VI. A palm leaf with regular contour, its centre containing a small floral design. This form of design is found in more or less detail in the rugs of Persia and India. [Illustration: VI] VII. A palm leaf formed by a floral branch and without distinct outline. [Illustration: VII] VIII. Cloud bands, seen in Chinese and old Ghiordes rugs. IX. A lozenge surrounded by the Hook design. This is found in rugs made by nomadic tribes of Asia. [Illustration: VIII] [Illustration: IX] [Illustration: X] X. A continued wave-like design with rosettes attached. At intervals a delicate tendril effect is interposed on either side of the wave-line. [Illustration: XI] XI. A continued wave-like design interrupted by a two-cleft figure. [Illustration: XII] XII. A rosette, the tips of its leaves bending backward. The rosette is often met with in old Khorassan, Herat, Feraghan, and other Persian rugs. [Illustration: XIII] XIII. Reciprocal trefoil, or spade design. Found as a border design in many of the Caucasian and some Persian rugs, especially the Saraband. [Illustration: XIV] XIV. The central design holds a rosette, to which are joined four blossoms resting in valvular calyxes, the complete design forming a cross. [Illustration: XV] XV. Four designs characteristic of the Caucasian rug. [Illustration: XVI] XVI. The Fylfot is in the form of a Greek cross with each arm continuing at right angles. It is also known as the Swastika, and is the symbol of good fortune. It has been a favorite design in the rugs of Greece, and of the Orient, while it predominates in the Navajo rugs of the United States. XVII. The Guli Hinnai is a decorative floral design found at its best in the old rugs of Feraghan. It is copied from the flowers which grow in small clusters on the henna-plant, from which it derives its name. [Illustration: XVII] XVIII. The Lotus is the water lily of Egypt. In various forms it is found in antique rugs of Persia. [Illustration: XVIII] XIX. The Medallion, in both floral and geometrical designs, is seen in many rugs of all rug-weaving countries. [Illustration: XIX] There are many more designs which by careful investigation can be found. Among others the Arabesque, Chinese fret, Circle, Comb, various forms of the Cross, Mina Khani, Octagon, the S form, Scroll, Serrated leaves, Shah Abbas, the Star,--six or eight pointed,--the Tarantula, Triangle, the Y form, and the Zigzag. THE DYES When doing their best work, Oriental weavers use the softest of permanent dyes. The result obtained is in every case a thing of beauty and utility. The aniline dyes are, of course, not to be compared to the vegetable, although the best of them are not to be utterly condemned. The poorest aniline dye eats into the rug, and the color fades. [Illustration: WOOL DRYING AFTER DYEING]