part by machinery like the current substitute for a Turkish towel.

OF THE MAKING, & OF DESIGNS, BORDERS, ETC.

Chapter III

OF THE MAKING, & OF DESIGNS, BORDERS, ETC.

In order to appreciate the beauty of rugs, it is well to remember how they are made, and with what infinite patience the bits of wool are knotted onto the warp one after another, knot upon knot and tie after tie, until the perfect piece is finished. Yet, no! Finished it may be, but never perfect. Deliberately, if necessary, it must show some defect, in proof that Allah alone is perfect. Such at least is the poetical version of a crooked rug as the seller tells it. Yet never was a vendor but will expatiate fluently on the merits of a rug which lies true and straight and flat upon the floor, as a good rug should. It is a common sight nowadays in shop windows to see some wandering artisan plying his trade for the edification of the passer-by. In his own home it is generally a woman who does the weaving, and very commonly the whole family take part in it. More often still the rugs were woven by an Oriental maid for her prospective dowry, and the practice yet obtains. A specimen of her handicraft in textile art was a bride’s portion and marriage gift; it was considered as essential to the proceedings as the modern trousseau. This offering was a work of love and often a work of years. It is but natural, under such circumstances, with dreams, hopes, and fancies for inspiration, and the stimulus of rivalry, too, that masterpieces should result. These Eastern marriage portions correspond to the “linen chest” of our ancestral Puritan Priscillas; and similar customs now survive in many countries. Except that the “accomplishment” of the Oriental maiden is so much more important, it might also be compared to the beadwork so diligently done by our grandmothers. If the Persian bride gave infinite toil and pains to innumerable knots and ties, our belles of the last century were also unwearying in their tasks, and strung more and smaller beads than any would care to count or finger now. The designs on these bead-bags were mostly crude and “homely,” and their art was very simple. But though the handiwork of the Orientals was expended in a better cause with worthier skill, both linen and wool, and even beads, bespoke a labour of love in such employments; which, alas! is out of date to-day. Rugs of this character, gathered from house to house, together with some few stolen from mosque or palace, were the first ripe spoils of twenty years ago. Of course the supply was soon exhausted. It is an interesting question whether it might not be possible, in the East, to revive this high class of work among the girls. Instead of establishing great factories for machine-made products from set designs, could not the most skilful of the girls be induced by good prices to create original pieces and rejuvenate the old art?

Larger Image

Plate II.
ANTIQUE KONIAH
Prayer Rug
From the Collection of Mr. George H. Ellwanger
Size: 3.5 x 4.7

“Serabend” Border		Persian, Caucasian
Feraghan Leaf Design		Rhodian or Lily Border

The method of weaving is most simple. The warp is stretched on a rude wooden frame, and this warp is either wool, linen, or cotton. The knotting is begun at the bottom and worked from right to left. A bit of woollen yarn about two inches long is deftly twisted between the strands of the warp, then tied in a secure knot, and the ends left as they are. This knot of yarn is then secured in place by one or more twists of the end of the warp, and then another knot of yarn is tied and the process repeated ad infinitum until the bottom row is finished and another row begun. Not till the rug is all made are the ends of the knots cut, according to the length of nap desired. Such, at least, was the original method, although the various knots are all a mystery to any but the initiated, by whom they are generally classified as two only. When one square inch of rug is completed, according to the quality of the rug and the coarseness or fineness of the yarn, there have been thus laboriously tied from one hundred to five hundred knots, not uncommonly a thousand and more in some museum pieces. And all this while the weaver is working with his brains as well as with his fingers and keeping true to the design and colour scheme which he carries only in his head. Except in the few intentioned copies, specially made, they had formerly no patterns to follow. Each particular weaver, however, was wont to keep to the general design and colouring which distinguished his particular locality.

Koniah Field			Koulah Border

Of designs it may be said, generally, that they were originally individual trademarks, and, of themselves, stamped the locality of their weavers. Later, as knowledge and civilization spread and tribe grew to communicate with tribe and nation with nation, local designs came to be used indiscriminately. For example, you will find in the semi-antique Feraghans or Shiraz, or Kiz-Killims as well, the distinctive and unmistakable Sehna models. On the other hand, certain definite, primal, and unchanged designs, both in the field and border, mark some rugs absolutely and exclusively; as