[23] In “Industrial Arts of India.”
[24] Sidney Churchill in the Imperial Vienna Book says that “the dyes of Sultanabad have perhaps the most extensive colour scheme in Persia.”
[25] “Industrial Arts of India.”
[26] Mrs. Elizabeth Bishop in “Journeys in Persia and Kurdistan.”
[27] Encyclopedia Britannica.
[28] It is also to be noted that within the last few years large numbers of pieces bearing resemblance to old Oriental rugs have been woven about Constantinople.
[29] One of the most interesting is at Sivas, where are the remains of a most beautiful Seljuk gateway, with architectural lines that might well have been taken for a weaver’s model. As in many prayer rugs, the engaged columns support a high arch over which a panel rests above a figured spandrel. The outlines of each of these parts suggest most forcibly the drawing of the prayer rug, and the resemblance is carried even further; for corresponding with the border stripes is the chiselled masonry that once rested above the panel and still extends to the foot of the entrance at each side of the arch.
[30] One of these is represented in Dr. Bode’s “Knupfteppiche,” where it appears as a secondary stripe.
[31] An intermediate pattern suggested by each is found in an old Asia Minor piece owned by Dr. Bode.
[32] A. Bogolubow, in his excellent work “Tapis de l’Asie Centrale,” divides the Transcaspian Turkomans into two principal groups, the Salors and Yomuds, each of which includes sub-groups. These are again divisible into many tribes, almost all of whom weave. As their rugs, though resembling one another, show different characteristics, they might properly be separated into numerous classes; but since only a few of them are known in this country, they alone will be described.