THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA GIFT OF Professor Jurgen SchultzSAN FRANCISCO MUSEUM OF ART EXHIBITION OF ORIENTAL RUGS SAN FRANCISCO NINETEEN HUNDRED AND TWENTY -THREE) 9%. V J T #DESCRIPTIVE CATALOGUE OF AN EXHIBITION OF ORIENTAL RUGS FROM THE COLLECTION OF JAMES FRANKLIN BALLARD EXHIBITED IN THE I t SAN FRANCISCO MUSEUM OF ART THE PATR ONS AND PATRONESSES OF THE EXHIBITION ARE: MESSRS. WILLIAM C. VAN ANTWERP, EDWIN RAYMOND ARMSBY, LEON BOCQUERAZ, FRANCIS CAROLAN, TEMPLETON CROCKER, WILLIAM H. CROCKER, D. G. DAVIS, SIDNEY M. EHRMAN, REUBEN BROOKS HALE, E. S. HELLER, WALTER S. MARTIN, JAMES D. PHELAN, GEORGE A. POPE, LAURANCE IRVING SCOTT, JACOB STERN, AND MESDAMES HENRY J. CROCKER, WILLIAM M. KITZHUGH, THE MISSES HELEN COWELL AND ISABEL COWELL, AND THE EMPORIUM SAN FRANCISCO PUBLISHED BY THE MUSEUM MCMXXIIIFifteen hundred copies of this catalogue have been printed through the generosity of Air. Ballard. It aims to furnish a description of each rug, referring particularly to the color schemes, and, in the illustrations, to show what in our opinion are the finest examples. Copyright, November, Nineteen Hundred and Twenty-two by The Art Institute of Chicago. 4 LOAN STACK Qypv'rFOREWORD NK~ Rugs from the Nearer East conjure in our occidental minds thoughts of color, pomp, and stateliness. Since Sassanian times, when the oriental world knew the land we now call Persia, rugs, or mosaics in wool or in other materials better known to early peoples, were made to serve a domestic purpose in the house or in the tent, an ecclesiastical purpose in the temple or out of doors, a royal purpose at court, or, finally, a last rite as the bier cloth of the deceased. And today they serve domestic, religious, or royal purposes as they did in years gone by. For centuries they have served, and still serve, as hangings, as floor, furniture, pillow or divan coverings, as ceilings, partitions, and trappings, or as dowries, as religious appurtenances, mosque requisites, and tomb coverings. But those early pieces that have survived the ravages of time—those master pieces that because of their excellence held the attention of persons who fostered their existence—have taken on a new significance in modern times. They have lost their utilitarian significance as rugs and have advanced to the exalted position of works of art. As such they are sought after by art museums and collectors, not because they are old and becoming extinct, but because they have stood the test of time and a concensus of opinion that has pronounced thjm beautiful. *ISome of the rugs in this exhibition are four hundred years old and though they have been subjected to the hardest kind of wear as carpets on the floor, under careless feet, as hangings, coverings, and used for other unknown purposes, they were s® well made that they look fresh and youth- ful today. But, what is more to the point, though they were made four hundred years ago, before there was a known America, and in foreign oriental countries, nevertheless, we are able to understand and admire them as works of art. Skilful design expressed in beautiful Color is art that emanates from a universal brotherhood that laughs at time or country and needs no interpreter. *IIn the small huddle of house* that constitutes the average Near Eastern village one seldom finds anything other than the bare necessities of life, yet the rug, the only brilliant spot of color, stands as a source of joy and comfort, an important exponent of a people’s art. King Solomon added to his glory with a magiifgreen carpet.” Herodotus knew of the pomp of oriental courts made bright with gold and silver rugs and carpets. Rome knew their value as works of art, and Spain and Europe sought them from far distant Bagdad looms. *11 This collection, which has been personally acquired by James F. Ballard of St. Louis, is eminently beautiful. It hat been presented to the Metropolitan Museum of Art of New York City by Mr. Ballard, but before that became a fact it 5 47f>was promised to us for this exhibition. The former owner has always been generous about lending and showing his rugs, of which this particular group is only a small portion, and lovers of old rugs are greatly indebted to him. Mr. Ballard has collected his rugs from all parts of the world, and has found the quest an interesting one. As he sought them, one after another, he built up a collection famous for its quality, and also for its completeness in representing the various important types of Near Eastern weaves. Persian, Turkish, and Caucasian rugs are represented in our classified groups, and in the unclassified group fall a number of important “damascene” rugs, as well as a few whose history is unknown. *IIn the exhibition are rugs from three main sources—Persia, Asia Minor, and the Caucasus. From Persia, the mother country of rugs, there is a large group of imposing carpets. On the whole they show a predominating color note of rose red, with flower forms and graceful scrolls spread over the surfaces. Included in the group is a rare and beautiful Kirman decorated with floral and plant sprays placed like bouquets on its dark red surface. There are others with designs not unlike those upon the Great Mosque that Shah Abbas built at Ispahan in the sixteenth century. They have the style, and the beauty, that made the royal carpets of his court famous the world over. But like old Ispahan they have suffered from the ravages of time until the weakened threads hold together only because of solicitous and tender care on the part of those who understand them. *IFrom Asia Minor there is a unique group of Ghiordes prayer rugs with creamy white effects in soft colors; Kulahs, like the Ghiordes, but lower in kev; Lndiks with typical large panels above the prayer niches, filled with stalky plant or tree forms, and a rarely used purple color; Oushaks with strange patterns and emphatic colors; and Bergamos with sombre color schemes. From Eastern Asia Minor there are two important “dragon” carpets attributed to Armenia, or some part of the Southern Caucasus. They have virile designs, mysterious and somewhat Chinese or Mongolian in character, and form a class by themselves. From the Causasus proper come the Kubas with their unique shaded effects. And last, but far from least in the collection, are several “damascene” rugs, the provenance of which is only guessed at while the common attribution “Damascus rug” is misplaced. This last group is varied and wonderful and the Ballard Collection is unique in tho possession of so many of such excellent quality. 6NOTE The measurement of lengths and breadths was made through the centres of the rugs and did not include new selvedges or bindings, nor extend beyond the pile. In ascertaining the number of knots numerous counts were made from the centre and both ends of the rugs, thus making it possible to give a more exact range of the number of knots used. EXPLANATORY MAP The map is a sixteenth century one drawn by Pierre Descelliers on parchment in the year 154.6 A. D. by order of Henry II, King of France. The original is now in the library of the Earl of Crawford and Balcarres. Through the courtesy of the Newberry Library (The Edward E. Ayer Collection) we have been able to use a facsimile from Monumens de la Geographic published by AI. Jornard, upon which we have superimposed modern geographical locations which define the districts represented by the various types of rugs in the exhibition. 7r> IVJIlf n/, n&;fc /Hsrir *,.3e3? PIIIKClNIEPERSIA PERSIAN CARPET OF THE SIXTEENTH CENTURY. No. i jg ft. in. by 7 ft. 7^ in. 100-156 Senna knots to the square inch. The field is composed of large double medallions outlined in red and made up of floral and geometric interlaced fora»*: The color scheme of the outer area is red, yellow, brown, and white on a blue ground: that of the inner portion is green, blue, and white on a red ground. The rest of the field is composed of palmettes, leaves, and flowers in red, yellow, green, two tones of blue, and white, completely interlaced with arabesques, on a salmon ground. The border is composed of palmettes and arabesques in red, salmon, yellow, light green, two tones of blue, brown, and white on a green ground. The inner stripe has a light green ground and a double running vine pattern, one part of which is a continuous red line with a black thread through the centre broken at regular intervals, first with a flower and then with a leaf motif. The other part is similar in character but made up of equal lengths of red and orange outlined in black and broken at regular intervals with an arabesque-like form . The outer strip is made up of a reciprocal pattern of a modified trefoil form in red and white outlined in black. A small guard stripe enclosing the field is composed of indefinite forms in green and white outlined in black, con- nected by a black line on a red ground. The pattern of the rug is apparently bisymmetrical but by actual measurement the central medallion is eleven inches out of centre. Illustrated: Catalogue Loan Exhibition Oriental Rug Collection James F. Ballard, Metropolitan Museum of Art, IQ2I. Exhibited: The Minneapolis Institute of Arts, 1922. 9 gfpg Hong (%*,- 5,- ?ezgy^i3rCfsSk^tigCSf £**5 {'it1 S '%^k ¿4bs& <#As^'/<--■ ■M / V' m "A * •+. 21 Ik. uV'iM ^ BE *&.* r y \M'> •4?' r\ «1 *«♦, •T; -¿y Ju 5&‘ *'7* V' y-.r-i lj» ■I i« v v VS? * -i & -*‘l* XKii v -Af -jf. •»>. Is. iOwEBBsJM mBH 2 S •& *it ■•Y, t iJxS^/J. **** sV« vf, ¿sc tt t«. *3*. f«>-l HKI :XY JXK X tw / .»c ;v \ #vfi -^i •X VM Wx rm 'v' -t*: i»ff' m \s m. ■j.~-Ys £ •:f ifc, ■,Vi ■rv^ &J 3* ¿8 fVi K?>- _ ?/ >>V"s W- i» W.i 3« vy • „ ‘ >t.» x> W > i».- :^'v»v: ^Cr Si ‘\ m » /• * ",‘ < r"rr». 1' -,S£ A*- * ' i » f»YI 'T. w. ps » • • %aSi t -J.r-V .-■/- 3i r\:* T»i-**>J' PA '¿t- :»• *s.., ti ■ // ¿’sat ^ y fell v&b'.■ ~*?y £<.- *«jK rii- v4w.^ ■ *i Sral Aft 3P*a Ves'' st Viy, yi ’-\- a “.! A'. J3S ->v-‘. V- - -i A-' to BWd.1 »ft N* » ’* y »/. KV-". •;» c>\- m <*"K S i&.ti. oaf- Pri y* •3K ?v >■'1 8i*M■« I ♦or? A««2iS >>?: □K hP »1 7*. A V4' HB Wi V.Mi 9A>>> I -Hii =35*« 0f: ,^-:^iv.; m si ry r*< ' V-: V Vat ^ i?,;.! .i: fv/ 4 - las c M ’.■>-y m ■•>^v «KI ,vv' •x' " i ^ IWiwIliB Persian rug of the sixteenth century NcPERSIA KIRMAN RUG OF THE SIXTEENTH CENTURY No. 5 ii ft. ufi in. by 7 ft. in. 208*23$ Senna knots to the square inch. The field is made up of parallel rows of large floral or palmette motifs bisymmetrically placed. The large flower motifs sre connected with a heavy stem broken with smaller flower and le^f forms. The color scheme is light red, brown, black, and two tones each of yellow, green, and blue on a rose red ground. The border is composed of arabesques in red, Orange, blue and white interlaced with A running pattern of small conventionalized flowers in yellow, gxeei», and blue with red stems. The inner border stripe is composed of a running pattern of conventionalized flower alternating red and black, con- nected by a conventionalized leaf form in blue on a yellow ground. The outer stripe is made up of a reciprocal pattern of a trefoil form in red and green outlined in brown. The rug has been cut in two parts longitudinally and it is possible that a complete vase motif has been lost. Illustrated : , Catalogue Loan Exhibition Oriental Rug Collection James F. Ballard, Metropolitan Museum of Art, IQ21. Exhibited: The Minneapolis Institute of Arts, IQ22. KIRMAN RUG OF THE SIXTEENTH CENTURY XT I No. o 8 ft- 9fi in- by 5 ft- 8ji ÌM. 140-180 Senna knots to the square inch. The field is decorated with an allover pattern of plant motifs in two tones each of red, yellow^ green, blue, with white, on a red ground. The border is made up of arabesques in two tones of red, yellow, green, blue, and white on a dark blue ground, interlaced with a delicate pattern of white flower* with red stems. The inner stripe fs made up of a running pattern of conventionalized flowers in red and yellow with green stems on a creamy white ground. The outer Stripe is made up of a running vine pattern of red flowers with yellow and dark centres and green stems and leaves on a creamy white ground. The vine pattern has been so conventionalized that it closely resembles the S chain pattern. A ifetail of this rug is repro- duced in color on p. 9. Illustrated: Catalogue Oriental Rug Exhibition, The Cleveland Museum of Art, IQ20; Catalogue Loan Exhibition Oriental Rug Collection James F. Ballard, Metropolitan MuSeum of Art, IQ2I. Exhibited: The Minneapolis Institute of Arts, IQ22. 15Kir man rug of the sixteenth century No. 5PERSIA KIRMAN RUG OF THÉ SEVENTEENTH CENTURY. No. 7 9 ft- 5/^ fn- by 6 ft. ij&in. 140-212 Senna knots to the square inch. The field, designed horizontally* is composed of twelve large highly conventionalized flower and leaf motifs in rows of four, the last row being cut by the border. Intermediately are arranged heavy stems and smaller conventionalized flower patterns, with odd forms appear- ing throughout the field. The color scheme is two tones of red, yellow, two tones of green and blue, white, and brown on a rose red ground. The border is composed of two interlaced running patterns, one in red and the other in white, with a flower and stem meander design through the centre of each. The color scheme is two tones of red, blue, green, and white on a dark blue ground. The inner stripe has a reciprocal pattern in blue and yellow outlined in red. The outer border is a running vine flower design in two tones of red, green, and blue on a green ground. KIRMAN DOUBLE PRAYER RUG OF THE SEVENTEENTH CENTURY No. 8 7 ft. in- by 3 ft- in- 208-212 Senna knots to the square inch. The upper part of the rug is composed of an undulating arch in yellow outlining a light blue niche which is decorated with shaded lanceolate leaves in red and dark blue and interlaced flower motifs in red, yellow, green, two tones of blue, and white. The spandrel has a terracotta red ground with the same lanceolate leaves and flower motifs but with a slightly varied color scheme. The lower part of the rug is composed of an undulating arch in white outlining a dark blue niche which is decorated with an allover pattern of small tripartite plant forms in two tones of red, yellow, and green. The spandrel has the same color scheme and motifs as the one above. The terracotta red border, which al*o divides the upper and lower fields, is decorated with a double running pattern of yellow vines with con- ventionalized yellow flowers outlined in blue with blue and red centres. The narrow outer atripe is composed of an undetermined motif in white and light blue on a dark blue ground. The inner stripe outlining the lower niche and spandrel repeats this motif in blue and brown on a white ground. The inner stripe outlining the upper niche and spandrel is yellow decorated with small squares of blue. Illustrated : Catalogue Loan Exhibition Oriental Rug Collection James F. Ballard, Metropolitan Museum of Art, IQ21. Exhibited: Munich, 1910; The Cleveland Museum of Art, 1920; The Minneapolis Institute of Arts, 1922. 