Galley (a border design).—Originated among the people who inhabit the section of country between the shores of the Mediterranean, Black and Caspian Seas.

Georgian Border Design.—Generally found in Caucasian fabrics, especially the Daghestan and Shemakha, occasionally in the Saruk. There are several forms of this design, the two most common ones being herewith illustrated. (See color plate at p. 84 and doubletone at p. 266.)

Ghiordes Border Stripe.—Several forms, the two most commonly used are herewith illustrated, one being two rosettes one above the other, each joined by a long, narrow stem to a leaf form on the right, while the other has but half of a rosette, which is similarly joined to a leaf form below. (See color plate at p. 84 and doubletone at p. 266.)

Gourd.—Chinese, receptacle of mysteries; Indian, when shaped like a bowl it represents the drinking vessel of a Sanyasi or recluse.

Greek Cross, see Cross, Greek.

Greek Fret (border design), see Chinese fret.

Greek Key, see Chinese fret.

Guli Henna (see field design of illustration at p. 202).—Consists of the small yellow henna flowers arranged in rows with floral forms connecting them similarly in arrangements to the Herati design. It is common in Persian rugs, especially old Feraghans.

Hand, see Coat of Arms, Turkish; also Pear.

Hare.—Chinese, in connection with the moon.

Henna Flower, see Guli Henna.

Herati.—Also known as the fish, twin fish and Feraghan designs. Better known as the Herati. It originated in the old city of Herat. It consists of a rosette between two lancet-shaped leaves which very much resemble fish. On account of this resemblance it is often called the fish pattern. It has been utilized with many modifications in half of the rug-making sections of the Orient. It may be found in its original form in many of the Persian fabrics, especially the Herat, the Feraghan, the Khorasan, and the Senna. When in the body of the rug it is generally arranged as a diaper, covering all or a considerable portion of it. Sometimes it appears in combination with square or diamond-shaped figures. The Herati border is found in a great many of the Persian and in some of the Caucasian fabrics. (See color plate at p. 22, and doubletones at pp. 114, 190 and 312.)

Hexagon.—Found in rugs of most every class, but more especially in those of the Caucasus. It apparently has no special symbolic significance.

Hog.—In China the hog is symbolic of depravity and imbecility.

Hom, see Anthemion.

Hook, Angular, see Angular hook.

Hook, Latch, see Angular hook.

Horse Shoe.—Emblem of good luck. Frequently used in combination with cloud forms.

Hound.—Chinese, fidelity or loyalty.

Hour-Glass.—Formed by the joining of two triangles at their apices; is symbolic of fire and water.

Indian Fish Bone, see Fish bone.

Jewel, see Pear.

Jug.—In India the jug with the bust of a woman on the top represents the sacred water of the Ganges.

Key, Greek, see Chinese fret.

Knop And Flower.—A closed bud alternating with a rosette or a palmette. It is supposed to have had its origin in the Egyptian lotus. It is used chiefly in border designs.

Knot.—A Buddhist symbol.

Knot Of Destiny.—Dates back to Solomon's time. It is one of the Chinese Buddhist ornaments and is therefore quite commonly found in the Samarkand, Yarkand, Kashgar, and the various Chinese products. Also used more or less throughout the Caucasus and especially in the Shemakha; in fact, it is present somewhere in most rugs of the latter class, as a talismanic design. In some of the Persian fabrics it partakes of a floral character.

Konieh Field, see Rhodian.

Koran is a sacred design and few rugs with it ever leave Persia.

Kulah Border Design.—Claimed by some to have originally been intended to represent an alligator. There are exceedingly few Kulah rugs that do not show it and seldom is it seen in any other class of fabrics. (See doubletone at p. 240.)

Lamp.—Crude figures of lamps, like miniature tea-pots, often hang from the prayer niche of the Turkish prayer rugs, especially those of the Konieh, Ghiordes, and Ladik varieties. They are usually of a floral design and are generally accompanied by a column on either side which is intended to represent the two huge altar candles of the mosque.

