Oriental Rugs Part 8

who visited it during the XIV Century many fine carpets then lay on the floor of its mosque. It is also believed that within the shrine, which has never been entered by an unbeliever, still remain some of the most magnificent carpets of the Orient. But for more than a century the textile industry has been declining, and the rugs now seen are generally of recent manufacture.

As a rule, these rugs are of the Khora.s.san type, and have the same silky appearance of nap, though it is shorter and more evenly clipped. The pattern, however, is generally different, as seldom is the field completely covered with the pear design, but whenever used, it is of elaborate drawing and frequently very large. Nor is the characteristic Khora.s.san border stripe, ill.u.s.trated in Plate E, Fig. 2 (opp. Page 156), employed. On the other hand, it is not usual to see large central medallions, with floral designs in tones of rose or pink on fields of blue or ivory, and borders with undulating floral vines, in which appears evidence of Herati influence. Most of the rugs that now exist were made within the last fifty years, and are of large size and almost square shape. The colour scheme inclines to light and often brilliant tones, which at times are strongly contrasted with small ma.s.ses of much darker shades. The wool is excellent, and the warp and weft are rarely coa.r.s.e.

[Ill.u.s.tration: PLATE 25. KERMANSHAH RUG]

_Type Characteristics._ _Colours_, princ.i.p.ally rose or pink, blue and white, with minor quant.i.ties of yellow and green. _Knot_, generally Sehna, rarely Ghiordes. Knots to inch horizontally, eight to fifteen; perpendicularly, twelve to seventeen. The rows of knots are pressed down, so that the warp is concealed and the weft is partly hidden at back. _Warp_, generally cotton, occasionally wool; one of the two threads encircled by a knot is doubled under the other. _Weft_, wool or cotton, of fine diameter and usually dyed blue. A thread of weft crosses twice between every two rows of knots. _Pile_, wool of fine quality and medium length. _Border_, usually from three to six stripes, occasionally as many as eight, and generally an outer edging of uniform colour.

_Sides_, a double overcasting of same colour as edging. _Lower end_, a narrow web and warp fringe. _Upper end_, a web and warp fringe.

_Texture_, moderately firm. _Weave_ at back is of slightly coa.r.s.e grain.

_Usual length_, six to fourteen feet. _Usual width_, two thirds to seven eighths length.

ISPAHANS.-Still imposing in the ruins of its former splendour, surrounded by orchards, vineyards, and groves of trees that shade a broad, well-watered plain, is the ancient city of Ispahan. Under the Caliphs it became the capital of Persia; and though sacked by Tamerlane, who slew seventy thousand of its inhabitants, it rose to such importance that in the XVII Century it contained within its walls several palaces, one hundred and sixty mosques, over two score of colleges, nearly two thousand caravansaries, and about three quarters of a million people.

Now the population has dwindled to about sixty thousand; and the few stately mosques and colleges that remain amid miles of deserted streets, abandoned bazaars, and ruined homes but feebly reflect the magnificence of the former capital.

Here was the royal court of Shah Abbas, who sent to Italy, for the purpose of studying decorative art, a number of the most experienced artisans, to whom are accredited some of the gracefully drawn designs of many of the early carpets. Here, in the days of its greatest prosperity, were founded many industries, and on its looms were undoubtedly woven some of the best of old Persian carpets. Though Herat is now regarded by some authorities as the centre where the so-called Ispahan rugs were made, it is improbable, as previously pointed out, that all of them came from there. But after the death of Shah Abbas the rug industry began to decline; and with the removal of the capital to s.h.i.+raz, in 1760, Ispahan ceased to be a rug-producing centre of consequence. There may be a doubt whether such enormous carpets, as the one with length of sixty feet and breadth of thirty that Sir Purdon Clark in his monograph on Oriental Carpets mentions as lying in the hall of Chehel Sutoon at Ispahan, were made there or were imported from other cities; but the weaving of rugs has never entirely ceased; and so great is the fame of the former glory of the city that even now Oriental dealers will often apply to rugs the term "Ispahan" as an epithet of superiority.