17JiBU* Kirnuin rug of the sixteenth century No. C>PERSIA PERSIAN CARPET OF THE SEVENTEENTH CENTURY, No. 9 18 ft. in. by 8 ft. 7V2 in‘ 5°~6o Senna knots to the square inch. The field is composed of vertical rows of palmette motifs interlaced mthHight red lines and interspersed with rosettes and floral forms. The color scheme is two tones 6ach of .red, yellow, green, and blue, with white, on a dark blue ground. The border (fipmade up of palmettes interspersed with rosettes enclosed by two lanceolate leaves with an interlacing vine in red. The color scheme is light red, yellow, green, two tones of blue, and white on a terracotta ground. The inner and outer yellow stripe$*!are decorated with a flower, leaf, and vine pattern in terracotta and dark blue simulating the link chain design. There are guard stripes in terracotta, yellow, and two tones of blue. Formerly in the collection of Vincent Robinson, London. PERSIAN FRAGMENT OF THE SEVENTEENTH CENTURY. No. 10 3 ft. 2^ in. by 2 ft. in. 192-238 Senna knots to the square inch. Concentric diamond-like forms enclosing conventionalized floral and vine motifs in red, two tones of yellow, green, two tones of blue, and white, generally outlined in brown, constitute the main unit of design. Surrounding this is a band of green decorated with a continuous pattern of spiral forms in yellow embellished with spots of white and outlined in brown. This same band continues along the side of a border-like area decorated with two highly conventionalized lanceolate leaves, alternating green and buff, enclosing a palmette on a black ground. Surrounding them is an arabesque pattern in red against a blue ground. PERSIAN FRAGMENT WITH NEW BORDERS, SEVENTEENTH CENTURY TYPE No. 11 4 ft. 8]/^ in. square. 108-120 Ghiordes knots to the square inch. The field is composed of large palmette motifs surrounded by various flower motifs. The color scheme is tw'o tones of red, yellow, green, two tone? of blue, brown, and white on a brillant red ground. The outer border of dark blue is decorated with a regularly repeated plant form in white with a red base. The inner stripe is composed of a modified trefoil pattern in red and blue. A new border has been added at one end, and both ends terminate in white fringe. 19Kirman double prayer rug of the seventeenth century No. 8CAUCASUS KUBA CARPET OF THE SEVENTEENTH CENTURY.1 No. 12 16 ft. I in. by 6 ft. 16^/2, 171 • 56-72 Ghiordes knots to the square inch. The blue field has three rows of medallions widely spaced and inter- spersed with eight-pointed star-shaped medallions, joined by heavy stems which are broken by leaves and flower forms. There are two intermediate rows of palmettes also joined by heavy stems, and sur- rounded by highly conventionalized flowers, a partial repeat of which appears at the sides. Both of these main elements have the same color schemes—three tones of red, two tones of yellow, green, light blue, two tones of brown, and white on a dark blue ground. The border has a yellow ground and is made up of quatrefoil medallions with alternat- ing blue and brown grounds decorated with star-shaped forms made up of conventionalized flowers and stems in red, yellow, green, blue, brown, and white. Between the medallions are pairs of small palmettes in rose red, yellow, green, blue, dark brown, and white. The two guard stripes are made up of a modified form of the reciprocal trefoil pattern in brown and white outlined in red. A detail of this rug is shown in color above. Exhibited: The Cleveland Museum of Art, 1920. KUBA RUNNER OF THE SEVENTEENTH CENTURY. No. 13 12 ft. 7^8 in. by 2 ft. 6^in. 48 Ghiordes knots to the square inch. The field is composed of four eight-pointed star-shaped medallions in red, two tones of yellow, blue, two tones of brown, black, and white, producing a shaded effect, and two eight-lobed medallions in red, two tones of yellow, blue, brown, and white. These are inter- spersed with parts of palmettes and conventionalized plant forms, 21CAUCASUS in the same color scheme as the star-shaped medallion, on a blue ground. The border is made up of a reciprocal trefoil design in two tones of yellow. The inner and outer stripes are made up of the same reciprocal pattern, a modified trefoil design in brown and white outlined in red. Exhibited: The Metropolitan Museum of Art, iQ2i; The Min- neapolis Institute of Arts, IQ22. CARPET OF THE SEVENTEENTH CENTURY, PROBABLY KUBA. No. 14 14 ft. 3$ ft* by 6 ft- 5$&in- 90-130 Ghiordes knots to the square inch. The dark blue field is composed of ten parallel rows of five cartouches each with solid grounds of either red, yellow, or blue. They are out- lined in various combinations of red, yellow, blue, and white and enclose three tree forms, a rectangle, and a flowered ribbon stripe in red which are probably plant motifs carried far beyond recognition, doubtedly plant forms stylized beyond recognition. Between each row of cartouches is a row of indefinable forms in white outlined in red which are probably plant motifs^carried far beyond recognition in red, yellow, and blue outlined in brown. Scattered over the field are small geometric forms in red, two tones of yellow, and white out- lined in blue. The border, which is narrow, is composed of a running vine in red with tree forms in blue and red on a white ground, separated by flower forms in dark blue and yellow. The two guard stripes have a yellow ground and a running chain pattern in blue and brown. The guard stripes are flanked by lines composed of regularly spaced red and white squares. Illustrated: Catalogue Loan Exhibition Oriental Rug Collection James F. Ballard, Metropolitan Museum of Art, 1921. Exhibited: The 1Minneapolis Institute of Arts, 1922.4 22Persian rug of the sevenijt&nth century No. gASIA MINOR ASIA MINOR RUG OF THE SIXTEENTH CENTURY.1 No. 15 13 ft. iotyi in. by 7 ft. 3^ in. 72-100 Ghiordes knots to the square inch. Heavy blue and white bands, with serrated edges, and divided through the centre by conventionalized flower sprays, cross the field in zigzag lines to form diamond-shaped areas which enclose palmettes. The points of the diamonds are separated by palmette forms thus forming larger intermediate diamond areas, each of which encloses a con- ventionalized dragon. The color scheme is red, yellow, green, two tones of blue, violet, and white on a red ground. A narrow border is composed of a palmette and a square flower form, with leaves, interlaced by a running pattern made up of an unknown form. The color scheme of the field is repeated, on a white ground. Illustrated: Catalogue Loan Exhibition Oriental Rug Collection James F. Ballard, Metropolitan Museum of Art, IQ2I. Exhibited: The Minneapolis Institute of Arts, IQ22. EASTERN ASIA MINOR CARPET OF THE SIXTEENTH CENTURY1 No. 16 15 f{- in. by 6 ft. 1 of^ in. 63-72 Senna knots to the square inch. Wide irregular red bands2, with running spray motifs through the 'This type of rug is usually called “Armenian Dragon Carpet” but has also been assigned to the Kuba group. Its exact provenance is still in question. 2Not clearly seen in the illustration because of lack of proper photo- graphic color rendering. 24ASIA MINOR centres and with serrated edges, form lozenges upon the blue field en- closing two highly conventionalized dragons and two palmettes, with a small medallion in the centre. Joining the lozenges are pomegranate medallion!, and capping each palmette are two heavy lanceolate-like leaves in white with conventionalized floral sprays in color running through their centre. Red, yellow, and blue are the three predominat- ing colors, with touches of green, brown, and white. The border is made up of a conventionalized running pattern in red, two tones of green, dark blue, brown, and white on a yellow ground. The guard stripes are narrower at the ends than at the sides. The inner guard stripe is made of a reciprocal trefoil pattern in red, green, and blue outlined in brown, and the outer has the same motif in red and blue also outlined in brown. A gray fringe shows at both ends. Illustrated: Catalogue Oriental Rug Exhibition, The Cleveland Museum of Art, 1920; Catalogue Loan Exhibition Oriental Rug Collection James F. Ballard, Metropolitan Museum of Art, 1921. Exhibited: The Minneapolis Institute of Arts, 1922. LADIK PRAYER RUG OF THE SEVENTEENTH CENTURY. No. 17 6 ft. 7 in. by 3 ft. 7 in. 72-96 Ghiordes knots to the square inch. The field is composed of light blue niche decorated with what seems to be a highly conventionalized tree form in red, yellow, violet, and white. It is probable, however, that this is merely an elaborate modi- fication of the suspended mosque lamp. At the top is a red ewer and at the bottom a yellow one. The spandrel is made up of con- ventionalized flowers and geometric linear designs in red, yellow, blue, violet, and white on a yellow ground. The wide panel below the niche is decorated with five pomegranate stalks in blue and violet, and three large arrowhead-like points in violet outlined in yellow, violet, and white enclosing a conventionalized plant form in yellow and blue and white. Immediately below them are three flower medallions. The border, narrower at the ends than at the sides, is composed of alternat- ing motifs of conventionalized lilies and flower medallions in red, yellow, light blue, two tones of brown, and white on a blue ground. The inner and outer stripes, which are the same, are composed of a running pattern in blue broken and interspersed with sharp angular motifs in red, yellow, blue, violet and white completely outlined in brown on a buff ground. The field is enclosed by a tertiary stripe with a flattened S motif in red, yellow, blue, and white outlined in brown. The panel of this rug is reproduced in color above. 25Kuba carpet of the seventeenth century No. i-ASIA MINOR The two inner guard stripes are yellow with spots of light blue and brown. One of the two outer guard stripes is brown with yellow and white spots, and the other is white with yellow and brown spots. For a running foot below the top of the arch red has been added to the color scheme aero» the border areas. A velvet binding with silk fringe has been added at both ends. Illustrated: Catalogue Loan Exhibition Oriental Rug Collection Janies F. Ballard, Metropolitan Museum of Art, iQ2i. Exhibited: The Cleveland Museum of Art, 1920; The Minneapolis Institute of Arts, 1922. LADIK PRAYER RUG OF THE SEVENTEENTH CENTURY. No. 18 5 ft. 8 in. by 3 ft. 1 lYt in. 80*98 Ghiordes knots to the square inch. The field is composed of three narrow red niches with pointed arches upheld in the centre by two double miniature columns ,in white embellished with a green and blue outline, and at each side by a single similar column. In the centre arch is a tree form in yellow, green, blue, brown, and white, and four angular branchlike form3 in yellow, blue, brown, and white protrude from the columns into the centre of each side niche. The columns, which have foliated capitals, with entablatures decorated with floral motifs, rest upon heavy five-tiered bases with blue and green outlines. The spandrel, which has a blue ground, is profusely decorated with geometric and flower forms in tones of various colors^. Prominent pendant portions of the spandrel extend down the sides of the entablatures. The panel, which is above the spandrel, is red and is decorated with five formal stalks of the pomegranate motif each springing from the point of an arrowhead-like form enclosing a plant motif. Between each of the pomegranate motifs is a .stalk-like plant form. Many new knots have been added in this area; therefore the present color scheme is hardly comparable to the original. The main border has upon a dark blue ground large pointed medallions with red, gray-green, blue, or white grounds decorated with highly conventionalized flower forms in red, yellow, gray-green, blue, brown, and white. The medallions are interspersed with an architectural motif, an'cctagon enclosing a form resembling the eight-pointed star, and other indefinable forms,- The design is simplified at the ends with the octagon and star motif entirely missing. The outer border, which is new, has a red ground decorated with an unknown motif in 27Carpet of the seventeenth century, probably Kuba No. 14ASIA MINOR yellow, green, blue, brown, and white. A gray-green inner border surrounds the entire field. It is decorated with regularly spaced motifs in the same color scheme. Two guard stripes flecked with red and white flank the inner border and include the panel. A white fringe has been added at each end. Illustrated: Catalogue Loan Exhibition Oriental Rug Collection James F. Ballard, Metropolitan Museum of Art, 1921. Exhibited: The Minneapolis Institute of Arts, 1922. LADIK RUG OF THE SEVENTEENTH CENTURY. No. 19 6 ft. 1^/2 ¿y 4 ft- 5 **• 99-130 Ghiordes knots to the square inch. The field is composed of three tri-pointed solid red panels in which are suspended twelve small flower-like forms. The panels are separated by wide dark blue bands which spread out at each end across the field and continue down the sides. The bands are decorated with a modified form of the lanceolate leaf, palmette, lily, and pink motif, and the rest of the field is prominently decorated with large lanceolate leaves, a star tile form, smaller flower forms, and the so-called "anchor” pattern in three tones of red, yellow, white, and a small amount of blue and brown. The border is composed of large pointed medallions alternating red and blue on a yellow ground, with a central design of naturalistic flowers resembling tulips in a conven- tional arrangement. In the red medallions the tulip forms are in light red, two tones ©f blue, and white. The flowers in the blue medallions, the blue of which varies in tone thus adding variety to the border, are in two tone# of red, and white. The points of the medallions are joined and in the interval# is a geometric form, possibly an architec- tural motif, in red, blue, and white outlined in brown. Small flowers in three tone* of red, blue, and white surround this motif. A secondary border it composed of a peculiar “curl” pattern which is probably a highly stylized vine motif. The color scheme is two tones of red, yellow, green, blue, and white on a brown ground. Two prominent guard stripes flank this border and are composed of a criss- cross motif in light red, yellow, green, blue, brown, and white on a red ground. This stripe is repeated at the outer edge of the rug, and at each end is a short fringe. Exhibited: Metropolitan Museum of Art, 1921; The Minneapolis Institute of Arts, 1922. 