University Microfilms, Inc., Ann Arbor, Michigan

70- 14,040

HUEPENBECKER, Agatha Louise, 1930- PRE-COLUMBIAN PERUVIAN COSTUME: CHARACTER ISTICS AND VARIATIONS IN THE PONCHO-SHIRT. The Ohio S tate U niversity, Ph.D., 1969 Home Economics

University Microfilms, Inc., Ann Arbor, Michigan

(0 Copyright by Agatha Louise Huepenbecker

1970

THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED PRE-COLUMBIM PERUVIAN COSTUME:

CHARACTERISTICS AND VARIATIONS IN THE PONCHO-SHIRT

DISSERTATION

Presented In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University

By Agatha Louise Huepenbecker, B.8,, M.S,

******

The Ohio State University 1969

Approved by

^ Adviser School of Home Economics ACKNOWUCDGM'ÎNTS

Thn writer wiehee to extend her aincera upprociution to the fol lowing people who provided her with the incentive, the encouragement, and the special talents essential to the completion of this study;

To Dr. Loin Gilmore and Mr. James Baughman fo r th e ir sustained interest in the study from its inception as well as to the other mem bers of the graduate committee. Dr. Mary Lapitsky and Dr. Erica

Bourguignon, for their guidance;

To Dr. Margaret Warning, Chairman, Department of Textiles and

Clothing, Iowa State University for originally stimulating an interest in the study of historic textiles; To Mrs. Ruth Hlbbs for the fjne line drawings;

To M.L3S Irene Emery and Dr. M j r y Elizabeth King of The T extile Museum, Washington, D.C., for the Infectious nature of their enthu siasm fo r the study of Peruvian te x tile s and p a rtic u la rly to Dr. King for her constructive critic of the manuscript.

The writer is indebted to the following museum directors and curators for the privilege of working with the Peruvian textiles in their collectionss Dr. Junius Bird, The American Museum of Natural

H istory; Mrs. Dudley Easby, J r . , The Brooklyn Museum; Miss Elizabeth

Benson, Dumbarton Oaks; Dr. Frederick Dockstader, The Miseum of the

American Indian; Miss Julie Jones, The Miseum of Primitive Art; and

i l Dr. Clifford Evans, Smithsonian Institution. A special note of appreciation is accorded Mr. Alan Sawyer, Director of The Textile

Museum and Miss Nora Fisher, Assistant Curator, Western Hemisphere .

Textiles, who were especially helpful during the extended period of study at that museum. The financial support provided by Iowa State University through a Faculty Improvement Grant, by Dr. Helon R. Le Baron, Dean of the

College of Home Economics, Iowa State University through a special grant and by The General I'bods Fund, In c ., through a graduate study fellowship are gratefully acknowledgal.

i l l VITA

November 23, 1930 Bom - Port Wayne, Indiana 1952 ...... B.S., Indiana University, Bloomington, Indiana

1952-55 ...... Home Eoonoraloo Teacher, Valparaiso Public Schools, Valparaiso, Indiana

195 5 ...... Research Assistant, Textiles and Clothing Depart ment, Iowa S tate College, Ames, Iowa

195 6 ...... M.S., Iowa S tate College, Ames, Iowa

1956-1959 .... Instructor, Textiles and Clothing Department, Iowa S tate U niversity, Amos, Iowa

1959-1965 .... Assistant Professor, Textiles and Clothing Depart ment, Iowa State University, Ames, Iowa

1965-1967 .... Graduate Student, The Ohio S tate U niversity, Columbus, Ohio 1968 ...... Associate Professor, Textiles and Clothing Depart ment, Iowa State University, Amos, Iowa

FIELDS OP STUDY

Major Field; Textiles and Clothing

Studies in Pino A rts. Professors Baughman, Berendsen, Mealy, Rubright and Sandberg

Studies in Sociology. Professors Bourguignon, Clarke, Knudson, Schwirien and Warshuy Studies in Textiles and Clothing. Professors Gilmore and Ivjpltcky

l . v TABIE OF CONTENTS

Page

ACKNOWLEDGMENTS...... i i

VTTA...... Iv LIST OF TAJJJJL'J...... v ll LIST OF ILJUSTRATIONG ...... v i l i

Chapter I . INTRODUCTION ...... 1

I I . REVIEW UP LITERATURE...... 10

Technical Analysis Single Textiles or Small Textile Collections Functional Aspects of Textiles

I I I . PROCEDURE...... 24

Objectives Sample Hrofjontation of Findings

IV. EARLY m tlO D ...... 34

North Coast South Coast Summary

V. MIDDIE PERIOD...... 98

Highland Style: Wari-Tluhuanaco Coastal Style Summary

IV. !ATE PERIOD...... 135

Coastal Style Incu Style Summary VII. SUMMARY, OBSERVATIONS AND IMPLICATIONS...... 267

APPENDIX A, Map and Chronology Chart ...... 283

APMNDIX B, Data Shoot ...... 286

APffiNDIX C, Platoa...... 288

APIIÏNDIX D, C a ta lo g ...... 322

BIBLIOGRAPHY...... 506

Vi LIGT OP TABIEG

Tublo Page

1. Burly Petiocl Shoulder Ponchon and J’onchoa ...... 41

2. Paracaa Poncho-Sh.lrts ...... 54

3. Nazca P oncho-S hirta ...... 72

4. Tiahuanaco Style Tapeatry Shirta ...... 103

5. Coaatal Stylo Poncho-Type Garraenta of the Middle Period ...... llS 6. Late Period Plain Weave and Warp Striped Sleeveless Shirts...... 144 7. Late Period Extra Weft Patterned Ponoho-Shirts. . . . 154

8. Lute Period Tapestry Ponoho-Shlrta ...... l6 l 9. la te Period Poncho-Typo Garments, A V ariety of Weaves...... 168

10. late Period Sleeved Ponoho-Shirts ..... 178

11. Feather Ponchos ...... 203

12. Padded and Lined Ponoho-Shirts ...... 210

13. Horizontal Nock Slit Poncho-Shirts ...... 223

14. Inca Style Tapestry Shirts ...... 233 15. Inca Style Poncho Garments, A Variety of Weaves . . . 243

v ii LIST OF ILLUSTRATIONS

Figure Page

1. lüürly Period Shoulder Ponchofj ...... 44.

P. J'ur'icao PonohoQ...... 50

3. Paracuo Single Kloment Ponoho-Shlrte ...... 57

4. Parao.'iu Plain Weave Embroidered Poncho-Shlrtn . . . 6l 5. Paracao Plain and Gauze Weave I’oncho-Shlrto .... 66

6. Early Nazca Plain Weave Embroidered Poncho-Shirts . 75

7. Late Nazca Waist Length P oncho-S hirts ...... 81 8. Lute Nazca Plain Weave Embroidered Poncho-Shirts. . 85

9 . Tiahuanaco Style Tapestry Poncho-Shirts ...... IO9

10. Tiahuanaco Style Tapestry Poncho-Shirts ...... 114

11. Coastal Style Poncho-Shirts of the Middle Period. . 124

12. Coastal Style Tie-Dyed Poncho-Shirts of the Middle Period ...... 127 13. lit to Period i'lain Weave and Warp Striped Poncho- S h i r t ...... 147

14. Late Period Extra Weft Patterned Poncho-Shirts. . . 157 15. la te Period Poncho-Type Garments, A Variety of Weaves...... 170

16. Late Period Sleeved Poncho-Shirts with Mutched Costume Items ...... 182

17. late Period Sleeved Poncho-Shirts ...... 192

18. Padded and Idned I'oncho-Shirts ...... 212

v lil 19. Horizontal Nook Slit uhIrtu...... 221

20. Horizontal Nook Slit S hirta ...... 22^

21. Inoa Stylo Tapestry Shirts ...... 237

22. Inca Style Pcnoho-Stylo Garments ...... 24-6

ix CHAPTER I

INTRODUCTION

The area of the Andes provides a fertile field for research for the student of historic textiles end costume. The unusual circum stances of climate in this region, particularly along the Peruvian coast, together with the prevailing burial customs combined to supply some of the earliest extant evidence of a textile industry. Only in

Egypt have similar geographic and cultural conditions combined to pre serve such a highly perishable aspect of a comparably ancient civili zatio n .

The study of ancient textiles from the Andean region, unlike that from Egypt, is complicated by the fact that there are no written records to clarify the historic sequence or to indicate the nature of the re lationships which existed among the network of highly developed pre historic cultures which made up the area. Thus, textile artifacts along with the more durable remains of ceramics, sculpture, architec ture, and metal found in the region have become the basis of the archaeological data for Andean studies.

The quantities of textile products found along the Peruvian coast are representative of the fact that textile production was a factor of major importance within the Andean societies. The elaborate nature of many of these products is suggestive of the fact that the textile 1 2

pj.’oducts served a function well beyond that which was strictly u tili

tarian, The intricate details of fabric construction which charac

terized so many of the textiles stand as a testimonial to the skill of

the native weavers. It is these characteristics which have long faci- nated the student of Peruvian textiles and have served as the basis for most Andean textile studies. The final appearance of the textile product is, however, more than the result of the technique of fabric construction. There is considerable variation in size and shape, in the moans used to achieve the final structure of the product, and in the choice and arrangement of ornament on the garment. It is on the nature and extent of the variations which existed in the finished textile product that this study is focused. The bulk of the studies of prehistoric Peruvian textiles emphasize the technical details of fiber, yam structure and fabric construction.

These studies take two forms. First, there are those which describe in d e ta il a l l ancient techniques fo r woven and non-woven fa b ric s . M)nu- montal among this type of study is the work of d'Harcoxirt^ which was directed toward understanding the highly developed skill of the Indian weaver. Many of the specimens in d'Harcourt's study were without spe cific provenience data but were selected with the objective of pre senting the broadest view of the Peruvian’s mastery of textile tech nology. Second, are those technical studies of textile artifacts from specific sites for which there is relatively certain provenience. The

^Raoul d’Harcourt. Textiles of Ancient Peru and Their Techniques, ed. Grace G. Denny and Carolyn Osborne. Seattle: University of Washington Press, 1962. 3 objective of these studies was to establish a chronology for textile

production by determining the nature of the textile industry within

specific Peruvian cultures and sub cultures. Among such studies are

Reiss and S tiibel's three volume work on the Necropolis of Ancon

O'Neale’s study of textiles from Kroeber's excavations in the Nazca

V alley, Cerro del Oro in the Canote Valley and Aramburu near Limuj^

and King's work with th’' Soldi collection from the Hacienda Goucaje

near Ica.^ From these studios the textiles identified with central and southern coastal sites are particularly well knovm because climate

conditions in these regions resulted in the preservation of quantities of textile artifacts. The textiles from northern coastal sites and from highland localities are less well known although some isolated archaeological finds have been made.

The technical studies have been valuable in understanding the nature and extent of Peruvian textile production both generally and for specific cultures. Despite the simplicity of weaving equipment, hundreds of variations of the basic weaves have been uncovered. It is an accepted fact that textile technology remained relatively stable throughout prehistory. Virtually all techniques known in the late

^Wilhelm Reiss and A. Stubel. The Necropolis of Ancon in Peru. 3 vols. Berlin; A. Asher and Co., 1880-87. 'i Lila O'Neale and A. L. Kroobor. "Textile Periods in Ancient Peru I," University of California Publications in American Arohaeoloev and Ethnologv. XXVIII. No. 2 (1930). 23-56.

^Mury Elizabeth King. "Textiles and Basketry of the Paracas Period, Ica Valley." Unpublished Ph.D. dissertation, University of Arizona, 1965. 4 poriofln woz'o known In oompuriibJ/i form In tho oarly poriodn. Thus, the

general focuo of Peruvian textile roaearch has been to establish the

characteriatios of textile techniques preferred within specific cul

tures and sub cultures. To the degree that certain cultural prefer

ences have been established, isolated textiles now lacking provenience

data can be associated with specific cultures.

Relatively few studies have dealt with the role which the products

of this active textile industry played within the society. The reason

for this void is understandable since many of the extant textiles are

fragmentary and do not lend themcolvoa to an end product analysis.

Even when the end products remain intact, the Peruvian custom for pro

ducing loom structured items resulted in quantities of rectangular

pieces which belie their function. Rarely were fabrics cut or tailored

to create distinguishable clothing or household items, although it was

customary to sew several complete loom fabrics together to form larger

textile products.

Bennett and Blrd^ estimated that ninety-five percent of the tex tile products wore used as clothing. Yet, relatively little is written of i’eruvian costume. Many writers on Andean culture simply state that the male wardrobe throughout prehistory included ouch items as the broechcloth, poncho or shirt, mantle, some kind of headdress, jewelry, possibly sandals, and assorted accessory items such as bags and belts. Less is known of tho feminine costume although it :l.s

^Wendoll Bennett and Junius Bird. Andean Culture H istory. New York; The Natural History Press, I960, p. 221, 5 thought to be quite similar in nature and comprised of a wrap-around

dress, square mantle or shawl, headdress and accessory items. Most

writers on Peruvian textiles assume that costume, like textile tech

nology, remained basically unchanged over time. This assumption de

rived from tho fact that the normal rectangular structure of fabric

had a restrictive effect on clothing styles. Resignation to such a

limitation seems unlikely when it is recognized that the same imagina

tive weaver who created an outstandingly diverse textile technology,

despite limited equipment, also produced the finished product. Gayton, in her paper dealing with the social significance of

Peruvian textiles, opened new avenues of investigation relating to the

function of clothing within these ancient cultures. Beyond the ob vious utilitarian function, clothing served other less obvious func

tions associated with social significance. Gayton stated:

Like costume of tho Old World, that of the higher civil izations of Middle and South America communicated several sorts of cultui’al meanings. An aggregate of basically conforming costumes, varying only in minor details, marks the nucleus of areal and temporal unity, i.e ., a community, district or region through a period of time (in historic costume terms "national" or "period" dress). Through form, fabric, color, and design content several sorts of social conditions may bo manifest: economic (by quality and amount), political (by proscribed or proscribed ma terials, colors, or motifs). roligious((by materials, colors, and symbolic motifs), and military (by practical adaptations and symbolic motifs). Degrees of social rank, classes of occupation or of servitude can be distinguished by tho textile components. Distinctions of sex, age level, and marital condition are often shown by major or minor differences in dimensions, materials, colors, or motifs. Whether or not those diversities are governed by regula tions or merely by custom, the apparel as a totality of of the tahgible ingredients is also an expression of , intangible aspects of the society in which it is worn."

Clues to the social implications of dress within any society are

most easily understood when it is possible to examine the written rec ord of its contemporaries. In tho absence of a written language, as

is the cuuo in prehistoric Peru, other more tenuous resources must

bo tapped. The records of tho early Spanish chroniclers, particu

larly Guuman Poma, have been a valuable aid in interpreting the sig

nificance of Inca dress. What is known of the pre-Inca costume is 7 best found in Mbntell's 1929 study in which he related preserved

textile and ornament items with those seen on clothed figures appear

ing on early molded and painted pottery, Montell considered the study

of ceramics a rich source of data on costume yet he recognized, the difficulties involved in interpreting the highly conventionalized

figurai representations. He also recognized the limitations imposed by tho fact that not all regions produced pictorial ceramics. The most valued resource, of course, is the data gathered on textiles ex cavated at specific sites, where associated artifacts are an invalu able interpretive aid.

The museums within the United States contain quantities of extant

Peruvian textiles forming a vast untapped resource of data leading to

^Anna H. Gayton. "The Cultural Significance of Peruvian Textiles: Production, Function, Aesthetics," Alfred L. Kroeber; A Memorial, Kroober Anthropological Society Papers. No. 25 (Fall, 1961), p. 119.

'^Gosta Montell. Dress and Ornament in Ancient Peru. Gbtoborg: 1929. 7 a botter understanding of costurao. Numbers of well preserved speci men found their way into public and private collections late in the nineteenth and early twentieth centuries. This was a period prior to tho establishment of strict Peruvian governmental controls on archaeological materials. It was a period when native grave robbers found a ready market among those who were interested in the colorful pieces as elegant display materials. Those pieces unfortunately lack provenience data essential to strict chronological studies. However, data from numerous technological studies of textiles from a variety of specific sites now make it possible to estimate provenience. During the last several decades the growing interest in prehistoric societies has been instrumental in reviving interest in these collections. The extensive Peruvian collection at The Textile Miseum in Washington,

B.C., continues to develop as a study collection. Here the less dra matic pieces along with the elegant ones give a broad perspective of

Peruvian textiles. The purpose of this study was to deal with an analysis of the te x tile end product, p a rtic u la rly those assumed to have functioned as costume items. However, an analysis encompassing all costume items, providing they can even bo identified, is well beyond tho scope of this study. Thus a single category, the poncho-type garment, was the focus for this examination. The poncho-type garment was se lected because it was widely and continuously used throughout the prehistory of the Central Andes and because the neck opening designed into the garment was an inherent characteristic which specifically H

Idontlfiod it mo on Itom of woorln^ oppurol apurt from the whole run^o of flat rectangular textile opeoimens.

Prelim inary examination of numerouo poncho-type garments de scribed in the literature revealed that many variations existed be yond tho expected variations in design content and textile techniques.

They varied in shape from broad and short to long and narrow, in size from barely more than a c o lla r to somewhere below the knees in length,

in construction from a single web to two, three, four and more pieces joined together. Some were sleeveless and others had separately woven webs fashioned as sleeves. There was also great variation in the placement of patterning and tho addition or absence of ornamentation.

The first objective of this study was to identify the nature and extent of variations which occurred within poncho-type garments by ex amining all such garments found in the following museum collections:

The T extile Museum, Smithsonian In s titu tio n and Dumbarton Oaks in

Washington, D.C., and The American Nhisoum of Natural History, The

Brooklyn Misetan, The %seum of the American Indian and The Museum of

Primitive Art in New York City. The sample was fairly representative of garments ranging from Paracas to Inca Periods although undoubtedly it was more heavily weighted with coastal garments particularly of central and southern regions and of the Late Period. Time and place labels were kept at a minimum because most of the garments lacked definite provenience data. However, data were presented in the best general chronology based on known cultural textile and design content preferences. The following features of each garment were examined:

(l) size and shape, (2) garment construction, (3) fabric construction 9 and patterning arrangement and (4) use of ornamentation and trimming.

The second objective of this study was to integrate these find ings with data available in widely scattered references,'

The third objective of this study was to isolate aggregates of conforming poncho-type garments within temporal divisions with the express purpose of understanding more fully their function and social significance than had boon possible as the rosult of studies based on tho technical analysis of textiles. The fourth objective was to present in catalog form data on all of the poncho-type garments examined. Many of the data do not appear in any published form. CHAPIER II

REVIEW OF LIŒRATURE

Stud lea conooniing Peruvian, textiloa are leportod primarily in

general anthropological journale. Most of the work has been focused

on the technical aspects of textile production and design analysis.

These articles fall Into three categories: (l) those in which the whole of textile production and design analysis wiuhin the prehistory

of the Andean cultures are tre a ted , (2) those in which te x tile s and designs of a specific region or period are reported, and (3) those in which one specific textile technique as found throughout prehistory

is described. A second major group of reports contains, in published form, data concerning single textiles or small textile collections which appear in various museums or private collections. Finally, there are the reports in which the functional aspects of textile products are presented.

Technical Analysis

Andean Textile Production us a Whole The analysis of textile products from the whole of Andean civili zation is characteristic of the 1930's period when a series of serious studies of textile artifacts was undertaken. Many of these studies followed the format sot early in tho century by Crawford. Crawford's 10 11 1 ^ reporta of 1915 end 1916' worn beood on a technical investigation of

tho Peruvian textiles in tho American Museum of Natural History, Par

ticularly in the second article, the discussion centered on the dif

ferent techniques of weaving known in ancient Peru.

One of the most outstanding works dealing with the nature of

ancient Peruvian weaving is that by d'Harcourt,^ His detailed anal

ysis and careful drawings, particularly of non-woven products, remains

today as a standard tool for the identification of textile techniques.

D'Harcourt made little effort to identify textile techniques with

regions or periods but did establish a series of principles which

seemed to govern tho whole of Peruvian textile production. The book,

which was originally published in French in 1934, has recently been

translated into English. Much of the technical analysis of Peruvian textiles was done by

O'Neale, anthropologist and curator of textiles in the Museum of An

thropology at the University of California.^ The core of O'Neale’s

work is found in a three part series entitled "Textile Periods in

Ancient Pei*u." The first of the series, written with Kroeber in 1930,

^M. D. C. Crawford. "Peruvian Textiles," Anthropological Papers of the American Museum of Natural History. XII, Part III, (1915).

"^M. D. 0. Crawford. "Peruvian Fabrics," Anthropological Papers of the American Museum of Natural History. XII, Part IV, (1916).

^Raoul d'Harcourt. Textiles of Ancient Peru and Their Techniques, ed. Grace G. Denny and Carolyn M. Osborne. Seattle: University of Washington Press, 1962. ^The museum a t Berkeley contains much of the Max Uhle collectio n assembled in tho nineties of the last century. Textiles from this collection and from the 1925-26 Kroeber expedition for the Field Museum of Chicago form the basis for much of O'Neale's work. ,t;’

dowlt with fjomo 6W apoalmen of Poruviun textiles from the Uhlo and

Kroeber collections.^ The textiles were discussed in three broad

time periods, covering only a part of the prehistory of Peru. Spe

cific textiles were not analyzed in terms of regional variations.

Means presented an early study of Peruvian textiles represent

ing a somewhat different approach.& His work, more summary than

technical in nature, covered the prehistoric, colonial and republic

periods in Peru. Working from rep o rts of the early Spanish chron

iclers, he attempted to interpret the significance of mythological

monsters often portrayed in textile design. Because of the summary

nature of this report, his comments are at times misleading.

Textile and Design Analysis of Specific Regions and Periods

The second part of the O'Neale series, published in 1942, was concerned specifically with Paracas textiles.S om e 375 specimen from two Paracas s ite s , the Cavemas and the Grand N ecropolis, in addition

to several pieces from the earlier Uhle and Kroeber collections pro

vided tho basis for the study. The technical analysis of the weaving

techniques from these two sites was a major contribution to the

^Lila M. O’Neale and A. L. Kroober. "Textile Periods in Ancient Peru I," University of California Publications in American Archaeology and Ethiiology. XXVIII. No. ^ (1930). 1-48.

^Philip Ainsworth Moans. A Study of Peruvian Textiles. Boston: Museum of Pino A rts, 1932.

^Lila M. O'Neale. "Textile Periods in Ancient Peru: II Paracas Cavemas and tho Grand Necropolis," University of California Publica tions in American Archaeology and Ethnology. XXXIX. No. 2 (1942). 143-202. 13 knowledge of Paracas fabrics. A number of other studies have focused

on the products of this area, not only because they are among the best

preserved textiles from an early period, but because they are among

the most colorful of p re h isto ric Andean specimen and representative

of some of the finest textile craftsmanship. The Paracas fabrics in the collection of The Textile Museum in

Washington, D.G. have been carefully catalogued by Bird and Bellinger.

In the catalog, which also included a few Nazca materials, the authors

related the museum pieces to other known examples in an effort to con

solidate the available knowledge on Riraoas textiles. Some informa

tio n on costume and design was also included.

Several studios were directed exclusively toward an analysis of

textile design. The objective of Stafford's^ research on Paracas

embroideries was to discover the thought processes underlying the re

peating pattern in those highly decorative and colorful textiles. The

general conclusions reached by the author concerning patterning schemes

wore in each case tempered by infinitely subtle variations in design

detail and placement of motifs. Sawyer^^ studied in detail the ico

nography of motifs on Tiahuanaco tapestry poncho-shirts. After care

ful analysis of the conventionalization and distortion of these motifs.

p Junius Bird and louioa Bellinger, Paracas Fabrics and Nazca Needlework. Washington, B.C.: National Ihiblishing Company, 1954.

'^Cora E. Stafford, Paracas Embroideries. A Study of Repeated Patterns. New York; J. J. Augustin Publishers, 1941.

l^Alan Sawyer. Tiahuanaco Taoostrv Design. New York: The Museum of Primitive Art, 1963. 14 he proposed a chronology based on a theoretical reconstruction of

stylistic evolution.

Tho most recent work with Paraoas te x tile s was done by King in an effort to establish textile typology.Typological systems which have been established for ceramics have proved useful tools for de scriptive and analytical purposes. King maintained that such systems widely applied to textiles would aid in cataloging pieces of unknown provenience and would ultimately make regional and period comparative studies more effective. Technical analysis of textiles from other Andean regions are often associated with specific archaeological finds. One of the earliest systematic excavations in Peru at Ancon was conducted by 12 Reiss and Stubel in 1875. Because data aiding in the understand ing of the chronology of various Peruvian cultures were seriously lacking at that early date, the artifacts were presented without any historical correlations. Miny of tho textiles, recorded and illus tra te d in the second volume of th is th ree volume work are thought to be of tho Inca Period but some examples of earlier periods are also noted. No technical information on the textiles and little de scriptive detail were included.

O’Neale was responsible for the technical analysis of the

11 Mary Elizaboth King, "Textiles and Basketry of the Paracas Period, Ica Valley." lAipubllshod lli.D. dissertation. University of Arizona, 1965. *1 O ' "Wilhelm Reiss and Alphons Stubel. Tho Necropolis of Ancon in Peru. 3 vols. Berlin: A. Asher and Co., 1880-87. 15 textiles from a series of excavations. Her report of the Early Nazca pieces from the 1925-26 Kroeber find contained a detailed study of the use of color. In addition the report contained a discussion of tex tile techniques made in relation to garment types. In a separata study O’Neale reported on tho Kroobor textiles from the Canete Vol ley.An excellent analysis of the pre-Paracas textiles from the

Early Ancon and Early Supe cultures excavated by Willey and Corbett 15 was again the work of O'Neale.

Textiles from two sites along tho Central Coast, one very early and the other much later, have been thoroughly analyzed. The tex tile fragments from a preceramic settlement site were excavated and analyzed by Engel.Lothrop and Mahler included a d etailed pre sen tatio n of the te x tile s from a Chancay sty le grave a t Zapallan,

Peru.^ ^

l^Lila M. O'Neale. "Archaeological Explorations in Peru Part III; Textiles of the Early Nazca Period," Field Museum of Natural H istory, Anthropological Memoirs. I I , No. 3 (1937), 119-218,

^^A, L. Kroeber. "Archaeological Explorations in Peru, Part IV: Canote Valley," Field l%seum of Natural History. Anthropology. Memoirs. I I , No. U (1 9 3 7 ).(Appendix VI, p. 268, Middle CaSete Tex tiles by Lila M. O'Neale.)

R. Willey and J. M. Corbett. Earlv Ancon and Earlv Supe C ulture. New York: Columbia U niversity P ress, 1954. (T extile analysis by Lila M. O'Neale, p. 84-130.) ^^Fredoric Engel. "A Preceramic Settlement on the Central Coast of Peru: Asia Unit I," Transactions of the American Philosophical Society. LIII, Part III, 20-66. 17 S. K. Lothrop and Joy Mahler. "A Chancay-Style Grave at Zapallen, Peru; An Analysis of Its Textiles, Pottery and Other Fur nishings," Papers of the Peabody Miseum of Archaeology and Ethnol ogy. Harvard University, L, No. 1 (l957), 3-38. 16

Analysis of Specific Textile Techniques

A number of studies have been directed at the detailed analysis

of a single textile technique. The most comprehensive is the study of

gauze weave by 0'Neale and Clark.This work, based on forty fairly

representative pieces, has comparative data from different areas and

periods. The four basic types of gauze illustrated in this report

remain the standard for identification and analysis of this weave.

Another report by 0'Neale was concerned with Peruvian tw ill w e a v e . ^9

Although the technique never reached a period of popularity as noted

with brocading, gauze, tapestry and embroidery, weavers were familiar

with the process throughout prehistory. The manipulative technique

required to create this weave, especially in view of the simplicity

of their looms, gives further insight into the skills of the native

craftsm en.

The use of embroidery as a means of embellishing woven products

was likewise known in all periods and was a preferred technique in the

Paracao-Nazca region. 0'Neale's 20 technical analysis showed that a

few simple basic stitches formed the core of all embroidery work with

infinite variety possible through changes in the color of yam, the

Lila M. O'Noale and Bonnio Jean Clark. "Textile Periods in An cient Peru III: The Gauze Weaves," University of California ^blica- tio n s in American Archaeology and Ethnology, XXX, No. 4 (1948), 143- 222.

^^Lila M. O'Noale,"Mochica (Early Chimu) and Other Peruvian Fab rics," Southwestern Journal of Anthropol,ogy. II, No. 3 (1946), 269-294. 20 Lila M. 0'Neale. "Peruvian 'Needleknittlne'," American Anthropologist. XXXVI, No. 3 (July-September, 1934), 405-430. 17 rnotifu, .und thu locution u! isinbrol.dnry dcittiil on tho gurment. A oroaa- 21 knit loop stltoh, noted by O'Nealo ua "needleknitting", was popularly used by Paraoas and Early Nazca craftsmen to create the intricate three-dimensional borders found on a variety of garments.

The extremely simple nature of the looms known within the Andean region imposed certain lim itatio n s on the weaver in terms of the width and length of the finished product. Yet evidence of unusually large textiles as well as loom shaped pieces indicated that the early weavers devised imaginative means for overcoming this limitation. One means for increasing tho width of tho textile product beyond the physical lim itatio n s of the back strap loom was to sew two or more webs together.

O'Neale examined a technique of weaving which allowed the weaver to 22 join segments of fabric using a series of scaffolding wefts or warps.

While this technique of loom joining was frequently used to introduce decorative effects which resulted from joining units of different colors or weaving techniques, it also was a means for extending the dimensions of the finished product. In another study 0'Neale reported on three unusually largo textile specimens from the Paraoas and

Early Nazca Periods for which there was no evidence of sewing or

"^he term "needleknitting" is surrounded with much confusion. The technique which the term describes is actually an embroidery stitch and not knitting. D'Haroourt, recognizing the misleading nature of the term, preferred to use the term "loop stitch." The term "cross-knit looping" used by Emery to describe the structure of the stitch will bo used throughout this study. ^^'Lila M, 0'Neale, "A Peruvian Multicolored Patchwork," Ameri can Anthropologist. XXXV, No. 1 .(January-March, 1933), 87-94. 18 loom joining.She oonoluded that textiles of suoh dimensions may have indicated the manipulation of belt loom equipment by several weavers working cooperatively or possibly the prehistoric knowledge of a large frame loom. Loom products were for the most part limited to square and rec tangular shapeo. Kere too weavers created u means for introducing some variety. Osborne’s study illustrated a number of pieces of tri angular shape which were created by manipulating the tensions of the weft yarns.

Single Textiles or Small Textile Collections

Much scattered material on Peruvian textiles is available in a variety of articles aimed at presenting, in published form, details about single textiles or small groups of textiles in various museums or private collections. Levillier's brief report on a famous Paracas fabric, posoibly an altar cloth, now in the Brooklyn collection is a classic example of this type.^^ Many individual articles provide information on a specific mantle, tunic, sampler, or on pieces of feather cloth or reed tapestry. Miseum acquisition reports are

^^Lilu M. O'Noale. "Wide-Loom Fabrics of the Early Nazca Per iod," Essays in Anthropology in Honor of Alfred Louis Kroeber. Berkeley: University of California Press, 1936, 215-228.

^^Carolyn M. Osborne. "Shaped Breechcloths From Peru, "An thropological Records. University of California. XIII, No, 2 (1950), 157-184. ^^Jeun Lovillier. Paracas. A Contribution to the Study of Pre-Incalc Textiles in Anoiant Peru. Paris: Libreria Hispano- Araericana, 1928, 19 frequent. This type of publication is an effort to make available to

the student information on textiles which might have great significance

for a study but which, because of their scattered location, might go

unnoticed.

Functional Aspects of Textiles

Literature on the functional aspects of ancient Peruvian tex

tiles, particularly as related to clothing items, is relatively scarce. The earliest source of information on costume is that of

Montell published in 1 9 2 9 . This summary of costume was based on actual specimens known at that tijno, as well as on the interpretation of clothed figures illustrated primarily on Mochica pottery. Al though the book is heavily weighted toward the early periods and does not contain costume data from the 1925 Paracas finds, it has remained the major source of information on Peruvian costume. Carrion Cachot's work of 1931 supplemented the Montell book by presenting the first im portant data on Paraoas garments.Her data and drawings presented material on textiles, garments and design from ten of the 429

Necropolis mummy bundles discovered by Tello in 1925. Other shorter discusî^ionn of Peruvian costume havo been published by Taullard 28 and

^G osta Montell. Dress and Ornaments in Ancient Peru. Goteborg, 1929. 27 / ■ Roboca Carrion Cachot. "La Indumentaria En La Antigua Culture de Paraoas," Wira Kocha. I , No. 1. (I9 3 l), 37-86.

""Alfredo Taullard. To.ledos v Ponchos Indegenas do Sud America. Buenos Aires: Guillermo Kraft Limitudu, 1964. 2 0

Zimmern.^9 in each case, however, greater emphasis is placed on post-

Conquest costume.

A report by Gayton^*^ on an unusual horizontal neck s lit poncho

shirt found south of Ancén inspired a series of recent articles on

similar garments. The shirt with its seams, neck and arm slits all oriented on the horizontal plane is most unusual in contrast to those

with a more commonly seen vortical orientation. Gayton substantiated

the fact that this type of shirt was in wide use within the area and

functioned as a part of daily wear. Subsequent articles by Emory and’

King,^^ Stumer and Gayton,and VanStan^^ related similar and addi

tional variations of horizontally oriented shirts. Emeiy and King

proposed that shirts of such orientation were designed to serve a

special funerary function,

Several sources primarily concerned with the technical analysis of textile techniques, and reviewed earlier, also incorporated data on

^% ath alie Zimmem. Introduction to Peruvian Costume. New York: The Brooklyn Museum, 194-9.

^^A. H. Gayton. "A New Type of Ancient Peruvian S h irt," American Antiquity. XX, No. 3 (1955), 263-270. ^^Irene Emory and 14iry Elizabeth King. "Additional examples of an IMusual Peruvian S h irt !^ype," American A ntiquity. XXIII, No. 1 (July, 1957), 71-74. "L. M. Stumer and A. H. Guyton. "A Horizontal-Necked Shirt From Marques, Peru," American A ntiquity. XXIV, No. 2 (October, 1958), 181-2.

^^Ina VanStun. "Miniature Peruvian Shirts with Horizontal Neck Openings," American A ntiquity, XXVI, No. 4 (l9 6 l), 524-531.

^^Emery and King, American A ntiquity. XXIII, No. 1, 74. tho fiinotlonui uajjoota of thh rjpooiinens. O'Neolo's report on early

Ilazca textiles related techniques of weaving to garment types. Her

record of warp and weft dimensions of garradnts led her to the con

clusion that Nazca and Paracas mantles were radically different in

shape^^. Osborne, in a study analyzing the techniques used to shape fabrics on the loom, related data on costume as well. All twenty-two shaped specimens in th a t study were presumed to be lo in clo th s. The

Bird and Bollinger catalog on Paraoas fabrics, while giving major em phasis to an analysis of weaving techniques and design, did so in relation to costume items. Two more recent publications give greater empahsis to tho cul tural significance of Peruvian textiles. Gayton discussed, in a gen e ra l way for a l l of Peruvian p rehistory, the numerous ways in which clothing may have been utilized in relation to a variety of social factors.3^" According to this author, certain attributes of textiles may well have manifested economic, political, m ilitary and religious conditions while other variations in textiles and costume may have indicated a wide range of social differentiation within a society.

Beyond th is paper of rath er general scope, indications arc th a t Gayton is currently engaged in research on chronological distinctions in

^^0'Neale, Anthropological Memoirs. I I , No. 3, 1967.

^^A. H. Gayton. "The C ultural Significance of Peruvian Tex tiles: Production, I'iinction, Aesthetics," Alfred L. Kroeber, A Memorial, Kroeber Anthropological Society Papers. No. 25 (Fall, 1961). 2 2

ancient Peruvian costume as exemplified by textiles and the painted 37 and modeled p o ttery in the Max Uhle co llectio n .

King’s discussion of cultural implications of textiles differs from Gayton’s in scope and intent.Tho King study is focused on textile fjpooijnona of the Paraoas Parted and more specifically the artifacts from the Ocucajo alto. Her approach is In keeping with the typological nature of her study, thus oho established characteristics which identify Paraoas garments and differentiate them from similar articles of other regions.

Summary

Quantities of textiles are among the artifacts which remain as evidence of the early cultures in the Andean region. In the absence of written language it is tho careful analysis of all remaining ma terial products which become the key to the ultimate understanding of the network of cultures known to have existed in ancient Peru.

To date, tho textile artifacts havo been studied primarily from a technical viewpoint. Thus knowledge of tho Peruvian textile industry includes an understanding of (l) the scope of weaving and other tex tile techniques practiced by these early craftsmen, (2) the detailed nature of fiber, spin, dye, and fabric construction, and (3) the

37 A. H. Gayton. "Early Parucas Style Textiles From Yauca," Archaeology. XIV, No. 2 (Juno, 1961), 117-121.

38 Mury Elizabeth King. "Textiles and Basketry of the Paracas Period, Ica Valley." Unpublished Ph.D. dissertation. University of Arizona, 1965. 2 3

preferences for certain textile techniques, designs, and colors in

various regions and periods.

Far less is known about the end use of the textile products. An

early effort to deal with costume aspects of Peruvian textile artifacts was made by Montell in 1929. From that time on, costume analysis has been primarily of tho variety In which a single specific apparol item within a museum or collection has been discussed in detail. Only recently has there been an Increasing emphasis on the nature of Peruvian costume. Characteristics of Paraoas Period costume appear throughout the works of Bird and Bellinger, and King. Similar information on costume for other regions and periods is not known. While there is information on tho development and nature of specific textile tech niques, there seems to be no data available on the development and nature of specific garments known to havo been used throughout

Peruvian prehistory. The luck of research dealing with Peruvian costume is evidence of tho fact that little emphasis has been placed on tho nature and use of tho finished textile product. CHAPTER I I I

i'HüCRDUKK

Thin fîtudy wu: ooncomed with tho nuturo und function of the pre- hietorio Peruvian poncho-type garment. Among the itome within the basic wardrobe of the ancient Peruvians this gurment was most con sistently used throughout prehistory and is still being worn by num bers of highland Indians. Characteristic of tho garment was its flat rectangular shape, created either of a single web of fabric or sev eral webo sewn together into a largor cloth. Centrally located in the garment was an oponing which made it possible to pull the fabric over the head of the wearer. It was the nook opening which was the iden tifying feature of these garments some of which remained flat pieces of fabric whore others wore folded and sown at tho sides to create a shirt-liko garment. They ranged in size from barely more than a small yoke or collar to a long tunic and often displayed in patterning or ornamentation tho elements distinctive to a period style.

Ceveral theories exist as to the origin of the poncho-typo gar- I merit. Montell stated that tho shirt-liko garment appeared to have been an Independent "invention" originating In western South America,

^Gostu Montell. Dress and Ornaments In Ancient Peru. Goteborg, 1929, p. 32.

24 2 5

more specifically in the Andean highlands. He speculated that the

cold climate in that area undoubtedly lead to the development of a

more fitted garment in the interest of warmth and comfort. The poncho-

shirt thus tended to be favored over the loose flowing mantle, a gar

ment known to have had a much earlier development. Nbntell suggested

that the poncho^' evolved from the poncho-shirt in the seventeenth

century after the Spanish had introduced numbers of horses onto the

continent. He stated that it was necessary for the native to open the

sides of the poncho-shirt in order to allow the rider greater freedom

of movement thus creating the true poncho.

King, in a more recent study, presented evidence to challenge

Montell's theory that the poncho was a post-Columbian innovation evolv ing from the poncho-shirt. King noted th a t unsewn s h ir ts existed

from pre-Conquest Peru although they were not plentiful.^ King dis cussed a small, unsown, collar-liko garment called an "osclavina," which was frequently found at Paracas sites. She hypothesized that this tiny poncho may havo been the garment from which the poncho-shirt evolved.

Some confusion re s u lts from the numerous terras used to id en tify various poncho-typo garments. Some authors used the Quechua term

"unku" to refer to tho shirt and "unkucha" to refer to the shoulder poncho. Other terras used to identify tho shoulder poncho included

A poncho has the same structure as the poncho-shirt except for the fa c t th a t i t is not sewed along the sides,

^Mary Elizabeth King. "Textiles and Basketry of the Paraoas Period, Ica Valley." Unpublished Ph.D. dissertation. University of Arizona, 1965, p. 291. 2 6

"esclavina" and "ponchito." O'Neale and Gayton used the terms tunic

and shirt interchangeably. Montell wrote of sleeved shirts when re

ferring to garments sufficient in width to cover much of the arras of

the wearer as well as for those in which the sleeves were fashioned

from separately woven webs. Throughout this study the following toi'ms wore usod. Poncho

referred to the flat, unsown garment of large size. Shoulder poncho

indicated the snvjll collur-llke flat garment. Poncho-shirt or shirt

indicated the same garment seamed at the sides and was used regard

less of the finished shape or size of the garment. Finally, the term sleeved shirt referred to tho poncho-shirt to which separately woven webs were added as sleeves and to those few s h irts in which the sleeve extensions were apparently woven in one with the body of the garment (Fig. 11b and Fig. 9c).

Frequently Peruvian poncho-shirts have been described as tunic length or waist, hip or knoe length in an effort to relate tho dimen sions of the garment to the wearer. Despite the common usage of such terms little data on the physical stature of the Andean Indian are available. Bennett,^ in discussing tho agricultural population through out the whole Andean area, said that those people "apparently pertained to the Meo-American, or hrachycophalic, Mongoloid type" of medium stature. A study of tho skeletal remains found along tho coast from

Pisco to north of the Ghicama Valley by Hrdlo^ka revealed that the area was peopled with individuals of basically tho same type; Indians

^Wendell Bennett. "Andean Highland.s; An Introduction," Handbook of South American Indians. Bureau of American Ethnology Bulletin, No. p. B. 2 7

of mofloruto ututurc.^ Montoll'u^ only rofcronoo to tho physictil size

of tho onclont people woo ;lr. reforonoo to the Arica Indiana whom he describorl an average in height, about 150 oontimeters. Finally,

Rowe, dlacusning the linear measuring system used by the Incu, in dicated that it was based on parts of tho human body. Such measures were based on the length of the finger and the span of the hand or s tr id e . The la rg e st raoasuro based on tho body was the fathom, about sixty-four inches or 162 centimeters. These brief references and tho illustrated record of Guaman Poma, in which tho Inca shirt of known length was consistently shown at knee level, wore tho basis for tho descriptive terms of length used in this study. Tho term "waist longtii" was usod to refer to garments within a ten centimeter range on each side of thirty centimeters.

The term "hip length" referred to garments within the same range of sixty centimeters, and "knee length" referred to those which fell within the same range of ninety centimeters.

Ob.i ectives

Briefly stated tho objectives of this study were;

1. To identify tho nature and extent of variations which occurred within

'’Charles W, Mead. "Old Civilizations of Inca Lund," American Museum of Natural History Handbook, series No. 11. 1942, p. 24.

*^Montoll, p. 6. ' V John Rowe. "Inca Culture at tho Time of the Spanish Conquest," Handbook of South American Indians. Bureau of American Ethnology Bulletin, II, No, 143, 1946, p. 324. 2 8

prehistoric Peruvian poncho-type garments by examining the fol

lowing features;

a. relative dimensions b. garment construction c. fabric construction und patterning arrangement d. ornamentation

2. To integrate those findings with data available in widely

scattered resources. 3. To isolate aggregates of conforming poncho-type garments with

temporal divisions with the express purpose of more fully under

standing their function and social significance than had been

possible as the result of studies based on the technical analysis

of textiles.

4. To present in catalog form data on all of the poncho-type garments

examined in order to facilitate future costume studies.

Sample

The data for this study wore gathered from tho collections of seven museums in tho Washington, D.C. and Now York areas during the period from April through Juno, 1968. The largest group of garments was examined a t The T extile Museum in Washington, D.C. Others wore examined a t the Smithscnian In s titu tio n , Dumbarton Oaks, The American

Museum of Natural H istory, The Brooklyn Museum, Tho %seum of Primi tiv e Art and The Museum of tho American Indian. The in itia ls of one of these rauseu/ns w ill precede the catalog number of each item pre sented in this study except for tho items in Dumbarton Oaks which are preceded by "Bliss" to identify the specimens with the Robert Wood

Bliss collection. 2 9

A data sheet used for this study was adapted from the catalog reference card used at The Textile %seum. A copy of this schedule appears in Appendix A. Only those garments which were completely intact and those half garments from which details of tho whole gar ment could obviously be assumed were included. In a l l 280 poncho- style garments were examined.

Presentation of Findings

Specific time and place labels were avoided since the data for the most p art lacked provenience. However, i t seemed important to treat the data in the best general chronology allowable. This was done by asso ciatin g each of the items examined with data from the technical textile studies which had established specific textile preferences for a variety of cultures. In view of the tenuous pro venience of the data it seemed best to follow the simple chronological divisions of Early, Middle and late Periods. The Early Period in cluded the coastal societies of Mochica, Paracas and Nazca, the Mid dle Period referred to the Tiahuanaco-Wari influence, and the Lute Per iod included the coastal societies of Chimu, Ghancay and Ica-Chincha as well as Inca. A map and chronology chart are included in Appendix B for general reference. The poncho-type garments within each temporal division were discussed in relation to the following characteristics.

Relative d imonsions

Tho data relating to tho sizo and shape of the garments were presented in tables. The measurements reflected gurment dimensions :3t)

ruthor tlitin co;ripiote wurp or wol't longth. Thoy were presented In metric measure so as to be comparable with other published studies.

For the shirt, length was measured from the shoulder fold to the end

of the fabric construction without including the fringe length. For

tho shoulder poncho and poncho, the entire flat fabric length was pre

sented again without including the fringe. The width measure repre sented tho total width of th(j body of tho garment regardless of the number of webs Joined to erouto tho item. The proportion of width to length of the body area only was presented in order to facilitate tho comparison of garment shapes whether tho garment was sleeveless or had sleeves. The total width through tho shoulders for each sleeved shirt was expressed separately.

Garment construction The discussion of garment construction was concerned with the number of webs joined to croato the garment and the manner by which the webs were joined. A strong v e rtic a l o rien tatio n of seams and neck and arm aperturos was closely adhorod to on most prehistoric poncho-typf; garments. Thus, when several wobs of fabric were seamed thoy were generally found to extend the width of the garment. The nock slit in multiple web garments appeared us an opening left in the center-m ost seam. In single web garments or where uneven numbers of webs worn joined, the nock slit was created in tho process of weaving so as to be centered and longitudinally arranged with respect to tho garment. When the sides wore joined to create a shirt, tho seam stopped short of tiie shoulder fold allowing vertically orlmted 3:1 arm «litri. Occuülona Lly iifiparatfaiy wovon woba woro added to tho gar

ment an eleovea, lining,a, borders or fringe. Webs were joined by a

variety of means ranging from a simple functional whipping stitch to

decorative embroidered seams.

The illustrations of garments presented in this paper were drawn

to scale and were designed to schematically show features of garment

construction. All of the items illustrated within one figure were of

th e same scale. However, the extreme range in size among Peruvian

poncho-type garments made it necessary to resort to two scale levels.

These lev els were indicated on each fig u re. Most fig u res were drawn w ith one centim eter equal to ton centim eters. However, several f ig ures were drawn with one centimeter equal to fifteen centimeters.

Each illustration was representative of the total dimensions of the garment and no effort was made to show the many subtle differences in sizo and shape which occurred in matching webs. A selected group of photographs is included in Appendix C to give the reader an idea of the nature of motifs and patterns in use within each period.

Fabric construction and pattern arrangement

Ancient Peruvians were known to change techniques of weaving within a single web. This was often tho means for creating tho pat terned effect on the finished product. Combinations of textile tech niques as well as specific pattern arrangements wore preferred within c e rta in cu ltu res. Each basic tab le Indicated tho number of webs of different fabric construction usod within a garment and also indicated where several techniques were combined in a single web. Generic 3 2

textile terminology was presented in accordance with Emery's Primary

Stnictnrea of Fabrics. Pattern arrangements were schematically

represented on the drawings as borders, unit designs or all-over patterning.

Ornamentation The finished appearance of the garment was at tijaos tho result of applied decoration, Ouch ornamentation included tho use of em broidery or painting to enhance the surface of the loom product. A wide variety of applied objects such as feathers, metal, shells and tassels were also used to embellish the textile surface. Addition ally any and all edges of the woven product were at times subjected to a decorative treatment. On some garments the product was woven to include fringe while on others, separately constructed units of fringe or tassels wore added. Embroidery techniques were frequently employed to fin ish selvages and to decorate seams.

Nummary

A summary of the above characteristics was presented at the end of each section as well as at the end of the study in an effort to indicate (l) what kinds of poncho-typo garments were known to have been used, (2.) to what degree garments within a period conformed and in what respects they differed, (3) what kinds of variations existed within an aggregate of Iwslcally conforming Items, and (4) when

O Irene Emeiy. Thfi itrlmarv fitnicturoo of Fabrics: An Illus trated Classification. Washington, Tlio Textile Museum, 1966. 33 possible the funatiorifii neturo cl' specific garments und the signif icance of the variations or conformity observed.

Catalog The catalog In Appendix D contains an entry for each item ex amined during the study. Information too detailed to appear in the text was recorded. Details on the choice and arrangement of orna ment, comments on motif and color, Irregularities in garment con struction, previously published data on tho specimen and the best information on provenience were included. CIIAl'TlîlIt IV

EAIU.Y I-ERIOD

North Ootiot

Düta on costume Items from the northern s ite s of the E arly Per iod are limited. The textile fragments found at a variety of north ern excavations are indicative of the presence of an advanced textile technology. However, extant whole garments are ra re . Thus what is known about costume is interpr ;hod from the numerous painted and modeled ceramic pieces which remain from the early northern cultures.

At best these conventionalized drawings and their summary presenta tions are difficult to interprc •. Nevertheless these pottery pieces remain as the beat source of information on clothing in use along the North Coast during tho Early Period.

The painted vessel from Trujillo is most frequently cited in studies relating to textiles and costumes of the North Coast.^ The scene appears to be a weaving shop where u number of weavers aro work ing under supervision. The drawing gives some insight as to tho kind of weaving equipment in use, tho organization of tho textile industry and tho nuturo of the finished textile product. Tho costumes on the

^Gostu Montell, Dross and Ornaments in Ancient Peru. Goteborg, 1929, p. 111.

34. 3 5 group of weavers, each seated at a back strap loom, are difficult to

interpret. One standing figure, however, is clearly wearing a shirt

with sleeves which reach to tho elbows. Tho decoration on the gar

ment is arranged to surround tho nock slit and to create a border at

tho end of each sleeve. The lower edge of the knee length garment is

finished with fringe. Illustrated at the side of each weaver is a

series of items which includes ceramic and loom products. Among the woven pieces are drawings of one-half of a sleeved shirt. Various authors have interpreted the half shirt to be a weaver's sample, a miniature garment, or the partially completed product of the weaver.

Nufnbers of figurai vessels wore studied by Montell as the basis for the following statements about tho nature of costume and particularly shirts from the northern coast of Peru.“ On vessels where the shirt could be observed, the position of tho figure often obscured the dimensions of tho gurment. Nevertheless, Montell suggested that shirts of tho North Coast worn fairly short, seldom reaching below the hips. They were quite broad and made of a single web of fabric with additional webs of fabric fashioned as short sleeves. On the figure the sleeved shirts covered the arms to the elbow and at times to the wrist. Tho way In which tho garment appeared on the figure was attributed more to variations in tho width of the fabric used in the body of the shirt than to the length of the sleeve itself.

The fragments of a shirt reported to be from the Lima Valley and in the collection of the Goteborg Museum were cited by Montell as the

^Montell, p. 3 2. 3 6

only extant example from which the dimensions of a shirt of northern

style could be interpreted.^ The reconstruction of the shirt, as il

lustrated i:y Montell, showed that it was constructed of four webs of

fa b ric ; two to create the body width and one fo r each sleeve. Fringe

was used along the sleeves and tho lower edge of the garment. No in

form ation was av ailab le on the fab ric construction. However, the i l

lustration did show an all-over patterning which was arranged through

out the field of each web and .In borders along the lower edge of the

shirt and sleeves. Tho dimensions of the reconstructed gurment were

listed as 154 om. in total width, 110 cm. in width through the body,

and 50 cm. in length.

This b rie f resume of North Coast costume would suggest th a t

poncho-shirts of various lengths, mostly with sleeves, patterned or decorated in all-over repeat or in borders, and ornamented with fringe were in use during the Early Period. None of the Early Period shirts examined during the study was considered to bo of North Coast origin.

Couth Coast

Paracas

Tho earliest extant evidence of poneho-typo garments was found on the Couth Coast of Peru and was traced to the Paracas culture. Tho discovery by Tello in ]^W5 of tho grave sites on Paracas Bay brought to light tho first dramatic evidence of textiles und costume with specific provenience. The 4^9 mummy bundles found contained quantities

^Montell, p. 33 und Fig, 71A, p. 145. 37 of highly decorative embroidered textiles} many in a remarkable state

of preservation. In 1931 Carrion Cachot^ presented a paper in which

she discussed the Paracas textiles, garments and designs from the

Tello find. Since then a technical report by O'Neale^ and the catalog

by Bird and Bellinger^ have contributed much to the understanding of

textile techniques and designs preferred in the Paracas region during

the Early Period. In a recent study King reported in detail on textile

and costume items from a specific Paracas site at Ocuoaje. These

references are tho basis upon which the twenty-nine items examined

in this study were associated with the Paracas culture. Among these

items are shoulder ponchos, ponchos, and sleeveless poncho-shirts.

Shoulder Ponchos

The shoulder poncho is a costume item common to the Early Period and the southern coastal region of Peru. It differs from the regular concept of a poncho only in its unusually small dimensions. The size of the nock oponing on many of the shoulder ponchos, despite the sijiall total dimensions, loads to tho belief that the garment was worn

^Kebeoa Carrion Cachot, "la Indumentaria en la Antigua Culture do Paracas," Wira Kocha. I , (1931), 37-86. ^Lila O’Noale. "Textile Periods in Ancient Peru} II Paracas Cavernas and tho Grand Necropolis," University of California Publica tio n s in /‘jnerican Archaeology and Ethnolotfv. XXXIX. No. 2 (19A21. 143-202.

^Junius Birr] and Louisa B ellinger. Paracas fab rics and Nazca Needlework. Washington, D.G.; National Publishing Company, 1954. 7 Mfiry Elizabeth King. "Textiles and Basketry of the Paracas Period, Ica Valley," Unpublished Hi.D. dissertation. University of Arizona, 1965. 3B

by ad u lts. As such they would have covered the upper p art of the body

to mid-chest and were undoubtedly worn as a part of a costume which

may have included a short wrap-around skirt, a mantle and a headdress.

Found among Paracas artifacts are skirts, shirts, and mantles all of

which closely follow the fabric construction and use of colorful em broidery and fringe seen on tho shoulder ponchos. A completely

Matched costume, as illu s tra te d in Bird and B ellinger,^ is a most

impressive sight.

All evidence, both that reported in literature and that ex amined during this study, indicates that the shoulder poncho gen erally followed a standard form in construction and ornamentation (Fig. l). The garment consisted of a single rectangle of plain weave with a woven neck slit arranged parallel to tho longer side. When worn the neck slit represented a vertical opening in the gurment.

Embroidered borders of equal width surrounded the rectangle and the nock slit. Ghort yam fringe was generally applied to all outer edges. Dospito the consistency of shape, fabric construction and ornamentation considerable variation existed among these small gar ments as will be apparent from the following review of literature and the analysis of fifteen such garments examined during this study.

