They are washed with chemicals to give them their soft colourings, they are made by wholesale and, it is said, in part by machinery, and they are no more an Oriental rug than is a roll of Brussels carpet or an admitted New Jersey product. To the credit of whom it may concern, it must be stated that the dipping, washing, and artificial aging of these commercial pieces is mostly done by cunning adepts in Persia before their works of art are exported. Only an expert's advice should be relied on in buying a Kirman, to-day, and even that should have a good endorser. The distinction between Kirmans and Kirmanshahs was founded in fact and was important. But the latter term as now used in the trade is only poetical.

It is the same new Kirman euphemized. No other rugs except silk rugs, which come under the same ban, have proved such a profitable swindle to unscrupulous and ignorant vendors, and have given a bad name to the dealers who try to be honest in their calling.

The Sehnas are highly prized by the Orientals and Occidentals. Old examples are uncommon and are very choice. "Their fabric gives to the touch the sense of frosted velvet. They reveal the Meissoniers of Oriental art," says a writer on the subject. Some of these come in very small sizes, like mats, two feet by three. They have a diamond design, the centre being a graceful floriated medallion on a background of cream, yellow, red, or green, with floriation at the corners, making the diamond.

They are the most exquisite of Persian gems, and are further considered in another chapter.

The Sehnas have the nap cut very close, wellnigh to the warp, and are therefore often too thin for utility. They do not lie well on the floor, and by reason of their short nap look cold and lack richness and l.u.s.tre.

If you can find a choice one, however, and if, happily, as sometimes occurs, it may have a little depth of nap, you will own a pearl of great price.

The Khora.s.sans are very soft and thick. They generally show the palm-leaf or loop design in their borders, and are altogether desirable. Their colouring almost always inclines to magenta, but time subdues this to a delicate rose. Time has also subdued most of the specimens offered, to the sad detriment of their edges and ends. The ends are very seldom perfect, and age seems to bite into the borders of the Khora.s.sans with a strange and voracious appet.i.te. It is well to consider these defects in your choosing.

The Serabends and their cla.s.s have one border peculiar to themselves and a centre of double, triple, or multiple diamonds in outline, in which are scattered irregular rows of small figures, generally palm leaves, so called. This peculiar figure has three or four different names, the palm leaf, the pear, the loop, etc. It was originally worked into the fabric of the finest Cashmere shawls, and represents the loop which the river Indus makes on the vast plain in upper Cashmere, as seen from the mosque there, to which thousands made their pilgrimage. It was thus intended as a most sacred symbol and reminder. The Serabends are firm in texture, lie well, and are most satisfactory. Sometimes, however, the green in them shows the faults of an aniline dye. Their designs are peculiar to themselves, but never become monotonous. The palm-leaf pattern is of course common to many kinds of rugs. But the varieties in the form and size of it are infinite.

[Ill.u.s.tration:

PLATE V.

CHICHI _About forty years old_ FROM THE COLLECTION OF THE AUTHOR Size: 3.6 x 5.10]

The Shiraz rugs are warm in colour, l.u.s.trous, but rather loosely woven.

Many of them show the "shawl pattern," small horizontal or diagonal stripes. These striped rugs, however, are always wavering and irregular in design and soon tire the eye. They are well pa.s.sed by. Reproductions of the old Shiraz designs with the centre field filled with innumerable odd, small figures used to be common a few years ago. They were very rich and handsome. Almost all of them, however, have the great defect of being crooked. They will puff up here or there, and, pat, pull, or pet them as you may, it is hopeless to try to straighten them. They are frequently called Mecca rugs, on the generally accepted statement that these are the rugs usually chosen to make the pilgrimage to that shrine.

The Youraghans and Joshghans (Tjoshghans) possess the general excellences of the best Persians, but they are not commonly seen. The Joshghans will show in their field a light lattice-work design with conventionalized roses, or graceful diaperings and patternings, of the four-petalled or six-petalled rose. The Persian rose is single, of course, and appears in many simple forms. The Joshghans might be the prototypes of some of the old Kubas or Kabistans, except that floriation was replaced by tiling and mosaic work in the Daghestan region.