29ASIA MINOR LADIK PRAYER RUG OF A SEVENTEENTH CENTURY TYPE. No. 20 6 ft. 2 in. by 3 ft. 10 in. 84-136 Ghiordes knots to the square inch. ■ The field is composed of a red niche enclosed in a yellow-green line. The corbeled arch is flanked by parallel lines of red, blue, and brown. Around the sides and base of the niche is a row of conventionalized flower motifs, alternating green and white with black stems. The spandrel is decorated with detached conventionalized plant motifs and geometric forms in red, yellow, green, blue, brown, and white on a dark blue ground. Projecting from both sides of the arch is ft series of hook motifs. The panel, which is below the niche, has a rich red ground. It is decorated with five pomegranate stalks in green and brown, and three arrowhead-like forms in brown outlined in white which enclose diamond forms in red, green, blue, and white. Below them are conventionalized flower motifs in red, blue, and white. The main border, narrower at the ends than at the sides, is composed of alternating motifs of conventionalized lilies and large flowers in red, green, two tones of blue, brown, gray-violet, and white on a yellow ground. The secondary inner border, also narrower at the ends than at the sides, is composed of a running linear pattern in blue broken and interspersed with sharp angular motifs in green, gray-violet, and white outlined in red against a brown ground. The corresponding outer border is made up of the same pattern with the running motif in green, and the intermediate parts in red, blue ,brown, and white on a gray-violet ground. A tertiary border in blue with a flattened S motif in red, yellow, brown, and white surrounds the entire field. There are three red guard stripes spotted with brown and white and an outer guard stripe spotted with red and brown. Exhibited: 1Metropolitan Museum of Art, IQ21; The ¡Minneapolis Institute of Arts, IQ22. LADIK PRAYER RUG OF THE SEVENTEENTH CENTURY.1 No. 21 5 f{- 71/2 by 3 ft. 7 in. Q6-144 Ghiordes knots to the square inch. The field is composed of a white niche with corbeled arch defined by lines in various colors. Two detached columns in red and yellow covered with blue lattice work and terminating at top and bottom in lozenges in violet, red, and white form the centre of the niche. At the right and left are red ewers, and in the arch is an octagon in blue- 1 Werner Grote. Hasenbalg, in Der Orientteppich Seine Geschichte end Siene Kultur, 1922, vol. 1, p. 79, states that the Mohammedan date, 1110, had been altered previous to the time when this rug was reproduced by Martin (1908), who apparently was unaware of the fact. It would seem, therefore, that the rug is later than the date given above, which is the generally accepted date. 30ASIA MINOR green outlined in red bearing the Hegira date mo (1699 A.D.). The spandrel is composed of detached conventionalized leaf and flower motifs in red, yellow, blue, violet, and white Outlined in brown with spots of red against a red ground. The panel is composed of five pomegranate stalks in blue with alternating blue and brown leaf forms on a red ground and three arrowhead-like forms outlined in red and white enclosing a conventionalized plant form in blue, yellow, and white on a violet ground. Immediately below them are conventionalized flower medallions. The border, narrower at the ends than at the sides, is made up of alternating conventionalized lilies and large flowers in two tones of red, yellow, light blue, violet, white, and brown on a blue ground. The inner border is made up of a running vine in white broken and interspersed with conven- tionalized leaf and flower motifs in red, yellow, two tones of blue, and white outlined in brown on a violet ground. The corresponding outer border is made up of the same design with the vine in blue and the flower and leaf motifs in yellow, violet, and white outlined in brown on a red ground. The blue tertiary border which surrounds the entire field is decorated with a fret motif in red and brown. There are two yellow guard stripes spotted with blue and brown and two white stripes spotted with red and brown. Formerly in the Collection of T. Karfaroff, Constantinople. Illustrated: History of Oriental Carpets before 1800, Martin igo8, fig. 34&! Catalogue Loan Exhibition Oriental Rug Collection James F. Ballard, Metropolitan Museum of Art, 1Q21. Exhibited: The Cleveland Museum of Art, IQ20; The Minneapolis Institute of Arts, IQ22. OUSHAK RUG OF THE SIXTEENTH CENTURY. __ No. 22 4 ft. II in. by J ft. i(A/> in. 60-84 Ghiordes knots to the square inch. The rich red field is composed of an arch made by a band with a chain motifs in white on a black ground, with colored ornamental centres and joined by octagons, also with colored centres. This band continues along the base and projects into the field forming an octagon with one side open, in the centre of which is a composite design made up of a rectangle, diamond, and star form in red, two tones of yellow, green, and blue outlined in black. Directly above are two triangular forms with one sige stepped, with a hook pattern projecting from each step. These triangular forms have a blue ground outlined in yellow and are decorated with indefinable motifs 31 Asia Minor carpet of the sixteenth century No. ióASIA MINOR in red, yellow, and white. Above them, occupying the centre, is a lozenge made up of geometric forms in red, yellow, blue, black and white on a green ground. At the top of the arch are three motifs, probably tree forms. Those at the right and left are outlined in blue with red, green and black centres, and the one in the middle is out- lined in green, with red, yellow, blue and white centres. The border wider at the sides than at the ends, is composed of arabesque like forms, which contrary to practice point in one direction only. The color scheme of the border is a dull red, yellow, touches ,of green blue, and white on a black ground. The black yarn is gradually disintegrating, plainly exposing the warp. An outer stripe, which is composed of a double sawtooth pattern in yellow outlined in brown and flanked with red and blue, is modified at the ends, being much reduced in detail. Illustrated: Catalogue Loan Exhibition Oriental Rug Collection James F. Ballard, Metropolitan Museum of Art, 1921. Exhibited: The Minneapolis Instituteoof Arts, 1922. OUSHAK RUG OF THE SIXTEENTH CENTURY. XT No. 23 g ft. 11 in. by 5 ft- $1^2 111 ■ 54~^3 Ghiordes knots to the square inch. Upon a red field is a prominent eight-pointed star form made up of arabesques in yellow, originally outlined in black, with touches of red and green on a dark blue ground. Equidistant from the central medallion, which is slightly out of centre, are two smaller lozenge- shaped medallions of similar design and color scheme. At one end a portion of the central medallion is repeated. The rest of the field is decorated with arabesques in red, yellow, green, blue, and white, originally outlined in black, with the green predominating. The border has a main motif of a central palmette with a flower spray on each side of it, in two tones of red, yellow, warm buff, green, violet and white outlined in black on a blue ground. Interspersed at regular intervals are detached green rosettes outlined in black with red and yellow centres. The secondary border is made up of a highly conventionalized vine pattern in red, blue, and white, originally outlined with black, on a yellow ground. The tertiary border is made up of an indefinable angular pattern in red, yellow, blue, and violet, with traces of black. A line of black and white spots and a solid red line flank each border. A solid light blue line surrounds the field. The black outlines throughout the entire rug have disintegrated to such an extent that they no longer form a part of the color scheme. Exhibited: Metropolitan Museum of Art, 1921; The Minneapolis Institute of Arts, 1922. 33ASIA MINOR OUSHAK RUG OF THE SIXTEENTH CENTURY. No. 24 5 ft. 9 in. by 3 ft. 8y% in. 100-132 Ghiordes knots to the square inch. In the centre of the red field is a lozenge resembling a star tile. Emanating from the four points of a small diamond shape in the centre of this lozenge are flower forms in red. These are on a blue ground which forms a four-pointed star outlined in yellow and brown. Surrounding the star are small unknown motifs in red on a dark green ground, the final outline making a diamond-like form with two flattened ends. At each end of the field is an arch outlined in dark green and in the spandrels thus formed are Chinese cloud bands in green and blue. The red field is completely surrounded by a green line. In one of the arches is a simulated lamp form in red, green, and blue. The border has a somewhat crowded design, the main elements of which are a modified lanceolate leaf, a palmette, a stalky flower and leaf, and other smaller flowers in red, two tones of yellow, green, blue, and white on a dark blue ground. A secondary border on the outer edge of the rug is made up of a running pattern of a flower, leaf, and stem in green and blue on a red ground. A tertiary inner border is made up of a running pattern of flowers, leaves, and stems on a light blue ground. Both the secondary and the tertiary borders are flanked by yellow lines. A green woof extends beyond the pile with a short fringe. Illustrated: Catalogue Loan Exhibition Oriental Rug Collection James F. Ballard, Metropolitan JMuseum of Art, IQ21. Exhibited: The 1Minneapolis Institute of Arts, 1022. OUSHAK RUG OF THE SIXTEENTH CENTURY. XT No. 25 5 ft. IO in. by 4 ft. in- 80-90 Ghiordes knots to the square inch. In the Centre of the red field is a pointed medallion from the four corners of which other irregular shaped medallions extend into the field, making five distinct forms. These forms have dark blue grounds outlined in white, and enclose geometric and floral forms in red, yellow, green, blue, violet, and white outlined in black. At each end is a triangular area of a similar character in full color. Decorating the field area between the points of the triangles and the centre medallion are attenuated light blue stems outlined in black emanating from a central motif, presumably the pomegranate, also in light blue with an orange centre. At each side opposite the point of the central medallion, is a form in light blue also, originating from the pome- granate motif. It is outlined in black and has an orange centre. At the four corners are designs in yellow outlined in black with a touch 34ASIA MINOR of blue not unlike the “key and coral” motif often seen in Chinese rugs. Across both ends are heavy S forms in red and yellow outlined in black and surrounded by a heavy blue line also outlined in black. The main border has a black ground much disintegrated, and is decorated with a palmette-like form having as a centre a four-pointed motif decorated with an eight-pointed red Star. Interspersed are stylized lanceolate leaves and an unknown coiled motif in red, orange, yellow, green, and blue. Connecting the palmette and the spiral motif is a running blue line. Two guard stripes are made up of alternate spots of red and white. A blue line encloses the field, and is repeated on the edge at both ends but replaced at the sides by a new red selvedge. At both ends the woof extends beyond the pile and ends in a short fringe. Exhibited: Metropolitan Museum of Art, 1921; The Minneapolis Institute of Arts, 1922. OUSHAK RUG OF THE SIXTEENTH CENTURY. XT I No. 20 5 ft. 9 in. by 3 ft. in. 96-130 Gh iordes knots to the square inch. Within a rich red field is an arch outlined at the sides and base by a band with a running conventionalized vine pattern in white, out- lined in black, with intermediate areas of identical geometric form, alternating blue and red. The top of the arch ha$ the same color scheme, with the motif changed to a meander pattern. Suspended from the arch is a green lamp decorated with a single curve (riotif in white against a red ground. In the centre of the niche is an eight pointed green star with the points outlined in black with red and green centres. The base of the niche is broken, but the yellow stripe which forms the inner line of the arch continues upward spread- ing into an octagon with one side open. The main border is composed of linear patterns in yellow, green, blue, white, and black. The inner border is made up of a highly conventionalized flower and stem pattern like an arabesque, in red, yellow, green, blue, and white with Slight traces only of a black ground. It is flanked by two lines of alternating black and white knots. The outer border is made up of reciprocal rhomboidal areas outlined in brown with an alternating color scheme of yellow and red, and yellow and blue. The guard stripes of this outer border are black and white. The field is surrounded by a latchhook pattern in equal lengths of yellow and blue. OUSHAK RUG OF THE SEVENTEENTH CENTURY. No. 27 7 ft. 4 in. by 4 ft. 4 in. 63-80 Ghiordes knots to the square inch. The field is composed of an all-over trellis design in dark blue.. At each point of intersection is an eight-pointed star form of blue with 35Lad'ik prayer rug of the seventeenth century No. 17ASIA MINOR a white star in the centre with eight surrounding spots of white. The ground of the trellis openings is rose red, and in each opening is an elaborate star form in dark blue with a white eight-pointed star in the centre surrounded by four white spots. Around this motif are eight small squares in blue. 'The border has a light blue ground and is composed of reciprocal areas defined by a yellow line. The designs within these areas are not reciprocal, but are made up of two inde- pendent motifs connected by a red line one of which is a geometric form and the other a palmette. In the centre of the palmette is an eight-pointed green star surrounded by eight brown points. A promi- nent yellow line separates the field and the bonier. 1The white stars and the small blue squares were originally outlined in black, now partially replaced by violet. OUSHAK RUG OF THE SEVENTEENTH CENTURY. No. 28 5 ft- 7Y2 ln- by 3 ft- ttfy fn- 64 Ghiordes knots to the square inch. The red field, which is somewhat crowded, has two definite interlaced motifs in yellow, originally outlined in black, with touches of blue and white. One extends through the centre as a series of four vase- like forms resembling arabesques. The other appears at each side, as two oblong medallions connected by a geometric form, the centre of which is a blue octagon in a square with an eight-pointed red star superimposed upon it. The oblong medallions are broken in the centre by a white octagon in a square with a fed star, f rom the four points of this square emanate straight heavy stems carrying palmette®, the outer one being cut off by the border. The border, which has a dark blue ground, is composed of connected medallions with alternating blue and yellow grounds outlined in red. These medallions are decorated with a modification of the same palmette seen in the field, in varying color schemes including red, yellow, and two tones of blue. Interspersed between the medallions is a modified form of the lily in two tones of red, orange and yellow with touches of white. At the edge of the rug is a secondary red border decorated with an elaborate S motif in yellow, two tones of blue, white, and black. The black has almost entirely disintegrated. A line of alternate brown and white spots separates the main border from the field. Illustrated: Catalogue Loan Exhibition Oriental Rug Collection James F. Ballard, Metropolitan Museum of Art, 1921. Exhibited: The Minneapolis Institute of Arts, 1922. 