Although to a certain extent thought has dropped out of the ornament we now call historic, it is nevertheless true that a remnant of meaning exists in Oriental patterns, which may be used to interpret the significance of forms and symbols employed by one and another people to express primitive belief. Comparatively definite knowledge is obtainable of the forms chosen to illustrate such belief.

European judgment is often based upon the verdict of some absolutely uneducated Turk, Persian, or Chinese of the lowest class, who, knowing nothing about the folklore or traditions of their countries, simply testify to the local habits of their own isolated home. Under the ban, oftentimes, of some proselytizing religion which has made them afraid to express inherited beliefs, their testimony is not to be relied upon.

One product of the Caucusus is of so individual a nature that it proves the exception to all general laws, and that is the "Soumac" or "Shemaka" rug. When this style of carpet was first carried to Europe, it was called by Occidentals, who so often give English and French names defining process to products from afar, "Cashmere," because in their method of weaving these rugs resemble the shawls made in the valley of Cashmere in India, of pashm wool of the "Cashmere goat." In designs, these rugs bear evidence of Caucasian origin, but differ absolutely from any other known style of weaving employed by rugmakers, as they have no raised surface; the long ends left after weaving the warp and woof hang loosely from the back of the fabric, thus making it other in kind from the rugs and tapestries of the orient.

In strong contrast to the fine rugs of Sehna are the rugs that are made in Kurdistan, which gives the sixth style to Persian fabrics. Lawless, free, and unrestrained are the designs to which the mountaineers of western Persia have adhered through the years. Bound by no conventions, yielding allegiance under protest, and ever wandering upon hilltops or in high valleys under the broad expanse of heaven, these mountaineers have given to the art of the weaver a note all their own, and it is as a low, full, strong bass to the high soprano and tenor notes of more civilized commmunities.

Mr. Benjamin, in 1885, wrote warningly of these so-called Bokharas, and explained that their deterioration in colour was due to the loose principles of the Russian government as compared with the Persian control of dyes and wearing.....
"One of the finest rugs made in the East is called by the American dealers the Khiva,' but more often the 'Bokhara,' rug,....By Orientals, however, the Bokhara rugs are better known as Turcoman rugs. They are made in the region which was the cradle of the Turkish race, and is now occupied by the fierce Turcomans.....The pattern is also quite uniform, consisting almost invariably of a many-angled conventional figure often repeated in the centre, surrounded by a border somewhat similar, but in smaller designs....When one sees one of these Turcoman rugs it appears as if he had seen them all, and yet no two are alike, either in design or quality. The durability of these Turcoman rugs is marvellous. They were not made originally for the market, but for the use of the tribes themselves, and are intended for portieres of tents and to throw over temporary divans. One may sometimes see rugs of this class, fifty to seventy years old, that have been in constant use by some pastoral clan, and are still not only in excellent conditions, but have acquired a velvety softness and a certain indescribable peach-bloom or sheen. To my taste there are no rugs of the East that give more permanent pleasure to the artistic eye than these of the nomads of Turkestan. It is therefore greatly to be regretted that the aniline dyes which those tribes have received from Russian traders in recent years have come into considerable use in the making of their rugs."

CHAPTER XXIV
VITALITY IN PRIMITIVE DESIGNS
A VAST number of influences from Asia, the mother country of the world, to the uttermost limits of the earth, which may be directly traced to ancient beliefs, and in modern design there seems to be a constant recurrence to type.....Not that the modern weaver necessarily carries within himself any knowledge of the meaning of patterns he uses; but if left to himself, and told not to try to make anything new and startling, but to work an old-fashioned pattern, he will almost invariably revert to some inherited family tradition, and, with appologies for its simplicity, hand over something of inestimable value to the student of folk-lore. After another quarter of century there will be no such opportunity afforded those who desire to make the present explain the past. Those of the older generation in the Orient who still cherish the habits and customs of their youth will have passed away. Commercialism will have done a more complete work; tents will have been folded, and railroads will have chased the nomads from their retreats. Occidental patterns will be furnished to even a greater extent than theyt now are, and the modern rug will without doubt become a good floor-covering, but no longer a thing of sentiment.