The Feraghans are not as finely woven as the Serabends, and on that account, primarily, yield to them in excellence. But old Feraghans often come in smaller sizes than the Serabends and in more desirable proportions. On the other hand, while Feraghans are generally of a firmer quality, there are also antique Serabends heavy and silky. Between the two it would be little more than to choose the better specimen. While the Feraghans have no accepted border to distinguish them, they have a most marked characteristic in the decoration of the field. It is a figure like a crescent, toothed inside; it might be a segment of a melon. But more than likely it was originally a curled-up rose leaf; for the rose, variously conventionalized, is most common to this cla.s.s. There is generally an indication of a trellis, on which the roses are formally spread. But the curled leaf is almost always in evidence, however varied or angular it may be drawn.

The Persian Mousuls are perhaps the best rugs now to be had for moderate prices. The region where they are made, being partly Turkish and partly Persian, gives them some of the characteristics of each nation. But the choice ones are always offered as Persian; and the designs of most of them are distinctively of that country, with frequent use of Serabend borders, Feraghan figures, etc. Their centre field sometimes contains bold medallions, but generally it is filled with palm-leaf or similar small designs, which in themselves are quite monotonous, except as they are diversified and made beautiful by graduated changes of colour in both the figures and background. Sometimes these streaks of varying colour make too strong a contrast, but generally they shade into each other most harmoniously, and, the nap being heavy and the wool fine, these rugs are eminently l.u.s.trous and silky. They have no rivals in this regard except among the Beluchistans and treasured Kazaks. As you walk around them they glow in lights and shades like a Cabochon emerald. One of their distinguishing designs is a very conventionalized cl.u.s.ter of four roses, the whole figure being about the bigness of a small hand. There is a rose at top and bottom and one on either side, with conventionalized leaves to give grace. The design is recognizable at a glance, and is wellnigh as old as Persia. For the rose is conceded to be Oriental in origin, and if it is not primarily a Persian flower, it belongs surely to her by virtue of first adoption.[1]

The designation of certain rugs as Kurdish or Kurdistan has been used indiscriminately, yet they are by no means the same, and between the two cla.s.ses is a well-marked distinction which should be recognized. Kurdistan is a large province in northern Persia, with a protectorate government both Turkish and Persian, and with the Turkish inhabitants in the ratio of about two to one, according to the geographers. The Kurds const.i.tute only a small but most important part of the population. They are generally spoken of as "a nomadic tribe," or more frequently as "that band of robbers, the Kurds." Regardless, however, of their morals or habits, by them are made characteristic, coa.r.s.e, strong, and often superb rugs which are properly called "Kurdish." On the other hand, the Persians in Kurdistan make a finer cla.s.s of rugs and carpets, which are known as Kurdistans. These latter have been praised by an eminent authority as "the best rugs now made in Persia and perhaps in the East." They are certainly bold and splendid in design, beautiful in colouring, and of great strength and durability.

The Gulistans are thick, heavy, and handsome, with striking designs, frequently like the flukes of an anchor, on a light ground. They are not common now even in modern weaving.

There are many other Persian rugs which might be further specialized and considered. But such old commercial names as Teheran, Ispahan, etc., can in fact only be differentiated by an expert; and when experts disagree, as will frequently occur, and when they are at a loss to decide whether an important specimen is an Ispahan or a Joshghan, cla.s.sification becomes obscure to the layman and even to the collector; and he will wisely avoid the complexities of such discussion. So, also, Sarak rugs are rarely seen now save in modern reproductions, and must be pa.s.sed by with the same criticisms as apply to the new-made Tabriz.

