CHAPTER X

ASIA MINOR RUGS

ALL rugs that are woven in the Turkish provinces of Asia are frequently

grouped together and called “Turkish” rugs; but a more natural

classification is to distinguish between those made to the east and

those made to the west of a line drawn from the Gulf of Iskenderoon to

Trebizond, deflecting slightly in its course so as to follow the ridges

that divide the watershed of the western forks of the Euphrates river

from the plateau of Anatolia. With the exception of the very few pieces

that come from Syria or other southerly districts, those woven in the

Turkish provinces east of this line show such a relationship to those of

Persia that they are more properly classed with them; while on the other

hand, with the exception of the rugs of the wandering Yuruks, those

woven to the west of this line and in the neighbouring islands of the

Mediterranean conform so closely to a common type that they fall

naturally into a separate group. It is better, therefore, to treat them

separately and to call them the Asia Minor Rugs.

Though a certain glamour attaches to all that comes from Persia, the

Indes, or Far Cathay, in no part of the Orient are rugs woven on more

classic ground than are the Asia Minor pieces. They are still made in

the shadow of the walls where Crœsus lived and among villages where

Homer trod. Their yarn is spun with crude distaff by the shepherd who

still drives his flock along the same road where Artaxerxes marched,

across the bridges that Roman legions built, and over the green slopes

of Mt. Ida. In fact the names of some of them call to mind pictures of

the Crusades, the journey of Paul, the march of Alexander’s conquering

army, and of cities founded before the beginning of history.

When analysing the rugs of Asia Minor, it is necessary to make a

distinction that has been previously noticed in the case of Persian

rugs, though with them it is less important. From the time when there

arose a large demand in the markets of Europe and America for the rugs

of the East the natural supply decreased, and, as a consequence, the

price of those that remained increased. To meet this deficiency, and

because of the higher prices, there was established a system by which

large numbers of women and children were constantly employed; although

many worked in their own homes, using such material as was furnished by

their employers and receiving fixed daily wages. In the western and

southern parts of Asia Minor, which are connected by railroads with

seaports, are a number of communities where this system is in vogue. One

of these is at Demirdji in the province of Smyrna, where there are a

small number of looms; others are in the districts of Ghiordes and

Kulah, which together have about one thousand looms; and Oushak, the

principal rug-weaving centre of Asia Minor, has as many more.[28] Almost

all rugs produced at such places are now shipped to Smyrna, which itself

has but very few looms, or to Constantinople, whence they are reshipped

to Western markets. These products lack much of the oldtime artistic

spirit and individuality of character, on account of the dependence of

the weavers on their employers, who demand the largest output consistent

with fair quality. Furthermore, the weavers are frequently required to

reproduce Western patterns. The result is that most of these rugs

possess little of the firmness of texture, the harmonious relations of

designs, and the excellent colour of old fabrics. Since, then, they

represent in a measure European influences, and are subject to further

changes to meet the demands of a fluctuating foreign taste, it would be

of little use to describe them, especially as all their original

characteristics exist in the old pieces.

The striking features of Asia Minor rugs woven over fifty years ago are

the colour schemes, main patterns, and the separate designs, which may

be either independent of the pattern or constitute part of it. The

colour effect of Asia Minor rugs is as a rule brighter than that of the

Central Asian, Indian, or Persian groups; for the reds, blues, and

yellows are less subdued. Some of their tones never appear in Chinese

rugs, and on the whole they most closely resemble those of the Caucasian

pieces; yet it is not unusual to see such colours as mauve, lavender,

and canary yellow, that rarely appear even among these. Moreover, in a

few of them masses of strongly contrasting colours are placed beside

one another without the customary shading of Persian rugs or the

artificial device of Caucasian latch-hooks to soften the effect of harsh

combinations.

[Illustration: MAP OF ASIA MINOR]

The difference, nevertheless, between the Asia Minor rugs and those of

other groups is less apparent in the colour schemes than in the main

patterns, for in the Asia Minor rugs is evidence of an independent

inspiration and development. There are lacking the rigid octagonal

figures of the Central Asian groups; the frets and floral sprays

distinctive of Chinese; the naturalistic floral treatment of the Indian;

the delicate tracings, rhythm of movement, and wealth of foliage motives

that characterise the Persian; as well as the severely geometric forms

and conventionalised motives of the Caucasian. Instead of gracefully

flowing lines we find strong rectangular ones; instead of flowers

realistically balanced on interlacing, foliate stalks, they are arranged

separately in formal rows. But if their patterns lack the fertility of

invention or the refinement of Persian and Indian pieces, they excel

them in the strength of their clear definition, accentuated by massing

of colour. It is, however, in the prayer patterns, which appear in the

majority of Asia Minor rugs, that the weavers attain their best results;

for in such work they have the inspiration of a high religious as well

as artistic spirit. In these patterns, which differ from those of any

other group of rugs, is often manifest singular beauty and grace, as

well as delicate sentiment derived from worship in Moslem chapels; for

in many is represented the burning lamp that, projected against a

background of sacred green, hangs from the column-supported arch, above

which is spread a spandrel of blue typifying the vaulted heavens.

Likewise many of the small designs that are found in other groups of

rugs are rarely, if ever, seen in this one; as, for instance, animals,

birds, fishes, and human beings are never employed, on account of the

religious prejudice of the Sunnite Mohammedans, who prevail in the

country. Nor, with very few exceptions, is the Herati design, so

characteristic of Persian rugs, nor the pear design, so characteristic

of both Persian and Indian rugs, ever seen. Furthermore, the reciprocal

trefoil, that is used as a motive for a small border stripe in all

Caucasian and many Persian rugs, is very rarely found in Asia. Minor

pieces woven during the last two centuries, though it appears in some of

an earlier era. But in its place are the water motive and ribbon, which

are less frequently employed by the weavers of any other country. There

are also many small floral motives that appear only in Asia Minor rugs,

and that will be noticed in connection with the separate classes.

These characteristics of colour, pattern, and design are not the result

of a spontaneous growth unalloyed by foreign influences; for a natural

art never existed in Asia Minor, which has never enjoyed a national

existence; but they are the results of artistic movements that at

different times have swept over that country. Thus, as an heirloom of

dynasties that once flourished farther east, are the Cufic characters

that appear in some of the early border patterns; and as a relic of the

Mongol and Timurid invasions are the dragon and other designs found in

the oldest pieces. In Oushaks, as well as others, are seen the evidences

of Persian treatment; while the drawing and colour schemes of the prayer

rugs forcibly suggest Saracenic, Grecian, and Christian ideas. In fact,

the rugs of Asia Minor, while possessing co-ordination of colour and

design, are in a measure composite. They never reach the high artistic

development of Persian rugs, because the latter were produced under the

fostering care of great kings whose royal magnificence could secure from

years of patient labour suitable furnishings for palaces and mosques;

yet they are none the less interesting subjects for speculation and

study.

BERGAMOS.—In the valley of the Caïcus and twenty miles from the Ægean

Sea is the city of Pergamus, that gives its name to the Bergamo rugs. It

is of unknown antiquity, and may have stood when Agamemnon was warring

with the house of Priam before the walls of that other city of the same

name. In turn, Persians, Macedonians, Thracians, Syrians, and Romans had

taken possession of it before the Apostle Paul founded there one of the

seven churches of Asia. Greek sculptors chiselled its monuments,

philosophers taught beneath the shade of its trees, and scholars

gathered there the library that rivalled that of Alexandria. Partly

encircled by mountains and enclosed by the wall of this old city, that

was wellnigh destroyed during the Turkish wars, is the modern city of

some fifteen thousand inhabitants. It is to-day one of the flourishing

cities of the Levant, yet only in the surrounding ruins is there any

reminder of its former greatness and splendour. But in these crumbling

relics of the past and in the excellence of its woven fabrics of more

recent times are traces of the artistic spirit that once prevailed

there.

[Illustration: 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 Gordion 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.

[Illustration: PLATE 38. MUDJAR PRAYER RUG]

So essentially do the modern rugs of the Ghiordes district differ from

the old pieces in weave, colour, and pattern, and so great is their

inferiority, that they have little interest; but fortunately it is still

possible to purchase pieces from seventy-five to one hundred and fifty

years of age, and others still older are in the hands of collectors or

in museums. In determining their age the colours and drawing, as well as

weave and pattern, are important indices. For instance, the reddish

tones of the fields of pieces less than a century old have a pinkish or

even magenta tinge, while in the oldest the red is of rich, deep colour.

Similarly, in the case of blues, greens, yellows, and even the ivories

that rarely occupy the field, a riper and richer colour marks the

greater age. Likewise with the drawing, greater painstaking and higher

artistic skill are apparent in the older rugs; though in some of the

oldest the designs are less ornate than in those of a subsequent period.

This is also true of the patterns as a whole; since the best types are

found in rugs that are probably from one hundred and fifty to two

hundred and fifty years old, whereas in the extremely old pieces there

is an approach to archaic forms.

