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William De Lancey Ellwanger
on Bergama Rugs
The Bergamas come mostly in blues and
reds, most prominently set out by soft ivory white. One
of their recognized patterns is quite individual, and
readily marks their class. It is a square of small
squares marked off like a big checkerboard. Other
small pieces are almost square, with the field in
mosaic-work or flower blossoms. In the fine old
specimens, which used to be, the Bergamas rioted in
superb medallions or in a floriated central figure like a
grand bouquet. As a class, their merit is softness and
richness. Their defect is that of the Shiraz, a proneness
to curl and puff themselves with pride. The fault is
caused by the fact that their usually artistic selvedge
is too tightly drawn. Skilful cutting of the selvedge and
new fringing will correct the error.
Some old and some excellent new
Bergamas have lately been in evidence in the stocks of
the Oriental dealers. Howsoever or wheresoever they come,
the collector may well take courage from their appearance
and apply himself to the chase with renewed zest.
The oriental rug: a monograph on
eastern rugs and carpets, saddle-bags, mats &
pillows, with a consideration of kinds and classes,
types, borders, figures, dyes, symbols, etc., together
with some practical advice to collectors: by William De
Lancey Ellwanger, Dodd, Mead & Company, 1903.
Philadelphia
Museum of Art on Bergama Rugs
Bergama, or Pergamos, is one of the
most ancient and historic cities of Asia Minor, forty-two
miles northeast of Smyrna. At the time of the Apostles it
was a stronghold of Christianity. Here was located one of
the seven churches referred to in the first part of
Revelation. Only extensive ruins remain to tell of its
past grandeur.
Rugs woven
here are easily distinguished. They are almost always
nearly square in shape, coming as small as 3x3 and as
large as 7x8; in texture rather thick and closely woven;
in pattern the medallion feature mostly predominates,
although the whole field of the rug is usually well
covered; in color they are medium dark, yellow, red and
green predominating. Warp and weft are of wool. The sides
have rather wide, flat woven edges in red, while the ends
are always finished with a red selvedge in blue stripes.
The long fringe is generally braided. Occasionally on the
selvedge at each end rosettes are woven, about an inch in
diameter, having thick pile like the rug, which has a
singular effect, as it is never seen on any other kind of
rugs. Also, often in the center of the rug a small tassel
made of colored cotton and tinsel is fastened; this is to
keep the effects of the "evil eye" away. Fine
antique specimens of this make are greatly prized, and
are scarce. The modern ones, however, on account of their
harsh colorings, are not so greatly admired.
Art panels from the hand looms of the far Orient: by
Garabed Thomas Pushman, 5th Edition, Rogers & Hall
co., 1911
Bergamo, Bergama, Pergamo, a name
sufficiently close to the ancient Pergamos to need no
explanation, is in this neighborhood. Bergamocarpets are
represented in paintings of the sixteenth century. The
rugs, which have been made there for centuries, differ
from most other Asia Minorrugs in being squarer and in
that prayer rugs of this weave are the exception rather
than the rule. In design, medallions, generally large and
bold, are frequent, with the field well covered; the same
motives occur as in the Koula and Ladik, particularly in
the borders, but are often so conventionalized as almost
to lose their identity. The nap is heavier and the colors
richer and more glowing.
Special loan exhibition of carpets and other
textiles from Asia Minor, Philadelphia Museum of Art,
Pennsylvania Museum and School of Industrial Art, 1919
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