CHAPTER VI

CAUCASIAN RUGS, DAGHESTAN AND RUSSIAN TYPES

The Daghestan rugs of Caucasia are only second in importance to those from Persian looms. An opinion is reserved, nevertheless, regarding antique Turkish weaves, which are hereinafter considered.

If history does not satisfactorily prove that the Caucasus was originally the northern part of Persia (as may have been, under Cyrus), Persian dominance and influence may be demonstrated, in textile art, by rug borders, patterns, and designs. The Shirvans, Kabistans, Chichis, Darbends, Karabaghs, all exhibit p.r.o.nounced Persian characteristics, and show the educational power of the mother country of this handicraft.

Fineness of weave, delicacy of hue, and chaste simplicity of design are distinguishing features of this group. But, as contrasted with the Persian patterns, the Persians use for their detail roses, flowers, palm leaves, etc., while the Caucasians gain similar effects from geometrical figures, angles, stars, squares, and hexagons, with small tilings, mosaics, and trellisings. The true and the beautiful was never better demonstrated by Euclid through angle, square, or hypothenuse. An old Chichi rug, like a drawing of Tenniel's, will prove what grace may come without a curve and by angles only.

It is unfortunate that the best rugs of the Caucasus come from the large province of Daghestan, and that that general term is applied to them indiscriminately. Twenty or more years ago most of the Oriental rugs which were sold here to an uneducated and unappreciative public came by way of Tiflis, and for lack of knowledge were all branded with the common name of Daghestan. Thousands of beautiful Kabistans, Shirvans, Bakus, etc., were then sold for a song under the one arbitrary t.i.tle. They would be priceless to-day, and yet the former commercial, vulgar use of the name leaves it in undeserved disrepute. As used in this chapter, it is intended to mark a distinction between certain of the Caucasian types, which it properly represents, and the Russian types from the same region, which are ill.u.s.trated in the Kazaks and Yourucks.

[Ill.u.s.tration:

PLATE VI.

KABISTAN _Thirty or forty years old_ FROM THE COLLECTION OF THE AUTHOR Size: 4.5 x 5.6]

What may have become of all the fine Kabistans, which were forced upon the market years ago, is a question. Are they all worn to rags and lost to the world? Or do they still turn up at chance household auctions? Many fine specimens may be so discovered, dirty, disguised, and disreputable, but easily reclaimable and made anew by washing. There is a theory, also, that many choice pieces came to San Francisco in the 'seventies and 'eighties, and are lost to sight and memory somewhere in California. A collector might well explore this home field.

Too great praise cannot be given to the old Shirvans, with their "palace"

or "sunburst" pattern; to the Chichis, with their mosaic work, worthy of Saint Mark's Cathedral; to the Karabaghs, with their flaming reds; or to the Kabistans, with their soft, light tones of colour, made softer still in contrast with ivory and creamy white. These are the despised Daghestans which _were_, and for which the collector may now vainly search abroad.

It is not always easy to distinguish between an old--or middle-aged, may we say?--Shirvan or Kabistan. Many of their designs are common property, and it is the cleverer weaver who executes them the better. This broad statement may be made by way of a test: the best of the Shirvans are rather loosely woven and thin. The Kabistans are of finer weave, are firmer and heavier, and lie truer on the floor.

Two cla.s.ses of rugs from the Caucasus have been referred to as Russian, the Yourucks and Kazaks. There is no authority for the distinction except in the rugs themselves. They prove their case from their thickness and iron durability, from their sombre or strong red colouring, and from their daring crude and simple designs. In their utility they bespeak an article of warmth and weight, and in their art they represent a barbaric simplicity like a Navajo blanket. Kazak and Cossack are almost synonymous terms; and the Cossacks, the Kurds, and the Indians have something of kinship in weaving, at least. But the Kazak rugs are not all crude, by any manner of means. If strength is their first characteristic and strong primitive pigments in rare greens, reds, and blues; and if their patterns are simple and angular;--none the less, in antique specimens, much originality was shown in the drawing of their borders, and soft browns and yellows with ivory white appeared in their colouring.

