh to the touch.
_Border_, six to nine stripes. _Sides_, a weft selvage of two or three cords, or only infrequently an added selvage of silk. _Both ends_, a narrow web and warp fringe. A few pieces have an added silk fringe at the corners. _Texture_, firm. _Weave_ at back is of very fine grain, but slightly rough. _Usual length_, five to seven feet. _Usual width_, two thirds to three quarters length.
KULAHS.-About fifty miles from Ghiordes, in a southeasterly direction, is the Turkish village of Kulah. Both places are surrounded by the same general character of hills and plains, and for the last several centuries the people of each have been subject to the same influences of race and religion. They have undoubtedly visited, intermarried, and become familiar with the arts and crafts of one another. It is not, therefore, surprising that some of their rugs should have similar technique of weave, and that a few resemble one another in general pattern and small designs. Moreover, such a close correspondence exists between many of the old rugs of both districts, that even the most experienced are sometimes at a loss to distinguish between them. In fact it is surprising that there is so marked a distinction between most of them. In the Kulahs the border designs are not so elaborately drawn, nor are the prayer arches so high. They have rarely the fringe that adorns the corners of some Ghiordes rugs, or more than one panel. The field usually contains floral figures, arranged in formal order; the spandrel is almost always extended in two narrow stripes, one at each side of the field; and the colours are always subdued. These and other characteristics of each class make it possible to distinguish between most of them.
As is the case with Ghiordes rugs, sedjadehs are almost unknown; but it is not unusual to see odjaliks. These resemble prayer rugs in the following respects: the borders are almost identical; the central fields contain the same floral figures resting on a similarly coloured ground; both ends of the hexagonal-shaped field resemble a mihrab; and the space between the field and border is covered with designs peculiar to the spandrels of the prayer rugs.
On account of their artistic drawing and soft colours the prayer rugs are favourite pieces with all collectors. It is true that the arch is flatter than that of any other rug of this group, and is defined either by plain sloping lines, or more frequently by stepped edges, so that it lacks the classic beauty of the Ghiordes type; but on the other hand the Rhodian lily and other floral forms characteristic of these pieces are delineated with a realism and graceful delicacy that are unequalled in any other Asia Minor rugs. Arranged on slender sprays along each side of the field, hanging as long clusters from the niche in place of a lamp, or placed on the panel in formal rows, they accentuate with their bright tones the subdued richness of the ground colours. Sometimes, however, these simple field designs are replaced by more formal drawings that represent a plat of land with a tomb shaded by a tall cypress and other trees with many leafy branches. Rugs with these designs are not uncommon in Germany, whither large quantities of Asia Minor prayer rugs were shipped many years ago, and where they are known as "Friedhofteppiche,"
or "Grave Rugs,"
[Illustration: PLATE 39. DAGHESTAN PRAYER RUG]
The most pleasing features are in the fields, but the most distinguishing features are in the borders, which are invariably of several stripes. Instead of the large central stripe with floral and repetitive designs common to most rugs is a series of parallel bands, from five to ten in number and about an inch in width, that contain rows of minute floral forms. These narrow bands are a distinguishing feature of the Kulahs, though they have occasionally been copied by the Ghiordes weavers. Nevertheless, they are sometimes replaced by the broad stripe containing rows of geometric-shaped designs, as in Plate G, Fig. 13 (opp. Page 192), which also are peculiar to these rugs. Strange as it may seem, these designs have doubtless been derived from leaf forms by successive degradation, as will be seen by comparing Figs. 13-a, 13-b, 13-c, and 13-d of Plate O (Page 291). There is still another border design that is so constantly found in the secondary stripe of these pieces and so rarely in any others that it might well be designated the "Kulah stripe" (Plate H, Fig. 10, opp. Page 194). The design consists of a repetitive figure suggestive of some Chinese device, but is in reality a degraded form of a vine, as will be seen by observing some of the very old border stripes. Between the inner secondary stripe and the field is usually a narrow stripe containing a continuous ribbon design, or a simple vine-like form, as in Plate F, Fig. 18 (opp. Page 158). Often a part of each succeeding undulation of the vine has been omitted and the remaining parts have been compressed, so as to leave small detached figures like a row of "f's," as in Plate H, Fig. 2. It is not unusual to see both vine and detached figures in the same rug.
Diversity prevails in the colours of field, spandrel, panel, and borders. In the field is generally a mellowed red, or a yellow tint that is described both as golden brown and apricot; blue also is occasionally seen, and white is very rare. But whatever the colour of the field, that of the spandrel is generally a light blue, indicative of the sky, and the overlying panel is frequently a dark blue. Green and brown often appear in the border, as well as a canary yellow peculiar to Asia Minor rugs. Moreover, a few of these pieces have a single small area of red or blue, that was doubtless inserted to avert the evil eye, since it shows no more relation to the surrounding colours than spilt ink might have; yet in spite of these contrasts and the fact that the nap lacks the lustre peculiar to many other classes, some of them are as beautiful as Ghiordes.
Between these old fabrics and the modern, which factory-like are produced in large quantities to meet the demands of a Western market and taste, is the most noticeable difference, for the latter are inferior to the former in patterns, weave, and dyes. Furthermore, with the wool of many is mixed mohair, so that rapid deterioration follows slight usage.
_Type Characteristics._ _Colours_, principally red, brownish yellow, and blue, with minor quantities of green, dark brown, and white. _Knot_, Ghiordes, Knots to inch horizontally five to ten; perpendicularly, seven to twelve. The rows of knots are not firmly pressed down. _Warp_, wool; one of the two threads encircled by a knot is noticeably depressed at the back. _Weft_, in most rugs, of wool of medium diameter, sometimes dyed yellow. A thread of weft crosses twice between every two rows of knots. In other rugs, even very old, the weft consists of a coarse thread of jute crossing once between two rows of knots and alternating with a small thread of jute and another of wool crossing side by side once between the next two rows of knots. _Pile_, wool, of short or medium length. _Border_, six to nine stripes. _Sides_, a coloured mixed selvage of two, three, or four cords. _Both ends_, a coloured web and warp fringe. _Texture_, loose. _Weave_ at back is of moderately coarse grain. _Usual length_, five to seven feet. _Usual width_, three fifths to three quarters length.