The few modern pieces which reach the western markets bear little resemblance to their prototypes; and even among themselves show little similarity of pattern, though the pear and Herati designs are not uncommon. In some rugs a century old the field is almost covered with what is known as the Persian crown jewel, and in others the field contains diamond-shaped medallions arranged in regular order with small foliate and floral forms placed between them. Small figures of animals are also occasionally represented. The border is generally narrow and lacking in impressive individuality, so that the character of the rugs depends largely on the pattern of the field and the well-seasoned colours, which are always rich and harmonious. Some shade of red or blue is usually chosen for the ground; and in the designs are green, yellow, and white. The weave has variations rarely found in other rugs; for the warp, which is usually cotton, may also be wool, or wool and cotton twisted together; and the weft may likewise be wool or cotton, and may cross between the rows of knots either once or twice in different rugs, or even once or twice in the same rug.

_Type Characteristics._[21] _Colours_, princ.i.p.ally red and blue, with minor quant.i.ties of green and yellow. _Knot_, Ghiordes. Knots to inch horizontally six to nine; perpendicularly, eight to fourteen. The rows of knots are firmly pressed down. _Warp_, usually cotton, occasionally wool; in a few pieces wool or cotton are twisted together. Each thread of warp is equally prominent at back. _Weft_, wool or cotton. A thread of weft crosses once or twice between two rows of knots. If it is wool, it generally crosses twice; if of cotton, two threads are generally placed side by side and cross together once as a single thread. _Pile_, wool, of short or medium length. _Sides_, a double selvage of two or three chords. _Lower end_, a web. _Upper end_, a web and fringe.

Occasionally the web is turned back and hemmed. _Texture_, firm. _Weave_ at back is moderately coa.r.s.e. _Usual length_, six to fourteen feet.

_Usual width_, two fifths to two thirds length.

KIRMANS.-On account of the isolated position of Kirman in Southeastern Persia, where the almost impa.s.sable saline and sandy deserts by which it is surrounded on the north and east, and the mountain ridges that separate it from the fertile valleys of Persia on the west, in a measure protected it from the repeated invasions that disturbed the political and industrial conditions of Northern Persia, it has continuously for over a thousand years been an important centre for the manufacture of rugs. Moreover, during all this period it has been noted for the excellence of their quality. As early as the Mohammedan conquests its fabrics were taken to furnish the floors and divans of Caliphs' palaces.

When Marco Polo visited Persia in 1270 he wrote of the beautiful shawls and carpets made by the women of Kirman; and the noted French traveller Chardin, who lived in that country during part of the XVII Century, also spoke most favourably of them. Even after Nadir Shah removed many of the most skilled weavers to the northern part of Persia subsequent to ascending the throne in 1739, and Aga Mohammed Khan pillaged the city and ma.s.sacred many of the inhabitants in 1794, the rug industry continued to prosper, and to-day that district is producing the best of modern pieces.

To this isolation is also largely due the excellence of the weave and dyes, since the artisans have in a measure escaped the pernicious influences of market demands and aniline colours. And to it must be attributed the fact that the old Iranian textile art appears nowhere else in greater purity; for of all the rugs on the market to-day these conform more nearly in texture, colour, and design to the masterpieces of earlier times, and show none of the foreign influences appearing in pieces woven in the north. And yet in Kirman is complexity of race as well as religion; for the Beluches who have wandered across the desert mingle with the Persians; and the Guebres, still practising in secret their fire wors.h.i.+p, meet with the Mohammedans.

For long ages silkworms have been cultivated in the district about Kirman and fed on the mulberry trees that grow wild among its hills, so that it is not surprising that small quant.i.ties of silk are sometimes used in the rugs; but as a rule the pile is entirely of wool, yet of such fine quality and so well woven that many of the old pieces have a l.u.s.trous and silky appearance. This wool, which is white and of unusually fine texture, is partly the product of the native sheep and partly the product of a variety of goats that live among the ridges and yield fleeces almost as fine as those of Kashmir.