37ASIA MINOR OUSHAK RUG OF THE SEVENTEENTH CENTURY. No. 29 9 ft- 9V2 tn- by 6 ft- 7 in. 56-80 Ghiordes knots to the square inch. The field has two large red medallions and four small pendant medallions decorated with arabesques in yellow, green, blue, and white. At the sides are the halves of two other red medallions also decorated with arabesques in yellow, green, blue, and white. Quad- rants of the same appear at the four corners. The field is dark blue decorated with floral arabesques in yellow with touches of red. The border is red and has a similar arabesque pattern in the same color scheme as the medallions. A prominent yellow line flanks the border on each side. A secondary border in blue extends along both sides at the edge of the rug, but is omitted at the ends. It is decorated with a vine motif in red, yellow, and green. The guard stripe sur- rounding the field is made up of a detached S form in red and black on a blue ground. OUSHAK RUG OF THE SEVENTEENTH CENTURY. No. 30 4 ft. 11)4 in. by 3 ft. in. 108-140 Ghiordes knots to the square inch. The red field has as its central motif a yellow quatrefoil outlined in blue with a diamond centre in white from the points of which spring palmette-like forms in red and blue. The four corners of the field are made up of a red, yellow, and green ground with an arabesque in two tones of red, yellow, blue, and white, outlined in black, thus forming the outline of an arch at each end of the rug. In one of these arches is suspended a tiny pendent. Outlining the corners and continuing around the field is a light blue line outlined in black. The main border is made up of an elaborate cloud motif in red and light blue interspersed with conventionalized flower motifs in two tones of red, yellow, green, blue, and white, outlined in black on a dark blue ground. At the edge of the rug is a secondary border made up of an elaborate motif in blue outlined in black on a red ground. At the inner edge of this border is a line made up of alternate black and white knots. The tertiary border is within the red field and runs narrower at the ends than at the sides. It is composed of a con- tinuous pattern of S curves in two tones of red, yellow, green, two tones of blue, and white outlined in black and separated by a row of white knots down one entire side and by rows of red, yellow, or blue knots on the opposite side and the ends. Illustrated: Catalogue Loan Exhibition Oriental Rug Collect: on James F. Ballard, ]\1etropolitan Museum of Art, IQ21 Exhibited: The Minneapolis Institute of Arts, 1Q22. 38ASIA MINOR KULAH PRAYER RUG OF THE SIXTEENTH CENTURY. No. 31 6 ft. 4Y2 m• by 4 ft. 3 in. 80-140 Ghiordes knots to the square inch. The field is composed of a red niche and suspended from the arch are conventionalized flower forms simulating a lamp. Sup- porting the arch are two ornamental bands terminating in ewers. The spandrel has an all-over design of two sinuous leaf and flower scrolls in two tones of yellow with spots of red, white, and brown on a blue ground. The main motif of the rectangular panel above the spandrel appears as a vase outlined in brown with a conventionalized flower spray in red, blue, white, and brown protruding from it. Surrounding it are geometric forms in buff. The ground of the panel is blue-gieen. The border is made up to two main motifs: two spreading lanceolate leaves and a palmette surrounded by hyacinths and an unknown conventionalized flower; and two lanceolate leaves with rosettes surrounded by hyacinths and lilies. The color combination is red, two tones of yellow, green, blue, brown, and white on a dark blue ground. The inner border, between two red guard stripes spotted with white, has a running pattern of white broken by a leaf in buff varied in spots with centres of red, particularly on the ends. The outer border of blue, between two guard stripes of red spotted with white, is composed of a running pattern in yellow broken by sharp angular forms in buff outlined in dark brown. At the ends the lineal pattern is slightly modified and the color scheme is changed to red, yellow, blue, and brown. Illustrated: Catalogue Loan Exhibition Oriental Rug Collection James F. Ballard, Metropolitan Museum of Art, 1921. Exhibited: The Cleveland Museum of Art, 1920; The Minneapolis Institute of Arts, 1922. KULAH PRAYER RUG OF THE SEVENTEENTH CENTURY. No. 32 5 ft. 10Y2 in. by 4 ft. 1 in. 63-99 Ghiordes knots to the square inch. Two bands simulating columns, but which are actually continuations of the spandrel, divide the rich red field into a central niche and por- tions of two much smaller side niches. Suspended from the arch of the central niche is a composite flower form in three tones of yellow, blue, black, and white. Across the base of the field is a row of five plant forms in three tones of yellow, blue, black, and white. Along the base and up the sides of the field is a yellow stripe with serrated inner edge tipped with blue and white dots. The spandrel is blue and has prominent rows of conventionalized pomegranate forms in 39ASIA MINOR three tones of yellow, blue, black and white. On the right hand side of the panel the scheme is varied by the introduction of black as the body color of the motifs. The same deaign extends down the field in two column-like bands. From the sides of these bands project small conventionalized flowers in two tones of yellow, blue, black, and white. The panel above the spandrel is decorated with in- definable and irregularly outlined motifs in yellow, blue, black, and white on a yellow ground. The main border is made up of a tripartite plant motif regularly repeated. The general color scheme is yellow and blue and white, sometimes varied by red and black. The secondary inner border has a yellow ground on which are indistinct forms in red, yellow, blue, black, and white!. There is an outer border, slightly narrower, with the same design and a similar color scheme slightly varied. The inner guard stripes, out- lined in white, have a similar design and the same color scheme as the inner border except at the ends where the stripes become very narrow and are decorated with a small Z form in the same color scheme. The outer guard Stripe« have a red ground and are decorated with a meander pattern in two tones of yellow, blue, black and white. KULAH RUG OF THE SEVENTEENTH CENTURY. No. 33 io ft. JY2 in. by 3 ft. 8 in. 80-QQ Ghiordes knots to the square inch. The field has four large blue medallions through the centre endftjed by four lanceolate leaves. The medallions are decorated with interlaced motifs, including the palmette, rosette, lily, tulip, pomegranate, and leaf forms. The lanceolate leaves have a red centre with a heavy outline in white. The color scheme is two tones of red, yellow, green, two tones of blue, and white. The rest of the field is generally covered with detached circular flower forms, and near each medallion are pairs of palmettes and lanceolate leaves. Stiff flower sprigs are placed obliquely at regular intervals down both sides of the field. The same color scheme is maintained throughout the field, with the blue centres of the medallions producing a prominent feature. Tile border has an angular vine pattern in red, not unlike a trellis, with pinks and lilies in red and blue and a circular blue flower with a red centre appearing in the open spaces on a yellow ground. The secondary border is made up of an angular vine pattern in red with white spots, crossed by a wavy line of white broken at regular intervals with a red leaf motif on a vivid blue ground. The two inner red guard stripes are decorated with white spots. At the two ends a tertiary border and two more guard stripes appear which originally enclosed the entire rug. This tertiary border is made up of the so-called 41ASIA MINOR ‘curl” design, perhaps a modification of a vine pattern but closely resembling the conventionalized dragons often appearing on ancient Chinese bronzes. The guard stripes flanking this border are similar to the inner ones. A green silk fringe has been added lately to all four sides. KULAH PRAYER RUG OF THE SEVENTEENTH CENTURY. No. 34 6 ft. 5l/o in. by 3 ft. 11 in. 56-88 Ghiordes knots to the square inch. The field is composed of a blue niche with a tree form in yellow and white suspended in the centre. Repeated dowm the sides is a unit of design made up of trees and what is purported to be a tomb and a coffin. The color scheme is two tones of yellow, light blue, and white, but at the very top red is introduced in the tree tops. The spandrel, which is made up of various irregular forms in red, two tones of yellow, white, and black, is continued down the sides and across the bottom of the niche. A panel above the »pandrel is composed of palmettes in red, two tones of yellow, two tones of blue, white, and brown on a black ground. The border is made up of three black stripes spotted with buff, blue, and white. The inner border is made up of detached whorls in red, yellow, blue, brown, and white on a buff ground and has only one guard stripe, which in turn is made up of a ribbon in yellow, blue, white and brown on a red ground. The outer border, between two similar guard stripes, has the same pattern on a white ground. Surrounding the field is a tertiary border with detached S curves in yellow, blue, and white outlined in brown on a buff ground. Exhibited: Metropolitan Museum of Art, 1921; The Minneapolis Institute of Arts, 1922. KULAH PRAYER RUG OF THE SEVENTEENTH CENTURY. No. 35 6 ft. iy$ in. by 4 ft. **■ 72-117 Ghiordes knots to the square inch. The field is composed of a red niche, and suspended from the arch are conventionalized flowers and stems in yellow, two tones of blue, white, and black. In place of the usual columns are two pointed blue bands made up of white and yellow motifs, and projecting from each side is a row of detached flowers in two tones of blue and yellow with spots of white. The spandrel is made up of a honeycomb pattern outlined in black and blue enclosing a trefoil of red and yellow with white spots. The panel above the arch is composed of large S motifs 42ASIA MINOR with medallion centres in two tones of yellow, two tones of blue, outlined in red or blue on a brown ground. The panel below the arch is the same as the spandrel. The border, which narrows at the ends, is made up of repeated conventionalized plant forms in red, two tones of yellow, brown, and white on a light blue ground. The inner border, which is flanked by two red guard stripes zigzaged with white, has a running linear pattern in red, yellow and white on a dark blue ground. The outer border, which is composed of the curious “curl” pattern in red, blue, brown, and white on a buff ground, is flanked by two red guard stripes zizaged with white. Surrounding the field is a tertiary border made up of the S curve in red, yellow, two tones of blue, and brown on a white ground. KULAH PRAYER RUG OF THE SEVENTEENTH CENTURY. No. 36 6 ft. by 4 ft. 1Y2 in. 70-104 Ghiordes knots to the square inch. The pointed arch of the dark blue niche is defined by a narrow band which widens and extends down the sides and across the base in an elaborate zigzag pattern with pointed blue edge. Suspended from this arch is a pendant band made up of eight-pointed stars in yellow, a vase form containing floral sprays in red, yellow and blue, and another small motif, perhaps a conventional ewer, alternately blue and white. Down the sides of the arch and across the base the same eight-pointed star is repeated at regularly spaced intervals. The light blue spandrel is made up of rows of what appears to be fruit in a dish. With the exception of the lower line which is in blue, the fruit dish is in yellow with yellow fruit outlined in red. The spandrel continues down the side of the niche in a rather wide band and across the base, with the same light blue ground and the same color scheme as the spandrel but with the motif changed to a running pattern. The panel above the spandrel is made up of palmette-like forms out- lined in red on a brown ground with blue and yellow centres. The main border is made up of a closely spaced leaf and flower motif squared so that nine grouped together form a rectangular unit. This unit is repeated in varying color schemes throughout the border. The general color scheme is red, two tones each of yellow, blue, and brown, on a white ground. Two secondary borders, separated only by a brown line, surround the field. The one nearest the field is made up of two unidentified motifs in red, two tones of blue, and brown on a yellow ground. The other is made up of modified S forms, alternating in yellow and blue, separated by eight-petaled flowers and leaves in red and yellow on a yellow ground. The tertiary border around the outer edge is made up of the continuous 43Ladik prayer rug of the seventeenth century No. 21ASIA MINOR design in red commonly known as the “curl” pattern which reminds one of a conventionalized dragon pattern though probably a stylized vine motif. A narrow brown stripe with yellow spots regularly spaced surrounds the entire rug. Illustrated: Catalogue Loan Exhibition Oriental Rug Collection James F. Ballard, Metropolitan Museum of Art, 1921. Exhibited: The Minneapolis Institute of Arts, 1922. KULAH PRAYER RUG OF THE SEVENTEENTH CENTURY. No. 37 5 ft. 7 in. by 3 ft. 9^ in. 77-104 Ghiordes knots to the square inch. The field is made up of a dark blue niche completely filled with rows of yellow spots. The arch is outlined by a simple yellow band with blue and brown spots, which changes to a serrated edge in yellow and blue continuing down the sides and across the base. The spandrel is composed of regular rows of flowerlike forms in yellow outlined in brown on a light blue ground. Below the niche is a somewhat narrower panel decorated with a highly conventionalized flower, leaf, and stem form in yellow with touches of blue and white on a brown ground. The border is made up of horizontal rows of miniature forms, perhaps sarcophagi, in yellow, two tones of blue, and brown on a white ground. Two secondary borders of equal importance are decorated with the same sarcophaghus-like motif in yellow and blue on a brown ground flanked with blue lines. Surrounding the field is a tertiary border with a pattern of an angular S form in two ton&fc of yellow, blue, brown, and white, so closely spaced that very little of th« white ground is visible. There are four guard stripes of yellow with regularly spaced spots of blue tipped with brown. All the borders are narrower at the ends than at the sides and in the case of the outer secondary border and its flanking guard stripes a complete new section has been added at one end. A brown fringe has been added across each end and around the corners?