The difference between the odjaliks and namazliks, which are the kinds

most frequently seen, is most noticeable. The colours, to be sure, are

much the same, though as a rule lighter and duller tones predominate in

the odjaliks. Their borders show a greater tendency to use geometric

figures, some of which are profusely fringed with latch-hooks suggestive

of Caucasian influences. They also contain archaic designs believed to

be associated with sun worship, as well as many floral forms common to

the prayer rugs. It is, however, in the fields that the distinction is

most noticeable; since the large masses of uniform colour that make the

namazliks so effective are wanting, and instead are frequently seen

hexagonal-shaped medallions that are fringed with large rounded

latch-hooks and contain a lozenge or other geometric design in the

centre. At both ends of the fields are sometimes narrow panels

containing quasi-floral forms, and stiff conventions occupy the

intervening corner spaces.

In striking contrast to these odjaliks are the old Ghiordes prayer rugs,

with the rich tones of solid colour in the fields and the delicate

drawing of the borders. No doubt they were made with unusual care, since

they were intended for religious purposes. The pattern represents an

entrance into a mosque; and it is not improbable that some of the

earliest rugs were copied directly from archways, many of which still

exist in Mohammedan countries.[29] Near the base of all Ghiordes arches,

at each side, is a shoulder, which in old pieces was supported by a

single pilaster or a pair. Sometimes these were ornamented with scroll

work or floral forms, but finally many of them degenerated into floral

devices that bore slight resemblance to columns, and in other rugs they

have entirely disappeared. In some very old pieces the shoulders and the

mihrab were rounded, but as a rule the shoulders are flattened at a very

obtuse angle; and the mihrab is either plain or has stepped sides that

culminate in a blunted apex. To further suggest the sacred purposes of

the rug a lamp is often suspended from the niche, though floral forms

may take its place, and not infrequently these too are wanting. Almost

without exception some reminder of the tree of life, such as the small

floral sprig or the Rhodian lily, is projected from the inner side of

the arch and from all sides of the border against the field. In the

spandrel, also, is almost invariably some floral or leaf form; though

these may be very much conventionalised or even supplanted by geometric

figures. Above the spandrel is a panel, which may contain some floral

form, scroll device, or verse from the Koran; and another panel, though

generally with different design, is almost invariably placed beneath the

field. A scroll resembling a large S (Plate O, Fig. 9, Page 291)

frequently appears in these panels. Its resemblance to forms found in

Armenian dragon carpets of earlier centuries is very noticeable.

The border surrounding the field is as characteristic of this class as

is the prayer arch. There are invariably a number of stripes, which

generally consist of a wide central one, two secondary, and two or more

small guard stripes. The drawing is distinctly floral, yet is widely

different from the Persian. A design (Plate G, Fig. 1, opp. Page 192)

frequently seen in the central stripe represents a large palmette or

rosette partly surrounded by leaves, suggestive of the Herati

design, and connected by tendrils with more delicate flowers or leaves.

But the more usual design (Plate G, Fig. 3) consists of flowers and

fruits that are arranged in quadrangular shape, so that the alternate

units face in different directions as they extend around the border.

Though it is far from naturalistic, its delicate lace-like drawing with

clear definition and its tones in harmony with the central field,

contribute largely to the beauty of the rug. The secondary stripes have

generally repetitive leaf forms; and running through the guard stripes

is a simple vine, ribbon, or wave design. Occasionally, however, the

typical Ghiordes border is replaced by one borrowed from the near

district of Kulah, and instead of the broad central stripe are several

narrow parallel stripes studded by perpendicular rows of small floral

figures (Plate G, Fig. 12). An unusual feature of these rugs is the

linen nap which is sometimes used in the field instead of wool, for the

reason that it retains its colour while wool darkens with age; and

another is the silken fringe which is often seen at the corners of fine

specimens. The nap is always short, and the rugs are closely woven.

_Type Characteristics._ _Colours_, principally red, blue, yellow, and

white. _Knot_, Ghiordes. Knots to inch horizontally seven to twelve;

perpendicularly, eight to sixteen. The rows of knots are pressed down,

so that the warp is concealed and the weft is partly hidden at back.

_Warp_, wool or cotton and in a few pieces raw silk. One of the two

threads encircled by a knot is usually slightly depressed below the

other at the back. _Weft_, wool or cotton. A thread of weft crosses

twice between every two rows of knots. _Pile_, wool, and occasionally

some cotton, clipped very short so as to be harsh to the touch.

_Border_, six to nine stripes. _Sides_, a weft selvage of two or three

cords, or only infrequently an added selvage of silk. _Both ends_, a

narrow web and warp fringe. A few pieces have an added silk fringe at

the corners. _Texture_, firm. _Weave_ at back is of very fine grain, but

slightly rough. _Usual length_, five to seven feet. _Usual width_, two

thirds to three quarters length.

KULAHS.—About fifty miles from Ghiordes, in a southeasterly direction,

is the Turkish village of Kulah. Both places are surrounded by the same

general character of hills and plains, and for the last several

centuries the people of each have been subject to the same influences of

race and religion. They have undoubtedly visited, intermarried, and

become familiar with the arts and crafts of one another. It is not,

therefore, surprising that some of their rugs should have similar

technique of weave, and that a few resemble one another in general

pattern and small designs. Moreover, such a close correspondence exists

between many of the old rugs of both districts, that even the most

experienced are sometimes at a loss to distinguish between them. In fact

it is surprising that there is so marked a distinction between most of

them. In the Kulahs the border designs are not so elaborately drawn, nor

are the prayer arches so high. They have rarely the fringe that adorns

the corners of some Ghiordes rugs, or more than one panel. The field

usually contains floral figures, arranged in formal order; the spandrel

is almost always extended in two narrow stripes, one at each side of the

field; and the colours are always subdued. These and other

characteristics of each class make it possible to distinguish between

most of them.

As is the case with Ghiordes rugs, sedjadehs are almost unknown; but it

is not unusual to see odjaliks. These resemble prayer rugs in the

following respects: the borders are almost identical; the central fields

contain the same floral figures resting on a similarly coloured ground;

both ends of the hexagonal-shaped field resemble a mihrab; and the space

between the field and border is covered with designs peculiar to the

spandrels of the prayer rugs.

On account of their artistic drawing and soft colours the prayer rugs

are favourite pieces with all collectors. It is true that the arch is

flatter than that of any other rug of this group, and is defined either

by plain sloping lines, or more frequently by stepped edges, so that it

lacks the classic beauty of the Ghiordes type; but on the other hand the

Rhodian lily and other floral forms characteristic of these pieces are

delineated with a realism and graceful delicacy that are unequalled in

any other Asia Minor rugs. Arranged on slender sprays along each side of

the field, hanging as long clusters from the niche in place of a lamp,

or placed on the panel in formal rows, they accentuate with their bright

tones the subdued richness of the ground colours. Sometimes, however,

these simple field designs are replaced by more formal drawings that

represent a plat of land with a tomb shaded by a tall cypress and other

trees with many leafy branches. Rugs with these designs are not uncommon

in Germany, whither large quantities of Asia Minor prayer rugs were

shipped many years ago, and where they are known as “Friedhofteppiche,”

or “Grave Rugs,”

[Illustration: PLATE 39. DAGHESTAN PRAYER RUG]

The most pleasing features are in the fields, but the most

distinguishing features are in the borders, which are invariably of

several stripes. Instead of the large central stripe with floral and

repetitive designs common to most rugs is a series of parallel bands,

from five to ten in number and about an inch in width, that contain rows

of minute floral forms. These narrow bands are a distinguishing feature

of the Kulahs, though they have occasionally been copied by the Ghiordes

weavers. Nevertheless, they are sometimes replaced by the broad stripe

containing rows of geometric-shaped designs, as in Plate G, Fig. 13

(opp. Page 192), which also are peculiar to these rugs. Strange as it

may seem, these designs have doubtless been derived from leaf forms by

successive degradation, as will be seen by comparing Figs. 13-a, 13-b,

13-c, and 13-d of Plate O (Page 291). There is still another border design

that is so constantly found in the secondary stripe of these pieces and

so rarely in any others that it might well be designated the “Kulah

stripe” (Plate H, Fig. 10, opp. Page 194). The design consists of a

repetitive figure suggestive of some Chinese device, but is in reality a

degraded form of a vine, as will be seen by observing some of the very

old border stripes. Between the inner secondary stripe and the field is

usually a narrow stripe containing a continuous ribbon design, or a

simple vine-like form, as in Plate F, Fig. 18 (opp. Page 158). Often a

part of each succeeding undulation of the vine has been omitted and the

remaining parts have been compressed, so as to leave small detached

figures like a row of “f’s,” as in Plate H, Fig. 2. It is not unusual to

see both vine and detached figures in the same rug.