It is probably because of the fondness of the people of Kirman for roses, which they cultivate for the attar, that they depict them so profusely in their rugs. Sometimes they represent them as filling vases set in rows, or again as formal bouquets arranged in regular order upon the field. They also weave them in the borders among green leaves, as placed there tenderly and not hanging from such stiffly formed vines as are seen in other Persian rugs. Nor are they conventionalised like the flowers of most modern rugs; but petal, leaf, and stem are drawn with a precision that suggests the work of Indian weavers. Usually they are red contrasting with a ground colour of soft, ashy grey in the field, and of golden yellow in the rich, harmonious border. Sometimes, instead of a profusion of roses, there are other flowers, such as the sunflower, suggesting the old Zoroastrian faith, the cypress, or the sacred "cocos." Again, the general design may be modified from one strictly floral, and amid the foliage may be introduced birds, animals, or human beings; but the naturalistic drawing is always noticeable. In modern pieces the central medallion is often adopted, yet the general resemblance to older pieces is evident. As a rule the border has five stripes, of which the main one is twice the width of any other, and surrounding the outer is a narrow edging that is usually pinkish red; though now and then, according to the general colour scheme, a very pleasing effect is obtained by subst.i.tuting an edging of moss green.

[Ill.u.s.tration: PLATE 26. KURDISTAN RUG WITH MINA KHANI PATTERN]

_Type Characteristics._ _Colours_, princ.i.p.ally grey or ivory, with minor quant.i.ties of faun, yellow, rose, and blue. _Knot_, Sehna. Knots to inch horizontally eleven to twenty; perpendicularly, eleven to twenty. The rows of knots are pressed down so that the warp is concealed and the weft is partly hidden at back. _Warp_, cotton; one of the two threads encircled by knot is doubled under the other. _Weft_, generally wool of fine diameter, occasionally cotton, and frequently dyed blue. A thread of weft crosses twice between every two rows of knots. _Pile_, wool, short, soft, and silky. _Border_, usually of five stripes and an outer edging of uniform colour that is generally pink but sometimes green.

_Sides_, a double overcasting of the same colour as edging. _Both ends_, a narrow web and short warp fringe. _Texture_, very firm. _Weave_ at back is of moderately fine grain. _Usual length_, five to seven feet.

_Usual width_, three fifths to two thirds length.

YEZD.-In the centre of a sandy plain, midway between Kirman and Kashan, is the city of Yezd, where almost the last of the Iranian fire-wors.h.i.+ppers, now a small part of the total population, still follow the ancient faith. Though partly shut off from the great desert of Khora.s.san by a mountain range, the city is only an oasis, where the drifting sands that buried the old city ever suggest to the inhabitants the dread spirit of desolation which finds an echo in ruined walls within. At the present time very few piled rugs are woven there and they are rarely seen in Western markets; yet on account of the historic interest in its people, the name is sometimes applied to modern products made in other districts. At one time it was noted for its silk rugs, and also for its felt "namads," which are generally too heavy to be transported, since some of them have a thickness of two inches and a superficial area of ten thousand square feet.

s.h.i.+RAZ.-Near the centre of a small, well-cultivated valley encircled by mountains is s.h.i.+raz, capital of Farsistan. During the reign of Kerim Khan, from 1760 to 1779, it was the capital of Persia; but since then it has suffered from earthquakes and neglect until now much of its former glory has departed. And yet there still remain a.s.sociations to kindle the imagination, for without the gates are the gardens that Persian poets have extolled in verse; the tombs of Saadi and Hafiz; and not far away are the spots where Cyrus, Darius, and Xerxes lived, and the ruined palaces that Alexander destroyed in a night of drunken revelry.