* ’ Exhibited: The Cleveland Museum of Art, 1920; Metropolitan Museum of Art, 1921; The Minneapolis Institute of Arts, 1922. KULAH PRAYER RUG OF THE EIGHTEENTH CENTURY. No. 38 4 ft. 8$ in. by 3 ft. 4 in. 132 Ghiordes knots to the square inch. The dark red field has an outer and an inner niche. The outer one is outlined at the arch by a blue band bordered with black and decorated with minute forms in red and yellow. A narrow light blue +5ASIA MINOR line flanks this band on the inner side and extends down the sides and across the base of the niche. The inner niche is defined by a blue band bordered with red, yellow, and black lines* and decorated with heavy S forms of light blue inconspicuously outlined in green which are joined by rectangles forming a meander pattern. In the interstices are pointed red forms. From the outer and inner edges of this band flower forms in red, two tones of blue, and white are projected on the red field. At the bottom of the niche the band breaks, each end projecting vertically into the niche and terminating in an octagon. In the opening between these octagons is a vase in two tones of red, green, and blue, outlined in yellow, from which springs a composite tree form made up of pinks, lilies, hyacinths, and other flowers in red, yellow, two tones of green, three tones of blue, and white. In the arch above this tree form is an unread inscription in white. The spandrel has a green ground and is decorated with a conventionalized floral spray in white outlined in red with flowers in red and black. There is a narrow panel above the spandrel decorated with character forms in light blue, black, and white. The narrow black stripe which encloses this panel is decorated on three sides with a wavy pattern in various colors and on the lower side with an inscriptional form in yellow. The main border is made up of a composite flower unit of one large flower form connected by a heavy stem with four smaller flower forms. This is repeated at regular intervals in varying com- binations of red, yellow, two tones of blue, green and black. There are two secondary borders of equal importance. The inner one is made up of a modified S pattern in red, yellow, brown, and white on a light blue ground. The outer border is made up of a similar but heavier design in red and light blue. GHIORDES PRAYER RUG OF THE SEVENTEENTH CENTURY. No. 39 5 ft- 9V2 1,1 • by 4 ft- 4V2 in- 135-150 Ghiordes knots to the square inch. The field is composed of a dark blue niche from the sides of which are projected pinks in yellow, browm, and white. Yellow, brown, and white zigzag lines define the arch and are continued in a somewhat similar design down the sides and across the bottom of the niche. The spandrel Is made up of geometric forms, probably highly con- ventionalized leaves, in red, yellow, green, blue, and white on a terracotta ground. The panel above the spandrel is composed of the common motif of lanceolate leaves, palmettes, pinks, and hyacinth pattern stylized almost beyond recognition. The color scheme is red, two tones of yellow, light blue, violet, black, and white on a dark 46ASIA MINOR blue ground. The panel below the niche is made up of pomegranates with leaves and stems in yellow, blue, and white, outlined in black, on a terracotta ground. Both panels are surrounded by stripes of white with a star-shaped motif in blue, green, and black. The border is made up of rectangular units of three pomegranates with leaves and stems in terracotta, two tones of yellow, green, two tones of blue, black, and brown on a white ground. The inner and outer borders, which are identical, are composed of formal floral sprays in red, yellow, green, blue, and white on a black ground. Guard stripes of white enclose the inner border. The guard stripes of the outer border are yellow with zigzag lines in white. A vari-colored silk fringe has been added at both ends and around the corners. Exhibited: Metropolitan Museum of Art, 1921; The Minneapolis Institute of Arts, 1922. GHIORDES PRAYER RUG OF THE SEVENTEENTH CENTURY. No. 40 5 ft- 5Yh ln- by 4 ft- 6 in. 170-216 Ghiordes knots to the square inth. The field is made up of a niche of gray-green with conventionalized flower forms in red, yellow, and white around the edge of the niche The spandrel is composed of geometric motifs and plant forms in two tones of red, yellow, green, brown, and white. Enclosing it is a narrow guard stripe of yellow with geometric forms in red, and white outlined in brown. The panel below is made up of large S curves broken with a central medallion and surrounded by geometric forms in two tones of red, green, yellow, white and brown. Enclosing it is a stripe with a wavy pattern in white outlined in yellow on a brown ground. The main motif of the border is a variant of the lanceolate leaf, palmette, and hyacinth pattern. The color scheme is two tones of red, yellow, green, brown, and white on a grav-green ground. The inner border, narrowing at the ends, is made up of a palmette-like motif in red, yellow, green, brown, and white on a brown ground. The outer border is made up of a single six-petaled plant motif in red, yellow and green outlined in white on a purple ground. The red and green motifs alternate, with the sequence broken in every fifth place by the introduction of the motif in yellow. There are four guard stripes made up of a faint green zigzag pattern spotted with black on a white ground. Enclosing the field is a red stripe with a zigzag pattern in white broken by inconspicuous floral forms in red, yellow, and green outlined in brown. 47Oushak rug of the sixteenth century No. 22ASIA MINOR GHIORDES PRAYER RUG OF THE SEVENTEENTH CENTURY. No. 41 5 ft. 2 in. by 3 ft. 10 in. 70-104 Ghiordes knots to the square inch. The field is made up of a red niche in which is inscribed in light blue a portion of the Koran, and in the dome of the arch the Hegira date 1022 (16x3 A.D.). The sides of the arch are made up of colored wavy lines, sometimes called the “water” pattern, which extend down the sides and across the has# of the niche. The spandrel of blue sustains crowded and irregular spaced motifs, including a palmette- like form, a plant form resembling the date tree, and other smaller motifs connected by lines. The color scheme is three tones of red, two tones of yellow, green, blue, and white on a blue ground. The panel above the spandrel is made up of three angled S forms, in light blue, dark blue, and yellow, interspersed with triangular forms in the sUme colors on a white ground. The lower panel is made up of an architectural motif and a modification of the palmette, lanceolate leaf, and pink motif in light red, yellow, blue, and white on a blue-green ground. The main border is decorated with a rosette in red, yellow, blue, brown, and white sprays of yellow and blue hyacinths on a red Mem. The secondary inner border, enclosed by two wrhite lines, is made up of an unknown conventionalized motif in two tones of red, yellow, green, blue, brown, and white completely covering the ground. The tertiary outer border is made up of two flower forms on a red ground: one, perhaps the lily, alternating blue and yellow; and the other a circular motif, perhaps the pink, in brown and white. There are two inner guard stripes in red flanked with white lines. One is decorated with a wavy line in yellow, green, blue, brown, and white. The other is decorated with a lozenge of the same color. In both stripes the same color scheme is continued around the end, but the design motif is somewhat altered. There are two outer guard stripes in white flanked with black lines and decorated with a wavy line in red, yellow, green, blue, and brown. Exhibited: Metropolitan Museum of Artij 1921; The Minneapolis Institute of ArtSj 1922. GHIORDES PRAYER RUG OF THE SEVENTEENTH CENTURY. No. 42 5 ft- in- by 4 ft. in. 160 Ghiordes knots to the square inch. The field is composed of a light green niche from the sides of which project pinks in red, blue, brown, and white. Zigzag lines of yellow, white, and brown define the arch and are continued in a somewhat 49ASIA MINOR similar design down the sides and across the base of the niche. The spandrel is made up of small detached tree forms in red, yellow, green, and two tones of blue, outlined in either red or brown on a white ground. The panel above the spandrel is made up of geometric and palmette forms in red, yellow, green, brown, and white on a dark blue ground. It is enclosed by a narrow buff stripe which has an inconspicuous running pattern in red, yellow, blue, green, brown, and white. The panel below the niche consists of four S curves with medallion centres, in two tones of red, yellow, green, and blue on a white ground. It is enclosed bj' two stripes: one a narrow white stripe similar to the one enclosing the upper panel; and the other a wider stripe of geometric forms in yellow, two tones of blue, brown, and white. The main border is composed of a rectangular unit of four conventionalized pomegranates and a tree form in two tones of red, yellow', green, blue, and white on a blue ground. The inner border is made up of palmette motifs in various combinations of red, yellow, green, two tones of blue, and white on a white ground, between twTo red guard stripes with a iigzag pattern in white. The outer border, which is identical, has but one guard stripe of white with a faint zigzag line in yellow, the outer stripe having been replaced by a silk tape. A green silk fringe has been added at both ends. GHIORDES PRAYER RUG OF THE SEVENTEENTH CENTURY. No. 43. 5 ft. 11 in. by 4 ft. U in. 112-iji Ghiordes knots to the square inch. The field is composed of a white pointed niche, the sides of the arch representing the so-called “water” pattern, extending: down the sides in a sawtooth-like design in green and white. In the arch is a form made up of conventionalized flowers in red, yellow', green, blue, brown, and white, probably a convention replacing the mosque lamp. Two foliated columns are decorated w'ith red pinks and green leaves and intermediate spots of white outlined in brown. Their capitals and bases are white outlined in brown. The spandrel has a deep blue ground with tw'o attenuated floral sprays in twro tones of red, yellow, green, blue, brow'n, and white. The panel above the spandrel is decorated w'ith a motif which is probably architectural, two vase forms in white, and flower motifs in red, yellow, blue, and white on a yellow- green ground. Around this panel is a narrow band made up of triangles in the same color scheme as the panel and below it is a band made up of flow'er forms in yellow', blue, and white on a red ground. The panel below the niche is made up of conventionalized flowers, leaves, and trailing stems in two tones each of red, yellow', green, blue, 50ASIA MINOR and white on a white ground. Around this panel is a narrow band of green decorated with a running vine pattern in various colors. The main border is made up of closely spaced multicolored flower motifs which form inconspicuous rectangular areas. The outer border is made up of red pinks, outlined in white with yellow or blue centres, on a blue ground with green veinings. Interspersed are spots of white. Two white guard stripes made up of a running vine pattern in brown flank the secondary border. This pattern varies slightly at one end, red being introduced. A tertiary border, which is narrower at the ends than the sides, surrounds the field and b made up of a running vine pattern in white, outlined in red, with yellow leaves, on a blue ground. A narrow band of the same pattern is repeated across the base of the niche. Exhibited: Metropolitan Museum of Art, 1921; The Minneapolis Institute of Arts, 1922, GHIORDES PRAYER RUG OF THE SEVENTEENTH CENTURY. No. 44 3 ft. 3 in. by 4 ft. 3 in. (without woven end) 204-234 Ghiordes knots to the square inch. The field is composed of & red niche with the arch made up of a series of zigzag lines in blue, brown, white, red, and yellow continu- ing down the sides and across the base. Within these lines is a row of small detached leaves and seven miniature tree forms. From the dome of the niche is suspended a glass mosque lamp in red, yellow, two tones of blue, brown, and white, terminating in an inverted ewer. Silver threads enhance and embellish the color scheme. The spandrel is made up of two sinuous floral sprays in white outlined in red with red and yellow flowers. The panel above the spandrel is composed of palmettes and conventionalized flower forms in red, yellow, blue, brown, and white on a blue ground which terminates in a point at each end. The lower panel, which is only half as wide as the upper one, is made up of geometric forms in the same color scheme. The border is made up of two main motifs in red, two tones of blue, white, and brown on a yellow ground. One is composed of lanceolate leaves and a palmette surrounded by hyacinths and pinks; the other, of lanceolate leaves and a rosette surrounded by hyacinths. On the inner side of the border is a white stripe decorated with detached conventionalized flower forms in red, yellow, two tones of blue, and brown on a white ground, flanked by two red guard stripes with a zigzag pattern in blue, yellow, white, and brown. The outer stripe 51mmm: Ousliak rug of the sixteenth century No. 26ASIA MINOR is composed of a similar pattern on a blue ground flanked by two stripes made up of a chain pattern in white, on a red ground. Exhibited: Metropolitan Museum of Art, iQ2i; The Minneapolis Institute of Arts, IQ22. GHIORDES RUG OF THE SEVENTEENTH CENTURY. No. 45 5 ft. 4 K' by 4 ft- 4 in- 135-153 Ghiordes knots to the square inch. The field is composed of a pointed area filled with an allover pattern of oblique lines of lanceolate leaves, rosettes, pinks, and hyacinths, in which red predominates, alternating with oblique lines of lanceolate leaves, palmettes, pinks, and hyacinths, in which white predominates. The general color scheme is two tones of red, yellow, green, two tones of blue, brown, and white on a variable dark blue ground. The corners, in which the blue of the ground is the predominating oolor, are made up of red and green pomegranates interspersed with red pinks, both outlined in white. The border is made up of the same motifs as the centre with slight variations but with the same color scheme. The inner secondary border, which is narrower at the ends than the sides, is made up of red pinks outlined in white with stems and leaves in brown and blue against a light green ground. The outer border is identical in design, with the leaves in green and white on a blue ground. Four red guard stripes are made up of a running vine pattern in white with leaves in blue and green outlined in brown. At the ends a green web extends beyond the pile. GHIORDES PRAYER RUG OF THE SIXTEENTH OR SEVENTEENTH CENTURY. No. 46 5 ft. Q in. by 3 ft. 10Y2 **• 182-238 Ghiordei knots to the square inch. The field is composed of a white niche, the arch of which is formed by a sawtooth outline in red. A mosque lamp of red, yellow, and green is suspended from the arch by three chains. At the base of the niche are what seem to be two candlesticks in red, yellow, and green. The spandrel has a yellow ground on which appears in red and green the Chinese cloud band, an eight-pointed star, palmettes, pinks, roses, hyacinths, and tulips, partly lineal and partly solid. The panel above the spandrel, which has a white ground, is decorated with four large geometric forms outlined in green. Between them are green hyacinths on red stems. The main border has six white cartouches with invoca- tions in red and green characters separated by eight-lobed white medallions in which are the names of the caliphs. Interspersed on a 53ASIA MINOR yellow ground are cloud bands outlined in red and green. Two minor borders, also with yellow grounds, have a running flower spray in red and green. Narrow red and green lines outline the borders, cartouches, and the panel. The warp and weft extend beyond the knots in a yellow frayed edge. Illustrated: Catalogue Loan Exhibition Oriental Rug Collection James F. Ballard, AIetropolitan JI use uni of Art, 1921. Exhibited: The Minneapolis Institute of Arts, 1922. GHIORDES PRAYER RUG OF THE SEVENTEENTH CENTURY. No. 47 5 ft- 9 Vi m- h 4 ft- ■ in- 108-130 Ghiordes knots to the square inch. The field has a white niche, the arch of which is outlined in wavy green and white lines which extend down the sides and across the base in a triangular reciprocal pattern. Also across the base is a solid wavy band in red, yellow, and green with a row of small leaf forms in red, outlined in green, running across the base and up the sides of the niche. The pattern in the arch is made up of three parts: an inverted red ewer, a simulated lamp form in red and green, with a modified three chain suspension, and a tree form in red and blue. There are two detached columns at the sides outlined with a serrated red edge and decorated with small pendant flower forms in red, yellow, blue, brown, and white, on a blue ground. The spandrel is made up of parallel lines of small single flower "forms in red outlined in white on a green ground. A small dark blue panel above the spandrel is decorated with oblique rows of small detached pointed motifs in red and white, probably leaf forms, or possibly quarters of eight-pointed stars. It is surrounded by a white stripe with a run- ning vine pattern in green with flower motifs in red and green regularly spaced in the loops formed by the vine. Below the niche is a larger white panel decorated with oblique rows of the same pointed motifs as in the panel above, in green and blue. This panel is surrounded by a stripe similar to the one above. The border is composed of seven light parallel lines, three of which were originally black but are now worn down to the warp which has a bluish cast. They are decorated with small detached flower forms in red, green, blue, and white with traces of black. The secondary inner border is made up of a red stripe divided in the middle by a dark blue stripe out- lined inwhite. On the red stripe are smalldetached flowermotifs in red, green, blue, and white, and on the blue stripe are small flower sprays in white outlined in red, with vellow leaves. The secondary outer S-lASIA MINOR border is made up of an arrangement similar to that of the inner border except that the design of the blue stripe is composed of an angular running vine motif in white, originally outlined in black, now entirely gone. Spots of green and yellow appear in this design but are no doubt innovations. Four undecorated white guard stripes surround the borders. At both ends a colored silk fringe extends about a foot down each side. GHIORDES DOWRY RUG OF A SEVENTEENTH CENTURY TYPE. No. 48 4 ft. i'/4 in. by 3 ft. i". 