Diversity prevails in the colours of field, spandrel, panel, and

borders. In the field is generally a mellowed red, or a yellow tint that

is described both as golden brown and apricot; blue also is occasionally

seen, and white is very rare. But whatever the colour of the field, that

of the spandrel is generally a light blue, indicative of the sky, and

the overlying panel is frequently a dark blue. Green and brown often

appear in the border, as well as a canary yellow peculiar to Asia Minor

rugs. Moreover, a few of these pieces have a single small area of red or

blue, that was doubtless inserted to avert the evil eye, since it shows

no more relation to the surrounding colours than spilt ink might have;

yet in spite of these contrasts and the fact that the nap lacks the

lustre peculiar to many other classes, some of them are as beautiful as

Ghiordes.

Between these old fabrics and the modern, which factory-like are

produced in large quantities to meet the demands of a Western market

and taste, is the most noticeable difference, for the latter are

inferior to the former in patterns, weave, and dyes. Furthermore, with

the wool of many is mixed mohair, so that rapid deterioration follows

slight usage.

_Type Characteristics._ _Colours_, principally red, brownish yellow, and

blue, with minor quantities of green, dark brown, and white. _Knot_,

Ghiordes, Knots to inch horizontally five to ten; perpendicularly, seven

to twelve. The rows of knots are not firmly pressed down. _Warp_, wool;

one of the two threads encircled by a knot is noticeably depressed at

the back. _Weft_, in most rugs, of wool of medium diameter, sometimes

dyed yellow. A thread of weft crosses twice between every two rows of

knots. In other rugs, even very old, the weft consists of a coarse

thread of jute crossing once between two rows of knots and alternating

with a small thread of jute and another of wool crossing side by side

once between the next two rows of knots. _Pile_, wool, of short or

medium length. _Border_, six to nine stripes. _Sides_, a coloured mixed

selvage of two, three, or four cords. _Both ends_, a coloured web and

warp fringe. _Texture_, loose. _Weave_ at back is of moderately coarse

grain. _Usual length_, five to seven feet. _Usual width_, three fifths

to three quarters length.

OUSHAKS.—Fifty miles eastward from Kulah is the city of Oushak, famous

during the XV and XVI Centuries for the carpets exported thence to

Europe to adorn the halls of cathedrals and thrones of monarchs. But

with the subsequent decadence in Asiatic art its glory ebbed, so that

half a century ago it was but a small mud-housed city known for the

excellence of its dyes and the wool which was taken there from the

interior to be washed, spun, and then sold to the weavers of the

surrounding country. Since then, however, its population has steadily

grown, and the weaving industry has thrived, until now it is one of the

most populous cities of Asia Minor, with looms more numerous than those

of any other city. The weaving is done entirely by women and girls, most

of whom are Mohammedans. Though they live principally in private houses,

they are under the direction of large firms, who furnish the wool as

well as the patterns, which are in accordance with European and American

demands.

Important distinctions exist between the different grades of these rugs.

Some are known as “Turkish Kirmans,” in which Persian designs are

frequently introduced, others are of still finer workmanship, but the

oldest and coarsest pieces were formerly known as “Yapraks.” These are

distinguishable by their strong colours of red, green, and blue, of

which only two as a rule are seen in a single rug, and are massed to

produce striking effects. Their foundation of warp and weft, which are

dyed in the same colours, is loosely woven and often of an inferior

grade of wool. Many of them are too large and heavy for domestic use,

but are well adapted for salons and public halls.

With such slight variations in pattern and none in colour, Oushaks would

be of little interest were it not that their prototypes were striking

pieces woven by artisans whom Sultan Solyman the Magnificent brought

from the northwestern part of Persia, when he conquered it in the XVI

Century. Some of them appear in the paintings of old masters, and when

contrasted with the modern fabrics indicate how great is the decline in

the craftsmanship of the weavers. Of the beautiful well-balanced designs

once represented in the fields, only large stars and diamonds, defined

by less pleasing lines and placed with less regularity, remain. All of

the graceful arabesques and dainty floral motives that appeared as

sub-patterns are omitted. As works of art, the modern products are

little esteemed; but their durability, depth of pile, and wealth of

colour make them excellent objects of utility.

_Type Characteristics._ _Colours_, principally red, blue, and green.

_Knot_, Ghiordes. Knots to inch horizontally four to eight;

perpendicularly, four to nine. A half knot, as it appears at back, is

longer than wide. The rows of knots are not closely pressed down.

_Warp_, wool. Each of the two threads encircled by a knot is equally

prominent at back, or one is slightly depressed below the other. _Weft_,

wool of medium diameter and generally dyed red. A thread of weft crosses

twice between every two rows of knots. _Pile_, wool, clipped long.

_Border_, usually of three stripes. _Sides_, generally a double

overcasting, occasionally a selvage. _Both ends_, generally a web

coloured red and a warp fringe. _Texture_, very loose. _Weave_ at back

is of moderately coarse grain. _Length_, carpet sizes. _Usual width_,

two thirds to four fifths length.

AK-HISSAR.—Almost seventy-five miles by rail from Smyrna and a short

distance to the west of Ghiordes is the Turkish town of Ak-Hissar, the

White Citadel. Even before the building of the railroad rugs were woven

in this district; and in recent years the work-house system has been

established, and large quantities, that bear some resemblance to the

modern products of Kulah and Oushak, have been exported.

DEMIRDJI.—Half a century ago the town of Demirdji was almost

uninhabited; but as a result of the Occidental demand for Oriental rugs

and the disappearance of old pieces, it has grown to be an important

manufacturing centre. Many of its weavers learned their trade at the

historic Ghiordes, which is about twenty-five miles distant; but the

fabrics are more closely woven and the wool is more carefully selected

than is the case with the modern Ghiordes.

KUTAYAH.—On the main railroad that will eventually connect the Bosphorus

with the Euphrates is the town of Kutayah. As it is on the edge of the

Anatolian plateau, wool and goat’s hair have been for a long period

important articles in its trade. Both of them are now used in the local

manufacture of rugs, which in a measure resemble the products of Oushak.

SMYRNA.—The location of Smyrna on a magnificent harbour and its

connection by rail with all the important rug districts of the interior,

have made it the principal centre for the export trade in Asia Minor

rugs. Many of the people are also largely engaged in the industry of

weaving, but almost all weavers are now in the employ of large companies

who furnish the materials and patterns. As a result, the Smyrna rugs are

mere copies of well-known types of other Turkish pieces, or, as is

generally the case, of stereotyped patterns that have been evolved to

meet the requirements of European and American tastes. Many of the rugs,

to be sure, are well woven and serviceable, but they lack individuality

of character.

MELEZ.—About seventy-five miles to the south of Smyrna and twenty from

the Mediterranean Sea is the town of Melassa, or Melez. It is now little

known, but was once the market place of an important rug-producing

district, which included a large part of the classic province of Caria.

Accordingly, the pieces that came from there were sometimes called

Carian, but are more generally known as Melez.

[Illustration: PLATE 40. KABISTAN RUG]

On their face they show a close relationship to the Anatolians, and

also, though in a less degree, to many other Asia Minor rugs; yet as is

to be expected of the products from one corner of the country, they have

a distinct individuality in both pattern and colour. Occasionally an old

piece is seen, in which the border is very narrow and the whole field is

covered with parallel stripes on which are systematically arranged

geometric and semi-floral forms; but as a rule the fields are not much

wider, and often less wide, than each of the adjacent borders. Within

this central space are frequently arranged prominent designs, which are

widely different from the designs of any other rugs, and are suggestive

of Chinese ornament, but were doubtless derived from floral or tree

forms (Plate O, Fig. 12, Page 291). Moreover, projecting in regular

order from the alternate sides of the narrow border stripe, next to the

field, are sometimes seen thumb-like figures, that fit against one

another like the cogs of a wheel (Plate H, Fig. 15, opp. Page 194). Each

of these features, though not always present, is peculiar to this class.

Of the several border stripes, the central is generally as wide as the

remainder and not altogether dissimilar to that of the Ladiks. Very

frequently it consists of a row of palmettes between which are

conventionalised leaves and flowers on slender stems; but now and then

the palmettes are replaced by eight-pointed stars or other geometric

figures, and the intervening spaces filled with corresponding designs.

The secondary stripes are of a pronounced Caucasian type; and almost

invariably in a smaller tertiary stripe is represented a waving line or

the reciprocal sawtooth.

The prayer rugs are equally characteristic. In typical examples the

lines defining the mihrab descend from the niche to meet the sides of

the narrow field at an angle of forty-five degrees, and are then

deflected towards its centre, to return again to its sides. The

resulting drawing shows two equilateral triangles on each side of the

field at the base of the mihrab, which in conjunction with the upper

sides of the triangles has the appearance of an incomplete diamond. This

effect, moreover, is frequently accentuated by a perpendicular row of

diamonds extending from just below the niche to the base of the field.

The sides of mihrab, field, and central designs are, as a rule, fringed

with small geometric or conventionalised floral forms; and in the

spacious spandrel are more realistic floral designs arranged on a

trellis-like sub-pattern.