As early as the time of the Caliphs this district produced large numbers of carpets; though few, if any, remain that were woven before the XV Century. As is the case with modern pieces, all of them were distinguished for their soft and beautiful wool, which is to be attributed to the climate and pasture of the surrounding mountains and valleys. One of the oldest existing rugs of this district which displays the characteristic wool is referred to by Dr. F. R. Martin in the following words:[22] "As soon as I had touched it, I was certain that we had to deal with a very rare kind of carpets which were made at s.h.i.+raz, or at least with the brilliant s.h.i.+raz wool. Most of the carpets made of that wool are lost, because the material was such a soft one that it was easily worn out. I know of very few which are older than the eighteenth century. No wool in all Persia takes such rich and deep colour as the s.h.i.+raz wool. The deep blue and the dark ruby red are equally extraordinary, and that is due to the brilliancy of the wool, which is firmer and, so to say, more transparent than silk, and makes one think of translucent enamel. As a piece of colour this carpet is certainly one of the finest, and there are very few carpets that have greater charm, which even the best reproduction could not give. In its colours there is something of an early Gothic stained-gla.s.s window, where the dust of ages has so covered the design that it has become obscured and the imagination of the spectator must complete it.

Certainly the Persians for whom this carpet was made used to sit and dream for hours over the beauty of its colours, beautiful as the wonderful landscape surrounding s.h.i.+raz."

On account of the design and workmans.h.i.+p of this remarkable piece it is referred by Dr. Martin to the XV Century. During the two following centuries the carpets of s.h.i.+raz attained the high standard of excellence prevalent in the princ.i.p.al cities of Persia; but most of those pieces are now extremely rare, as they were woven chiefly for imperial use or for exchange with foreign rulers. This city experienced the art decadence that began with the XVIII Century, yet under the patronage of Kerim Khan imperial factories for weaving were again established there.

Though some of the rugs made eighty or even sixty years ago are certainly beautiful, these modern pieces, as a rule, lack the excellent qualities of early rugs, and those more recently woven are still poorer.

On a few of them are depicted designs that are strictly Persian; but they generally depart widely from the early traditions, and floral forms are very much conventionalised. In a large number of this cla.s.s the field is covered with pear designs which are described by straight lines and angles. Sometimes they are as small as in the Sarabends, occupying the whole field as the princ.i.p.al motive; or they may be placed less prominently within diagonal or perpendicular stripes. Again, they may be as large as in Khora.s.sans and grouped with other designs. Another very common pattern, known as the "pole-medallion," consists of a narrow perpendicular bar connecting two or more large diamond-shaped figures on which are grouped conventionalised floral forms and geometric designs.

In other pieces the pattern is as geometric as that of any Caucasian rug, and it is not unusual to see both field and border profusely adorned with latch-hooks enclosed within and surrounding geometric figures. Nor is it unusual to see small figures of men and animals scattered through the field. Indeed, there is no other Persian rug in which the pattern is so heterogeneous. The borders usually consist of a number of narrow stripes, or a wide one with narrow guard stripes. One of them, at least, almost invariably contains some form of vine and leaves, and not infrequently the row of small X figures that also appear in s.h.i.+rvans. In fact, the rugs are sometimes mistaken for s.h.i.+rvans on account of the resemblance in geometric designs.

Though there is such variety in the patterns, these rugs are not difficult to recognise. There is something distinctive about the dark blues and reds contrasted with smaller areas of ivory and yellow. They are, as a rule, loosely woven, and many of them have a trait of lying unevenly on the floor. Not infrequently an extra band of pile is woven between the border and the broad embroidered webs of the ends, from which hang a loose fringe. The sides are overcast with heavy strands of wool varied like a barber-pole at regular intervals; and, as is not the case with any other cla.s.s, they are often ornamented at intervals with coloured ta.s.sels.

There are also large numbers of s.h.i.+raz saddle-bags, which are superior to any others made. They resemble the Caucasian, as the patterns are geometric; but they may be distinguished from them by the finer wool and a slightly different colour scheme.

Not infrequently the term "Mecca" is applied to s.h.i.+raz rugs, and the impression is conveyed that they were made there. Nor is the statement always entirely devoid of truth; for each year caravans aggregating some two hundred thousand souls enter that city to make their devotions to Allah, to walk around the sacred stone within the Kaaba, and leaving behind their forgotten sins to return homeward with a bit of sacred earth or a strip of the temple's covering. Each of these pilgrims bears offerings for propitiation, of which a large proportion are rugs; and whatever their size, they are invariably the choicest the devotee can offer. Since the Mohammedan priests regard the best interests of their religion and themselves as conserved by a disposition of all articles not directly available for their use, they sell large quant.i.ties of such rugs, that find their way to Cairo, Damascus, and Constantinople.