Latch Hook, see Angular Hook.

Lattice.—Also known as trellis, diaper, and network. These names are applied to any design which is repeated in such a way as to form a lattice arrangement. It is more or less common in all classes of rugs, especially the Persians. A peculiar compact lattice pattern known as the "mirror design" is frequently found in the Hamadans. (See doubletone at p. 258.)

Leaf, see Pear.

Leopard.—The Chinese symbol for ferocity.

Lily, see Rhodian.

Link.—Link in Lozenge or Spiral is a combination of two triangles with one side of each parallel with the other and sometimes joined by a diagonal line. It is found in the borders of Asia Minor rugs, also in the field of many Nomad productions. Especially common in the Kurdistans and Shirvans.

Lion.—Chinese, strength, power, authority; Indian, a lion's figure on the arms of a chair indicates that it is a throne. A throne is called "Sivasan," which means a lion seat. A lion is also one of the chargers of the goddess Durga.

Loop, see Pear.

Lotus.—Very much resembles our pond lily with the exception that the color is of a brilliant purple on the border petals with a heart of deep orange and the stem stands high out of the water. It is commonly found on the banks of the Nile and is the first flower to spring up after the overflowing waters of that river have subsided. For this reason and because it preserves its chaste beauty while growing from such impure surroundings it has always figured among the Egyptians as an emblem of immortality and purity. With the Chinese it is symbolic of many descendants and in India it is especially sacred to the Buddhists and is the national flower of that country. In ornament the lotus is handled by many different nations, being used in both circular and profile forms, figuring as flowers, wheels, medallions, etc.

Magpie.—The Chinese harbinger of good luck.

Meander, Greek (a border design).—Also known as the zigzag, the wave crest, or the water motif. It consists of a series of diagonal lines at regular intervals representing waves or running water. Found in nearly all classes, especially the Caucasian.

Medallion.—A Mongolian element which no doubt originated from the lotus. Found in most Chinese and many Persian rugs, especially the Gorevans, Serapi, Hamadans, Kirmans, Shiraz, and Khorasans. A modification known as the "pole medallion," in which the ends of the design project out like a pole, is especially common to the rugs of Hamadan and Shiraz. In the Chinese rugs the medallion is usually of the form known as the Circle of Happiness. (See doubletones at pp. 180, 188, 192, and 222; also color plates at pp. 52 and 166.)

Mina Khani (see field design of plates at pp. 214 and 296).—Named after Mina Khan, one of the ancient rulers in Western Persia. It is a combination of red, yellow, and parti-colored red and blue florals joined by rhomboidal vines of olive green in such a manner as to form a lattice arrangement. It is distinctly a Kurdish design, although it is found frequently in the Persian fabrics, especially in those from the province of Khorasan.

Mir (a border design).—So called after the village where it is said to have originated. It consists of small rectilinear flowers connected by an undulating vine and is an almost universal design of the Sarabands. Seldom seen in other fabrics. (See doubletone at p. 198.)

Mirror Design, see Trellis.

Monkey.—Symbolic in China of high official rank.

Mosque Design.—Found in many prayer rugs. It consists of a column on each side of the prayer niche and a floral lamp hanging from the niche, usually in a field of solid color such as dark red or blue.

Mountains are represented with from one to five peaks. Of Mongolian origin, although they are occasionally found in some of the Caucasian, Turkestan, and Persian fabrics. The ancient Mongolians believed that the souls of the righteous mounted to heaven from the mountain tops and for this reason they are revered.

Network, see Lattice.

Niche or Mihrab (see plate at p. 322).—The name applied to the pointed design at one end of a prayer rug. It is supposed to imitate the form of the Mihrab in the temple at Mecca. When a prayer rug is used the niche is invariably pointed towards the holy city of Mecca.

Octagon.—Represents the eight directions of location and is found in Turkoman, Chinese, and Caucasian products. It is characteristic of the Turkestan rugs. (See doubletones at pp. 162, 264 and 278; also frontispiece.)