This individuality of pattern is accompanied by a less marked yet

noticeable individuality of colour scheme. As is the case with many

Bergamos, the principal tone is a dark red, which generally appears in

the central field, and is also used almost without exception in the

broad end webs, the side selvages, and the threads of weft. Ivory white

for the spandrel, some yellow and green for the borders, are common

colours; but the one that rarely appears in any appreciable quantity in

other rugs is a characteristic tone of lavender or mauve, which is

present in almost every old Melez. Not always are these tones pleasing,

as many of the rugs have been poorly dyed; but there are other pieces,

now rapidly growing scarce, of which the colours are exceedingly rich

and harmonious.

_Type Characteristics._ _Colours_, principally red, with minor

quantities of blue, yellow, white, and some mauve. _Knot_, Ghiordes.

Knots to inch horizontally five to eight; perpendicularly, six to

eleven. A half knot, as it appears at back, is as long as wide or

slightly longer. The rows of knots are not closely pressed down, yet the

warp does not show at back. _Warp_, wool; each of the two threads

encircled by a knot is equally prominent at back. _Weft_, wool of small

diameter, dyed blue or red. A thread of weft generally crosses four

times between every two rows of knots. _Pile_, wool, of medium length

and sometimes short. _Border_, wide, from three to seven stripes.

_Sides_, a selvage of two to four cords, usually coloured red. _Lower

end_, a red web and loose warp fringe. _Upper end_, a red web, a braided

selvage, and loose warp fringe. _Texture_, moderately loose. _Weave_ at

back is of slightly coarse grain. _Usual length_, four and one half to

six feet. _Usual width_, three fifths to three quarters length.

ISBARTA.—In the town of Isbarta in the southern part of the province of

Konieh are woven rugs which are sometimes known to the trade as

“Spartas.” Like many other pieces made to meet the Western demand, they

lack spontaneous individuality, but are often of excellent quality and

coloured in delicate tones, arranged harmoniously.

RHODIAN.—Even at a very early period the people of the islands bordering

the southwestern coast of Asia Minor produced textile fabrics that

rivalled many of the best products of the mainland. None of them were

more beautiful or more interesting than those which came from the Island

of Rhodes, where were blended the vigorous Grecian and the more subtle

Oriental arts. Here was the inspiration of the sea, cloudless skies,

luxuriant vegetation. Here was felt the deep influence of the Mohammedan

and Christian religions, as well as an early pagan mythology; and there

is little doubt that the cathedral walls and picturesque church of the

valiant knights of St. John made an impression on the weavers. It is not

surprising, therefore, that the fabrics should be of deep, rich colour

full of suggestion, and that the drawing of the long central panels

should remind one of cathedral windows.

Of the many beautiful rugs formerly woven in Rhodes only a few now

remain, and these are generally in the hands of collectors. Some are

odjaliks, some namazliks, some sedjadehs; but all, with the exception of

a few crude and coarsely woven pieces, have colours and weave that

bespeak a ripe age, amounting in many instances to one hundred years or

more. On the field of odjaliks are represented as a rule the usual

hexagonal figure with two sides at each end forming a triangle; and on

the fields of the namazliks are prayer arches which, though

characteristic, never equal the graceful drawing seen in Ghiordes rugs.

It is the sedjadehs that awaken the greatest interest, as they have some

striking peculiarities rarely seen in rugs of the mainland.

Their field is divided into two or three panels that extend almost the

full length of the field, and terminate at one end in flat and often

serrated arches. The spandrels are small; and placed transversely above

them is a low panel, that contains designs of mechanically drawn leaves,

vandykes resembling those of Ladiks, and other figures common to Asia

Minor rugs. In fact, these pieces at once suggest prayer rugs containing

two or more prayer arches, but the pattern is generally regarded as a

representation of cathedral windows. Both colouring and designs give

force to this idea. In each of the principal panels is a different

ground colour, as red, blue, or green, which is never gaudy, yet

exceedingly rich on account of the depth of pile; and in the overlying

figures there is often a strangely contrasting splendour of brighter

colouring. Furthermore, one of the most usual of these designs, arranged

like pole medallions, consists of large eight-pointed stars with

effulgent rays of brilliant hues. As we look at some of the rare old

pieces with this pattern, cathedral windows almost appear before us with

bright sunshine streaming in golden rays through the stained glass and

brightening the interior with its more sombre tones of “dim religious

light.” Sometimes the pole design is modified so as to suggest a tree

of life extending from one end of the panel to the other. An equally

common design represents six very mechanically drawn leaves assembled in

the form of a medallion (Plate O, Fig. 15, Page 291). Each of these

leaves has two straight edges meeting at right angles and containing at

the corner a small rectangular spot; but the remaining sides that form

the circumference of the medallion are deeply serrated, so as to produce

much the same effect as the rays of effulgent stars. In the fields are

also frequently seen latch-hooks, and occasionally checkerboards with

different colours for separate squares.

Between field and border is a close correspondence in both colours and

small designs. The latter consist principally of geometric and

semi-floral forms, as eight-pointed stars, the octagonal disc, and the

geometric leaf that is typical of Kulah rugs. No other design is more

prevalent than the last, which may be found in all parts of these rugs.

Sometimes it is drawn most realistically so as to resemble the flower

forms so common in spandrels of Kulahs; but again the outlines are most

conventional with square-like projections at the edges and a bar of

underlying field of contrasting colour crossing the face diagonally, as

in the border stripe of Plate G, Fig. 13, (opp. Page 192), which shows

the foliate origin of the latter.

The name “Makri” is frequently applied to these rugs, since they were

often bought in the city of that name, which is one of the harbours of

Southwestern Asia Minor nearest to Rhodes.

_Type Characteristics._ _Colours_, principally red and blue, also

considerable yellow, green, and white. _Knot_, Ghiordes. Knots to inch

horizontally five to eight; perpendicularly, seven to nine. The rows of

knots are not firmly pressed down, so that the warp shows in places at

back. _Warp_, wool; each of the two threads encircled by a knot is

equally prominent at back, occasionally one to each knot is slightly

depressed below the other. _Weft_, wool, of medium diameter, coloured

red. A thread of warp usually crosses twice between every two rows of

knots, rarely only once, and sometimes as many as four times. _Pile_,

wool, clipped long. _Border_, two to three stripes. _Sides_, a double

selvage of two, three, or four cords, usually coloured red or blue.

_Lower end_, a web, either red or of several colours, and long warp

fringe hanging loose or braided. _Upper end_, a web, either red or of

several colours, beyond which is often a heavy braided selvage; also a

long warp fringe hanging loose or braided. _Texture_, moderately loose.

_Weave_ at back is of slightly coarse grain. _Length_, four to seven

feet. _Width_, three fifths to four fifths length.

[Illustration: PLATE 41. KUBA RUG]

BROUSSA.—At the base of Mt. Olympus and distant only twenty-five miles

from the Sea of Marmora, with which it is connected by rail, is the city

of Broussa. By reason of this location and its proximity to

Constantinople, it is an important commercial centre; and on account of

the excellence of the wool and silk obtained in the surrounding country,

rugs are woven here for foreign markets. The fabrics are stoutly made

and compare favourably with those of Smyrna.

HEREKE.—In the town of Hereke, on the Sea of Marmora, is a Turkish

factory, where large numbers of silk rugs are manufactured. Most of the

silk is obtained in the immediate neighbourhood and from the country

about Mt. Olympus. As the early weavers were brought from Kirman to

instruct the artisans of the Sultan, and the patterns have been largely

copied from old Persian and Asia Minor pieces, it is not surprising that

many of the fabrics compare favourably with the silk rugs of Persia.

KONIEHS.—At the base of Mt. Taurus and overlooking the salt desert of

Central Asia Minor is the city of Konieh. Within its present walls is

all that is left of the ancient Iconium that opened its gates to

Xenophon, Cyrus, and Alexander, but drove forth the Apostle Paul.

Finally it surrendered to Seljukian conquerors, who, realising the

importance of its situation on one of the great highways between east

and west and in an oasis of well-watered fields, orchards, and gardens

which face a great barren plain, established there a Mussulman capital,

that became noted for its opulence and culture. In later years it

successfully resisted the assault of Frederic Barbarossa; but

subsequently it declined, until now the only remaining vestiges of its

former importance are several colleges, one hundred mosques, and the

famous green tower surmounting the tomb of the whirling dervishes.

In few other cities of Asia Minor were greater inducements offered to

the rug weavers. Surrounding them lay hills and plains that produced

sheep with soft, fine fleeces. On the oaks that grew not far to the

north lived the kermes, from which were obtained the vermilion dyes

famous even through Persia. The political and commercial importance of

the city, as well as the religious fanaticism of the people, aided them.

Accordingly a great many choice pieces were formerly woven there, but on

account of the remoteness of the city from the markets that supplied

Europe, few found their way into channels of trade.

Large numbers were used solely for religious purposes, but other kinds

are as frequently seen. All of them contain both geometric and floral

forms. The geometric forms resemble designs prevalent in Eastern

Anatolia and in Caucasia, such as latch-hooks, eight-pointed stars, and

barber-pole stripes; and the floral forms consist of mechanically drawn

palm leaves and the tree-of-life design.