Carrion Cachot reported on a number of shoulder ponchos or

"osclavinas" found in association with tho Tello Paracas mummy

O l3ird and Bellinger, fronticoploco to plates. 3 9

Q bundles. The average dimensions for these garments was 65 om. in

length and 4.8 cm. in width. The garments, which generally followed

the above description, exhibited the following variations. Some hor

izontal neck slits were illustrated although vertical nock slits were

predominant. Two sorts of outer borders wero evident; those which completely followed the outer edges and those arranged as two L-

shaped borders. At times additional units of embroidery were spaced

throughout the field of the garment. Occasionally long fringe was

added in an area where i t would hang over the arms when worn. Fin ally, a variation, seldom seen, involved the addition of a small

accessory cloth to one side of the garment as shown in Fig. Ig.

Yacovloff and Muollo^^ discussed a small shoulder poncho or

"unkucha" which incorporated tho small accessory cloth illustrated by Carrion Cachot. The garment, somewhat smaller than the average reported by Carrion Cachot, was 4-5 cm. in length and 4-0 om. in width.

The narrow edge of the accessory cloth, 24- cm. by 15 cm., was sewed to the short edge of the basic garment. When worn the garment ex tended slightly beyond tho shoulders and was seoui'ed at the underarm with cords attached to each comer of the garment. According to the authors, tho accessory cloth hung down the back and served as a background for a tailed headpiece which extended down the back and rested against the garment.

^Carrion Cachet, p. 79.

Yacovloff and J. C. %cllo. "Un Fardo ilmerario de Paracas," Revista del Miseo N acional. I l l , No. 1-2 (1934), p. 102. AO O'Mqü I q I'oportod on u group of atll.1 amaller ohoulder ponohos

found in a tiny bundle at Cabeza Ijarga,^^ The bundle contained 90

miniature items including turbans, mantles, skirts, small cloths and

shoulder ponchos. Similar miniature garments were discussed by ■JO Yacovleff and %elle. The average size of the sixteen complete

shoulder ponchos discussed by O’Neale was 6 cm. in length and A om.

in width. For some of the tiny garments the neck area was not open.

At times the shoulder poncho was laid against and sowed to a min

iature mantle. Tho tiny garments, which were carefully folded and organized into the bundle, clearly did not serve as wearing apparel but were undoubtedly designed specifically for the funerary occasion.

Fifteen shoulder ponchos were examined during this study. The garments listed in Table 1 aro consistently constructed of a single web of plain weave and are sim ilarly ornamented with embroidery and fringe. As a group these garments exhibit many of the characteristics of similar garments reported in literature us well as some additional variations.

Four of the shoulder ponchos examined, BM 34.1531, 34.1554,

34.1583, and AMNH 41.2.633, are closely related to each other and are most nearly like the average shoulder ponchos described by Carrion

Cachot. Tho average sizo of these garments is 70 cm. In length and

54 cm. in width. All have dark blue plain weave ground cloth and aro

^^Lila M. O’Noale. "Pequonas )Fondas Cereraonialos do Parukas," Revista del Museo Nacional. IV, No. 2 (1935), P. 245.

1 2 Yacovleff and Muelle, p. 107 and 108. 4 1

T A B L E 1

BASIC TABIE; EARLY PERIOD SHOULDER PONCHOS AND PONCHOS: Dlf^NSIONS, FABRIC CONSTRUCTION, AND ORNAMENTATION

Ground Cloth Ornamontation Pattern Fringe Finish

8 ., I I f .1 I a Specimen I Number II & I» A I I (shoulder ponchos) BM 34.1581 81 61 .75 1 XXX BM 34.1554 74 58 .78 1 XXX BM 34.1583 58 48 .83 1 X XX AMNH 41.2,633 67 48 .72 1 X X X

TM 91.563 56 38 .68 1 X - -

BM 34.1564 U 28 .64 1 XX BM 34.1569 45 28 .62 1 X X - BM 34.1571 44 28 .64 1 XX - BM 34.1573 /^2 32 .76 1 XX - BM 34.1574 44 28 .64 1 X X - BM 34.1575 42 28 .67 1 X X - BM 34.1576 45 29 .64 1 X X - BM 34.1577 44 28 .64 1 X X -

TM 1967 .8 .7A 35 20 .57 1 XXX

TM 280 46b 33 .72 1 X - X

( p o n c h o s) BM 34.1579 186 74 .40 1 X X X TM 1959 . 11.1 207 99 .48 2 2 — X X

The W : L proportion represents tho total shape of the flat rectangle and not the shape of tho garment us worn.

^The complete dimension Is assumed from a partial garment. 42 I ornamented with colorful ombroidery arranged in peripheral and neck slit borders. The borders on esch garment vary in motif but are re lated in use of color with red predominating. Specimens BM 34.1554 and 34.1581 have additional blocks of embroidery spaced over the ground cloth (Fig. If and Plate I). Several rows of cross-knit looping are used to finish tho neck edge and to bind the fringe to the outer edge of the garment. The short yarn fringe in each case is predominately dark blue with some rod and yellow yams included.

Shoulder poncho BM 34*1583 has ad d itio n al long fringe of the same type and color arranged in an area ovor tho shoulder (Fig. le).

Two of these shoulder ponchos, BM 34*1583 and AMNH 41*2.633, are particularly distinctive because each has a matching mantle.The mantles are large, flat rectangular pieces which ore approximately

250 cm. in length and 145 cm. in width. Each mantle and shoulder poncho set match in motif, color, fabric construction, use of em broidery and fringe. Tho concept of matching sets of garments is not unique to tho Paracas culture. Matching garments involving other costume items are known in the Late Period possibly from the North

Coast. Shoulder poncho TM 91*563 is somewhat sm aller and simpler than those just discussed, yet, it too seems appropriate in size for adult wear (Fig. Id). While it has the traditional li-shaped embroidered borders, the ground cloth is undyed and the garment has no fringe.

13 Shoulder poncho BM 34*1583 and i t s matching mantle are illu s trated in Plates II and III in Append:ix 0. Fig. 1 .—EARLY PERIOD SHOULDER PONCHOS A. BM 34.1571 (U x 28 cm .), B. TM 1967.8.7A (35 x 20 cm.), C. TM 280 possibly Nazca (46 x 33 cm.), D. TM 91.563 (56 x 3# cm.), E. BM 34.1583 (58 x 48 cm.), F. BM 34.1581 (81 x 6l cm.), 0. after an illustration in Yacovleff and Muelle, p. 102, (45 x 40 cm. accessory cloth 24 x 15 cm.)

43 lu m r n iMin n rr A B

immiiiniVtiiiinuiim

□ □ □□□ □ □ □ a □ 0 □ p □ D□ □ D □ i: ] n 1 3 n

I 2 0 am. ( FIGURE 4-5 The neck slit is finished with fi oroas-knit looping in the same man ner as seen on the larger shoulder ponchos.

Eight items in a series, BM 34.1564 through 34.1577 in Table 1, are cataloged as "ponchitos” (Fig. la). Each is approximately 44 om.

long and 2? ora. wide. This is considerably smaller in size than the shoulder ponchos discussed by Carrion Cachot and yet larger than the miniature garments discussed by O'Neale. All are constructed of a single web of dyed, plain weave cotton of which five are red and three black. An embroidered border approximately 2 cm. wide follows all outer edges of each specimen. The borders uro solidly erabrodlered and have either a red or green ground with small motifs appearing in a variety of colors. The same sort of embroidery is arranged to sug gest a border for the neck slit, however, the plain weave ground re mains intact under the embroidery, thus the neck slit is not functional.

A very short fringe is attached to all outer edges.

The "ponchitos", although they resemble the shoulder ponchos in appearance, were apparently designed to serve in some manner other than as wearing apparel. The pieces are complete loom structures of fine quality and are carefully embroidered. Had they been intended as items of clothing a nock slit would very likely have been fashioned during the weaving process. The Peruvians were rarely accustomed to cutting fabrics to adapt thorn to their intended end use. Thus, the

Brooklyn Miseum specimens may have been samples from which functional garments were patterned or they may have been designed as substitutes for actual garments intended for use on ceremonial or funerary occasions. 46 The Textile Museum collection contains a tiny poncho, TM 1967.8,7A, which resembles the series viewed at The Brooklyn Mjseum (Fig. lb).

It is constructed of a single web of undyed, cotton plain weave and has n functional nock slit which was produced in the weaving process.

DospJte the small overall dimensions, the nock ol.it io ao long as that on TM which is assumed to be an adult garment. Tho nock s l i t edges aro finished with the same kind of cross-knit looping seen on larger scale shoulder ponchos.

Shoulder poncho TM 280 differs from similar garments in the na ture and arrangement of embroidery. Small bird motifs in lavender, pink, light blue and green are arranged over the entire surface of the undyed cotton ground (Fig, Ic). No effort is made to concentrate embroidery in border areas as is commonly noted on other shoulder ponchos. The edges of the woven nock slit are finished with cross- knit looping while the outer edges of the rectangle are treated with several rows of chain stitch in lieu of fringe. King, writing about this poncho, indicated that tho chain stitch was usually not found during the Paracas Period and suggested that the piece was possibly of the early Nazca Period. The shoulder ponchos, which occurred in several forms during the Paracas Period', may have continuod in fashion into the early Nazca Period. No evidence is available to Indicate that the fashion for this garment existed in any locality beyond the South Coast or in any period following tho early Nazca Period. 4 7

Poncho

The identification of a flat rectangular piece of fabric having

a neck slit as a true poncho is indeed tenuous. It is simply the ab

sence of u side soara which distinguishes it from u poncho-shirt.

Monte11 stated th a t such f l a t garments were unknown in Peru before th e tlirio of the Conquest.Yet, a report of a flat garment by Tollo^^ which was distinctive in size and shape, ornamentation, and construc tion from any other Paracas shirts known io worthy of mention. The garment described by Tello was made of dark blue wool trimmed with feathers and leather; a combination of ornament not noted on any other

Paracas poncho style garments. The garment was constructed with a cut neck slit which was horizontally oriented; a garment feature noted only occasionally on some shoulder ponchos. Its flat dimen sions, 180 cm. in length and 68 cm. in width, resulted in a garment, which when worn would have exceeded the length of any known Paracas s h ir ts .

Two specimens, BM 34.1579 and TM 1959.11.1 listed in Table 1, are comparable in size and shape to the poncho described by Tello.

Each of these garments is permanently mounted as a f l a t specimen.

Although the side areas of The Textile Museum item are in poor con dition, no evidence of stitching appears along the sides of either garment and thus they are hero discussed as ponchos.

^^%ntell, p. 32. 15 Julio Tello. Paracas. falmera Parte. Lima: T. Scheuch,

1959, P late 22. 48 The ponchos examined have some of the decorative characteristics

in common with other Paracas style poncho garments yet they are dis

tinctive from them in fabric and garment construction as well as in

oizo and ohapo. Both have tho long ohouldor fringe of the typo and

coloring frequently soon on nhouldnr ponchon and o h irta. (Oomfwro

Fig. 2 with Fig. lo and Fig. U>) The embroidered edge finishes com

monly used on shoulder ponchos and ahirta also occur on the ponchos. The same unthropormorphic figures which are the popular theme of em

broidered motifs occur as the woven patterning on the ponchos.

The Textile Museum specimen 1959.11.1 is the largest of the two

ponchos examined and the most complex in garment construction. I t is

made up of four units of fabric joined to establish the width of the

garment (Fig. 2a). The warp and weft interlocking technique used in

the center two panels is woven to create an all-over patterning as

well ao a horizontal band across the shoulder area and at the lower

edges of tho garment. The narrow triple cloth units are patterned

to create borders along the sides of the poncho. The vertical neck

slit, left as an opening in the center seam, is finished with several

rows of oroas-knit looping.

The Brooklyn Miseum specimen is constructed of a single web of warp and weft interlocking technique somewhat different in process from that used in The Textile Museum poncho. The pattern, which con sists of three large anthropormorphic figures and ten small ones on a rod ground, is unusually complex for the nature of the weaving tech nique (Plate IV). Such an elaborate yet symmetrical pattern created Fig. 2.--FARACAS PONCHOS A. TM 1959.11.1, two center webs of wurp-weft interlocking, two outer webs of triple cloth (207 x 99 cm.) B. BM 34.1579, a single web of intricate warp-weft interlock ing (186 X 74 om.)

4 9 50

I 30 cm. I B

FIGURE 2 51 in such an intricate fabric technique caused Easby to conclude that

the act of weaving the piece as well as the s.Vmbolism emboided in the motif may have been more important than the finished garment.

The garment structure of The Brooklyn Miseum specimen is simple (Fig. 2b). The neck slit of this garment was constructed during the weaving process. A narrow odgo of purple ombroidery is used around the neck edge and along the sides of the garment. Bits of additional embroidery are used to accent the eyes, mouth and headdress of the fig u re s. The garments examined along with those observed in literary sources are related in proportions and are unusually large in size. 17

No evidence of stitching is apparent along the sides of the garments.

However, had the garments ever been sewed, they would have been both longer and wider than any Paracas shirts known. Such a large garment would have extended beyond the shoulders of tho wearer to below the elbows. In tho case of tho garments with shoulder fringe, they would have reached to the wrists. In length tho garments would have reached well below tho knees. Tho care with which tho garments were constructed.

^^lizaboth Easby. "Conservation of a Unique Peruvian Fabric," Brooklyn Museum Annual. VII, (1965-66), p. 70. 17 An additional flat garment of a related kind was observed among the fabrics being prepared at Tho Textile Museum for the Mastorcrafts- mon of I'oini exhibition a t the Guggenheim Miseum. The garment consisted of two webs of double cloth seamed a t the center allowing an opening for tho head. Tho dimensions of the garment were 181 cm. in length and 88 cm. in width. Gets of rod and blue yarns were used in each web to creato a single column of four largo fo lin e and human fig u res. The piece io illustrated in the following reference: Alan Sawyer. Mastercraftsmen of Ancient Peru. Now York: The Solomon R. Guggenheim Foundation, 1968, p. 52. tho cujtiberoomu dimonslona, and particularly tho unusual length of tho

garments suggests that they were used for a special function, possibly

ceremonial.

Poncho-Shirts

Poncho-shirts of the Paracas Period aro found in greater numbers and in greater variety than any other poncho-typo garments. Mioh of what is written about the shirt in once again the result of the Carrion

Cachot study of items found in the Tello mummy bundles. She reported 1A on three types of shirts from Cavernas: a shirt of Incaic propor tio n s in strip ed brown wool and having shoulder frin g e; a shorter and wider shirt in wool gauze; and a very short and still wider shirt of cotton on which the wool yams used to decorate each side seam ended in a braided tassel. Nineteen other shirts were examined from a 19 Necropolis site. These shirts were more uniform in type; all, with the exception of a marine blue wool shirt, were of undyed cotton plain woavo and embroidered. All wore of greater width than length with the largest shirt 85 cm. long by 115 cm. wide. The most common size was 50 cm. in length and 75 cm. in width. The embroidery was concentrated in border areas around the neck slit and occasionally along all edges of tho garment. Fringe was used along tho side seams, the lower edge of the shirt and in quantity along the shoulder areas.

More recently King, in her study of Peruvian textiles from tho

1(3 ■’Carrlon Cachet, p. l\A-

^^Carrion Cachot, p. 80. 53 middle Paracas site at Ocucaje, confirmed the use of shirts similar

to those discussed by Carrion Cachot and in addition revealed a unique

type of shirt constructed of a web of closely worked single element

looping.The six s h irts of th is type examined by King were unusu ally uniform In size and shape; for the moot part being longer than

wide. They wore fu rth e r closely reJ.ated in color, fib e r, m otif and

garment construction. ' Among the Ocucaje specimens studied by King,

the looping technique was used primarily for the construction of poncho

shirts. No examples of looping technique shirts were found from other

Peruvian regions or periods.

The twelve poncho-shirts examined during this study are believed

to be of the Paracas Period based on their close association with tex

tile teoimiques and decorative motifs established as preferred in the Paracas region. These shirts vary in size and shape, fabric con

struction, garment construction, placement of patterning and use of

ornament. The shirts are usually of a broad rectangular shape, often

with a width close to one and one-half times the length. The excep

tion is the group of single element shirts which are of a long rec tangular shape (see Table 2). Among the broad shirts, those of plain weave which are embroidered tend to follow the standard form of orna mentation seen on the shoulder ponchos, and those which combine gauze

and plain weave uro considerably less ornamented.

?0 King, p. 355.

Details of the single element shirts will be discussed later as they are a part of The Textile Museum and American Miseum of Natural History collections included in this study. 54 TABIÜ 2 BASIC TABIEj PARACAS PONCHO-SHIRTS: DIMENSIONS, FABRIC CONSTRUCTION, AND ORNAMENTATION

Ground Cloth Ornamentation Pattern Fringe Finlah I ? h Q) g S I Specimen g Number ll li & 1 I ÏM 1965.47.2 69 59 .86 1 X X TM 296 70 58 .83 1 X TM 1959.15.1 68 60 .88 1 X TM 91.489 71 62 .87 1 1 XXX TM 180 75 94 1.27 2 2 X

TM 1962.2.1 50 71 1.42 1 X XX AMNH (2) 68 97 1.43 2 X X Aim (3) 46 61 1.33 1 XX X TM 308 44 71 1.61 1 X X

TM 1961.24.13 73 100 1.35 X TM 244 83 95 1.14 X AMNH (1) 57 87 1.53 1^

liYlnRe along bottom la tab fringe.

^Indicates that both tochnlquea of weaving are incorporated in each web.

Single Element Shirts

The data presented on single element ohirta aro based on the five garments TM 196'J.4V.2 through TM 180 listed in Table 2. Four of these garments were Included in the King study; a fifth, TM 1965.47.2, was acquired by The Textile Miseum after the completion of her study. The 55 five shirts are fictually u p art of u larger group of like garments

for which data were not available. Two shirts, also in the King

study, were unavailable for examination because of their fragile con

dition. A shirt of like type is recorded in a Cleveland Museum 22 b u lle tin . The close worked looping shirts are similar in most respects and

are easily didcussod as a group. The variations which do occur are

noted on shirts TM 180 and TM 91.4^9, thus these shirts will bo dis

cussed separately. Tho single element shirts aro consistent in size and distinctive among Paracas shirts in their long rectangular shape. They range in length from 68 to 71 cm. and in width from 59 to 62 cm. (Table 2).

When worn the width of these s h irts would have covered the upper arms of tho individual and in length would have reached mid-thigh.

Each of the single element shirts is similarly constructed of a long, narrow web folded horizontally and sewed along the sides leaving an opening near tho shoulder fold for tho arms (Fig. 3a). The neck slit, fashioned in the process of fabric construction, is centered and parallel to the length of tho shirt. Each shirt has approximately 5 cm. of rod vicuna (?) tufted fringe added along throo sides. The shirts are of alpaca yam throughout and each raakoc use of the same color harmony of rod, maroon, croam and brown. The s h irts are further closely related in patterning. A large single animal motif which virtually fills each size of tho shirt or a more regular

22 Arts of tho Americas. Picture Book No. 2. Cleveland Miseum of Art, 1946, frontispiece 1. Fig. 3 .—PARACAS SINGIE EiEMBNT PONCHO-SHIRTS A. TM 1965.47.2 (69 X 59 cm.), B. TM 91.489 (71 x 62 o m .) , and C. TM 180 s h o u ld e r epaulets of plain weave (74 x 94 o ra .)

5 6 57

B 1

, 20 cm. I

FIGURE 3 5Ü repetition of u omuller highly f'eomotriolzod motif io uaed (Plate V).

Shirt TM 91.489 is related in color, patterning and shape to the

others and differs only slightly in garment construction (Pig, 3b).

The length of the garment includes a 5 cm. band of embroidered plain

weave sewed to tho lower edge of tho shirt. The red vicuna tufted

fringe is used only along the bottom edge of the border and the edges

of tho arm slits. Two rows of cross-knit looping are used in a 6 om.

area at each end of the neck slit apparently to reinforce the neck

opening. Although shirt TM 180 is of alpaca and of a single element con

struction, it differs from tho other shirts of this type in a number

of ways. The shirt is the same length as the others but is consider

ably wider and thus differs from tho others in shape (Fig. 3c). It is

constructed of two separately made webs seamed along the shoulder area

as well as at the sides. Shirts of multiple webs are not unusual among prehistoric Peruvian garments, however, multiple webs are more

commonly seamed vertically so as to extend the width of the garment.

A separately woven piece of alpaca plain weave with a geometric pat

tern produced by a figure eight wrapping of paired warps is attached to each arm slit and serves as an epaulet rather than a sleeve. The

patterning on the body of tho shirt io a single large sun-like motif which differs from tho usual animal figure. Tho color range is re

stricted to brown and white. White vicuna (?) tuftod fringe is used

along the sides and the lower edge of the shirt. 59 Plain Weave Embroidered Shirts

Four plain weave shirts embroidered in wool, TM 1962.2,1 through

TM 308 on Tat le 2, were examined. One of the four, TM 308, was a part of the King study and thus identified with the Ocucaje site. The re

maining throe shirts are olosoly rolatod to those discussed by Carrion

Cachot from tho Nncropclis n ito . ,'lhlrts sim ilar to those examined are

frequently illustrated us a part of other museum collections.

The plain weave embroidered shirts are similar in many respects

and can bo discussed us a group. They are easily associated with the

plain weave Paracas shoulder ponchos in their use of embroidered bor

ders and their consistent and abundant use of fringe (Fig. 4).

The body area of the embroidered shirts is consistently a broad

rectangular shape. The final shape of the garment, however, is al

tered because of the abundant use of fringe. Highly twisted yam

fringe, ;ln each case the same dark blue, with red and yellow seen on

tho shoulder ponchos, io used along various edges of the garment.

Along the arm slit, lengths of this fringe extend the width of the

shirt on each side by either 27 or 65 cm. depending on the body size

of tho garment. Tho length of each shirt is similarly extended with

the use of yam or tub fringe. The tab fringe is an extension of the basic warp of the shirt web and io woven in units eight warps wide.

The length of the fringe appears to relate to the body size of the

'^^Plain weave embroidered s h irts of tho type discussed here aro illustrated in the following references. Arts of tho Americas. Pic ture Book No. 2. Cleveland Museum of Art, 1946, frontispiece No. 2. Christa ; Garlotto Mayer. Masterpieces of Western Textiles. Chicago: The Art Institute of Chicago, 1969, p. 12, plate 1. Fig. 4 .—PARACAS PLAIN WEAVE EMBROIIERED PONCHO-SHIRTS A. TM 1962.2.1 (50 X 71 om.), B. AMffl (3) (46 x 6l era.), and C. AMNH (2) (68 x 97 ora.)

6 0 61

m irr

I 20 om. I .

FIGURE 4 62 shirt. For the smaller shirts, TM 303 and AMIH (3), the fringe is

2 and 7 cm, in length respoctivelyj for the larger ones, AMNH (2)

and TM 1962.2.1, the fringe is from /+0 to 4-5 om. In length. An ad

ditional short yam fringe, 2 om. in length, io at times used along a l l outer edges. Such fringe io applied with several rows of cross-

knit looping in the same manner as noted on the four largest shoulder

ponchos. The significance of the size difference among those embroidered

shirts is speculative. Shirt TM 303 (Pig. Ab) is related in size to

the shirt illustrated in the Art Institute of Chicago catalog. (See

footnote 23.) The latter shirt is listed as a "child's poncho-shirt."

Thus, one might assume shirts differed in size as related to the dif

ference in physical size of tho individual. Bennett^^ suggested that

in the lengthy burial procedure garments of daily use were wrapped

with tho body during the first interment. With subsequent interments

additional garments were placed on and with tho bundle and as the bundle increased in size, the garments increased in dimensions. The two AM^H embroidered shirts shown in Fig. 4b and 4c and the simple

gauze and plain weave shirt shown in Fig. 5b are all from the same mummy bundle. Those garmonts vary considerably in size. Tho placement of embroidered areas on the shirts follows a standard already noted on tho shoulder ponchos in which borders of uniform width surround tho neck s lit and form two If shaped peripheral

C. Bennett. "If You Died In Old Peru," N atural H istory XLI. No. 2 (February, 1938), p. 119-125. 63 bands. (Compare Fig. 4b with Fig. le.) On the larger shirts sep

arately woven borders are appllquod on tho garment and additional

borders are embroidered directly on the ground cloth (Fig. l^a), At

times blocks of embroidery are spaced throughout the ground. The anthropormorphic figures used within the borders are multicolored and appear against a solidly embroidered ground which is predominately red. The ground cloth of the shirts is either dark blue or tan.

The standard followed in the placement of embroidery on shoulder ponchos and s h irts is also used on mantles and s k ir ts . This con sistent format tends to suggest that plain weave embroidered garments were designed in sets. The only matched sets examined during this study are the shoulder ponchos and mantles discussed earlier. It is assumed that the shoulder ponchos were worn with a skirtj^^ however, no matching skirts have been located. Carrion Cachot described a matched set of embroidered garments including a shirt, mantle and skirt found in a single Necropolis mumngf bundle.Furtherm ore the shirt illustrated in the Art Institute of Chicago catalog is known to match a skirt and mantle fragments located in The Textile Museum.^"^ Matching sots in which a shoulder poncho and a poncho-shirt occur with other garments are presently unknown.

^Yacovleff and Muelle, p. 103.

Carrion Cachot, p. 80. 27 Tho Textile Museum items are illustrated in Bird and Bellinger. The skirt, 91.113 is shown on Plate X and the mangle fragments, 91.159 a , b and c, on Plate XLVI. 64- Plain and Gauze Weave S h irts

S h irts TM 1961 .24. 13, TM 244 and AMJH (l) In Table 2 combine

plain and gauze weave In the same basic warp. Shirt TM 244 was In

cluded In the King study of textiles from Ocaoaje. The other Textile

Museum shirt, on the basis of similar fabric construction and the use

of Paracas style patterning, may also be associated with Ocacaje.

The third shirt, ANWH (l), like the two embroidered shirts In the

same collection are from a Necropolis mummy bundle. Shirts of this

fabric construction are not so generally encountered In published re ports as are the plain weave embroidered shirts. One brief reference

to a gauze shirt from a Cavernas site was made by Carrion/ Cachot. 28

No dimensions of that shirt were available and It was not clear whether the "lace" described by the author was meant to be gauze weave.

It Is difficult to discuss the plain and gauze weave shirts as a group because they lack the conforming characteristics noted among the single element and embroidered shirts. The shirts differ from each other In size as well as In shape. The AMH shirt Is of a broad rec tangular shape while the others approximated a square. All three are loss ornate than the other Paracas shirts. They have no shoulder or seam fringe although two of the garments have frin g e along the bottom edge. In each shirt tho shift from plain to gauze weave 1s used to create a patterning of mask-type figures with many appendages.

Shirt TM 1961.24.13 has an unusual feature In Its construction

28 Carrion Cachot, p. 45. Fig. 5.—PARACAS PLAIN AND GAUZE WEAVE PONCHO-SHIRTS A. TM 1961.24.13 (73 x 100 ora.), B. AMNH (l) (57 x 87 ora.), and C. TM 244 (83 X 95 era.)

65 66

■ 20 cm. I

FIGURE 5 6 7 (Fig. 5a), This red alpaca shirt is made up of two matched webs of

which one is some 20 to 30 cm. longer than the other. In order for

the webs to be compatable for the construction of the shirt, a hori

zontal tuck appears above the fringe on each end of the longest web.

Rarely are tucks or pleats found in Peruvian shirts. For the most

part fabrics are woven to the preferred size for their end use and when multiple webs are used to create one garment they are woven to equal size. Some evidence of folds used to alter the finished shape of a textile piece is found among Late Period miniature garments and some feather ponchos. This kind of fold occurs more frequently on plain weave garments of mediocre quality than on garments constructed of intricate fabric techniques.

The remaining two s h irts which combine gauze and plain weave are of undyed cotton (Fig. 5b and c). The Textile Museum specimen 244 is constructed of two webs and is similar in size and shape to the alpaca 29 shirt just discussed. According to King," TM 244 at one time had a border of complementary warp-patterning appliqued along the bottom. The shirt is in very fragile condition. The American Miseum of Natural

History shirt is the smallest of the group and is constructed of a single web.

Each shirt is a single color with the patterning effect subtly created in the gauze weave. For two of the shirts, TM 1961.24.13 and

AMNH (l), the figures in the gauze areas are confined to blocks which alternate with blocks of plain weave. In each of these cases the

29 King, p. 115. 68

pldln v/oavo blooka htivo row« of toordrop oiita wovon in tupeabry

fashion. On the former shirt the blocks are arranged in an all-

ovor checkerboard while on the latter the blocks are arranged as a

wide border which surrounds the plain weave ahirt. An all-over gauze

p a tte rn of masked fig u res f i l l s a l l but the la s t 5 cm. of each web on

s h ir t TM 2AA>

Undecorated Plain Weave Shirts

Patterned and ornamented garments such as the single element,

plain weave embroidered, and gauze shirts discussed above are easily

identified with a specific culture because of known cultural pref

erences for motifs and textile techniques. The undecorated plain weave garments are much more difficult to identify unless character

istics of size and shape or garment construction aid in their identi

fication. Information on one such undecorated plain weave shirt,

Soldi 22 in The American Museum of Natural History, is included here

although the item was not available for examination.

The data presented were abstracted from the King study.The

s h ir t was constructed of two webs of cotton plain weave joined a t the

conter with a neck opening allowed in the seam. The edges of the neck

opening were finished with eight rows of cross-knit looping. The dimen sions of the garment, as recorded by King, were those of a 106 cm,

square. The diagram included in her study showed that the woven body area of the shirt was a broad rectangular shape extended in length by

long tab fringe, long yam fringe was also added to each arm slit.

^°King, p. 185. 69 The lonf' nhouldor fringe, the tnh frlnf'fi ulon# the bottom of tho

nhirt, and thé broad rectangular ahape of tho body of tho garment

were all characteriatlcs relating the shirt to Paracas style.

Nazca

Studies which deal with the Nazca Period are strongly textile oriented and give.little insight as to the nature of the end product.

Two references form the bulk of what is known about costume of that period. O'Neale,^^ dealing primarily with the technical aspects of textiles from the early Nazca Period, related the data, when possible, to costume items. Mbntell's more general analysis of costume was in ferred from a study of Nazca pottery. An understanding of the textile technology of the period was provided through a variety of technical op 33 studies by 0'Neale and a study by Lothrop and Mahler of textile fragments from a specific Nazca burial site.

Basically the textile techniques and the ornamentation used

31 Lila M. 0'Neale. "Archaeological Explorations in Peru Part III; Textiles of the Early Nazca Period," Field ^seum of Natural H istory, Anthropological Memoirs. I I , No. 3 (1937), 119-218.

^^Llla M. O'Neale. "Peruvian 'Needleknitting'." American Anthropologist. XXXVI, No. 3 (July-September, 1934J, 405-430. ______. "A Peruvian Multicolored Patchwork," American Anthropologist, XXXV, No. 1 (January-March, 1933), 87-94. ______. "Wide-Loora Fabrics of the Early Nazca Period," Essays in Anthropology in Honor of Alfred Louis Kroeber. Berkeley: University of California Press, 1936, 215-228. ______and Thomas Whitaker, "Embroideries of the Early Nazca Period and the Crop Plants Depicted on Them," Southwestern Journal of Anthropologv. XXX, No. 4 (1947), 294-321.

K. Lothrop and Joy Mahler, "la te Nazca B urials in Ghavina, Peru," Papers of the Peabodv ^seum of Archaeology and Ethnology. Harvard University, L, No. 2 (1957), 3-61. 7 0

during the Nazca Period did not differ dramatically from that of the

Paracas Period. According to O'Neale^^ seventy percent of the total

early Nazca specimens were in part or wholly of plain weave. Tapestry

weave, also recognized among the Nazca specimens, was used sparingly

in small webs ouch as ribbon, tho center of slin g s, on epaulets, and

in localized areas to create p attern w ithin a plain weave web. Em

broidery was the chief means for creating patterning effects on plain weave. Such ornamentation us fringes, tassels and cross-knit looped

edging appeared frequently. The textile products of the two cultures, although similar, have long been distinguished on the basis of the nature and treatment of motifs.

The Nazca shirts described in the two costume related studies wore very different in appearance. The O'Neale report, dealing with textiles from the early port of the Nazca Period, included an analysis of four sleeveless shirts.Two of the shirts were considered to be children's garments and the other two for adult wear. Each of the shirts was constructed of plain weave fabric and ornamented with em broidery and frin g e . Such a combination of elements was noted e a rlie r among Paracas shirts. Yet, a comparison of the O'Neale shirts with Paracas plain weave embroidered shirts revealed that the finished products of the two cultures may be distinguished on the basis of garment style. (Compare Fig. 6 with Fig. 4.)

^^O'Noale, Anthropological Memoirs. (1937), p. 206.

^^O'Neale, Anthropologies 1 Memoirs. (1937), p. 183. 7 1

In contrast to the O'Neale shirts, Montell^^ reported that

shirts depicted on Nazca pottery had short sleeves which reached

half way down the forearm. The shirts were waist length terminating

In fringe. No information on fabric structure was available. Monte11

undoubtedly used as the basis for his description tho painted pottery

of the la te Nazca sty le .

The twenty specimens listed .In Table 3 were identified with the

Nazca culture on the b asis of s ty lis tic sim ila rity to garments reported by O'Neale and Montell or on relatedness to textile techniques es tablished as preferred by that culture. All of the garments examined were sleeveless poncho-shirts. These shirts were discussed in two units ; first, the five plain weave embroidered shirts related to

O'Neale's early Nazca Period, second, tho remaining fifteen shirts representing somewhat more variety in textile techniques and related to Montell'o description of late Nazca shirts.

Early Nazca Poncho-Shirts

Plain Weave Embroidered Shirts

Three shirts in The Textile Niiseum collection, TM 91.760, 91.759 and 1966.8.1 in Table 3, are closely related in garment structure and

^^Montoll, p. 158. 7 2 TABIE 3 BASIC TABIE; NAZCA PONCHO-SHIRTS: DIMENSIONS, FABRIC CONSTRUCTION, AND ORNAMENTATION

Ground Cloth Ornamentation _____ ^ Pattern Fringe Finish o 1 (H? i 1 3 s .g I 3 Specimen a Number ti llbo > 43 1 l l 1 I 1

TM 91.760 34 33 .98 1 X XX TM 91.759 47 38 .80 1 X X X X TM 1966.8.1 66 75 1.17 1 XXX TM 91.761 71 110 1.54 2 2 X X X X X MAI 18.946 79 97 1.22 2 2 X XX

MPA 58.204 37 66 1.78 2 XX X X AMNH 41.0.1177 31 74^ 2.38 2 XX X AMNH 41.1195 36 72 2.00 2 X XXX MAI 11.2445 38 67 1.76 2 X XXX MAI 14.661 30 64 2.13 2 XXXX TM 91.656 41 72 1.77 2 X XX X TM 91.484 14, 78 1.77 2 XX X X TM 1960 . 12.7 38 66 1.73 2 X XXX

TM 1960 . 12.8 27 61 2.34 2 X X TM 1962 .4.3 50 70 1.40 2 XXXX TM 91.303 117 96 .88 2 X XX _b TM 91.531 27 2.03 X 55 _b TM 91.474 24 58 2.41 X _b 2^ TM 1966 .7.168 31 58 2.07 2b XX X

TM 1959.20.12 24 64 2.66 2 X

*^Tho complete width is assumed from one half of the shirt.

^Indicates that both techniques of weaving are incorporated in each web. 7 3

ornamentation to the two "children's shirts" discussed by O'Neale.

These shirts, like those discussed by O'Neale, are each constructed of

a single web of undyed cotton plain weave with a neck slit fashioned

in the weaving process (Fig. 6a and b). Similar to the O'Neale shirts,

each is ornamented with yam fringe along the arm slits and the lower

edge of the shirt. The Textile Museum shirts, like specimen 171266b discussed by O'Neale, have separately constructed embroidered pieces applique! as a border around the neck opening and along the arm slits.

A dditional embroidery, worked d ire c tly on the ground clo th , is used to form several rows of rectangles arranged along the shoulder fold.

An interesting feature of The Textile Museum shirts, not noted on the

O'Neale shirts, is a single set of cords located near one end of the nock slit, apparently designed to close the neck slit when the garment was worn.

The major differences, noted both among the shirts examined and those reported by O'Neale, is the great variation in size and shape. The shirts range in shape from nearly square to a variety of rectangu lar shapes with the greatest dimension in either the width or length.

One of the O'Neale shirts is almost twice the size of the other. The

37 The following data on "children's shirts" are summarized from O'Neale, Anthropological Memoirs. II, No. 3, p. 183-184 and Plate XXXIV 0 and d. Specimen 17107d (25 by 38 cm.) is constructed of a single web of undyed cotton plain weave. The edges of the woven nock slit as well as those of the arm slits are finished with several rows of cross-knit looping. Short yam fringe, 2 to 3 cm. in length, is applied as an em broidery technique to the arm slits and tho lower edge of the shirt. Tho construction of specimen 171266b (51 by 56 cm.) as w ell as the choice and arrangement of embroidery, cross-knit looping appliqué and fringe are identical to The Textile Miseum shirts 91.760, 91.759 and 1966 .8 .1. Fig. 6 .—EARLY NAZCA PLAIN WEAVE EMBROIDERED PONCHO-SHIRTS A. TM 91.759 (47 x 38 om.), B. TM 1966.8.1 (66 x 75 cm.), C. TM 91.761 (71 X 110 cm.), and D. MAI 18.946 (79 x 97 cm.)

74 Jca o C] ca ra 'ra ca ca ca ca; Ja a era ca f=a 1=1 ca ca c=i c a c

>i|i(lllltlllllfillU/llllllll(NlllK((IAtUtUUIVUlUlA

' « > •1 * Hi a •>< 1 H i t *<4 l‘ «’aa t • ■ ! 'Ji«< i l <‘9 flM />J v I

I 20 cm.

FIGURE ! 76 Textile Musem shirts are also quite different in size as noted in

Table 3. These shirts, which ai-e so standard in construotion and

ornamentation, may well represent the style of a certain region. The tremendous variation in size and shape may be related to their use by children as well as adults.

The two s h irts examined during th is study, TM 91.761 and

MA.I 18.94-6 listed in Table 3, are closely related in garment con struction, size, shape and ornamentation to two adult-sized early

Nazca garments discussed by O'Neale.^® All of the shirts, both those examined and those discussed by O'Neale, are dramatically larger than the "children's" garments. Each is constructed of two webs of fabric sewed at the center and underarm. Each has separately woven webs of tapestry attached to the shoulders as epaulets (Fig. 6c and d). Each has fringe or braid at the edge of the epaulets and along the bottom of the shirt.

The Textile Miseum specimen 91.761 appears to be identical to

O'Neale's shirt 171217A (Fig. 6c). Each is constructed of two webs

qg The following data are listed for tho two early NazCa garments considered by O'Neale as adult male wear. Specimen 171308 (99 x 114- cm.) is constructed of two webs of alpaca each of which incorporates plain weave, tapestry, warp and weft interlocking and twining. The tapestry and twining are used to create a very narrow band along the lower edge of the shirt. The interlocking technique is used to create a broad checkerboard band of color through the center of the garment on both front and reverse sides. Separately woven tapestry pieces are used for the epaulets. The shirt is discussed in O'Neale, Anthro pological Memoirs. I I . No. 3, p. 184- and P late XXXIV, e. Specimen 171217A (84 % 117 cm.) is identical to TM 91.761 reported above. It is illustrated on Plate XXXII of the O'Neale reference. 77 of red alpaca plain weave. Separately woven blue-green yarn fringe

is attached to the edge of the tapaetry epaulets. The fringe along

the lower edge is unwoven warp which has been grouped and wound with

blue-green yarn to create soft flat knobs. Just above the fringe,

pairs of colorful yams are twined about the warp to form a narrow decorative border. The ends of the twining yams are plaited and

hang as ta sse ls a t each end of the center seam.

The Miseum of the American Indian specimen 18.9-46 is related in

size, shape and garment construction to The Textile Museum shirt just discussed. However, th is s h irt is heavily ornamented with red, yellow and black embroidery and braided tassels (Fig. 6d). The embroidery, worked on the dark brown alpaca ground cloth, is concentrated in bands which surround the neck and arm slits. Colorful yarns are used to create a cross-knit looping finish along the neck slit and along the edge of the tapestry epaulets. The embroidery yam is also used to create plaited tassels which are sewed to the epaulets and along the lower edge of the shirt at each seam. Just above the fringe addi tional embroidery is used to form a narrow border. The fringe is a distinctive feature of the shirt. It is constructed on the last few centimeters of unwoven warp loops. Pairs of warp loops are wrapped with the colorful embroidery yam used in the body of the shirt. This short fringe is held taut by a cord of embroidery yam threaded through the wrapped warp loops.

The Jiiseura of the American Indian shirt, cataloged as coastal

Tiahuanaco, has many features in common with The Textile Miseum shirt, which by its close association with the O'Neale shirt may be considered 78 of early Nazca style. Despite the considerable span of time suggested

by these Identifications, the shirts are alike In most respects and

exhibit several features which distinguish them as a group from all

other shirts examined. Their unusual length sets them apart from the

greater numbers of coastal shirts which are considerably shorter. No

other shirts, either examined or reported, make use of the intricate wrapped fringe and only one late Nazca shirt Incorporates the twining technique. The use of epaulets, although noted on one Paracas single

element s h ir t, is not observed on garments of the Middle and Late

Periods. This combination of individual features tends to identify these shirts with a specific style, possibly associated with the

South Coast and spanning time from the Early into the Middle Period.

Late Nazca Poncho-Shirts

The fifteen shirts, MPA 58.204 through TM 1959.20.12 in Table 3, discussed In this section are closely related to Montell's description of s h irts depicted on Nazca Pottery,Thirteen of the fifteen are waist length shirts ending in long fringe. The shirts, with few ex ceptions, do not exceed 45 cm. in length with the average length being 35 cm. The two exceptions, TM 1962,4.3 and TM 91.303, are much longer garments yet they exhibit many characteristics of garment construction and ornamentation which associate them with the waist length shirts. All of the shirts examined are sleeveless. This is in contrast to Montell's description of Nazca shirts as having sleeves

^^Mbntell, p. 158. 7 9 which reached to the elbows. The thirteen waist length shirts, which

are on the average twice as broad as they are long, are of sufficient

width to have covered the individual to the elbows. The shirts in this section are believed to be late Nazca or

Nazca-Wari in style. Ultimately the early Nazca culture was sub

jected to the highland influence of Wari and Tiahuanaco. This in

fluence is noticed particularly in the changing nature of the motifs.

The highland influence in the coastal regions may have instituted an

entire stylistic change. Garments of the following periods differ in

fabric construotion and the arrangement of pattern, in garment structure,

and in the choice and arrangement of ornamentation.

The fifteen shirts of late Nazca style will be discussed in rela

tion to their fabric consti*uction. The greatest number, eleven, are

p lain weave embroidered s h ir ts . Three of the s h irts combine p lain and

tapestry weave in each web used. One shirt is constructed of a sim

ple warp and weft interlocking variation of plain weave.

Regardless of the fabric construction all of the waist length

shirts are rather consistent in the form of garment construction, the arrangement of pattern, and the placement of ornament (Fig. 7). Each of the garments is constructed of two webs of undyed fab ric in which plain weave predominates. Each shirt has fringe along the lower edge only. The final appearance of each shirt is the result of border units concentrated along the vertical and horizontal edges. The borders are achieved either as the result of embroidery or the shift from plain to tapestry weave. The shirts vary in the numbers of borders used and in the width and patterning of the borders. Fig. 7 .—LATE NAZCA WAIST LENGTH PONCHO-SHIRTS A. AMIH 41.1195 (36 X 72 cm.) p lain weave embroidered, B, MAI 14.66I (30 X 64 om.) plain weave embroidered, C. TM 1959.20.12 (24 x 64 om.) warp and weft interlocking, D. TM 91.531 (27 x 55 cm.) plain and tapestry weave, E. TM 1960.12.8 (27 x 6l cm.) plain weave embroidered, and P. TM 1966.7.168 (31 x 58 ora.) p lain tapestry weave also embroidered.

80 mm

Hi O

■?Q gffli

FIGURE 7 8 2

Plain Weave Embroidered Shirts

Eight of the waist length shirts, MPA $8,204 through TM 1960.12.7

in Table 3, are virtually identical in all respects except for motif.

The two plain weave webs used in the construction of each shirt are

woven Of fine undyed alpaca yams twisted to give a crepe surface.

The la s t 10 to 24 om. of the warp on each web is unwoven and remains

as fringe. The embroidery on each ahirt Is arranged in borders along the vertical seams and in a horizontal bund just above the fringe as

shown in Fig. 7a and b. That along the vertical edges is worked over groups of three or four warps creating a double faced embroidery.

This embroidery, in addition to being decorative, functions to join the webs at the center and sides as a shirt. The horizontal band of embroidery is of stem stitch. The field area on most shirts is undec orated. The exceptions are shirts MPA $8,204 and TM 1960.12.7 which have an all-over embroidered geometric motif (Plate VI). Colorful rows of cross-knit looping are used to finish the edges of the neck and arm slits on all eight shirts. Also characteristic of the shirts is the use of flat braids made of the same kinds of colored yams used in tho embroidery. From two to five such braids are attached to the lower embroidered border at each center and both side seams.

Specimen TM 1960.12.8 is smaller than the shirts just discussed and varies somewhat from the above standard in the type and placement of embroidery (Fig. 7e). The embroidery, arranged in vertical borders along the center of the ahirt and at the sides, is not worked over the counted warps and does not function to join the webs as a shirt. The ahirt lacks the braid trim seen on the other waist length shirts. m The romaihing two embroidered shirts, TM 1962.4.3 and TM 91.303

illustrated in Fig. 8, exhibit the fabric, ornament and garment con

stru c tio n c h a ra c te ristic s of Nazca sty le but are unusual in size and

shape. Both are sleeveless shirts, constructed of two webs of alpaca

plain weave and ornamented with embroidered borders and fringe.

The dark brown shirt TM 1962.4.3 resembles the finished appearance

and width of the waist length embroidered shirts but is more aptly

described as a hip length garment. (Compare Fig. 8a to Fig. 7a and b, )

The narrow bands of embroidery located along all of the vertical edges

are worked over groups of warps and servo to jo in the webs a t the

center and sides as a shirt. The neck slit, in contrast to the cross- knit looping finish used on the short shirts, is overcast with maroon yam. Red, yellow, gold and cream colored yarns are used for six rows of counter paired twining arranged just above the warp fringe.

The ends of the twining yams are made into braids which hang with the fringe at each center and side seam. This use of twining is comparable to that used on the early Nazca shirt illustrated in

Fig. 6c. The field of the shirt is plain except for a chain stitched circle and dot located about the chest level and appearing on each side of the center.

The Textile Museum specimen 91.303 is unusual among shirts of the

Nazca group because of its tremendous size (Table 3). While the shirt is somewhat wider than other la te Nazca embroidered s h ir ts , i t is the length of the garment which is most unusual not only among Nazca gar ments but also among all prehistoric Peruvian shirts. When worn the s h ir t would have reached close to ankle length. Fig. 8 .—LAIE MAZCA PLAIN WEAVE EMBROIIERED PONCHO-SHIRTS A. TM 1962.4.3 (50 X 70 cm.) and B. TM 91.303 (ll7 x 96 cm.)

84 85

iE*iE*3e«90iïmxwiMk*eM\>

]

. 20 om. .

B FIGURE 8 86 The embroidery on the s h irt seems to combine Nazca tra d itio n w ith the Wari influence of the Middle Period. The embroidery along the center front is worked over groups of four warp yams much as observed on the Nazca waist length garments (Fig. 8b). The em broidery does not function to join the webs of the shirt which are instead sewed with a simple whipping stitch. The several rows of cross-knit looping used to finish the neck edges are continued down each side of the center seam to create a decorative ridge. The em broidery used to join the side seams makes use of a repeating se quence of colors suggestive of the ridged figure eight seams commonly seen on Middle Period garments where a strong Wari-Tiahuanaco in fluence is apparent. The highly geometric nature of the motifs within the embroidered blocks which decorate the center of the shirt are also suggestive of a Middle Period influence.

Plain and Tapestry Weave Shirts

Three shirts, TM 91.531, TM 91.474 and TM 1966.7.168, have the characteristics of garment construction, placement of pattern and ornament which relate them to the group of waist length plain weave embroidered shirts. They are, however, smaller than the embroidered garments and luck their braid trim. Although all of these waist length shirts are much the same in total appearance, the border areas on the latter three garments are created in tapestry weave rather than in embroidery, (in Fig. 7 compare a and b with d .)

The arrangement of the tapestry borders on shirt TM 91.474 is virtually identical with that on specimen TM 91.531 illustrated in 8 7

Pig. 7d. In contrast to the other waist' length shirts examined, the

fringe along the lower edge of those shirts is separately prepared

and sewed to the garment. That on TM 91.4-7/+ is unusually dense. No

edge finish is used along the neck or arm slit edges of either shirt.

The borders on TM 1966.7.68 are created with greater variety

(Fig. 7f). The horizontal border is the result of a shift from plain

to tapestry weave. The vertical borders related to the neck and arm

slits are embroidered. The neck and arm slit edges of this shirt are

finished with several rows of cross-knit looping. The unwoven warp

loops along the bottom of the shirt remain as fringe.

Warp and Weft Interlocking S h irt In size and shape specimen TM 1959.21.12 is closely related to

all of the other waist length shirts even though its final appearance

is the result of a complex version of plain weave rather than the use

of border areas (Pig. 7c). Rows of solid colored blocks in blue,

green, yellow, brick red and salmon are achieved through a regular

system of warp and weft interlocking, possibly over scaffolding wefts. It is a technique of weaving described by O'Neale as a part of one of the largo early Nazca shirts (see footnote 38). As a re sult of the many colors of warp yarns used in the fabric, the L4 to

16 cm. lengths of unwoven warp fringe along the bottom edge of the shirt are multi-colored as well.

Summary

All forty-nine poncho-type garments associated with the Early

Period were considered to be of South Coast origin. These garments HH

were identified with the ParucufJ or Nuzcu culture on the basis of

similarity to motifs and textile techniques known to have been pre

ferred in these cultures as well as on relatedness to garments of known provenience. Included among these garments were fifteen shoulder ponchos, two ponchos, and thirty-two sleeveless poncho- shirts. The widest range of garment types were found among those associated with the Paracas culture and included all but one of the shoulder ponchos, all of the ponchos and twelve of the shirts. The remaining twenty-two sleeveless shirts and one shoulder poncho were identified with the Nazca culture.

Basically the textile techniques preferred within the Paracas and Nazca cultures did not differ dramatically. The fact that plain weave fabrics highly ornamented with embroidered motifs were common in both cultures is well documented. As a result it is not surpris ing to find that seventy percent of the garments examined, or thirty- five of the forty-nine, were of this combination. An additional fourteen percent of the garments were constructed of webs in which plain weave was predominate. Of the seven garments in this Category, one was of a simple warp and weft interlocking variation of plain weave and the others made use of plain weave in combination with gauze or tapestry weave. Many other textile techniques were known by the weavers of the Early Period but were used with less consistency.

Five of the shirts were constructed of a single element looping tech nique. The remaining two garments, both ponchos, were constructed of webs of an in tric a te warp and weft in terlo ck in g technique and trip le clo th . 89 Certain oharacteristica were commonly noted among the poncho-

type garments of the Early Period. The garments were simply con

structed of one or two rectangles of fabric. Sleeveless garments were preferred although the use of long fi'inge and epaulets at times were used to bring attention to tho arm slit area of the garment.

The patterning on the garments, whether introduced in the weaving process or more commonly by embroidery, was variously arranged in border units. The most popular use of ornament beyond embroidery consisted in the abundant use of fringe. Ninety-three percent of the garments were ornamented with some fringe. Sixty-three percent of the garments made use of some cross-knit looping, predominately as an edge finish.

Paracas Several groups of conforming poncho-typo garments were noted among tho Paracas group. In each case certain characteristics seemed to identify tho aggregate while others provided for subtle varia tions. Three such aggregates were identified: the shoulder ponchos, the plain weave embroidered shirts, and the single element poncho- s h ir ts . A. Six shoulder ponchos formed an aggregate.

1. They bonformed in tho follow ing resp ects:

a. Each was a flat;garment constructed of a single rec tangle of plain weave. Tho neck slit was constructed during the weaving process. b. The finished garment when worn appeared as a yoke or c o lla r. c. Each was embellished with embroidery; most commonly or dered in peripheral and neck slit boîtiers of equal width. 9 0

d. Ühort yarn fringe wao commonly applied to all outer edgna. e. All hud decorative motifo Identified with tho Purocua culturo.

2. The following variations were noted:

a. Additional long yarn fringe was occasionally applied at the shoulder area. b. Peripheral borders were used either to surround the entire rectangle or to form two L-shaped borders. Occasionally blocks of embroidery were spaced through out the field. c. Cross-knit looping was used to finish the neck slit edges and at times to bind the fringe to the outer edge of the rectangle. d. There was considerable variation in size. The largest garment was Si x 6l cm. and the smallest was 35 x 20 cm. e. Eight additional rectangles which were embroidered to resemble shoulder ponchos were examined. Embroidery was used to suggest a neck slit, however, the woven web contained no opening. f. O'Neale, and Yacovleff and Muelie noted shoulder ponchos with horizontal neck openings and those with the addi tion of an accessory cloth. g. O'Neale noted sixteen miniature shoulder ponchos with an average size of 6 x -4 cm. Some of the tiny garments were without a functional neck slit. B. Four plain weave embroidered poncho-shirts formed an aggregate.

1. They conformed in the following respects: a. The woven body area formed a broad rectangular shape. b. The embroidery on each surrounded the neck slit and formed two L-shaped peripheral borders. 0. Each made abundant use of fringe, particularly at the shoulder area and along the lower edge of the garment. d. All had decorative motifs identified with the Paracas c u ltu re ,

2. The following variations were noted:

a. There was considerable variation in size. The largest s h irt was 68 x 97 cm, and the sm allest was 44 x 71 cm. b. The largest shirt was constructed of two webs, all others were structured of a single web. c. The lower edge of the shirt was finished with woven tab fringe or with yam fringe similar to that consistently used at the shoulder. 91 d. Additional short yam fringe was occasionally used along the side seams and lower edge. I t was often bound to the garment with several rows of cross-knit looping. e. At times multiple borders were used. In such cases, the outer border was soapratoly woven and appliqued on the garment, the inner border was embroidered directly on the ground cloth. Occasionally blocks of embroidery were arranged throughout the field. C. All five of the single element poncho-shirts formed an aggregate.

1. They conformed in the following respects; a. All, with the exception of TM 180, were structured of a single web of close worked looping. The v e rtic a l neck slit in each garment was created during the process of fabric construction. b. Red vicuna tufted fringe, approximately 5 cm. in length, was commonly used along a ll three edges. c. The range in color consisted of red, maroon, cream and brown. d. There was no more than a 3 cm. v ariatio n from the aver age size of 70 X 60 ora. This long rectangular shape was unusual among Paracas garments. e. The patterning consisted of either a large single animal motif which virtually filled each side of the shirt or a regularly spaced all-over arrangement of smaller highly geometricized motifs.

2. The following variations wore noted;

a. A narrow separately woven border was added to the bottom of the shirt TM 91.4-89. On this shirt the red tufted fringe was used only at the arm slits and along the bottom of the shirt. b. S h irt TM 180 embodied a number of v ariatio n s. The s h irt was structured of two broad rectangular webs, 74 x 94 cm., and seamed along the shoulders as well as at the underarm. Separately woven epaulets were attached at the shoulders. The single motif which filled much of each side of the shirt was highly geometric. Only brown and white yarns were used in the fabric structure. White tufted fringe was used along all three sides.

