The design of this rug very clearly relates to that of a group of seventeenth century Karapinar rugs. The most classic is one in the Textile Museum (H.McCoy Jones and Ralph Yohe, Turkish Rugs, Washington D.C., 1968, no.43, among other publications). This, and others of the group, have medallions containing radiating floral sprays among which can be recognised tulips, while above and below are palmettes (For a discussion of the group please see May H. Beattie, "Some Rugs of the Konya Region", Oriental Art, vol.XXII, no.1, Spring, 1976, pp.60-76). The present rug has exactly the elements, combined with a secondary flower which appears on many rugs and is an allusion to the hyacinth floret. It also shares the main border with the Karapinar group. Yet that is where the similarity stops. The wool is long and fleecy, much longer and silkier than the normal Karapinar group. The structure is closer to some of the "yellow ground Konya" group with its natural wool warp, no depression, and generally four shoots of natural brown wefts. The colours are brilliant, rich and deep, enjoying sharp juxtapositioning which, coupled with the very strong drawing, gives a great power to this carpet. Writing of this carpet Professor Alexander notes "It is this barbaric "thing", this actual essence of our human nature which is reached, plumbed, pierced when a carpet is made correctly".