Probably in no other Asia Minor rug is such latitude in the drawing of

the prayer arch. Sometimes it begins below the middle of the field and

rises at a sharp angle to a point near the upper end; again it may be

exceedingly flat; but generally it has the same pitch as the arches of

Kulahs, and, like them, the sides, as a rule, are stepped or serrated.

Furthermore, it is not unusual to see latch-hooks projecting from each

step or serration into the spandrel, which is filled with small floral

and geometric forms. From the niche is occasionally suspended a lamp;

and arranged against the border, on each side of the field, is a row of

conventionalised flowers, or small sprigs which resemble three

triangular-shaped petals at the end of a straight stem. These floral or

foliate designs are one of the most constant features of this class. The

borders are more geometric than those of almost any other Asia Minor

rugs, and even when vines are represented they are drawn with stiff

formality.

Whatever may be lacking in artistic drawing is frequently atoned for by

the excellence of the colour scheme, which occasionally rivals that of

the Ghiordes and Kulahs. Rich reds or blues are almost invariably found

in the fields, where there is sufficient depth of nap to enhance their

richness; and the borders are brightened by attractive tones of yellow,

green, and white. Contrasted with these old pieces, the modern rugs of

Konieh have little artistic merit, but are large pieces desirable solely

for their durability.

_Type Characteristics._ _Colours_, principally red and blue, with minor

quantities of yellow, green, and white. _Knot_, Ghiordes. Knots to inch

horizontally five to eight; perpendicularly, six to ten. The rows of

knots are not very firmly pressed down. _Warp_, wool; each of the two

threads encircled by a knot is equally prominent at back. _Weft_, wool,

of medium diameter, dyed red. A thread of weft crosses twice between

every two rows of knots. _Pile_, wool, of medium length. _Border_, from

two to five stripes, with frequently an outer edging. _Sides_, generally

a selvage of two or three cords, but occasionally an overcasting. _Both

ends_, a web and warp fringe. _Texture_, only moderately firm. _Weave_

at back is of slightly coarse grain. _Usual length_, four and one half

to six feet. _Usual width_, three fifths to three quarters length.

LADIKS.—On the ruins of ancient Laodicea is the mud-walled town of the

village of Ladik, once the centre of an important rug industry. Among

the surrounding hills are still woven pieces which resemble in pattern,

though they poorly imitate in weave and colour, the early prototypes

that have been classed among the masterpieces of Asia Minor. Few of

these old rugs remain, and they are often badly worn in spots; yet they

display tones mellowed by the touch of more than a century, and rival

the Ghiordes in beauty of design.

As is the case with other classes of rugs woven in Turkish countries,

the sedjadehs and odjaliks lack the interesting details of the

namazliks, from which they widely differ. On the central fields of many

of them are oblong hexagonal-shaped medallions, often three in number,

that contain designs of stars or other geometric figures. Between the

fields and the borders of the ends are generally spacious panels, on

which are represented rows of vandykes. These figures are one of the

most permanent characteristics of this class of rugs; and though their

origin is uncertain, it is not improbable that they are derived from

arrowheads, which were one of the emblems of the Chaldean deity Hoa, the

reputed inventor of Cufic writing. The borders are also geometric,

consisting, as a rule, of three stripes, of which the central contains

an angular vine that in different pieces may be very simple or very

ornate. One of the central stripes often adopted is represented in Plate

G, Fig. 10 (opp. Page 192) and shows a vine with conventionalised leaf.

Latch-hooks are common in the sedjadehs, and when floral forms are

present the fact is generally disguised by the harsh, mechanical

drawing.

In contrast with these pieces, the namazliks with their interesting

arches and dainty drawing are most pleasing. In a large number of them

the central fields occupy about one half the space within the border,

the spandrels extend for a considerable distance above the arch, and the

panels are larger than in any other prayer rug. Occasionally arches

resembling those of the Ghiordes or Kir-Shehrs are seen; but they are

to be regarded merely as copies, since the typical arch differs widely

from any other and gives to this class one of its greatest charms.

Instead of rising to the apex in lines of many serrations, each side of

the arch rises from the border and falls in one large serration, then

rises again to form the niche. The arch is often fringed with

latch-hooks, and extending above the apex of each serration and the

niche are perpendicular devices that may, also, be a development of the

latch-hook, since they have not been traced to any other satisfactory

origin. But whatever their origin may be, their shape as well as that of

the arch at once suggests Saracenic mosques. In the spandrel are

constantly seen serrated leaves, rosettes, and designs peculiar to the

Ladik. The large panel is equally typical, and consists of reciprocally

drawn vandykes, from which rise perpendicular stems supporting leaves

and pomegranates. These are generally five in number, and are so

gracefully and naturalistically drawn that it seems surprising that the

vandykes, from which they spring, are ornamented with a profusion of

latch-hooks. The central fields are sometimes without ornament, but as a

rule they contain some suggestions of the tree of life either in the

central design or in the three-leaf sprigs arranged about the borders.

The latter are as characteristic as any other part of the rug, and

consist of four stripes separated by dotted lines. The main stripe most

frequently contains a row of delicately drawn lilies alternating with

rosettes, though occasionally a very formal vine with conventionalised

leaf is substituted for it. In the stripes at each side are very angular

vines with three-cleft leaves, and in the narrow innermost stripe is

generally a ribbon pattern.

All of the drawing has clear definition accentuated by rich and strongly

contrasting colours. The fields of the namazliks, like those of the

Ghiordes, are entirely occupied by masses of unshaded blue, red, or

brown, that are relieved only by the colours of superimposed designs.

But as is not the case with Ghiordes, there is often a strong contrast

between the colours of centre and ends; yet the tones are always in

perfect harmony. Other rugs may have more delicate drawing or more

exquisite finish; but in the barbaric arrangement of strong colour and

in the uniqueness of graceful designs, none exceed the old prayer

Ladiks.

[Illustration: PLATE 42. CHICHI RUG]

_Type Characteristics._ _Colours_, principally red and blue, with minor

quantities of green, yellow, and brown. _Knot_, Ghiordes. Knots to inch

horizontally nine to twelve; perpendicularly, ten to thirteen. A half

knot as it appears at back is longer than wide. The rows of knots are

pressed down so that the warp is concealed at back. _Warp_, wool. One of

the two threads encircled by a knot is generally depressed below the

other at the back. _Weft_, wool of fine diameter, generally dyed red. A

thread of weft crosses twice between every two rows of knots. _Pile_,

wool, of medium length. _Border_, three to five stripes. _Sides_, a red

added selvage of two or three cords. _Both ends_, a narrow web and warp

fringe. _Texture_, moderately firm. _Weave_ at back is of medium grain.

_Usual length_, four and one half to seven feet. _Usual width_, three

fifths to two thirds length.

KIR-SHEHRS.—To the north of the great salt desert and in the southern

part of the province of Angora is the town of Kir-Shehr. It stands

between two mountain ranges, on which are raised sheep with fine

fleeces, and is on the branch of the Kizil Irmak, whose waters are well

suited for preparing wool for the dyes obtained in the surrounding

country. On account of the excellence of wool, water, and natural dyes,

as well as the remoteness of the town from main highways of travel, many

of the old rugs were excellent pieces, free from the taint of Western

influences, and possessing the charm of individuality. It was due,

moreover, to the fact that its three or four thousand inhabitants, and

the Turkomans who roamed the surrounding country, rarely felt the

influence of larger cities that they were so untrammelled by

conventionalities. Unhesitatingly they grouped together large spaces of

red, yellow, and blue, as well as grass-coloured green, for which they

had a particular fondness and employed to a greater extent than almost

any other weavers; yet in the case of these old pieces the artistic

sense is rarely shocked, since the individual colours are good and the

tones are harmonious. Furthermore, the patterns show an unusual blending

of floral and geometric forms.

Most of the pieces come in moderate sizes; some are mats, others small

sedjadehs, but the choicest are the prayer rugs. The serrated sides of

the arch, which rise at a steep angle from the centres of each side of

the rather narrow fields, are formed of several parallel lines of

different colour. In a not unusual rug, for instance, eight narrow lines

separating the spandrel of grass-green from the inner field of brick-red

appeared in the following order: red, black, white, yellow, lavender,

yellow, red, and blue. The inmost line is frequently fringed with

tri-cleft floral forms, which, as in Koniehs, extend in a row along the

sides of the field. From the niche is usually suspended the design of an

inverted tree of life, and above it are projected latch-hooks or similar

devices. It is not unusual to see two arches, and there are sometimes as

many as four, placed one within the other. The spacious spandrel that is

continued in narrow stripes along the borders to the bottom of the field

is covered with geometric or conventionalised floral forms; and the

horizontal panel, which may be placed at either end of the field,

contains designs in harmony with the remaining parts.

On the whole, the wide borders have some of the most characteristic

features; for, as a rule, not only are one or two of the stripes of a

peculiar cherry red and one a rich yellow, but three or four of the

narrow stripes next to the field are similar in width and ornamentation

to those of the Kulah. When contrasted with them the broad central

stripe and the outer one seem lacking in harmony, for they are

distinctly floral and suggestive of Persian influences.