The significance of the Paracas matched sets of garments is s till the basis for speculation. Most of these sets were found among the artifacts included in the famed Tello mummy bundles. Their importance thus appeared to be related to that specific region. Some authors 9 2 have suggested that the elegance of these matched costumes was in

dicative of the affluence of the region or the individuals interred.

Others have indicated that they were the mark of individuals of spec

ial rank or designed for some specific ceremonial occasion. Matched

costume items have been located for other regions and later periods.

In each case, as with the Paracas sets, the matching costume items

followed a detailed standard for production and generally involved

the use of textile techniques which required great skill on the part

of the craftsman. The standardization of these sets suggest that they were intended chiefly to identify certain ranks or classes of indi viduals rather than as an expression of individuality.

The Paracas items, tenuously identified as ponchos in this study, have characteristics which distinguish them from all other poncho- type garments. When worn the garment would have been loose along the sides and would have reached to the knees or below making it con siderably longer than any other Paracas poncho garments. In each case the use of an intricate weaving technique in combination with a detailed pattern required a great deal of planning and considerable skill on the part of the weaver. These garments like the matched sets would have created an impressive appearance. The emphasis on the technical perfection of the textile product and the symbolism embodied in the motifs rather than on the stnjcture of the garment may have been the key to the ultimate function of these ponchos.

The single element shirts followed a standard also easily rec ognized. Since all were associated with the Ocucaje site they ap peared to represent a regional style. Their unusual fabric 9 3 construction, their long rectangular shape and their use of tufted

fringe made them a distinctive group of shirts among Early Period

garments. Despite the standardization of these garments, the vari

ations noted in shirt TM 180, suggested the possibility for differ

entiation within the aggregate. Paracas garments of similar type, conforming in most aspects of

production, frequently varied in size. The significance of these

size variations is still uncertain. The shoulder poncho, a small

collar or yoke garment designed for adult wear, was one garment which

exhibited variations in size. Among the largest shoulder ponchos were some which were more ornate than the others particularly in the use of long shoulder fringe or an accessory cloth. Others of some what smaller size appeared in all respects to be the same item of clothing although they had no functional neck slit. Such garments may have been designed for their symbolic nature as a substitute for the functional item. Some still smaller in size, as those miniature garments described by 0'Neale as a part of a tiny mummy bundle, were obviously created to serve a funeary need.

The study of Paracas costume is limited by the fact that the bulk of the textile products available for study have come from a few well known burial sites. These textiles are for the most part highly dec orative and certainly represent a biased view favoring funerary or ceremonial garments. The few s h irts which combine plain and gauze weave as well as the undecorated plain weave shirt are indicative of the fact that garments of a simple and possibly more utilitarian nature were in existence. 94

Nazca

Shirts associated with the Nazca Period exhibited conforming characteristics depending on their relatedness to 0'Neale's analysis of early Nazca shirts or to Montell's description of shirts observed on Nazca pottery. The five early Nazca shirts examined, like the four reported by 0'Neale, were discussed in two groupsj those of smaller size considered as "children's shirts" and those of larger size considered as adult wear. A number of waist length shirts, related to Montell's description were examined. Among them was one group of embroidered shirts virtually Identical in all respects.

A. Three early Nazca "children's shirts" formed an aggregate.

1. They conformed in the following respects;

a. Each was constructed of a single web of undyed cotton. b. The neck slit in each was structured in the weaving process. c. Separately constructed units of cross-knit looping were appliqued around the neck and along the arm slits. d. Embroidery worked d ire c tly on the ground cloth was used to form a decorative band along the shoulder fold. e. Each had fringe at the shoulder and hem. f. Each had a set of cords attached at one end of the neck s l i t . 2, The following variations were noted:

a. There was considerable variation in size. The largest, 66 X 75 cm., was twice the size of the smallest, 34 x 33 cm. b. The two smallest shirts were of a long rectangular shape. The largest shirt was of a broad rectangular shape.

B. Two early Nazca s h irts of ad u lt size formed an aggregate.

1. They conformed in the following respects:

a. Each was constructed of two webs of alpaca plain weave. b. Both were of broad rectangular shape and were approxi mately knee length. 95 c. Each had separately woven tapestry pieces sewed to the arm slits as epaulets. d. The fringe along the lower edge of each shirt was wrapped in a decorative manner.

2. The following variations were noted:

a. On shirt MA.I 18.946 embroidery was concentrated in neck and arm slit borders and in a narrow band above the fringe. b. A band of twining located just above the fringe was the only decoration on shirt TM 91,761. 0. The methods used for creating the wrapped fringe differed.

C. Eight plain weave, embroidered shirts of waist length formed an aggregate.

1, They conformed in the following respects:

a. All were of a rectangular shape close to twice as broad as long. None exceeded 44 om. in length. b. All were constructed of two webs of fabric in which the yam was highly twisted giving a crepe effect to the finished product. c. On each shirt the last 10 to 24 cm., not reflected in the 44 cm. length, was left unwoven as fringe. No shoulder fringe was used. d. A series of colorful flat braids was attached to the lower edge of the shirt, e. The embroidery used to create vertical borders was worked over three or four warp yarns and served to join the webs as well as to provide a decorative effect. Additional embroidery of a different type was used to create a hori zontal border just above the fringe. f. All made use of cross-knit looping to finish the edges of the neck and arm s l i t s .

2. The following variations wore noted:

a. The motifs used reflected e ith e r a Nazca or u Wari in fluence. b. The number of braids used at the center and side seams varied from tiiroe to five. 0. On some shirts the field urea was embroidered. d. Some variation in the width and arrangement of vertical borders, particularly as they surrounded the neck and arm s l i t s , was noted.

It is difficult to know on what basis certain garments were con sidered as children's wear. The entire understanding of the garments 9 6 worn by children, if indeed they were clothed, is at a minimum.

Children were rarely illustrated on the painted and modeled pottery

which serves as one source of costume information. Items identified with specific grave lots of children are not woll known. Thus, the

basis on which to distinguish children's wear from that used by

adults is unclear. Size variations are not always the best deter

minant of function since the fashion for certain adult garments, such

as the shoulder poncho, was inately small in scale, and since min

iatures of adult costumes were at times created to serve some sym

bolic or funerary function. Among the garments examined which con*-

forraed with O'Neale's description of early Nazca children's shirts,

the largest exceeded the size of many of the waist length Nazca gar

ments considered to be for adult wear.

One unusual garment feature consistently found among the single

web early Nazca shirts was worthy of note. It consisted of cords

attached at the neck slit in a manner to suggest that they were used

for fastening the garment. Most commonly poncho-type garments were

simply pulled over the head and not secured at the neckline.

The entire group of thirteen waist length garments exhibited

such uniformity in construction and appearance that they appeared to represent a regional stylo. Among the garments the changing nature of motifs, some reflecting the Wari influence, indicated that the style may have represented a span of time blending ultimately with the Middle Period. Within the regional style subtle variations in fabric construction, the arrangement of border areas and the choice of ornament were noted. The group of eight p lain weave embroidered 9 7 shirts, outstanding because of their strict conformity in virtually every detail, must have served to identify a specific group of in dividuals within the region. Not all plain weave embroidered shirts associated with the Nazca

Period were waist length. Shirts TM 1962.4.3 and TM 91.303, although they incorporated the characteristic features of Nazca embroidery, represented a range in size and shape. The former shirt, more nearly hip length, represented a simple variation in size. The latter rep resented a dramatic variation in size and shape. When worn shirt

TM 91.303 would have reached close to ankle level, thus making it distinctive not only among Nazca shirts but among all prehistoric

Peruvian garments. CHAPTER V

MIDDIE ffilîIOD

The relationships of the highland cultures of Wari and Tiuhuanuoo to one another and the eijcbent and nature of their influence through out the coastal regions of Peru was of major importance during the

Middle Period. Unfortunately artifacts from highland origins are not numerous and thus the interrelationships of these cultures are us yet not clearly defined. It is obvious, however, in examining coastal artifacts that a strong outside influence considered to be of high land origin appeared rather abruptly. Some Peruvianists view this

Influence derived from a powerful religious cult originating at

Tiahuunaco in Bolivia. Others consider the influence to be the re sult of military expansion of another highland group centered at

Wari. Regardless of tho origin, the diffusion of a pictorial art particularly in pottery and textiles traceable to the iconography of the monolithic gateway in Tiahuanaco, Bolivia, tended to identify the Middle Period. Studios which dealt with the highland influence found among coastal artifacts included those by Uhle, Reiss and Stubel, Mbntell and Sawyer. Each approached the discussion from a somewhat d iffe re n t point of view. Uhle's excavations at Pachacamac were among the first to draw

9S 9 9 üttontion. to hl.Rhiond .Inriuonce :i.n cottatui a:I.ton. Among tho pottory

ürtifaota found ut tho cite wore those which continued tho established coastal styles, those which closely resembled Tiahuanaco style, those which in ornamentation represented a degeneration of Tiahuanaco orna ment and others which seemed purely Incan in s ty le . Thus, the s ite must have served as a burial plot over a considerable span of tJjne.

Reiss and S tu b el's la te nineteenth century th ree volume study contained detailed illustrations of the artifacts uncovered at the Ancon burial grounds. The nature of the remains found were also indicative of the blending of successive cultures. Found in one of the elaborately furnished graves was a complete mummy bundle dif fering in shape from the others. It was wrapped in a patterned shirt considered to be Tiahuanucan in style.^ The tapestry pattern, con sisting of figures derived from the style of those on the Tiahuanacun gate, was arranged in a single broad vertical band centered in each of the two webs used in the construction of the shirt. The shirt is comparable to a series of sleeveless tapestry shirts examined during the course of this study.

Montell's study of Peruvian costume of this Middle Period was based on his interpretation of paintings on pottery and on the textile artifacts found by Uhle at Pachacamac. From a pottery fragment which appeared to be the earliest among those found and which represented the strongest Tiahuanacoid influence, Montell described tho figure of

Vilhelm Reiss and Alphons Stubel. The Necropolis of Ancon in Peru. 3 vols. Berlin; A. Asher and Co., 1880-87. Vol. 1, plate 16. 100

2 a man "dressed in an ornamented shirt with sleeves". The central figure on a painted cotton mummy cloth examined by Mbntell was re lated to that of the Tiahuanaco Sun God and was described as wearing 3 a "long shirt with sleeves reaching to the wrist". From pottery pieces thought to be of a later Tiahuanaco period, Mbntell described other figures also related to those seen on the Sun Gate each wearing a "shirt with sleeves that generally end at the elbows, a belt round the waist and a large head ornament".^ References to extant

Tiahuanaco shirts with sleeves are rare. Two sleeved shirts of tap estry weave believed to be of highland Tiahuanaco style were included in this study. One was comparable in size and shape to the more com monly observed highland style sleeveless shirts, the other was a miniature copy of the first. One double cloth sleeved shirt of coastal style was also examined.

Sawyer’s study was concerned with an analysis of the decorative patterning on a series of tapestry poncho-shirts similar to that il lustrated by Reiss and Stubel. The limited and repetitive iconography on this series of very standardized shirts was related to the elements noted on the Tiahuanaco Sun Gate. It was further noted that the pat terning was at times simplified and distorted in its lateral form through expansion and compression. Sawyer hypothesized that a

2 Gosta Montell. Dress and Ornaments in Ancient Peru. Goteborg: 1929, p. 136. ^Mbntell^Mbntell, p. 136.

^Montell, p. 137. 101 stylistlo chronology for Tiahuanaco tapestry could evolve from a

careful examination of the successive stages of simplification and

distortion of like elements.^

Forty-eight poncho-typo garments believed to be associated with

tho Middle Period worn oxaminod. Among these garments were throe sleeved s h irts ,fo rty -th ro e which wore sleeveless and two ponchos.

The garments represented a considerable variety in fabric and garment

construction, placement of pattern and use and placement of ornamenta

tion. They differed from similar garments of the preceding period not

only in textile technique and motif but in garment style as well.

The entire group of garments was discussed in two categories.

First were those which formed an aggregate exhibiting the qualities

of highland style as presented by Reiss and Stubel, Montell, and

Sawyer. These shirts, mostly sleeveless, were remarkable uniform

in appearance (Table /J. All were constructed of two webs of an in

tricate tapestry weave of a type not commonly found in coastal sites

of the preceding period. Their unusual length and square shape was virtually foreign to the coastal areas. The motifs, traceable to the iconography of the Tiahuanaco Sun Gate were highly repetitive and followed a strict symmetrical arrangement. Second were those which tended to relate to earlier coastal garments in their broad rectangu lar shape (Table 5). In pattern they reflected the intermingling of

Wari and Tiahuanaco influences. In contrast to the highland style

5 Alan Sawyer, Tiahuanaco Tanostry Design. New York; The Maseum of Primitive Art, 1963, p. 3. 102

these garments represented such variety in fabric, garment construc

tion, placement of pattern and ornamentation that no distinct aggre

gate groups were identified.

Highland Stylo : Warl-Tiuhuanaoo

Thirty-four tapestry shirts associated with the Middle Period were considered to represent highland style (Table 4). Only two of

these had sleeves, the remainder were sleeveless. It is unlikely that any of these garments were actually found in highland sites since the climate there is not suitable for textile preservation.

Their presence in coastal sites is not surprising since officials of the highland tribes were undoubtedly stationed along the coast. The entire group of shirts was so standardized in size, shape, fabric and garment construction that they appeared to have served as a uni form. Sawyer studied tho m otifs in a group of such conforming s h irts and found them limited to throe distinctive types. He suggested that each type of motif may have roproconted a specific rank among the officials.^ Certain patterning arrangements were also rigidly fol lowed. Most commonly seen wore shirts in which the total decorative effect was the result of a series of broad vortical columns in which patterned and plain columns were alternated. Twenty-throe shirts adhering to this arrangement wore examined (Fig. 9). Other arrange ments of the basic highland typo motifs did occur but were less frequently seen. The remaining eleven shirts illustrate some of

^Sawyer, p. 2. The three types are as follows: Type I paired elements, Tÿpe II composite motifs and Type III staff bearing figures. 103 TABIE 4

BASIC TABIE: TIAHUANACO STÏIE TAPESTRY SHIRTS; DIMENSIONS, FABRIC CONSTRUCTION, AND ORNAMENTATION

Ground Cloth Ornamentation _____ J Pattern Fringe Finish I j •P w 'H a to 1 Specimen ^ s 1 Number l i I I & 1 (0 I l s

(one band) B liss 349 106® 112 1.05 2 X TM 1961.3.17 105 103 .97 2 X X TM 1962.5.1 100 113 1.13 2 XXX TM 91.533 99 108 1.08 2 X X MAI 23.8333 102 106 1.03 2 X X TM 1960.12.4 102 101 .99 2 X X TM 1960.12.1 101 99 .98 2 X X BM 148.13 22 22 31 1.00 2 X X (two band) TM 91.301 103 108 1.04 2 X X TM 1966.5.2 103 111 1.07 2 XXX TM 91.343 109 110 1.00 2 X X MAI 18.1238 104 106 1.01 2 X X BM 41.229 102 109 1.06 2 X X TM 1966.24.2 102 106 1.03 2 X TM 1966.3.2 106 114 1.07 2 X TM 1962.28.1A 105 106 1.00 2 X X TM 1960.12.2 106 108 1.01 2 X X B liss 351 101 104 1.02 2 X X TM 1966.24.1 106 106 1.00 2 X X TM 91.342 103 99 .96 2 X X MPA 56.430 101 108 1.06 2 X X TM 1962.30.2 105 107 1.01 2 X (three band) BM L49.9.20 99 107 144 1.08 2 X X X

(partial band) TM 91.9 ? 104 2 X X TM 1961.3.IIA ? 111 2 X B liss 353 ? 112 2 X 104 TABIE 4—Continued

Ground Cloth Ornamentation Pattern Fringe Finish I a ' ts m o ^ wi •P to sw u/ n t S3 i O " fill Fh • Specimen e | s | §•' 0) bo OT œ M *H O A k & N i m b e r bflH > +> -P f t I cd I

(yoke type) B liss 350 106® 110 1.03 2 X X TM 1965.6.1 97 99 1.02 2 X X TM 91.351 105 118 1.10 2 X X

(m isc.) TM 1967.26.1 101 110 1.08 2 X X TM 1961.30.12 105® 112® 1.06 2 X X TM 1962.30.1 105 109 1.03 2 X X TM 1964.39.1 106 108 1.02 2 X X TM 91.402 ? 84 2 X

^Total width or length esaumod from one-half shirt.

these patterning variations (Fig. 10). Before further considering the variations in pattem:lng arrangements observed among the shirts ex amined It may be well to look at those characteristics of garment stlye which unified this highland group.

The very characteristics which were so uniformly seen in the thirty-four shirts of the highland style were the same characteristics which distinguished them from coastal items of similar type. These features included the finished size and shape of the shirts, the choice of tapestry weave, the special orientation of warp and weft 105 in the tapestry weave, and the unique and decorative stitching used

to join the seams.

The shirts listed in Table 4-, with the exception of miniature

sleeved shirt BM L48.13, are remarkably consistent in size and shape.

The finished shirts are almost square in shape and have an average

length of 103 cm. and an average width of 106 cm. When worn the width

of the sleeveless shirts would have covered the arms of the wearer to

below the elbows. The large sleeved shirt, specimen BM L49.9.20, would

have covered the individual to the wrists. In length the garments

would have reached below the knees. Such long shirts were undoubtedly

distinctive in the coastal regions where shirts were generally much

shorter. The minute dimensions of specimen BM L48.13 almost preclude

its use as wearing apparel.

The two webs of tapestry which are used in the construction of

each highland shirt have characteristics, beyond their pattern, which

are distinctive from coastal weaving. In the weaving process the

alpaca weft yams formed the total length of the highland shirts.

The short cotton warps from each web ultimately made up the width of

the garment. To create fabric in which the weft length greatly ex

ceeded the warp would have required a loom and weaving procedure d if ferent from that in use by coastal weavers. Such broad, short fab rics must have been characteristic of the highlands since the same warp and weft orientation was also recognized among highland shirts of the Inca empire. The technical perfection of highland tapestry is frequently stre sse d . The weave which includes such v ariatio n s as

interlock, dovetail and eccentric techniques is often so compact 106 that a thread ooimt becomes a difficult task. The use of slit tap

estry, frequently seen in coastal tapestry, is rarely noted in the

highland tapestries. The decorative stitch used to join the tapestry webs into a

shirt is also a standardized feature of the highland garments. Each

seam is joined with a figure eight embroidery stitch so closely worked

that a raised ridge is produced along each seam line (Plate VIII).

The center seam is frequently embroidered in a single color to match

the solid colored areas of the shirt. Such colors as brown, tan,

gold, rust and yellow are common. The side seams are embroidered

with the same stitch using a variety of colors taken from those used

in the patterned areas of the shirt. The units of color used in the

side seams occur in a regularly repeating sequence. The edges of the neck and arm slits are finished to match the seam in which they occur

and are overcast in a solid color or in the pattern of colors estab

lished along the side seams.

The greatest variations among the tapestry shirts of highland style occur in the choice of pattern and its arrangement, yet even in this regard certain standards were apparently followed. After studying a number of Tiahuanaco tap estry s h ir ts . Sawyer outlined three types of often occurring motifs."^ He stated that these motifs, undoubtedly, had significance for the identification of highland officials with specific government or religious functions. The clues to the deciphering of this code of identification have not

^Sawyer, p. 3. 107 as yet been found. The fact that several specific schemes ^or ar ranging these motifs tended to reoccur may have had some significance as a mark of h ie rarch ical order w ithin a rank. Sawyer suggested th a t certain standard pattern arrangements may have identified products from a specific weaving center or marked a temporal chronology in which Tiahuanaco influence stadily declined. Several variations in patterning schemes are readily identified among the thirty-four tap estry shirts examined. The major patterning arrangement consists of broad vertical col umns of patterned and p lain areas. Twenty-three s h ir ts , B liss 349 through BM 149.9.^0 listed in Table 4> follow this format (Fig. 9)«

The patterning of each web consists of weft faced bands of solid color alternately arranged with bands of highly decorative tapestry pattern.

The narrow band of solid color used at one end of each web is con sistently used at the center of the garment. Along the opposite end of each web is a narrow patterned band in which the motif is often a highly compressed version of the pattern used in the decorative bands.

This narrow patterned band is always used along the side of the gar ment. The shirts may be grouped according to the number of broad decorative bands used w ithin a single web. One, two or three band arrangements are evident among the garments exfimined. Fourteen of the s h irts are of the two band type (Fig. 9b and P late V II). The min iature sleeved shirt (Plate VIIl) and seven sleeveless shirts fol lowed the single band arrangement (Fig. 9a). Sleeved shirt BM L49.9.20 is the only shirt of the three band variety among the group (Fig. 9c and Plate IX). Fig. 9 .—TIAHUANACO STYIE TAPESTRY PONCHO-SHIRTS A. TM I 96 I. 3.17 (105 X 103 cm.) single band type, B. MAI 18.1238 (lOA x 106 cm.) double band type, and C. BM LA9.9.^0 (99 x 107 cm., through the shoulders 144 cm. ) triple band type

108 G ay no Id o

' *iuo 06 ' 1 i

m s ! :

6 0 X 110 The two sleeved sh irts, BM L49.9.20 and BM L4.8.13, among those

of the band type pattern arrangement are unusual in garment con- I struction. In each of these shirts the sleeves appear to be woven in one with the basic web. It was impossible to examine in detail the underarm seams of these shirts because of the way in which they were mounted for display. Thus, it was difficult to determine whether the webs in each shirt had been cut or were shaped to produce the sleeve in the weaving process. Tho latter is believed to be true.

The narrow patterned bands, which were characteristically placed along tho sides of the sleeveless garments, also appear on the sleeved shirts (Fig. 9c). On the sleeved shirts the narrow patterned bands end at the underarm point, thus, the regular repetition of patterned and plain bands are not interrupted in the shoulder area. This kind of planning is indicative of the fact that the fabric was woven spe cifically with the finished shape of the shirt in mind. The loom shaping of a web beyond the usual rectangular or square shape in prehistoric Peruvian shirts is unusual. Most Peruvian sleeved shirts are the result of separately woven rectangular webs attached to the basic shirt along the arm opening as soen in Fig. lib.

The sleeved shirts differ from the other shirts of the highland style in a number of respects. They are the only examples of "long a shirts with sleeves" as described by Montell. Each of the shirts is patterned with a similar version of Sawyer's type III, staff bearing figure. This type of motif was least commonly seen among

^Montell, p. 136. I l l banded shirts. The similarity of motif used in the shirts, despite the fact that they differ in the number of decorative bands in the patterning arrangement, suggest they were designed as a set. How these garments functioned as u set is unknown. The large s h ir t has characteristics beyond its sleeves which contribute to its unique nature. It is the only shirt among the banded group to have fringe along the lower odgo. The complexity of the motif used in combina tio n with i t s rare three band arrangement may be supportive of Sawyer * s theory that "the elaborate and more rarely encountered designs sig nified officials of high status".^ The miniature shirt is excep tionally fine in weave. In a note on the catalog card for specimen

BM L4.8.13, Bennett stated, "I had an opportunity to examine it prev iously and consider it one of tho finest specimens I have ever seen".

In a further note. Bird indicated that the thread count on the min iature shirt ranged from 200 to 236 per square inch. The total di mensions of tho shirt are unusually small. The shirt is of such excellent quality that it appears to have been designed for possibly a votive function.

The remaining eleven shirts listed in Table U are illustrative of four additional variations in pattern arrangement. Some are rather closely related to the banded shirts while others are related only through similarity in the use of motifs derived from the Tiahuanaco iconography.

The alternating plain and patterned bands, which constitute the

^Sawyer, p. 3. 112

major pattern arrangement on a number of ta poetry a h irte , aro used

only on the lower one-half of shirts TM 91.9, TM 1961.311A and Bliss

353. The upper portion of each shirt is solidly filled with pattern

(Fig. 10a). These partial band shirts are much like the full band

shirts in appearance and must have been closely identified with them

in function. Although the shirts examined are incomplete in length,

they compare in width to a f u ll s h irt of th is type which was tempo.-

rarily in The Textile Museum,The dimensions of the full shirt

were 108 cm. in length and 121 cm. in width.

Another reoccurring pattern arrangement among Tiahuanaco tap

estry shirts can be identified by a well defined yoke area (Pig. 10b).

A rectangular area outlined with a light colored border gives the

appearance of a yoke or necklace and is the distinctive feature of

shirts Bliss 350, TM 1965.6.1 and TM 91.351. The remaining surface

of each web of the garments, both inside and outside of the yoke, is

solidly patterned with motifs representing the staff bearing figures.

At the present time all three of the garments are not sewed along the

sides, yet the fragments of figure eight stitching along the sides remain as evidence that the garments wore once styled as shirts.

Shirts TM 1961.30.12 and TM 1967.26.1, along with two others

A complete s h ir t constructed of two webs of ta p estry weave and having the same partial band pattern arrangement as specimens TM 1961. 3.11A and Bliss 353 was temporarily at Tho Textile I'tiseum being con ditioned for the 1968 Guggenheim %soum, Mastercraftsmen of Peru Ex hibition. The shirt was identified us being part of the private col lection of Paul Truel, Liraa-Ocucaje. Fig. 10.—TIAHUANACO STYUE TAPESTRY PONCHO-SHIRTS A. B liss 353 (119? X 112 cm.) partial band type, B. TM 1965.6.1 (97 x 99 cm.) yoke type, and C. TM 1967.26.1 (lOl x 110 cm.) miscellaneous type, and d. TM 1962.30.1 (105 x 109 cm.) striped variation

113 114 w u m m ■Il •I ■ ■ i pi n i a m m # «il Bal ■ iÜ A ### i ü i l l

j 4

■ 30 cm. I o FIGURE 10 115 temporarily at The Textile Miseum,^^ have in ooraraon a system of pat

terning in which tho finished shirt appears to bo sectioned into

broad horizontal bands (Fig. 10c), Tho horizontal sections aro the

result of successive wefts interlocked or dovetailed over the same

warp. Quantities of long, narrow rectangular shapes, best described

as tuning fork-like elements, are arranged vertically in each of the

horizontal segments. The patterning on shirt TM 1967.26.1 consists

exclusively of these shapes in all of the horizontal sections. On

the other three shirts the tuning fork-like elements are used ex

clusively only in the unit which forms the shoulder area. In the

other horizontal units they serve us a background for a single row

of large stylized animal or geometric motifs. Red, gold and several

values of tun constitute the color range for each shirt.

These shirts, TM 1961.30.12 and TM 1967.26,1, have character

istics which suggest the intermingling of coastal and highland

styles, possibly representative of the declining period of Tiahuanacun

influence. The long, narrow rectangular form which is such an Im portant feature of the patterning of these shirts was noted on a 1 P fragment listed by 0‘Neale as Nazca, Late Ica. The animal motifs

One shirt was temporarily at The Textile Museum being condi tioned for the 1968 Guggenheim %iseum, Mastercraftsmen of Peru Ex hibition. The shirt, a part of the private collection of Paul Truel, Lima-Ocucaje, was 101 cm. in length and 100 cm. in width. The other shirt, of unidentified ownership, was 96 cm. in length and 106 cm. in width.

^^Lila M. 0'Neale and A. L. Kroeber. "Textile Periods in Ancient Peru I, " University of California Publications in American Archaeology and Ethnology. XXVIII. No. 2 (l930). P late 32. I used with these rectangular forms are similar to those seen on

coastal style garments believed to be of local production. It is

in the familiar size and shape, the tapestry technique, the orien

tation of warp and weft yams in the garments and the decorative

treatment of the aoams that the shirts arm related to Middle Period

highland stylo. One last group of tapestry shirts, TM 1962.30.1, TM 196/+.39.1

and TM 91.402, in Table 4, is characterized by the combination of

Tiahuanaco style motifs with varying arrangements of narrow stripes.

While the shirts, by virtue of size and shape, tapestry weave, and

treatment of seams, relate to those of highland style; the motifs

and patterning are characteristic of the declining Tiahuanaco in

fluence. Shirt TM 1964.39.1, is closely related to the format of

the two band Tiahuanaco shirts; the exception being that the plain

bands which alternate with patterned bands are filled with evenly

spaced red and yellow stripes. The same sort of red and yellow

stripes are seen in the checkerboard patterning arrangement on shirt

TM 1962 .30.1 (Fig. lOd). The blocks which alternate with those which

are striped each contain a standing figure of Tiahuanaco style. The major field area of shirt TM 91.402 is made up of multi-colored

stripes regularly repeated with white stripes so spaced as to iden tify broad vertical bands. A narrow decorative band using the typi

cal Tiahuanaco compressed composite motifs is used along the sides of

the shirt. The band, in contrast to that used along the entire side edge of the highland shirts, is not continued in the area of the arm 1 1 7

alit where the atrlpea of the major field area are continued in a

compressed form.

Coastal Style

The burial sites at Ancon and Pachacamac and those further south

in the Nazca Valley contained a rich source of textile products which

were in use along the coast over a span of time representing succes

sive cultural influences from the early spread of Tiahuanaco through

the Inca, The strongest Tiahuanaco influence seen along the coast was

noted in the intricate polychrome tapestry shirts Just discussed.

Other textile products found along the coast represented to varying

degrees the intermingling of coastal and highland influences. The

fourteen garments in this unit were associated with Middle Period on

the basis of their relatedness to Tiahuanaco iconography and their

use of textile techniques known to have been preferred in coastal

centers. Beyond the use of tapestry weave, Bird^^ included among the

commonly employed te x tile techniques of the period, brocade, warp p at

tern, double cloth, painted cloth, square and flat braiding, velvet

like pile knotting for caps and headbands, interlocking warp, and

tie-dye patchwork.

The fourteen garments listed in Table 5 are considered to be of

coastal origin and are associated with the Middle Period. In con

trast to the standardized production noted for the highland style

tapestry shirts, these garments represent tremendous variety in

13 Wendell E. Bennett and Junius Bird. Andean Culture H istory. New York: The Natural History Press, I960, p. 146. TIBIE 5

BASIC TABIE: COASTAL STYIE PONGHO-TÏFE GARfEHTS OF THE MTDDIE PERIOD DIPENSIONS, FABRIC CONSTRUCTION, AND ORNAMENTATION

Grmind Cloth Ornsmentation P attern Fringe F inish I 0 > 8 1 . t § r4 Ï a r4 ra 0 § c -P m 0) r4 rH 0 T) (D a. CmiH 0 ra P. P 1 (D ta ns *H tH I—1 1 (D «H r4 •H a P. a f4 > -H Number ta > a -p 1 > A A 43 43 0 S 0 0 44

(s h irts ) TM 1965.6.2 53 105 1.98 2 X X B liss 38 86 2.26 2 X TM 1965.70.2 1.90 2 X 65 124 D TM 91.65 66 58 92 .88 4^ TM 9 1 .W 45 63 1.40 2 APMH B7767 35 65 1.85 2 TM 1967.8.2 57 124 2.18 2 X X TM 1965 . 40.43 82 110 1.34 2 XX TM 91.341 85 122 1.A4 6 X X TM 91.469 88 87 .98 4 X X TM 91.308 73 115 1.57 12 X X X TM 91.90 90 112 1.24 10 4 X X (ponchos® ?) BM 53.147 104 100 .96 1 X TM 1967.8.28 152 67 .88 1 XXX ®The length dimension is that of the flat gament. ^Both techniques of weaving are used in each web. 03 119 type, size, shape, fabric and garment construction. Eleven of the

specimens are sleeveless shirts. While most are generally of the broad

rectangular shape associated with coastal style, variations in size and

shape are evident. The one sleeved shirt among the coastal specimens

is considerably smaller than Its full sized highland counterpart and

differs from it also in shape, fabric and garment construction. The

two flat garments identified as ponchos are quite different from one

another in all respects. No aggregates could be identified among the small group of coastal garments on the basis of type, shape or garment construction. Thus specimens of like fabric construction are grouped since they occasion ally exhibit similar features of pattern arrangement, garment con struction and use of ornament. Three of the garments are of tapestry weave, one is of intricate warp and weft interlocking, the sleeved shirt is of double cloth, two identical cotton plain weave shirts have weft looped pile, and seven alpaca garments are constructed of plain weave or a variation thereof in which small units are interlocked over a common weft. These last seven garments are all tie-dyed.

Tapestry Garments

Presently all three of the tapestry specimens, BM 53.147, TM

1965 . 6. 2, and B liss 348 lis te d in Table 5, are f la t garments. However, only the first of these is considered here as a poncho. The other two specimens were undoubtedly once seamed as s h irts . Each of the items has characteristics of design and weave, which to varying degrees. 120 resemble Tiahuanaco or Wari influences. In size ènd shape all are related more closely to coastal than highland garment styles.

Brooklyn Miseum specimen 53.147 has the strongest Tiahuanaco influence, particularly in the repetitive use of profile heads closely related to the highland iconography (Plate X). The warp yarns In the tapestry weave, following the highland tradition, are oriented to the width of the garment. In contrast to the highland traditions, the garment is constructed of a single web of fabric. At present the piece is not seamed along the sides, yet, the side edges are overcast in the same scheme of repeating u n its of color as used on the highland tap estry shirts. It is difficult to know if the garment was designed as a poncho or as a shirt. The garment la approximately one-half the length of the highland style shirts although it is related to them in width.

Textile Museum specimen 1965.6.2 is also a tapestry garment hav ing a number of highland characteristics. The warp in each of the two webs is oriented to the width of the garment. The stitching which joins the two webs at the center is of the figure eight type although it is not as closely worked as that seen on the highland style shirts.

The fragments of figure eight stitching along the sides are indicative of the fact that the item was once structured as a shirt. The shirt, reported to be of Nazca origin, has an all-over pattern consisting of rows of highly stylized motifs which are suggestive of the Nazca-Wari influence. The finished shape of the garment, much like that of

BM 53.147 just discussed, is that of a broad rectangle approximately one-half the length of the highland shirts. 121

The strongest coastal characteristics noted among the tapestry

garments are found on Bliss specimen 34.8. The waist length shirt is

of a broad rectangular shape (Fig. 11a and Plate XI), The warp in

each of the two webs used in the construction of the shirt is oriented

to the length of the garment. Presently the two webs are joined only at the center with a simple whipping stitch. The naturalistic qual

ity of the large puma figures used as the major pattern on the shirt

is typical of Middle Period coastal design. The arrangement of the tapestry pattern on the last 7 cm. of each web as a border and the addition of a separately woven band of fringe to the lower edge of the garment are each characteristics frequently noted on coastal shirts of the Late Period.

Warp and Weft Interlocking Shirt Shirt TM 1965.70.2 shows the Nazca-Wari influence in its all-over patterning and is constructed of two webs of warp and woft interlocking technique. This shirt, much as the Bliss tapestry garment just dis cussed, is of a broad rectangular shape, has warp oriented to the length of the garment, and has separately woven web of fringe sewed to the lower edge. The stitching which joins the webs as a shirt is simple and inconspicuous.

Double Cloth Sleeved Shirt

Shirt TM 91.64 is the only sleeved garment examined among the

Middle Period specimens. It is constructed of four webs of red and white double cloth in which the pattern consists of columns of blocks each containing a geometricized puma figure (Fig. 11b). The bits of 122 color added to fill the body space of the animals are either extra

weft pattern or embroidery. The two large webs are seamed at the

denter and sides as a shirt. Each small web is seamed as a tube and

then sewed to the body of the shirt at the arm slits. The s h irt has a number of individual garment features which d is

tinguish it from sleeved shirts both of Middle Period highland style

and coastal styles of the Late Period. Basically the sleeve con

stru ctio n is the same as th a t seen on a number of la te Period sh irts but different from that of the highland tapestry shirts in which the

sleeve was woven in one with the body of the garment. In size and shape, TM 91.65 is different from all other sleeved shirts examined.

It is considerably smaller in all dimensions than the largest of the highland shirts. While it is generally comparable in size, fabric and garment construction to a number of coastal garments of the Late

Period, its long rectangular shape is in contrast to their broad rec tangular structure. (Compare Fig. lib with Fig. I6a.) This shirt further lacks the symmetrical arrangement of pattern and the fringe which was consistently observed us a part of Late Period double cloth sleeved shirts.

Weft Loop P ile S h irts A pair of identical undyed cotton, weft loop pile shirts, TM

91.442 and AMNH B7767, are Included here because they relate in shape and length to the waist length shirts of coastal origin (Fig. lie).

The undocorated nature of the shirts and the simple inconspicuous whipping stitch which joins the webs of each garment into a shirt. Pig. 11.—COASTAL STYIE PONOHO-SHIRTS OF THE MIDDLE lERIOD A. BlisH 34.8 (38 x 36 cm.) tapestry weave, B. TM 91.65 (66 x 58 cm. through the sleeves 92 cm.) double cloth, C. TM 91.442 (45 X 63 cm.) weft loop pile, and D. TM 1967.8.2 (57 x 124 cm.) plain weave, tie-dyed

123 Bliiîîl 124 i i H B ü ü A

ii if m : k m » # i l 11 ''iti‘S î f t iii a lii B

. ------,

0 0 0 0 C) ' 0 () : MiiimitmimiimmiiNm D 20 cm. FIGURE 125 offer no clues as to their regional origin or their place in temporal chronology.

P lain Weave, Tie-Dyed Garments

The seven tio-dySd garments listed in Table 5 are constructed of wool fabric. Beyond these sim ilarities the garments, which include sleeveless shirts and two flat garments, differ in size, shape, fabric

and garment construction.

Shirts TM 1967.8.2 and TM 1965.40»43 are very similar in natuie and are representative of the tie-dye technique in its simplest form.

Each of the s h irts is constructed of two webs of p lain weave on which a simple geometric pattern was reserved before it was dyed red (Fig. lid). Although the shirts differ in size, both are of the broad rec tangular shape familiar among coastal poncho-type garments. The yam used to join the webs of TM 1967.8,2 with a simple whipping stitch is also used to form several rows of running stitch at the ends of the neck and arm slits. This stitching appears to reinforce the garment apertures. The yarns used to seam shirt TM 1965.40.43 are wound into a small tassel and left to hang at the ends of the arm and neck slits.

Tie-dye in a more complex form is noted on three T ex tile Museum shirts, 91.341, 91.469 and 91.308. Each is schematically illustrated in Fig. 12. I'rom four to twelve separate webs of fabric are used in the construction of each sleeveless shirt. Each of the webs consists of a number of plain weave un its interlocked over scaffolding w efts.

On two of the shirts further- scaffolding occurs along the stepped edges within the units as illustrated in Fig. 12a and c. The way in Fig. 12.—COASTAL STYLE TIE-DYED PONOHO-SHIRTS OF THE MIDDIE PERIOD A. TM 91.341 (85 x 122 cm.), B. TM 91.308 (73 x 115 ora.), and C. TM 91.469 (88 x 87 ora.)

126 ÛQ

I i I i: t» B\ *tt rr»rW'»TCT,t'MfW¥lflWi!w « «m » » »*t< A O t 6» e? 0 ' o ® 0 O ,a OO O , û û o 0| j) lo o Ù o 0 6 , O > : .a . o . l-t> o 0 o c o o û > u û 0 ü / ' o û o , U \o ■ "û ü fo , à T 7 " f Ù U O > o ( f o ^ ° o o 6 o o 0 o Ü T 0 IP Cl oo o o cto o c , o O o <> o o i5 o ô 0 o o o

r , 1 , r FIGURE 12 128

which the unique multi-colored all-over patterning was achieved re

mains a mystery (Plate XII). However, it is believed that each of

the narrow webs was tie-dyed in a distinct pattern, that the units

within each web were disassembled, rearranged and rejoined to create

the final appearance. This kind of structure has lead to the use of

the term "tie-dye patchwork". Although the shirts are different in size and shape, they are easily grouped because of their many sim ilarities. The weight of the fabric, its scaffolding construction, the use of the same variety of tie-dyed shapes, the consistent reliance on dark blue, red and white as a color harmony are all identifying features. On each of the shirts the unwoven warp loops which remain as fringe are identically treated.

Up to five warp loops are grouped, doubled back and highly twisted.

Only shirt TM 91.308 has separately woven units of fringe sewed along the arm slits (Fig, 12b). The two fla t specimens, TM 91.90 and TM 1967.8.28, have some of the same characteristics noted among the tie-dyed shirts; yet, they are unusual in a number of resp ects.

Specimen TM 91-90 has some of the same characteristics noted among the tie-dyed shirts just discussed, however, it is presently a flat garment. The width of the specimen is the result of joining fourteen separately woven webs. Four of the webs are of p lain weave in e ith e r blue or rod and ten are of the "patchwork" interlocking technique seen on s h ir ts TM 91.34-1 and TM 91.469. The rod and blue webs are a lte r nated with several of the tie-dyed webs but are generally arranged along the sides. The side edges of tho specimen are overcast except 129 in a 17 cm, area located where the arm a lita might lo g ic a lly occur.

Currently no neck opening e x ists in the center seam. However, the

stitching has been mended and it is difficult to know if the garment was intended as a mantle or as a poncho-type garment. The fringe along

the warp ends is tre a te d in the same manner as th a t on the tie-dyed

s h ir ts . The function of TM 91*90 as an article of clothing is uncertain.

The piece has variously been labeled as a mantle, shawl or one-half of a poncho. I f folded and seamed a t the sides the piece would have been much like shirt TM 91.341 in size and shape. On an effigy vessel, il lustrated in Kubler,^^ the figure is shown wearing a poncho-type gar ment in which plain and tie-dyed units were alternated much in the man ner of specimen TM 91,90. It seems likely that the specimen was de signed for use as a shirt.

Tie-dyed garment TM 1967.8.28 is least like the other garments of similar tectmique. It differs from them in size, shape, fabric and garment construction and trim. It is made of a single web of very loosely woven plain weave. The small multi-colored spots created through tie-dye process are arranged in an all-over pattern consist ing of horizontal zig zag rows. Tho yams used to create the several rows of cross-knit looping which finish the neck slit edges are also used to form two braid-like tassels which hang at each end of the neck opening, Tho shape of the garment when worn would re s u lt in a much

^George Kubler. Tkio Art and Architecture of Ancient America. Baltimore: Penguin Books, 1962, Plate l60. 130 longer garment than usually associated with garments of similar width.

Except for the .use of tie-dye on an alpaca fabric, the garment lacks any of the characteristics which would relate it to the others examined.

Summary Forty-eight poncho-type garments were associated with the Middle

Period on tho basis of their rolatodnoss to Tiahuanaco iconography and to textile techniques known to have been preferred. The garments were considered in two categories. First were those which were most closely associated with highland iconography and which tended toward uniformity in size, shape, fabric, and garment construction. This group consisted of th irty -fo u r s h ir ts ; only two had sleeves. Second were those which continued the coastal tradition in garment shape, construction and use of ornamentation while incorporating some of the highland character, particularly in motifs. This group consisted of fourteen garments: eleven sleeveless shirts, one sleeved shirt, and two flat garments tentatively noted as ponchos. The popularity of intricate polychrome tapestry weaving during the Middle Period is well documented. Over seventy-five percent of the garments examined were of tapestry, most of which were of highland style. Many other textile techniques were known to have been used during the Middle Period. Included among the garments examined were seven alpaca garments, all tie-dyed. They were constructed of plain weave or a variation thereof in which scaffolding wefts were used to join many small plain weave units. Two identical cotton weft pile shirts were included with tho Middle Period garments although the 131 certainty of regional associate for nndecorated garments is always tenuous. Of the remaining two garments, one was constructed of an in tric a te warp and weft in terlo ck in g and the other, a sleeved s h irt, was constructed of double cloth into which bits of additional color were added by means of extra weft p attern in g or embroidery.

Thirty-four tapestry shirts were so strongly associated with motifs seen on the Tiahuanaco Sun Gate and so different from earlier coastal shirt style that they were considered to be of highland style.

A. They conformed in the following respects; 1. A ll were constructed of two webs of tap estry weave. 2. Together the short cotton warps of each web constituted the total width of the shirt. Thus the exceptionally long wool weft was oriented to the length of the garment. 3. Each garment was approximately square in shape with av erage dimensions of 103 x 106 cm.- VThen worn the s h irts would have reached to below the knee level. A. All but two of the garments were sleeveless. 5. A ll seams were joined with a closely worked figure eight embroidery stitch used to form a decorative ridge along each seam. 6. The edges of the neck and arm slits were overcast in colors to match those used in the corresponding seams. With only one exception, no fin is h or fringe was used along the lower edge of the shirts. 7. The colors used in the patterning consistently included the earthy tones such us tan, brown, rust, gold as well as white. Bed and rose wore occasionally seen while blues and greens appeared loss frequently.

B. The following variations were noted:

1. Motifs wore limited, repetitive and subjected to vary ing degrees of simplification and distortion. Three major types of motifs were identified by Sawyer. 2, Variations in pattern arrangraments wore illustrated in Fig. 9 and 10. They Included v e rtic a l bands in which patterned and plain areas alternated, a partial band arrangement, fully patterned shirts in which a yoke or necklace was defined, horizontally dovetailed areas filled with vertically oriented motifs, and patterned areas alternated with areas of multi-colored stripes. 1 3 2

3. The two sleeved shirts, one comparable in size to the sleeveless shirts and the other of miniature size, were of unusual garment construction. The sleeves were ap parently woven in one with the body of the garment. 4. The large sleeved shirt was the only garment ornamented with fringe. This series of tapestry shirts comprised the largest and most consistent aggregate among the garments examined. The strong reliance on motifs derived from Tiahuanaco iconography and the use of a fabric and garment style different from that generally in use along the coast undoubtedly linked these specimens with a highland style. The gar ments, remarkably standardized in all aspects of production, have often been considered as uniforms. Theories which propose that they served to identify highland governmental and religious officials and that subtle variations in motifs and pattern arrangement differentiated ranks among these officials have not been thoroughly substantiated.

The large and miniature sleeved shirts in The Brooklyn Museum were the most distinctive among the garments of highland style. The mere presence of sleeves on garments related so closely to a whole series of sleeveless shirts is unusual. Beyond that, however, the fact that the sleeves on each garment wore woven in one with the body of the garment makes them rare specimens among all Peruvian shirts. Although tho shirts were apparently woven as a set, their function as a s e t or individually in unknown. Tho m iniature s h ir t. In i t s per fection of weaving and patterning on such small scale, appears to have served some special function, possibly as a garment for a votive or funerary figurine. The unusual characteristics evident in these 133 shirts may have been peculiar to a specific region or to special individuals.

The remaining fourteen garments, despite the evidence of high land influence on motifs, were related to earlier coastal style gar ments In that they were mostly of broad rectangular shape, sleeveless, and ornamented with fringe. There was, however, such variation in size and fabric construction among the garments examined that identi fication of aggregate groups was impossible. Nevertheless, the Middle

Period garments examined may be characterized by the following features which distinguish them from similar garments of the Early Period.

(l) Eighty percent of the garments examined were of a broad rectangular shape which was generally larger than that of their earlier counter parts. (2) Fifty-seven percent of the garments were ornamented with fringe; however, it was not us abundantly used as in the Early Period.

Most frequently the fringe was used along the lower edge of the garment only. Rarely did it exceed 6 cm. in length. (3) The motifs, whether the result of fabric construction or tie-dye, wore arranged in an all- over patterning in contrast to the earlier border arrangements.

The only sleeved shirt among tho garments of coastal style, TM

91 . 65, had several features which distinguished it from sleeved shirts of highland style and also from those commonly seen in the Late Period.

The shirt differed from those of highland style in virtually all re spects. While It related in fabric and garment construction to a nujn- ber of Late Period garments of coastal origin, differences in size, shape, motif, pattern arrangement and tho use of ornament were apparent. 134 Several tj^pes of tie-dyed garments were examined. Among them, those constructed of multiple webs in which an Intricate scaffolding procedure resulted in a "patch work" effect were most easily identi fie d as a se rie s. They were consistent in th e ir relian ce on angular motifs arranged in an all-over pattern, their use of color, and their distinctive, highly twisted, short warp fringe. These shirts, easily grouped on the basis of appearance, varied considerably in si^e and shape. CHAPHCIl VI

THIi; LATE PERIOD

The Late Period, most broadly defined, includes the time from

the decline of the Tiahuanaco influence to the Spanish conquest of

Peru. Theoretically this span of time may be considered in two seg

ments; the earlier portion centers around the three regional coastal

kingdoms, from North to South, Ohimu, Chancay and Ica-Chincha, and

the later portion focuses on the Inca Empire, Realistically these

segments are not os distinct as they might seem. First, the begin ning of the Lute Period is difficult to identify since the coastal

kingdoms tended to emerge from societies of earlier periods in the

same localities tempered only by varying degrees of Tiahuanaco in

fluence. Second, while the three co astal kingdoms each maintained

a specific regional identity, the widespread contact among them

tended to blend certain aspects of the coastal cultures. According

to Bennett,^ the Chancay culture was a t times influenced by the northern culture of the Chimu and at other times by the southern

Ica societies. Despite their geographic separation, certain cultural parallels between the Ohimu and Ica societies were also evident.

^Wendell 0. Bennett. "The Archaeology of the Central Andes," Handbook of South American Indians. Tho Bureau of American Ethnology, I I , No. U3 (1946 ), pp. 136- 139 .

135 136 Third, the coastal cultures, particularly Chimu and Chincha, main tained some of their individuality even when they were finally merged with the Inca Empire.

The great numbers of textile products which remain from tho Late

Period are of coastal origin with those from central and southern lo calities predominating. Textiles from northern sites are not well known because climatic conditions and the prevailing burial customs were not favorable to the preservation of textile artifacts. Because of the widespread influence of the Chimu culture, it is possible to know more about northern textile products than might at first be imagined, since elements of the Chimu culture were at times included among the artifacts of the central and southern regions. Likewise few extant textiles from the highland sites of the Inca culture are known.

Yet the nature of the bureaucratic control of the Inca over their ex panded empire necessitated that highland officials be stationed in coastal localities, thus, implanting some elements of highland culture among coastal artifacts. The knowledge of Inca textile production and consumption is extended beyond the evidence of extant textiles through the reports of the early chroniclers. More than one-half or I 83 of the to ta l number of poncho-style garments examined were associated with the Lute Period on the basis of motifs and textile techniques known to have been in use during the per iod. Among these garments, thirty were considered as Incaic in style, despite their coastal origin. The remaining 153 garments were con sidered to be of coastal style dominately of central and southern o rig in . 137 Coastal Style

A number of technical studies dealing with specific Late Period

textiles have contributed much toward understanding the nature of the

textiles in use along the coast. The reports briefly reviewed here

include Lothrop and Mahler's study of a Chancay style grave, Kroeber's

exploration of the North Coast, Reiss and Stübel's records of Ancon

sites discussed earlier, and several of 0'Neale's technical studies

which include aspects of textiles known during the Late Period.

The textiles in the Chancay style grave at Zapallan, Peru, ex- 2 arained by Lothrop and Mahler were rather similar in nature, simple

in structure and considered to be of poor quality with many pieces

showing signs of wear and mending. Generally the grave finds were represen tativ e of a region of low economic le v e l. However, quanti ties of fabrics were present in the grave thus suggesting that the individual interred was of some importance within the community.

All of the textiles were cotton with the exception of three pieces.

Most were undyed plain weave with lim ited p attern in g achieved through warp stripes. The yam structure combined practices followed in the north and south with the characteristics of southern textile produc tion dominant. Beyond the plain weave fabrics the other textiles included in the grave were a feather poncho, a brocade shawl and two fragments of tapestry weave.

2 s. K. Lothrop and Joy Mahler. "A Chancay-Style Grave at Zapallan, Peru; An Analysis of Its Textiles Pottery, and Other Fur nishings," Papers of the Peabodv Museum of Archaeology and Ethnology. Harvard University, L, No. 1 (1957), 3-33. 138

Tho late Chimu textiles disoussed by Kroeber were from two sites:

a small group from a minor excavation by Uhle in Chan Chan and a larger

group from an excavation by Kroeber at Cerro Blanco.^ In general

these late Chimu textiles were characterized as follows: (l) Less

frequent usé of wool weft and tru e tap estry weave than in te x tile s of

the Middle Period, (2) Higher frequency of all cotton fabrics, espe

cially the more elaborate techniques and patterns, (3) Considerable

rèsemblance to la te Chincha fab rics also dominantly of cotton, and

(4) Continuation of regional patterns despite the expansion of the

Inca empire.

Included among the Reiss and Stubs1^ illustrations of artifacts

uncovered at the Ancon burial grounds were a number of poncho-type

garments of the Late Period. Many were identical to or related to

items examined during the course of this study. Specific plates

from Reiss and Stubel were cited in the discussion as such relation

ships were noted.

0'Neale and Kroeber^ reported that certain sim ilarities existed among the textile products of Chimu and Chincha. The abundant use of

cotton fiber in both regions seemed to be less the result of an

%. L. Kroeber. "Archaeological Explorations in Peru. Part II, The Northern Coast," Field Miseum of Natural History. Anthropological Memoirs. I I , No. 2 (l930) pp. 47-116.

Vilhelm Reiss and A. Stubel. The Necropolis of Ancon in Peru. 3 vols. Berlin: A. Asher and Co., 1880-87.

^Lila O'Neale and A, L, Kroeber. "Textile Periods in Ancient Peru I," University of California ^bllcations in American Archaeology and Ethnology. XXVIII. No. 2 (l930). p. 48. 139 inadequate supply of wool than the specialization and refinement of

techniques adapted to cotton. Striped fabrics as well as tapestries

of cotton developed almost exclusively in browns and blues were charac teristic. The use of a brocading technique in which wool yams were used to create patterned areas on a cotton ground were typical. In both regions the use of separately woven bands of fringe was common.

The use of crepe tw ist yam s and paired cotton warps seemed to be a distinctive feature of Chimu textile products.

In the same report O'Neale and Kroeber^ described certain design features shared by all Late Period textile styles. Realistic motifs such as humans and animals were conventionalized to the point of geo metric forms. Motifs were often fitted reciprocally into horizontal, vertical or oblique rows with such repeats often intensified by the sequence of color. Square, lozenge shapes and stepped frets frequently became the frames which surrounded a single larg e m otif or numerous smaller ones.

Seventy specimens representing Early, Middle and Late Periods n formed the basis for the O'Neale and Clark study of gauze weave.

Throughout the entire prehistoric period most gauze pieces were undyed or of a single color with additional color occasionally introduced by means of embroidery. Tho gauze of the Late Period represented greater variations in texture than were seen earlier. On tho four shirts

^O'Neale and Kroeber, University of California Publications in American Archaeology and Ethnology. XXVIII, p. 45.

^Lila O'Neale and Bonnie Jean Clark. "Textile Periods in Ancient Peru: III, The Gauze Weaves," University of California Publications in American Archaeology and Ethnolopv. XL, No. 4 (1948), 143-190. u o included in the study, gauze weave was used either to create decora tive bands within a web of plain weave or as a fine line to separate

bands of differing weaving techniques. S till another technical report by O’Neale was concerned with tw ill weave,® Although the technique was known among Peruvian weavers,

it appeared to be limited in use. The study was based on seventeen

textiles which represented all periods. Among the specimens were three

cotton shirts identified as Late Period which had plain and figured

tw ills combined with p lain weave.