Owl.—Chinese, a bird of ill-omen. In Eastern India the owl is considered auspicious because it is the charger of Laxni, the Goddess of Wealth, but in Western India it is considered an ominous bird.

Ox.—Chinese, friend of man, agriculture; Indian, the charger of Shiva. The sacred nature of the humped bull in India is well known.

Palace or Sunburst.—Known by the latter name inasmuch as its shape suggests the radii around the sun. A very common design in Kazaks and Shirvans, especially the antiques. Never found in any but the Caucasian products. (See doubletone at p. 272.)

Palmette.—A little cup-shaped object with fan-shaped leaves around it. Believed by some to have had its derivation from the human hand with all the digits extended; by others it is believed to have been derived from the palm growth.

Panel.—Supposed to have been intended to represent mosque windows. They usually vary in number from one to three and are found in the Shiraz more than in any other class. (See doubletone at p. 246.)

Parrot.—In India this bird is symbolized as a messenger of love.

Peacock.—Chinese, beauty; Indian, it is always auspicious because it is the royal bird. Its feathers supply material for the morchel brushes held by pages on each side of a Maharajah or king.

Pear.—Also known as the cone, the palm leaf, the river loop, the crown jewel, the seal, the almond, the feather, the bouquet, and the flame. There is a vast difference of opinion as to the origin and meaning of this motif. Some authorities claim it was intended for the fir cone, which served as an emblem of immortality and was revered by the ancients; some say it was intended for the palm leaf, which has been handed down by the Greeks as a symbol of victory; others say it was intended to represent a loop which the river Indus makes on a vast plain in upper Cashmere as seen from the Mosque. By some it is said to represent the crown jewels or chief ornament in the old Iranian crown, which is a composite jewel of pear shape. A great many believe it to represent an ancient seal which was made by the closed hand after dipping it in human blood. Tradition tells us that the signing of documents in such a manner was a custom well known in the East. This design has also been called the almond, the feather, the bouquet, and the flame on account of its fancied resemblance to these objects. We have selected the name "pear" because the image it conveys is more clearly recognized by the western mind. It is that which its shape most suggests. The Pear design is common in many kinds of rugs, especially in those of Persia and Kurdistan, but it varies greatly in varieties of form and size. The large size is usually employed in the Caucasus and Southern Persia, while the small size is used more frequently in Central and Western Persia. In the Saraband, Shiraz, Herat, Khorasan, and Senna, it frequently covers the whole field. In the two former alternate rows usually have the stems of the pears turned in opposite directions, while in the three latter the stems are usually turned in the same direction. (See doubletones at pp. 198, 204, 208 and 262; also color plate at p. 292.)

Pearl or Chin.—A Mongolian design. Frequently found in Chinese, Tibetan, and Turkoman rugs. It stands for purity and is generally associated with the dragon, which is supposed to be guarding it from the grasp of the demons.

Peony.—Symbol in China of wealth and official position.

Persian Coat of Arms, see Coat of Arms, Persian.

Phoenix.—Chinese, prosperity, a bride. (See doubletone at p. 332.)

Pineapple has furnished many designs. It is even claimed by some authorities that the palmette of the famous Shah Abbas design was originally suggested by the pineapple.

Pine Tree, see Tree.

Pole Medallion, see Medallion.

Pomegranate.—Many descendants. The pomegranate takes a prominent place in Mohammedan art, especially in the Anatolian provinces. It is highly regarded as a food and from its juice a delicious drink is made.

Ram, Indian.—If drawn with a four-headed figure riding it, it means Mars.

Reciprocal Saw-teeth is sometimes called by the Persians "sechrudisih," meaning teeth of the rat. Almost distinctive of Caucasian fabrics, especially the Kazaks. Occasionally present in the Turkish and Turkoman rugs also. (See doubletone at p. 242.)

Reciprocal Trefoil.—So named by European experts who claim it to be an essential mark of the Polish carpets. Like the barber pole stripe it is found in rugs of nearly all classes, but more especially the Caucasians. Probably found more frequently in the Karabaghs than in any other rug. (See color plate at p. 166.)

Rhodian or Lily.—Composed of small flowers with three triangular petals and a long stem. Has the appearance somewhat of a shamrock leaf. It may be found in any of the Asia Minor rugs, especially in the field of the Konieh and Ladik. In the former it is nearly always present and for this reason is sometimes known as the Konieh design. (See color plate at p. 60 and doubletones at pp. 138 and 236.)

Rhomboid.—Common in rugs of most every country, but more especially in those of the Caucasus. It carries no special symbolic significance.

Ribbon.—Representation of a twisted ribbon. Like the barber pole stripe, the reciprocal trefoil, and the Greek meander, it is found in nearly all classes of rugs. (See color plate at p. 145 and doubletone at p. 130.)

Rice.—Sometimes referred to as the "grains of rice" pattern; consists of pinkish brown colored spots sprinkled on a field of dull white. Often arranged in a network. Found only in Samarkand and Chinese products.

River Loop, see Pear.

Rooster.—The people of Shiraz personify the Devil in the form of a rooster, which they weave in some of their choicest rugs in order to avert the evil eye. Some forms of the "crowing cock," so called, are easily confused with the Pear pattern.

Rosary, see Beads.

Roses, Four.—An ancient design appearing in many forms. Common in the Kurdish products and it is thought by some to be a Kurdish form of the tree of life. It appears in several different forms.

Rosette.—A floral-shaped design which is said to resemble the "Star of Bethlehem," an early spring flower of Persia. It is much used in border designs and it alternates with the palmette in forming the Shah Abbas pattern. It also forms the design known as the Knop and Flower by alternating with a closed bud. Some authorities claim that it originated from the lotus.

Russian Coat or Arms, see Coat of Arms, Russian.

S Forms, especially repeated in the form of a border, are very common in the Caucasian fabrics, especially in the Kabistans and Shirvans. Also found to some extent in the Turkish and Persian weaves. (See doubletone at p. 220.)

Saraband Border Design, see Mir.

Sardar.—Named after the Sardar Aziz Khan, who was at one time governor of Azerbijan. This design consists of narrow leaf forms, which are connected by vines and relieved by bold floral shapes. Quite commonly used in modern fabrics, especially the large-sized ones.

Saw-teeth, Reciprocal, see Reciprocal Saw-teeth.

ScarabÆus, see Beetle.

Sceptre.—One of the most distinctive and famous of the Mongolian patterns.

Scorpion or Spider.—Chinese, viciousness, poison. In India it is believed that if a scorpion creeps over the body it causes leprosy and that if one bears the tattooed image of a scorpion he is free from leprosy as well as from the bite of that insect. As a design it is quite common in the borders of Caucasian fabrics, especially the Shirvans.

Scroll.—One of the distinctive Mongolian patterns which is said to represent the sun. Found in the Turkestan, Chinese, and Tibetan fabrics.

Seal, see Pear.

Seal of Solomon, see Solomon's Seal.

Serpent.—In India it is inauspicious because it reminds one of death.

Shah Abbas (see border design in cut of Ispahan rug at p. 194).—Named after the most revered of monarchs, who was born in 1586 and died in 1628. It is one of the most beautiful of the ancient designs. It consists of yellow, red, and blue flowers with connecting vines upon a background of blue. The so-called Shah Abbas design of to-day has very little resemblance to the ancient design. (See color plate at p. 32 and doubletone at p. 194.)

Shaul Design, see Pear.

Shield of David, see Star, six-pointed.

Shirvan Design is composed of a diamond figure, each side of which is formed by a series of steps. Frequently the centre is filled with small geometrical figures. This design is found more or less in the majority of the Caucasian products, but more especially in the Shirvans.

Shou appears in many forms, but the three forms illustrated herewith are the most common, not only in Chinese rugs but also as decoration in old porcelain and as embroidered designs on silk.

Signet of David.—Based upon the equilateral triangle and from it have originated many of the Turkish designs. See Star, six-pointed.

Silibik or Apple.—A Kurdish design which bears very little resemblance to the fruit after which it is named. It is usually arranged in perpendicular rows throughout the field.

Sixteen Lucky Squares, see Knot of Destiny.

Snake, see Serpent.

Solomon's Seal.—Built on the right angle triangle and, like the Signet of David, it is found in many of the Turkish and Caucasian fabrics and to it scores of patterns may be traced.

Sparrow.—In India it indicates bumper crops.

Spider, see Scorpion.

Spiral, see Link.

Square.—Found in the rugs of nearly every class, but more especially in those of the Caucasus. It apparently has no special symbolic significance.

Square Cross, see Cross, Greek.

Squirrel.—In India it is sacred to Rana, the seventh incarnation of Vishnu, because while his monkey army was building a bridge for him to go over to Ceylon this little creature was seen repeatedly rolling into the sand of the beach and washing the grains, which adhered to its bushy coat, into the sea. Rana inquired why it took so much trouble and the reply was that it was taking sand down to the sea to reclaim the land or fill up the gap between Ceylon and India and to facilitate the construction of the bridge. Rana was so pleased that he passed his fingers coaxingly over its body and said that the sacred marks thus produced on its back would protect it. The stripes on the squirrel's back are still believed to be Rana's finger marks and no good Hindu, therefore, will kill a squirrel. Its presence is auspicious, signifying Divine protection.

Star.—An emblem seen the world over in decoration, especially in synagogues. It is common in the Caucasian and Turkoman products, especially in the form of the elongated eight-pointed star. This eight-pointed star in the centre of an octagon is said to have represented the Deity of the ancient Medes. In all probability the six-pointed star was an adaptation of the Shield of David. It is supposed to have been symbolic of divinity. To it may be traced scores of Turkish patterns. (See doubletone at p. 162 and color plate at p. 94.)

Stork.—Chinese, longevity. Indian—the Indian heron has been associated with cunning and deceit. It is said that it stands on one leg like an Indian ascetic as if it had been performing austerities, but as soon as a fish comes within reach it pounces on it and devours it. People who assume the garb of religious men and cheat others are called (bak) storks, herons.

Sunburst, see Palace.

Swan.—In India the swan is the charger of Brahma.

Swastika.—Derived from the Sanscrit word Svasti, which means good pretence. It dates back three or four thousand years B.C. and has been found in nearly all excavations of prehistoric times and among the relics of primitive people all over the world. It has been known alike to Ancient Greeks, Egyptians, Chinese, Japanese, East Indians, Aztecs, mound builders, and the North and South American Indians, with all of whom it has a similar meaning, viz., good luck and happiness. In India it is drawn below the seats intended for bridegrooms, below the plates containing food to be offered to gods and is tattooed on the arms. It is drawn on the scalp at the thread ceremony and on the dorsum of the feet on all auspicious ceremonies, such as marriages, etc. The usual figure consists of four arms with the cross at right angles and the arms pointing in the direction of motion of a clock's hand, although it has been given different forms, as shown by the accompanying illustrations. It is very commonly used as a rug design, especially in the Chinese, Caucasian, Turkish, and Turkoman products. (See color plate at p. 306 and doubletone at p. 290.)

T Forms (a border design) figure largely in the decoration of Samarkand and Chinese rugs. Similar to the Chinese fret.

Tae-kieh or Yang and Yin is a circle separated by two semicircles into comet-shaped halves. Distinctly a Chinese symbol and found in Chinese, Tibetan, and Turkoman textiles. Used as a charm and found in decorations on all sorts of articles.

Tarantula.—A design which has been so modified as to almost obscure the resemblance. It is almost omnipresent in all of the Caucasian fabrics, especially the Kazaks, Kabistans, and Shirvans. (See doubletone at p. 248.)

Tekke Border Designs.—Two forms, one a sort of a double T border, the other a diagonal arrangement of the Indian fish bone. (See doubletones at pp. 280 and 284.)