On account of the quality of their wool and weave, these rugs are soft

and flexible. They resemble in some minor details others of the

Anatolian plateau, yet they can be distinguished by the presence of

grass-green colour and the shape of the prayer arch. The nap of these

old pieces, like that of Kulahs and Ladiks, is of medium length; though

in modern pieces it is often longer, and the weft and webs are coloured

as are those of Bergamos.

_Type Characteristics._ _Colours_, principally red and green, also some

blue, brown, and white. Knot, Ghiordes. _Knots_ to inch horizontally

five to nine; perpendicularly, five to ten. A half knot as it appears at

back is as long as, or longer than, wide. The rows of knots are not

firmly pressed down, so that in places the warp shows. _Warp_, wool;

each of the two threads encircled by a knot is equally prominent at

back, or occasionally one is slightly depressed. _Weft_, wool, of medium

or coarse diameter and generally of different colours in the same rug. A

thread of weft crosses from two to six times between two rows of knots,

varying in the same rug. _Pile_, wool, of medium length. _Border_, from

five to eight stripes. _Sides_, a weft selvage of two, three, or four

cords of different colours. _Lower end_, web and warp loops. _Upper

end_, a web and warp fringe. _Texture_, loose. _Weave_ at back is of

coarse grain. _Usual length_, four to six feet. _Usual width_, two

thirds to four fifths length.

ANATOLIANS.—To all of Asia Minor was once applied the term “Anatolia,”

which signifies the Land of the Rising Sun; so that any product of this

country might well be called Anatolian, just as any product of Persia

might be called Iranian. In fact, many of the less known classes, as the

Nigde, Tuzla, Mudjar, and even the Kir-Shehr, Melez, and Konieh, are

often called Anatolian. But as there is a special type of rugs known as

Iranians, so is there a special type known as Anatolians. They are,

however, a mixed lot, that come from parts of a wide stretch of

territory, extending over the interior table-land to the home of the

Kurds, and incorporating ideas received from many districts. It is,

accordingly, difficult to define them as a type; but, as a rule, they

are small pieces that are often used for mats and pillows, with

moderately long nap of soft, floccy wool, with narrow borders, and a

colour scheme that inclines to bright and sometimes garish colours.

Doubtless the best of them come from the provinces of Angora and Konieh,

lying within a radius of one hundred miles of Lake Tuz Gul. Here can be

obtained the best of wool and dyes; and in some of the old pieces

appears the artistic drawing of the more important rug centres farther

to the west, but with a strange blending of geometric and floral forms.

Eight-pointed stars as well as latch-hooks are seen everywhere, and a

very old design with the shape of ram’s horns is frequently used. In

many of the prayer rugs the arches are of the Kir-Shehr order, though

the panels may contain vandykes suggestive of Ladiks. There is the

greatest latitude in the width of the borders, which occasionally are

their most noticeable feature and again are most insignificant; but in

either case they rarely contain more than three stripes, and not

infrequently only one. Red, blue, green, and brown are the usual

colours, but pink and canary yellow are sometimes used.

Farther to the east, among the foot-hills of the Anti-Taurus mountains,

is woven a coarser type by the Kurdish tribes. With the exception of

wool and dyes they have little to their credit; for their usual

unsymmetric shapes, crude geometric designs, long uneven nap, and

braided fringe of warp at the ends are lacking in all elegance.

_Type Characteristics._ _Colours_, principally red, blue, green, brown,

and white. _Knot_, Ghiordes. Knots to inch horizontally five to nine;

perpendicularly, six to twelve. A half knot, as it appears at back, is

generally as long as wide, or longer. The rows of knots are not firmly

pressed down, yet the warp is frequently concealed at back. _Warp_,

wool; each of the two threads encircled by a knot is equally prominent

at back. _Weft_, wool, of medium or coarse diameter and usually dyed, A

thread of weft crosses two, three, and four times between two rows of

knots frequently varying in the same piece. _Pile_, wool, of medium

length. _Border_, one to three stripes, and occasionally an edging.

_Sides_, a weft selvage of two or three cords. _Both ends_, a web and

warp fringe. _Texture_, loose. _Weave_ at back is of coarse grain.

_Usual length_, two and one half to six feet. _Usual width_, one half to

two thirds length.

KARAMANS.—At the foot of Mt. Taurus and overlooking the plain that

stretches northward into the heart of Asia Minor is the city of Karaman.

Before its subjection in the XV Century by Bajazet II and the removal of

the capital to Konieh, that lies sixty miles to the northwest, it was

the seat of a Turkish government extending to the Mediterranean Sea; but

to-day the only reminder of its early importance are several Saracenic

mosques covered with rich arabesques. Of the rugs woven there during the

early period almost nothing is known, but, on account of the former

importance of the city, it is not improbable that they compared

favourably with the rugs of other parts of the Turkish Empire. On the

other hand, some of the modern products are among the poorest rugs of

the East, and contain little artistic merit. A feature peculiar to many

of them is the use of natural wool of reddish brown colour, obtained

from sheep which live on the mountain ranges to the south of Karaman.

The pile is long, the weave is never very firm, and at each end is a

coloured web.

SIVAS.—In the city of Sivas, at the eastern end of Anatolia, and in the

villages of the surrounding plain, girls and women have woven rugs from

time immemorial; but on account of the difficulties of transportation

few of them reach this country. The carefully finished sides and ends,

the formal character of the pattern, and the almost harsh effect of the

strongly contrasting colours of many of them are unlike what are found

in the nomadic rugs made farther to the east and west. In the weave is a

hint of Persian influence; for not only are both warp and weft of

cotton, but the warp is of small diameter and well spun, and one of the

two threads to which a knot is tied is depressed below the other. The

pattern, on the other hand, is distinctly Turkish. One of the best known

types consists of a large hexagon that reaches to the sides and ends,

and contains within it a medallion on which are designs similar to those

seen in Bergamos. On the white field surrounding the medallion are often

small rosettes and floral figures. The corners of the field may be

fringed with running latch-hooks or a row of formal T’s, and contain a

rosette at their centre. The borders are rarely wide, and often consist

of a single stripe that contains some conventionalised floral form.

Although these rugs are well woven, their crude blending of floral and

geometric figures, as well as their formality of drawing, which is

accentuated by the shortness of the nap, are most suggestive of

Occidental conventions.

[Illustration: PLATE 43. TCHERKESS RUG]

_Type Characteristics._ _Colours_, principally red and white; also dull

blue, green, and light yellow. _Knot_, Ghiordes. Knots to inch

horizontally seven to eleven; perpendicularly, nine to fifteen. A half

knot, as it appears at back, is not as long as wide. The rows of knots

are pressed down, so that the warp does not show at back. _Warp_,

cotton, well spun and of small diameter. One of the two threads

encircled by a knot is depressed below the other at back and sometimes

doubled under the other. _Weft_, cotton, of medium diameter. A thread of

weft crosses twice between every two rows of knots. _Pile_, wool of

short to medium length. _Border_, narrow, one to three stripes. _Sides_,

an added selvage of four or five cords attached in places, and with weft

encircling inner cord of selvage. _Both ends_, narrow web and loose warp

fringe. _Texture_, firm. _Weave_ at back is only slightly coarse. _Usual

length_, three and one half to six and one half feet. _Usual width_, two

thirds to four fifths length.

MUDJARS.—Near the river Kizil Irmak in Central Asia Minor is the city of

Mudjar, which produces rugs that occasionally reach this country. They

are often classed as Anatolians, but their colour scheme covers a wider

range, including red, yellow, green, blue, mauve, and pink, all of which

may be seen in the same piece. In fact no other rug of Asia Minor

contains as a rule so many colours, which appear in the broad borders of

old, well-woven pieces with glistening wool almost like mosaic work.

Many of this class are namazliks with arches very similar to the arches

in the rugs of Kir-Shehr, which is distant only twenty-five miles to the

north; and in the panels above the spandrel are not infrequently designs

of vandykes borrowed from the Ladiks. Some suggestion of the tree of

life often appears in the field, and again rows of flowers may extend

into it from the sides. Some of the best examples are very handsome.

_Type Characteristics._ _Colours_, principally red, yellow, blue, green,

and ivory, also mauve and pink. _Knot_, Ghiordes. Knots to inch

horizontally six to nine; perpendicularly, seven to twelve. _Warp_,

wool. Each of the two threads of warp encircled by a knot is frequently

equally prominent at the back, but generally one is depressed below the

other. _Weft_, wool, of medium to coarse diameter dyed red or brown. A

thread of weft crosses twice between every two rows of knots. _Pile_,

wool of medium length. _Border_, broad, of three to four stripes.

_Sides_, a three-cord selvage, frequently red. _Both ends_, coloured

webs and fringe. _Texture_, loose. _Weave_, moderately coarse. _Usual

length_, four to six feet. _Usual width_, two thirds to three quarters

length.

NIGDES.—Near the base of the Anti-Taurus mountains in the eastern part

of the province of Konieh is the city of Nigde, which is little known in

this country as a rug-producing centre, though its fabrics reach Europe.

