19As this is the case with most rugs, only the exceptions to this feature will be noticed in the type characteristics of other classes.
19As this is the case with most rugs, only the exceptions to this feature will be noticed in the type characteristics of other classes.
20Ibn Batutah.
20Ibn Batutah.
21Of modern Ispahans.
21Of modern Ispahans.
22“Burlington Magazine,” December, 1909.
22“Burlington Magazine,” December, 1909.
23In “Industrial Arts of India.”
23In “Industrial Arts of India.”
24Sidney Churchill in the Imperial Vienna Book says that “the dyes of Sultanabad have perhaps the most extensive colour scheme in Persia.”
24Sidney Churchill in the Imperial Vienna Book says that “the dyes of Sultanabad have perhaps the most extensive colour scheme in Persia.”
25“Industrial Arts of India.”
25“Industrial Arts of India.”
26Mrs. Elizabeth Bishop in “Journeys in Persia and Kurdistan.”
26Mrs. Elizabeth Bishop in “Journeys in Persia and Kurdistan.”
27Encyclopedia Britannica.
27Encyclopedia Britannica.
28It is also to be noted that within the last few years large numbers of pieces bearing resemblance to old Oriental rugs have been woven about Constantinople.
28It is also to be noted that within the last few years large numbers of pieces bearing resemblance to old Oriental rugs have been woven about Constantinople.
29One of the most interesting is at Sivas, where are the remains of a most beautiful Seljuk gateway, with architectural lines that might well have been taken for a weaver’s model. As in many prayer rugs, the engaged columns support a high arch over which a panel rests above a figured spandrel. The outlines of each of these parts suggest most forcibly the drawing of the prayer rug, and the resemblance is carried even further; for corresponding with the border stripes is the chiselled masonry that once rested above the panel and still extends to the foot of the entrance at each side of the arch.
29One of the most interesting is at Sivas, where are the remains of a most beautiful Seljuk gateway, with architectural lines that might well have been taken for a weaver’s model. As in many prayer rugs, the engaged columns support a high arch over which a panel rests above a figured spandrel. The outlines of each of these parts suggest most forcibly the drawing of the prayer rug, and the resemblance is carried even further; for corresponding with the border stripes is the chiselled masonry that once rested above the panel and still extends to the foot of the entrance at each side of the arch.
30One of these is represented in Dr. Bode’s “Knupfteppiche,” where it appears as a secondary stripe.
30One of these is represented in Dr. Bode’s “Knupfteppiche,” where it appears as a secondary stripe.
31An intermediate pattern suggested by each is found in an old Asia Minor piece owned by Dr. Bode.
31An intermediate pattern suggested by each is found in an old Asia Minor piece owned by Dr. Bode.
32A. Bogolubow, in his excellent work “Tapis de l’Asie Centrale,” divides the Transcaspian Turkomans into two principal groups, the Salors and Yomuds, each of which includes sub-groups. These are again divisible into many tribes, almost all of whom weave. As their rugs, though resembling one another, show different characteristics, they might properly be separated into numerous classes; but since only a few of them are known in this country, they alone will be described.
32A. Bogolubow, in his excellent work “Tapis de l’Asie Centrale,” divides the Transcaspian Turkomans into two principal groups, the Salors and Yomuds, each of which includes sub-groups. These are again divisible into many tribes, almost all of whom weave. As their rugs, though resembling one another, show different characteristics, they might properly be separated into numerous classes; but since only a few of them are known in this country, they alone will be described.
33“Desert of Red Sands.”
33“Desert of Red Sands.”
34A tent in which an average of five people live.
34A tent in which an average of five people live.
35In “Industrial Arts of India.”
35In “Industrial Arts of India.”
36Dr. Birdwood.
36Dr. Birdwood.
37Sometimes Sehna knot.
37Sometimes Sehna knot.
38Sometimes one thread of warp to each knot is doubled under the other.
38Sometimes one thread of warp to each knot is doubled under the other.
39Rarely Iran, Feraghan, Mosul, and Kurdistan.
39Rarely Iran, Feraghan, Mosul, and Kurdistan.
40It is stated that in the short space of a few weeks he created valuable antique porcelains to present to his noble friends by placing recent copies of old specimens in a vessel containing very greasy soup, where they were duly boiled for a month, and after that placing them in the “foulest drain of the neighbourhood,” where they remained until seasoned.
40It is stated that in the short space of a few weeks he created valuable antique porcelains to present to his noble friends by placing recent copies of old specimens in a vessel containing very greasy soup, where they were duly boiled for a month, and after that placing them in the “foulest drain of the neighbourhood,” where they remained until seasoned.
41In “Across Coveted Lands, 1903.”
41In “Across Coveted Lands, 1903.”
42All references of an unimportant character are indicated by the page number only.
42All references of an unimportant character are indicated by the page number only.