Persian
borders are most interesting, although they may not particularize any
class or locality. Such are the turtle and crab borders (pp. 28 and 29),
and the lobster design, at the head of this page. The origin of these
strange forms of ornament as applied to carpet-weaving adds only another
mystery to the subject. But dyes were derived not only from leaves and
roots, but also from insects, molluscs, and crustaceans. It must be that
the origin of the colour originally suggested these symbols of marine or
insect life for decorative effect. The more they were used, however, the
more conventionalized and meaningless they appear, recent weavers not
appreciating what they represented. Old pieces show more clearly the
evident model. But old pieces also often show original creations in border
and design, far more artistic than the usual types. The Kazak border of
the titlepage is an example. The discriminating collector, when a choice
offers, will do well to avoid the commonplace.

[Illustration]

CHAPTER IV

OF THE DYEING

The dye, the tone, the richness, and colour value of a rug was, and still
is, an essential characteristic of the weaving of each class and region;
and it was formerly not only essential but exclusive, the dyes being often
trade secrets or, more truly said, tribe secrets.

Of course every one knows that the colouring of the yarn of the best
Oriental rugs is derived only from vegetable or animal dyes, and to this
is due their beauty and durability. It may be noted also, in parenthesis,
that it is the yarn and not the wool that is dyed. Alas, that modern
weavers, Oriental and Occidental, have learned to substitute mineral or
aniline dyes! These not only destroy the wool and fade badly, but when
the fabric is cleaned or wet by any chance the colours run, and leave
their stains and blemishes. Of course, too, they fail to give the
richness, depth, and lustre of the good old method. Generally, their
manifest crudity bespeaks the poor quality and coarseness of their make.
Some vegetable dyes also fade, but they fade only into softer and more
pleasing shades, and more delicate and harmonious blendings, as witness,
in many antiques, the soft and beautiful tones of pink, salmon, and fawn
which come from raw magentas, as the back of the rug will prove. But that
magenta dye was of the old school. Modern magentas seem never to fade away
gracefully and becomingly. It must be noted, however, while speaking