99-io8 Ghiordes knots to the square inch. The field has a double-pointed white area upon wl®i is a central lozenge, and at each end a form in red, two tones of blue, and brown, simulating a suspended lamp. The central medallion is made up of double star-shaped forms, the inner one outlined in yellow with a red centre supporting four single flower motifs in blue, and the outer outlined in red with a blue ground supporting a latch pattern in red. The rest of the white area is decorated with small motifs, probably leaf forms, outlined in brown and flecked with red. The four corners have arabesques in red, yellow and blue with a green ground which is almost entirely gone. File border is made up of blue triangles, out- lined in red, with red and yellow flowers, and a red triangle, out- lined in green, with yellow and blue flowers, which are separated by a wide white band decorated with the same leaf motif which appears in the central white field. The inner and outer secondary borders are made up of S curves in blue, with red ball points, crossed in the centre with another S form in red. The color scheme as given is probably an approximation only, because the worn portions have been filled in with later needlework. Exhibited: Metropolitan Museum of Art, 1921; The Minneapolis Institute of Arts, 1922. GHIORDES PRAYER RUG OF THE SEVENTEENTH CENTURY. No. 49 6 ft. I)4 in. by 4 ft. 2 in. 110 Ghiordes knots to the square inch. The field is composed of a blue niche with a sharply pointed arch out- linedwith the wavy so-called “water” pattern in brown, which, straight- ended out, continues down theygides and across the base of the niche. Projecting from the sides of the arch into the blue niche, are small conventionalized pinks in red and white. A bisymmetrical unit of two lilies and a geometric centre motif extends continuously in a wide 55Kulak prayer rug of the sixteenth century No. 31ASIA MINOR pattern down the sides of the niche and across the base. The color scheme is red, green, and white on the blue ground of the niche. The Spandrel has' a green ground and is decorated with oblique rows of pinks, alternating red and white, with brown stems. The panel above the spandrel b. made up of conventionalized flower forms in red, yellow, light green, and white, on a blue ground. The flower motifs are combined to form a general rectangular unit. The panel below the niche is made up of highly conventionalized flower sprays also in a general rectangular pattern in yellow, green, tnd white, with touches of red, on a blue ground. The main border is made up of seven alternating narrow stripes of light green and white. The four white stripes are decorated with small detached plant forms in red and brown, and the light green stripes with an indefinable form in white. There are two borders of secondary importance. The outer border is made up of continuous square units of conventionalized flower sprays in red, yellow, light green, blue, and white, on a brown ground. The inner border has two red stripes separated by a central blue one, each decorated with a small detached flower motif in brown and white. Enclosing the field is a tertiary border of white decorated with a running vine in red, with leaves in light green outlined in brown. This stripe continues across the base of each panel. The four yellow guard stripes have zigzag patterns in white. GHIORDES PRAYER RUG OF THE SEVENTEENTH CENTURY. No. 50 6 ft. 2 in. by 4 ft. 5 in. 9Q-I20 Ghiordes knots to the square inch. The field is composed of a pointed blue niche. The sides of the arch are outlined by the so-called “water” pattern which continues down the side* of the niche and across the base in a slightly altered pattern. Projected into the blue field from all sides are small single pinks of red and white. The spandrel is made up of rows of small tree forms in yellow, light blue, brown, and white, on a red ground. The panel at the base of the niche is made up of triangular forms in blue and green separated by a band of red. In the centre of each triangle is a reduced form of the same motif in red outlined in white. The border is made up of rectangular units of the pomegranate motif, the main color scheme of which generally alternates in red and blue on a white ground. Other colors used in the border are yellow, green, two tones of blue, brown, and white. An inner secondary border is made up of a row of palmettes in two tones of red, generally with blue centres. The surrounding parts are so merged into the back- ground, and are so delicate in color, that they are not descernible. The outer secondary border is identical with the inner. The four 57ASIA MINOR guard stripes are made up of a reciprocal triangular pattern in red and white. Beyond the knots at each end is a woven web terminating in a fringe. GHIORDES PRAYER RUG OF THE SEVENTEENTH CENTURY. No. 51 5 ft. 5 in. by 4 ft. 11/2 in. VJO-220 Ghiordes knots to the square inch. The field is composed of a deep red niche with a rounded arch and two detached columns embellished with gold threads, and also a modified lamp and a tree form,. The arch is outlined with the so- called “water” pattern in red, yellow, blue, and brown, w’hich ex- tends down the sides of the niche in a broad pattern of minute zigzags, continuing as a narrower band across the base. Between the sides and the detached columns are single leaf forms in red, yellow, blue, and white, outlined in brown. At the base of the niche an insertion of much later date has been made of a vase and tree form in color against a blue ground. The dark blue spandrel has two attenuated flower and leaf sprays in white tipped with red, yellow, blue, and brown. The panels above and below the niche, which are of the same size, are made up of an inner pointed panel decorated with flower forms in two tones of red, yellow, light blue, brown, white, and gold, on a blue ground. The triangular ends of the panels have red grounds with a latch pattern in blue. The border is composed of a design of lanceolate leaves* pinks, and hyacinths, alternating with a design of lanceolate leaves, rosettes, pinks, and hyacinths. The color scheme is two tones of red, j’ellow, green, three tones of blue, brown, and white, on a yellow ground. The inner secondary border, which is narrower at the ends than at the sides, encloses both the panels. It has a white ground and is made up of a prominent unit of two rosettes and an unknown form in red, yellow, and blue, outlined in brown, and alternating with it is the same unknown form in red and blue, out- lined in yellow. The outer secondary border, which narrows at the ends, is made up of a motif resembling a four-petaled flower in red, yellow, and blue, outlined in yellow, with intermediate white spots, on a dark blue ground. The two outer red guard stripes are decor- ated with a chain pattern in white, and the two inner red guard stripes are decorated with a crisscross pattern in yellow, blue, brown, and white. The same red stripe forms an inner band surrounding both panels. Exhibited; Metropolitan Museum of Art, 1921; The Minneapolis Institute of Arts, 1922. 58ASIA MINOR GHIORDES PRAYER RUG OF THE SEVENTEENTH CENTURY. No. 52 $ ft. 10 in. by 3 ft. 11 in. 108-130 Gliiordes knots to the square inch. The field 1# compdstd of a niche, in the arch of which is an inscrip- tion of two lines in black and red and below it a floral dec®^jition in delicate tones of red, yellow, blue, and black. At each side is a column-like band made up of floral forma. Agro# the ba$e of the niche is a row of pinks pnd a $tnall tfcif form in yellow. The leaf form continues up both sides to the spandrel. The Spandrel is crowded with an indefinable pattern in yellow and blue on a black ground. Immediately above >3 a panel, unenclosed by any border, and composed of motifs often likened to arrowheads but perhaps in this •ase the contours of niches. They are outlined in white enclosing a formal design in yellow and blue. Between them is a convention- alized plant form in blue, black, and white. Above this panel is another yellow panel with brown cartouches decorated with Koranic characters in yellow, with traces of red. A narrow panel extends across the base of the niche. It is made up of two distinct forms: one, a palmette like form in red, yellow, aid white; and the other, a conventionalized plant form in two tones of yellow on a light blue ground. The main border has a dark blue ground, decorated with rosettes in two tones of yellow, blue, brown, and white, slightly vary- ing in design, surrounded by sprays of yellow and blue hyacinths and eight-petaled fl&Wirs. The secondary yellow border has a design of buff-colored four-petaled flowers originally outlined in yellow, now indistinct, interspersed with blue and red spots producing a wavy pattern. Another border of similar importance surrounds the rug. It is made up of two alternate flower forms in yellow on a light blue ground, one of which is outlined in brown. Completely surrounding the field is a narrow border composed of geometric forms of unknown origin in yellow, blue, and white, outlined in brown. There arc three guard stripes of a reciprocal triangular pattern in yellow, blue, and brown, separated by a white line. Both ends of the rug are some- what frayed. Exhibited: Metropolitan Museum of Art, 1921; The Minneapolit Institute of Arts, 1922. GHIORDES RUG OF THE SEVENTEENTH CENTURY. No. 53 8 ft. 7 in. by 5 ft. 9 in. 110-144 Ghiordes knots to the square inch. The field is composed of a double-pointed yellow grea outlined in white decorated with close rows of double S forms in blue, and also 59* Kulak prayer rug of the seventeenth century No. 34ASIA MINOR in red, outlined in white, which are enclosed in octagons in blue. Alternating are rows of circular blue flowers interspersed with red column-like forms outlined in white. Surrounding each blue flower is a blue linear pattern terminating in a branching tree form with a red centre. At one end of the double-pointed area black has been introduced, forming a narrow horizontal band across the field. Directly in the centre is a red lozenge, outlined in white, with a stylized bisymmetrical design of a palmette in two tones of red, yellow, three tones of blue, brown, and white. The four corners of the field are blue, with rows of pomegranate forms in red, outlined in white, with a single row alternating red and yellow. The centres of the pomegranate motifs are white, yellow, and blue, with dark out- lines. Between the pomegranate motifs are pinks and small indefinable flower forms in two tones of red, yellow, and browm. The panels, one at each end, have the blue flowers and columns which appeared in the field repeated in the Same color scheme. The main border has the design of palmettes, lanceolate leaves, pinks, and hyacinths, so often seen, interspersed with rosettes, lanceolate leaves, and hyacinths, in two tones of red, yellow, two tones of blue, brown, and white, on a yellow ground. At one end, however, the ground is dark brown. Two secondary borders flank the main border. The outer one has a dark blue ground and is decorated with a continuous pattern of conventionalized pinks in two tones of red, yellow, light blue, and white. The inner border, in a similar color scheme, has a lighter blue ground decorated with flower motifs which are probably pinks and lilies. Two prominent guard stripes with white grounds flank the outer secondary border. They have a vine-like motif in two tones of red* yellow, three tones of blue, and brown. The guard stripes of the inner secondary border have red grounds and are decorated with a running vine and leaf pattern in yellow, blue, and white, with the leaves outlined in brown. Surrounding the field is a guard stripe with a geometric pattern in two tones of red, yellow, two tones of blue, and white, outlined in brown. GHIORDES PRAYER RUG OF THE SEVENTEENTH CENTURY. No. 54 5 ft. 5 in. by 5 ft. 7 in. 182-195 Ghiordes knots to }the square inch. The field is composed of a light blue niche outlined in red and yellow wavy lines. At the sides and across the base a four-petaled flower form in light red, yellow, and white, outlined in brown, is projected into the blue field. There are detached column-like bands at the sides which have foliated terminals and are elaborately decorated with a continuous diamond motif in red and blue and in white outlines, on 61ASIA MINOR a yellow ground. The serrated edges are yellow, outlined in yellow, and are capped with small crosHike forms in white, with foliated terminals. Suspended from the arch is aLjimulated lamp form in red, yellow, green, blue, and white. The spandrel is composed of parallel rows of small tree forms in red, two tones of yellow, and two tones of blue, on a light green ground. Above the spandrel is a dark blue panel decorated with heavy S curves in red, two tones of yellow, and green, broken by colored medallions terminating in leaves. Below the niche is a similar panel, with a white ground and the same design in a slightly varying color scheme. The main border is made up of modified palmettes surrounded by the lily, pink, modified lanceolate leaves, and other small flower forms, forming rectangular areas of a delicately colored all-over pattern in two tones of red, two tones of yellow, two tones of blue, and brown on a white ground. A secondary outer border is made up of detached highly conventionalized flower forms in the same color scheme as the border, on a dark blue ground. An inner tertiary border is made up of lozenges separated by rows of small white squares and decor- ated with two triangles and an eight-pointed star in an octagon. The four guard stripes are decorated with small S motifs in red, yellow, and dark blue, on a creamy ground. A narrow inner stripe surrounds the field and is made up of an unknown geometric form in red, yellow, green, two tones of blue, and white. Exhibited: Metropolitan IMuseum of Art, IQ2I; The i\Iinneapolis Institute of Arts, IQ22. GHIORDES PRAYER RUG OF THE EIGHTEENTH CENTURY.1 No. 55 6 ft. 0I/2 1,1 ■ by 4 ft. 84 Ghiordes knots to the square inch. The field is composed of a central niche-like pattern made up of various motifs on a yellow ground. In the centre is a naturalistic tree-like form primarily of shaded lanceolate leaves. Below are two architec- tural motifs which appear to be the façades of buildings, connected by a triangular blue area. Above the trees are two detached con- ventionalized flower sprays. Enclosing these motifs is a blue band with serrated edges stepped at the top, thus forming the outline of the niche. On this blue band are cypress trees in two tones of red with brown and white centres. Above the niche are two plant forms terminating in two shaded lanceolate leaves in red, green, and blue. A wide pattern made up of a running vine motif in white with con- ventionalized leaves and stems in various colors takes the place of lThis is the type of rug known as Bedash Mohammedan. 