Furthermore, the pilgrims carry many pieces which are sold or exchanged along the routes of the caravans or at Mecca, and ultimately reach the same markets. Such a large number of the pieces that years ago came from these sources were of the well-known type of s.h.i.+raz rugs that they and similar pieces which had never left Persia were called Mecca rugs. This deception is still encouraged by some dealers, because for many buyers a special interest is attached to a piece that they are persuaded has been carried on this pilgrimage as an offering.

_Type Characteristics._ _Colours_, princ.i.p.ally blue, red, and ivory, with minor quant.i.ties of yellow and green. _Knot_, generally Sehna, frequently Ghiordes. Knots to inch horizontally seven to twelve; perpendicularly, eight to twelve. At back one of the half knots is generally smaller than the other and pressed to one side. The other half knot is about as long as wide, and the yarn is not drawn tight against the warp. The rows of knots are pressed down, so that their alignment is slightly irregular, and the warp is concealed at back. _Warp_, almost always wool; in a few modern rugs goats' hair is used. Each of the threads encircled by a knot is almost equally prominent at back, or occasionally one to each knot is depressed. _Weft_, wool of medium diameter, frequently coloured red. A thread of weft crosses twice between every two rows of knots. _Pile_, wool, short to medium, and silky. _Border_, three to five stripes. Beyond the borders, at each end, is frequently a narrow band of pile. _Sides_, a heavy double overcasting in a barber-pole stripe or in short lengths of different colours, which generally consist of two of the following colours: red, yellow, green, and blue. In some pieces small tufts of wool protrude from the sides at regular intervals of one or more feet. _Lower end_, a broad web of coloured stripes, through which may run a dovetailed coloured cord, and warp loops. _Upper end_, a broad web of coloured stripes, through which may run a dovetailed coloured cord, and warp fringe. _Texture_, loose.

_Weave_ at back is of slightly coa.r.s.e grain. _Usual length_, five to nine feet. _Usual width_, three fifths to four fifths length.

[Ill.u.s.tration: PLATE 27. GOREVAN RUG]

NIRIS.-A resemblance exists between the rugs that take their name from Lake Niris and those of s.h.i.+raz, which is distant only fifty miles to the westward; for many of each cla.s.s are woven with the same silky wool, obtained from sheep that graze in the intervening mountain ranges, and the shepherd weavers about the lake have acquired ideas from the old capital. This resemblance exists mostly in the soft, floccy appearance of the nap, and in the barber-pole or parti-coloured overcasting of the sides. The webs of each end are broad and have long fringes; but generally those of the s.h.i.+raz are embroidered and crossed with one or more parti-coloured cords, whilst those of Niris pieces are, as a rule, flatly woven in stripes of different colours. There is also an occasional resemblance in pattern, but the best known pattern of the Niris is rarely seen in the s.h.i.+raz. On the other hand, they are more firmly woven; and there is a slight difference in the character of their weave, since one of the two threads of warp encircled by a knot is depressed below the other, and the weft is of wool coloured red, whereas in the s.h.i.+raz it is frequently of cotton.

The pears are the favourite design, and, like those in Sarabends, extend over the field in orderly array; but they are much larger and consist of an a.s.semblage of bright colours isolated from one another, yet grouped gracefully in a way that might readily suggest the origin of crown jewels sometimes ascribed to them. Frequently the ground is a dark blue, and the pears are of red, blue, green, and ivory. Violet and yellow are also employed. In other types, less usually seen, the field is covered with a lattice-work pattern containing small figures. The typical border has a broad central stripe of vine and flower, with narrow guards of simpler vine or reciprocal trefoil. Barber-pole stripes are also characteristic of the borders.