Mbntell’s study contained only brief mention of shirts from the

Late Period. Much of what was presented was derived from examples found

in burial sites at AncSn, Pachacamac, Ohuquitanta and other places.^

These grounds were known to contain materials of successive cultures of the pre-Inca Period on the basis of pottery pieces found. The iden tification of textile pieces from these sites with specific cultures was made on the basis of motifs used. Nfantell stated that typical among garments of the later coastland cultures were those cotton shirts to which were attached "thick woolen trimming embroidered on thin cloth".He further stated that the pre-Inca Period in the Central

®Lila O'Neale. "Mbchica (Early Chimu) and Other Peruvian Twill Fabrics," Southwestern Journal of Anthropology. II, No. 3 (1946), p. 269-294. 9Goota Montell, Dress and Ornaments in Ancient Peru. Goteborg: 1929, p. 142. lOMbntell, p. 144. This reference surely is meant to indicate those light weight cotton plain weave shirts on which a heavier border was produced with alpaca yams in an extra weft face patterning. The use of the term, extra weft patterning, as a clarification of the broadly used terra brocade is discussed by Irene Emery. The Primary Structures of Fabrics, p. 171. The confusing relationship between brocade and embroidery is also discussed. 141 Coast was characterized by much elegance in clothing, particularly

for chiefs and individuals of high rank. Accordingly cloth sprinkled

with spangles of gold and silver and sumptuous feather mosaic gar

ments were in use. One hundred and fifty-throe poncho-type garments associated with

the various coastal kingdoms of the Lute Period were examined. Most

of the characteristics of textiles noted in the technical reports,

with the exception of tw ill weave, were found among the specimens.

Despite the considerable variety in fabric structure, arrangement of

pattern, garment construction and use of ornament, a number of garments

virtually identical in all aspects of production were examined. The presence of multiple copies of the same item may be reflective of the

increased emphasis on production during the Late Period. Bennett's^^

statement made in relation to ceramics, that the period represented a

shift of emphasis from the artist us a craftsman to the artist as a technical worker, may well have had application in the textile industry

as w ell.

Most of the poncho-style garments examined were believed to be

of Central of South Coast origin. Characteristics which seemed to as

sociate some few garments with North Coast style were indicated. The discussion of poncho-type garments of coastal derivation was presented

in five sections based on the type of garment: sleeveless shirts,

sleeved shirts, feather ponchos, podded and lined garments, and hori

zontal neck slit garments. Within each section garments of like fabric

^^Wendell Bennett and Junius Bird. Andean Culture History. New York; The Natural History Press, I960, p. 154* 142 construction were grouped since they frequently had similar features of pattern arrangement, garment construction and use of ornament.

Sleeveless Shirts

The la rg e st number of Late Period coastal sty le garments examined were sleeveless poncho-shirts. The ninety-seven sleeveless shirts in cluded in this section represented a broad range of textile techniques which included plain weave, warp striped plain weave, extra weft pat terning,^ tapestry, Interlocking techniques, double cloth, open work, and gauze. Despite such variety the less elaborate techniques seemed to predominate. Seventy percent of the garments were of plain weave or plain weave with warp stripes or extra weft patterned borders.

Despite the greater variety in garment oonstruotion, some of the garment traditions observed among coastal garments of the earlier per iods persisted. Close to seventy-five percent of the garments were of a broad rectangular shape. Garments of all lengths were noted. Sixty- five percent of the garments were constructed of two webs of fabric in which the warp yarns made up the length of the garment. The re maining garments were created from one to four webs of fabric. On those garments in which interlocking techniques were used, from nine to twelve segments were joined with scaffolding yams. The coastal tradition for using fringe continued with fifty-five percent of the sleeveless garments so trimmed along the lower edge.

^^See footnote 10. 143 Plain Weave and Warp Striped Shirts

The thirty-nine sleeveless poncho-shirts recorded in TSble 6

represent the plainest group of shirts among all those examined re

gardless of period. They are a l l of p lain weave with the only v aria tion occurring in the use of warp stripes, some of which also contain a simple extra warp pattern. As a group the shirts lack color making

use predominately of the natural variations which occur in the cotton

and wool fibers. The quality of weaving is generally rather average.

The s h irts are constructed simply of one or two webs and have very

little ornamentation beyond that used to finish edges. They most

clo sely resemble the fa b ric s found in the Chanoay s ty le grave which

was discussed by Lothrop and Mahler. The simplicity of fabric and

garment structure and the lack of ornamentation suggest that these shirts usually served a utilitarian function.

The first twelve specimens listed in Table 6, SI 416649 through

TM 1966 . 7. 217, are simple plain weave s h ir ts . The f i r s t six a re of white, tan or neutral cotton. The others are alpaca garments in red, dark brown or tan. A v ariety of neck and arm finished are used on these garments but for the most part they are functional rather than decorative in nature. The embroidery which is used on four of the shirts is concen trated on seams or a long the lower edge. The double running stitch in a zig zag pattern along the lower edge of TM 1966.7.217 and TM 1966.7.

208 is the only bit of embroidery which is purely of a decorative na ture. It is very similar to that seen on some Inca tapestry shirts.

(Compare Fig. 13b with Fig. 21a and b .) The embroidered rectangle »-3 »-3 1-3 1-3 2 > H 1-3 H tji 0 3 03 ^ 03 S S S S g S S z 3: g g g g s s M l-H M xs a H* t-> M !-■ 3 M M M M M 3 U3 V3 M M A3 M Jo* a vO vO vO vO AJ \0 \0 sû A3 'O MOO 'O xO A) O'VO M O ' O ' O ' O ' O tu O O' o W O ' O ' '' -s] -s3 ~V O ' O ' O A3 VO O ' sg- !-■ I-* I-* !-■ • VjJ O' !-■ »-> O' O' * 03 oa M O ' « A3 O O ' • • • • VJ» • . A3 f - § W W W W VI c SI VO VA VO 0 3 x 0 O O O O M O • 0 3 8 V ‘ • i oa r o g oa - A3 VO M M î-> VjJ !V ÎV M O m V» O 'f'- 'O c -a VI O ' 0 3 3 'O -s3 ^ VjO a 'O 2 § ^:i-'WWv«f~?ozvO' 03 O V I 0 0 V i VoJ - J VO "V -O -V VA O ' garment § oavtvoooccO'Ovoo 03 00 v> vO O -J 00 Vo f x O '43- 03 O ' le n g th / can. VI Vü O V O i'V jJ JVVi O' -o O' 00 ^ VI -V & 00 garment I !V 4>- J O ^ ' O ' O O ' -V 'D O' ■55 Vo O O O 'S ' O A3 O'VO width/cm.

H* A3 l-> M M M M M A3 M M M M proportion O A3 O ^ VO \ 0 -O O O 'D VO A3 is O ' O 'f- -P" O' 00 O Vj J h-> W : L n > M VI C O'VI O 0 0 C ) VA -VMS- o td A3 A3 A3 A3 A3 M A3 M A3 A3 A3 A3 p la in weave o P s _ „ hi (-> M M M A3 A3 warp stripe S B A3 A3 A3 A3 ex-wp p a tte rn i|"o 5 O' X 5 X X embroidery § painted Ia feath ers 03 m etal I X applied i g X X X warp Q>I X ta s s e l CK Eg X X XX X reinforcement § X X X X X cr-knit loop I X X X overcîast Icr X X f ig . 8 seam U 5 TABIE 6—Continued

Ground Ornamentation Cloth Pattern Fringe Finish

g P. 1 I 1 i § t Ü CO ' t-q \ & s % i .•g CO 0 0 p H Q) . g $ CO (0 Specimen itil & & Î • p â I tù ) Hm k&r___ 0^ â §8 i & a CO § A § SI 307608 64 77 1.20 2 SI 74102 26 73 2.80 2 X X X AhflH 41.1.8128 36 96 2.66 2 X X SI 307825 53 59 1.11 1 X SI 307656 48 46 .96 1 X SI 307820 42 65 1.55 1 X SI 307821 35 96 2.73 2 X SI 307607 35 72 2.05 2 SI 307822A 29 44 1.52 1 X

MAI 23.3549 32 64 2.00 2 TM 91.811 58 79 1.36 2 X TM 1962.4.-1 48 89 1.85 2 X TM 91.424 40 76 1.90 2 X

AMNH 4 1 .0 .119A 77 76 .99 2 X X TM 1962.9.6 34 44 1.33 2 X X TM 1962.9.7 11 15 1.36 1 X MAI 17.8958 20 22 1.10 2 ? X X

This shirt Is also listed In Table 12, with the padded and lined s h ir ts .

at each end of the neck s lit on AMNH (4)^ much like those which appear at the ends of neck and arm slits on warp striped shirt MI 23.7298, appears to reinforce the points of strain on the garment In addition to being ornamental.

The twelve plain weave shirts in this series are generally of Fig. 13.—LAIE PERIOD PLAIN WEAVE AND WARP STRIPED PONCHO-SHIRTS A. TM 1961 . 30,169 cotton plain weave (33 x 86 cm.), B. TM 1966.7.217 alpaca plain weave (78 x 79 cm.), C. AMîH (4) alpaca p lain weave (89 X 89 cm.), D. TM 1962.9.6 cotton plain weave ornamented with feathers and metal (34 x 44 cm.), E. TM 1962.9.7 cotton plain weave ornamented with feathers (11 x 15 cm,), F. TM 1961.30.147 cotton warp striped (38 X 32 cm.), 0. SI 307820 alpaca extra warp striped (42 x 65 cm.)

146 □ □□QD □□□□a

■ 20 om. .

FIGURE 13 • u « greater length than thoae of earlier coatital traditions. Only two,

TM 1961 .30.169 and SI 307&22 are waist length garments (Fig. 13a).

The others are more nearly square in shape and would have reached the mid-thigh. Excluding the two short garments, the average dimensions for the remaining plain weave shirts in this group are 70 om. in length and 75 om. in width. Twenty-two other shirts listed in Table 6 are of warp stripe, some with simple geometric extra warp patterning. Those of cotton,

TM 1961 . 30.203 through TM 1961.30.184, are striped in muted tones of brown, tan and light blue. In addition shirts TM 196 I . 30.184 and

TM 1961 . 30.203 have weft stripes. On the former they create a plaid effect and on the latter a windowpane check. The alpaca warp striped shirts, SI 307608 through TM 91.424, are re s tric te d to brown and tan tones. Extra warps of the light tones are often included in the dark stripes and are manipulated to create stripes with a tweed effect.

No distinct size or shape is evident among the alpaca warp striped shirts. The two smallest shirts, TM 196l.30.159 and TM 1966.7.73, are miniature garments; they seem too small to have served any practical function. Sixteen other garments are of a broad rectangular shape and range in size from 23 to 64 cm. in length and from 44 to 96 cm. in width. The remaining four garments are nearly square, again with con siderable variation in size.

The warp striped shirts are shaply constructed of one or two webs.

Additional constructional details are more utilitarian than decorative.

The edge finish on several of the shirts is done in a yarn to match the shirt and appears to have been added to give greater stability U 9 to a woven edge. Some of the overcasting may have been done to mend

worn edges. A feature soon on many of the alpaca warp striped shirts

and on several others as well is in the nature of a reinforcement at

the ends of the neck and arm slits. In contrast to the ornamental em broidered rectangles seen on several shirts discussed earlier, the reinforcem ent consists of three or four rows of running s titc h worked across the ends of the nock or arm slits (Fig. 13g). In most cases the stitching is done with the same type and color of yarn used to join the seams of the garment and is relatively inconspicuous.

Several other features in the construction of the plain weave garments are worthy of note. The two webs used to construct shirt

TM 1961 .30.147 are not equal in width (Fig. 13f). In order to make the webs comparable in size for the construction of the garment, one edge of the widest web is simply folded to the outside and loosely basted in place. The side seam is then joined along the folded edge.

The shirt is further unusual in that a few tufts of unspun cotton cling to the inside of the garment.On two single web s h ir ts ,

31 307825 and AMNH B3427, a set of cords attached to the neck s l i t appear as ties. Similar cords were used on the neck slit of several early Nazca shirts.

Plain Weave, Painted Shirts Only two painted shirts were examined during the course of the study. The unusual garment construction of painted shirt TM 1966.7.220

^•^Shirt TM 1961.30.147 will be considered again with the series of lined and padded s h irts . 150 includes such features as pleats and the horizontal orientation of neck and arm apertures. Because of its unusual construction it will be discussed with other shirts of a similar type. Shirt AMNH 41.0.

119A is an undyed cotton plain weave shirt similar, except for its painted surface, to many other cotton sleeveless shirts of the Late

Period. Like many of them it is square in shape, approximately 77 cm. in length, and constructed of two webs of fabric. The motifs which cover the entire surface of the garment are painted in dark brown or tan. The lower one-third of the shirt on each side is dec orated with rows of stylized feather motifs. The painted pattern on the upper two-thirds of the garment consists of roughly horizontal rows of stylized birds on one side of the shirt and stylized fish on the reverse side. Painting as a means of adding decorative detail to textiles was used in Peru throughout much of prehistory. References to painted poncho-type garments, however, are restricted to those of the Late

Period. Reiss and Stubs1^ illustrated one shirt and Kelemen,^^ an other which were similar in all respects to the AMJH shirt. An ad ditional painted shirt, very different in appearance, was illustrated by Means.It was a waist length shirt with sleeves and was labeled as "probably intended for a mummy pack." This shirt also was of

^^eiss and Stubel, Plato 39 in Vol. II, ^^Pal Keleraen. Medieval American Art: A Survey In Two Volumes. New York; The MacMillian Co., 1943, Plate 182a. ^^Philip A. Means. A Study of Peruvian Textiles. Boston: Miseum of Fine Arts, 1932, p. 62 and Pig. 66. 1 5 1 lindyod cotton with mot if n pulntod in brown unci tan . In alzo, ohapo,

and oonntruotlon the painted shirt described by Means was comparable

to many Late Period sleeved shirts with woven patterns which were as

sumed to have been part of ordinary daily wear. In many ways the motifs used and the way in which they were ar

ranged on these shirts imitated in painting the more elaborate feather

ponchos. This is particularly true of the AMNH shirt and those illus

trated by Reiss and Stubel, and Kelemen. The use of motifs to simulate

feathers, the arrangements of wave and fret motifs in broad horizontal bands and the use of one pattern arrangement on the front and another on the reverse side of the garment ore all characteristics frequently

seen on feather ponchos and rarely seen on woven shirts. The short, sleeved, painted s h irt illu s tra te d by Means, on the other hand, tends to be imitative of the woven pattern which occurs on shirts of similar dimensions and construction. These painted shirts give the general impression of being copies of garments which would have required a much greater amount of time and energy to create.

Small Plain Weave Garments with Feather and Metal Ornament

The three cotton plain weave garments, TM 1962.9.6, TM 1962.9.7 and MAI 17.8956, are ornamented with feathers and metal discs. The first two of these garments may be considered us a set in that they are alike in shape and appearance, differing primarily in size (Fig.

13d and e). The Textile Museum specimen 1962.9.6 is oonstructued of two webs seamed at the center and sides os a shirt. Its companion. I'j2 logo than one-third ito size, is conotructed of a single web and Is

open at the sides.

Each garment is decorated with two bands of feathers sewed along

the lower edge. Each band is composed of three layers of tiny feathers,

one band of yellow and the other of blue. The larg er of the two gar ments has a series of incised metal rectangles arranged in a single row above the feathered bands. Both garments are of exceptionally fine ! qiiality, not only in the weaving of the ground cloth but also in the care with which the tiny feathers are arranged in the borders. Al though the larger of the two garments may have been appropriate in size for an infant or child, it is quite unlikely that either func tioned in more than a symbolic fashion.

The third small garment, MAI 17.8958, is related to the other two in the use of plain weave cotton ground cloth, ornamented with metal d iscs and fe a th e rs. However, i t is more crudely constructed. The two webs of coarse, undyed fabric used in the construction of the garment are seamed only at the center. The sides of the garment are turned under in an uneven fold and held in place with a loose running stitch

(Plate XIIl). The specimen is decorated with three rows of metal rec tangles as seen on TM 1962,9.6. The feather border, now mostly de teriorated, consisted of several rows of feathers more sparsely ar ranged than on the two previous feathered garments. Small metal rec tangles, which were creased to give the three dimensional quality suggestive of a bell, dangle from cords attached along the bottom of the garment. The tiny scale of this feathered poncho precludes any use beyond a symbolic function. 153 Extra Weft Patterned Shlrte

The twenty-nine opeoimono lintod in T/jble 7 are basically of the

type described by Montell as cotton to which was attached "thick 17 woolen triinmlng embroidered on thin cloth. " The thickness of the border in relation to the rest of the shirt was the result of the differences in weight of the wool and cotton yams used. The effect, rather than being embroidered, was woven using extra weft yarns to create a colorful patterned border on a plain weave cotton shirt.

Shirts of this fabric construction have a number of aspects of garment construction in common.

The extra weft patterning is frequently concentrated in a 4 to 8 om. border area along the lower edge of the shirt. The general ar rangement of these borders is rather standard. It consists of a cen tral single row of geometricized birds, animals or fish outlined on each side by three or four solid weft faced stripes. The stripes are o ften in red , tan and yellow (P late XIV). On approximately one-half of the twenty-nine specimens examined the only weft patterning used on the garment was arranged in such a border. The shirts are similar in a number of aspects of garment con struction and the use of ornament. Most are constructed of two webs of fabric joined at the center and sides with a simple whipping stitch. Only two of the shirts, TM 91.5^8 and TM 1968.1.12 are constructed of a single web of fabric. For five of the shirts the extra weft pat terned border area was woven separately and sewed to the lower edge

17 See footnote 10. tabu ; 7

BASIC TABUS : LATE PERIOD EXTRA WEFT PATTERNED PONCHO-SHIRTS DIMENSIONS, FABRIC CONSTRUCTION AND ORNA&ENTATION

Ground Cloth Ornamentation extra weft Pattern Frinee Finish p attern

^ 1 % ^ (D Ü 0 8 C) •H Specimen !■ § 'a & Number llli HOT UJ O vifi(U O a. 2 P (0 & ^ CO S MPA 57.214 41 92 2.24 2 X MPA 57.213 48 100 2.08 2 X MPA 57.212 50 100 2 .0 0 2 X SI B8568 33 59 1.78 2 X TM 1966.48.5 37 81 2.19 2 X TM 1966.48.4 44 83 1.89 2 1 X Ar#H B4144 34 62 1.82 1 2 X AMNH B7764 28 79 2.82 1 2 X AMNH B 8564 36 78 2.16 1 2 X AMNH B4143 28 66 2 .3 5 2 X AMNH B8591 4 0 78 1.95 2 X TM 1964.61.9 3 0 76 2 .5 3 2 X TM 1961.3.lA 44- 89 2.02 2 X TM 1961.30.1 54 74 1.37 2 ÎM 91.558 64 50 .78 1 X TM 91.557 6 9 51 .74 2 X TM 1961.30.214 79 72 .91 2 X TM 1961.11.5 79 86 1 .0 9 2 X MAI 10.7548 81 73^ .9 0 2 X AMNH B 3484 90 72® .80 2 X AMIH B8595 86 73^ .85 1 2 X SI 307654 82 80® .9 8 2

TM 1959.20.5 9 0 7 8 .87 _b 2^ X TM 1959.20.6 93 79 .8 5 _b - 2b X TM 1959.20.7 =85 74 .87 ■i 2? X TM 1959.20.8 91 80 .8 8 _b 2b X

TM 1963.13.1° 54 94, 1.74 2 X TM 91.604 25 4 6 1.84 2 TM 1968-1.12 42 39 ,93 1 ®Total width assumed from one-half garment. ^Indicates that all techniques of weaving are used in each web. °This shirt is also listed in Table 12 with the padded and lined s h ir ts . 155 of a simple two web cotton shirt (Fig. 14b). The neck and arm slit edges on all of the shirts remain as selvages. Only three of the shirts are without fringe along the lower edge. Most commonly the fringe is a separately woven bund, often in yellow wool. Occasionally the use of warp fringe; the addition of fringe along the arm slits, as on TM 1961.30.214; and the unusual use of throe layers of fringe as on MPA 57.213, were noted. The garments are rather consistent in shape although the usual variations in size occur. Shirts MPA 57.214 through TM 1961.30.1 in

Table 7 are of a broad reotnagular shape which is generally waist length (Fig. 14a and b). The average length to width dimensions of the shirts examined are 40 cm. by 80 cm. Shirts TM 91.588 through

TM 1959.20.8 are of a long rectangular shape resulting in garments of knee length (Fig. 14c and o). The average length to width dimen sions for the latter group are 80 cm. by 70 cm. The variations in the final appearance of those twenty-nino shirts ure related to the addition of extra weft patterning beyond the characteristic border and the use of broder arrangements slightly different from the standard format. On six shirts, MPA 57.214 through TM 1966.48.4, in Table 7, the e n tire fie ld area constates ad d itio n al extra weft p attern in g beyond that arranged as a border. The field pattern consists of either a single large multi-appendaged figure us shown in Plate XV or of hori zontal rows of small animal or geometric motifs.

Three shirts, TM 1961.3.lA, TM 91.558 and TM 91.557, are outstand ing because of their almost sheer, crepe-like texture. In each case Fig. 14.—LATE PERIOD EXTRA WEFT PATTERNED PONCHO-SHIRTS A. AMNH B8591 (40 x 7B cm.), B. AMNH BS 564 (36 x 73 cm.), C. MAI 10.7548 (81 X 73 cm.), D. TM 91.558 (64 x 50 cm.) and E. TM 1959.20.5 (90 X 78 cm.)

1 5 6 ti BdriDiJ

""*1' . •mo 02 a 158 the border ureu is more elaborate than generally seen and covers

nearly two-thirds of the surface of the shirt. The central area of

the border on TM 1961.3.lA consists of a series of rafts each sup

porting two standing figuros (Plate XVI). The stripoa which outline

the border and the multj-colored fringe bund are slightly different

from what is generally used. Shirts TM 91.558 and TM 91.557 appear

as a pair and are somewhat smaller than other shirts of similar long

rectangular shape (Fig. 14d). The shirts are very much alike although

the former is constructed of a single web and the l a t t e r of two webs.

The border on each shirt consists of two highly stylized human fig

ures outlined above and below with a narrow band of extra weft pattern.

The four extra weft patterned shirts in a series, TM 1959.20.5 through TM 1959.20.8, are the most elaborate in fabric construction and vary

somewhat from ihe usual border form at. Tlie s h ir ts , said to be from the

same unidentified grave site, are almost identical in size and shape.

They appear as a set. Each shirt is constructed of two webs of fab ric in which two or three broad horizontal areas are identified as a result of a change in weaving technique (Fig. 14e). The upper two- thirds of shirt TM 1959.20.7 is woven in a simple gauze pattern while the lower one-third is a plain weave. It is the only one In the group which does not contain extra weft patterning. The remaining three shirts incorporate plain weave areas with colorful areas of extra weft patterning. Shirt TM 1959.20.8 has in addition an area of gauze pat tern and is the only shirt in this group in which the basic cotton warp and weft yams are dyed. All four shirts have separately woven bands of red alpaca fringe sewed to the lower edge of the shirt. 159 Shirt TM 1963.13.1, listed at the bottom of Table 7, belongs to

the group of broad rectangular cotton shirts having the standard extra weft patterned border but is unusual because it is fully lined and

contains a padding of unspun fiber. The lining consists of two webs of loosely woven p lain weave of the uume length and width as the webs used for the outer layer of the ahirt. Thoso webs are joined to each other at the center and arc whipped to the outer layer along the neck and arm slits and the lower edge of tiie shirt. The garment is not presently seamed along the sides making it possible to see the padding between the layers. There are fragments of stitching along the sides of the garment to indicate that the specimen was once seamed as a shirt. This shirt will be considered again with other shirts which are also lined and padded. The la s t two s h irts lis te d in Table 7, TM 1968.1.12 and TM 91.604-, are included in this section because they are of plain weave cotton in combination with extra weft patterning. Each shirt was listed on the museum catalog entry as a "child's poncho". In appearance the small shirts are not easily related to those already discussed. Shirt

TM 1968.1.12 is constructed of a single web of cotton fabric and is almost square in shape. Narrow extra weft bands patterned with fret motifs are arranged across the shoulder and the chest. Shirt TM 91.604 is constructed of two webs of fa b ric and is of a broad rectangular shape. On this shirt extra weft patterned bands are arranged across the shoulder and along the lower edge of the shirt. The field area of the garment is covered with horizontal rows of fret motifs created with supplemental warp and weft yams. 160 Tapestry Shirts

The tapestry technique was known and used by coastal weavers but

not to the same degree or with the same consistency as in the high

lands. Certain distinguishing characteristics of coastal tapestry may

be observed. In contrast to the broad, short fabrics used in highland

shirts, coastal tapestries are woven with the warp oriented to the

length of the garment. There appears to be a greater emphasis on

slit tapestry, a technique which lends itself especially well to the

stepped edge designs so commonly used. The technique is used to create

all-over effects of pattern, especially of motifs arranged in hori

zontal and diagonal rows, or to simply create inserts of pattern in a

ground of plain weave fabric. The emphasis on the use of cotton fiber, so characteristic of the Late Period, is also adapted to the tapestry weave. In addition to the use of cotton yams as tapestry warp, the

coastal weavers at times produced tapestry products exclusively of cot ton. The eighteen shirts listed in Table 8 are associated with the

Late Period on the basis of motifs and are either exclusively or in large part constructed of tapestry weave. Three distinct patterning arrangements are noted among the garments examined. Those within each patterning group have in common features of garment construction, size, shape and use of ornament. All but the last three shirts listed in

Table 8 fit into one of the patterning groups. The remaining three garments are not so easily categorized. Seven all cotton tapestry shirts in a series, SI 133385D through

TM 1966 . 7.30 in Table 8, are remarkably similar to each other and 161

TABIE 8

BASIC TABIE; LATE PERIOD TAPESTRY PONCHO-SHIRTS; DIMENSIONS, FABRIC CONSTRUCTION AND ORNAMENTATION

Ground Ornamentation Clotk Pattern Fringe Finish

1 ! •o +3 +3 m to 0) tH OJ CO i ^ Specimen i â e* 1 M Number II 1 g &

SI 133385D 47 118 2.72 2 X SI 133385 42 106 2.52 2 X AMNH B7778 40 92® 2.30 2 X TM 1966.7.35 50 109 2.18 2 X TM 91.493 52 118 2.27 2 X TM 91.523 46 114® 2.48 2 X TM 1966.7.30 51 109 2.14 2 ? TM 1960.6.3 50 60 1.20 2

MPA 61.74 54 84 1.55 2^ _b X TM 91.452 55 84 1.52 2^ _b X X

TM 91.453 61 74 1.21 2 X TM 1966.48.3 60 72 1.20 2 TM 1966.48.12 29 84 2.89 2 MAI 41.1.8129 58 80 1.38 2 MAI T-226 54 79 1.46 2

TM 91.275 38 84 2.21 2 X X X MAI 15.2456 73 84 1.15 1 X TM 1961.37.5° 74 109 1.47 2 X

Total width is assumed from one-half shirt.

^Indicates that both techniques are used in each web.

°This shirt is also listed in Table 12 with the padded and lined s h ir ts . 162

follow tho 3/jmft borrlor format ooon on tho plain weavo oxtra woft pat

terned ohirt (FlR. 15a). The pattern and ground on each of the cotton

shirts Is restricted to brown, tan, yellow and blue; a combination

•1 0'Neale described as typical of cotton pieces of Chincha and Chirau.

Beyond the border arrangement the field area of each shirt is patterned

with small geometricized animals, birds, and fish motifs. Many of the

motifs have stepped edges and are repeated in horizontal or diagonal

rows. Shirt TM 1966.7.30 varies only slightly from this standard ar

rangement of pattern in that two human figures standing among corn

plants virtually fill the field area above the border on the front and

reverse side of each web.

These shirts, so identical in color and pattern arrangement, are

also very uniform in all aspects of garment construction and the use of

ornament. As a group they exhibit many features of garment construc tion and the use of trim associated with strong coastal traditions.

Each is constructed of two webs of tapestry in which the warp yams are used to create the length of the garment. The neck and arm slit edges remain unfinished. The only ornament is the addition of a separately woven band of wool frin g e, e ith e r yellow or tun, to the bottom of each shirt. The garments are consistently twice as broad us they ure long with very little deviation from the average length to width dimensions of 50 cm, by 103 cm. As ouch, the s h irts are somewhat longer and con siderably wider than the broad rectangular, plain weave, extra weft

18 Lila 0'Neale and A. L. Kroeber. "Textile Periods in Ancient Peru I," University of California Riblioations in American Archaeology and Ethnology. XXVIII. No. 2 (l930). p. A8. 163

patterned ahirts whloh they ao cloaely reaemble In appearance, (Com

pare Fig. 15a with Fig, 14a,)

Tapestry shirts in which the more traditional use of cotton warp

and alpaca weft occur also appear to follow the familiar border for mat already noted on a number of coastal shirts of differing textile techniques. Only one such shirt, TM 1960,6,3, was examined (Fig, 15b),

The wool tap estry s h ir t is more c o lo rfu l than those of cotton, making ufee of red, pink, black, white and several values of tan and brown in

its all-over pattern. The spacing of the bird motifs within the hori

zontal rows is such that half motifs occur at the selvege on alter nate rows. Those motifs remain unfinished when the two webs are joined as a shirt, giving an awkward appearance along the seams despite the fa c t th a t the border m otifs on the two webs tend to match. The finished shirt is only half the width of the cotton tapestry shirts and lacks their fringe trim.

Shirts, MPA 61,74 and TM 91,452, are identical in all respects: size and shape, choice of motif and its arrangement, color, and complex technique of weaving which combines warp and weft interlocking, plain weave, and tapestry technique within each web (Plate XVII), The format fo r the two s h irts examined appears to have been followed fo r a much larger number of identical garments, A shirt on display at the Ameri can %seum of Natural History, but not available for examination, and another illustrated in Reiss and Stubol^^ are of the very same type.

Such consistency in design and scructure coupled with the exceptional

19 Reiss and Stubel, Plate 35, Fig, 2, 164 skill required to weave the textile suggest that the garments served to identify individuals of special significance.

The fabric in these remarkable alpaca shirts is an excellent ex ample of the Peruvians' ability to havo the same yarn function as warp and weft within the same piece. Tho warp is set up so that four bands without warp are reserved. The weft which crosses the empty space serves as the local warp for the tapestry which fills the sapce. The series of white stepped edge shapes along the lower edge of the shirt are a t one end interlocked to the p lain and patterned strip e s above and at the other end finished in short warp fringe.

The third distinctive patterning arrangement noted among the tap estry shirts examined consists of the striking red, white and tan alpaca garments identified by their all-over patterning in which rows of zig zag meanders join to form lozenge shapes, each enclosing a stepped edge cross

(Plate XVIII). Speciinen TM 91.453 through M/II T-226 in Table 8, along with a ohirt illustrated in Reiss and Stubel^^ ure of this type.

The five shirts of this type examined are considered here with garments of coastal origin although they exhibit the strongest high land Inca influence noted among the tapestry shirts of broad rectangu lar shape. The orientation of warp yams in the width direction of these garments is a feature more frequently observed in tapestry shirts of highland stylo, as is the strict reliance on geometric motifs. All are lacking the fringe commonly noted on garments of coastal style.

The only difference among those shirts is in relation to the scale

20 Reiss and Stubel, Plate 35, Fig. 1. 1 6 5

of tho motif ond fiomo nubtlo vnrlytlonn .In tho nrranRenient of tho

pattern. On each of the shirts tho pattern is so planned that the

half motifs whloh occur at the center seam are matched to form an

uninterrupted repeat on the finished shirt. On shirts, TM 1966.48.3

and TM 1966 .48 .12, half motifs occur along the hem edge. The pattern

on the other three shirts is planned with the finished garment in mind.

As such all motifs are complete and the space created by the last row

of zig zag meanders remains empty or contains a stepped f r e t motif

and is thus tre a te d as a border (Plato 3CVIII).

The last three tapestry shirts, TM 91.275, MAI 15.2456 and

TM 1961 .37.5 in Table 8, are not so easily categorized. Each is

woven with cotton warp and alpaca weft and each is patterned with rows

of stylized animal motifs in an all-over repeat typical of the Late

Period and coastal style. Beyond these features, however, the shirts

are individual in size and construction.

Specimen TM 91.275 is among the shortest of the broad rectangu lar tapestry shirts examined. It follows the coastal traditions in that it is constructed of two webs of fabric in which tho warp is

oriented to the length of the garment. A band of separately woven

fringe is sewod along tho lower edge of the shirt. The all-over pat terning consisting of hexagon shapes each enclosing a stylized face,

is arranged in horizontal rows to fill the entire field of the shirt.

The half motifs which occur along the center seam apparently were planned to match but do not. The overcasting along the arm slits, the cross-knit looping which finished the neck edge and tho figure eight stitching used along the center seam are all very crudely done. 166 S h irt MAI 15.2456 ban much tho suine typo of all-over patterning

noted on TM 91.275, yet, the filnul appearance of tne garment combines

coastal and highland features. Tho patterning, which consists of a

stylized monkey enclosed in an octagon shape, is arranged to allow for a border of stylized birds along the lower edge of the shirt. This

shirt, as with the Inca tapestry shirts, is constructed of a single

web of fabric and is similar to them in length. And, much in the man

ner of the Inca shirts all edges including the lower edge are finished, however, with the more traditional coastal finish of cross-knit loop

ing. The method fo r Joining the side seams of th is s h ir t is most unusual among highland or coastal garments as it appears to have been

loom joined. Specimen TM 1961.37.5 has many unusual features about its con struction. It appears to have been made up as a shirt, possibly in ancient times, from fabric originally designed for another purpose.

The s h ir t is constructed of eight narrow webs of ta p e stry seamed to create the width of the garment. The use of multiple webs to create a shirt is not so unusual but the fact that the webs are cut at one end and covered with several rows of cross-knit looping is rare in a culture where textile products are more commonly woven to the ap propriate finished length. The pattern in each web is arranged in a single direction. Thus, as the webs are folded to create the shirt the motifs on one side of the garment are upside down. Finally, the shirt is unusual in that it has a cotton plain weave lining. In this regard the shirt will be considered again along with other lined s h ir ts . 167

Wtirp Interlocking Garments

A standardized format for the use of color, pattern and garment construction may be identified among the warp interlocking garments.

Four specimens MAI 11.2426 through TM 91.472 in Table 9 constitute such a group. All are of wool and incorporate an intricate process of weaving in which from nine to twelve segments are loom joined over scaffolding wefts (Plate XIX). In each garment broad horizontal bands in which a highly geometric pattern is created in warp interlocking technique are alternately loom joined with bands of plain weave. The p la in weave u n its in th ree of the specimens are dark brown or maroon while those in TM 91.472 are warp striped. The warp loops at each end of all of these garments are left unwoven as fringe. —

The garments are all of short broad rectangular shape, similar in size to some of the plain weave shirts with extra weft patterned bor ders. (Compare Fig. 15c with Fig. 14a and b.) Two of the specimens are loosely seamed along the sides as shirts, TM 1960.12.14 is pres ently a flat poncho garment and TM 91.472 is permanently mounted under glass and thus the treatment of the sides cannot be examined.

A longer shirt, TM 1966.7.170 listed in Table 9, makes use of a far simpler variation of the warp interlocking technique. The shirt is constructed of two webs of red wool in which the major portion of each web is warp faced plain weave. At the ends of the red warps white yams are interlocked to create a narrow border of stepped triangular shapes and short fringe. The shirt, more nearly hip length, is seamed with red and white figure eight embroidery of the 168 TABIE 9

BASIC TABIE: LATE PERIOD PONCHO-TYPE GARANTS, A VARIETY OF WEAVES: DIMENSIONS, FABRIC CONSTRUCTION AND ORNAMENTATION

Ground Cloth Ornamentation Pattern Fringe Finish

a g ■S'S !l5si , Î! a a 3 a 8 3 P, ^ Specimen 0it 0 o't*K a&'j bo Number Sjh SoSS a ^ d.'O-p o So m S

MAI 11.2464 46 92 2.00 4 8 X AMNH T-117.0 36 78 2.17 4 8 X TM 1960.12.14 37^ 78 2.11 4 8 X TM 91.472 36® 70 1.94 X TM 1966.7.170 59 74 1.25 _b 2b X

MAI 23.3548 30 73 2.43 2 X TM 91.298 60 74 1.23 2 SI 233276 34 66 1.94 4 X TM 1960.12.6 183° 88 .42 2 1 X

AMNH B8540 40 104 2.60 X b b TM 91.388 32 74 2.31 ^b _ b

^Length Is assumed from the piece as mounted.

^Indicates that both techniques are used in each web.

^Represents the full flat length of the poncho.

type used to jo in seams on the highland tap estry s h irts of the

Tlahuanaco and Inca styles.

Double Cloth Garments

No specific format for garment construction Is evident among the four double cloth garments, MAI 23.354-â through TM 1960.12,6 listed In Fig. 15.—MIE PERIOD PONCHO-TYPE 0ARWNT8, A VARIETY OF WEAVES A. TM 1966 . 7.35 tap estry (50 x 109 cm.), B. TM i 960 .6.3 tapestry (50 X 60 om. ), C. AMNH T-117.10 warp interlocking (36 x 78 cm.), D. SI 233276 double cloth (34 x 66 cm.), E. TM 1960.12.6 possibly a poncho, center panel of tapestry and the others of double cloth (flat length 183 X 88 om.)

1 6 9 170

A 1' teMispissiii ______, ...... ■■■.^rrrJ

4 j g l i i i i i iiLmmMiiM ,* , * h • • *. o B TT

20 cm.

FIGURE 15 1 7 1

T«ble 9. Three of the Items are shirts which are individual in size,

shape, and garment construction. The fourth item, TM 1960.12,6, is

flat, quite large in size, and may be a poncho. The double cloth in

each garment is of cotton with an all-over pattern consisting of nar

row horizontal rows of such highly geometric m otifs as stepped f r e ts ,

zlg zags and waves. In each case the colors used are either red with white or yellow, or brown with white or lig h t blue;

The two shirts MAI 23.3543 and TM 91.298 are simply constructed of two webs of fabric. Both garments are approximately the same width, however, the latter is twice as long as the former. The garments are also somewhat d iffe re n t in fa b ric construction. The sets of brown and blue yams used to create the double cloth pattern in TM 91.298 are used in pairs while the sets of brown and white yarns used in MAI

23.3548 are single yams.

S h irt SI 233276 is the smallest of the double cloth shirts, yet, four webs of matched fabric are sewed together to create its width (Fig. l$d). On the lower two-thirds of the garment the sets of red and yel low yarns arc interchanged to create horizontal rows of wave and zig zag patterning. On the upper one-third, the sets of yams create a double layered fabric of solid red and yellow. Tho firmness of the weave makes this an unusually heavy shirt for its small size.

Specimen TM 1960.12.6 is the la rg e st of the double cloth garments examined and appears to bo an example of a Late Period poncho. Two webs of red and white double cloth and one of m ulti-colored tap estry are sewed together to create the width of the garment (Fig. 15e).

Tho garment is not presently, and shows no evidence of ever having 172 been, seamed at the sides. In size and shape it differs considerably

from any other coastal garments either of double cloth or tapestry.

When worn the garment would have reached the knees or below.

Open Work Tapestry S h irts Tho unusual open work texture of shirt AMNH B85AO, listed in

Table 9, distinguishes i t from a number of more conventional coastal

tapestry shirts already discussed. An intricate system for regularly

omitting certain warps is used to create the open effect. The fabric

construction of this shirt will be discussed again with three sleeved

shirts of the same or similar open work technique.

In garment construction, size, shape, patterning arrangement and use of trim this shirt follows the convention observed on a number of coastal sleeveless shirts regardless of textile technique. Tho shirt is simply constructed of two webs of fabric seamed as a shirt. It is a waist length garment of the broad rectangular shape so frequently seen. The usual yellow alpaca band of separately woven fringe is sewed to the lower edge. The all-over pattern through the field of the shirt consists of diagonal repeats of geometric or stylized birds. The end

12 cm, of each web, where the skipped warps have been replaced, is arranged in the standard border format. The central row of the border, consisting of fish motifs arranged in a chevron pattern, is outlined above and below with a series of solid colored stripes. 173 Gauze and Plain Weave S h irt The ufjo of Rüuze weave to create decorative bunds within a web of plain weave is documented by 0'Neale and Clark ^ as characteristic of Late Period textile techniques. Shirt TM 91.388, listed in Table

9, is a small white cotton shirt in which plain and gauze weaves are combined. In each of the two webs which make up the waist length shirt, the gauze weave is arranged to create a patterned band across the shoulders and along the hem. This shirt will be considered again with three sleeved shirts of similar small proportions and of the same fabric construction.

Sleeved Shirts

Sleeved shirts are frequently found among textile artifacts of the Middle and Lute Periods. Their existence in earlier times, though probable, is still uncertain. Msntoll in examining painted and modeled pottery from the early civilizations along the North Coast of Peru 22 found clear evidence that sleeved shirts were in use. In describing these shirts he indicated that the sleeves, constructed independently of the shirt and sowed to it, most often occurred on short broad gar ments. Longer shirts with sleeves wore observed but less frequently. The length of tho sleeve, reaching to the elbow or wrist on tho painted fig u re, was apparently more u m utter of the width of the body of the shirt than of the sleeve itself.

21 0'Neale and Clark, Uriiveraltv of California l\iblicationa in American Archaeology and Ethnology. (194.8^ p. 153. 22 Montell, p. 32 through 34. 174 References to extant sleeved shirts from the Early Period are

vague. Montell referred to two shirts found by Uhle at Tomava1 near

Trujillo.No details of fabric construction, size or shape were

given. In reference to these garments, Montell indicated that the

patterning on the shirts suggested to him a later period than noted

by Uhle. A second reference by Montell to a sleeved shirt was in re

lation to a fragment located in the Gbteborg Maseum.^^ The total di mensions of the s h irt assumed from the fragment were 110 om. in width through the body, 154 cm. in width through tho sleeves and 50 cm. in lëngth. Tho all-over pattern as well as the border arrangement on the sleeves and shirt, as illustrated in Montell, resemble the format fre quently seen on shirts of the Late Period. The dimensions are also re la te d to those of a number of Late Poriod sleeved s h irts examined during this study. One brief mention of a possible sleeve fragment from the Ocucaje site associated with the Paracas culture was made by 25 King. Ttiroo sloovod shirts associated with the Middle Period were discussed earlier in this study. Iloforonces to other extant sleeved shirts with provenience, which date bofo'e tho Late Period, are unknown.

Thirty-five sloovod shirts were examined during the course of this study, thirty-two of which were associated with the Late Poriod. The three sleeved shirts previously discussed with garments of tho

Z^Montell, p. 33

^^Montell, p. 34 and i’ig . 71a, p. 145.

^%ing, p. 298. 175 Middle Period differed from those considered here not oniy in the na

ture of patterning, as might be expected, but also in the structure,

size and shape of the garments. Two of the Middle Period shirts,

BM L/^B.13 of miniature size and EM L49.9.20 of large size, were asso

ciated with highland Tlahuanaco style. Their unusual sleeve structure,

woven in one with the body of the garment, was noted only tentatively

on one shirt of tho Late Period, No other sleeved shirts of miniature

size were found. The third Middle Poriod sleeved shirt, TM 91,65, was

associated with coastal style. The sleeves of that shirt were con

structed separately and sewed to the body of the shirt in a manner com monly seen on Late Period shirts, yet, it differed from the later

shirts in size and shape. (Compare Fig. 11b with Figs. 16 and 17.)

Only the twenty-nine Late Period sleeved shirts listed in Table

10 will be considered in this section. The discussion of the three other sleeved shirts, TM 1961.11.1, MAI 15.24^/1, and MAI 15.7377, w ill be delayed until a later section where they will be considered with other garments similarly lined and padded.

As a group, the shirts listed in Table 10 are remarkably similar in features of garment construction despite their great variety in fabric construction. They are more closely related to each other in size and shape than the sleeveless garments of the Late Period. The body area of all of the sleeved shirts is of a broad rectangular shape.

Almost half of tho garments have a two to one width to length ratio with all but three of the garments near or less than 50 cm. in length.

In a l l but one instance, TM 1966.6, tho sleeve webs are separately woven and sewed to the shirt. Although sleeve dimensions vary, more 1 7 6 than half of the sleeves add from 14 to 16 om. to the width of the s h ir t. Most commonly the body of the s h ir t is made up of two webs of fabric. Eighty percent of the shirts have fringe along the lower edge of the garment with more than half of this group also having fringe along the edge of the sleeves.

Within this section garmunts of like fabric construction will be grouped sinco they frequently are most closely related in other gar ment features. Before discussing the garments in relation to fabric construction, however, it seems best to consider a series of seven distinctive sleeved shirts for which various matching costume items have been located.

Sleeved Shirts Having Matching Costume Items

The extent to which matched sots of garments were in use through out the prehistory of Peru is difficult to evaluate because only iso lated examples of such sets have boon found. The Early Period sets found wrapped within the Paracas mummy bundles located by Telle are w ell known. Hie garments making up those s e ts , e ith e r a mantle and shoulder poncho or a mantle, s k irt and sleeveless poncho-shirt, were identical in plain weave wool fabric construction, heavily decorated with colorful embroidered borders and ornamented with generous quan tities of fringe. No sets of similar nature are known from tho Middle

Period. Thirty-one sets of matched garments from tho Late Period, none w ell documented, were examined by Bird.^^ The Ivjte Period sets

Junius Bird. Notes from an unpublished notebook of Peruvian costume. 177

differ considerably from the earlier ones in the kinds of garments

included, tho nature of the design and the textile techniques used.

Included in the later sets were a sleeved shirt, turban or sash,

loincloth and occasionally a mantle. In keeping with Lato Period

style, highly stylized or geometric motifs wore used in all-over re

peats in such diverse techniques of weaving as double cloth, extra

weft patterning, tapestry, gauze and warp interlocking. The most

elaborate patterns and the most intricate textile techniques known

to be popular at the time, whether early or lute, were apparently

used in creating the matched sets. As such, matching sets of gar

ments were undoubtedly designed for special or ceremonial occasions

or for individuals of importance.

Seven sleeved s h ir ts , MPA 57.216B through TM 91.849 in Table 10,

for which matching garments have boon located were examined. Six of

these, together with their matching turbans or sashes and loincloths, were said to have been found in the sumo burial cache at Punta Perjcry,

Paracas Bay. ' Of these, five are double cloth shirts and one fea tures an intricate combination of tapestry and gauze weave. The

seventh shirt, for which there is only a matching mantle, lacks pro venience data beyond a general reference on the catalog card which

indicates a North Coast origin. A detailed pattern in warp and weft

27 Bird, Notes. The l\inta Porjery origin of these shirts was questioned by Bird. While the yarn structure conformed to that in use in the South-Central and South Coast, the use of paired single yarns in the warp was not a southern feature but rather a characteristic of North Coast weaving. There are rumors which Indicate that the shirts came from Chan Chun. T-ABIE 10

BASIC TABIE: LA3E lERIOD SIEEVED PONffiO-SHISTS: DIMENSIONS, FABRIC CONSTRUCTION AND ORNAMENTATION

QroTind Cloth Ornamentation Pattern Fringe Finish

•§) g g -P a> 0 0 0 o c 0 -p q > •p >> P. 0 r-4 •p I—1 a •X •p k © 0 o Ê •H 0 a >> k 2 k a KO m 0 0 43 CQ -P -3 A (D > p P. 3 ts 03 k 1—1 0 A 0 -P ■P > D* •H © iH 0 1 J S > 0 •• r4 (D N •H •H c s rH k & iH TO p .§ 'O 0 0 :s 1 P> pJ 1 a 0 1 p . k P. TO •H 1 •H i—Î u 0 X OS 3 iH p . X p . E a P i a © P â"S S K A CD -p to §* A 0 0 a 0 5 a -p 0 _b MPA 57. 216B 44 84 113 1.90 4^ X MPA 57-215A 42 88 113 2.09 _b X TM 91.732 46 85 117 1.85 _b TMI 91.735 43 85 113 1.99 4^ _b X TM 91.851 44 85 115 1.93 4b _b X TMI 9 I. 729 A 50 78 109 1.56 4^ _b X X TMI 91.849 44 94 126 2.13 6 X

TMI 1968.26.5 65 37 131. 1.34 4 X TM 1968.26.6 63 75 129 1.19 4 X TMI 1961.11.47 41 90 126 2.20 4^ X _b TM 1961.11.48 39 94 124 2.41 X TM 1968.1.11 37 73 112 2.11 _b 4b , X X SI 133360 40 87^ 117^ 2.17 _b 4b _b X _b TM 1966 .48.23 42 85 117 2.02 4b AMNH B8587 37 91 125 2.46 _b 4^ X TM 91.459 49 72 103 1.45 4 TM 91.628 35 85 113 2.43 4 X CR Table 10 continued

Gferound Cloth Omanentation Pattern Fringe Finish

• â JS g Ai 43 0. 0 0 0 o C o 43 0 > -p 0 . s k O !--1 43 !—! a -p s 0 o e Æ •H O a p 0 0 C 43 ■P o 43 a 43 r4 P. r? 0 ? D. T3 h 1—t a o k 0 43 43 1 © r 4 0 t a c a Æ > O •• !--1 Vi Q 0 g I •H •H 0 (W y E-P 43 o A 43 3 0 N •H rH Q c k Specimen if k T) T3 O O 3: 3 1 (3. 3 1 § & A © •H 1 y a 0 a -H 1-4 k O X a a & a, S3 0 A > Number ba-t ta > > O. T3 0 ta ra 43 g* I 3} I § es -P k y 0 BM 61.209 44 92 136 2.09 3 6b X X Mil 23.647 44 100 157 2.27 4 8 8 X X X SI 1333850 46 96 139 2.09 2 4 X

TM 1961.11.28 35 78 97 2.23 _b 4b TM 91.458 42 90 109 2.14 _b 4^ X TM 1961 .3 .4° 45 103 141 2.28 4 X B liss 503 53 112 163 2.11 4 X MPA 57.211 52 76 108 1.47 4 6 X MPA 56.432 64 111 150 1.73 4 2 X

B8575 34 77 107 2.26 3 2 X TM 1959.11.2 73 102 132 1.40 6 X TM 1966.48.6 46 96 130 2.08 3 X

Total dimension is assumed from one-half shirt.

^Indicates that both techniques of weaving are used in each web.

"This shirt is also listed on Table 12 with padded and lined shirts. IHO Intorloukln# technique ifi uofjd in thn fabric of the lutter set.

The fiv e double cloth sleeved s h irts , MI’A 57.216B through

TM 91.851 listed in Table 10, are remarkably similar in many re

sp ects. Each is constructed of four matched webs of brown and white cotton double cloth with extra weft yarns in rose and yellow alpaca

used to highlight the pattern. The all-over patterning consists of

highly stylized birds, animals or serpent motifs arranged in zlg zag

bands, diagonal repeats, or within rectangular enclosures arranged in

horizontal or vertical rows (Plate XX), With the exception of TM

91 . 732, each shirt has a separately woven band of yellow wool fringe

sewed along the lower edge. The shirts are almost identical in size

and shape. They vary no more than 3 cm. in any d irectio n from the

average dimensions of 44 om. in length, 85 cm. in width through the body and 115 cm. in total width through the sleeves (Fig. I6a).

The unusual fabric construction, color and ornamentation used on

shirt TM 91.729A makes it the most elaborate of all the sleeved shirts examined. Although it is similar in size and shape to the double cloth shirts with which it was found, it is different from them (Fig. I6b).

The four webs which make up the body and sleeves of the shirt consist of units of tapestry and gauze weave possibly joined using scaffold ing yarns. The tapestry ureas which are of wool yarns show two figures standing above a reed raft. Alternating in checkerboard fashion with the ta p e stry u n its are u n its of brown cotton gauze. The la s t 8 cm. of warp on each web are woven as tapestry tab fringe. Each tab is pat terned with a stylized standing figure. Appliqued over the entire surface of the shirt are quantities of separately prepared red tapestry Fig. 16.—LATE PERIOD SIEEVED PONCHO-SHIRTS WITH MATCHED COSTUME ITEJ^B A. TM 91.851 double cloth and extra weft pattern (44 x 85 era. through the sleeves 115 era.), B. TM 91.729A tapestry and gauze (50 x 78 era. through the sleeves 109 era.), 0. TM 91.849 warp interlock (44 X 94 ora. through tho sleeves 126 era.)

181 182

[ I

O 20 cm.

FIG U RE. IG 183 c irc le s and co lo rfu l wrapped ta s s e ls . The matched ensemble, which

included a loincloth, turban and mantle, must have resulted in a

striking costume. Shirt ÎM 91.849, for which there is a matching mantle, is easily

related to the other shirts for which there are matching garments al

though it was not found with them. The shirt is slightly wider than

those found together in the same cache, but is basically of the same

shape (Fig. l6o). The body of the shirt is made up of four separate

units of warp and weft interlocking using dark brown, tan and white cotton yam. The pattern is so planned that a single motif is unin

terrupted despite the fact that parts of it fall on three separately woven pieces. The pattern is a large stepped edge profile of a bird

which faces in the length direction of the shirt. The bird is en

closed in rows of oblique stepped edge lines. Separately woven yel

low alpaca fringe, similar to that used on the double cloth shirts,

is used along the lower and sleovo edges. The intricate nature of

the weaving process in combination with the complexity of matching a

single pattern within three independently woven pieces, represents

considerable planning and skill.

Shirts of Plain and Gauze Weave

Six undyed cotton plain weave shirts, TM 1968.26.5 through

31 133360 in Table 10, were examined. The shirts are of balanced weave and are fin e ly woven. With tho exception of TM 1961.11.47 which is perfectly plain, the others have subtle lower and sleeve borders created by a shift in weaving technique from plain weave to 184

woft füced weave, gauze, or open work tapestry. The shirts are con

structed of two webs seamed at the center and sides with Individual

webs joined to the body as sleeves. E ith er warp or applied fringe

is used to finish the lower and sleeve edges of each shirt with the

exception of TM 1968.26.6 for which fringe is omitted on the sleeves.

Two sizes are apparent. Shirts TM 1968.26.5 and 6 are the longest

among the plain weave shirts and have average dimensions of 65 qm.

in length, 80 om. in width through the body, and 130 cm. in width

through the sleeves. The other four shirts, all closely related in

size, have the average dimensions of 40 cm. in length, 88 cm. in 28 width through the body and 120 cm. in width through the sleeves.

The longer shirts, TM 1968.26.5 and 6, are constructed of a light weight plain weave woven with paired warps, the fabric which is of a natural tan color has a crepe-like surface. The occasional

shift to several picks in which the weft floats over three pairs of warps is used to create bands of slightly different texture along

the lower edge and shoulder areas of the shirts. This technique

of weaving is identical to a fragment discussed by 0'Neale and con

sidered to be of late Chimu culture.

"^he width of TM 1968.1.11 does not reflect its total original width. The edges at the center seam of the shirt are cut, suggesting that a section through the center of the shirt is missing. It is pos sib le th a t th a t urea, possibly badly d ete rio ra te d , was removed in mod ern times and resewed as a shirt. The shirt presently is decorated with oddly assorted bits of colorful fabric and braid, obviously added in modem times to make a very simple shirt appear more impressive.

29bila M. O'Neale and A. L. Kroeber. "Textile Periods in Ancient Peru I," University of California fhbllcations in American Archaeology and Ethnology. XXVIII. No. 2 (1930). P late 46a. 185

The other four plain weave shirts, TM 1961.11.4-7 through

SI 133360, are all white and closely woven using single yams.

Among them, shirt TM 1961.11.47 is the only one which is perfectly

plain. The others, much like the plain weave and gauze sleeveless

shirt TM 91.388 discussed earlier, incorporate the use of gauze

weave to create decorative bands w ithin the p lain weave or to pro

duce a fine line which separates bands of differing weaving techniques. The use of gauze weave on s h irts TM i 96 l . l l .48 and TM 1968.1,11

is very similar. In each case a 6 or 7 cm. band of gauze weave along

the lower and sleeve edges is set off on each side by narrow weft

faced stripes. On the latter shirt the gauze weave areas are em

broidered in white with small bird motifs while the former shirt has

a similar bird pattern created directly in the gauze weave.

Within s h irt SI 133360, sin g le rows of gauze weave are used to

outline a 5 cm. band of open work tapestry along the lower and sleeve

edges of the garment. A shirt of identical structure and weaving

technique is illustrated in Reiss and Stiibel, Plate 38, Fig. 2.

