Plate 37. Anatolian Prayer Rug
It is still possible to obtain many good specimens of Bergamos representing the craftsmanship of fifty or more years ago, when aniline dyes and European patterns were unknown east of the Hellespont. Almost without exception they are sterling fabrics that glory in a wealth of colour accentuated by depth of pile and sheen of soft lustrous wool. An observer is at once impressed by the tones of deep blue and madder red that a few lines or patches of ivory white bring out more clearly, and forms a favourable estimate of the value of these pieces independently of the drawing, which seems subservient to the part of giving spirit and quality to the colour scheme. In fact, it is to the genius of the dyer who applies his knowledge to the tinting of carefully selected wool, and to the pains of the weaver in constructing the foundation of warp and weft rather than to his skill in arranging artistic designs, that these pieces command as high a price as old Kirmans of similar age.
In two particulars Bergamos differ from most Asia Minor rugs: in shape they are nearly square, and prayer rugs are the exception rather than the rule. Nor do all the prayer rugs follow the same general pattern, as is usually the case with other classes. They may have low tent-shaped arches like those of Daghestans, high triangular arches with stepped sides and a panel above the spandrels as in the Kir-Shehrs, or they may have shapes unlike those of any other class. Moreover, the pieces not used as prayer rugs also have great diversity of pattern; but as a rule some large figure, as a medallion, occupies the centre of the field. Very frequently it is of hexagonal shape, with the sides at upper and lower ends of the rug serrated or fringed with latch-hooks. As is not the case with many of the Persian rugs, the field surrounding the medallion is almost always covered with small designs, arranged with careful precision so as to show a perfect balance with reference to the centre. Eight-pointed stars and other geometric figures are frequently used, but there is a leaning to floral designs, which, however, are often so conventionalised as almost to lose their identity. Most prominent of these is the Rhodian lily and the pomegranate; but the lily never shows such graceful drawing or such dainty colouring as in the Kulahs, and in some pieces even loses all resemblance to a floral form. The pomegranate, which suggests the Ladik, is more frequently seen in the main border stripe. Undulating vines do not find favour among the Bergamo weavers, and small isolated geometric designs are largely employed in the narrow border stripes, while larger, more complex figures often replace the floral in the main stripe.
In no other class of rugs are so many and such painstaking devices to avert the spell of the evil eye. Should an unexpected visitor surprise the weaver while at work, he may be required to part with a bit of his frock, which is then attached to the wide web of the end; should a similar occurrence of ill omen follow, another bit of different material and colour may be sewn upon this; and as a crowning talisman, a button may be affixed to both. Small cowrie shells from the Ægean shores are often used for such purposes; and now and then may be seen a woollen tassel dangling from the centre or from one of the ends of the rug.
Type Characteristics. Colours, principally red and blue, with minor quantities of yellow, white, and green. Knot, Ghiordes. Knots to inch horizontally five and one half to nine; perpendicularly, seven to eleven. The rows of knots are pressed down, so that the warp is concealed at back. Warp, wool; each of the two threads encircled by a knot is equally prominent at back. Weft, wool of fine diameter, dyed red. A thread of weft crosses from two to six times between every two rows of knots. Pile, wool; generally of medium length but frequently long. Border, from one to four stripes; most frequently of three. Sides, a weft selvage of two, three, or four cords, coloured red or blue, with occasionally some green or yellow. Both ends, a web, that is sometimes six or seven inches wide, coloured red and crossed by broad longitudinal stripes, which are generally blue, but may be black, white, brown, or yellow. Some device to avert the evil eye is frequently attached to the webs. Beyond the web is a tasselled warp fringe. Texture, moderately firm. Weave at back is of fine grain. Usual length, three to seven feet. Usual width, three quarters to nine tenths length.
Ghiordes.—Whether, as has been maintained, the town of Ghiordes, that lies a day’s journey to the east of Pergamus, is on the site of the ancient Gordium where tradition says the father of Midas dedicated his chariot to Jupiter, and Alexander severed the bark which bound the pole to the yoke, it claims attention from the fact that the rugs woven there one and two centuries ago not only excelled similar products in all other parts of Asia Minor, but equalled the best fabrics woven in Persia during the same period. Indeed, a few connoisseurs would rank them still higher; yet with reference to technique of weave and delicacy of colour and drawing, very few should be classed with those woven in the previous century by the protégés of Tamasp and Shah Abbas.