Many of them are namazliks, that are distinguished by their high

geometric arches. The borders often show the influence of the Kurdish

tribes, and contain patterns common in the Mesopotamian valley; but

their colour scheme of red, blue, and yellow more closely resembles the

Anatolian. Most of them are of small size and are poorly woven.

TUZLAS.—Another class of Asia Minor rugs rarely seen are the Tuzlas.

They are generally regarded as Anatolians, but are made by people who

live about Lake Tuz Gul in the province of Konieh. Some of them are well

woven, and have soft woollen pile and attractive patterns. The prayer

arch of the namazliks bears some resemblance to the arch of the

Kir-Shehrs; the panel is relatively high; and not infrequently the

borders have rosettes similar to those of Bergamos. The principal

colours are red, blue, green, and ivory.

KAISARIYEH.—One of the few Asia Minor centres for the manufacture of

silk textiles is the city of Kaisariyeh, the ancient Cæsarea, near the

eastern part of Anatolia. Formerly rugs of excellent quality were made

there; but the modern products are, as a rule, inferior both in

workmanship and material to those of Hereke. Frequently their dyes are

aniline and the colours garish. Many of them are prayer rugs with

arches resembling the Ghiordes pattern, but their borders are more

conventional. Woollen rugs which are copies of other well-known Asia

Minor pieces are also woven there.

[Illustration: _COLOUR PLATE VII—LADIK PRAYER RUG_

_The rug here represented conforms in every particular to one of the

best types of Ladik prayer rugs. It contains the beautiful border stripe

of Rhodian lilies, the pomegranates and vandykes in the panel below the

central field, and the queer designs of scrolls and serrated leaves so

peculiar to these rugs. It is interesting to see how the pattern of the

innermost stripe, which consists of a row of S-forms at the top and

sides, is changed so as to resemble a ribbon at the bottom, to note the

eight-pointed stars resting on octagons in the lower panel, so

suggestive of nomads, and also the designs which have been placed near

the two corners on the left, between the rosettes and Rhodian lilies of

the main stripe, as if to divert the spell of the “evil-eye.” Such

irregularities, denoting the idiosyncrasies of the weaver, add to the

charm of Oriental rugs._

_Loaned by Mr. Hulett C. Merritt_]

YURUKS.—Suggestive of gipsies, yet widely unlike them, are the tribes of

Turkoman descent known as Yuruks. This term means “Wanderers;” and they

are well named, since throughout the western part of Asia Minor they

follow their sheep, cattle, and camels from the rich pastures among the

mountain tops of the interior, where they live in summer, to the

fertile, sunny plains bordering the seashore in winter. Even near Smyrna

and the slopes of Mt. Olympus may be seen their black goat’s-hair tents,

where the unexpected guest is always welcome.

In their rugs is the reflection of their untrammelled lives, unaffected

by the refinements of cities; and as their lives are different from

those of all other inhabitants of Asia Minor, so are these rugs entirely

distinct, resembling more than anything else the work of the wild Kazaks

of the Caucasus. In them will be recognised the same long nap, the same

massing of colour, the same profusion of latch-hooks, and other simple

designs. The colours, however, are less brilliant, bright reds and

yellows being more sparingly used; but on the other hand the depth of

floccy nap gives a subdued richness to the dark metallic madder, blue,

green, and brown, such as is rarely seen in any Kazak. The patterns show

the usual diversity of nomadic rugs. The fields may contain crude,

unrelated figures, or diagonal stripes on which are small geometric

designs. Again from the Kurdish tribes to the east may be adopted the

pear designs as well as floral forms, but the drawing is always far from

realistic.

Most of the modern rugs have fine wool coloured with vegetable dyes, and

stout warp and weft woven to give flexibility; but their patterns show a

want of all artistic feeling. Now and then, however, comes to light a

piece that has stood the wear of more than a century, showing the touch

of a higher craftsmanship, and with colours softened by each succeeding

year.

_Type Characteristics._ _Colours_, principally brown, red, and blue,

with minor quantities of yellow, green, and white. _Knot_, Ghiordes.

Knots to inch horizontally five to seven; perpendicularly, six to nine.

The rows of knots are not closely pressed down, yet the warp does not

show at back. _Warp_, wool or goat’s hair; each of the two threads

encircled by a half knot is equally prominent at back. _Weft_, wool of

medium diameter. A thread of weft crosses two, three, or four times

between every two rows of knots, varying in the same rug. _Pile_, wool,

clipped long. _Border_, from four to six stripes, occasionally with an

outer edging. _Sides_, generally a heavy double overcasting, but

occasionally a double selvage of two or three cords. _Lower end_, a

coloured web through which generally runs a parti-coloured cord, and

warp loops; or the warp threads may be knotted and hang loose. _Upper

end_, a coloured web through which generally runs a parti-coloured cord,

a braided selvage, and a warp fringe; or the warp ends may be braided

together at short intervals. _Texture_, loose. _Weave_ at back is of

moderately coarse grain. _Usual length_, four to nine feet. _Usual

width_, two fifths to two thirds length.

ASIA MINOR BORDER STRIPES

Regarded as a whole, the borders of Asia Minor rugs show but slight

relationship to either the geometric patterns of the Caucasian, or the

floral patterns of the Persian; for as a rule the geometric features

either are subordinate or suggest an origin by degradation from floral

designs, and the floral features generally are represented by an orderly

arrangement of disjunct forms rather than by continuous vines with

pendent flowers. Yet there is no doubt that some were copied by

Caucasian weavers, and that many were derived from Persian patterns.

They are frequently, however, more artistic than the former, more

interesting than the latter, and rival both in beautiful colouring and

delicate drawing.

_Primary Stripes._—Several different stripes peculiar to Ghiordes prayer

rugs are illustrated in Plate G, Figs. 1, 2, 3, 4, and 5 (opp. Page

192). The first of these is probably the oldest. It is so strikingly

suggestive of the Herati design of rosette and attendant leaves that

there can be little doubt of its Persian origin. The seed-like processes

of the alternate rosettes are noticeable. The second, which is found in

many of the Ghiordes rugs, shows the same pattern more conventionalised,

with the rosette resembling an open pod and with the leaves almost

octagonal-shaped. The third is a still greater evolution of the same

pattern in which leaves and rosettes of nearly equal shape and size are

placed at three angles of a quadrangular space. The last, which is a

very elaborate pattern somewhat similar to the first, is found in a few

old rugs. Besides these, a number of parallel lines similar to those of

Kulah rugs (Plate G, Fig. 12) are sometimes seen in the Ghiordes.

[Illustration: PLATE G. PRIMARY BORDER-STRIPES OF ASIA MINOR RUGS]

One of the best known Ghiordes stripes found in odjaliks and sedjadehs

is shown in Plate G, Fig. 6. It is a broad stripe with wide, vine-like

bands covered with rows of small flecks or flowers. Between each flexure

of the band are designs probably symbolic of early sun worship.

In Plate G, Fig. 7, is represented the most usual and beautiful stripe

of the Ladik prayer rugs. The principal motives are Rhodian lilies, and

rosettes identical with Persian forms, that are probably

conventionalised roses. Another stripe, in which the lily is replaced by

a conventionalised vine, is shown in Plate G, Fig. 8. Both these stripes

are found only in Ladik rugs. Other stripes seen now and then in Ladik

and Melez sedjadehs are illustrated in Plate G, Figs. 9, 10, and 11,

each of which shows a conventionalised leaf.

One of the most typical Kulah stripes is seen in Plate G, Fig. 12. It

might in fact be regarded as a number of parallel stripes, but as will

be evident by observing a large series of Kulahs it serves the function

of a single broad stripe. Often the separate bands are replaced by a

ground of uniform colour marked by parallel rows of minute flowers of

regularly varying colour. Occasionally this stripe is copied by Ghiordes

weavers.

In Plate G, Fig. 13, is a well-known stripe that appears both in Kulah

and Rhodian rugs. As previously explained, its origin is probably

floral, though the drawing is geometric. A formal stripe found in

Bergamos, and consisting largely of diamonds and eight-pointed stars, is

represented in Plate G, Fig. 14.

Figs. 15 and 16 of Plate G illustrate the border stripes of Melez rugs.

Each contains regularly spaced rosettes, separated by conventionalised

leaf forms. A much more geometric Melez border, in which the rosettes

are replaced by eight-pointed stars and the leaves by discs, is shown in

Plate G, Fig. 17.

A geometric stripe of uncertain origin that is found in some Koniehs is

shown in Plate G, Fig. 18.

In Plate G, Figs. 19 and 20, are represented two stripes characteristic

of Kir-Shehrs. The former is a dainty pattern consisting of a row of

bushes separated by the lily design. It is occasionally found in the

Melez also.

A typical Mudjar stripe in which the geometric patterns are subdivided

into small and richly coloured mosaic work is seen in Plate G, Fig. 21.

In Plate G, Fig. 22, is illustrated a Yuruk border stripe such as is

frequently seen in modern pieces.