Extra Weft Patterned S h irts The use of colorful alpaca extra weft yarns to introduce pattern to a plain weave cotton web was commonly noted in tho sleeveless

shirts as well as in the sleeved garments. However, the technique used with such consistency to create standardized borders on the

sleeveless s h irts is hero used somewhat d iffe re n tly and with less

consistency. The extra weft patterning on shirts TM 1966 .48 .23

through TM 91.6.28 in Table 10 is used either to create an edge 186

flnlfjh or to cover entirely the nurface of the basic cotton web with

pattern. These four shirts, although they are related in fabric con

struction, lack the conforming characteristics of patterning arrange

ment, garment construction and trim which would d istin g u ish them as

a group. Shirts TM 1966.4-8.23 and AMNH B8587 are simple shirts predomi-

nantely of undyed cotton plain weave on which the alpaca weft yarns

are used to create a colorful tubular edge finish. The finish is

created on the last centimeter of the warp loops of the basic fab

ric. The loops are opened as a tube and the alpaca yarns are man

ipulated, probably with a needle, to produce a pattern as they fill

the curved area.^^ This finish used along the and of each sleeve

and the lower edge of the shirt is the only pattern on TM 1966.4-8.23.

The same fin ish is used on the sleeve edges of AMJH B8587. On th is

latter shirt additional extra weft yarns are used within the area

of plain weave to create a border of stylized birds along the lower

edge of the shirt and sleeves. A separately woven fringe band is

sewed to the bottom of the s h irt. S hirts TM 91.4-59 and TM 91.628 ex h ib it a number of fab ric and

garment features which suggest that they were remodeled from other garments or made up from fabric readily available but originally de signed for some other end use. Tho fabric in each of these shirts

makes use of extra weft yams in yellow wool to produce an all-over

30 Raoul d'Harcourt. Textiles of Ancient Peru and Their Techniques, ed. Grace G. Denny and Carolyn Osborne. Seattle: University of Wash ington Press, 1962. This finish is well illustrated and described on page 135. 187

zig zag pattern which virtually covers the cotton basic web. All of

the fabric in each of these shirts is of the same general construc

tion, however, not all of the pieces used are complete loom struc

tures. The sleeve pieces on each shirt appear to be cut from fabric

which was available. The pattern within a single length of fabric

varies without an apparent symmetrical plan. There are also dif

ferences in pattern among the pieces which are joined in one shirt.

These kinds of variations in pattern are unusual among Peruvian

shirts where the fabric pattern in more commonly planned to create a

symmetrical arrangement within and among the webs used in one garment.

Open Work S hirts The open work shirts are of such unusual texture and incorporate

such a wide variety of ornament that they undoubtedly were designed for decorative rather than functional purposes (Plate XXI). Despite

the fact that the fabric construction in those shirts varies somewhat,

it is their open, lace-like texture which identifies them as a group.

Beyond the texture interest the shirts incorporate a variety of dec

orative effects which include embroidery, painting, appliqué and

multi-layered and multi-colored fringe. A further distinctive fea

ture of these shirts is their unusual garment construction, some of

which consist of from six to twenty separately woven pieces sewed

together.

Throe sleeved shirts, BM 61.209 through 81 1333850 in Table 10,

and one sleeveless s h irt discussed e a r lie r, AMIH B8540, are of th is open work texture. On each shirt the pattern is arranged to create an all-over repeat as well as border areas. Each features geometric 188

or stylized animal and bird motifs in the traditional horizontal or

diagonal repeats of the Late Period. Fringe, although it varies in

construction, is consistently used along the lower and sleeve edges.

All four shirts are of similar broad rectangular shape with average

dimensions of A3 cm. in length and 98 cm. in width through tho body.

The sleeved s h irts are on the average 144 cm. in width through the

sleeves. A s h irt of sim ilar open work fab ric construction but d if-

fering in shape was illustrated by Means. The dimensions for that

shirt, listed as an ornamental tunic, were 68 cm. in length and 92

cm. in width. Two types of open work techniques are represented among the

shirts examined. The first makes use of regularly skipped warp areas,

each of four or five warps, across which the weft float. The same sort of skipped technique is used in the weft. Small blocks of plain weave occur where warps and wefts interlace. This technique is used

in the fabric construction of shirts TM 61.209, MAI 23.847 and the shirt illustrated by Maans. The second type of open work can more aptly be described as a tapestry technique on a skipped warp arrange ment. The weft yams interlace with warps, skip across the open warp areas and continue to interlace with other warps where ever necessary

^Philip A. Means. A Study of Peruvian Textiles. Boston; Museum of Fine Arts, 1932, Fig. 79. The following is a brief description of th e s h ir t. The body area is constructed of two webs of brown cotton open work. % process of tie-dye, light circle motifs are reserved on the plain weave units within the open work. The sleeves, more like nar row bands, are of tapestry weave. Fringe is used along the lower and sleeve edges. Separately woven brocaded bands are appliquêd to the tapestry sleeves. Other narrow bands, three of brocade and two of tapestry are appliqued along the lower edge of the shirt. 189 to create the desired pattern. This type of open work is seen on the sleeved shirt SI 133385C and the sleeveless shirt AMH B 854 O.

The shirts constructed of the first type of open work are the most complex in garment construction and make the most abundant use of ornament and trim.

S h irt BM 61.209 consists of a total of nine separately woven webs

(P late XXI), Two of the four webs w ithin the body of the s h ir t are ex clusively of cotton open work. The other two webs, also of cotton, combine areas of open work and areas of gauze weave within the same warp. Separately woven bands of cotton and alpaca tapestry are ap pliquêd as a border along the sleeve and lower edges. A small bird m otif is embroidered on each of the tin y u n its of plain weave w ithin the open work. A much larger bird is embroidered on each gauze weave area. The sleeve and lower edges are trimmed with three layers of fringe. Each layer is separately woven and of a different color either red, yellow or brown. The layers overlap one another and are sewed together to create a 6 cm. length of fringe. The overall color e ffe c t of the s h ir t is brown and tun. However, some of the embroidery, now badly faded, must have added more color to the garment when new.

An unusual feature of this shirt is the orientation of its deco rative and woven pattern. The embroidered birds all face in the same direction and thus the motifs on one side of the shirt are upside down. Tho tapestry band which is appliquêd to tho bottom of the shirt is so arranged that its motifs also are upside down. In view of the complexity of the fabric and garment construction such irregularity can hardly be attributed to carelessness and must have been planned, possibly to convey some symbolic moaning. 1 9 0

Museum of the American Indian specimen 23.847 is of a similar

complex construction (Fig. 17b). The body area is made up of eleven

separately woven webs. Five are of brown and tan cotton warp striped

plain weave. Some of the stripes have a small geometric extra warp

pattern. Six of the webs are of open work. All of these webs are of

wool in either light blue or brown. The eleven webs are arranged al

tern a te ly and seamed to create the width through the body of the s h irt.

An open work web occurs at each side. The center most web of warp

stripe is woven to include the neck slit. Each sleeve consists of four

separately woven u n its; one each of open work and warp strip e and two narrow, warp faced, so lid colored bands. An ad d itio n al web of warp

striped fabric with the warp oriented to the width of the shirt is appliqued along the lower edge as a border. A small floral motif is embroidered on each tin y u n it of plain weave w ithin the open work webs.

F in ally , a single layer of red alpaca frin g e is sewed to the lower and sleeve edges.

The two shirts of open work tapestry are, by contrast to the other open work shirts, simpler in garment construction and ornament but more complex in fabric construction. The body area of each shirt, sleeved s h irt SI 1333850 and sleeveless s h ir t A1#H B8540, is constructed of two webs of cotton and alpaca fabric in which the major portion of each web is of the skipped warp tapestry. In the end portions of each web the skipped warps are replaced and a solidly woven tapestry band occurs as a border. The patterning within the open work area consists of rows of profile birds and stepped frets arranged so that the oblique pattern repeat is uninterrupted by the center seam. Each sleeve of Fig. 17.—UTE PERIOD SIEEVED PONCHO-SHIRTS A. SI 1333S5G open work tap estry (46 x 96 cm. through the sleeves 139 cm.), B. MAI 23.347 open work, plain weave and extra warp p attern (44 x 100 cm. through the sleeves 157 cm.), 0. AMÜH 38575 double cloth and plain weave (34 x 77 cm. through the sleeves 107 cm.), and D. TM 1966 .48.6 extra warp p a ttern (46 x 96 cm. through the sleeves 130 cm.)

191 192

I UL

\4 I— I M I f l

O I n

I 20 cm. « D FIGURE ir 193

s h ir t SI 133385 c consists of a single web of open work tapestry with

a separately woven band of solid tapestry appliquld as a border. In

both shirts the color range includes tans, brown, yellow and rose.

The only trim on the shirts is the use of fringe. A single layer of

yellow alpaca fringe is sewed along the lower edge of the sleeveless

shirt. A four-layered unit of fringe, constructed as described earlier,

in bands of dark browns, tan and yellow is sewed to the lower and sleeve

edges of SI 133385Ü.

An unusual feature in the garment construction of the sleeved

shirt just discussed is a 3 cm. fold which reduces the width of one

web to make it more comparable in size to the other (Fig. 17a). The

fold is simply laid to the inside of the shirt before the side seam

was joined and the sleeve added.

Tapestry Shirts The six sleeved shirts TM 196l.ll.28 through MPA 56.432, listed

in Table 10, are either in part or totally constructed of cotton and

alpaca tapestry weave. Beyond that feature, however, the individual

qualities of these shirts are more easily identified than their simi

larities. There is considerable variation in the size of the garments

as is evident from the dimensions listed in Table 10. Variations In garment construction are also evident. Shirt TM 1961.11.28 and TM 91.458 in Table 10 are the smallest

and the simplest of the tapestry sleeved garments. In each case the major webs of the shirt are of red, weft faced, plain weave in which patterned areas or borders are created by shifting to tapestry 194

technique. Shirt TM 1961.11.28 is constructed of four matched webs

in which the white and red stepped edge borders along the lower and

sleeve edges are of tapestry. Shirt TM 91.458 has greater variation

in fabric structure. Two large gooraotric tapestry motifs are located

at the chest level on the front and reverse sides of the two webs which

make up the body of the shirt. The tapestry border at the lower edge

of the shirt follows the standard format seen on many sleeveless shirts

and consists of a narrow band of geometric pattern outlined on each

side with several weft faced stripes. The bottom edge of the shirt is

finished in the same tubular fashion described for some extra weft

patterned shirts. Each sleeve web is of plain weave with warp stripes

in red, yellow and black; the same colors used in the tapestry pat terns created within the body of the shirt. Neither shirt is orna

mented with fringe.

Specimen TM 1961.3.4 is similar to many other short, broad,

sleeved shirts in size and shape but is distinctive because it is fully lined. The four matched webs which make up the outer layer of

the garment are of tapestry weave in which the all-over pattern con

sists of horizontal rows of small stylized human figures. Along the

lower edge are three weft faced stripes in place of the usual full bor

der arrangement seen on so many Late Period shirts. Separately woven bands of fringe are sewed to the lower and sleeve edges. The fringe band along the lower edge was apparently too short for the circum

ference of the shirt and thus the shirt is slightly gathered to fit the band. The lining consists of four webs of cotton plain weave which are loosely woven. The shirt will be discussed again with lined shirts. 195

The largest and most impressive of the tapestry shirts is Bliss

503 (Plate XXII). One large standing figure wearing an elaborate headdress and holding trophies in each hand fills the front and an other fills the reverse side of each of the two webs which make up the body of the shirt. Each sleeve contains the same kinds of fig ures similarly arranged but scaled to the smaller sized webs. The fig u res are in w hite, yellow and brown on a red ground. M alti-layered and multi-colored fringes, as described for the open work shirts, add

5 cm. of length to each sleeve and 10 cm. to the length of the shirt.

The very size of the garment, particularly its 173 cm. width through th e sleeves, seems almost too cumbersome to have been fu nctional. I ts impressive pattern and elaborate fringe suggest it was constructed for some special occasion.

A similarly impressive shirt somewhat smaller in scale than the

Bliss garment and having a single layer of fringe is located in the I'ftiseura of l¥iraitive Art (Plate XXIIl). The tapestry pattern on shirt

MPA 57.P-11 consists of four human and cat figures on front and reverse sides of each web in the body of the shirt. The last 8 cm. of each of these webs is arranged as a typical Lute Period border with a row of bird motifs outlined on each side with weft faced stripes. The major portion of each sleeve is a single tapestry web containing a figure similar to those on the body of the shirt and scaled to fit the smaller web. Three separately woven plain weave bands of color are sewed to each sleeve to create a narrow border.

Miseura of Primitive Art speciraon 56.43^, also large and noticeably longer than most other sleeved shirts, is quite different from the two 196

just described. It is constructed of six separately woven webs, of

which four are of cotton and alpaca tapestry and two are of undyed

cotton plain weave (P late XXIV). Three webs of fa b ric , two of plain

weave and one of ta p estry are seamed to create the body width of the

shirt. A neck slit is woven into the center panel. The tapestry pat

tern in the center panel and in the sleeve webs consists of rows of

blocks, each of which encloses a highly geometricized animal figure.

The coloring is so arranged that a diagonal repeat is apparent. A

separately woven tapestry band patterned with a single row of bird

motifs is sewed to the lower edge of the shirt. A separately woven

band of yellow alpaca fringe is in turn sewed to the edge of the tap

estry border. The same unusual orientation of pattern, as noted on the open

work shirt BM 61.209, is evident on MPA 56.4-32 just discussed. The

tapestry pattern is arranged in a single direction thus making the

motifs on one side of the garment upside down. Similarly the tapestry

border is sewed to the shirt so that the motifs are inverted.

Double Cloth S h irt

The double cloth shirt, AMNH B8575 in Table 10, is different in

size and garment construction from the five double cloth sleeved shirts discussed earlier as a part of the group with matching costume items.

(Compare Fig. 17c with Fig. I6 a.) Furthermore, i t has no known match

ing garments. Two of the th ree webs seamed to create the body width of specimen AWNH B8575 are of undyed cotton plain weave. The center panel, which inclufles the woven nook slit, and the sleeve webs are of 197

brown and white cotton double cloth. The all-over patterning in the

double cloth webs consists of many rows of blocks, each enclosing a

stylized bird. The last few centimeters of warp along the lower edge

of the shirt are unwoven and remain as fringe. This shirt is not only

smaller than the five discussed earlier but it lacks their colorful

extra weft patterning.

Warp and Weft Interlocking S hirt The use of warp and weft interlocking was discussed earlier in

relation to a cotton sleeved shirt for which there is a matching man

tle (Fig. l6c). The sleeved shirt, TM 1959.11.2 in Table 10, is of

the same fabric structure and garment construction; however, it dif

fe rs from the other s h irt in a number of ways. The l a t t e r s h irt, fo r which there is no known matching garment, is of cotton and alpaca.

It is almost twice as long as the former shirt and lacks its fringe trim. It is also far simpler in pattern arrangement. A stepped edge bird motif is enclosed in each of the four large rectangles which make up the length of each web in the body of the shirt. The sleeve webs are not patterned. This is In contrast to the Intricate planning which was required to create the arrangement on the earlier shirt in which a single motif spanned several webs and was also used in the sleeves. Shirt TM 1959.11.2 is also more colorful than its counter part and makes use of red, yellow, blue and white in contrast to the brown and white of the other shirt. 198

Extra Warp Patterned Shirts

Shirt TM 1966.48,6 in Table 10 deserves special consideration on

the basis of its garment structure. This is the only shirt among those examined and related to the liUto Period in which the sleeves are

u part of the body of the shirt (Fig. 17d). It is difficult to evalu

a te the method used to construct th is s h ir t as the seams which join

the three pieces of extra warp patterned fabric are so closely overcast

that the fabric edges cannot be examined without opening the seams.

The shirt may have been cut to shapo, possibly in antique times, from

fabric originally designed for another purpose or it could have been

shaped on the loom. I t appears th a t the fa b ric edges a t the underarm are loom finished. One edge of the band joined to the bottom of the

shirt, however, appears to have been cut.

In total appearance shirt TM 1966.48.6 is much like many other sleeved shirts already discussed, particularly in size and shape and in the use of separately woven fringe added to the lower and sleeve edges. The design of the extra warp patterned fabric consists of small geometric motifs arranged in vertical stripes. The fabric used in the body of the shirt is also used in the band added to the lower edge of the garment only with the warp stripes oriented to the width of the s h ir t. Only three shirts among those examined or noted in references ap pear to have the sleeves woven as integral parts of the fabric struc ture of the bodies of the garments, the shirt described above and the two Tiahuanaco tapestry shirts. The data are inconclusive, however, a more careful examination of these garments may show that the cutting 1 9 9

or shaping of poncho-style garments was not entirely unknown to the

ancient Peruvians, particularly of the later periods.

Feather Ponchos

The debate concerning the pre or post-Conquest origin of the

true poncho is not so strongly contested when feather garments are

discussed. Montell, who raised the entire issue, recognized that the

feather garments were a tentative exception to his hypothesis that

ponchos were unknown in ancient Peru until post-Conquest times. Al

though Montell had not had an opportunity to examine any feather pon

chos, he reported that certain of those which he had observed in

literary sources appeared to be open at the sides, thus, serving as

ponchos rather than shirts.-'^ 32 Montell's study of Peruvian costume included little information on the use of feather garments. His comments were restricted to their use during the Late Period particularly along the Central Coast. There, he indicated the coastal chiefs and ranking officials were known to wear sumptuous clothing, some with gold and silver spangles and others of feather mosaic. 33

The use of colorful feathers to enhance textiles and to adorn various accessory items was widely known in prehistoric Peru. Until recently, however, little was known of featherwork associated with costume items for the early periods. It was thought that ornamental ponchos and mantles held significance only within the later cultures.

^^Montell, p. 147. ^^Montell, p. 146. 2 0 0 starting with the Tiahuanaco Empire and building in ])opularity within the late coastal societies and the Inca Empire. Researchers in the past fifteen years have indicated that featherwork garments were in 3A use in several early coastal cultures. Engel ^ reported finding frag ments of featherwork textiles along the Central Coast from Late Pre- ceramic Period. King^^ recorded the details of several feather gar ments ascribed to the Paracas Period and Tello^^ illustrated a blue wool poncho trimmed with yellow feathers also of the Paracas culture.

The records of the early chroniclers frequently contained glow ing references to the featherwork of the Late Period. Cobo wrote:

The feather cloths were of groat worth and value, and rig h tly s o .. .. They work them on fin e cloth (cumbi) but the form which the feather takes on wool., .is like velvet .... The luster, splendor and sheen of these feather cloths were of such rare beauty that unless they are seen, they cannot be appreciated. Among other things which the Spaniards found when they entered this land were full storehouses belonging to the Inca, one of the principal deposits being a great quantity of precious feathers for these textiles ; almost all were iridescent with admirable sheen which looked like very fine gold.^'^

According to Cobo the fine feathers were incorporated into the fabric

^^rederic Engel. "A Preceraraic Settlement on the Central Coast of Peru. Asia Unit I," Transactions of the American Philosophical Society. Ill, Pt. 3 (1963), p. 39. 35^4,ry E lizabeth King. "T extiles and Basketry of the Para cas Period, Ica Valley." Unpublished Ri.D, dissertation. University of Arizona, 1965, p. 143.

^^Julio Tello. Paracas. Primera Parte. Lima : T. Scheuch, 1959, Plate 22.

^’^Nathalie H. Zimmem. Peruvian Costume. New York: The Brooklyn Miseura, 1949, p. 16. Translated from B. Cobo. Historia del Nuevo Mmdo. (ed. M. Jimenez de la Espada.) Seville, 1893. 2 0 1 during the weaving process and were kept in place by means of a small thread in the weft.

Only one report on a feather poncho from a specific Late Period site was reviewed in this study. The ground cloth of the poncho from a Chancay grave, reported by Lothrop and Mahlerwas constructed of a single web of cotton plain weave in which paired warps were used.

The poncho when found was in fragile condition and appeared to have been patched. Along the bottom edge of the garment a hem was turned to the outside. Large wing feathers were used to outline the top and sides of the garment while smaller breast feathers in yellow, blue and red were used to create the pattern within the center of the garment.

The authors commented that the use of large feathers was unusual among

Peruvian featheivork in which only small breast feathers were normally employed.

The nineteen feather ponchos examined resemble that discussed by

Lothrop and Mahler rather than those described by Cobo. The ground cloth on each of the ponchos is of undyed cotton plain weave. Some are woven with paired warps. Among them considerable variation exists in the quality of weaving. Some are rather crudely woven. This is in contrast to the fine woolen fabric described by Cobo as the ground for featherwork. In contrast to Cobo’s report that the tiny feathers were laid in during the weaving process, the feathers on the ponchos ex amined are consistently knotted into a cord which is in turn sewed to

38 Lothrop and Mahler, p. 17. 2 0 2

the surface of the woven ground. The explanation for this apparent

conflict may be found in d'Harcourt's statement:

Although excavations have furnished Very beautiful speci mens, we probably do not possess feathered articles as fine and as varied as those which amazed the early chron iclers, and for which the tiny, glittering feathers of hummingbirds wore used.39

The feathered ponchos listed in Table 11 tend to fall into two

categories on the basis of size, Six very small garments, MPA $7.2920

through TM 196$.40.60, are of miniature size. In their folded form

a ll are nearly square in shape with none larger than 37 cm. square.

The remaining thirteen garments are considerably larger and un

doubtedly designed for adult wear. They too represent a certain

conformity in shape. All but two of the large ponchos, MPA $6,412

and TM 91.395, are of a long rectangular shape. These garments when worn would have covered the shoulders and the upper arms of the in dividual and would have been knee length or longer. Of the two ponchos which are exceptions to the long rectangular shape, MPA $6,412 is

considerably wider than the others and TM 91.395 is unusually short among the feather ponchos. The feather ponchos are similar in garment construction. All but two of the garments are constructed of a single web of fabric.

The exceptions are among the large ponchos where occasionally two webs are seamed to create the total width. The neck slit is then allowed as an opening in the center seam. Seven of the large single web ponchos have a woven neck slit; on the remaining four, the neck slit

39;(jiHarco\irt, p. 132. TABIE 11

BASIC TABLE; FEATHER PONCHOS; DIbENSIONS, FABRIC CONSTRUCTION AND ORNAMENTATION

Ground Cloth Ornamentation Pattern Fringe Finis]

(0 I t 1 M 8 ■S CO Specimen CO +) l | Number l i «% I

MAI 10.2 76 59 .78 1 X X MAI 20.6681 103 68 .66 1 X X MAI 10.5857 76 61 .80 1 X MAI 15.9404 77 66 .86 1 X MAI 10.1 72 56 .78 1 X MAI 10.0 89 77 .87 2 X BM L46.17.17 103 82 .79 1 X MPA 56.412 105 118 1.12 2 X AMNH 41.0.1351 107 75 .70 1 XX AMH 41.0.7307 109 72 .66 1 X X TM 91.276 107 76 .71 1 X TM 91.431 80 66 .82 1 X TM 91.395 49 68 1.38 1 X

MPA 57.2920 18 18 1.00 1 X MPA 57.293F 27 28 1.03 1 X MPA 57.293V 28 28 1.00 1 XX X MPA 57.293R 35 37 1.05 1 XX MPA 57.299V 26 24 .92 1 X TM 1965.40.60 28 24 .86 1 XX

®In each case the length measurement represents that of the folded poncho since most are mounted in th a t form.

is cut and loosely overcast. Among the small garments the neck slit is most frequently cut with the edges loft raw or overcast. The neck slits on these small ponchos range from a tiny hole to a few centimeters in 204 leng-bh and are not always p e rfe ctly centered on the garment. Only

MPA 57. 299 V has a woven neck slit.

Ten of the thirteen large garments are permanently mounted under glass, making the analysis of the side area difficult. None of the ponchos appears to be seamed at the underarm, thus, concurring with

Mantell's observation that feather garments may indeed be the pre-

Columbian evidence of the time poncho. On six of the ponchos, how ever, the cords arranged along the sides were apparently designed as a means for securing the garment to the body, A worn area at the waist of poncho TM 91.431 suggests that it may have been worn with a belt. The sides of the miniature garments are variously treated: some are left completely open, some are seamed along the sides to form a sack and others are seamed as a s h ir t allowing tin y openings near the shoulder fold.

In contrast to the vast amount of effort which must have been required to arrange the feathered surface of the garments examined, apparently little effort was expended on the ground cloth. In most cases the fabric was of coarse quality, frequently with loose wefts or skipped warps. An incomplete web was used as the base for

MAI 20.6681. The raw edge along one lengthwise side of the garment was overcast. A fold of irregular width was turned to the right side along the hem, apparently in an effort to straighten that end of the fabric. Among the miniature garments the fabric was sometimes ori ented with the warp in the length direction of the finished piece and at other times in the width direction. Larger pieces of fabric were adjusted to the appropriate size by folding the edges of the 2 0 5

fabric to the outside. These folds were scarcely noticeable as most

of them were lost under the rows of feathers.

The application of the feathers to the ground cloth followed a

specific technique. Tho foathors, first selected according to color and size, were laid out in order to plan the decorative effect. Each row of feathers was systematically joined by the quill to a cord and in turn each row of feathers was stitched to the ground. The first layer of feathers was attached along the bottom edges of the poncho and each successive layer covered the quills of the previous row.

Understandably no feathers were placed in a 2 to 12 cm. area over the shoulder fold. Small feathers were manipulated to create softly con toured motifs or trimmed to create clean smooth outlines.

The nineteen feather ponchos examined during this study are all undoubtedly of late coastal origin. Many incorporate the bird, stylized animal and human figure motifs which are so frequently seen on woven coastal fabrics. Yet, some show a closer relationship with patterning arrangements seen on Inca tapestry shirts. In contrast to the woven designs, however, the feathered designs are relatively simple. Their beauty is derived primarily from the colorful and interesting texture introduced through the use of feathers. Unlike the symmetrical arrange ments of the woven shirts, the feather ponchos often have different decorative patterns on the front and reverse sides of tho garment

(Plate XXV). Three pattern arrangements tend to predominate among the large ponchos; (l) Those which are purely geometric, consisting simply of broad transverse bonds of colored feathers, (2) Those on which the motifs follow the checkerboard, stepped edge yoke or 206

goometrJc bordor* pian aoen on Tnca tapeutry ohlrta, and (3) Thone on

which the uae of bird, animal or human figures resemble late coastal

woven m otifs.

Clearly the most beautiful feather ponchos are patterned with a

solid surface of tiny feathers, as seen on specimens TM 91.276,

TM 91.431, TM 91.395 and AMNH 41.0.7307. They are soft, lustrous and

iridescent in appearance. On all other garments, areas of small feathers are used to create the pattern and larger feathers are used to fill borders or large areas of space. The five miniature feathered garments listed in Table 11,

MPA 57.2920 through MPA 57.299V, are taken from a much larger col lection of garments found in the same burial cache at Ullujaija,

Gyucaya in the Ica Valley. These five are included here because they have some sign of a heck slit. In all approximately 60 similar specimens are labeled "miniature feather ponchos." Despite the fact that many of the specimens lack a neck slit, even of symbolic size, the entire group looks like a series of small ponchos in that they imitate patterns frequently seen on large feather ponchos. Included among the group are feathered surfaces arranged in all-over checker board, wave and fret borders, and stepped and circular yokes. Oc casionally metal discs are also added (Plate XXVI). Some of the specimens appear to have been quickly made with large feathers sparsely arranged to f ill space and with some having the reverse side left unadorned. Nevertheless the entire group creates an impressive sig h t with feathered surfaces in yollow, orange, brown and irid escen t blues and greens. The group may have been assembled solely as a 207

grave offering or thoy may have sorved an samples of feather poncho

p a tte rn s.

The tiny poncho TM 1965.^0.60 has many of the same qualities of

those just described. It is too small to have served in any but a

symbolic fashion. Small orange feathers on one side are accented with

tiny blue ones arranged to create a small yoke area. The entire re

verse side is covered with three rows of long iridescent blue feathers,

none of which overlap one another.

Curiously enough while the feather patterns were often derived

from woven poncho-type garments, the Peruvians tried to produce the

feather appearance in various other textile media. A stylized feather

pattern appears on some wool tapestry shirts of the Inca style. An

example of this sort of pattern can be seen on one of the tapestry shirts found by Bandalier on the island in Lake Titicaca,^^ Another

such tapestry shirt, Bliss 372, was found among the shirts examined

(Plate XXXIII). Featherwork was also simulated on painted textiles.

The sleeveless cotton shirt discussed earlier, AMNH 40.0.119A in Table

6, and a similar shirt illustrated in Reiss and Stubel,^^ appear to be

painted versions of feather ponchos. Not only are these shirts simi

lar to the ponchos in size and shape, but their painted feather motifs

are arranged differently on the front and reverse sides of the shirts

much in the manner noted on a number of fe ath er ponchos.

^^Adolph Bandolier. The Islands of Tltlcaca and Koati. New York: The Hispanic Society of America, 1910, Plate LXII.

^^Reiss and Stiibel, Plate 39 in Vol. II. 2 0 8

Padded and Lined S hirts

Lined and padded poncho-type garments are not commonly found

among prehistoric Peruvian textile products and little is written about them. Dennett and Bird, in discussing their estimate that ninety-five percent of the Peruvian textile products served as gar ments, indicated that the estimate appeared high until it was recog nized that the Indians used clothing beyond the usual function for daily wear. They stated that many people undoubtedly slept in their clothing and had little other than mats for bedding.^ In this respect, it seems likely that padded and lined garments were simply designed for warmth. Other information about the use of padded and lined garments in ancient times is generally traceable to the records of the Spanish chroniclers. Inca soldiers reportedly wore body armour consisting of either a quilted cotton tunic or layers of similar cloth wound around the body.^^ The Spaniards are said to have found the quilted armour of the Incas as effective as steel as a protection against darts and spears.^

Two references to fragments of quilted cotton armour were re viewed. Montell reported on a fragment of a "cotton-wool cuirass" in the Misee d* Ethnographie in Paris.The piece, too small to

^W endell Bennett and Junius Bird. Andean Culture H istory. New York; The Natural History Press, I960, p. 222.

^^John Rowe. "Inca Culture at the Time of the Spanish Conquest," Handbook of South Ataerican Indians. Bureau of American Ethnology Bul- letlns, II, No. 4» pt. 2 (April, 1957), p. 274.

^Msans, p. 60. ^^Montell, p. 110 and Fig, 53. 209 give any clues to its original size and shape, was described as hav

ing a two inch thick padding of "cotton-wool" between two layers of

brown cotton. The layers were hold together with stitches, indi vidually knotted and placed at four oontimotor intervals. No ex amples of garments with such heavy padding or with quilting stitches were examined. The second fragment was described by Means as "a piece of quilted and brocaded cotton armour", approximately 54 cm. square and of Late

Chimu style.^^ The specimen was described as consisting of two layers of brownish-white cotton cloth with the vertical yarns paired and hav ing a crepe-like appearance. The outer layer of cotton was "brocaded" in wool with two conventionalized human fig u res. Between the two layers of fabric were the remains of a padding of raw cotton fibers.

It is interesting to note that the two cotton shirts, TM 91.558 and

TM 91.557 in Table 7 examined earlier with the sleeveless shirts of coastal style, bear a resemblance to the outer layer of the padded shirt discussed by Means. These shirts, also crepe-like in appearance, have the same two conventionalized human figures worked in wool extra weft pattern. Their average size is 65 by 50 cm. These shirts, how ever, are not padded or lined. Seven shirts examined during this study are presently or were at one time lined or padded (Table 12). They vary considerably in fabric, size, shape and garment construction. The two largest shirts are sleeved garments and are impressive in size (Plate XXVIl), They

46 Means, p. 60 and Fig. 62. TABIE 12 BASIC TABIE; PADDED AND LINED PONCHO-SHIRTS DIMENSIONS, FABRIC CONSTRDCTION AND ORNAMENTATION

Grmmt^ Cloth Orramentation Pattern Fringe Finish

s E CU (D 43 C 43 as 43R* r4 as m >» as Vi -P! a I (X > Vi o . 43 bO T3 -P 43 m bO O •T-t I- to a •H :p I §* m P. a •X2 Specimen g # 1 as p . 1 U P a 1 II3 (D X r4 as X g •H 3 A u Number tiOiH r (D O. 43 o > ÇU 3 o TM! 1961.11.1 117 111 167 .95 12 4 X X X MI&I 15.242A. n o 99 143 .90 3 8 4 XX TM! 1961.3.4.° 45 103 144 2 . 3 0 4 X TM 1963.13.1° 54 94 1.74 _b gb 2 XX TM 1961.37.5 74 109 1.47 8 2 X TM 1961 . 30. 147® 38 32 .84 2 ? MAI I 5. 7377G 54 40 70 .74 3 3 X

^This shirt is also listed in Table 6.

^Indicates that both techniques of weaving appear in each web.

^his shirt is also listed in Table 7. %his shirt is also listed in Table 10. I-* ®This s h ir t is also lis te d in Table 13. c 2 1 1

üro lined «nd padded and would have reached below the knees when worn. They are the la rg e st sleeved garments examined during the study. Two waist length shirts, one sleeved and the other sleeve less, are in their outwardly appearance much like unlined garments of comparable fabric constiniction. The remaining three shirts have such unusual feathres of garment construction that they appear to have been adapted to their present form from fabric originally de signed for another purpose. Among these are two, which by their size hardly seem functional as armour.

The two largest shirts, TM 1961.11.1 and MAI 15.2A2A in Table

12, are similarly constructed and of comparable size and shape.

The outer layer of each shirt is constructed of a number of cotton pieces, most of which are joined vertically to extend the width of the garment and to create the sleeves (Fig. 18). Additional pieces of fabric are appliqued as borders along the lower edge of the shirt and the sleeves. The usual Late Period separately woven fringe is sewed to the edge of these borders. The lining for each shirt con s is ts of four webs of loosely woven cotton p lain weave which are sowed together as a separate sleeved shirt. The outer shirt and the lining are sewed together at the neck, the lower and sleeve edges. Each shirt has padding of unspun cotton fiber between the la y e rs.

The shirts differ in the fabric used in the outer layer and in some minor features of garment construction. The pieces which make up shirt TM 1961.11.1, although some are not complete loom structures, are of warp stripe and extra warp patterning (Fig. I8a). The pattern Fig. 18.—PADIED AND LINED PONCHO-SHIRTS A. TM 1961.11.1 (117 X 111 cm.) and B. MAI 15.2424 (llO x 99 cm.)

2 1 2 213

30 ora.

FIGURE 18 214

in am 11, highly goomotr.io unci oJ’ aubduod tones of brown, tan and blue, Tho nook slit is out into tho center most piece and the edges

are reinforced with rows of cross-knit looping, Most of the pieces

which make up the outer layer of MAI 15,2424 are of undyed cotton

plain weave (Fig, 18b). The borders appliqued along the lower and

sleeve edges are narrow webs of extra warp patterning with the warp

laid horizontally. The warp pattern is highly geometric and sub

dued in color. The neck opening is in the center most seam and is

finished by simply whipping the edges of the lining and the outer

fabric together.

Two other lined shirts, TM 1961.3.4 and TM 1963.13.1 are so

traditional in size, shape, and garment construction that they have

been discussed previously with shirts of similar fabric construction.

The former shirt is a sleeved tapestry garment and the latter is a

sleeveless shirt of cotton plain weave with an extra weft patterned

border in wool. In each case webs of loosely woven, undyed cotton,

plain weave of the same size and shape as those used in the outer

layer are joined for a separately constructed lining. There is a

layer of unspun cotton padding between the layers of the sleeveless

shirt but no such padding is noted on the sleeved garment. These

shirts, like that discussed by Means, appear to have been designed

for ordinary daily wear and additionally treated with lining or

padding to serve a special function. It is difficult to know whether

the lining was conceived as a part of the original design of the gar ment or added to adapt the garment to a new function a t a la te r time.

Shirt TM 1961,37,5 was discussed earlier with other sleeveless 215

tapestry shirts where the unusual features of its garment construc

tion were noted. The use of eight incomplete loom structures in the

garment as well as the single direction orientation of the fabric pat

tern lead to the conclusion that the shirt was made up from fabric

designed for another purpose. A catalog note with this shirt con

tained the information that it was "lined with open plain weave which

probably did not belong with it." The lining, now cataloged separately

from the shirt, has the same characteristics of fiber, yarn and weave noted in the linings of other shirts examined. The lining, consisting

of two complete webs of fa b ric , is the same size as the outer s h irt

and is seamed at the center with an opening allowed as a neck slit.

There is no evidence of padding.

Shirt TM 1961.20.147, discussed earlier with sleeveless shirts

constructed of warp striped plain weave fabrics, is so small in size that its use as armour is precluded. Actually the shirt may have no significance in the section on padded and lined shirts, unless as a miniature it represented the full sized garment. There is no khown lining to this shirt but the tufts of unspun fiber which cling to the inner surface of the tiny shirt are much like those found in other padded shirts.

Shirt MAI 15.7377 which is lined throughout with webs of the familiar loosely woven cotton incorporates other unusual features of garment construction. It appears to be adapted from one-half of a traditional two web sleeved shirt in which the second sleeve, un doubtedly salvaged from the same garment, is added to what would have been the original center seam (Fig. 20d). A neck slit is 216

crudely cut along the shoulder fold and occurs in the lining as well.

There is no evidence of padding. The outer fabric is of cotton and

alpaca tapestry with a pattern easily related to many sleeved tap

estry shirts. A single styliaod standing human figure fills the

space on the front and on the reverse sides of the garment. Snallor

human figures similar in pose appear on each sleeve. Sewed to the

lower and sleeve edges is a band of fringe typical of the type seen

on many Late Period shirts. While the finished specimen looks like

a conventional sleeved shirt, its unusually narrow proportions and

the unfinished nature of the cut neck slit makes it unlikely that

in its present form it was designed to function for ordinary adult

wear. The horizontal orientation of the neck slit is unusual but

not unknown among prehistoric Peruvian poncho-type garments. This

shirt will bo considered again along with a series of shirts having

the horizontal orientation of seams, neck and arm slits in common.

Shirts With Horizontal Orientation

The convention for arranging the warp direction, seams, neck and

arm slits in a vertical orientation with respect to the finished pon

cho-type garment is so firmly noted among prehistoric Peruvian products

that when variations to this orientation occur, they merit special U7 consideration. Carrion Cachot recorded the occurrence of horizontal neck slits on .some Paracas shoulder ponchos and Tello^^ illustrated a

Z . 7 Rebeca Carrion Cachot. "La Indumentaria en la Antigua Culture de Paracas," Wira Kocha. I , No. 1 (1931), p. 79, Fig. 17. ^^Tello, piate 22. 217

larger Paracas poncho with a horizontally oriented neck slit cut

along the shoulder fold. Those reports,while they took note of the

fact that cut neck slits and those oriented horizontally were indeed

unusual, gave no suggestion as to their significance.

In 1955 Gayton reported on a Late Period shirt of unusual shape

and fabric construction in which the warp direction, most seams and

all garment apertures were arranged on a horizontal plane. This re

port was the first of a series of recent discussions on the signifi

cance of garments with such orientation. A variety of so-called

horizontal neck slit shirts of the Late Period have been discussed

by Gayton, Emery and King, Stumor and Gayton, and VanStan. Each ad

ditional report uncovered unusual features of garment construction

which further tended to put horizontal neck slit shirts in a dis

tinctive category. The opinions on the significance of these gar

ments were varied.

Gayton’s 1955 rep o rt concerned a s h ir t, the property of Edwin

Ferdon of the Hiseum of New Mexico, which was found in a cemetery a t

Piedras Gordos about six kilom eters south of Ancon.It was con

structed of three long narrow rectangles of distinctive alpaca plain weave fa b ric , very open and m esh-like in character. The longest of

the webs, having at its upper edge a band of red and grey warp faced

stripes, was used at the top of the shirt to create the yoke and

sleeve extensions (Fig. 19a). The remainder of the top web and the

^^A. H. Gayton. "A New IVpe of Ancient Peruvian S h irt," Ameri can Antiquity. XX, No. 3 (1955), 263-270. 218

two sh o rter webs which formed the body of the s h irt were of open

plain weave in dark brown. Beyond the strict horizontal orienta

tion of the shirt, the arrangement of the top web to provide arm

openings at the long underarm edge was a most unusual feature of

the garment. Gayton indicated that the garment had been worn and

was not merely designed for a funerary prupose. She concluded, on

the basis of similar textiles found in various Central Coast sites,

that the shirt style represented at least a local fashion and that

it may have been worn with other garments or accessory pieces of the

same fa b ric .

Emery and King studied fourteen fragments representing twelve

separate items of wearing apparel of the same category as the "Ferdon 50 s h ir t ." Twelve of the fragments were of the same fiber, color, weave, pattern and proportion as the top web of the shirt discussed by Gayton. On each of the pieces, for which there was an identi fiable shoulder seam, there was at least one pleat or tuck located near the neck slit; a feature not noted on the "Ferdon shirt." The authors concluded that garments of the "Ferdon-type" were intended for mummy bundle use rather than for ordinary wear. This conclusion was based on the unstable nature of the fabric and garment con struction and on the awkward placement of the arm openings at the bottom rather than at the ends of the sleeve-like extensions.

Emery and King further proposed that garments structured with

50 Irene Emery and M. E. King. "Additional Examples of an Un usual Peruvian Shirt Tÿpe," American Antiquity. XJCIII, No, 1 (July, 1957), p. 71-74. 219 the neck and arm slits arranged in a horizontal plane along the top

seam of the shirt were specifically associated with mnmmy bundle

use. The assumption was based on the examination of several gar

ments once structured as conventional shirts and then remodeled to the horizontal orientation (Fig, 19c). Such shirts were clearly not

designed for ordinary wear as the apertures were awkwardly placed

with the arm openings generally too small to be functional. The

authors proposed that the small arm openings were intended for stick

or other false "arms" and that the horizontal neck slit more ade

quately fit over the flattened square shape of the typical false

heads of the Central Coast mummy bundles.

Stumer and Gayton^^ reported on another horizontal neck open

ing shirt of slightly different construction. The cotton shirt was

discovered in the wrappings of a funerary bundle containing the body

of an adult male and located in the La Capilla cemetery some twelve

kilom eters north of Lima. By means of re la tiv e dating, the s h irt was

considered to be of early Chancay culture. The shirt was constructed

of two identical webs of undyed warp faced plain weave (Fig, 19b). The webs, oriented with the warp in the width of the shirt, were seamed at the

narrow ends. The upper edges of the two webs were sewed in such a

fashion as to allow for a neck opening and small hand openings. The

authors described the shirt as one which was pulled over the head with

only the hands protruding through the smaller apertures. The shirt.

^^L. M. Stumer and A. H. Gayton. "A Horizontal-Necked Shirt from Marques, Peru," American Antiquity. XXIV, No. 2 (1959), 181-2. Fig. 19.—HORIZONTAL NECK SLIT SHIRTS A. Drawn from Gayton»s description of the "Ferdon shirt". (60 x 82 cm. through the sleeves 140 cm.), B. Drawn from Stumer and Gayton'a description of the "La Capilla shirt" (46 x 132 cm.), and 0. SI 307804 warp interlock (102 X 79 ora. )

220 221

20 cm FIGURE 19 222

lacking any color or embellishment and only average in quality of

weaving, was described as a purely utilitarian garment showing signs

of s o il and wear.

The three miniature shirts of the horizontal neck slit type de

scribed by VunStan^^ contained unusual construction featu res beyond their small size. These shirts worn a part of the Uhle collection

from beneath the Temple of Paoachamac and c la s sifie d by him as "Eplgonal Style," thus placing them in an earlier period than either

the "Ferdon" or "La Capilla" shirts. The miniature shirts, each made

of a single web of plain weave, ranged in size from 12 to 18 cm. in

length and from 14 to 24 cm. in width. The smallest web was folded

and seamed so that the warp made up the width of the shirt. The

others were formed as a continuous tube either by ring or circular

weaving. The tubular shirts were arranged with a small pleat at

each end of the neck slit on only one side of the garment. In dis

cussing the significance of those specimens, VanStan pointed out that

dolls clothed in similar shirts have been found In association with

mummy bundles.

The six shirts listed in Table 13 have horizontal neck slits as

well as other unusual garment features. Three of the shirts are re lated in their short, broad rectangular shape to the "La Capilla"

shirt discussed by Stumer and Gayton (Fig. 20a, b and c). The other

three are of a long rectangular shape and are obviously adapted to

their present form from the more conventional vertially oriented shirt.

CO Ina VanStan. "Miniature Peruvian Shirts with Horizontal Neck Openings," American A ntlaultv. XXVI, No. 4 (l9 6 l), 524-531. 223 TABLE 13

BASIC TABLE:, HORIZONTAL NECK SLIT PONCHO-SHIRTS: DIMENSIONS, FABRIC CONSTRUCTION AUD ORNAMENTATION

Ground Cloth Ornamentation Pattern Fringe Finish

Specimen iliilUlîli 11. Number 8/2 & % S 8 S' ^ & S' §

TMi 1966.7.220 66 132 2.00 1 X SI 365249 43 60 1.40 ^ 1 ^ TMi 1962.57.3 46 126 2.73 lb _b SI 307804 102 79 .77 6 •X SI 133029 116 87 .77 2 1 MAI 15.7377® 54 40 73 .74 3 X

®This shirt is also listed in Table 12 with padded and lined s h ir ts . b Indicates that both techniques are used in each web.

Shirt TMi 1966.7.220 is made up of a single exceptionally long web of cotton p lain weave with a painted design arranged as an a ll-o v e r pattern. The single most distinctive feature of this shirt is the use of three deep pleats arranged at each end of the neck slit (Fig.

20a). The pleats, which reduce the 372 cm. total length of the web to a shirt 113 cm. in width, appear on only one side of the garment.

Thus, one side is unusually full in relation to the smooth reverse side. Even such a simple tailoring feature as pleats is rare among

Peruvian shirts where garments, us a general rule, are formed by sewing flat loom pieces along their straight selvages. The painted Fig. 20.—HORIZONTAL NECK SLIT SHIRTS A. TM 1966.7.220 painted cotton p lain weave (66 x 132 cm.), B. TM 1962.57.3 cotton plain weave w ith extra weft p attern (4-6 x 126 cm.), C. SI 365249 cotton warp stripe (43 x 60 cm.), and D. MAI 15.7377 cotton and wool tapestry (54 X 40 cm. through the sleeves 73 cm.)

224 225

B I

, 2 0 o m . I

FIGURE 20 226 doDign conKlatfJ of an a ll-o v e r repeat of blocks variously enclosing birds or geometric motifs. The colors are brown, yellow, orange and grey on an undyed cotton ground.

Shirts TM 1962.5.23 and SI 365249 are each constructed of a sin gle, long rectangular web folded and sewed at the narrow ends (Fig.

20b and c). It should be noted that the single vertical seam on each shirt does not occur directly opposite the fold. The shirts are seamed at the upper edge allowing a neck slit and the usual small arm open ings. The Smithsonian shirt is made of a warp striped plain weave with groups of brown, blue and tun stripes Included on an undyed cotton ground. The groups of stripes, parallel to the width of the garment, occur only on the upper half of the garment. The overcasting which occurs at each end of the neck slit appears to serve as a reinforce ment. The Textile Miseum shirt is made of undyed cotton plain weave with extra weft patterning. The extra weft patterning on one side of the garment is used to create a border directed along the upper width of the shirt. On the reverse side of the garment two bands differing in length and placed perpendicular to the neck slit are spaced to one side of the center of the garment. Along the lower edge of the shirt are the remains of a long running stitch of un certain purpose.

The lack of symmetry in features of pattern arrangement and gar ment construction noted on the three shirts just discussed is rarely found among Peruvian poncho-type garments. On shirts of vertical orientation it is quite evident that the symmetrical arrangement of the fabric pattern with respect to the finished garment was well 227 planned before the fabric was produced. Furthermore the vertical

seams on garments of standard orientation were always symmetrically arranged with respect to the sides or center of the garment. In view of the apparent disregard for symmetry, it appears that at least some of the shirts of horizontal orientation were structured from readily available textile products rather than from fabrics specifically designed for that end use. As a result of the examination of the last three shirts listed in Table 13, it is apparent that shirts of standard vertical orien tation were at times remodeled or adapted to serve the function specifically relegated to shirts of horizontal orientation.

The original vertical orientation of shirt SI 307804 is quite obvious (Fig. 19o). It was made up of six webs of fabric of the com plex interlocking and scaffolding technique seen e a rlie r on Middle

Period tie-dyed shirts. On one-half of the shirt red and white yams were interlocked at the stepped edge divisions in each block. On the other half of the shirt yellow and white yams were interlocked. The lower edge of the garment was finished with a short warp fringe. The side seams of that original shirt were later opened and the webs re folded so that all seams are presently oriented to the width direc tion of the shirt. The fringed lower edges of the original shirt are now overlapped and basted creating the only vertical seam in the gar ment. The top edges of the refolded fabric are sewed to allow neck and arm openings along the same horizontal plane. A small 5 by 5 cm. bag, sewed to the shoulder of the present garment, appears to be a charm bag similar to those frequently found in mummy bundles. 228

S h irt SI 133029 is closely related in size and shape to the

shirt just discussed. They are comparable in all aspects of garment

construction related to their present form and differ primarily in

fabric construction. Shirt SI 133029 is constructed of three webs

of brown wool plain weave. One of the webs, that along tho bottom

of the present shirt, has several stripes in which extra warp yarns

of red and yellow are manipulated to create a small geometric pat tern. These webs are carefully seamed with an inconspicuous whipping

stitch. These seams are oriented to the width of the garmeht. The

construction of the shirt in its present form is crudely done. The vertical center seam as well as the shoulder seams are whipped with a double, blue-green yam. The crude sewing, using yam of a color not incorporated in the basic webs of the shirt, may indicate that the construction of the garment in its present form occurred at a time later than that of the fabric production.

S h irt M I 15.7377 discussed earlier with the lined shirts very clearly is adapted from one-half of a sleeved shirt of vertical ori entation (Fig. 20d). Its only association with the garments of this section is the fact that it has a horizontal neck slit. Unlike the other garments examined, however, the neck slit is cut rather than structured within a horizontal seam. It is further distinctive from the garments in this group because it is fully lined.

Inca Style

The understanding of Peruvian culture of the Inca Period is not limited to the study of archaeological remains but is agumented with 2 2 9

the records of the early chroniclers. The works of these Spanish

and Indian writers of the sixteenth and seventeenth century provide an insight into many aspects of tho social, political and economic

life of the times. According to Rowe,^^ tho voluminous works of

Jesuit Father Bernabe Cobo, written in 1653 and published in the late nineteenth century, is considered to be the most reliable and in clusive of all the chroniclers' reports. In addition to Cobo, the illustrated work of Quaman Poraa de Ayala is of special significance for the study of costume. His numerous pen and ink drawings depict various scenes of human interaction in which the costume of indi viduals of many ranks may be studied.

The highly coordinated political, economic and social life under the Empire, in contrast to that within the smaller more malleable in dependent so c ie tie s of an e a rlie r age, had a marked e ffe c t on Inca products. The emphasis on technical excellence characteristic of the

Inca age of specialization is evident in all products including tex tile s. Although many techniques of weaving were known and used, the preference for intricate tapestry, rep weaves and extra warp patterns is well documented. Featherwork of exceptionally fine quality was frequently mentioned by the chroniclers. The decorative elements in use were few, repetitive and highly geometric. In contrast to the artistic merit of preceding periods, Inca creativity is commonly termed awkward, re p e titiv e and d u ll. However, when evaluated w ithin the cultural context of the Inca Empire, the artistic quality of its

^^Rowe, p. 192 . 230 products are as expressive of the times as earlier products were of their day. According to J o n e s^4 , inca art at its best is classic in its formal clarity, balanced proportions and clean outline. It is compact, integrated and simple. The chroniclers testified to the abundant quantities of tex tiles and numerous functions of clothing within the Inca society.

The greatest consumers of textiles were the members of the Inca royalty. It was reported that they never wore the same garment twice and that the used clothing of the emperor was saved to be burned by a special officer at an annual ceremony. In order to ac commodate this extravagant use of clothing, a select group of women were maintained whose p rin c ip a l re sp o n sib ility was to produce cloth of the finest quality. Quantities of textiles were created for sac rifice in association with the religious cult of the Inca. In the absence of a monetary system, textiles became the chief element for barter. Taxes paid to the Inca and the temples were levied in the form of textile products. Clothing played a role in many individual and public rites. It also served as a means of identification and differentiation of members of the various ranks which made up the complex hierarchical system. Tangible archaeological evidence of Inca textiles is exceed ingly rare despite the late occurrence of the Inca Empire in Peruvian prehistory. ^&ny of the artifacts of the Empire were dissipated at

^^Julie Jones. Art of Empire: The Inca of Peru. New York; The ^6iseum of Primitive Art, 1964, p. 5. 231 the time of tho oonquôat. Additionally the damp, cold cliraate of this

highland centered culture was simply not suitable for the preservation

of textile products. Thus the few textile fragments found by Eaton^^

and the three remarkably well preserved tapestry shirts discovered by Bandelier5& in a stone container on an island in Lake Titicaca formed

the substance of the primary evidence of Inca weaving. The data on

the few extant textiles were in keeping with Cobo's description of

the Inca shirt as wool, sleeveless, made of a single web of fabric

with a woven neck slit, and in length reaching mid-thigh of the

wearer. Cobo's description together with Guaman Foma's illustra

tions and the extant shirts found by Bandolier were the basis for

identifying shirts with an Inca origin even when they were reportedly found In the coastal outposts of the Empire.

The thirty poncho-type garments listed in Tables 14 and 15 were considered to be of Inca style on the basis of their similarity in structure to shirts described by the chroniclers, on their dependence on motifs accepted as Incaic in nature or on the basis of weaving techniques known to have been preferred in the highlands. The seven teen tapestry shirts in Table 14 were most clearly of highland style.

They were without exception constructed of a single web of tapestry and were of the uniform size and shape which resulted in the same type of knee length shirts illustrated by Guaman Foma. They differed

^^George Eaton. "The Collection of Gsteological ffeterial from Machu Ficchu," ^moirs of the Connecticut Academy of Arts and Sciences. VI, (19 I6 ).

Bandolier, F lates LXII and LXIX. 232

from one another primarily in motif and pattern arrangement, however,

oven then motifo were restricted to highly geometric forma and cer

tain well defined pattern arrangementa were frequently repeated. The thirteen garments in Table 1^ were constructed of a variety of weav

ing techniques and differed considerably in size and shape. Included

among them were five extra warp patterned shirts which were rather

uniform in construction but far less spectacular in total appearance

than the tapestry shirts. All wore of a broad rectangular shape

but much larger in scale than shirts of similar shape noted from coastal origins. According to Ubbelhode-Doering^? extra warp pat

terned fabrics of a type related to that observed in the five gar

ments were of pre-Spanish highland origin and are to this day worn

by various Indian tribes around Ouzoo. The remaining garments in

Table 15 were closely associated with highland style on the basis of

their very geometric pattern. They included five shirts, a poncho,

and two items which appeared as yokes or shoulder ponchos.

