The Serabend border is referred to on p. 50, and is quite unmistakable; and the Persian border (p. 23) is familiar to every one, and appears frequently on Caucasian rugs of every quality and every age. The Feraghan leaf design is noticed on p. 52, and wherever used in the drawing, determines its class as absolutely as any figure may. The Rhodian border is referred to more particularly on p. 72, and the Koniah design and Koulah border are described in their proper place, p. 72. Other Persian borders are most interesting, although they may not particularize any class or locality. Such are the turtle and crab borders (pp. 28 and 29), and the lobster design, at the head of this page. The origin of these strange forms of ornament as applied to carpet-weaving adds only another mystery to the subject. But dyes were derived not only from leaves and roots, but also from insects, molluscs, and crustaceans. It must be that the origin of the colour originally suggested these symbols of marine or insect life for decorative effect. The more they were used, however, the more conventionalized and meaningless they appear, recent weavers not appreciating what they represented. Old pieces show more clearly the evident model. But old pieces also often show original creations in border and design, far more artistic than the usual types. The Kazak border of the titlepage is an example. The discriminating collector, when a choice offers, will do well to avoid the commonplace.
