The texture of Chinese floor coverings is usually far coarser than the Persian, or even the Turkish, notwithstanding that they are woven in the Persian knot, which lends itself to amazing fineness of detail. In addition to this coarseness a very heavy weft or cross-thread is used, sometimes four heavy strands after each transverse row of knots. This results in a very flat “lie” of the pile. The difference between this and the fine, almost perpendicular pile found in the rugs of Ispahan (so-called) of Tabriz and of Kashan, is striking; but it doubtless expresses the general attitude of the Chinese toward the rug. They evidently regarded it merely as a medium for the presentation of simple patterns and broad masses of color, and the quickest method of securing these was the best. DESIGN AND TREATMENT Chinese rug design and treatment are plainly impressionistic, as contrasted with the infinite detail that marks the high-school weavings of Persia. [Illustration: COVERING FOR A CHAIR SEAT AND BACK This fabric is in yellow and blue. The sacred mountain is the chief feature of the design] The Chinese weaver adapted the method to his requirements, and some of the most beautiful effects in the Chinese fabrics are found in absurdly coarse specimens. On the other hand, when he did undertake finer accomplishments, he vindicated all the high artistic traditions of his race. Perhaps the most impressive illustration of the racial skill and deftness is the cut work with which, in the better rugs, many of the patterns are outlined. This consists in the seemingly simple device of cutting away half the knot along the lines of a pattern; such, for example, as a flower or vine, a wave or a bird. The result is to leave the pattern clearly defined and in actual relief, without the interjection of another color. This cutting takes the place of the color outline almost universally used in Persia. In this, as in almost every phase of artistic accomplishment, the Chinese individuality and conservatism are manifest. When we consider Chinese history and note the multitude of race factors that have gone into China-Arabs, Jews, Nestorians, Hindus, Armenians, and Turks, the wonder is that the Chinese weaving art is not manifestly and obtrusively composite; that is to say, that it does not show on its surface these various elements. But, on the contrary, it has taken the “busy” patterns of the races farther west, stripped them of their masses of confusing detail, and imbued them with the dignity and indefinable calm which seems to be the inevitable Chinese mark.