_Type Characteristics._ _Colours_, princ.i.p.ally blue, red, yellow, green, and ivory. _Knot_, Ghiordes. Knots to inch horizontally six to eleven; perpendicularly, seven to fifteen. The rows of knots are not closely pressed down, so that at the back the warp is noticeable and the weft conspicuous. _Warp_, wool; one of the two threads encircled by a knot is depressed below the other at back and frequently doubled under the other. _Weft_, wool of medium diameter, generally dyed red. A thread of weft crosses twice between every two rows of knots. _Pile_, wool, of medium length. _Border_, generally of three stripes, sometimes as many as seven. _Sides_, a heavy double overcasting in a barber-pole stripe or in short lengths of different colours, such as red, blue, green, yellow, and black. _Both_ ends, a broad web of coloured stripes, one row of knots, and loose warp fringe. _Texture_, loose. _Weave_ at back is of slightly coa.r.s.e grain. _Usual length_, four to seven feet. _Usual width_, three quarters to four fifths length.

FERAGHANS.-Stretching eastward from the base of Mt. Elwund is the plain of Feraghan. Its length does not exceed forty-five miles, nor its breadth ten or fifteen, yet here are cl.u.s.tered several hundred villages.

On account of its alt.i.tude of seven thousand feet, the ground is covered with snow in winter, and the people are then huddled in their low mud houses, and the flocks and herds are gathered within the village walls.

But in the spring the men are cultivating the fields, and the sheep are grazing on the banks of numerous streams. It is a plain of fertility and industry. For generations it has been productive of large numbers of fine rugs, and it is still possible among its villages to find some of those old pieces that have been regarded by the Persians themselves as the best examples of the textile art.

When the characteristic patterns of Feraghans have once been carefully observed, they are never forgotten; yet it is surprising to note the many distinctions observable in a large collection. These patterns may conveniently be divided into two groups, namely: one in which the field is entirely covered with diaper designs, and the other in which the field contains a central medallion surrounded by uniform colour.

Probably nine tenths of these rugs fall within the first group, which is divisible into three sub-groups: those in which the field is covered with the Herati design; those in which the field is covered with the Guli Hinnai design; and those in which the field is covered with some other small diaper design.

The Herati design is the one most frequently seen, and is found in the very oldest of existing Feraghans. As a rule, the crumpled leaf does not exceed a length of four or five inches, and the rosettes are proportionally small, so that the ground colour is almost entirely concealed, and at a short distance is not distinguishable; but there are other pieces in which the leaf is over a foot in length, and the figures less closely cl.u.s.tered, so that the ground enters prominently into the colour scheme. The prevailing colour of the leaf and rosette is generally rose red, which gives a distinctly reddish tone to the rug; though the small designs have shades of green, yellow, white, and light blue. The ground is usually a rich, dark blue; but occasionally red or even ivory is used. In very few other rugs are the corners separated from the field, unless there is a central medallion; but in almost all Feraghans small triangular-shaped corners, with colours contrasting with those of the field, are separated from it by lines bearing teeth or serrated edges.

Surrounding the field is a border that has from five to seven stripes.

The main stripe is about three times as wide as any other, and may have a ground colour of red, blue, or ivory white; but in many of the best pieces it is moss green, with blue, yellow, or red appearing in the overlying pattern. Of different but corresponding shades is the colour of the ground and designs of other stripes. Probably three fourths of the Feraghans now seen have the well-known turtle design in the main stripe; but it is sometimes replaced by the rose design shown in Plate E, Fig. 12 (opp. Page 156), or by an undulating vine with rosette or palmettes. On the innermost stripe, which is very narrow, is invariably represented some reciprocal figure, as the trefoil or sawtooth; and on the other stripes are undulating vines, with floral or quasi-floral figures.

The Feraghans with fields covered with Guli Hinnai designs instead of the Herati show a difference in both drawing and colouring, though the general effect is much the same. In place of crumpled leaves and rosettes of reddish hue are the star-like flowers of the Hinnai plants that brighten the mountains surrounding the Feraghan plain with their large yellow or ivory coloured petals. The pattern, as a whole, is slightly more prominent, and the prevailing colour tone, which is rich, is less red and more yellow. There is, however, a very noticeable difference in the pattern of the third sub-group, though specimens are not frequently seen. In these the small figures of conventionalised flowers sometimes have geometric shapes and are arranged in diagonal or perpendicular rows. Moreover, they generally lack the rich colouring of the preceding sub-groups.