_Secondary and Tertiary Stripes._—In Plate H, Figs. 1 and 2 (opp. Page

194), are illustrated two secondary stripes frequently seen in Ghiordes

and Kulah rugs. The first is most suggestive of a running vine, and the

second has doubtless been derived from it.

A more ornate pattern, which generally accompanies the broad band of

perpendicular lines peculiar to Ghiordes and Kulah rugs, is shown in

Plate H, Fig. 3. The arrangement of three leaves in angles of

quadrangular spaces suggests relationship to the primary stripe of Plate

G, Fig. 3 (opp. Page 192).

Two other secondary stripes found in Ghiordes rugs are seen in Plate H,

Figs. 4 and 5. The former, which is also found in Kulahs is a vine and

flower subject to many modifications.

A tertiary stripe containing a ribbon-like vine is very usual in

Ghiordes and Kulah pieces. One of these, which is very graceful, is

shown in Plate H, Fig. 6.

Another angular vine with pendent flower, that appears as a secondary

stripe of a large number of Ladik prayer rugs, is illustrated in Plate

H, Fig. 7. This resembles a few Persian stripes, but the drawing of the

pendent leaf is characteristic of Asia Minor.

Figs. 8 and 9 of Plate H represent two tertiary stripes often seen in

Ladiks and Kulahs. They illustrate the evolution of patterns; for in the

same stripe of a rug will sometimes be seen the first of these and the

simple ribbon pattern of Plate F, Fig. 18 (opp. Page 158), and also in

the same stripe of another rug will sometimes be seen the second of

these and a continuous row of “_ff_” designs, as in Plate H, Fig. 2.

The most typical of all Kulah secondary stripes, though it is also seen

in Rhodian rugs and occasionally in an old Ghiordes, is illustrated in

Plate H, Fig. 10. A somewhat similar stripe is shown in Plate H, Fig.

11. The design looks like a Chinese motive, but that it is evolved from

a vine will be seen by comparing these stripes with those in Figs. 4 and

12. All of them are Asia Minor border stripes.

[Illustration: PLATE H. SECONDARY AND TERTIARY BORDER-STRIPES OF ASIA

MINOR RUGS]

In Figs. 13 and 14 of Plate H are illustrated the swastika and S

stripe, which are seen now and then in Asia Minor rugs, such as Kulahs,

and also in Caucasian rugs.

One of the most typical of Melez secondary stripes, representing

processes like cogs projecting in a row from alternating sides of the

stripe, is shown in Plate H, Fig. 15. The stripes shown in Figs. 16 and

17 of Plate H, representing a row of small rosettes and a row of

octagonal discs, are also occasionally seen in Melez rugs.

The very angular vine shown in Plate H, Fig. 18, is sometimes seen in

Koniehs.

A very unusual secondary stripe (Plate H, Fig 19), found in a few

Anatolians, represents a fret pattern, which was probably copied from

some monument.

The chain pattern (Plate H, Fig. 20) is occasionally seen as a tertiary

stripe in the Ghiordes. It appeared in Asia Minor rugs of several

centuries ago, and has been copied by the weavers of Caucasia. Sometimes

the lines are angular, and again the S’s are separated by small round or

square dots.

TECHNICALITIES IN THE WEAVE OF ASIA MINOR RUGS

Legend:

KNOT—

H = Horizontally

P = Perpendicularly

WARP—

g = goat’s hair

s = silk

e = each equally prominent

d = 1 to the knot depressed

h = 1 to the knot doubled under

WEFT—

s = silk

j = jute

No. = No. times crossing bet. two round knots

SIDES—

O = overcasting

S = selvage

LOWER END

W = web

S = Selvage

K = Rows knots

L = warp loops

F = fringe

UPPER END

W = web

S = selvage

K = Rows knots

T = turned back and hemmed

F = fringe

┌────────────┬────────────────────────────┬──────────────────────────────┐

│ │ KNOT │ WARP │

│ ├─────────┬──────┬───────────┼─────┬───────┬────┬───────────┤

│ ASIA MINOR │ │ │ Number to │ │ │ │ At back │

│ │ │ │ Inches │ │ │ │ │

│ │ G = │ S = ├─────┬─────┤ w =│ c = │ ├───┬───┬───┤

│ │ Ghiordes│ Sehna│ H │ P │ wool│ cotton│ s/l│ e │ d │ h │

├────────────┼─────────┼──────┼─────┼─────┼─────┼───────┼────┼───┼───┼───┤

│Anatolian │ G │ │ 5-9 │ 6-12│ w │ │ │ e │ │ │

│Bergamo │ G │ │ 5-9 │ 7-10│ w │ │ │ e │ │ │

│Ghiordes │ G │ │ 7-12│ 8-16│ w │ c │[s] │ e │[d]│ │

│Karaman │ G │ │ 6-9 │ 8-13│ w │ │ │ │ d │ │

│Kir-Shehr │ G │ │ 5-9 │ 5-10│ w │ │ │ e │[d]│ │

│Konieh │ G │ │ 5-8 │ 6-10│ w │ │ │ e │ │ │

│Kulah │ G │ │ 5-10│ 7-12│ w │ │ │[e]│ d │ │

│Ladik │ G │ │ 9-12│10-13│ w │ │ │[e]│ d │ │

│Meles │ G │ │ 5-8 │ 6-11│ w │ │ │ e │ │ │

│Rhodian │ G │ │ 5-8 │ 7-9 │ w │ │ │ e │[d]│ │

│Sivas │ G │ │ 7-11│ 9-15│ │ c │ │ │ d │[h]│

│Youruk │ G │ │ 5-7 │ 6-9 │ w │ │[g] │ e │ │ │

└────────────┴─────────┴──────┴─────┴─────┴─────┴───────┴────┴───┴───┴───┘

┌────────────┬──────────────────────────┬───────┬─────────────────┐

│ │ WEFT │ SIDES │ LOWER END │

│ ├─────┬───────┬────┬───────┼───┬───┼─────┬───┬───┬───┤

│ ASIA MINOR │ │ │ │ │ │ │ │ │ │ │

│ │ w = │ c = │ │ │ │ │ │ │ │ │

│ │wool │ cotton│ s/l│ P │ O │ S │ W/S │ K │ L │ F │

├────────────┼─────┼───────┼────┼───────┼───┼───┼─────┼───┼───┼───┤

│Anatolian │ w │ │ │ 2-4 │ │ S │ W │ │ │ F │

│Bergamo │ w │ │ │ 2-6 │ │ S │ W │ │ │ F │

│Ghiordes │ w │ c │[s] │ 2 │ │ S │ W │ │ │ F │

│Karaman │ w │ │ │ 2 │ O │ S │ W/S │ │ L │ │

│Kir-Shehr │ w │ │ │ 2-6 │ │ S │ W │ │ L │ │

│Konieh │ w │ │ │ 2 │ │ S │ W │ │ │ F │

│Kulah │ w │ │[j] │ 2/[1] │ │ S │ W │ │ │ F │

│Ladik │ w │ │ │ 2 │ │ S │ W │ │ │ F │

│Meles │ w │ │ │ 4 │ │ S │ W │ │ │ F │

│Rhodian │ w │ │ │2/[1-4]│ │ S │ W │ │ │ F │

│Sivas │ w │ c │ │ 2 │ │ S │ W │ │ │ F │

│Youruk │ w │ │ │ 2-4 │ O │[S]│ W │[K]│ L │ F │

└────────────┴─────┴───────┴────┴───────┴───┴───┴─────┴───┴───┴───┘

┌────────────┬─────────────────┬───────────┬───────────┬──────────┐

│ │ UPPER END │ NAP │ WEAVE │ TEXTURE │

│ ├─────┬───┬───┬───┼───────────┼───────────┼──────────┤

│ ASIA MINOR │ │ │ │ │l = long │f = fine │l = loose │

│ │ │ │ │ │m = medium │m = medium │m = medium│

│ │ W/S │ K │ T │ F │s = short │c = coarse │f = firm │

├────────────┼─────┼───┼───┼───┼───────────┼───────────┼──────────┤

│Anatolian │ W │ │ │ F │ m │ c │ l │

│Bergamo │ W │ │ │ F │ m/l │ f │ m │

│Ghiordes │ W │ │ │ F │ s │ f │ m │

│Karaman │ W/S │ │ T │ F │ l │ c │ l │

│Kir-Shehr │ W │ │ │ F │ m │ c │ l │

│Konieh │ W │ │ │ F │ m │ m/c │ m/f │

│Kulah │ W │ │ │ F │ m/s │ m/c │ l │

│Ladik │ W │ │ │ F │ m │ m │ m/f │

│Meles │ W/S│ │ │ F │ m/[s] │ m/c │ l │

│Rhodian │ W/S│ │ │ F │ l │ m/c │ m/l │

│Sivas │ W │ │ │ F │ m/s │ m/c │ f │

│Youruk │ W │ K │[T]│ F │ l │ c │ l │

└────────────┴─────┴───┴───┴───┴───────────┴───────────┴──────────┘

[] indicates the less frequent condition.