Passing to the center field, the same ambitious profusion is manifest. The ground design is of most composite character; flower stems, potted growths, suggesting the “Hundred Antiques” pattern, and, by way of good measure, certain of the Buddhistic emblems of Happy Augury, notably the “Entrails” or Endless Knot. All these are laid, in various exquisite colorings, upon a field of the softest gold yellow. Passing to the central medallion, yet a new element confronts us in the Foo dogs, of which several are employed, somewhat crowded, and confused by reason of their coloring, which, nevertheless, is good and, so far as balance is concerned, well distributed. These are inclosed by a broad band or wreath of more or less conventionalized flowers. The solidity of this center is for the purpose of offsetting the rather too heavy border section. In this the true workman appears. Of the coloring, the wool, and the technical skill displayed, only the highest praise is to be spoken. There are few Chinese rugs that surpass this in textile quality. 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 IV OLD CHINESE RUG] CHINESE RUGS OLD CHINESE RUG Monograph Number Four in The Mentor Reading Course Length, eight feet four inches. Width, five feet seven inches. Thirty hand-tied knots to the square inch. This is what is known as the “grains of rice” pattern. While the reason for this name is obvious, the design is really derived from the “cash”--the familiar Chinese coin with a square hole in the center. In old rugs, where the color has faded, it is difficult to trace the resemblance, but this derivation is vouched for on good authority. The “cash” is a symbol of good luck. It is customary not to fancy this pattern; but the fact remains that it always sells, like the equally repeating “fish pattern” rugs of Persia. It is almost certain that the reason for this is the simplicity and cheerfulness of rugs of this type. The yellow used in them is usually not of the most attractive shade, verging as it does toward the “lemon” and “pale mustard” quality. Altogether, however, it provides a most agreeable background, usually for some figure rather more ornately drawn but usually neat and clean-cut in its effect, as in this instance.