Tapestry Garments The seventeen shirts listed in Table 14 are remarkably uniform

in most aspects of garment construction. Each garment is structured of a single, short broad tapestry web in which the exceptionally long weft yams constitute the length of the garment. In each case the neck slit was formed during the weaving process. With the exception of specimeq TM 91.282 which is nearly square in shape, all others

^"^He in rich Ubbelohde-Dooring. On the Roval Highways of the fnca. New York; Frederick A. Praeger, 1967, p. 195. 233 TAB IE 14

BASIC TABLE: INCA STÏIE TAPESTRY SHIRTS: DIMENSIONS, FABRIC CONSTRUCTION AND ORNAtENTATION

Ground Cloth Ornamentation P attern Fringe Finish

& I Specimen 1 Number i i ! 1CD i f i

TM 1966.7.171 88 74 .84 1 X X X TM 1966.7.172 93 75 .81 1 X X X TM 91.843 94 76 .81 1 X X B liss 373 92 78 .85 1 X X TM 1966.59.28 82 71 .87 1 X X TM 91.816 86 78 .91 1 X X TM 91.147 95 78 .82 1 X X X TM 91.282 66 65 .99 1 X X X

TM 1964.12.2 90 75 .83 1 X X TM 1966.59.27 inc 75 1 X X X TM 1960 . 13.7 inc 79 1 X X X

SI 307655 88 78 .89 1 X X X BM 41.1275.106 90 79 .88 1 X X X AMNH (5) 91 76 .80 1 ? X AMNH B1503 95 a 76 .80 1 ? ? B liss 372 87 74 .85 1 X XX TM 1966 . 7.46 84 78 .93 1 XXX

Garment length is assumed from one-half of the s h ir t.

are of a rectangular shape greater in length than width. Tho shirts are standard in size varying no more than 6 or 7 cm. in either di rection from the average dimensions of 88 cm. in length and 76 cm. in width (Fig. 21).

The decorative embroidery stitch used to join the sides of each 234 garment and the abundant use of colorful edge finishing are char

acteristic of the highland shirts. The side seams are joined with a figure eight embroidery stitch closely worked to create a ridged

effect along the seams (Plate XXVIIl), The several colors of yam,

often red, yellow, white and black, used in each seam occur in a regularly repeated sequence. The repetitive scheme of colored areas within the seam is continued in tho carefully worked blanket stitch used to finish tho edges of the neck and arm slits. Frequently a similar colorful blanket stitch is used to cover the lower edge of the shirt. When this finish is used on the lower edge it is often accompanied with several rows of double running stitch worked di rectly above the finish to create a narrow zig zag band.

The garment characteristics of these shirts are similar to those detailed for a like series of tapestry shirts associated with the highland style of the Middle Period. In each case the technique of tapestry weaving, the orientation of the warp and weft yarns in re lation to the finished garment, the standardized sizo and shape and th e decorative treatm ent of the seams are comparable. The d iff e r ences occur in the fact that the Middle Period shirts are constructed of two webs of fabric, are more nearly square in shape, are slightly larger in size and make use of a slightly different type of edge fin ish less generously applied.

The use of a limited number of decorative motifs and a few dis tinct pattern arrangements parallels that observed among the highland shirts of the Middle Period. Similarly these standardized features of design may have served to identify classes and ranks of individuals. 235 These ranks are not yet olearly Identified but a careful study of

Guaman Poma’s drawings may ultimately reveal the clues to this type

of symbolism. The iconography on those tapestry shirts is restricted

to highly geometric forms which embody the characteristics of sim

plicity, clarity, balanced proportions, and clean outline described

by Jones as typical of classic Inca art.

Three distinct pattern arrangements were noted among the shirts

examined. These same arrangements were noted among the garments shown

in the Guaman Poraa illustrations. The first consists of rows of small

blocks variously arranged in an all-over pattern. Frequently a

checkerboard effect is created as a result of contrasts in color or values (Plates XXIX and XXX). The second consists of a broad, pat

terned band placed as a belt slightly below the middle of the shirt

(Plate XXXI). Third, the surface of the shirt is boldly sectioned both horizontally and vertically into four, six or eight large seg ments marked by changes in color (Plate XXXII). Within some of these segments geometric patterns of various kinds are arranged.

A checkerboard arrangement of small blocks dominates the pat terning on eight shirts, TM 1966,7.171 through TM 91.282 listed in

Table 14. Among the checkerboard shirts several subtle variations in arrangement were noted. The most commonly recognized Inca shirts of this type are those on which a stepped edge separates a bright red

V yoke area from the remainder of the s h irt in which so lid brown and white blocks alternate in checkerboard fashion (Fig. 21a and Plate

XXVIIl). Shirts TM 1966.7.171 and TM 1966.7.172 are of this type and are identical in all respects. All edges of the shirts are Fig. 21.—INCA STÏIE TAPESTRY SHIRTS A. TM 1966.7.171 (88 X 74 ora.), B. TM 91.147 (95 x 78 ora.), G. TM 1964.12.2 (90 x 75 ora.), D. SI 307655 (88 x 78 ora.), E. TM 1966.7.46 (84 x 78 era.), and F. AMNH (5) (91 x 76 ora.)

236 237

F I '}Q gmt.i FIGURE 21 2 3 8

finished with embroidery: the neck edges in red to matoh the yoke,

the arm slits and hem in repeating areas of red, brown and yellow

as used on the figure eight embroidered seams. The zig zag band of

embroidery in red and yellow is uaod along the lower edge of the

s h ir t. A checkerboard arrangement of blocks at times is used to cover the entire ground of the shirt as it does on TM 91.843 and Bliss 373

(Plate XXX). Each block on the former shirt is filled with the eight pointed star motif, described by Montell as a mace, symbolic of the power of the warrior. The blocks in the Bliss shirt contain a vari ety of small motifs. Some are patterned with a miniature version of the stepped yoke shirts just described, complete to the decorative edge trimming. The shirts examined are identical in size and decora tive side seams, however, differ in the use of other edge finishing.

On shirt TM 91.843, only the neck and arm slits are finished in the multi-colored blanket stitch repeating the color scheme used along the side seams while a l l edges of B liss 373 are bound with the color ful finish.

On four of the checkerboard shirts, TM 1966.59.28 through

TM 91.282 in Table 14, the all-over patterning of blocks is con centrated in the upper two-thirds of the garment. The lower one- third is either a solid color or has broad transverse stripes (Fig.

21b). The bloçks are mostly filled with a small S or lea shaped pattern in which the reverse use of dark and light values on figures and ground results in a pronounced checkerboard effect. Each of the shirts is seamed with the colorful figure eight stitch so commonly 239 csorm on Inou rihirtt}. Tho nook ond orm ulito oro oil fininhod with

embroidery. S h irt TM 91.14-7 lu tho only ono of the four on which the embroidered finiah and zig zag stitch is used along the lower edge of the garment. Within this latter group of checkered shirts TM 91,282 is the smallest and most individual of the tapostry shirts. This small shirt

is almost square in shape in contrast to the usual long rectangular shape. I ts lig h t color harmony of pink, green and yellow d iffe rs from the others in which darker values of red, yellow, green and blue predominate. It is the only shirt among the tapestry group to have a separately woven band of fringe along the lower edge. The signif icance of th is sm aller s h ir t as a c h ild 's garment becomes probable when viewing Guaman Poma's illustration of an adult and child in identical shirts (Plate XXXI).

A second major patterning arrangement noted both among the gar ments examined and those illustrated by Guaman Poma is composed of a relatively plain shirt within which a broad tapestry band located at about waist level is the only patterning (Fig. 21c). One full shirt,

TM 1964.12.2, and two partial shirts, TM 1966.59.27 and TM 1960.13.7, are of this type. The partial shirts are complete in width with the lower two-thirds of each garment intact. Since the partial garments are of the same width as the complete s h ir t, i t is assumed th a t they are all similar in length. The tapestry bands are similarly patterned with either a single row of lozenge motifs enclosing a series of stepped edge crosses or three rows of blocks filled with the same sorts of geometric motif noted on the checkerboard shirts. All three 240 fihlrtu üro joinod üt tho nidoD wl.th multl-culorod flfjui'o olght em

broidery. In addition the two incomplete shirts have the multi

colored finish and zig zag embroidery along the lower edge. The

neck slit on the complete shirt appears to have been cut and over

cast while the arm slits and lower edge are unfinished.

The third major patterning arrangement allows for the greatest

variety in appearance since the space of the shirt is carefully pro

portioned into a variety of large segments (Fig. 21d, e and f). The

segments differ in ground color and in each the pattern is related

to the size and shape of the segment. S h irt SI 307655 through

TM 1961 .7.46 in Table 14 are of this type. The upper segment on all but BM 41. 1725.106 is patterned to create a stepped edge yoke. Often the color within the yoke and outside of it differs. For shirt

BM 41. 1725. 106, the upper unit is plain. The lower segments of each shirt are variously treated. They may be divided vertically in half as in Fig. 21e, into three or more vertical areas as in Fig. 21d, into three oblique units as on Fig. 21f, or treated as a unit with h orizontal rows of m otifs as shown in P late XXXIII. Occasionally the multi-segmented shirts also include the broad band of tapestry pattern at tho waist as in the case of BM 41.1725.106 and AMNH B1503.

For the group as a whole there appears to bo no convention set for the use of embroidered edge finished although all use figure eight embroidery to join the side seams. For some of the shirts the neck and arm slits remain a selvage, for others these same edges are fin ished with overcasting or cross-knit looping. The embroidered finish along the lower edge is absent from this group of shirts. However, 241

fringe hes been added to the lower edge of BM 41.1%75«10& and

SI 307655. The lower edge of TM 1966 , 7.46 is overcast in red.

The two small tapestry specimens TM 1967.7.1 and TM 1966.7.118,

listed in Table 15, appear to be just the yoke area of an Inca shirt

(Fig. 22c). Actually each specimen is made up of several pieces, is

woven with an a ll-o v e r p a ttern and is small in size compared to the

yoke area of a full scaled shirt. Thus, the pieces are not likely to

be the remnants of deteriorated shirts but were probably designed in

this form. A piece of similar structure was noted by 0'Neale as

"tapestry trim for a neck opening, Late lea.

Specimen TM 1967.7.1 is made up of four very narrow pieces of

cotton and alpaca tapestry in which the warp yams of each piece create

the width of the yoke. The pattern consists of columns of blocks each

containing stepped fret motifs. The horizontal levels of each of the

outer stepped edges is cut and finished with cross-knit looping. All

outer edges remain as selvages. Dangling from some of the stepped

edges is a cord to which is attached a small metal rectangle which is

folded to give a three dimensional shape similar to a bell. Similar

metal tassels were noted on a small plain weave poncho ornamented with

feathers and additional metal discs as discussed earlier (Plate XIIl).

Textile Mhseum specimen 1966.7.118 is constructed of two pieces

of tapestry, again with the warp yarns making up the width of the to tal piece. The pattern consists of many oblique rows of zig zags and

eg O'Neale and Kroeber, University of California Publications in American Archaeology and Ethnology. XXVII, Plate 37. 242 bird heads. The cross-knit looping used to finish the neck slit is

continued along the entire length of the center seam. The same kind

of finish is used along the horizontal levels of each outer stepped

edge. The vortical selvages uro turned under and hold in place by a

long running stitch. The function of these small yoke-like pieces is unknown. O'Neale

suggested that they were designed to trim the neck line, yet none have

been found attached to a shirt. As separately constructed items, the pieces may have been worn with a s h irt as a c o lla r or worn independ

ently in a manner reminiscent of the earlier Paracas shoulder ponchos.

The use of m etal ta s s e ls on one of the specimen is of p a rtic u la r in terest. Trim of this nature was observed only on miniature garments of the type designed for symbolic or votive functions rather than for daily wear.

Garments of Interlocking Technique

The six items AMNH 41.1.4048 through TM 1959*20.4 in Table 15 are included in this section because of their strong association with highland motifs and arrangements. In each of the specimens, warp interlocking is fundamental to the fabric construction. On three of the specimens the interlocking tecimiquo is used for form a stepped yoke area and on the others, the technique is used to create segments of color much in the manner seen on some highland tapestry shirts.

Among these garments are five shirts and a poncho. They are quite different in size, shape and garment construction making it necessary to deal with most items individually.

The three American Museum of Natural History garments in this 243

TAHIi'i I'J

BASIC TABIÜ! INCA STÏI£ PONCHO GARMENTS, A VARIETY OF WEAVES: DIMENSIONS, FABRIC CONSTRUCTION AND ORNAMENTATION

Ground Cloth Ornamentation P attern Fringe Finish

"o I §Q) ^.9 2 2 .5 & 0 +5 1 m ^ 5 8 . T) -P -P ^ , to Q) H H Specimen Vn Number i i 1 1 §

TM 1967.7.1 49 19 4 XX X TM 1966.7.118 49 32 2 X

AMNH 41. 1.4048 72 114 1.58 2 X AMNH 1967.74.2 94 128 1.36 2 X AMNH 1967.74.1 94 115 1.22 2 TM 91.377 87 80 .91 2b _b_b X X TM 1959 .20.4 89 76 .88 1 TM 1965 .48 . 1® ICO 100 1.00 1 2 X

TM 1965 . 40.42 83 100 1.20 2 X X TM 1965 . 70.1 80 1 34 1.68 2 X X MAI 10.7544 52 110 2.12 2 X TM 91.83 102 155 1.52 2 TM 1966.7.218 81 101 1 .2 5 2

^The length measure represents the full, flat length of this poncho.

^Indicates that all techniques of weaving are used in each web.

group have some features in common. All are alpaca shirts constructed of two webs of fabric in which the warp yarns are oriented in the length of the garment. All are of a broad rectangular shape which is unusually wide for sleeveless shirts. The interlocking technique in each shirt is used to create large areas of strongly contrasting 2AA

colors including tan, dark brown, red, yollow and some white. These

color changes occur along stepped edges (Fig. 22a and b). The shirts

differ somewhat in texture, with the weave of AMNH 1967.74..1 and 2

more open than th a t of AMNH 4-1.1.4048. The s h irts are fo r the most

part simply constructed using a minimum of embroidery to finish edges

and lacking the multi-colored decorative seams used on many Inca

shirts. On shirt AMNH 1967.74.2, the type of yam used to create

the center seam is also used to lace the neck slit at each end.

Shirt TM 91.377 is an excellent example of the Peruvian prac

tice of including several weaving techniques in the same basic web.

A warp interlocking technique is used as a means for changing colors

several times within the length of the garment. The stepped yoke

area is woven in a multi-colored warp stripe. The yoke area is inter

locked with the p lain , warp faced weave used throughout the body of

the shirt but color is changed at about the waist level with further

interlocking. Along the ends of each web, wool extra weft yarns are used to create a patterned border. The shirt is trimmed at the lower

edge with a band of separately woven fringe and colorful tassels. In size and shape and in the use of the bold stepped edge yoke area, the appearance of the shirt is much like the Inca tapestry shirts. Yet, more in keeping with coastal traditions are the use of two webs in its construction, the emphasis on cotton fiber, the use of wool extra weft border, and separately woven fringe.

The shaggy pile surface of shirt TM 1959.20,4 sets it apart from all of the shirts examined during this study. The broad transverse bands of the shirt are achieved through interlocking lengths of alpaca Fig. 22.--INCA STYIE PONCHO-STÏIE GARMENTS A. AMIH 1967.74.2 warp interlock shirt (84 x 128 ora.), B. Al#i 41.1.4048 warp inter lock shirt, and C. TM 1967.7.1 tapestry yoke or collar (49 x 19 era.)

245 2 4 6

FIGURE 22 247 yarns in brown with others in white. Long tufts of alpaca to match

the warp are put in the weft shed, looped around the weft ends and

brought to the surface to create the pile. The shirt is exceedingly

heavy. The striped appearance has much of the quality of a feather

poncho, MAI 10.2, examined e a rlie r in which brown and white tra n s

verse bands were produced with feathers. Pile surface fabrics are

indeed rare among Peruvian poncho-shirts. The only others examined were two simple cotton s h irts , TM 91.44-2 and AMNH B7767, te n ta tiv e ly associated with the coastal style of the Middle Period.

Specimen TM 1965.48.1, listed in Table 15, appears to be an ex ample of the Late Period poncho. The item is constructed of three webs of fabric and is flat, with no evidence to suggest that it was ever sowed at the sides. The center panel is of warp and weft inter locking in a very loose construction. The interlocking technique is also used to create a border area on each of the side panels which are predominately of plain and extra warp patterned stripes. The weaving is poorly done with interlocking occurring at times where it is not necessary to the pattern.

The arrangement of the pattern on this woven poncho has more in common with that seen on feather ponchos than on woven shirts. The result is that the front and reverse sides of the garment are treated differently. On both sides along the lower edge, a warp interlocking technique is used to create a light and dark border. The border on one aide is a plain band and on the other side a f r e t band. On one side of the garment in the central panel a single, large, crudely styled human figure is formed in interlocking technique. Bits of 248

embroidery are used to add color to the toes of the figure. The

comparable area on the reverse side of the poncho is plain and of

a different color.

The construction of the poncho is quite simple. The three webs

are sewed together with an Inconspicuous whipping s titc h . The side

selvages, as well as the out edges of the neck slit, are finished with

cross-knit looping. Yarn fringe, approximately 15 cm. in length, is

applied as an embroidery technique to the lower edges of the poncho.

Warp Striped and Extra Warp Patterned S h irts Five striped shirts, similar to those described by Ubbelohde-

Doering as still being worn in the Andean highlands, appear to be the most utilitarian in nature among the Inca style garments. Shirts

TM 1965 . 40.42 through TM 1966.7.28 in Table 15, are of a sturdy, heavy fabric construction. Each shirt is similarly made of two webs of fabric in which the warp stripes create a vertically oriented pattern on tho finished shirt. The patterned stripes are at times grouped and repeated and at times alternated with plain stripes. The motifs within the stripes are either geometric or highly stylized interlocking patterns which lend themselves to elongation. The colors red, yellow, brown, blue, green and white are used in plain narrow stripes and are also integrated in the patterned stripes.

The shirts are simply constructed with little edge finishing beyond that which appears to be utilitarian. Several of the shirts have a cross-knit looping finish at the neck and arm slits. Evidence of reinforcement at the ends of tho nook and arm slits occur as does 249 some aboriginal mending. The stitching on the seams is for the most

part inconspicuous although on two of the shirts some of the seams are

joined in a loosely worked figure eight embroidery.

The shirts are all of a broad rectangular shape which is unusually

large in total dimensions. Most would have virtually covered the en t i r e figure when worn. Such a complete covering seems appropriate in

idea for the highland climate yet in some instances, such as the 155 cm. width of TM 91.83, they seem almost too cumbersome to have been functional for daily wear.

Summary

One hundred and eighty-three poncho-type garments were associated with the Late Period on the basis of motifs and textile techniques known to have been favored at that time. The garments of the Late

Period were considered in relation to two distinct yet interrelated influences, those of the coastal kingdoms and those of the Inca Em pire. Most of the Late Period specimens were associated with the regional coastal kingdoms of Chimu, Chancay and Ica-Chincha. Within this group of 153 garments were 100 sleeveless shirts and thirty-two shirts with sleeves. Except for one, the twenty-one ponchos in the group were feather ornamented. Of special interest were those shirts with matching garments, those with padding and lining and those with horizontal neck slits. Thirty garments were associated with the Inca style. These included twenty-eight sleeveless shirts, one poncho and two yokes or collar-like items.

The use of highly stylized human and animal forms, sometimes to 250

the point of geometric representation, tended to characterize the

patterns used by all cultures of the Late Period. The motifs were

popularly arranged in horizontal and v e rtic a l rows in such a way

that a definite diagonal movement was also evident. Patterns fre

quently were confined within borders or geometric forms, reciprocal

pattern arrangements were common. Particularly associated with

Chincha societies was the extensive use of bird motifs in a wide

variety of forms. Toward the end of the Late Period the highly geo metric and repetitive motifs of the Inca Empire were evident.

The same characteristics of Late Period textile production known as the result of technical studies of textiles found at various

coastal sites were observed among the poncho-type garments examined during this study. The increased emphasis on cotton products over what was used in earlier periods was frequently reported. In agree ment with those reports, forty-five percent of the garments examined were totally or in greatest measure made of cotton. A wide range of textile techniques were in use during the period. Generally the am bitious and elaborate weaves of the earlier periods occurred less fre quently. Among the most commonly found textile techniques were s lit tapestry, at times produced entirely of cotton, and plain weave cotton with extra weft patterned borders in wool. Four textile techniques were dominant in eighty percent of the garments examined: thirty percent were of plain weave which included the warp striped shirts as well as the cotton ground cloth of tho feather ponchos, twenty- three percent were of extra weft patterning, sixteen percent were of extra weft patterning, sixteen percent were of tapestry and ten percent 251 of extra warp patterning. Other techniques of weaving used singly or in combinations included gauze, double cloth, interlocking tech niques and open work techniques.

Technical reports of textile production In the highland region are limited to those few extant pieces which have survived despite the unfavorable conditions of the region for their preservation.

From these reports and those of the chroniclers, it is apparent that interlocked tapestry and extra warp patterning techniques were com monly used. Among the garments examined which were associated with the Inca Empire and considered to be of highland style, sixty-one percent were of tapestry, nineteen percent of extra warp patterning, and nineteen percent of interlocking techniques.

Coastal Style

In the same manner that technical studies have drawn attention to characteristics of textile processes and patterns, an analysis of the structure of the finished textile product revealed that certain garment features tended to characterize poncho-type garments of the Late Per iod and of coastal origin. The 153 garments associated with coastal style had certain features such as garment shape, method of garment construction, orientation of warp and weft with respect to the fin ished garment, addition of ornament and arrangement of pattern in common. Some of these features tended to perpetuate earlier coastal traditions while others were distinctive to garments of the Late Per iod. Seventy-five percent of the garments examined were of the broad 252 rectangular shape traditionally noted among poncho-type garments of

coastal style. The sleeved shirts, most of which were in the range

from waist to hip length, were more consistent in size than were the

sleeveless shirts. Among the latter group shirts of waist, hip and

knee lengths were found. The noticeable exceptions to the broad rec

tangular shape were the feather ponchos, a series of plain weave

shirts, a series of plain weave shirts with extra weft borders and

two padded and lined sleeved shirts. The method of garment construction generally followed earlier

coastal traditions but several individual features were also noted.

The body width of sixty-five percent of the garments was the result

of Joining two matched webs of fabric with an inconspicuous whipping

stitch. I4)st of the remaining specimens were constructed of a single

web of fabric. For twelve garments the width was achieved by join

ing multiple webs of fabric at times of differing fabric construction.

In keeping with coastal weaving traditions, the warp yarns were gen

erally oriented to the length of the garment. On several garments of the broad rectangular shape but patterned with the highly geometric motifs of the Inca style, the warp was oriented to the width of the garment in the highland tradition.

Late Period coastal garments were distinguished from those of earlier periods not only on the basis of motifs but also on the man ner in which patterns were arranged on the finished garment. Woven patterns in all-over arrangements tended to replace the embroidered motifs. The coastal tradition for border arrangements continued with those of the Late Period following a standardized and distinctive 253 format. In contrast to the abundant use of borders along all edges of the garment, those of the Late Period were concentrated along the lower edge of the garments and frequently consisted of a single row of pattern outlined above and below with a series of plain weft s trip e s . Fringe continued to be the single most popular form of ornament.

It was, however, used with greater restraint than it had been on gar ments particularly of tho Early Period. Late Period fringe was con centrated on the lower edge of the garment and was either the result of unwoven warp loops or the addition of a separately woven band, often of wool. On sleeved shirts the fringe was frequently added to the edge of each sleeve. Fifty-five percent of the garments examined were ornamented with fringe. The occurrence of fringe on Late Period garments seemed higher than the percent would in d icate since none of the feather ponchos and only a few of the undecorated plain weave garments wore ornamented with frin g e.

The Late Period specimens included a wide variety of poncho-typo garments some of which were not known from earlier periods. As with the earlier periods the sleeveless garments were found in greatest numbers. The identification of specimens as true ponchos continued to be a tentative association particularly with garments other than th e feath er ponchos. Only two specimens of patterned weave were identified as ponchos. Close to thirty percent of the garments ex amined were sleeved shirts. The occurrence of sleeved shirts among earlier period specimens was rare. Late Period garments also 254 included those which were padded and lined and those with horizontal

neck slits. A number of groups of conforming poncho-type garments wore noted

among those of co astal o rig in . Those groups wore id en tified by cer tain distinctive and repeated garment features found among garments

of the same fabric construction. As such, tho following aggregates

were identified among the sleeveless garments: those cotton shirts with extra weft patterning in wool, three distinct groups of tapestry

shirts, and a series of small shirts in which interlocking and scaf

folding techniques were combined. The feather ponchos were easily distinguished by their feather surface and their garment structure.

Among the sleeved shirt those of cotton double cloth, those of plain weave and gauze combination, and those of open work techniques were distinguished as aggregates. Finally, those shirts which were padded and lined and those which featured horizontal orientation in their construction were considered as aggregates despite their great vari ation in fabric construction.

The following five aggregates were identified among the sleeve less garments: A. Twenty-three cotton shirts on which extra woft yarns in wool were used to create a pattern formed an aggregate. The shirts are listed in Table 7 and include the first twenty-two shirts and specimen TM 1963.13.1. 1. They conformed in the following respects:

a. Two webs of fabric, basically of cotton, were used to create the width of each garment. Only TM 91.558 was constructed of a single web. b. The extra weft pattern was concentrated in a border area along the bottom of tho shirt. The border area was ar ranged following the Late Period format described earlier. 255 c. Fringe was commonly added to the lower edge of the s h ir t. Only two, TM 1961.30.1 and SI 308654» had no frin g e. d. All were simply constructed with inconspicuous seams. The neck and arm s l i t selvages contained no fu rth e r fin is h . e. Two distinct shapes were found; those with average di mensions of 40 cm. in length and 80 cm. in width and those of 80 cm. in length and 70 cm. in width.

2. The following variations wore noted:

a. For five of the shirts the border urea was separately woven and sewed to the hem of a plain weave s h ir t. b. On five of the shirts extra weft patterning was also used throughout tho field. These shirts are the first five listed in Table 7. c. For three of the shirts, TM 91.558, TM 91.557 and TM 1961.3.lA, the ground cloth had a crepe-like ap pearance. d. Shirt TM 1963.13.1 was fully lined and was padded.

B. Seven a l l cotton tap estry s h irts formed an aggregate. The s h irts are listed in Table 8 .

1. They conformed in the follow ing respects:

a. Each was constructed of two webs of tapestry weave. b. All were simply constructed with inconspicuous seams and no finish along tho neck or arm slits. 0. On ouch of the shirts the field area was patterned with horizontal and vortical rows of motifs. In addition each shirt followed the border format which was described e a r lie r. d. The color range in the shirts was limited to brown, tan, yellow and light blue. e. Each shirt had a separately woven band of yellow alpaca fringe sewed to the lower edge of the garment. f. The shirts closely conformed to the average dimensions of 50 cm. in length and 103 cm. in width.

2 . The following variations were noted:

a. The shirts differed in the choice of motifs. b. Shirt TM 1966.7.30 varied only slightly in the arrange ment of pattern in the field area of the shirt. The usual rows of small m otifs were replaced with two stand ing figures on the front and reverse sides of the garment in each web. 256

C, Two cotton anrl alpaca ohlrtH which combined plain weave, warp and weft interlocking and tapoatry within each web were vir tually Identical. Theae ahirts, MI-'A 61.74. eud TM 91.452, are listed in Table 8 . Two other such shirts were known from literary sources.

1. They conformed in tho following resp ects:

a. The shirts were identical in color, pattern, and pattern arrangement (Plate XVII). b. Each was constructed of two webs of fabric joined with an inconspicuous whipping stitch. c. The lower edge of each shirt was finished with a highly twisted, short warp fringe. d. Both were of the same size and shape. The dimensions were 55 cm. in length and 84 cm. in width.

2. The following variation was noted: the neck slit on shirt TM 91.452 was overcast while the neck and arm slit edges on sh irt MPA 61.74 were unfinished.

D. Five cotton and alpaca tapestry shirts of identical pattern formed an aggregate. The shirts, TM 91*453 through MAI T-226, are listed in Table 8 . One other such s h ir t was known from a literary source.

1. They conformed in the following resp ects:

a. Each was constructed of two webs of tapestry weave. b. Each was simply constructed with inconspicuous seams. Generally the neck and arm s l i t selvages contained no further finish. c. The shirts had no fringe ornament. d. The stepped edge geometric motif used in the all-over patterning was identical. The half motifs which oc curred along the center seam matched those on the second web to form an uninterrupted pattern arrangement (Plate XVIII). e. Each was limited in color to red, white and tan. f. In each case the warp was oriented to the width of the s h ir t. 2. The following variations were noted: a. The motifs on individual shirts varied somewhat in scale and only slightly in pattern arrangement. On some shirts the motifs were planned to relate to the finished length of the garment. On others, half motifs appeared along the lower edge of the shirt. b. The shirts were closely related to an average size of 58 cm. in length and 76 cm. in w idth. However, s h ir t 257

TM 1966 . 4 8 , 1%, ulthouf'h oloacj to the itvorugo in width, w.'is übout hulf the length of the others. c. The neck and arm slit edge of shirt TM 91.453 were over c a st.

E. A series of four garments in which Interlocking and scaffolding techniques were combined formed an aggregate (P late XIX).

1. They conformed in the following respects;

a. Each shirt was constructed entirely of wool fiber. b. From nine to twelve separately woven pieces were loom joined to create the length of each garment. In each case broad bands of warp interlocking in highly geo metric pattern were alternately arranged with plain weave bands in a solid color. 0. The lower edge of each shirt was finished with warp frin g e . d. Each shirt was of a broad rectangular shape with average dimensions of 39 cm. in length and 80 cm. in width.

2. The following variations were noted;

a. The plain weave units in three of the specimens were dark brown or maroon and in the fourth garment were warp striped. b. Two of the specimens were loosely seamed at the sides. One garment was not seamed. The treatment of the sides on the fourth garment was not determined because the item was permanently mounted.

The conforming characteristics noted among the aggregates of sleeveless shirts were not found among sleeved garments of the same fabric construction. On the sleeved shirts the extra weft pattern ing was used to form a tubular edge finish or to cover the entire sur face of the cotton ground in contrast to the standardized border ar rangement noted on the sleeveless shirts. The tapestry shirts with sleeves were generally more elaborate in pattern and color than their sleeveless counterparts and further differed from them in fiber, size and shape. No sleeved shirts having the characteristics observed among sleeveless aggregates C, D and E were examined. 258

Thrj following; three uggroRuteu wore Identified among the sleeved garments.

A. Five sleeved shirts of cotton double cloth formed an aggregate. They are the first five shirts listed in Table 10 (Plate XX),

1. The conformed in the following respects;

a. Each was made up of four matching webs of fa b ric and seamed as a s h irt in an inconspicuous fashion. None had any finish on the neck or arm slits. b. They were a lik e in th e use o f color; brown and white double cloth with rose or yellow extra weft patterning in wool. o. All were found in the same burial cache. d. Each had a matching loincloth and turban or sash. 0. They were closely related to the average dimensions of 44 cm. in length, 85 cm. in width and 115 cm. in width through the sleeves. f. A separately woven band of yellow alpaca fringe was sewed to the lower edge of each s h ir t. Only s h irt TM 91.732 had no fringe.

2. The shirts differed only in the choice of motif and in the all-over patterning arrangement.

B. Four white cotton sleeved s h ir ts of plain weave or p lain weave in combination with gauze weave formed an aggregate. These shirts, TM 1961.11.47 through SI 133360, are listed in Table 10. Four other such shirts were known from literary sources.

1. They conformed in the following respects:

a. The weaving quality for each shirt was exceptionally fine. b. The major portion of each shirt was plain weave. A shift from plain to gauze weave was used to o u tlin e or create a border along the lower and sleeve edges of each shirt. 0. In each case fringe was used along the lower and sleeve edges. d. Each shirt was simply seamed in an inconspicuous manner and no finish was used along tho neck slits. e. The shirts were closely related to the average dimen sions of 40 cm. in length, 88 cm. in width and 120 cm. in width through the sleeves.

2 . The following variations were noted;

a. On shirt SI 133360 the gauze weave was used to outline a border of open work tecnique. b. Shirt TM 1961,11.47 was constructed exclusively of plain weave. 259 c. The gauze border on shirt TM 1968.1,11 was embroidered with white yarn.

C. Three sleeved shirts of a skipped warp and weft technique formed an aggregate. These shirts, BM 61.209 through SI 1333050, are listed in Table 10. One other shirt of similar technique was known from a literary source.

1. They conformed in the following respects:

a. Tho open work tex tu re of each s h irt was sim ilar and unique among woven s h irts . b. An all-over patterning as well as a border arrangement was used on each s h ir t. 0. Fringe was used along the lower and sleeve edges of each s h ir t. d. All were closely related to the average dimensions of 43 ora. in length, 93 am, in width and 144 om. in width through the sleeves.

2. The following variations were noted:

a. There were two distinct methods for creating the open work texture. b. Most shirts were additionally ornamented. Such ornaments as embroidery, painting, appliqued borders and multi layered fringe were variously used. 0, The garment construction of shirt BM 61.209 and MAI 23.847 was complex. The s h irts were constructed of from nine to twelve separately woven webs. Not a l l webs were of the open work texture. Some webs of open work also included areas of gauze weave. d. The orientation of the patterning on shirt BM 61.209 was ouch that the motifs on one side of the garment as well as those on the appliqued border were upside down (Plate XXI). e. A fold designed to reduce the width of one of the webs of fa b ric in s h irt SI 1333850 was arranged before the side seams were joined and the sleeves added. f . The open work s h irt illu s tra te d by Means conformed in fab ric and decorative effects but was a much longer shirt.

Not all of the cotton double cloth garments observed fitted so neatly into an aggregate as the five shirts described above. Three sleeveless shirts and one garment tentatively identified as a poncho, were of the same fabric structure but so diverse in garment construc tion that no conforming characteristics could be identified. One 260 othfjr fjloetvod shirt of smullor proportions und combining wobs of

(loublo cloth with wobn oi’ pluln wouvo In Itn construction was ob- sorvocl. None of those doubla cloth garmonts was known to have match ing costume items. However, matching costume items have been found for sleeved shirts of other fabric constructions.

Sleeveless shirts of the same fabric construction Identified with the other two sleeved shirt aggregates wore observed. A sleeve less shirt of white cotton, having gauze borders at the shoulder and lower edge, and of a size and shape similar to that of the sleeved shirts of the same fabric was observed. The open work shirts also had a sleeveless counterpart of comparable size and shape. A shirt of sim ilar open work construction, illu s tra te d by Means, was in dicative of the fact that not all open work shirts were apparently so consistent in size and shape as this sample might indicate.

The nineteen feather ponchos listed in Table 11 formed an ag gregate.

1. They conformed in the following respects;

a. The ground cloth for each garment was of cotton plain weave. b. Most ponchos were of single web construction. c. The feathers were knotted into a cord and the cord was in turn sewed to the ground cloth. d. Feathers covered the entire surface of the ground except for a narrow area over the shoulders. e. Two sizes were apparent. The largest garments were of a long rectangular shape of knee length. The miniature garments were almost square in shape with none larger than 37 cm. square. f. None of the larger garments was sewed along the sides. g. The pattern arrangement on the front and reverse sides of the garments often differed (Plate XXV). 261

2 , îlie following vwrlwklono wnre notofl;

a. The neck slit on some garments was woven on others it was cut. b. The ground cloth for some of the ponchos was folded or out to the appropriate size. c. Some few large ponchos were constructed of two webs of ground cloth. d. The cords attached to the sides of six large ponchos were apparently designed as a means of securing the garment to the body. e. Small breast feathers were used exclusively on ponchos TM 91.276, TM 91.431, TM 91.395, and AMIH 41.0.7307. On the other garments small feathers were frequently used to create a pattern and large feathers were used to fill areas of plain color. f. Several patterning arrangements were predominant; broad transverse bands of color, those which borrowed arrange ments from Inca tapostry shirts and those which made use of motifs seen on coastal woven shirts. g. The use of rectangles, discs or tassels of metal appeared on some miniature feathered garments (Plate XXVI). The only other use of such ornament was observed on a small yoke-like garment of tapestry.

The feather ponchos, so impressive in their rich colors and soft

lustrous texture, were apparently designed for ceremonial occasions.

The garments were simply pulled on over the head, hung loosely from

the shoulders and covered the individual generally reaching to the kneed or below. Apparently it was important that the poncho at times stay in place when worn. The cords along the sides of some of the garments provided a means for securing the garment to the body. A worn area at the waist level of poncho TM 91.432 was suggestive of the fact that some ponchos may have been worn with a belt.

The feathered garments were undoubtedly highly prized and were at times simulated in other textile media. The idea of the feather ornament as a motif was reproduced in tapestry weave and in painted cloth. Where these simulations occurred, the finished garments were 262

of comparable size and shape to the ponchos, but were sewed along

the sides as shirts. Poncho type garments which wore lined and padded occurred so

infrequently among the garments examined that the six garments ex hibiting these features were identified as an aggregate. These gar ments are listed in Table 12.

1. The conformed in the following respects:

a. The lining was consistently of undyed cotton plain weave of a loose construction. b. The lining always consisted of two webs through the body regardless of the number of webs used fo r the outer garment. Separate webs of lining were used in each sleeve. c. The lin in g was seamed separately as a s h irt and hung inside of the outer s h ir t. The two garments wore a t tached at the neck, along the arm slits or sleeves and along the lower edge. d. The padding was always of unspun cotton.

2. The following variations were noted:

a. Not all lined shirts were padded. One miniature shirt, TM 1961.30.127, with tufts of padding was not lined. b. The outer layer of the shirts varied in size, shape and fabric construction. c. Some shirts may have been specifically designed as lined and padded s h irts . d. Lining and padding occurred in some conventional shirts, both sleeveless and with sleeves. e. Some remodeled garments were lined.

The lining and padding may have served to provide warmth or added comfort to garments used us bedding. The only clues to the function of lined and padded garments were found in the reports of the chron iclers who described Inca armour as jackets or tunics stuffed with cotton.

Moot Peruvian poncho-type garments were designed with seams, neck and arm apertures oriented to the vortical direction of the 263 finished germent. Garments in which these same aspects of construc

tion were oriented on a horizontal plane have been found. The six

such garments examined were identified as an aggregate. These gar

ments are listed in Table 13. Beyond the emphasis on horizontal orientation the garments had

few features in common. They did, however, exhibit a number of

features seldom found among garments of vertical orientation. The

unusually small arm apertures scarcely seemed fu n ctio n al. Some had

pleats arranged at each side of the neck slit thus producing fullness

on one side of the garment only. Some were apparently structured of

available fabric without regard for the symmetrical arrangement of

the pattern of the fabric. Some wore purposely remodeled from sleeve

less shirts of the more conventional vertical orientation. Some were

crudely, and apparently hurridly, adapted from partial garments by

cutting a horizontal neck slit along the existing shoulder fold. One

such garment, MI 15.7377, was' also lined. Garments of horizontal

orientation were known in broad and long rectangular shapes and in all sizes from miniature to those of unusually large dimensions. Both sleeved and sleeveless garments were examined. A number of studies concerned with similar garments of hori zontal orientation were reported with various suggestions as to their function. The "Perdon" shirt described by Gayton and the "la

Capilla" shirt described by Stumer and Gayton were considered as forms of daily wear in vogue w ithin a sp e c ific region of Peru. Emery and

King considered the garments of horizontal orientation specially de signed for mummy bundle use. They observed that the horizontal neck slit functioned more eeoily than those of vertical orientation in

relation to the flat false heads attached to the bundles. They also

noted that the small arm slits, hardly functional for dally use,

were appropriate in size for the false or stick arms used with the

mummy bundles. Certain features of garment construction found among Late Per

iod garments should be noted. The use of a fold to adjust the size

and shape of a web of fabric occurred among simple plain weave gar

ments, elaborate open work garments, and on the ground cloth of the

feather ponchos. Cords apparently used to lace tho neck slit, like

those noted on some single web shirts of the early Nazca period, were found on small and unusually larg e garments. A means fo r re

inforcing the neck and arm s l i t s was observed on a number of plain weave s h ir ts . Mcst frequently the reinforcem ent was simply several rows of running stitch arranged across the end of the apertures, at other times, it was in the form of a decorative rectangle.

Inca Style

Included among the thirty garments considered to be of Inca style wore a series of tapestry shirts remarkably consistent in all aspects of garment construction; two small yoke-like garments, also of tapestry; a series of garments of interlocking technique, one of which was identified as a poncho; and several warp striped shirts.

The tapestry shirts were most clearly identified with the highland characteristics as known through the findings of Bandolier and the illustrations of Guaman Foma. The others, while showing strong Inca 265

Lnriunri'-jo, purti«ul.urly In tho oh(ji(3o and nrriuucnmant of puttorn, vurlounly Incorporutocl oome fo/jturofi wuf;goi;tlvo of ooaatul or

colonial styles. Seventeen tapestry shirts considered to be of Inca style formed an aggregate. These shirts are listed in Table 14.

1. They conformed in the following respects:

a. All were sleeveless shirts constructed of a single web of tap estry weave. b. The tapestry web in each case was of the short broad rectangular construction in which the long alpaca weft yarns constituted the length of the garment. c. The garments were of a long rectangular shape and closely related to the average dimensions of 88 cm. in length and 76 cm. in width. d. The side seams were Joined with a closely worked fig u re eight embroidery stitch which formed a decorative ridge along each seam. e. The arm slits were finished with embroidery in colors to match the side seams and the neck s l i t in a color to match the ground cloth of the shirt. f. Iconography was limited to highly geometric motifs in strong color and value contrasts.

2. The following variations were noted: a. Several patterning arrangements, as illustrated in Fig. 21, were repeated. b. A decorative finish along the lower edge of some shirts followed a standard format. The edge was encased in a decorative blanket stitch matching the colors used along the side seams. Occasionally several rows of double running stitch in a zig zag pattern were located just above tho edge finish.

The remaining garments, considered to be of Inca style on the basis of their strict reliance on geometric patterns, represented such diversity in size, shape, fabric, garment construction and the use of ornament that no aggregates were identified. The two collar-like items, TM 1967.7.1 and TM 1966.7.118, appeared to imitate the stepped edge yoke area commonly noted on tapestry shirts of highland style. 266

The cheractoriatlcs of fabric and pattern noted on these items, how ever, were suggestive of coastal traditions. Several sleeveless shirts of interlocking technique, AMNH 41«1.4048, 1967.74-.2 and

1967 . 74. 1 , were closely related to the Inca tapestry shirts in motif and pattern arrangement but differed from them in size, shape and garment construction and use of ornament. The shirts were of broad rectangular shape, generally larger than their tapestry counter parts, constructed of two webs of fabric, and ornamented with fringe.

The extra warp patterned shirts, TM I 965 .40.42 through TM 1966.7.218 listed in Table 15, were closely associated with the pre-Spanish highland style garments described by Ubbelohde-Doering. While the motifs were highly geometric and repetitive, the style of the shirts was in no way rela te d to th a t of the tap estry s h irts . CHAPTER VII

SUMMARY, OBSERVATIONS AND IMPLICATIONS

Summary

This study was concerned with the nature and extent of varia tions as they occurred in the poncho-type garment throughout the prehistory of Peru, The study was designed to give emphasis to the nature of the finished textile product as contrasted with the num erous studies which have focused on the technical aspects of Peruvian textile production. The poncho-type garment was selected because of its wide and continuous use in the Central Andes and because the neck opening designed into the garment was an inherent characteristic which specifically identified it as an item of wearing apparel apart from the whole range of flat rectangular textile specimens.

The poncho-style garment was identified by its flat rectangular or square shape produced either as a single loom structure or several loom structures sewed together to create a fabric of the desired size,

A neck opening designed in the center of the piece made it possible to pull the fabric over the head of the wearer and thus use it as a garment. Poncho-type garments were of two basic forms: those which remained as a flat untallored item and thoso which were folded and sewed at the sides to create a shirt-like structure. Several varia tions of each form were observed. Among the flat garments variations

267 268

were related to the size of the product and the shape of the outer

edges. The largest flat garments of regular loom shape, which gen

erally covered a major portion of the body of the wearer, were con

sidered to be the true poncho. A smaller variation of the same gar ment which seldom extended beyond the chest level when worn was considered as a shoulder poncho. A similarly small flat garment with stopped outer edges related to the yoke area of some Inca shirts was considered as a collar or yoke. Among the garments of shirt-like structure, variations were related to the presence or absence of sleeves rather than to size. The sleeveless poncho-shirts were con stru cted lik e the tru e poncho but folded and sewed a t the sides a l lowing an opening through which the arms were extended on each side near the shoulder fold. The addition of a separately woven web of fa b ric seamed as a tube and sewed to each arm s l i t of a sleeveless garment resulted in a sleeved shirt. Some few sleeved shirts in which the sleeve extensions were woven in one with the body of the s h ir t were examined.

Cultural preferences for certain textile techniques, motifs and colors have been well established as a result of numerous technical studies. Since the weaver was also the designer of the textile end product, i t was assumed th a t the same c u ltu ra l influences which in spired her to prefer certain textile techniques, color combinations and motifs also inspired her to prefer a finished product different in appearance from that of her predecessors. It was assumed that temporal and cu ltu ra l differences among poncho-type garments would be related to the type of garments in use, their size and shape. 269

their construction, the arrangement of woven pattern and the choice

and placement of ornament. These characteristics became the basis

on which specimens in this study were examined. The fact that so few of the specimens examined were of knowi. provenience presented a re a l lim ita tio n fo r the study. However, in

tact garments of significant numbers with known provenience are

widely scattered throughout the world. On the other hand museums

in the United States are a rich resource of significant numbers of

intact garments collected during the late nineteenth and early

twentieth centuries when some of the finest Peruvian artifacts were

being uncovered.

Two hundred and eighty poncho-type garments were examined. All

items were intact garments or intact to the extent that the nature of

the total garment could be assumed from the partial garment. Data

were gathered from the specimens in the following museums: in Wash

ington, D.C., The T ex tile Miseum, Dumbarton Oaks and The Smithsonian

In s titu tio n ; in New York City, The American Miseum of N atural H istory,

The Brooklyn liiseum. The Museum of Prim itive Art, and The Maseum of

the American Indian. The data were gathered within the period from April through June of 1968.

The data were presented in a general chronology based on the relatedness of each item to textile teciuiiques, designs, and color combinations established us preferred within certain regions and periods or, when possible, on relatedness to garments of known pro venience. Early, Middle and Late Periods were the chronological divisions employed. The Early Period was defined to include the 270

coastal societies of Mochica, Paracas, and Nazca, The Middle Period

was defined to include the period of Tiahuanaco-Wari influence. The

Late Period was defined to include the co astal so c ie tie s of Ohiim,

Ghancay and Ica-Ghincha as well as the Inca Empire. As the result of this examination certain characteristics of the

finished product beyond textile structure, color and motif did seem

to differentiate poncho-style garments of the Early Period from those

of the Middle Period and in turn from those of the Late Period. With

in temporal divisions certain groups of basically conforming poncho-

types varying only in minor details were identified as aggregates.

These reoccurring sets of garment characteristics seemed to indicate

that certain cultural conventions apparently prevailed to guide the

production of the finished textile product. Some of the aggregates

held significance in relation to regional variations. Other aggre

gates undoubtedly held significance in relation to social or indi

vidual differences within a culture. These latter relationships were

almost impossible to define on the basis of the data available. The fo rty -n in e Early Period poncho-typo garments examined were all associated with a South Coast origin. The following garment characteristics were observed: (l) The types of garments known in cluded the sleeveless shirt, the shoulder poncho and the poncho. Of these, the shoulder poncho was a type of garment unique to the

Early Period. No sleeved shirts were examined or known from literary sources. (2) Garments of broad and long rectangular shapes were known with those of the former shape most common. (3) The cultural preference for plain weave fabrics embellished with embroidery was 2 7 1

conf.innorl. Garmonta of suoh fab ric construction followed a standard

ized format In the arrangement of embroidery and the use of trim.

At times such garments were produced in matching sets which included

a shoulder poncho and mantle or a sleeveless shirt, skirt and mantle.

(A) Embroidered detail was most frequently arranged in border areas

surrounding the neck slit and the peripheral edges. (5) Regardless

of fabric construction, long fringe was abundantly used along the arm

slits and lower edge. The fringe was created either as an embroidery

technique or woven as tab fringe. (6) The occasional use of sep

arately woven narrow bands attached at the arm slits as epaulets was apparently exclusive to the Early Period. (?) Cross-knit loop

ing was a favored edge finish.

The following Early Period aggregates were identified: (l) the

Paracas style shirts of plain weave embellished with L-shaped em broidered borders and abundantly trimmed with fringe, (2) the shoulder ponchos also of plain weave and embellished with embroidery fringe,

(3) the single element shirts of long rectangular shape ornamented with tufted fringe, (4) the ponchos of unusual length and intricate fabric construction, and (5) the w aist length s h irts of Nazca s ty le of plain wpave and embellished with embroidered borders and frin g e.

Forty-eight Middle Period garments were discussed in two cate gories, those representative of Tlahuanaco highland style and those of coastal style. Thirty-four of these garments were associated with highland style. All were sleeveless tapestry shirts so standardized in production that they were easily identified as an aggregate. These s h irts shared a number of featu res with a sim ilarly standardized group 272

of tap estry s h irts of the Inca Empire and thus w ill be compared and

contrasted at the end of this summary. The remaining fourteen gar

ments were considered to be of coastal style. Definition of the characteristics of garments associated with the

Middle Period coastal style was difficult because of the limited num bers of specimens available in this study and also because so few re ports of textiles with specific Middle Period provenience are known.

Nevertheless, the following features were noted: (l) The types of garments examined included sleeveless shirts, a sleeved shirt and several ponchos. (2) A wider range of textile techniques was noted among the garments than was observed among garments of the Early

Period. (3) The garments were generally of a broad rectangular shape with considerable variation in size. (4.) The garments were generally constructed of two or more webs of fab ric with seams joined in an in conspicuous manner. (5) Fringe was the most common form of trim. It was generally much shorter than that of the preceding period and used chiefly along the lower edge of the garment. Rich of the fringe was the result of variously treating the last few centimeters of unwoven warp. Occasionally a separately woven band of fringe was sewed to the shirt. (6) Motifs wore most commonly arranged in an all-over pat terning rather than in the strict border arrangements of the preceding period. The only aggregate identified among the Middle Period coastal garments was a series of alpaca shirts constructed of multiple webs of an intricate scaffolding procedure and tie-dyed. A garment of sim ilar type was illustrated on an effigy vessel recorded by Kubler and 273 associated with a Wari influence. The intricate decorative textile

technique may have had significance within a limited region.

The 183 poncho-type garments of the Late Period were discussed

in two categ o ries, those rep resen tativ e of the coastal kingdoms of

Chimu, Ghancay and Ica-Chincha and those representative of the high

land Inca style. The 153 garments associated with the coastal style were considered to be primarily of central and southern origin.

Thirty garments were associated with the highland style.

The following characteristics seemed to predominate among the garments of Late Period coastal style; (l) The types of garments examined included sleeveless shirts, sleeved shirts and ponchos.

Ninety-six of the garments were sleeveless shirts. More sleeved shirts were encountered than for any previous period, (2) Garments of broad rectangular and long rectangular shapes were known with those of the former shape predominant. Among the sleeveless shirts were those of waist, hip and knee lengths, (3) The sleeved shirts were most consistent in size and broad rectangular shape. Matching costume items which variously included a loincloth, , sash or turban and mantle were known for some of the sleeved shirts. No matching garments were found for any of the sleeveless shirts. (4) For most garments the body area was constructed of one or two webs of fabric.

Garments in which the body area was made up of three or more webs were noted although they represented only one percent of the sanple.

The seams of the garments were joined in an inconspicuous manner.

(5) The garments were generally less ornamented than those of the earlier periods. The most commonly seen trim was a band of separately 274 wovon J'rinf'ti, frequently in yellow, nowocl to the lowor edge of the garment. (C) Textile techn.1quon of a wide variety were in use, how

ever, the leaa elaborate weaves wore predominant. (?) Two forms of

pattern arrangements predominated, an all-over arrangement of small m otifs in horizontal or diagonal rows and a standardized border fo r mat arranged along thb lower edge of the garment. (8) Varieties of

garments were apparently designed for specific functions, padded and lined shirts, shirts constructed with horizontal orientation, and feather ponchos.

The following Late Period coastal style aggregates were iden tified; (l) the cotton shirts with wool extra weft patterned bor d ers, {?.) the cotton tapestry shirts of standardized size, shape, color and pattern arrangement, (3) the cotton and alpaca tapestry shirts of identical motif and pattern arrangement, (4) the identical shirts in which plain weave, interlocking and tapestry techniques were combined, (5) the short, broad shirts in which interlocking and scaf folding techniques were combined, (6) the double cloth sleeved shirts with matching costume items, (?) the white cotton sleeved shirts in which plain and gauze weaves were combined, (8) the garments of open work technique, (9) the feather ponchos, (lO) the padded and lined shirts, and (ll) the shirts of horizontal orientation.

More than half of the Inca style garments examined were of the sleeveless tapestry type described by Cobo, illustrated by Guaman

Foma and found by Bandolier on the island in Lake Titicaca. The re maining garments, while they wero considered to be of strong Incaic influence, were less certainly considered to be of highland origin. 275

Most were probably of a period close to the conquest with some ex

hibiting the waning qualities of coastal style while others tended

to incorporate some of the colonial influence.

The Inca tapestry shirts had a number of features in common with

a similar standardized group of tapestry shirts considered to be of highland Tiahuanaco style. The characteristics which were consistently

observed in shirts of both series were considered to be indicative of

highland style. These same features were distinctive from those ob

served among related garments considered to be of coastal origin,

(1) There was an apparent preference for intricate tapestry weave.

The orientation of the warp in the width direction of the shirt was

in contrast to that generally seen in coastal garments of the same

or any other fabric structure. The use of slit tapestry, commonly

used along the coast, was seldom seen in highland tapestry weave.

(2) The finished structure of the garments was generally that of a

sleeveless shirt, either square or of long rectangular shape. They

were consistently knee length or longer. (3) The absence of fringe

trim was noted. The major ornamentation consisted of embroidered

seams of a d istin c tiv e ridged and co lo rfu l character. Neck and arm

slits wore frequently finished with embroidery, either overcast or with a blanket stitch. (4-) There was a repetitive use of a limited

iconography. A few well defined pattern arrangements were repeated.

There were, of course, certain features which distinguished shirts of Tiahuanaco stylo from those of Inca style. Most obvious was the difference in iconography. The relia n ce on pattern s adapted from the Tiahuanaco Sun Gate by the earlier culture was replaced by 276 a strict dependence on the exclusive use of highly geometric motifs.

The earlier convention for distorted and compressed designs gave way to clear cut distinct shapes. The importance of arranging the pat tern on the shirt in vertical bands gave way to emphasis on checker board pattern arrangements and the use of yoke areas. Although the shirts were each described as tunic in length, they differed in size and shape. The Tiahuanaco shirts, constructed of two webs, were ap proximately square while the Inca shirts of a single web were longer than they were wide. The colorful embroidery seams used on shirts of each culture were similar, however, there was a greater use of embroidered edge finish on the Inca shirts particularly along the lower edge of the shirt.

Observations The poncho-style garments in use throughout the prehistory of

Peru wero b asic ally a weaver's product ; designed on th e loom and un altered by tailoring features. Although stylistic changes occurred over time making it possible to distinguish poncho-type garments of earlier periods from those of later periods, there were certain principles which seemed to remain as the basic guides for the pro duction of the finished product.

The weaver, although influenced by cultural factors to prefer certain techniques of weaving, colors, motifs, and arrangements was guided by certain standards in the production of fabric to be used in poncho-type garments. The total appearance of the finished product was obviously well in mind before the weaving was started. 277

Patterns were generally arranged syminetrloally within the confines

of the fabric selvage. The directional arrangement of the pattern

was planned so^that the appearance of the garment on the front and

reverse sides would be the same. When more than one web of fabric

was used throughout the body of the garment, they were woven to match

in size, shape and color with the pattern so designed that it con

tinued without interruption across seam lines. When smaller webs

of fabric were necessary to the structure of sleeves or borders,

they were designed in matching patterns scaled to the appropriate

size .