The central medallion is found not only in modern but also in old Feraghans. It is generally of diamond or hexagonal shape, with serrated edges and with pendants. Almost invariably Herati figures cover its surface, and not infrequently some lattice-work design with small conventionalised leaves or flowers appear faintly on the field of uniform colour surrounding it. As a rule, pieces of this group are of a more striking and handsome appearance than those in which the entire field is covered with numerous minute figures of equally rich hues that blend and produce, when viewed at a distance, an undefined colour. The border designs are similar to those of the other group. All of the old pieces were stoutly woven; and though the nap was short, many of those that remain are still serviceable.

_Type Characteristics._ _Colours_, princ.i.p.ally red and dark blue, with minor quant.i.ties of yellow, light blue, green, and white. _Knot_, Sehna, rarely Ghiordes. Knots to inch horizontally eight to thirteen; perpendicularly, seven to eighteen. The rows of knots are pressed down, so that the warp is usually concealed at back. _Warp_, cotton; each of the two threads encircled by a knot is equally prominent at back.

_Weft_, cotton, occasionally dyed blue or pink. A thread of weft of fine or medium diameter crosses twice between every two rows of knots, or occasionally a thread of coa.r.s.e diameter with much slack crosses only once, so that the transverse warp produces a quincunx effect. _Pile_, wool, clipped short. _Border_, three stripes. _Sides_, a double overcasting in dark colour. _Lower end_, a web. _Upper end_, a web and warp fringe. _Texture_, firm. _Weave_ at back is of slightly coa.r.s.e grain. _Usual length_, four to twelve feet. _Usual width_, three fifths to two thirds length.

HAMADANS.-A little to the northeast of Elwund and at an alt.i.tude that overlooks a small, well-cultivated valley adjacent to the Feraghan plain is the city of Hamadan. On this site was the ancient city of Ecbatana, capital of Media; and here guarded by Jews is a tomb, which tradition declares is the burial place of Esther and Mordecai. Within the encircling walls are gardens, bazaars, and mosques; yet the present city of forty thousand inhabitants with its general misery and squalor has little to remind one of the magnificence of that former capital which for a short period was mistress of the world.

[Ill.u.s.tration: PLATE 28. BERGAMO PRAYER RUG]

Like Yezd, Hamadan is famous for its namads; and like Yezd it once produced, according to tradition, most beautiful silk carpets, though no longer are any woven there. But its looms have been busy for the last few generations weaving rugs of wool and camels' hair, which have such marked individuality that they bear unmistakably on their face the stamp of identification. The few old rugs that remain are sterling pieces, which are stoutly woven and of excellent dyes. They come in many sizes; some are simply mats, others sedjadehs, and an unusually large number are runners. The typical pattern of the mats and smaller sedjadehs consists of a central diamond-shaped medallion, surrounded by a field of contrasting colour, from which are set off the triangular-shaped corners. In the large sedjadehs and in the runners, which are sometimes twenty feet or more in length, are often three or more pole medallions, though the pole device may be omitted. These medallions and corners are covered with small, carefully drawn geometric figures, or more frequently with floral designs such as appear in Feraghans, and as a rule are defined by serrated lines or are fringed with hooks or comb-like teeth. The colour of the surrounding field is un.o.btrusive. In some pieces it is void of pattern, and its monotonous tone is broken only by slight variations of shade; yet not infrequently it is marked with faint lines of slightly darker or lighter tint, like a delicate tracery. Not only are the borders wide, but a broad edging, which is at least one half and sometimes two thirds as wide as all the coloured stripes combined, surrounds them. As it is usually of camels' hair and without pattern, it is a very noticeable characteristic. The main stripe has an undulating vine with conventionalised flowers, and the two guard stripes have a simpler vine, or, more frequently, the reciprocal trefoils.