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flowering trees, while the remaining tree is of the foliage order, free of any floral adjunct, but vigorous in leaf and with its masses drawn in what must be considered good perspective and with great realism and accuracy of detail. In the collocation of these several rows there is employed an element upon which Mr. Stebbing lays much stress, and rightly, since it reveals the derivation of a device quite common in certain Caucasian rugs down even to the present day. It is the waving line which serves as a base for each row of trees. Here it appears in a natural guise, and is interpreted by Mr. Stebbing as representing the river bed and banks, with stones, reeds and flower-bearing bushes, and even the dried-up pools - though perhaps this last suggestion is somewhat imaginative. In the later Caucasian fabrics this undulatory base appears merely as a serrate line between the rows of patterns, which are oftentimes conventional trees and flower devices. It is noteworthy in this connection that even in the oldest Egyptian symbolism a zig-zag line stood for water - and, by implication, for eternity - and a succession of these, arranged to represent the sea, has long been a recognized carpet design in India, China and Persia. In the borders, the life idea is still foremost, the vine typifying continuity and the lotus and the sunflower