Poncho-type garments were structured with an emphasis on the

vertical orientation of seams, arm and neck apertures. In most

oases, with the exception of the highland tapestry shirts, the com

plete length of the garment was established by the warp length. The

length of the fabric was then folded to create the finished garment.

Generally the length was unaltered except with the addition of a narrow decorative border or fringe. Frequently several webs, us ually in even numbers and of comparable width, were joined to ex tend the width of the body of the garment. Thus, the major seams

of the garment were in the vertical direction of the finished product.

The neck and arm slits, whether allowed as openings in the center or side seams or produced in the weaving process, were vertically oriented.

Where exceptions to the basic principles occurred, the effort was apparently directed toward a specific end. That is, garments in which the seams, arm and neck slits were designed with a horizontal 278

orientation were undoubtedly created to serve a function different

from thooft of the more common orientation. Those garments in which the pattern arrangement varied from the basic standard of symmetry, as in the case of the feather ponchos whore different motifs were used on front and reverse sides or on those few decorative shirts where some motifs were upside down, ultimately had a plan of their own which possibly embodied some symbolic sig n ifican ce.

To augment the s k ill of the weaver, the Peruvians were fam iliar with such techniques as altering, remodeling and mending. When on occasion the fabric structure was not of the appropriate size or shape, it was adjusted with a simple fold or tuck. Some garments were later remodeled, thus adapting them to a new or different end use. Structural areas of the garment which were subject to the g re a te st stra in were reinforced and a t times mended.

Despite the basic consistencies in the construction of poncho- style garments throughout Peruvian prehistory, a wide range of ob vious and subtle variations occurred among garments of basically the same regional and temporal periods. The abundant quantity and often elaborate quality of the garments which remain from each period are indicative of the fact that clothing served beyond a strict u tili tarian function. The Poruvians knew and applied certain concepts to garment production which allowed some items to serve in specific and special functions.

Matched sets of garments wore designed to produce a variety of effects. The matched items of clothing which remain from several coastal societies were obviously created to produce an impressive 279

ensemble appearance. For some garments of functional size there were

identical garments in miniature form. The miniature item may have

served as a symbolic substitute for the full scale garment or as a

pattern from which the larger garment was copied. In his drawings

illustrating various facets of life in the Inca societies, Guaman

Poma showed an adult and child in matching shirts. Other sets of

garments included those coordinated in design and color and of match

ing size, shape, fabric, and garment construction found within the

same burial cache. Finally, the uniform-like quality of the series

of highland tapestry shirts were undoubtedly matched for their sig

nificance in identifying specific groups of individuals.

The concept of size and fit, as commonly understood today, was

apparently unknown in ancient Peruvian times since garments were

stru ctu red of su ffic ie n t width and length to accommodate individuals

of many sizes and shapes. Some of the differences in size and shape

were probably the result of regional and temporal preferences. Many

variations in size, particularly in length, occurred among garments

of basically the same provenience. These differences may have been

simply a matter of fashion, or may have had a greater significance

associated with individual or social position. No basis has yet been established for identifying certain small garments as children's wear.

The uncertainties about the age at which children were clothed, the fact that in some regions adult garments of small size were in fash ion, and the known occurrence of miniature garments made the final determination of small garments as childrens' wear difficult. Min iature garments of virtually all types and qualities have been 280

foiirid with thfj (jxfu.'f)l,lnn d T »hort brood ;jhirl.;! with (loporoboly wovon

aloovea. Tho i'unoblon of thono tiny /jormoritB hufi boon oarioclobod

prlnwrily with tho symbolic. Some wore undoubtedly created as a

substitute for the full scale garment to be presented as a sacrifice

or grave offering and others were possibly designed to cloth the fig

urines also associated with the grave. S till others have been de

scribed as a weaver’s sample or pattern. At the opposite extreme

in scale, some garments were of such exaggerated size that they seem

to have been too cumbersome to have functioned fo r d aily wear. They

wore possibly associated with ceremonial functions or designed to

cloth the bulky mummy bundle. Garments fo r the most p a rt wore fre e fa llin g , however, on oc

casion the Peruvians devised means for securing the garment to the

body. Some shirts were designed to be lacod at the neck slit, some

of the small shoulder ponchos were secured with ties which fastened

under tho arms, and some of the long feather ponchos were designed

so that they could be laced along tho sides. Some garments may have

boon confined with a b e lt.

The concepts of lining, pudding, shaping and tailoring were all known, particularly during the La be I’oriod. The use of such features was not widespread. Thoy wore apparently restricted to garments of specific function. As a result of the chroniclers' reports, tho padded and lined garments have boon associated with the armour in use by Inca warriors. The attempts at shaping and tailoring the poncho-style garments wore simple. Some few garments in which the sleeve was a part of the body of the garment were observed. It 281

was assumed that the sleeve was formed during the weaving process,

however, it is possible that the fabric was cut to shape. The only

tailoring features observed were limited to tucks and pleats ar

ranged at either side of the neck slit. Such features were observed

only in association with garments of horizontal orientation.

Implications for Purthor Study

Future studios of prehistoric Peruvian textile artifacts should

bo directed toward developing an understanding of tho essence of Indian costume and the role of clothing within these early societies.

Inferences about clothing behavior from non-literate societies depend

entirely on the empirical study of the material remains. According to

Taylor^ three sets of empirical attributes are the essential basis for studies of non-literate societies; (l) spacial relationships,

(2) quantity, (3) chemico-physioal specifications. Spacial relation ships are important to restructuring tho historical sequence. Con cepts of cultural values are inferred generally from relative quan tity or the absence of certain artifacts. Chemico-physioal attributes lead to judgments of quality. Inferences as to the use and function of items are taken from spacial associations or from physical proper ties such as shape and material structure of the item. Understanding is thus based on a pyramiding of inferences basod on these foundations.

This study, designed as an empirical analysis of one type of costume item, the poncho-style garments, must be expanded. The

Walter Taylor. "A Study of Archaeology," American Anthropol ogist. L, No. 3, Part 2 (July, 194^), No. 69 in the Memoir Series of the American Anthropological Association, p. 145. 282

aggregates identified were those related to the 280 specimens ex

amined in association with available reports on related garments.

Further observations would undoubtedly result in additional aggre

gates and possibly the redefinition or summary of existing groups.

Empirical studies oriented toward other costume items such as the

mantle, shawl, breechcloth, skirt, bag, headdress and other accessory

items must be undertaken before interpretive studies concerned with

the role of clothing in prehistoric Peruvian societies have any sig nificance. The numerous extant textile products included in the pub lic museums and private collections in the United States serve as a vast resource for such empirical studies.

This study of Peruvian poncho-style garments may be utilized as a basis for a comparative look at a similarly structured garment found in early Middle America. Comparative archaeological data are not av ailab le from Middle American s ite s . However, the lin g u is tic tr a ditions of this region may make it possible to study existing items tracing the historical development in a reverse evolutionary process.

The fact that garments of similar nature occurred in these widely separated geographic areas gives some credence to the often suggested but uncertain c u ltu ra l re la tio n sh ip between Middle and South American cu ltu res. Finally, this study may have relevance for an examination of contemporary poncho-type garments s till worn in some regions of Peru in order to determine the nature of historic influence on the present. APPENDIX A

Müp und Chronology Chart MAJOR CENTF,RS IN /iNCIENT PFiRU

CtlIOM BIA

FCUADOR

NwKi

Pluro Volley MoroHon River

lom b ay eq u e Volley BRAZIL ^Cu^lquaN p*w

Chlcomo Volley Moche Volley

_ e Chevim Huormoy Volloy Central Chancay Am*en\e Lima Rimoc Volley P Pocnacamw BOLIVIA Omoj Volley • War! Pisco Volley ■ Cuzco Poroeq# O Ofucaif^e N ozco Ico Volley • Cahuoehl LokeTilicoco Rio G ronde Volley

• TIahauanaee Onofia Volley

CHLE

f-tiry F'iLiü'ibfith Kirif^. /mrilont I'oruvi'sn Textilo» from Jthe Collec tion of Jho Textile Muünmn. WunhiriKtori. dTÔT New York; The Muaetim of Prim itive A rt, 1965. 285 CHRONOLOGY CHART

North Control South

s *W-C4@Mlc Chimu Cfiancav iea-Chlncho

OCMtO

- % 9 Nazeo-Wori "Y" Ckmlc Late Nazca "B" Mochica Morongo (Early Lima) Early Nazca "A" AO BC“ Necropolis Late

~~Formal ve Earlycoriy Ancdn-SupeMcgn-aupmi / ' f / y -~~

~~Early Ceramic~~

~~Archaic PiBceramic cultures~~

~~u _~~

~~Mary Elizabeth King. Ancient Peruvian Textiles from the Colleo- tio n of The T extile Maseum. WashJ-neton. D.d. New Ÿorkï (The Miseura of P rim itive Art, 1965. APPENDIX B~~

~~Data Sheet~~

~~286 DATA SHEET~~

~~Access. No. Cat. No. Object Ground Cloth Fabrication Mis. or Ref. Location~~

~~Provenience~~

~~W Fringe-type a r P lo c. Weft--dlm. Sleeve size d isc . dim. Borders—tech.~~

~~Yarns; Fiber Makeuo Diam. Count Color warp lo c. weft width Comments~~

~~Ground Decoration~~

~~lo c.~~

~~tech. APPENDIX C~~

~~Platos 289 PLATE I~~

~~Courtesy of The Brooklyn Museum BM 34.1581 y~~

~~M m H~~

~~( N) \0 Courtesy of The Brooklyn Hiseum BM 34-1583 O 291 PLATE ITT~~

~~Courtesy of The Brooklyn Î4iseum BM 34,. 1560 292 PLA'ffi IV~~

~~Courtesy of The Brooklyn Museum BM 3A.1579 293~~

~~PLATE V~~

~~Courtesy of The Textile Museum TM 1959.15.1 Courtesy of The Itiseum of Primitive Art MPA. 58.204- vDN) ‘xt~~

~~M u s é u m rv Courtesy of The Textile TM I964 ..39.1 VÛ T) g S il~~

~~ro Courtesy of The Brooklyn Miseum BM LA8.13 TV vO<2 Courtesy of The Brooklyn 2-îuseum BM L4-9.9-20 2 9 8~~

~~PLATE X~~

~~m O MT~~

~~::?■ ■ l~~

~~1 !~~

~~■::‘'1 S iiÜLix' b 'ï~~

~~i 0 I~~

~~Courtesy of The Brooklyn liiseum BM 53.147 T! t-'~~

~~w sO\0 Courtesy Dumbarton Oaks, Washington (Robert Woods Bliss Collection) Bliss 348 300~~

~~PLATE XII~~

~~A X,/'~~

■ '* » * < ? »°«* ' ° c*

~~. <> t L O~~

~~Courtesy of The Textile I^seum TM 91.A&9 301 PLATE XIII~~

~~Courtesy Museum of the American Indian, Heye Foundation MAI 17.8958 302 PLATE XIV~~

Courtesy of The Textile Museum TM 1961.11,5 Courtesy of The I4iseum of Prm itive Art Î-ÎP^-- 57.214 Courtesy of The Textile I^seum TM I96 I.3.IA Courtesy of The Museum of Primitive Art MPA 61.74 t"'T)

~~VjO o Courtesy of The Textile îiiseum TM 91.453 O' Courtesy Museum o f the American Indian, Heye Foundation m i 11,24.64. Vo o c 308~~

~~PLATE XX~~

~~Courtesy of The Miseum of Primitive Art MPA 57.21$ t a 1 f $ $ ; ♦ • • 4 't % # # # # \ $i~~

~~Courtesy of The Brooklyn îtiseum BM 61.209~~

~~VO vDo Courtesy Dumbarton Oaks, Washington (Robert Woods Bliss Collection} Bliss 503~~

~~VjJ o 311~~

~~PLATE XXIII~~

~~r—j~~

~~•S •P~~

~~04 (H o~~

~~Q) m~~

~~&0 •P O o * A~~

~~•t)~~

~~£ J i j‘ iL£ i-~~

~~Vi) M Courtesy of The îteeum of Primitive Art MPA 567^2 r\j 313~~

~~PLATE XXV~~

~~Courtesy of The Museum of Primitive Art MPA $6.412 314 PIATE XXVI~~

~~Courtesy of The %seum of Primitive Art MPA 57.293V . %~~

~~“-d~~

~~C ourtesy of The T extile mseuiii TM 1961.11.1 316~~

~~PLATE XXVIII~~

~~Courtesy of The Textile Museum TM 1966.7.171 317~~

~~PLATE XXIX~~

~~\o C~~

~~l O l M ù A~~

~~Felipe Gutimtin Poraa de Ayala, Nuova Coronica v Buen Gobiemo. Paris; Institut d' Ethnologie, 1936, p. 106. 318 PLATE XXX~~

~~Courtesy of Dumbarton Oaks, Washington (Robert Woods B liss Collection) Bliss 373 319 PLATE XXXI~~

~~102 !mga„üÿVHlW~~

~~il]~~

~~Foliprj Guaitiün Poma do Ayala. Nueva Coronica v Buen Gobierno. l’aris: Institut d' Ethnologie, 1936, p. 102. 3 2 0~~

~~PLATE XXXII~~

~~>;>4 LO , M t a pal a P i P K M CAILÎ-V{;Ciî6SME C~~

~~F elipe Guaraan Poma de A yala, Nuova C oronica y Buen G obierno.~~

~~Paris; In stitu t d' E thnologie, 1936, p. 194* 321 PLATE XXXIII~~

~~Courtesy of Dumbarton Oaks, Washington (Robert Woods B liss Collection) B liss 372 APPENDIX D~~

~~Catfilog APPENDIX D~~

~~Catalog of Specimens~~

~~Eaoh of the 280 items included in the study is listed in the cat~~

~~alog. The items are grouped by museum collection with those from The~~

~~American Museum of Natural History first, followed by those from The~~

~~Brooklyn Miseum, Dumbarton Oaks, The Museum of the American Indian,~~

~~The Miseum of Primitive Art, The Smithsonian Institution and The Tex~~

~~tile Museum. Within eaoh museum collection specimens are arranged in~~

~~order according to their catalog numbers. Where several systems of numbering have been employed by a museum, the shorter identifying num~~

~~bers are listed first. The initials of the museum precede the catalog~~

~~number except fo r the items in Dumbarton Oaks which are preceded by~~

~~"Bliss" to identify the specimens with the Robert Wood Bliss collection.~~

~~The information for each item gives major emphasis to the final~~

~~appearance of the garment rather than to the technical aspects of fiber~~

~~and fabric production. The dimensions recorded are those of the fin~~

~~ished garment exclusive of fringe length, added borders and sleeves.~~

These dimensions are presented separately so that the reader may bet ter understand the total make up of the garment. The motifs which are a part of the fabric construction are listed under "design"j those which are a part of the super structural elements are listed under

~~"ornamentation". The arrangement of pattern and ornament is described~~

~~323 3%~~

~~for one side of the garment. The reverse side of the garment is pat~~

~~terned In an id e n tic a l manner except where otherwise indicated.~~

~~SIEEVEIESS SHIRT AMNH (l) Ground Cloth: body- 1 rectangle} plain and gauze weaves ; undyed cotton.~~

~~Dimensions; gm. Igth. gm. wd. body 57 cm. 87 cm.~~

~~Ornamentation; none~~

Design; The gauze pattern is concentrated in a border 19 cm. in width. The border follows the periphery and ia located 8 cm. in from the edge. The border arrangement consists of a single column of large blocks in which alternate blocks contain a highly stylized human form worked in gauze tech nique. The remaining blocks are mainly p la in weave with woven teardrop si' *.

~~Construction; The single web is folded and seamed at the sides as a shirt. The vertical neck slit is a part of the fabric construction.~~

~~Provenience; Para cas- Prom the same mummy bundle as AMH (2) and (3)~~

SIEEVEIESS SHIRT m U . (2) Ground Cloth; body- 2 rectangles; plain weave; dark blue wool, borders- 6 units; appliqued to the ground cloth; plain weave with extra weft patterning or embroidery; red wool. Dimensions; gm. Igth. gm. wd. body 68 cm. 97 cm. borders (various lengths) 10 cm.

Ornamentation; embroidery- wool in red, blue and gold; worked directly on the ground clo th and confined largely to borders. The embroidery is related to the vertical appliqued borders and a lso those which surround the neck s l i t . In each web a single block of embroidery is located above the 325 lower appliqued border. The motifs, consist of anthropomorphic figures, fringe- wool yam in blue, red and gold; approximately 65 cm. in length; applied as an embroidery technique along the arm slits. Tab fringe; woven on the basic ground cloth warps; 2 cm. in width and 38 cm. in length, borders- appliqued to the ground cloth; arranged to surround the neck slit and to form L-shaped peripheral borders. Red ground with figures of the same type embroidered directly on the ground cloth.

~~Design: none Construction: The two webs are seamed a t the center and sides as a s h irt. Borders are appliquld along the neck and peripheral edges. Long frin g e Is sewed to the arm s li t s .~~

~~Provenience : Paracas. Necropolis—Same mummy bundle as AMIH (l) and (3)~~

~~Reference: Photograph in Kelemen, Medieval American Art. Plate 190 b.~~

~~SLEEVELESS SHIRT AMNH (3) Ground Cloth: body- 1 rectangle; plain weave; natu ral brown wool~~

~~Dimensions: gm. Igth. gm. wd. body 46 cm. 6 l cm.~~

Ornamentation: embroidery- wool in red, blue and gold; confined to borders and worked d ire c tly on the ground cloth. The borders which surround the neck s lit and form two L-shaped peripheral bands are approximately 8 cm.in width. The motif consists of a series of monkey figures, fringe- wool yam in blue, red and gold; applied as an em broidery technique; 27 cm. in length along the arm slits; 2 cm.in length along the side seams; 7 cm. in length along the lower edge of the shirt, edge finish- multi-colored cross-knit looping is used around the neck slit and with the fringe along all peripheral edges. Design: none

Construction: The single rectangle i s folded and seamed as a s h irt. The 326 vertical neck slit Is a part of the fabric construction. Fringe Is applied to all peripheral edges with additional long fringe added along the arm slits.

~~Provenience : Para cas. Necropolis—Found in the same mummy bundle with AMNH (l) and (2)~~

~~SIEEVEIESS SHIRT AMIH U) Ground Clothi body- 2 rectangles; plain weave; dark brown wool.~~

~~Dimensions: gm. Igth. gm. wd. body 89 cm. 89 cm.~~

Ornamentation: embroidery- multi-colored wool; worked directly on the ground cloth; arranged as a rectangle 6 by 14 om. in dimensions; placed perpendicular to the end of the neck slit. Motifs consist of three stylized human profiles in each of three narrow rows, edge finish- 1 row of cross-knit looping is used along the neck s l i t .

Construction: The two rectangles are seamed a t th e center allowing an open ing for the neck. Presently the sides are not seamed, how ever, there is evidence of regularly spaced needle holes along the sides.

~~Provenience: unknown~~

~~SLEEVEIESS SHIRT AMNH (5) Ground Cloth: body- 1 rectangle; interlocked tapestry; wool on cotton in red, w hite, gold, brown and tan .~~

Dimensions: gm. Igth. gm. wd. body 92 cm. 76 om. Ornamentation: edge finish- The neck and arm slit edges are badly deterior ated. They may have been overcast. seams- The side seams are joined with a figure eight stitch in a color to match the ground cloth.

Design: The patterning is arranged within a number of large segments. The area of the shirt is divided horizontally near the 327 centèr. The patterning in the upper area consists of a larg e, stepped edge V-shaped yoke. The neck area i s plain red. The wedge shaped areas outside of the yoke are filled with a regular repeat of lozenge shapes each enclosing a red and white stepped edge cro ss. The ground on one-half of the center is brown; that on the other half is red. The lower portion of the shirt is divided by two oblique lines to create three wedge shdped segments. The patterning is the same all-over repeat of lozenge and stepped cross motifs. The ground color in the center wedge is brown, that in the side segments is red. The stepped crosses are white, red or brown.

~~Construction: The single web is folded and seamed at the sides as a shirt. The neck slit is a part of the fabric construction.~~

~~Provenience: found on an island in Lake Titicaca~~

~~SIEEVEIESS SHIRT AMNH 4-1.1195 Ground Cloth: body- 2 rectangles; plain weave; wool in tan.~~

~~Dimensions: gm. Igth. gm. wd. body 36 om. 72 cm.~~

Ornamentation: embroidery- wool in brown, orange, gold and green. Embroidery is concentrated in vertical and horizontal borders. Along all vertical edges the embroidery is worked over four warps. The embroidery is decorative as well as functional in that it serves to join the two rectangles as a shirt. The vertical borders, about 3 om. in width, are wider in the area of the neck and arm slits. The horizontal border, approxiitvitely 4 om. in width, is lo cated above the fringe. The motif consists of highly stylized bird and animal figures, edge finish- The neck slit is finished with several rows of cross-knit looping. No finish is evident along the arm s l i t s . frin g e- unwoven warp loops; plied; approximately 11 cm. in length. braids and tassels- individually constructed braids end as yam tassels. The braids make use of the colored yams used in the embroidery. Five b raid s are sewed to the top of the horizontal border at eaoh end of the center seam. Four such braids are similarly located at the end of each side seam. Each braid i s approximately 17 om. in length. 328

~~Defllgnj none Constructionj The two rectangles are seamed a t the center and sides as a shirt, A series of braids are sewed to the horizontal bor der at the center and side seams.~~

~~Provenience I unknown~~

~~SIEEVEIESS SHIRT AMNH 41.0,119A Ground Cloth» body- 2 rectangles; plain weave; undyed cotton.~~

~~Dimensions » gm, Ig th , gm, wd, body 77 cm, 76 om.~~

Ornamentation» painting- Stylized birds arranged in horizontal rows fill the upper two-thirds of the shirt on one side of the garment. The same area on the reverse side consists of horizontal rows of stylized fish motifs. The lower two-thirds on eaoh side of the shirt is painted with rows of stylized feather motifs. The motifs are painted in brown on a n atu ral ground, edge finish- The neck slit is finished with a single row of brown cross-knit looping.

~~Design» none~~

~~Construction» The two rectangles are seamed a t the center and sides as a s h ir t.~~

~~Provenience» Nazca Valley~~

~~ONE-HALF SIEEVEIESS SHIRT AMNH 41,1,1177 Ground Cloth» body- 1 rectangle; plain weave; wool in tan .~~

~~Dimensions ; gm. Igth, gm, wd, body 31 cm, 37 cm. (Width is th a t of the one web examined and is h alf of the total shirt width) 3 2 9~~

Ornamentation: embroidery- wool in red, black, blue and yellow. Embroidery is concentrated in vertical and horizontal borders. Along all vertical edges the embroidery is worked over four warps. The embroidery is decorative as well as functional in that it also serves to join the side seam. The vertical borders, approximately 3 cm. in width, are wider in the area of the neck and arm slit. The hori zontal border, approximately 5 cm. in width, is located just above the fringe. The motif consists of a highly geometric form, fringe- unwoven warp loops; plied; approximately 13 cm. in length. braid and tassels- individually constructed braids end as yam tassels. The braids make use of the colored yams used in the embroidery. Several such braids are sewed to the top of the horizontal border at each end of the center seam. The braids are badly deterio rated and cannot be measured.

~~Design: none~~

~~Construction: The single rectangle which remains of this shirt is joined at the side allowing an opening for the arm slit. The op p o site edge is not sowed.~~

~~Provenience: Nazca Valley~~

~~ÎEATHER PONCHO AMNH 41.0.1351 Ground Cloth: body- 1 rectangle; plain weave; undyed cotton.~~

~~Dimensions: gm. Igth. gm. wd. body (folded length) 107 cm. 75 cm.~~

Ornamentation: feathers- The surface is covered with feathers except in a narrow area over the shoulders. Orange, blue, yellow, green and white feathers are arranged in horizontal bands of varying widths. Some bands are made up of tiny feathers, others are made up of larger feathers more sparsely arranged, edge finish- The edges of the cut neck slit are folded under and loosely overcast.

~~Design: none 330~~

Constructiont The single rectangle remains as a flat item. There is no evidence of any stitching or lacing along the sides. The heavy heading cord at each end of the web is tied in a large, loose knot and left to hang at each of the four comers of the rectangle.

~~Provenience» Nazca Valley~~

~~FEATHER PONCHO AMNH 41.0.7307 Ground Cloth: body- 1 rectangle; plain weave; undyed cotton.~~

~~Dimensions: gm. Igth. gm. wd. body (folded length) 109 cm. 72 cm.~~

Ornamentation: feathers- The surface is covered with feathers except for a 30 ora. area over the shoulders. A broad band of bright orange feathers is arranged through the center of the garment. The lower 17 cm. of the poncho consists of a broad band of iridescent blue and green feathers. The arrangement on fro n t and reverse sides of th is poncho is identical. Only small feathers are used, edge finish- The edges of the cut neck slit are folded under and overcast.

Design: none Construction: The single rectangle remains as a flat item. There is no evidence of sewing or lacing along the sides. The heavy heading cord at each end of the web is tied in a large, loose knot and left to hang at eaoh of the four comers of the rectangle.

~~Provenience: unknown~~

~~SIEEVEIESS SHIRT AMNH 41.1.4048 Ground Cloth: body- 2 rectangles; warp interlocking; wool in dark brown, green, red, white and gold.~~

~~Dimensions: gm. Igth. gm. wd. body 72 cm. 114 cm. 331~~

~~Urnwmentwtton: edge flnlah- The neck end wrm alit edges are overcuat with gold colored yearn.~~

Design: The multiple rows of stepped edge patterning form a large X which covers the entire front of the garment. Eaoh row with in the X makes use of a different colored warp yarn. The horizontal levels of each step are interlocked over a common weft.

~~Construction: The two rectangles are seamed at the center and sides as a s h irt.~~

~~Provenience: unknow—probably Inca Period~~

~~SIEEVEIESS SHIRT AMH 41.1.8128 Ground Cloth: body- 2 rectangles; p lain weave with warp strip e s; undyed wool in browns and tan s.~~

~~Dimensions: gm. Igth. gm. wd. body 36 cm. 96 cm.~~

~~Ornamentation: fringe- unwoven warp loops; approximately 3 cm. in length.~~

Design: Stripes in tans and browns are grouped along the vertical edges of each web. Thus, the finished shirt has three broad, vertical bands of stripes; one at each side and that in the center composed of the strip ed bands on each web.

Construction: The two rectangles are seamed a t the center and sides as a shirt. The yam used to seam the shirt is also used to create rows of stitching at the ends of the neck and arm slits. The stitching appears to reinforce the neck and arm apertures.

~~Provenience: unknown~~

~~SHOULDER PONCHO AMNH 41.2.633 Ground Cloth: body- 1 rectangle; plain weave; dark blue wool. 332~~

~~Dimensions t gm. Ig th . gm. wd. body 67 cm. IS cm.~~

Ornamentation: embroidery- concentrated in borders; approximately 8 cm. in width. Broders suiround the neck slit and form two L- shaped peripheral bands. The ground area of the border is red with multi-colored motifs of double headed birds, edge finish- The neck slit is finished with two rows of red cross-knit looping. The two rows of cross-knit looping used along the outer edge of the poncho appear to join the fringe to the garment, fringe- wool yam in red, blue and gold; applied to all outer edges as an embroidery technique; approximately 2 cm. in length.

~~Design: none~~

~~Remarks: The shoulder poncho has a matching mantle; AMNH 4-1.2.632.~~

~~Construction: The single rectangle remains as a flat garment with a woven neck slit. Fringe is added to all outer edges.~~

~~Provenience: Paracas, Necropolis.~~

~~SIEEVEIESS SHIRT AMNH B1530 Ground Cloth: body- 1 rectangle; interlocked tapestry; wool on cotton in dark blue, gold, white and red.~~

~~Dimensions: gm. Igth. gm. wd. body (in c .) 95 cm. 76 cm. (Judging from the V-shaped yoke patterning, the piece appears to be just the front side of a shirt.)~~

~~Ornamentation: edge finish- (?) The neck and arm slits may have been over cast. seams- Bits of yam along the sides of the piece remain as evidence that the item was once seamed as a shirt.~~

Design: The patterning consists of rows of stepped edge motifs ar ranged to create a V-shaped yoke. The area within the yoke is red and contains scattered small bird motifs as well as some unidentified motifs which appear on standards. The 333

remaining ground of the shirt is blue with a scattered ar rangement of small geometric blocks. A broad band, pat terned in rows of geometric motifs, is located at about the waist level. The area below the band may well be a fragment of the ground cloth from the reverse side of the garment. It is sewed to the lower edge of the patterned band and matches in color and patterning the ground cloth above the band.

~~Construction: Garment construction cannot be determined because of the fragmentary nature of the piece.~~

~~Provenience: Found on an island in Lake Titicaca~~

~~Reference: Photograph in Kelemen, Medieval American Art. Plate 191 o.~~

~~SIEEVEIESS SHIRT AMNH B3427 Ground Cloth: body- 1 rectangle; plain weave, warp stripe; cotton in tan, light blue and cream.~~

~~Dimensions: gm. Igth. gm. wd. body 40 cm. 39 om.~~

~~Ornamentation: none~~

~~Design; The patterning consists of vertical stripes of uniform width in a regular repeat of tan, light blue, and cream.~~

~~Construction: The single rectangle is folded and seamed a t the sides as a shirt. Cords at one end of the neck slit appear to lace the neck opening.~~

~~Provenience: Cajamarquilla near Lima~~

~~ONE-HALF SIEEVEIESS SHIRT AMNH B3484 Ground Cloth: body- 1 rectangle; plain weave, warp stripe with extra weft patterning; cotton in browns and tan s; extra weft in multi-colored wool. 334~~

~~Dimensions: gm. Igth. gm. wd. body 90 om. 36 cm. (Width is th a t of the one web examined and is h a lf of the total shirt width.)~~

~~Ornamentation: fringe- separately woven, approximately 1 om. in length; sewed to the bottom edge of the shirt.~~

Design: The patterning consists of vertical stripes of uniform width in browns and tans. Extra weft patterning is concentrated in a border 2 cm. in width. The border is arranged along the lower edge of the shirt. The multi-colored patterning consists of a single row of small geometric motifs.

~~Construction: The single web is seamed at one side with an opening allowed for the arm. What would have been the center seam is now open.~~

~~Provenience: Cajamarquilla near Lima~~

~~SIEEVEIESS SHIRT AMNH B4143 Ground Cloth: body- 2 rectangles; plain weave with extra weft patterning; undyed cotton ground, extra weft in multi-colored wool.~~

~~Dimensions: gm. Igth. gm. wd. body 28 cm. 66 cm.~~

~~Ornamentation; fringe- unwoven warp loops; approximately .5 cm. in length.~~

Design: The major portion of the shirt is plain. Extra weft pat terning is concentrated in a border located just above the fringe. The border is approximately 4 cm. in width. The patterning consists of a profile bird motif outlined above and below with a se rie s of plain black and tan strip e s.

~~Construction: The two rectangles are seamed a t the center and sides as a s h irt.~~

Provenience: unknown 335 SIEEVEIESS SHIRT AMNH B4.LW- Ground Cloth: body- 2 rectangles; plain weave; undyed cotton, border- 4 units; plain weave with extra weft patterning; undyed cotton ground; wool extra weft in red, gold and black.

~~Dimensions: gm. Igth. gm. wd. body 29 om. 62 om. border (adds to the length) 5 om.~~

~~Ornamentation* frin g e - separately woven; yellow wool; approximately 4 om. in length.~~

~~Design: The patterning of the border consists of a single row of fish motifs, outlined above and below with plain stripes in red, gold and black.~~

~~Construction: Border pieces are sewed to eaoh end of eaoh web before the fa b ric is seamed a t the center and sides as a s h ir t. The fringe band is sewed to the lower edge of the border.~~

~~Provenience: unknown~~

~~SIEEVEIESS SHIRT AMNH B7764 Ground Cloth: body- 2 rectangles; plain weave; dark brown cotton, border- 1 unit; extra weft patterning; wool in red and gold.~~

~~Dimensions: gm. Igth. gm. wd. body 24 om. 79 cm. border (adds to the length) 4 om.~~

~~Ornamentation: frin g e - separately woven; yellow wool, approximately 3 cm. in length.~~

~~Design: Extra weft patterned border consists of a single row of chevron shapes enclosing geometric and bird motifs. Plain red and gold stripes outline the border above and below.~~

~~Construction: The two rectangles are seamed at the center and sides as a shirt. The border is then seamed to the lover edge of the 336~~

~~plain weave shirt. The fringe band is sewed to the lower edge of the border.~~

~~Provenience: unknown~~

~~SIEEVEIESS SHIRT AMNH B7767 Ground Cloth: body- 2 rectangles; plain weave with supplementary weft loop pile; white cotton.~~

~~Dimensions: gm. Igth. gm. wd. body 35 cm. 65 cm.~~

~~Ornamentation: none~~

~~Design: none~~

~~Reference; Photograph in Kelemen, Medieval American Art. Plate 185a.~~

~~Construction: The two rectangles are sewed a t the center and sides as a s h irt.~~

~~Provenience : unknown~~

~~ONE-HALF SIEEVEIESS SHIRT AMNH B7778 Ground Cloth: body- 1 rectangle; slit tapestry; cotton in tan, light blue, and cream.~~

~~Dimensions: gm. Igth. gm. wd. body 40 cm. 46 cm. (Width is th a t of the one web examined and is h alf of the total shirt width. )~~

~~Ornementatio n : fringe- separately woven, yellow wool; approximately 4 cm. in length; sewed to the lower edge of the shirt.~~

Design: All-over patterning is arranged in horizontal rows. Motifs consist of a short, standing figure with exaggerated arms and hands which extend out from the sides of the body. Anthro pomorphic figures are attached to extensions from the ears 337

and walat of each ri./^re, T)ifi pabtem along the lower edge of the shirt is arranged as a border. The border cjonsists of a central row of birds and la outlined above and below with gold and tan stripes.

~~Construction! The single rectangle which remains of this shirt Is joined at the side allowing an opening for the arm. The edge which would have been the center seam is open.~~

~~Provenience! unknown~~

~~SLEEVELESS SHIRT AMNH B8540 Ground Cloth! body- 2 rectangles; open work and so lid ta p e stry ; wool on cotton in gold, tan, dark brown, yellow and pink.~~

~~Dimensions! gm. Igth. gm. wd. body 40 ora. 104 ora.~~

~~Ornamentation! fringe- separately woven; yellow wool; approximately 5 cm. In length; sewed to the lower edge of the shirt.~~

Design! The major portion of the shirt consists of open work tap estry. The patterning consists of diagonal rows of birds and stepped frets. The last 12 cm. of each web is woven as solid tapestry. This area is patterned as a border with the central row consisting of chevrons enclosing fish motifs. The border Is outlined above and below with stripes of red, pink, yellow and black.

~~Construction! The two rectangles are seamed at the center and sides as a shirt. The fringe band Is sewed to the lower edge of the s h ir t.~~

~~Provenience! unknown~~

~~SLEEVELESS SHIRT AMNH B8564 Ground Cloth! body- 2 rectangles; plain weave; undyed cotton, border- 1 unit, extra weft patterning; wool In red, tan and gold. 338~~

~~Dimensional gm. Igth, gm, wd. body 31 cm. 78 cm. border (adds to the length) 5 om.~~

~~Ornamentation: frin g e - separately woven; yellow wool; approximately 4 cm, in length; sewed to the bottom edge of the shirt.~~

~~Design: The extra weft patterned border consists of a diagonal repeat of interlocking cat heads and birds. The border is outlined above and below with plain stripes in red, tan and gold.~~

Construction: The two rectangles are seamed a t the center and sides as a s h ir t. The border is sewed to the lower edge of the plain weave s h ir t. The frin g e band is sewed to the lower edge of the border.

~~Provenience: unknown~~

SIEEVED SHIRT AMNH BÔ575 Ground Cloth: body- 3 rectangles; 2 are of undyed cotton plain weave; 1 is of cotton double cloth in browns and tans, sleeves- each 1 rectangle of the same cotton double cloth used in the body of the shirt.

~~Dimensions: gm, Igth. gm. wd. body 34 cm. 77 cm. through the sleeves 107 cm.~~

~~Ornamentation: fringe- unwoven warp loops; approximately 3 cm. in length on the center double cloth web; approximately 2 cm in length on the plain weave webs.~~

Design: The double cloth webs have an all-over pattern consisting of many rows and columns of blocks. A checkerborad effe c t is achieved by the a lte rn a te use of brown and tan on figure and ground. Each small block contains a bird motif. At each end of the double cloth panel used in the body of the shirt, the pattern is arranged as a narrow border. The border motif consists of an interlocking design with stepped edges.

~~Construction: The three rectangles which form the body are seamed. The e n tire piece is folded and seamed a t the sides as a s h irt. 3 3 9~~

~~A neck slit in the double cloth panel is a part of the fab ric construction. Each sleeve web is seamed at the under arm and then sewed to the body of the shirt at the arm slit.~~

~~Proveniences Marquez, Rimao Valley~~

SIEÉVED SHIRT AMNH B8587 Ground Cloths body- 2 rectangles; plain weave with extra weft patterning; ground is undyed cotton; ex tra weft is in dark brown, sleeves- each 1 rectangle; same fabric construction as the body of the s h irt.

~~Dimensions: gm. Igth. gm. wd. body 37 cm. 91 cm. through the sleeves 125 om.~~

~~Ornamentations fringe- unwoven warp loops; approximately 1 cm. in length, edge finish- At the end of each sleeve the last 1 om. of warp loop Is filled with extra weft to create a tubu lar finish.~~

Design: The major portion of the shirt is plain. Extra weft pat terning is confined to a 3 cm. border along the lower edge of the shirt and sleeves. The border consists of a row of bird motifs underlined with three plain stripes.

Construction: The two rectangles are joined at the center and the sides as a shirt. Each sleeve is seamed at the underarm and then sewed to the body of the s h ir t a t the arm s l i t . An em broidered chevron motif at each end of the neck slit appears to serve as a reinforcement.

~~Provenience: Ancon (?)~~

~~SLEEVELESS SHIRT AMNH B8591 Ground Cloth: body- 2 rectangles; plain weave and extra weft patterning; ground is undyed cotton; extra weft is wool in blue, red, white and orange.~~

~~Dimensions: gm. Igth. gm. wd.~~

~~body AO cm. 78 cm. 34.0 Ornamentation,* fringe- separately woven; yellow wool; approximately 4- om. in length; sewed to the bottom edge of the shirt.~~

~~Design: The major portion of the shirt is plain. The highly geo metric extra weft patterning is confined to a border area approximately 6 cm. in width.~~

~~Construction: The two rectangles are seamed a t the center and sides as a s h ir t. The fringe band is sewed to the lower edge of the s h ir t.~~

~~Provenience: unknown~~

~~SIEEVEIESS SHIRT AMNH B8595 Ground Cloth: body- 2 rectangles; plain weave; undyed cotton, border- 2 units; extra weft patterning; wool in red, black, cream and tan.~~

~~Dimensions: gm. Igth. gm. wd. body 81 cm. 73 om. border (adds to the length) 5 ora.~~

~~Ornamentation: fringe- separately woven; yellow wool; approximately 2 om. in length; sewed to the lower edge of the shirt.~~

~~Design: The extra weft border is patterned with interlooked head motifs. The border is outlined above and below with a series of red and tan stripes.~~

Construction: The two plain weave rectangles are seamed a t the center and sides as a shirt. One border unit is sewed to the lower edge of the front of the shirt and the other to the back of the shirt. The sewing which Joins the border to the shirt is crudely done. The yarn used to Join the seams also is used to create a reinforcement at the end of the neck and arm s l i t s .

~~Provenience: unknown 3A1~~

SIEEVEIESS SHIRT AMNH T117.10 Ground Cloth: body- 1 rectangle made up of 3 horizontal bands of wool, warp and weft interlocking in maroon, red, white, black and yellow. These bands a lte rn a te with A horizontal units of plain weave in maroon wool. All bands are joined with scaffolding wefts. The maroon bands which appear at each end of the garment have a woven slit at what is the center of the garment. The slit is sewed together.

~~Dimensions: gm. Igth. gm. wd. body 36 cm. 7S cm.~~

~~Ornamentation: frin g e - unwoven warp loops; p lied ; approximately A om. in length. edge finish- Each end of the neck slit is reinforced with several rows of cro ss-k n it looping.~~

Design: The bands of warp and weft interlocking are patterned with a single row of highly geometric motifs. Stepped edges are used in creating lozenge shapes. The area within the lozenge is quartered with alternate areas in red and yellow.

~~Construction: The single rectangle is folded and loosely seamed at the sides to form a shirt. The garment has a woven neck slit.~~

~~Provenience: Nazca Valley—probably la te or Inca Period~~

~~SIEEVEIESS SHIRT AMNH 1967.74.1 Ground Cloth: body- 2 rectangles; warp and weft interlocking of loose construction; wool in red , brown and gold.~~

~~Dimensions: gm. Igth. gm. wd. body 94 cm. 115 cm.~~

~~Ornamentation: none~~

Design: Along each side of the s h ir t, in a column approximately 10 cm. in width, the warp and weft interlocking technique is used to create large fret motifs. The remaining area of the shirt is divided into 4 segments. The segments in the upper half of the shirt are plain red on one side of the garment 3 4 2

and plain gold on the reverse side. The color change occurs at the shoulder where the colored yarns are interlocked over a common weft. The patterning on the lower half on each side of the shirt consists of a stepped edge triangular shape.

~~Construction: The two rectangles are seamed at the center and sides as a s h irt. Provenience: Nazca Valley—probably Inca Period.~~

~~SIEEVEIESS SHIRT AMNH 1967.74.2 Ground Cloth: body- 2 rectan g les; warp and weft interlo ck in g ; wool in brown, tan and red.~~

~~Dimensions: gm. Igth, gm, wd. body 94 om. 128 om.~~

Ornamentation: frin g e- unwoven warp loops; approximately 10 cm. in length, seams- The running stitch used to join the center seam is arranged to form a Z pattern. Heavy, light colored yam is used against a dark red ground. The same decorative stitch is used on the side seams only in the area where the ground cloth is red. The remainder of the side seam is joined with a simple whipping stitch.

Design: The shirt is divided horizontally with a broad stepped edge. Warps are interlocked along this edge so that the upper area of the shirt is dark brown while the lower area is light tan. In the area above the stepped edge, a narrow column of dark red edges each selvage.

~~Construction; The two rectangles are seamed at the center and sides as a shirt. On one side of the garment, the neck opening is laced in two places. Provenience: Nazca Valley—probably Inca Period~~

~~SHOULDER PONCHO BM 34.1554 Ground Cloth: body- 1 rectan g le; plain weave; wool (?) 343~~

~~Dimensions: gm. Igth. gm. wd. body. 74 om. 58 om.~~

Ornamentation: embroidery- wool in gold, red, tan , lig h t blue and cream. f ie ld - Embroidery is confined to blocks worked d ire c tly on the ground cloth and arranged in a checkerboard fashion over the entire field, border- approximately 10 cm. in width; surrounding the neck slit and the periphery. Embroidery consists of many appendaged figures in a variety of colors on a dark blue embroidered ground, fringe- wool yarn in blue, red and gold; applied to all outer edges as an embroidery technique; approximately 4 cm. in length. edge finish- The neck slit is finished with several rows of cross-knit looping.

~~Design: none~~

~~Construction: The garment remains as a fla t rectangle with a woven neck slit. Most of the ground cloth has deteriorated, however, the field embroidery, the borders and the fringe are intact.~~

~~Provenience: Paracas~~

~~SHOULDER PONCHO BM 34.1564 Ground Cloth: body- 1 rectangle; plain weave; red cotton.~~

~~Dimensions: gm. Igth. gm. wd. body 44 cm. 28 cm.~~

Ornamentation: embroidery- wool in lig h t green, yellow, maroon and red. Embroidery is confined to a peripheral border approxi mately 3 cm. in width. Embroidery is also arranged in a border to simulate a neck slit. The borders are red with bird motifs in a variety of colors, fringe- yarn; applied to all outer edges as an embroidery technique; approximately .5 cm. in length. Design: none

Remarks: This piece is one of a series of 12 like items in The 344 Brooklyn Museum. Eaoh item Is labeled as a "ponchita". Eight of the 12 pieces available for examination are listed following this entry.

~~Construction: The item is a flat rectangle with no neck slit, yet, with embroidery arranged to simulate a neck slit.~~

~~Provenience: unknown—probably Paracas~~

~~SHOULDER PONCHO BM 34.1569 Ground Cloth: body- 1 rectangle; plain weave; black cotton.~~

~~Dimensions: gm. Igth. gm. wd. body 45 cm. 28 ora.~~

Ornamentstion: embroidery- wool in red, yellow, green and maroon. Em broidery is confined to a peripheral border approxi mately 3 cm. in width. Embroidery is also arranged as a border to simulate a neck slit. Embroidered bird motifs in a variety of colors appear on the red borders, fringe- red yam; applied as an embroidery technique to all outer edges.

~~Design: none~~

~~Construction: See BM 34.1564 Provenience : See BM 34.1564~~

~~SHOULDER PONCHO BM 34.1571 Ground Cloth: body- 1 rectangle; plain weave; black cotton~~

~~Dimensions: gm. Igth. gm. wd. body 44 cm. 28 cm.~~

Ornamentation: embroidery- wool in red, blue, green. Embroidery is con fined to a peripheral border approximately 2 om. in width. Embroidery is also arranged as a border to simulate a neck slit. Embroidered bird motifs in green and blue appear on a red ground in the borders. fringe- yarn; applied as an embroidery technique to all outer edges; each group of A fringe loops is wrapped as a bundle.

~~Design: none~~

~~Construction: See BM 34.1564~~

~~Provenience; See BM 34.1564~~

~~SHOULDER PONCHO BM 34.1573 Ground Cloth: body- 1 rectangle; plain weave; red cotton~~

~~Dimensions: gm. Igth. gm. wd. body 42 cm. 32 om.~~

Ornamentation: embroidery- wool in green, red and maroon. Embroidery con fined to a peripheral border. Embroidery is also ar ranged in a broder to simulate a neck slit. The bor ders are green with a flying bird motif. There are two small areas in the neck border which are incomplete, fringe- yam; applied as an embroidery technique to all outer edges.

~~Design: none~~

~~Construction: See BM 34.1564~~

~~Provenience: See BM 34.1564~~

~~SHOULDER PONCHO BM 34.1574 Ground Cloth: body- 1 rectangle, plain weave; red cotton~~

~~Dimensions: gm. Igth. gm. wd.~~

body 44 ora. 28 om. 34C) Ornamentation; embroidery- wool in red and green. Embroidery is arranged in a peripheral border approximately 3 cm. in width. Erabtfoidery is also arranged as a border to simulate a neck slit. The borders are mostly light green in color. fringe- yam; applied as an embroidery technique to all outer edges.

~~Design; none~~

~~Construction; See BM 34.1564 Provenience; See BM 34.1564~~

~~SHOULDER PONCHO BM 34.1575 Ground Cloth; body- 1 rectangle, plain weave, black cotton~~

~~Dimensions; gm. Igth. gm. wd. body 42 cm. 28 cm.~~

Ornamentation; embroidery- wool in red, blue, gold and brown. Embroidery is arranged in a peripheral border approximately 3 cm. in width. Embroidery is also arranged as a border to simulate a neck slit. The borders are mostly red with a monkey-like figure, fringe- yarn; applied as an embroidery technique to all outer edges; approximately .5 cm. in length.

~~Design; none~~

~~Construction; See BM 34.1564~~

~~Provenience: See BM 34.1564~~

~~SHOULDER PONCHO BM 34.1576 Ground Cloth; body- 1 rectangle; plain weave; red cotton~~

~~Dimensions: gm. Igth. gm. wd.~~

~~body 45 cm. 29 c m . 3 4 7~~

Ornamentation: embroidery- wool in red, brown, blue and green. Embroidery is arranged in a peripheral border approximately 3 cm. in width. Embroidery is also arranged as a border to simulate a neck slit. The borders are mostly red and brown with a standing oat m otif, fringe- yam; applied as an embroidery technique to all outer edges.

~~Design: none Construction: See BM 34.1564 Provenience : See BM 34.1564~~

~~SHGULIER PONCHO BM 34.1577 Ground Cloth: body- 1 rectangle; plain weave; red cotton.~~

~~Dimensions: gm. Igth. gm. wd. body 44 cm. 28 cm.~~

Ornamentation: embroidery- wool in red and green. Embroidery is arranged in a peripheral border approximately 3 cm in width. Embroidery is also arranged as a border to simulate a neck slit. The borders are mostly light green in color, fringe- yam; applied as an embroidery technique to all outer edges.

~~Design: none~~

~~Construction: See BM 34.1564 Provenience: See BM 34.1564~~

~~PONCHO BM 34.1579 Ground Cloth: body- 1 rectangle; interlocking warp and weft technique; wool in red, black, green, yellow and blue.~~

~~Dimensions: gm. Igth. gm. wd.~~

body (flat length) 186 cm. 74 cm. 34Ü Ornamentation: embroidery- A narrow edge of purple embroidery is used around the neck slit and along the sides of the gar ment. Bits of additional embroidery are used to ac cent the eyes, mouth, and headdress of the patterned ; fig u res. frin g e- brown yam ; applied as an embroidery technique along the sides of the garment. Fringe is located in a 25 om. area over the shoulders. The fringe is approximately 14 om. in length.

Design: Warp and weft interlocking technique is used to create an elaborate pattern consisting of three major anthropormorphic figures and ten smaller figures. The small figures fall from the ribbon-like extensions of the belt, headdress, tail and mouth of the larg er fig u re s. The patterning which occurs on one side of the garment differs from that which appears on the reverse side. The ground is red and the figures are multi-colored making use of black, green, yellow, blue, white and pinko

~~Construction: The garment remains as a fla t rectangle with a woven neck s l i t . Long fringe is sewed to the side of the garment in an area over the shoulder.~~

~~Provenience : Paracas References : Discussion in Easby, Brooklvn Maseum Annual. VII. 1965-66. p. 65. Photograph- See Plate IV, this paper.~~

~~SHOULDER PONCHO BM 34.1581 Ground Cloth: body- 1 rectangle; plain weave; dark blue wool~~

~~Dimensions: gm, Igth. gm. wd. body (flat length) 81 om. 6l cm.~~

Ornamentation: embroidery- wool in red , blue and gold. field- Blocks of embroidery, each containing an anthro pormorphic figure, are arranged in checkerboard fashion over the entire field, border- Two L-shaped borders follow the periphery. An additional border is used to surround the neck slit. All borders are approximately 7 cm. in width. The motif consists of anthropormorphic figures embroidered on a red ground. 3 4 9 frin g e- wool yam In red, gold and bine; applied on an em broidery technique to a ll outer edges; approximately 3 cm. in length, edge finish- The neck slit is finished with several rows of multi-colored cross-knit looping. The same cross-knit looping is used along all outer edges and appears to join the fringe to the edge of the garment.

~~Design: none~~

~~Construction: The single rectangle remains as a flat garment with a woven neck s l i t . Provenience: Para cas~~

~~Reference: Photograph- Plate I, this paper.~~

~~SHOULIER PONCHO BM 34,1583 Ground Cloth: body- 1 rectangle; plain weave; dark blue wool~~

~~Dimensions: gm. Igth, gm, wd, body ( f la t length) 58 cm. 48 cm.~~

Ornamentation: embroidery- wool in red, b lu e, green and yellow. Embroidery is confined to 2 L-shaped peripheral borders. An em broidered border also surrounds the neck slit. All borders are approximately 7 cm, in width and have a colorful interlocking whale motif embroidered on a red ground, frin g e- wool yam in red, blue and gold; applied as an em broidery technique; 16 cm, in length in an area over the shoulder; 2 cm, in length along all outer edges of the rectangle, edge finish- The neck slit is finished with several rows of multi-colored cross-knit looping. The same type of cross-knit looping is used along all outer edges and appears to Join the fringe to the garment.

~~Design: none~~

~~Remarks: The shoulder poncho has a matching mantle. See Plate I I I , this paper. 3 5 0~~

~~CoriHtru'jV/lorii The garment remains as a flut rectangle with a woven neck slit. Fringe is used along all edges with additional long fringe arranged along the shoulder.~~

~~ProvenienceI Paracas~~

~~Reference t Photograph- Plate II, this paper.~~

~~SIEEVEIESS SHIRT BM 41.229 Ground Clotht body- 2 rectangles I interlocked tapestry; wool on cotton in red, tans, blue and yellow.~~

~~Dimensions: gm. Igth. gm. wd. body 102 om. 109 om.~~

Ornamentation: seams- The side seams are joined with a multi-colored figure eight stitch. The original center seam is no longer evident. The garment was seamed at the center in modern tim es. edge finish- (?) The neck edge is in poor condition. It may have been overcast.

Design: The patterning in each web consists of broad, vertical bands in tan which alternate with two decorative bands. The dec orative bands are divided into two columns as well as into horizontal registers. The blocks so created are additionally divided by diagonal lines. All small sections are filled with geometric patterns described as profile faces and styl ized puma tails. An additional, narrow decorative band occurs along the edge of the fabric Joined as the side seam.

~~Construction: The two rectangles are seamed a t the center and sides as a s h ir t.~~

~~Provenience: Ica Valley—Tiahuanaco Period~~

~~SIEEVEIESS SHIRT BM 41.1275.106 Ground Cloth: body- 1 rectangle; interlocked tapestry; wool on cotton in dark brown, tan, red, gold and black. 351 Dimensionat gm. Igth. gm. wd. body 90 cm. 79 cm.~~

Ornamentation: edge finish- The neck and arm slits are overcast with tan yarn. fringe- tan wool, applied as an embroidery technique; ap proximately 1 cm. in length} used along the lower edge of the shirt. appliqué- Separately woven bands of wool fringe are sewed to the surface of the garment. The bands placed on the upper two-thirds of the garment are arranged to cross diagonally just below the neck slit. The bands seem to be a modern addition to the s h ir t.

Design: The upper two-thirds of the garment is plain tan. The pat tern is arranged in a band, 11 cm. in width, located near the waist level. The patterning consists of multiple rows of stepped edge meanders. The area above the meander is red, that below it is yellow. The area below the patterned band is mostly red with seven, evenly spaced, narrow, gold colored stripes.

~~Construction: The single web is folded and seamed at the sides as a shirt. The garment has a woven neck s lit.~~

~~Provenience; unknown—probably Inca Period~~

~~Reference: Photograph in Zimmem, Peruvian Costume. Plate 17.~~

~~ÏEATHE R PONCHO BM L4-6.17.17 Ground Cloth: body- 1 rectangle; plain weave; undyed cotton.~~

~~Dimensions: gm. Igth. gm. wd. body (folded length) 103 cm. 82 cm.~~

Ornamentation: feathers- The surface is covered with feathers except in a narrow area over the shoulders. Orange, yellow, brown and blue feathers are arranged to create broad, hori zontal bands of color. On one side of the poncho brown feathers are additionally arranged to create a stepped edge band arranged as an inverted V shape is placed through the center of the garment. 352 Design: none

~~Construction: The garment, mounted for display, is folded along the shoulders. It appears to be open along the sides. The poncho has a woven neck s l i t .~~

~~Provenience: unknown—probably Inca Period.~~

~~Reference: Photograph in Zimmem, Peruvian Costume. P late 16.~~

~~SIEEl/ED SHIRT BM U S. 13 Ground Cloth: body- 2 rectangles which make up the body are shaped to include the sleeves; interlocked tapestry; wool on cotton in tan, red, blue, yellow, white and brown.~~

~~Dimensions: gm. Igth. gm. wd. through the body 22 cm. 22 cm. through the sleeves 31 cm.~~

Ornamentation: edge finish- The neck slit is overcast in red. The ends of the sleeves are overcast in multi-colored repeating pattern similar to that used on the side seams, embroidery- A small rectangle of colorful running stitch is located perpendicular to the end of the neck slit. It appears to serve as a reinforcement, seams- The center seam is done in figure eight stitch in tan to match the center stripe in the shirt. The side seams are done in the same stitch in a multi-colored repeating sequence.

