o 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 the Bokharas and Afghans. In many, their classification is
fixed, or at least approximated, rather by their borders than by the
figuring of their fields. There are many border designs surely determining
their origin and the region to which they properly belong. These borders
may have been borrowed or stolen, or may have naturally spread to other
regions, even in the old time; and they may be adapted to various other
makes to-day. Their evident individuality of design tells its own history
just the same.

It is not difficult to master the characteristic features of the borders
of many types; and, once known, they make a fair foundation of knowledge
for the collector. They are often truer and safer guides to classification
than are the designs of centre or field. Indeed, the study of borders,
inner, middle, and outer borders, and borders characteristic, modified, or
exceptional would make a book of wondrous artistic interest and beauty of
design. Even the item of selvedge, particularly in the Beluchistans, shows
great skill in colouring and pattern.

[Illustration: _Turtle Border_]

The consideration of characteristic patterns in field and border is so
involved with verbal description and specification in the various classes
of rugs that an attempt at complete pictorial illustration of such figures
in their proper place is practically impossible. A few reproductions are
shown in this chapter which may serve as examples. Some of them are more
particularly considered elsewhere in the text, as reference may show.

[Illustration: _Crab Border_]

[Illustration]

The Serabend border is referred to on p. 50, and is quite unmistakable;
and the Persian border (p. 23) is familiar to every one, and appears
frequently on Caucasian rugs of every quality and every age. The Feraghan
leaf design is noticed on p. 52, and wherever used in the drawing,
determines its class as absolutely as any figure may. The Rhodian border
is referred to more particularly on p. 72, and the Koniah design and
Koulah border are described in their proper place, p. 72. Other