62ASIA MINOR the main border, though not defined by guard stripes. An outer secondary border, defined as a border only by a change from yellow to blue in the color of the ground, has a main motif of two cypress trees, a lily, and two pinks in various combinations of red, yellow, brown, and white. BERGAMO RUG OF A SIXTEENTH CENTURY TYPE. No» 56 6 ft. I in. by 4 ft. 51/2 in. 81-116 Gliiordes knots to the square inch. The field is made up of a double-pointed area outlined in white decorated at each end with a vase holding a plant form. The central portion is made up of conventionalized flower, leaf, and stem motifs in red, two tones of yellow, green, blue, violet, and white, outlined in brown. The four corners have a violet ground and are made up of lanceolate leaves in yellow, green, and blue, and highly stylized flower forms in red and white with colored centres. The border is made up of a tile pattern with large white tile-like medallions decorated with modified palmettes and small conventionalized flowers in various combinations of red, two tones of yellow, green, blue, irolet, white, and brown, alternating with star tiles in a similar color scheme. The sesObndary borders, are made up of the reciprocal trefoil pattern in red and brown outlined in white. The prominent blue stripe is deoorated with linear S motifs in brown connected by star-shaped forms in- yarioi# combinations of red, yellow, green violet, and white.. A red guard stripe luns around the outer edge. It • decorated with a variant of the chain pattern. BERGAMO RUG OF THE SEVENTEENTH CENTORY. No. 57 6 ft. in. by 5 ft. /I/2 in. 64 Gliiordes knots to the square inch. The red field is composed of a central palmette with two larger palmettes at the ends surrounded by highly conventionalized yellow leaves outlined in brown with blue centre veins outlined in red. The color scheme of the palmettes is three tones of red, yellow, two tones of blue, white, and brown. At each- aide of the central palmette is a large conventionalized blue leaf with a yellow centre outlined in red. A continuous pattern of small conventionalized tree forms surrounds the entire outer edge of the field. Many smaller indefinable motifs are scattered over the field. The border is made up of convention- alized flower forms in three tones of red, two tones of blue, white, and brown on a yellow* ground. The two guard stripes are made up of a crisscross pattern in yellow, blue, white, and brown. 63 mmm .•Coe c>*g ¡KxTT- foù' S iVviV,' j l • 2; H Hi •<2>»**«s». yrg>M** g n;^:-' >. *5*1 ^tsf.::ffisiSI <^^S. <**»<£* $ 'Si g! j #p& is* llgsji l.w fej§SSH: Wl '' ^ rco&J «§7$ I'^'J I fllipii | R MR SUfi g |i|ra bRIISI ~ »•*■■■ ■" ¿ji 3€T f 2% i H' «ap i 5; ■ ./*V3 r/ T»t *14 | h»-$n & RHH'-JbiEul 2V< Ghiordes prayer rug of the seventeenth centuryASIA MINOR At the right and left are trees in vase forms in red, two tones of neutral green, and white, also embellished with gold thread. Single floral motifSof blue and gold are projected from the sides of the niche, and along the base is a row of miniature towers in blue and white. The spandrel is mada up of four variants of the tree form on a gold ground: one in blue with a zigzag central trunk, another in red simulating the cypress tree in a vase, and the other two in red, blue, and yellow, which, though highly stylized, are reminiscent of the form. The border at the sides is composed of a modified double tree form which is repeated at the ends and interspersed with an elongated and highly conventionalized tree motif. The color scheme of the border is two tones of red, blur*, gray-green, buff, and white, on a yellow ground. The inner border is made up of medallions in two tones of red, yellow, gray-green, blue, and white with geometric centres, interspersed witli a geometric form in red, yellow, gray-gTeen, blue, and white, with white spots, on a buff ground. The geometric form has been omitted at the ends. The outer border is composed of a running vine and leaf pattern in red, yellow, and white on a buff ground. There are no guard stripes at the ends. There are six guard stripes at the sides, two made up of a dovetail pattern similar to the first, with a trefoil pattern in red, blue, and gray-green pro- jecting from the side. Exhibited: Metropolitan Museum of Art, IQ2I; The Minneapolis Institute of Arts, IQ22. KHILIM OF THE EIGHTEENTH CENTURY. I N o. 64 4 ft. in. by 3 ft. 6 in. 15 warp threads to the inch. The field is? composed of three pointed arches and four half pillars, the bases of which terminate in tree forms. The niches are creamy wrhite and in each is a large tree form in, green, blue, and gold, occupying the entire central portion. The spandrel is divided at the point of the central ardii by a tree form in gold and white, and is further divided at the points of the two side arches by an ogee pattern enclosing a white geometric area with a gold centre. The divisions made by these two motifs are filled with an indefinable geometric pattern in ^gold and white, which, because of the worn condition of the gold, produces a curious all-over spotted effect. The main border, which has a yellow ground, is also made up of a single tree pattern in red, blue, and white. The inner border is made up of a running vine in warm gray “with conventionalized leaves iand flowers in red, yellow, blue, brown, and white, on a yellow ground. The outer border has the same motif and color scheme on a dark 7iGhiordes prayer rug of the seventeenth centuryASIA MINOR blue ground. The guard stripes, which are made up of simple geometric forms in red, white, black, and gold, become mere lines at the ends,. Exhibited: The Metropolitan Museum of Art, 1921; The M in- neapolis Institute of Arts, 1922. KHILIM OF THE EIGHTEENTH CENTURY. 5 ft. 9 in. by 3 ft- & ln- J5 u>arp threads to tli No. 65 e inch. The field is composed of a pointed green niche outlined in red, black, and white with a corbeled arch. In the arch is a conventionalized tree form in yellow and gold surrounded by small forms resembling the letter H, in yellow and gold. The spandrel has a solid red ground and ¡6 decorated with two cypress trees in green, yellow, gold, and white, conventionalized flowers and other indefinable forms in two tones of yellow, green, blue, black, white, and gold. The border is composed of a conventionalized lily motif alternating with what is called a double tree form, interspersed with small geometric forms. The color scheme is two tones of red, yellow, green, three tones of blue, brown, black, and white, on a yellow ground. The inner secondary border is made up of a highly conventionalized flower motif in two tones of red, yellow, green, two tones of blue, brown, and white, on a dark blue ground. The outer secondary border is made up of a circular flower motif in red, yellow, and white, and an indefinable forked motif in white touches of red and yellow, on a dark blue ground. The guard stripes, which become mere lines at the ends of the rug, are made up of a reciprocal pattern, simple in form, in red, brown, and white. There is a knotted fringe at each end. ASIA MINOR RUG OF THE SIXTEENTH CENTURY. No. 66 5 ft- 2Y2 111 by 3 ft- AY2 ln- 130-140 Ghiordes knots to the square inch. In the centre of the buff-colored field is a circular motif of a Koramic inscription in gray-white on a black ground, which has been translated as follows: “Say He is God alone, God the Eternal! He begets not and is not begotten! Nor is there like unto Him anyone!” Surround- ing this is an inscription in black on a grey-white ground which reads: “Whosoever prays upon this carpet, may his prayer be accepted and (may God) make him attain his desire (?) and from Heaven may his sane be wiped out.” At the ends of the field the decoration forms the outlines of two arches, joined by a blue line which cuts through 73MISCELLANEOUS the buff field. In the centre of one of the arches is a decoration in grey-white on a black ground resembling a banner on a staff. The design above the arches is made up of arabesques in yellow, green, and blue, on a black ground. The border is decorated with six panels, five of which contain Cufic characters in grey-white on a dark brown ground. These characters have been translated to read as follows: “God! There is no God but He, the Living, the Self-Subsistent; slumber takes Him not, nor^leep. His is what is in the heavens, and what is in the earth. Who is it that intercedes with Him save with His permission? He knows what is before them and what is behind them, and they comprehend not aught of His knowledge but what He pleases. His throne extends over the heavens and the earth and it tries Him not to guard them both, for He is high and grand.’’ One of the panels, at the lower end of the rug, contains merely a decorative scheme which simulates the Cufic characters of the other panels. Scattered over the border area are flower sprays in red, yellow, green, blue, and white. The outer border, though identical in pattern and color scheme, has a red ground, and is made up of two wavy lines in green, probably the so-called “tiger stripes,” and of three circular spots of yellow, blue, and green. The blue weft threads are extended at each end and the warp forms a short fringe. Illustrated: Catalogue Loan Exhibition Oriental Rug Collection James F. Ballard, Metropolitan Museum of Art, 1921. Exhibited: The Minneapolis Institute of Arts, 192%. DAMASCENE RUG OF THE SIXTEENTH CENTURY. No. 67 5 ft. 8 in. by 4 ft. 3 in. 99-120 Senna knots to the square inch. The field has a central medallion outlined in yellow with a rosette in the centre surrounded by eight palmettes, with connecting stems and leaves which form an eight-pointed star. The color scheme of the medallion is red, tw® tones of yellow, two tones of blue, and white, on a green ground. In each of the four corners of the field is a quadrant of thi central medallion with a similar color scheme and design, on a blue ground. The rest of the field is composed of lanceolate leaves, palmettes, and rosettes with the same color sdheme, on a red ground. The border, which has the same color scheme, is decorated with lanceolate leave®-and palmettes. The inner guard stripe is made up of connected geometric forms in green, with red centres, interspersed with yellow flower-like forms, with red and white centres. The outer guard stripe is similar, but the geometric 75No. 6 Bergamo prayer rug of the seventeenth centuryMISCELLANEOUS forms are in yellow with alternating red and blue centres, and the flower form it in green with red and white centres. Exhibited: Metropolitan Museum of Art, 1921; The Minneapolis Institute of Arts, 1922. DAMASCENE RUG OF THE SIXTEENTH CENTURY. No. 68 6 ft. 3I/2 in. by 4 ft. in. 121-182 Senna knots to the square inch. The field is composed of a small central medallion in red, two tones of yellow, green, and blue, surrounded by eight palmettes in two tones of yellow, green, and light blue with connecting white stems which form an eight-pointed star on a rose red ground. In each of the four corners is a quadrant of the central medallion in the same color scheme. The rest of the field is made up of lanceolate leaves, palmettes, rosettes, pinks, and small flower forms. The main border is similar. The two secondary borders have a decoration of rosettes in red, two tones of yellow, blue, and white. The four guard stripes have a reciprocal pattern in red, and light blue. Exhibited: Metropolitan Museum of Art, 1921; The Minneapolis Institute of Arts, 1922. DAMASCENE RUG OF THE SIXTEENTH CENTURY. No. 69 13 ft. 8 in. by 8 ft. 4 in. 306-340 Senna knots to the square inch. In the centre of the red field are two concentric circular medallions with scalloped yellow edges. The inner one has a composite star- shaped form, with yellow predominating but with touches of red, green, and two tones of blue, on a red ground. Surrounding it are arabesques in blue. The outer one has roses, pinks, lilies, and two other flower forms in red, yellow, and light blue, outlined in red on a green ground, radiating from the centre. So-called “tiger stripes” in red and blue are interlaced among the flower stems. At the four corners are quadrants of the central medallion, with the same motifs but a slightly different color scheme and a prominent dark blue ground in the outer circle. The rest of the field is covered with interlaced palmettes, prominent dark blue four-pointed star forms, and natural- istic flower scrolls in red, yellow, and two tones of green. The red border has a medallion made up of a bouquet of naturalistic flowers, including the lily, rose, hyacinth, and pink, in red, yellow, green, and light blue, on a dark green ground. Connecting these medallions are leaf and flower sprays in yellow, two tones of green, and blue lined 77MISCELLANEOUS with red, and an interlaced double cloud band in blue. Two secondary borders of equal importance flank the main border. They are composed of a leaf and flower scroll in red, yellow, and light blue, on a light green ground. The four guard stripes have a reciprocal domelike pattern in red and blue outlined in yellow. Solid yellow lines flank the guard stripes. Illustrated: Catalogue Loan Exhibition Oriental Rug Collection James F. Ballard, Metropolitan Museum of Art, 1921. Exhibited: The Cleveland Museum of Art, 1920; The Minneapolis Institute of Arts, IQ22. DAMASCENE RUG OF THE SIXTEENTH CENTURY. No. 70 11 ft. 4 A in- h 9 ft. 4lA in. 180-238 Senna knots to the square inch. Upon the rose red field are long and short lanceolate leaves, in either yellow and blue, or yellow and green, producing a shaded effect. Palmettes, rosettes, and long sprays of circular white flowers are also a part of the pattern. The centre has been cut so that it is difficult to tell what the Completed pattern was, but it may be assumed that there was a circular medallion in the centre because of the blue quadrants in the corners of the field. The blue quadrants are out- lined in white, the central portions are red, green, and white, and the outer portions are decorated with naturalistic flower patterns^ includ- ing the rose, the lily, and the pink, in red, yellow, and green. Inter- cepting the stems of these flowers are so-called “tiger stripes” in red and white. The border is made up of palmette medallions, a palmette enclosed in a cloud band, and various floral forms. The border has the same color scheme as the quadrants except that the green is brought out more prominently with light and dark tones. The inner and outer borders, which have the same color scheme as the field are decorated with a running yellow stem, a lanceolate leaf, and two conventionalized flower forms. The guard stripes, outlined in white, have a continuous pattern of three yellow spots, outlined in red^ 'interspersed with a modified scroll in red, outlined in white, on a green ground. Illustrated: Catalogue Loan Exhibition Oriental Rug Collection James F. Ballard, Metropolitan Museum of Art, 1921. Exhibited: The Cleveland Museum of Art, 1920; The Minneapolis Institute of Arts, 1922. 