Of the Shirvans, Chichis, etc., ordinarily offered, there is nothing to be said. They are cheaply and roughly woven, and made only to sell. They are disposed of by the thousands at auctions, and piles and piles of them fill the carpet and department stores. Be it said to their credit that they will outwear any machine-made floor covering; that they are good to hide a hole in an old carpet; that they help to furnish the bedrooms of a summer cottage; that they are most useful in the back hall; and, in fine, that they are better than no rugs at all. Yet, on the other hand, be it well understood that they are not, as frequently advertised, "exquisite examples of textile art," and that fine Oriental rugs are not to be bought at "$6.98" apiece.

CHAPTER VII

OF TURKISH VARIETIES

Babylon or Egypt may have woven the first carpets or floor coverings, and China of course worked early in the same field. But Persia acquired the art quite independent of China, and well in the beginning of the long ago.

Indeed, the Chinese industry practically ceased to exist many centuries back, and was transferred to northern Persia, where the history of this handicraft has its true beginning. From Persia all other countries have drawn their knowledge and inspiration, and however much they may have endeavoured to create and to evolve new figures and new designs, even the oldest examples of their art must concede something to Persian influence.

The Turks, above all others, have shown themselves the most apt scholars, and indeed in many lines have improved upon their teachers. The choicest specimens of Turkish weave are as rubies to the other precious stones, rarer, more brilliant, and more costly than diamonds. Though not so closely woven as some of the Persians, they are wonderfully beautiful in artistic picturing and in their own Oriental splendour of colour and design. Such in particular are the antique Gheordez, as splendid in rich floods of light as the stained-gla.s.s windows of a cathedral. They are the finest woven and have the shortest nap of their cla.s.s.

Here is the description of one taken from a catalogue of twenty-five years ago: "Antique Gheordez Prayer Rug. Mosque design, with columns and pendant floral lamp relieved on solid ground of rare Egyptian red, surmounted by arabesques in white upon dark turquoise, framed in lovely contrasting borders."

[Ill.u.s.tration:

PLATE VII.

ANTIQUE GHEORDEZ _Prayer Rug_ FROM THE COLLECTION OF MR. GEORGE H. ELLw.a.n.gER Size: 4.6 x 5.11]

Another is pictured as: "A flake of solid sapphire, crested by charming floral designs in ruby on ground of white opal. The mosaics and blossom borders are toned to perfect harmony."

These word pictures are in no way exaggerated, and only help to portray the glories of the old Gheordez, with their graceful hanging lamps, as wonderful as Aladdin's, in a vista between pillars of chalcedony or onyx.

They came in the form of prayer rugs generally, and a p.r.o.nounced feature of those more commonly seen is a multiplicity of small dotted borders. The older and finer examples show borderings of far more graceful and artistic drawing.

The antique Koulahs and Koniahs, though not so finely woven, have mostly the same superb centres or panels of solid colour as the Gheordez, and vie with the latter in the splendour of their hues, if not in the delicacy and intricacy of their designs outside the central field. The Koulahs may generally be recognized by a narrow border, which is peculiar to themselves and is almost invariably found on them. This consists of a broken line of little tendrils or spirals quite Chinese in character, and looking much like a row of conventionalized chips and shavings. It is so odd and distinctive that once seen it can never be mistaken. The Koniahs also have little figures which are quite their own, and which usually appear somewhere in the central design. They are small flowers each on a single stem, and the flower has commonly three triangular petals, like an oxalis or shamrock leaf. It is quite unlike the blossoms which besprinkle other rugs. With this, often come crude figures of lamps like miniature tea-pots. The Ladiks display all the colours of an October wood, and complete the group of Turkish old masters. Not a few of them have also a unique border in the form of a small lily blossom. Experts speak of it familiarly as the "Rhodian border," but its origin is altogether obscure.

[Ill.u.s.tration: