The stripe illustrated in Plate [N], Fig. 17, on which are represented halves of octagonal discs containing conventional flower forms, is found in some rugs woven as early as the first part of the XVIII Century, as well as in more subsequent pieces. The central fields of some rugs in which it is found have geometric Ming patterns, and others have floral conceits that suggest Persian influences.
In Figs. 18, 19, 20, and 21, of Plate [N], are represented simple stripes found in XVIII Century rugs. The last of these, which is found in Keen-lung porcelain, shows a marked resemblance to the reciprocal trefoil so common in Persian pieces.
The simple dotted stripe (Plate [N], Fig. 22) was rarely employed before the middle of the XVIII Century, but has been constantly used since then.
CHAPTER XV
KILIMS
ILIMS have a special interest apart from their beauty and utility, as some of them undoubtedly resemble the early fabrics of the Egyptians and Babylonians from which were evolved the more durable pile carpets. The different links in this evolution can only be conjectured. Yet it is not unlikely that such pieces as the nomadic kilims, which occasionally have little tufts of wool attached for ornament or loose threads of weft hanging from one side, first suggested the greater durability and warmth that would be derived from a woven fabric completely covered with tufts of yarn.
It is also certain that the most delicately woven kilims have likewise been evolved from cruder forms. In fact, the different steps in this evolution correspond to three separate styles of weaving still in vogue. The earliest products which were made subsequent to the primitive weaving of uncoloured warp and weft were doubtless similar to the simple fabrics now used to line the under side of saddle bags, and consisted of a warp and weft of uniformly coloured threads. A much more advanced style, induced by a desire for ornamentation, was the representation of patterns which required the use of different coloured threads of weft. As these threads were never carried beyond the edges of each pattern, their loose ends were at first allowed to hang at the back, giving an appearance somewhat similar to what is seen in Soumaks. The third and most finished style, representing much higher workmanship, was produced by deftly disposing of the ends of threads of weft so that they should be concealed and thus permit each surface of the kilim to be exactly the same.