Referring again to the fidelity with which the Persian theory has been followed, observe that the design works out from a mathematically precise central point, and is built in all directions with perfect equality. Every figure has its exact counterpart on the opposite side; side or end, the balance is preserved even to the corner patterns. Given such impeccable skill in the adjustment of the design, there remains only one test point; namely, the distribution of color. Observe in this regard with what nicety the dainty touches of light and dark blue are balanced against one another, from the central medallion outward; and also how the little note of irregularity which is held of such vital importance by the superstitious Persian, even in his greatest masterpieces, is struck here by employing blue in some of the smaller field devices, butterflies and flowers alike, and omitting it from the corresponding figures at the opposite side. Herein lies the human charm in the old weaving of Asia, the touch which makes us know the ancient weaver and his thought, across the space of lifetimes. PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 2, SERIAL No. 102 COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC. [Illustration: PLATE II ANTIQUE CHINESE RUG] CHINESE RUGS ANTIQUE CHINESE RUG Monograph Number Two in The Mentor Reading Course Length, eight feet ten inches. Width, five feet seven inches. Thirty hand-tied knots to the square inch. The student should compare this rug, in all its details, with that reproduced in Plate I, the property of Mr. Carll Tucker. The two fabrics belong practically to the same school, and are not widely separated in period. They have many points in common. Those in which they do not agree are the more important. For many reasons I am inclined to accord the honors to the other rug on the score of age. This piece (Plate II) is in some ways superior in point of color. In treatment, in concept, in artistry, it is not the equal of the rug in Plate I, and yet to look at, it would by most people be considered more beautiful. This is probably due almost wholly to coloring. Something has been said in the accompanying text regarding the yellowish cast given to Chinese reds, and the manner in which the peach and apricot shades are produced by dyeing loose red over fast yellow. The rug in Plate I is an illustration of that trick in dyeing.