79MMBBM ■Tk «jgS&tf^; *** .*—*> Damascene rug of the sixteenth century No.MISCELLANEOUS DAMASCENE CARPET OF THE SIXTEENTH CENTURY. No. 71 17 ft. 1% in. by 9 ft. 7% in. 80 Senna knots to the square inch. The gray-orange field is decorated with a large central medallion with a gray-green ground upon which are naturalistic flowers, including pinks, rotes, and lilies, radiating from the centre. In the centre, in colors so delicate that the pattern is not prominent, is a many-pointed star form in gray-orange, yellow, light green, two tones of blue, and white. The four quadrants in the corners of the field repeat the flower motifs and color,scheme of the central medallion, except that the ground is dark blue. Completely covering the remainder of the field are palmettes, rosettes, .and detached conventionalized flower forms and leaves, with the same color scheme differently applied. The main motif of the border is a medallion, outlined in white, en- closing arabesques in yellow, on a green ground. Intermediately are pomegranate forms surrounded by the hyacinth, lily, rose, and pink, repeating the color scheme of the field. The inner and the outer borders are identical, with a yellow ground supporting rosettes, one in blue, outlined in red, with a yellow star-like centre, alternating with another in yellow, outlined in white, with a blue star-like centre. The inner guard stripe is made up of a reciprocal trefoil pattern in dark blue and red, outlined in yellow. The three remaining guard stripes have a pattern similar to the inner one, in light blue and red. Illustrated: Catalogue Loan Exhibition Oriental Rug Collection James F. Ballard, Metropolitan Museum of Art, 1921. Exhibited: The Cleveland Museum of Art, 1920; The Minneapolis Institute of Arts, 1922. PRAYER RUG OF THE SIXTEENTH CENTURY.1 ., No. 72 5 ft. 6'/\ in. by 4 ft. 2$ in. 270-3J6 Ghiordes knots to the square inch. The field is composed of three arches supported by six pillars decor- ated with interlaced white bands and foliated capitals and hexagonal bases which seem to be the tops of mosques, From the central arch, which k »olid green flanked on each side by an arch of solid red, a mosque lamp is suspended. At the base of each arch are lilies, pinks, and other flowers of naturalistic form, in red, yellow, light blue, and 'A colored detail of the border is shown upon the cover of the catalogue. This particular detail was selected because it represents a motif which recurs constantly in Near Eastern rugs, in either natural- istic or highly stylized form. 81Damascene rug of the sixteenth century No. 71MISCELLANEOUS white. The spandrel is decorated with arabesques in green and con- ventionalized flower motifs in red, yellow, and light blue, on a white ground. The panel above the spandrel has in the centre four mosque domes in red, yellow, green, blue, and white, and a row of minaret ter- minals in white outlined in red, interspersed with indistinct cypress trees in yellow and green. The border is made up of alternating palmette and rosettes surrounded by lanceolate leaves, lilies, pinks, hyacinths, and other small flowers in red, two tones of yellow, green, blue and white, on a light blue ground. The secondary borders are composed of rosettes in red, yellow, blue, and white, interspersed with a double T motif in white on a green ground. The three guard stripes outlined in white have a running chain pattern in white on a red ground. FRAGMENT OF A RUG OF THE SIXTEENTH CENTURY. No. 73 6 ft. 3 in. by 9 ft. i^/% in. 100-144 Senna knots to the square inch. The entire field is composed of seven concentric octagonal forms with a single small octagon in each of the four corners. These octagonal areas are filled with geometric and plant forms and arabesques. The color scheme is red, two tones of yellow, green, two tones of blue, and white. At each side is a panel broken in the centre by a rectangle en- closing two yellow cypress trees and a highly conventionalized tree form in yellow and blue, on a red ground. The rest of the panel is made up of a regular pattern of conventionalized flowers and leaves in yellow, green, and blue, on a red ground. The border is com- posed of oval medallions with red arabesques on a blue ground, and circular medallions with star-like floral forms in yellow, green, and blue, on a red ground. Between these forms are conventionalized leaf and flower motifs in red and yellow, on a green ground. There are secondary red borders made up of a running vine and tendril pattern in green. The blue guard stripes which surround the field and the outer border are made up of a running stem, leaf, and flower pattern. Inasmuch as one full repeat is represented by the present fragment, and the width is greater than the length, it is obvious that the rug had at least one more repeat to complete its full length. Exhibited: Metropolitan Museum of Art, iQ2i; The Minneapolis Institute of Arts, 1922. 83Prayer rug of the, sixteenth century No.MISCELLANEOUS “FIRE” RUG OF THE EIGHTEENTH CENTURY „ No. 74 7 ft. in. by 5 ft. 5?1* !»• 18 Ghiordes knots to the square inch. The rug is composed of concentric bands of solid color beginning with blue on the outer edge and continuing toward the centre in brown, yellow, dark blue, red, green, and terracotta. The centre panel is dark blue, in which are tied especially long red and yellow knots witli tapering ends, curiously resembling flame. Above and below these knots are two yellow squares, with cross forms in blue and red and green. There are wide woven ends in two tones of blue, two tones of brown, gray, and white, with a heavy selvedge on the sides. 85BIBLIOGRAPHY Books starred are in the Ryerson Library of The Art Institute of Chicago, and apply particularly to the types of rugs repre- sented in the Exhibition. ^Berlin. Königliche Museen. Kunstgewerbe Museum. Orientalische teppiche; text von Julius Lessing. Berlin 1891. Birdwood, Sir George Christopher Molesworth The antiquity of Oriental carpets. 30pp. (In London: Royal Society of Arts’ Journal, v. 56, 1041, 1064) 1908. Birdwood, Sir George Christopher Molesworth The termless antiquity of integral identity of the Oriental manu- facture of sumptuary carpets. Vienna. 1892. Bode, Wilhelm von Altpersische knüpf teppiche. Berlin 1904. Bode, Wilhelm von Ein altpersische teppich im besitz der königlichen museen zu Berlin. 54 pp. (In Prussa: Königlich Preussiche kunstsamm- lungen. Jahrbuch, v. 13, 26, 108) 1892. *Bode, Wilhelm von Vorderasiatische knüpteppiche aus älterer Zeit. Leipzig. 1907. Brussels. Musées Royaux des arts décoratifs Catalogue d'étoffes, anciennes et modernes, décrites par Madame Isabelle Errera. Ed. 2. Brussels. 1907. *Cleveland, Museum of Art Oriental rug exhibition. Supplement to the Bulletin, Jan. 1920. *Clifford, Chandler Robbins Rugs of the Orient. N. Y. 1911. Clifford, C. R. and Lawton The rug primer. N. Y. n. d. ^Cole, Alan S. Textile ornamentation. (Cantor lectures) London. 1910. *Eastern Carpets Twelve early examples. With description notices by Vincent J. Robinson and a preface by Sir George Birdwood. Printed in colours by William Griggs after water-colour drawings by E. Julia Robinson. London. 1882. Series 2. London. 1893. *Ellwanger, William de Lancy The Oriental rug. New York. 1903. 86BIBLIOGRAPHY * Fritz, Georg Der altorientalische teppich und seine reproduction. Vienna. 1893. Griffitt, J. R. G. Turkey: Carpets and their manufacture. London, n. d. *Grote-Hasenbalg, Werner Der Orientteppich, seine geschickte und seine kultur. Berlin. 1922. Gurdji, V. Oriental rug weaving. N. Y. n. d. * Hawley, Walter Augustus Prayer rugs of the Orient. (In Country Life in America, v. 24. p. 45, Oct. 1913) *Hawley, Walter Augustus Oriental rugs, antique and modern. N. Y. 1913. *Herringham, Christiana J. Notes on Oriental Carpets (In Burlington Magazine, v. 14, pp. 28-30, 84-94, 147-158, 218-230, 292-300, Oct. 1908— Feb. 1909) *Holt, Rosa Belle Rugs, Oriental and Occidental, antique and modern. N. Y. 1908. Hopf, Carl Die altpersischen teppiche. Eine Studie über ihre schönheits- werke. München. 1913. *Humphries, Sydney Oriental carpets, runners and rugs and some Jacquard repro- ductions. London. 1910. Hunter, George Leland The rug primer. N. Y. 1907. Jaekel, Otto Zur Urgeschichte der orientalischen teppiche. 6 pp. 9 illus. (In Orientalisches archiv II, 167). 1911-1912. Kuderna, Josef Turkmenenteppiche 6 pp. 8 illus. (In Orientalisches, archiv II, 11). 1911-1912. *Langton, Mary Beach How to know Oriental rugs. N. Y. 1904. 87BIBLIOGRAPHY *Lessing, Julius Alt-Orientalische teppichmuster nach bildern und originalen des XV-XVI Jahrhunderts. Herausgegeben mit Unterstützung des König. Preussichen ministeriums fuV handel, gewerbe und öffentliche arbeiten. Berlin 1877. Ancient Oriental carpets. Eng. Ed. London. 1879* *Lewis, George Griffin Practical book of Oriental rugs. Philadelphia. 1911. Martin, F. R. History of Oriental carpets before 1S0O. London. 1908. Mej rer- Riefstahl, R. Oriental carpets in American collections (In Art in America v. 4, p. 147, April 1916). Migeon, Gaston Exposition des arts musulmans au Musée des arts décoratifs. Paris. 1903. *Mumford, John Kimberly Oriental rugs. Ed. 1. London. 1893. Mumford, John Kimberly Oriental rugs. Ed. 3. N. Y. 1915- *Neugebauer, Rudolf and Orendi, Julius Handbuch der Orientalischen teppichkunde, mit einer einfiihrung von Richard Graul. Leipzig. 1909. N. Y., M etropolitan M useum of Art Catalogue of a loan exhibit of early Oriental rugs at the AI etropolitan Museum. Complied by W. R. Valentiner. N. Y. 1910. *N. Y, Metropolitan Museum of Art Loan exhibition of Oriental rugs from the collection of James F. Ballard of St. Louis, Mo., October 8 to December 31, 1921. N. Y. 1921. * Norton, Edith Eliza Ames Rugs in their native land. N. Y. 1910. Presbrey, Frank To the Orient in search of rugs. London, n. d. *Prisse d’Avennes, Achille C. T. E. L’Art arabe d’après les monuments du Kaire depuis le Vile siècle jusqu à la fin du XVille, v. 3, pl. 150, 153. *Pushman, G. T. Art panels from the hand looms of the Orient. Chicago. 1911. 88BIBLIOGRAPHY Riegl, Alois Altere orientalische teppiche aus dem besitze des.. . kaiserhauses. 65 pp. (In Vienna. Sammlungen des Kaiserhauses. Jahrbuch 13,267). 1892. Altorientalische teppiche. Leipzig. 1891. Ein orientalischer teppich von jahre 1202 n. Chr. und die ältesten orientalischen teppiche. 34 pp. Berlin. 1895. *Ripley, Mary Churchill Oriental rug book. IN. Y. 1904. Ropers, Heinrich Auskunftsbuch über morgenlandische teppiche. Hamburg. 1913. San Francisco, Museum of Art Catalogue. Mrs. Phoebe A. Hearet loan collection. Edited by J. Nilsen Laurvilc. . . . in collaboration with Arthur Upham Pope, R. Meyer-Riefstahl, Phyllis Ackerman. San Francisco. 1917. Sarre, Friedrich Mittelalterliche knüpf teppiche kleinasiatischer und spanischer herkunft. 23 pp. (In Viennt K. K. Oesterr. Museum für kunst und industrie. Kunst und Kunsthandwerk. 503). 1907. *Sarre, Friedrich and Martin, F. R. Die ausstellung von meistefWerken muhammedanischer kunst in München. 1910. München. 1912. Simakoff, N. L’Art de Y Asie centrale: recueil de l’art décoratif de L’Asie centrale. St. Petersbourg. 1883. Stebbing, Edward The Holy carpet of the mosque at Ardebil. London. 1893. •Stoll, Christian Anciens tapis, étoffes et broderies documents de l'art oriental, Berlin, 1907. •Strzygowski, Joseph Oriental carpets. (In Burlington Magazine, v. 14, p. 25-28.) Oct. 1908. *Tiffany Studios, New York The Tiffany Studios collection of notable antique oriental rugs. New York. 1906. •Victoria and Albert Museum Guide to the collection of carpets. London. 1915. Guides. Loan exhibition of tapestries, carpets, and silk fabrics, from the Mobilier National Paris, July to October, 1912. London, 1912. July to November, 1912. London, 1912. July to November, 1912. London, 1913. 89BIBLIOGRAPHY *Vienna, Austrian Commercial Museum Oriental carpets. Vienna. 1892-1896. Vienna, K. K. Oesterreichisches. Handels-museum. Katalog der ausstellung orientalischer teppishe im. .. .Museum. 1891. (Pref. by A. von Scala) Vienna. 1891. *Vienna, K. K. Oesterreichisches museum für kunst und industrie. Ancient Oriental carpets... ; being a supplement to the Oriental carpets, pub. 1892 to 1896 by the Imperial Royal Austrian Com- mercial Museum, Vienna. With a preface by the editor, A. von Scala, introduction by Wilhelm Bode, text by Friedrich Sarre. Leipzig. 1908. Waring and Gillow, Ltd. The carpet book. London. 1914. Winters, Lawrence. Rugs and carpets from the Orient. N. Y. n. d. *Yerkes, Charles Tyson The Yerkes collection of Oriental carpets. Text by John Kimberly Mumford. London. 1910. K R R A T A age 11, line one: for “Persian” read "Indian.” ^age 12: for “Persian” read “Indian.” “age 22, line seventeen: for “doubtedly” read “undoubtedly.” *>age 27, fifteenth line from bottom: for “of the entablatures” read “to the entablatures.” “age 30, footnote, first line: for “Werner Grote. Hasenbalg” read “V enter Grote-Hasenbalg.” “age 30, footnote, last two lines: read “It would seem, therefore, that the rug ¡s 100 t ears later than the date given above, which is the generally accepted one.” ^aKe 31, nineteenth line from bottom: for “Karfaroff” read “Kafa roff.” a£e 57. second line from bottom: for “desccrnible” read “discernible.” ■^age 73, seventeenth line from bottom: for “motif in w*hite” read “motif in white with. age 73, ninth line from bottom: for “Korumic read KoranicNOTES  r I I   '  1 t % & ■RETURN CIRCULATION DEPARTMENT TO—» 202 Main Library__________ LOAN PERIOD 1 HOME USE 2 3 4 5 6 ALL BOOKS MAY BE RECALLED AFTER 7 DAYS 1 -month loans may be renewed by calling 642-3405 6 month loans may be recharged by bringing books to Circulation Desk Renewals and recharges may be made 4 days prior to due date DUE AS STAMPED BELOW im o ~ ¿1 H ]ufr 1 L? 1 \J \J ! 08 fv-'lr' 3 AUTO. DISC. NOV 2 4 19^ 0EC2 8 1988 AUTO DiSC.OFC 1 S 'RR —BEtyTZOUT ------* UNIVERSITY OF CALIFORNIA, BERKELEY FORM NO. DD6, 60m, 12/80 BERKELEY, CA 94720 ■ IjU 21A-60m W'tiJ'IR- (P7763sl0)476B APR 6 OOUral Library University of California BerkeleyGENERAL LIBRARY - Ü.C. BERKELEY BOOOBbDlll B000860111