Design: The patterning in each web consists of broad, vertical bands in tan which alternate with a single broad, decorative band. An additional narrow decorative band occurs along the side of the fa b ric joined as a side seam. This narrow band does not continue through the sleeve area. A narrow decorative band also occurs along the end of each sleeve. The decora tive patterning consists of a single column of staff bear ing messengers.

~~Construction: The two pieces of fabric are seamed at the center. Since the sleeve is a part of the body, the seam along each side joins the body of the garment and the underarm area of the sleeve. 353~~

~~Provenience : unknown—Tiahuanaco Period~~

~~Reference : Photograph- see Plate VIII, this paper.~~

SIEEVED SHIRT BM H 9.9.20 Ground Clothi body- 2 rectangles whloh make up the body of the shirt are shaped to include the sleeves| interlocked tapestry| wool on cotton In red, yellow, green, brown, tans and w hite.

~~Dimensionst gm. Igth. gm. wd. through the body 99 ora. 107 om. through the sleeves 144 om.~~

Ornamentation: edge finish- The end of eaoh sleeve la overcast In a multi colored repeating sequence. The neck slit Is badly deteriorated and no seam finish Is evident, seams- Little remains of the original seams. The shirt la presently seamed a t the center and sides with a whipping stitch. The underarm seam(?) Is either very carefully stitched or possibly joined with a scaffolding yam. fringe- yam; applied as an embroidery technique; approxi mately 2 cm. in length; along the lower edge of the shirt; in green at the end of the solid stripes and in gold at the end of the decorative stripes.

Design: The patterning in each web consists of broad, vertical bands in solid red which alternate with three broad decorative bands. An additional narrow decorative band occurs along the side of the fabric Joined at the side seams. This nar row band does not continue through the sleeve area. Another decorative band occurs along the end of each sleeve. The decorative patterning in each band consists of a single col umn of staff bearipg figures.

Construction: The two pieces have been Joined at the center and underarm as a shirt. The original seam at the center was undoubtedly of the figure eight type. Presently the seams are Joined with a simple whip s titc h . The underarm seam on the sleeves are either carefully stitched or dovetailed over a scaffold ing yam .

~~Provenience: unknown—Tiahauanaco Period 3 5 4~~

~~Referencet Photograph—see Plate IX, this paper.~~

~~PONCHO BM 53.147 Ground Clothi body- 1 rectangle; interlocked tapestry; wool on cotton In browns, tans, pink, blue, red, gold and white.~~

~~Dimensions 1 gm. Igth. gm. wd. body 104 cm. 100 cm.~~

~~Ornamentation: edge finish- The neck slit is overcast in a multi-colored repeating sequence. The side edges are also overcast in a sequence of colors.~~

Design: The patterning consists of ten vertical rows, eaoh consisting of a column of p ro file heads. The heads face the shoulder area on the front and reverse sides of the garment. The colorful heads, representing considerable variety in ex pression and headdresses, are on a yellow ground. The last column at eaoh side of the garment has a blue ground.

~~Construction: The garment remains as a flat rectangle with a woven neck s l i t .~~

~~Provenience : unknown—Tiahauanaco Period~~

~~Reference: Photograph—see Plate X, this paper.~~

SIEEVED SHIRT BM 61.209 Ground Cloth: body- made up of 4 long, rectangular units; 2 are open work throughout; 2 combine areas of open work with areas of gauze weave; cotton in browns and tan s, sleeves- each 1 rectangle; 1 sleeve is open work throughout; the other combines areas of open work with gauze, borders- 1 long and 2 sh o rter u n its; s l i t tap estry ; wool on cotton in browns and tans.

~~Dimensions: gm. Igth. gm. wd.~~

~~body 44 om. 92 c m .~~

~~through the sleeves 136 cm. •j'i'i~~

Ojmaraftritti tlo n : embroidery- A email bird motif Is embroidered on each plain weave u n it w ithin the open work webs, A large b ird , with exaggerated beak and legs, Is embroidered to fill each gauze block. Smaller bird motifs are also em broidered around the large motif. The embroidery Is all arranged In a single direction, thus, the motifs on one side of the shirt are upside down, fringe- Three layers of separately woven fringe bands, each slightly longer than the other, are sewed together. The total length of the fringe Is 6 cm. This layered fringe band Is sewed to the bottom of the shirt and also along the end of eaoh sleeve.

Design: A very open, lace-llke texture Is created by the skipped warp and weft arrangement In the open work u n its. The areas of gauze weave are also of a simple, open texture. The patterning In the slit tapestry borders consists of the same exaggerated bird motif used In the embroidery.

Construction: The four units which make up the body of the shirt are seamed allowing an opening for the neck in the center seam. The e n tire u n it Is folded and sewed a t the sides as a s h irt. The last 9 om. of each web In the body area, regardless of the major fabric construction. Is of plain weave. This plain weave area becomes the backing for the slit tapestry border. The border Is appllquld to the shirt with the pat tern upside down. The sleeve webs are seamed a t the under arm and then sewed to the body of the shirt at the arm slits. A slit tapestry border, approximately 7 cm. In width, Is appllqued along the end of each sleeve. The multi-layered frin g e bands are sewed along the bottom edge of the s h irt and to the end of each sleeve.

~~Provenience: unknown Reference: Photograph- see Plate XXI, this paper.~~

~~PONCHO (?) B liss 34a Groimd Cloth: body- 2 rectangles j Interlocked and s l i t tap estry ; wool on cotton In tan, gold, red, dark brown, blue and pink.~~

~~Dimensions: gm. Igth. gm. wd.~~

~~body (flat length) 76 cm. 86 cm. 3 5 6~~

~~Ornamentütlonj fringe- separately wovenj tan wool; approximately 5 om. in length; sewed to the bottom edge of the shirt.~~

Design: A large puma figure in red virtually fills the spaoe of the s h irt on each web. Small geometric and animal m otifs are used to pattern the surface of the puma. The last 7 om, of eaoh web is patterned as a border. The pattern in the border consists of a single row of double S-shapes. The ground of the border la red in contrast to the tan ground in the major portion of the shirt.

Construction: The two rectangles are seamed at the center. Presently the neck slit is closed with a whip stitch. The sides of the garment are not presently seamed and it is difficult to know whether the garment was ever seamed as a shirt.

~~Provenience: South Coast—la te Nazca Period~~

~~Reference: Photograph—Plate XI, this paper. Photograph in color in Lothrop, Poshag and >fahler, Pre-Columbian A rt, P late CXLIII,~~

~~INCOMPIEIE SIEEVEIESS SHIRT B liss 349 Ground Cloth: body- 2 rectangles; incomplete in length; interlocked tap estry; wool on cotton in red, dark brown, tan, gold and pink.~~

~~Dimensions: gm, Igth, gm. wd. body 106 cm. 112 cm. (Length appears to be that of one side of the finished garment.)~~

Ornamentation: seams- Figure eight stitching in multi-colored repeating sequence remains along the side of the rectangles. Nothing remains of the center seam, edge finish- The area of the arm slit is overcast in the same multi-colored sequence as was used on the side seam.

Design: The pattern in each web consists of broad, vertical bands in solid red which alternate with a single broad decorative band. An additional narrow decorative band is used along th e side of eaoh web which becomes the side seam. The 357 patterning in the decorative band consists of a column of staff bearing figures.

~~ConstructionI The two rectangles were once seamed at the center. The fragments of stitching which remain along the sides are Indicative of the fact that the piece was once a complete s h irt.~~

~~Provenience: unknown—Tiahuanaco Period~~

~~Reference: Photograph in color in Lothrop, Foshag and Mahler, Pre- Co lumbina Art. Plate CXLIV.~~

~~INCOMPIETE SIEEVEIESS SHIRT B liss 350 Ground Cloth: body- 2 rectangles, incomplete In length} wool on cotton in tans, gold, red, black, pink and brown.~~

Dimensions: gm. Igth. gm. wd. body 106 cm. 110 cm. (The length here appears to be the complete length of one side of the finished garment. The length is determined from the nature of the yoke patterning.)

Ornamentation: edge finish- The neck and arm slits are overcast in gold colored yams. seams- The center seam is done in figure eight stitch in gold color. The side edges are not presently Joined, however, gold colored figure eight stitching remains along the sides.

Design: The patterning consists of a broad rectangular yoke area outlined with red and white stripes. The area inside of the yoke is patterned with various types of staff bearing and puma figures. The remainder of the shirt is fully patterned with smaller motifs of birds, animals and geo metric forms. The body of the shirt is so covered with patterning that it is difficult to determine the nature of the pattern repeat.

Construction: The two rectangles are seamed a t the center. Presently the side seams are open. The specimen is closely related in fab ric, pattern, garment shape and size to TM 1965.6.1 which is seamed as a s h ir t. Provenience; South Coast

~~Reference; Hiotograph in Lothrop, Foshag and Mahler, Pre-Columbian Art. P late CXLVI.~~

~~SIEEVEIESS SHIRT B liss 351 Ground Cloth; body- 2 rectangles} interlocked tapestry; wool on cotton in red, orange, gold brown, tan, blue green and deep blue.~~

~~Dimensions; gm. Igth. gm. wd. body 101 cm. lOA ora.~~

Ornamentation; edge finish- The neck slit is overcast in gold colored yam. The arm slits are overcast in a variety of colors fol lowing the same sequence used in the side seams, seams- The center seam is done in gold figure eight stitch to match the center stripe in the shirt. The side seams are done in the same s titc h in colors to match the patterned ground cloth.

Design : The patterning in each web consists of broad, vertical bands in which gold colored bands alternate with two patterned bands. An additional narrow, patterned band is used along one side of each web. Each decorative band is divided into two columns and a se rie s of horizontal re g iste rs. The blocks so formed are also divided by a diagonal line. The motifs which occur within these segments consist of the profile heads and puma tails. Construction; The two rectangles are seamed at the center and sides as a s h irt.

~~Provenience; Central or South Coast~~

~~Reference; Photograph in color in Lothrop, Foshag and Mahler, Pre- Columbian A rt. P late CXLVII.~~

INCOMPIETE SIEEVEIESS SHIRT B liss 353 Ground Cloth; body- 2 rectangles; incomplete in length; interlocked tap estry; wool on cotton in dark brown, gold, tan, red, blue, cream, and medium brown. 3 5 9

~~Dimensions: gm. Ig th , gm. wd. body 119 om. 112 om. (Length appears to be that of one side of the finished garm ent.)~~

~~Ornamentation: seams- The center seam is done in figure eight stitch to match the plain dark brown stripe and in a variety of colors in the patterned area. Nothing remains of the side seams.~~

Design: The lower one-third of each web consists of broad dark brown, stripes which alternate with a broad decorative stripe. The entire area of the upper two-thirds of each web is patterned as in the decorative stripe. The patterning consists of columns of rectangles, eaoh divided by an oblique lin e and filled with faces and stepped puma tail motifs.

Construction: The two rectangles are seamed at the center. Presently the sides are not joined as much of the reverse side of the garment is missing. This shirt is closely related in fabric, p attern and garment shape to TM 91.9 which is seamed as a s h ir t.

~~Provenience: Central or South Coast~~

~~Reference : Photograph in color in Lothrop, Foshag and Mahler, Pre- Columbian A rt, P late CXLIX.~~

~~SIEEVEIESS SHIRT B liss 372 Ground Cloth: body- 1 rectangle; interlocked tapestry; wool on cotton in dark brown, red, gold, pink and white.~~

~~Dimensions: gm. Igth. gm. wd. body 7A cm. 87 cm.~~

Ornamentation : edge finish- The neck slit is overcast in gold colored yam to match the ground cloth in the yoke area of the shirt. The arm slits are overcast in dark brown to match the ground cloth there. The lower 3 cm. of each arm slit is further finished with tan cross-knit looping, seams- The side seams are done in dark brown figure eight stitch but more loosely done than what is generally seen on Inca tapestry shirts. 360 Design» The patterning of the shirt is concentrated in a yoke area and a broad horizontal band arranged along the lower edge of the shirt, A stylized standing figure is enclosed in each block which makes up the stepped edge yoke. The area Inside of the yoke is gold; that outside of the yoke is black. The lower one-third of the shirt is patterned with horizontal rows of stylized feather motifs in red, pink and white.

~~Construction: The single rectangle is folded and seamed along the sides as a shirt. The shirt has a woven neck slit.~~

~~Provenience » Central or South Coast~~

~~Reference: Photograph- P late XXXIII, th is paper. Photograph in color in Lothrop, Foshag and Mahler, Pre-Columbian A rt. P late CLXII,~~

~~SIEEVEIESS SHIRT B liss 373 Ground Cloth: body- 1 rectangle; interlocked tapestry; wool on cotton in dark brown, red, gold, white.~~

~~Dimensions: gm. Igth. gm. wd. body 78 om. 92 om.~~

Ornamentation: edge finish- The neck slit is overcast in dark brown. The arm slits are overcast in multi-colored repeating se quence to match the side seams. The lower edge of the shirt is also overcast in the same multi-colored sequence. seams- The side seams are done in a figure eight s titc h in multi-colored repeating sequence.

Design: The a ll-o v e r patterning consists of rows and columns of blocks of uniform size. Each block is filled with small geometric motifs. There is considerable variety in the motifs used. A frequently repeated motif is that which simulates the Inca shirt patterned as a brown and white checkerboard with a red stepped edge yoke.

~~Construction: The single rectangle is folded and seamed at the sides as a shirt. The shirt has a woven neck slit. All edges of the garment are finished in a decorative fashion. 361~~

~~Provenience: South Coast—Ica Style~~

~~Reference * Photograph—Plate XXX, this paper. Photograph in color in Lothrop, Foshag and Mahler, Pre-Columbian Art. Plate CLXI.~~

SIEEVED SHIRT B liss 503 Ground Cloth: body- 2 rectangles; slit tapestry; wool on cotton in red, gold, tan , brown and w hite, sleeves- each 1 rectangle; slit tapestry; same coloring and patterning as in the body of the shirt.

Dimesnions: gm. Igth. gm. wd. body 53 cm. 112 cm. through the sleeves 163 cm. Ornamentation: fringe- Four layers of separately woven fringe bands, each slightly larger than the next, are sewed together. The layers alternate gold with red and tan. The total length of the fringe is 5 cm.

Design: Each web is patterned with a large figure which virtually fills the entire space on the front of the shirt. The fig ure is elaborately dressed and appears to be holding a va riety of trophies. The figure is mostly gold and white on a red ground. Small birds and snakes are used as filler motifs. Each sleeve is patterned as the body of the shirt with the motif scaled to the size of the web.

Construction; The two rectangles which make up the body of the shirt are seamed at the center and sides as a shirt. Each sleeve web is seamed as a tube and then sewed to the body of the s h irt at the arm slit. The layered fringe is sewed to the lower edge of the s h irt and to the end of each sleeve.

~~Provenience: unknown—Late Period~~

~~Reference: Photograph—Plate XXII, this paper.~~

~~FEATHER PONCHO MAI 10.0~~

~~Ground C loth:~~

~~body- 2 rectangles; plain w eave; undyed cotton. 3 6 2~~

~~Dimensions! gm. Igth. gm. wd. body (folded length) Ô 9 cm. 77 om.~~

Ornamentation! feathers- The entire surface is covered with feathers except in a 9 om. area over the shoulders. The major portion of one side of the garment is decorated with yellow and orange feathers arranged to create a checkerboard effect. A V-shaped yoke area which contains a stepped fret motif is outlined in brown and white. Larger feathers in brown, blue, orange and yellow are used to create a bor der along the lower edge. The feathers on the reverse side of the garment are arranged in transverse stripes in which a brown, orange and blue sequence is repeated. The last stripe, in brown and white, contains a row of geometric motifs.

~~Design: none~~

~~Construction: The two rectangles are seamed a t the center. The series of cords along the sides of the poncho are apparently designed to lace the garment.~~

~~Provenience: Coastal Peru~~

~~FEATHER PONCHO MAI 10.1 Ground Cloth: body- 1 rectangle; plain weave; undyed cotton.~~

~~Dimensions: gm. Igth. gm. wd. body (folded length) 72 cm. 56 om.~~

Ornamentation: feathers- The entire surface is covered with feathers except in a 6 cm. area over the shoulders. On each side of the garment brown and white feath ers are arranged to form a stepped edge yoke. On one side the remainder of the surface is arranged in 4 broad transverse bands. One band contains a stepped fret motif, another a wave m otif and the other two bands are in so lid white or brown. On the reverse side the remaining surface is arranged in narrow transverse bands in which a brown, white, and green sequence is repeated.

~~D e s i g n :~~

~~n o n e 3 6 3~~

~~ConstructionI The single rectangle remains e fla t garment with a woven neck slit. The series of cords along the sides are apparently designed to lace the garment.~~

~~FEATHER PONCHO MAI 10 Ground Cloth: body- 1 rectangle; plain we^ve; undyed cotton.~~

~~Dimensions: gm. Igth. gm. wd. body (folded length) 76 cm, '59 cm.~~

Ornamentation: feathers- The entire surface, except for 5 cm. area across the shoulders, is covered with brown and white feath ers. The feathers are arranged in transverse bands of vary ing widths. Both aides are alike in arrangement.

~~Design: none~~

Construction: The single rectangle remains as a flat garment. The edges of the cut neck slit are loosely overcast. The heading cord at each end of the fabric is loosely tied as a knot and left to hang a t each com er of the rectan g le.

~~Provenience: Coastal Peru~~

~~FEATHER pONCHO MAI 10.5857 Ground Cloth: body- 1 rectangle; plain weave; undyed cotton.~~

~~Dimensions: gm. Igth, gm. wd. body (folded length) 76 cm. 6l cm.~~

Ornamentation: feathers- The entire surface is covered with feathers except for a 6 om. area over the shoulders. On one side of the poncho the feath ers are arranged to form two large standing figures. The brown figure appears against a white ground and the white figure against a brown ground. Facial and garment features are outlined in orange, white and brown. Below the fig u res is a border of fre t m otifs in brown and w hite. The end of the poncho is finished with a row of larg e brown feath ers. The reverse side of the poncho is decorated with a series of tra n s verse bands in which brown and white bands a lte rn a te . 304

~~Design: none~~

~~Construction: The garment is a flat rectangle with a woven neck slit. The series of cords along the sides are apparently designed to lace the garment.~~

~~Provenience: Coastal Peru~~

~~SIEEVEIESS SHIRT MAI 10.7544 Ground Cloth: body- 2 rectangles; warp strip e and extra warp patterning; wool in red, gold, dark brown and green.~~

~~Dimensions: gm. Igth. gm. wd. body 52 cm. 110 om.~~

~~Ornamentation: edge finish- The embroidery along the lower edge of the shirt appears to be a form of mending. The arm slits are finished in a like manner. The neck slit edges are not finished.~~

Design: The all-over patterning consists of vertical stripes which vary considerably in width. Narrow plain stripes in gold, red, and green are arranged in a variety of sequences. In the wider stripes, extra warps are used to create fret motifs or elongated anthropormorphic figures.

~~Construction: The two rectangles are seamed a t the center and sides as a s h ir t.~~

~~Provenience: Cuzco Peru~~

~~SIEEVEIESS SHIRT MAI 10.7548 Ground Cloth: body- 2 rectangles; plain weave with extra weft patterning; undyed cotton ground; extra weft in wool in red, yellow, white, pink, tan and gold.~~

~~Dimensions: gm. Igth. gm. wd.~~

~~body 81 ora. 73 cm. 3 6 5 Ornamentation: frin g e- separately woven; yellow wool; approximately 2 om, in length; sewed to the bottom edge of the s h ir t.~~

Design: The extra weft patterning is concentrated in a 6 cm, border along the lower ed^e of the shirt. The border is outlined above and below with a series of red and gold stripes. The center of the border consists of multi-colored geometric pattern arranged in a diagonal repeat.

~~Construction: The two rectangles are seamed at the center and sides as a s h irt. Provenience: unknown~~

~~SIÆEVEIESS SHIRT MAI 11.2U5 Ground Cloth: body- 2 rectangles; plain weave; tan wool.~~

~~Dijnensions: gm, Igth, gm, wd. body 38 om, 67 cm.~~

Ornamentation: embroidery- wool in red, blue, gold and brown. The embroidery is concentrated in vertical and horizontal borders. Along a l l v e rtic a l edges the embroidery is worked over 4 warps. The embroidery serves to Join the webs as a shirt as well as being decorative. The vertical bor ders, about 4 om, in width, are wider in the area of the neck and arm slits. The horizontal border, approxi mately 4 cm, in width, is located just above the fringe. The motif consists of a highly stylized animal figure, fringe- unwoven warp loops; grouped and plied; approximately 10 cm. in length, edge finish- The neck and arm slits are finished with several rows of m ulti-colored cro ss-k n it looping, braids and tassels- individually constructed braids end as yam tassels. The braids make use of the colored yarns used in the embroidery. Five such braids are sewed to the top of the horizontal border at each end of the center seam, Eaoh braid is approximately 13 cm. in length.

~~D e s i g n :~~

~~n o n e y/.~~

~~Construotloiij The two rectangles are seamed a t the center and aides as a shirt. The braids are sewed to the horizontal border at each end of the center seam.~~

~~Provenience: Nazca Valley~~

SIEEVEIESS SHIRT M I 11.2464 Ground Cloth: body- 1 rectangle; scaffolding wefts join 4 horizontal units of plain weave a lte rn a te ly with 3 u n its of warp and weft interlocking. The plain weave bands are of dark brown wool. The interlocked units, also of wool, are in dark brown, maroon, rust and cream.

~~Dimensions: gm. Igth. gm, wd. body 46 cm. 92 cm.~~

~~Ornamentation: frin g e - unwoven warp loops; p lied ; approximately 2 cm. in length.~~

~~Design: The bands of warp and weft interlocking, approximately 18 cm. in width, are patterned with a row of stepped edge lozenge shapes each enclosing a stepped edge cross.~~

~~Provenience: Nazca Valley~~

~~Reference: Photograph—Plate XIX, this paper.~~

~~SIEEVEIESS SHIRT MA.I 14.661 Ground Cloth: body- 2 rectangles; plain weave; tan wool Dimensions: gm. Igth. gm. wd. body 30 cm. 64 cm.~~

Ornamentation: embroidery- wool in red, gold, brown and blue. Embroidery is concentrated in v e r tic a l and horizontal borders. Along the vertical edges of each web the embroidery is worked over 4 warps. The embroidery starts at the end of the neck and arm s l i t s . I t is decorative and additionally serves to join the webs at the center and sides as a shiid). The horizontal border, approximately 5 cm. in 3 6 7

width, Is located Just above the fringe. The motif consists of a highly stylized animal form in a variety of colors against a red ground, edge finish- The neck and arm slits are finished with sev eral rows of multi-colored cross-knit looping, fringe- unwoven warp loops; grouped and plied; approximately 17 cm. in length, braids and tassels- individually constructed braids end as yam tassels. The braids make use of the colored yarns used in the embroidery. Three braids are sewed to the top of the horizontal border at each end of the center seam. Four such braids are similarly located at the end of each side seam. Each braid is approximately 23 cm. in length.

~~Design: none~~

~~Construction: The two rectangles are seamed at the center and sides as a s h ir t.~~

~~Provenience: Nazca Valley~~

SIEEVED SHIRT WITH PADDING AND LINING MAI 15.2424 Ground Cloth: body- presently only 4 long rectangular webs of what was a 6 web shirt remain; plain weave; undyed cotton, sleeves- each 1 rectangle; plain weave; undyed cotton, borders- 3 units; warp stripe and extra warp patterning; wool and cotton, lin in g - body- 2 rectangles; sheer plain weave; dark brown cotton. sleeves- each 1 rectangle; same as lining in the body, padding- unspun cotton fiber

~~Dimensions: gm. Igth. gm. wd. body 110 cm. 99 cm. through the sleeves 143 cm.~~

~~Ornamentation: fringe- separately woven; red wool; approximately 7 cm. in length along the bottom of the shirt; approximately 4 cm. in length at the end of each sleeve.~~

~~Design: The borders consist of vertical stripes some of which con tain small geometric extra warp patterning. The color is 3ÙÜ~~

~~faded and is presently In tones of tan and brown.~~

Construction; The six webs of the body were o rig in a lly seamed allowing an opening in the center seam for a neck slit. The enlarged piece is seamed a t the sides as a s h ir t. Each sleeve web is seamed as a tube and then joined to the body of the shirt at the arm slit. The warp striped borders are appliquai to the lower edge of the shirt and to the end of each sleeve. The stripes are oriented to the width of the garment. Be tween the two garments is a layer of padding. The lining and outer shirts are sewed together along the neck slit, ends of each sleeve, and the lower edge of the shirt. The fringe bands are sewed to the lower edge and the end of each sleeve.

~~Provenience; unknown~~

~~SIEEVEIESS SHIRT M I 15.2456 Ground Cloth: body- 1 rectangle; slit tapestry; wool on cotton in red, yellow, white, tan and dark brown.~~

~~Dimensions: gm. Igth. gm. wd. body 73 cm. S4 cm.~~

Ornamentation: edge finish- The neck and arm slits are finished with sev eral rows of red, white and gold cross-knit looping, seams- The side seams appear to have been joined with a dovetailing technique.

Design: The all-over patterning consists of horizontal rows of octagons each enclosing a seated monkey figure. The ground within the octagon is red. The figures are in gold with red faces, ears and toes. The motifs on one side of the s h irt are somewhat larg er than those on the other side. The last 3 cm. of the web is patterned as a border with a gold ground. The motif in the border consists of a single row of bird m otifs.

~~Construction: The single web is folded and Joined possibly with a loom technique. The shirt has a woven neck slit.~~

Provenience: Pisco Valley HORIZONTAL NECK SLIT SHIRT WITH LINING MAI 15.7377 Ground Cloth: body- 1 rectanglej slit tapestry; wool on cotton in red, tans, brown, yellow and w hite, sleeves- each 1 rectangle; same fabric construction and pat terning as in the body, lin in g - body- 1 rectangle; p la in weave; undyed cotton sleeves- each 1 rectangle; plain weave; undyed cotton.

~~Dimensions: gm. Igth. gm. wd. body 54 cm. 40 cm. through the sleeves 73 cm.~~

~~Ornamentation: frin g e- separately woven; brown wool; badly deteriorated; sewed to the end of each sleeve and to the lower edge of the shirt.~~

Design: The patterning on each side of the garment consists of a single, large, standing, human figure. Each sleeve is patterned with a similar figure scaled to the size of the web. Construction: The single web is folded and seamed at each side allowing fo r an arm s l i t . Each sleeve web is seamed as a tube and sewed to the body of the s h ir t a t the arm s l i t . The lin in g is constructed similarly as a separate shirt. The two gar ments are joined a t the ends of the sleeves and along the lower edge of the shirt. A horizontal cut along the shoulder fold of the garment and lining serves as a neck slit. The edges of the neck slit are unfinished. Fringe is sewed to the ends of each sleeve and along the lower edge of the shirt. The body, one sleeve and the corresponding lining pieces appear to be one-half of a standard two web sleeved shirt with a lining. The second sleeve and lining, which may have been salvaged from the other h alf of the gar ment, are seamed to what may have been the center seam of the original shirt.

~~Provenience : Chan Chan~~

~~FEATHER PONCHO MAI 15.9404 Ground Cloth: body- 1 rectangle; p lain weave; undyed cotton. ,37(1 DimensionsI gm. Igth. gm, wd. body (folded length) 77 om, 66 ora.~~

Ornamentation: feathers- The entire surface, except for a 3 om. area over the shoulders, is covered with feathers. The arrange ment of decoration on the front and reverse sides of the garment is the same. Yellow-green feathers are used to create a stepped edge yoke. The area inside of the yoke is filled with white feathers. Covering the major portion of the garment are two standing human forms. The figures are in white and red on a brown ground. The lower edge of the ponoho is arranged as a border with red, white and brown transverse stripes.

~~Design: none~~

~~Construction: The sin g le rectangle remains a f la t garment w ith woven neok slit. The series of cords along the sides are apparently designed to lace the garment.~~

~~Provenience: lambayeque (?)~~

SIEEVEIESS SHIRT M I 17.8918 Ground Cloth: body- 2 rectangles} plain weave; red wool border- 2 units; each consisting of 2 units of slit tapestry in wool and cotton and one unit o f cotton gauze weave. The units are Joined with scaffolding wefts.

~~Dimensions: gm. Igth. gm. wd body 50 cm. 73 cm. border (adds to the length) 19 cm.~~

~~Ornamentation: fringe- separately woven; red wool; approximately 11 cm. in length; sewed to th e lower edge o f the border.~~

Design: The border unit consists of two tapestry units in red, gold and black scaffolded to each side of a central area of cot ton gauze weave. In effect the tapestry bands are patterned to create a series of stripes which outline the border. The gauze area is patterned with an Interlocking bird motif. The motif is arranged to create a strong diagonal repeat. 371

O oriatruutioni The two p lain weave iinlta arm seamed a t the center and sides as a shirt. The border units are shorter than the width of the shirt and are centered along the lower edge of the gar ment in a 52 cm. area. The long fringe is sewed to the lower edge of the border. The border pieces seem to be complete loom structures while the ends of the fringe bands have been cut. It is difficult to know if the border once totally- finished the lower edge of the shirt.

~~Provenience: Nazca Valley~~

~~FEATHER PONCHO MAI 17.8958 Ground Cloth: body- 2 rectanglesj plain weavej undyed cotton~~

~~Dimensions: gm. Igth. gm. wd. body (flat length) 4-0 om. 22 cm.~~

Ornamentation: feath ers- The lower edge of the poncho was once decorated with two rows of feathers. Veiy little remains of the feathers, however, the stitching which once joined the feathers to the surface remains, m etal- Three rows of s ilv e r (?) rectangles are sewed to the ground In an area just above the feather border, tassels- A 3 ora. length of highly twisted cord is used to attach small silver squares along the bottom of the garment. The metal is folded to give the three-dimen sional form suggestive of a bell.

~~Design: none~~

Construction: The two rectangles are seamed at the center allowing an opening for the neck slit. An irregular fold along each side of the poncho reduces the to ta l width by 4 to 8 cm. The fold of fabric is turned to the under side of the gar ment and is held in place with a long running stitch. Fin ally, the feathers, metal and tassels are sewed to the garment.

~~Provenience: Vicinity of Lima~~

Reference: Photograph—Plate XIII, this paper. SIEEVEIESS SHIÉT MAI 18.946 Ground Cloth: body-r 2 rectanglesj plain weave; brown wool, epaulets- eaoh 1 rectangle; slit tapestry; wool on ootton in red, black and gold.

~~Dimensions: gm. Igth. gm. wd. body 79 om. 97 cm. through the epaulets 115 om.~~

Ornamentation: tassels- The tassels consist of the colored yams used in the embroidery on the shirt. Part of the tassel is braided and the remainder is left as yarn. A tassel 22 cm. in length is attached to the lower edge of the shirt at each center and side seam. Two similar tassels, 16 cm. in length, are attached to eaoh of two comers of the epaulets. embroidery- Red, gold and black stem stitch is used to create a border area, approximately 3 om. in width, along the arm s li t s and surrounding the neok s l i t . Along the lower edge of the shirt the same type of embroidery is used to create a border of 4 ora. in width, fringe- The last 2 cm. of warp loops are unwoven. Pairs of loops are wrapped with yellow, red or black yarn to create a highly colorful fringe. A cord is run through the warp loops to hold th e fringe ta u t, seams- Heavy gold yams are used to create a Z pattern along the center and side seams, edge finish- The neck and arm slits are finished with several rows of cross-knit looping. The same finish is used along all four edges of each epaulet.

Design: The patterning on the slit tapestry epaulets consists of a single stepped edge lozenge shape which in turn is filled with the same motif in decreasing scale. The colors used are red and yellow. Eaoh epaulet is approximately 9 by 7 cm. in size.

~~Construction: The two rectangles are seamed a t the center and sides as a s h ir t. The narrow edge of th e epaulet is seamed to the shirt in an area directly over the shoulder fold.~~

~~Provenience: Nazca Valley 373~~

~~SIEEVEIESS SHIRT MAI 18.1238 Ground Cloth: body- 2 rectangles} interlocked tapestry; wool on ootton in tans, browns, cream, pink, yellow and dark brown.~~

~~Dimensions: gm. Igth. gm. wd. body 104 cm. 106 om.~~

Ornamentation: edge finish- The neck slit is overcast in tan to match the center stripe of the shirt. The arm slits are overcast in white. seams- The center seam is Joined with a figure eight stitch in tan. The same stitch in white Is used to Join the sides of the garment.

Design: The patterning in each web consists of broad, vertical bands in solid tan which alternate with two broad decorative bands. An additional narrow decorative band is used along the edge of the web which is Joined as the side seam. Each decorative band is divided into two columns and a series of horizontal registers. The blocks so formed are further divided with a diagonal lin e . The small spaces so formed are f ille d with profile head or puma tail motifs.

~~Construction: The two rectangles are Joined at the center and sides as a s h ir t.~~

~~Provenience: Ica Valley~~

~~SIEEVEIESS SHIRT MAI 20.5514 Ground Cloth: body- 1 rectangle; warp s trip e p lain weave, cotton in brown and tan.~~

~~Dimensions: gm. Igth. gm. wd. body 58 om. 44 om.~~

~~Ornamentation: fringe- unwoven warp loops; grouped and plied; approximately 15 cm. in length.~~

~~Design: The all-over patterning consists of brown and tan vertical stripes evenly spaced. yvv Construction: The single rectangle is folded and seamed a t the sides as a s h ir t.~~

~~Provenience: Lambayeque (?)~~

~~ÎEATHER PONCHO MAI 20.6681 Ground Cloth: body- 1 rectangle I plain weavej undyed cotton.~~

~~Dimensions: gm. Igth. gm, wd. body (folded length) 103 om. 68 cm.~~

Ornamentation: feathers- The entire surface of the shirt is covered with feathers except in a 12 om. area over the shoulders. The feathers are arranged in broad transverse bands. Bands of orange and yellow feath ers a lte rn a te . The band along the lower edge of the shirt is made up in blue feathers. Both sides of the poncho are alike in arrangement.

~~Design: none~~

Construction: One of the lengthwise edges of the ground cloth appears to be cut. The raw edge is turned under and loosely overcast. Along the bottom of the poncho a fold of irre g u la r dimen sions is folded to the right side before the feather orna ment was added. The neck slit is cut and loosely overcast.

~~Provenience: Coastal Peru~~

~~SIEEVEIESS SHIRT MAI 20.7583 Ground Cloth: body- 2 rectangles; plain weave; undyed cotton.~~

~~Dimensions: gm. Igth. gm. wd. body 76 cm. 80 cm.~~

Ornaments tlon : fringe- unwoven warp loops; grouped, doubled back and highly twisted; approximately 3 om. in length, seams- The center and sides of the garment are joined with a dark brown sa tin s titc h used to create small t r i angular shapes along each seam. 375

~~Design! none~~

~~Construction! The two rectangles are joined at the center and sides as a s h ir t.~~

~~Provenience! C entral CoaSt (?)~~

SIEEl/ED SHIRT M I 23.847 Ground Cloth: body- 12 long narrow units; 6 units are of ootton open work in light blue or brown; 6 units are of warp stripe and extra warp p attern in g in brown and tan w ith some pink yarns. sleeves- eaoh sleeve is made up of 4 units; one unit of eaoh of the types used in the body of the shirt; two narrow units of plain weave.

~~Dimensions: gm. Igth. gm. wd. body 44 ora. 100 cm. through the sleeves 157 om.~~

Ornamentation: frin g e - separately woven; red wool; approximately 8 om. in length along the bottom edge of the shirt; approximately 3 om. in length along the end of each sleeve, embroidery- A stylized flower motif is embroidered on each small plain weave unit within the open work webs.

Design: The u n its of open work a re e ith e r lig h t blue or brown. In the body of the shirt these units alternate with 5 units of extra warp patterning. An open work unit in brown is used along one side of the s h ir t; one in blue is used along the other side. The patterning in the striped units consists of tan and brown strip e s with occasional s trip e s in which brown, tan and pink (?) warp yams interchange to create a simple geometric motif. An additional striped unit serves as a border and is appliqued to the bottom edge of the garment.

Construction! The eleven units which make up the width of the shirt are seamed to create one large piece. The total piece is folded and seamed at the sides as a shirt. The center most web of striped fabric contains a woven neck slit. The last 7 cm. of eaoh open work web is woven as so lid p lain weave. 3 7 6

A unit of the striped fabric, with the warp oriented to the width of the garment, is appliqued over this area and ap pears as a border. The four units which make up eaoh sleeve are seamed as one piece. One web of striped fabric is seamed to one of open work. The two narrow plain weave bands are seamed together and sewed to the edge of the open work web. The sleeve u n it is then seamed as a tube and joined to the body of the shirt along the arm slits. A fringe band is sewed to the bottom of the s h ir t as well as to the end of eaoh sleeve.

~~Proveniencei Nazca Valley~~

~~SIEEVEIESS SHIRT MAI 23.3548 Ground Cloth: body- 2 rectangles} double cloth; ootton in brown and white.~~

~~Dimensions: gm. Igth. gm. wd. body 30 om. 73 cm.~~

~~Ornamentation: fringe- unwoven warp loops; brown and white; doubled back and plied; approximately 2 om. in length.~~

~~Design: The sets of brown and white yarns interchange to create an all-over patterning arranged in horizontal rows. The motifs within the rows are highly geometric, many with stepped edges.~~

~~Construction: The two rectangles are seamed at the center and sides as a s h ir t.~~

~~Provenience : unknown~~

SIEEVEIESS SHIRT MAI 23.3549 Ground Cloth: body- 2 rectangles; warp stripe and extra warp patterning; wool in brown and tan. borders- 1 unit; incomplete web; interlocked tapestry; wool on cotton in brown and white. 2 units; incomplete webs; extra warp patterning different from that used in the body of the shirt. 3T/ Dlrnf3naionat gm. Igth. gm. wd. body 3^ cm. 64 om. border (adds to length) H om. through the arm slit bordera 68 om.

Ornamentation: edge finiah- The lower edge of the border is finished with nrulti-oolored blanket stitoh. embroidery- Rows of double running stitoh, alternating in red and yellow, are arranged as a narrow zig zag band located just above the edge finish on the border.

Design: The body of the shirt has an all-over patterning consisting of broad v e rtic a l s trip e s. Solid brown strip e s alte rn a te with ones in which brown and tan warps Interchange to create a tweed like texture. The border along the bottom of the s h ir t consists of p art of a row of brown and white blocks arranged as part of a checkerboard effect. The border piece appears to have been cut from the lower edge of a checker board Inca tapestry shirt.

Construction : The two rectangles of warp s trip e and extra warp patterning are seamed at the center and sides as a shirt. The cut edge of the border is sewed to the lower edge of the shirt. A narrow band of extra warp patterning is sewed along each arm s l i t . The borders, apparently added in modern tim es, were added to make a simple shirt more decorative.

~~Provenience: unknown~~

~~SIEEVEIESS SHIRT MAI 23.7298 Ground Cloth: body- 2 rectangles; warp stripe plain weave; wool on ootton in gold, green and red. Dimensions: gm. Igth. gm. wd. body 88 cm. 74 cm.~~

Ornamentation: embroidery- At the ends of the neok and arm s l i t s , rows of double running stitch are arranged perpendicular to the slit. The embroidery is done in red, green, gold and black to form a rectangle 3 by 6 cm. in dimensions, tassels- Yams in the same colors used in the embroidery are braided to form tassels 13 om. in length. Such a tas sel is sewed to the lower edge of each embroidered rectangle. 37A

soaras- The center and aide Beams are Joined with a closely worked overcasting, possibly over some padding yam s, to create a tubular effect. The embroidery is done in blocks of colors which appear in the warp stripes, edge finish- The neck and arm slits are finished with em broidery to form a tubular edging similar to that used along the seams. The last few centimeters of warp loops along the bottom of the shirt are filled with extra weft yams in order to create a tubular effect.

~~Designt The all-over patterning consists of vertical stripes. Broad, plain red stripes alternate with multi-colored stripes in either red and gold or green and gold.~~

~~Constructions The two rectangles are seamed at the center and sides as a s h irt.~~

~~Proveniences Cuzco, Peru~~

~~SIEEVEIESS SHIRT MAI 23.8338 Ground Cloths body- 2 rectangles; interlocked tapestry; wool on ootton in dark brown, tans, red and cream.~~

~~Dimensionss gm. Igth. gm. wd. body 102 cm. 106 cm.~~

Ornamentations edge finish- The arm slits are overcast in cream colored yam. No edge finish is apparent along the badly de teriorated neck slit, seams- The center seam is done in figure eight stitch in dark brown to match the center stripe of the shirt. ■ The side seams are done in the same s tito h in cream colored yams.

Designs The patterning in each web consists of broad, vertical bands of solid dark brown which alternate with a single broad dec orative band. An additional narrow decorative band is used along the side of the web Joined as the side seam. The decorative band is divided into two columns and a series of horizontal re g is te rs . Eaoh block so formed is divided by a diagonal line. The segments are filled with profile head of puma ta il motifs. ^79 Construction: The two rectangles are seamed a t the center and sides as a s h ir t.

~~Provenience : unknown—Tiahuanaco Period~~

~~SIEEVEIESS SHIRT MAI T226 Ground Cloth: body- 2 rectangles; slit tapestry; wool on cotton in red and w hite.~~

~~Dimensions: gm. Igth. gm. wd. body 5k cm. 79 cm.~~

~~Ornamentation: none~~

Design: The all-over patterning is highly geometric and consists of horizontally arranged stepped edge zig zag bands which tend to form lozenge enclosures. Each broad zig zag band is made up of narrow rows in red and white. Centered w ithin eaoh enclosure is a stepped edge cross motif, also in red and white. Below the last zig zag band is a row of white latch hook motifs on a red ground. The half motifs along the cen ter seam match so that the patterning across the total width of the shirt is uninterrupted.

~~Construction; The two rectangles are seamed a t the center and sides as a s h ir t.~~

~~Provenience: unknown~~

~~SIEEVEIESS SHIRT MAI 41.1.8129 Ground Cloth; body- 2 rectangles; slit tapestry; wool on cotton in red, white and tan.~~

~~Dimensions: gm. Igth. gm. wd. body 57 cm. BO om.~~

~~Ornamentation: none~~

Design: The all-over patterning is highly geometric and consists of horizontally arranged stepped edge zig zag bands which tend 3 « ü to form lozenge enclosures. Each broad zig zag band is made up of narrow rows in red, white and tan. Centered within eaoh enclosure is a stepped edge cross motif, also in red, white and tan. No stepped edge crosses appear below the l a s t row of zig zag and thus the plain red area appears as a border. The half motifs which occur along the center seam are matched so that the patterning across the total width of the shirt is uninterrupted.

~~Construction: The two rectangles are seamed at the center and sides as a s h irt.~~

~~Provenience: unknown feather poncho MPA 56.412 Ground Cloth: body- 2 rectangles; plain weave; undyed ootton~~

~~Dimensions: gm. Igth. gm. wd. body ( f l a t length) 213 cm. 118 cm.~~

Ornamentation: feathers- The surface is covered with feathers except in a narrow area across the shoulders. On one side of the s h ir t, two highly sty lized human figures and four stylized animals in brown are arranged in a broad horizontal band of yellow feathers. The lower portion of the s h ir t is decorated with a meander of brown and yellow feathers on an orange ground of feathers. The feath ers on the reverse side of the poncho are arranged in broad horizontal bands in orange, dark brown, yellow and b lue, Somo of the bands contain a few geometric m otifs.

~~Design: none Construction: The two rectangles of ground cloth are seamed at the center. The garment is not sewed at the sides.~~

~~Provenience: South Coast—Inca Period~~

~~Reference: Photograph—Plate XXV, this paper. 3Ü1~~

~~SIEEVEIESS SHIRT MPA 56.430 Ground Clothi body- 2 rectangles; interlocked tapestry; wool on cotton in dark brown, cream, rose, black, tans and pink.~~

~~Dimensions: gm. Igth. gm, wd. body 101 cm. 108 cm.~~

Ornamentation: edge finish- The arm slits are overcast in a multi-colored repeating sequence. The neok slit is badly deteriorated and no fin is h is evident, seams- The center seam is joined w ith figure eight s tito h in dark brown to match the center stripe of the shirt. The side seams are joined with the same s titc h , ra th e r loosely done. In the tans and pinks.

Design: The patterning in eaoh web consists of broad, vertical stripes in dark brown which a lte rn a te with two broad decorative stripes. An additional narrow decorative stripe is used along each side of the garment. Each decorative stripe is divided in to two columns and a se rie s of horizontal re g is te rs . The patterning within each segment consists of profile heads and puma ta il motifs.

~~Construction: The two rectangles are seamed at the center and sides as a s h ir t. Provenience: Huari~~

SIEEVED SHIRT MPA 56.432 Ground Cloth: body- 3 rectangles, 2 are of undyed cotton plain weave, 1 is of cotton slit tapestry in red, dark brown, gold and tan . border- 1 long narrow unit, slit tapestry in basically the same colors as found in the body of the shirt, sleeves- each 1 rectangle; the same fabric and patterning as in the slit tapestry web of the shirt.

~~Dimensions: gm. Igth. gm. wd. body 59 om. I l l om. border (adds to length) 5 om. through the sleeves 150 cm. 3Ü2~~

~~Ornamentation: frin g e- separately wovenj yellow wool; sewed to the lower edge of the shirt and to the end of each sleeve.~~

Design: The patterning in the slit tapestry webs consists of rows and columns of blocks each outlined with a row of red stepped frets on a white ground. Each block encloses a highly geo metric figure which may be an animal. All of the motifs are arranged in the same direction. Thus, the motifs on the reverse sid e of the garment are upside down. The ground colors in the blocks are arranged to create a diagonal repeat. The tapestry border is patterned with an elongated diamond shape. Each shape contains a profile bird motif.

Construction: The three webs are seamed with the tapestry panel in the center. The large piece i s folded and seamed a t the sides as a shirt. The center panel contains a woven neok slit. The border is sewed to the bottom edge of the shirt so that the p a tte rn in upside down. Eaoh sleeve is seamed as a tube and then sewed to the body of the shirt at the arm slit. The fringe band is sewed to the lower edge of the s h irt.

~~Provenience: Ica Valley~~

~~Reference : Photograph—Plate XXIV, this paper.~~

SIEEVED SHIRT MPA 57.211 Ground Cloth: body- 2 rectangles; s l i t tap estry ; wool on cotton in tans, red, pink, dark brown, green and white, sleeves- eaoh of K units; 1 rectangle of slit tapestry of the same type used in the body of the shirt; 3 narrow bands of plain weave, 2 in brown and 1 in yellow.

~~Dimensions: gm, Igth. gm. wd. body 52 cm. 76 cm. through th e sleeves 108 cm.~~

Ornamentation t frin g e- separately woven; red wool; approximately 8 cm. in length along the bottom of the shirt. The same kind of fringe, approximately 3 cm. in length is sewed to the end of eaoh sleeve. 3M3 Design! The patterning on the front of the garment in eaoh web con s is ts of two squat, human figures and two oat or monkey f ig ures. The figures are outlined in red or brown and are on a light tan ground. Thé lower 8 om. of eaoh web is patterned with a border outlined above and below with a series of solid colored stripes. The center of the border is patterned with a single row of elongated bird motifs. The sleeves contain a single figure, like one of the four in the body of the s h irt.

Construction: The two rectangles in the body of the s h ir t are seamed a t the center and sides as a shirt. Added to the end of each tap estry sleeve web are the three separately woven plain stripes arranged to form a border almost 7 cm. in width. Each sleeve unit is seamed as a tube and joined to the body of the shirt at the arm s l i t . The frin g e band is sewed to the lower edge of the shirt and to the end of each sleeve.

~~Provenience: Ghancay or Ica Valley~~

~~Reference : Photograph—Plate XXIII, this paper.~~

~~SIEEVEIESS SHIRT MPA 57.212 Ground Cloth: body- 2 rectangles; extra weft pattemingj ootton and wool in gold.~~

~~Dimensions : gm. Igth. gm. wd. body 50 cm. 100 cm.~~

~~Ornamentation: fringe- separately woven; yellow wool; approximately 6 om, in , length; sewed to the bottom of the shirt.~~

~~Design: The surface of the fabric is almost wholly that of the gold colored weft yams. The loosely plied extra wefts float over groups of warps and create a wavy effect because of the loose tension.~~

~~Construction: The two rectangles are seamed at the center and sides as a s h ir t.~~

~~Provenience: Ohancay Valley (?) 384~~

~~SIEEVEIESS SHIRT MPA 57.213 Ground Cloth: body- 2 rectangles I extra w eft patterning} ootton and wool in red , tan, gold, brown and yellow.~~

~~Dimensions: gm. Igth. gm. wd. body 48 om. 100 ora.~~

Ornamentation: fringe- Three layers of separately woven fringe bands, eaoh slightly longer than the other, are sewed together. The layers are in tan, yellow and red and totally com prise a fringe band whioh is 6 om. in length. The fringe is sewed to the lower edge of the shirt.

Design: The extra weft patterning is used in an all-over arrange ment of v e rtic a l rows of standing fig u re s. The fig u res are elaborately dressed and are in tan s, gold, yellow and brown on a red ground. One web is patterned with three vertical rows, the other with four such rows. On eaoh web the lower 6 om. is arranged as a border. The border is outlined above and below with tan, gold and red stripes. The center row of the border is patterned with a bird motif.

~~Construction: The two rectangles are seamed at the center and sides as a shirt. The multi-layered fringe band is sewed to the bottom of the shirt.~~

~~Provenience: Central Coast~~

~~SIEEVEIESS SHIRT MPA 57.214 Ground Cloth: body- 2 rectangles; extra w eft pattern in g ; ootton and wool in red , yellow and dark brown.~~

~~Dimensions: gm. Igth. gm. wd. body 41 om. 92 om.~~

~~Ornamentation : fringe- separately woven; red wool; approximately 5 cm. in length; sewed to the lower edge of the shirt.~~

Design: The dark brown ground fabric is almost sheer in quality. The extra weft, primarily in red, is used to create a single large cat figure with many appendages. Each appendage ends 385 with an animal or bird motif. A wavy surfaoe Is produced because of the slack tension of the weft. The last 8 cm. of eaoh web Is patterned as a border which Is outlined above and below with a se rie s of re d , yellow and brown strip e s. The center row of the border consists of a small bird motif.

~~Construction: The two rectangles are seamed at the center and sides as a s h ir t. The frin g e band Is sewed to the bottom of the s h ir t.~~

~~Provenience: Central Coast~~

~~Reference : Photograph—Plate XV, this paper.~~

SIEEVED SHIRT MPA 57.215A Ground Cloth: body- 2 rectangles; double cloth with some extra weft pat terning; ootton In brown and white; extra weft Is wool In gold and rose, sleeves- each 1 rectangle; same fabric construction and patterning as used In the body of the shirt.

~~Dimensions: gm. Igth. gm. wd. body 42 cm. 88 cm, through the sleeves 118 cm.~~

Ornamentation: embroidery- (?) It Is difficult to know whether the rose and gold wool Is embroidery or brocade. The color Is used to highlight the ground cloth patterning, fringe- separately woven; yellow wool; approximately 5 om. In length; sewed to the bottom edge of the shirt.

Design: Each web Is patterned with a broad, vertically arranged, zig zag band. The band consists of three vertical divisions. The outer divisions are patterned with a row of brown and white Interlocking snake motifs. The center of the band Is almost solid with gold colored brocading (?). The ground area around the broad zig zag is brocaded In rose. Each sleeve web is patterned with the Interlocking snake motif.

~~Remarks: The shirt has a matching sash and loincloth.~~

~~Construction: The two rectangles which make up the body of the shirt are seamed at the center and sides as a shirt. Each sleeve web 3S6~~

~~is seamed as a tube and then sewed to the body of the s h ir t at the arm slit. The fringe band is sewed to the lower edge of the shirt.~~

~~ProvenienceI See entry fo r TM 91.729A~~

~~Reference: Photograph—Plate XX, this paper.~~

8IBBVED SHIRT MPA 57.216B Ground Cloth: body- 2 rectangles; double cloth with extra weft patterning; ootton in brown and white; extra weft in rose wool, sleeves- eaoh 1 rectangle; same fabric construction and pat terning as used in the body of the shirt.

~~Dimensions: gm, Igth, gm. wd, body 44 cm, 84 om- through the sleeves 113 ora.~~

Ornamentation: frin g e - separately woven; yellow wool; approximately 6 ora. in length: sewed to the bottom of the shirt, embroidery- ( ?) It is difficult to know whether the rose wool is embroidery or brocade. The color is used to highlight the ground cloth patterning.

Design: The all-over patterning consists of large stepped edge lozenge shapes each enclosing a stepped edge bird motif. The lozenge shapes are arranged so that one such pattern dominates the central area in each web. The lozenge shape and a 4 cm. border along the lower edge of the shirt are brocaded in rose. The remainder of the patterning is in the brown and white of the double cloth. The space around the lozenge shapes is patterned with alternating rows of dark and lig h t stepped edge strip e s and f r e t m otifs. The strong diagonal repeat of the patterning is perfectly matched at the center seam as well as into the sleeve webs.

~~Remarks: The shirt has a matching sash and loincloth.~~

Construction: The two rectangles which make up th e body of the s h irt are seamed a t the center and the sid es. Each sleeve web is seamed as a tube and then sewed to the body of the s h irt at the arm slit. The fringe band is sewed to the lower edge of the shirt. 3 8 7

~~Provenience: See entry for TM 91.729A~~

~~FEATHER PONCHO MPA 57.2920 Ground Cloth: body- 1 rectangle} p lain weave; undyed cotton.~~

~~Dimensions I gm. Ig th , gm. wd. body (folded length) 18 cm. 18 cm.~~

Ornamentation: feathers- The entire surfaoe is covered with feathers except in a small area across the shoulder fold. On one side of the garment the ground area is covered with tiny blue feathers. Rows of tiny orange and yellow feathers are arranged to create a smooth rounded yoke area. On the reverse side of the garment the feathers are ar ranged in three horizontal bands; the first in blue and the others in larger feathers of orange or orange and brown irid escen t coloring.

Design: none Construction: At one end of the rectangle an irregular fold, at its widest point approximately 6 ora., is turned to the right side before the feathers were sewed to the surfaoe. A tiny neck slit has been out into the garment. The sides of the garment are open.

Provenience: Reportedly found in the lower Ica Valley, Ullujaja, Oyucaya. This garment and the next five feather poncho entries are a part of approximately 60 specimens of similar size and orna mentation recorded as "miniature feather ponchos." These five were selected from the group because they each have some semblance of a neok slit.

~~FEATHER PONCHO MPA 57.293F Ground Cloth: body- 1 rectangle; plain weave; undyed cotton.~~

~~Dimensions : gm. Ig th . gm. wd. body (folded length) 27 cm. 28 om.~~

Ornamentation: feathers- The entire surface is covered with feathers except in a small area across the shoulder fold. On one side of the garriient the goimd area la covered with tiny orange feathers. Areas of blue, yellow and brown feathers are arranged to create a rounded yoke area. The reverse side of the garment is covered with fea thers whioh are nrulti-oolored.

ConstructionJ The rectangle of cloth has been reduced in width and length by folds turned to the right side before the feathers were sewed to the surfaoe. The adjusted rectan g le is fbided and sewed along the sides without allowing an opening near the fold. A tiny out in the shoulder fold appears as a neok B lit.

~~ProvenienceI See entry for MPA 57.2920~~

~~ÎEATHER PONCHO MPA 57.293R Ground Cloth: body- 1 rectangleJ p la in weave; undyed ootton.~~

~~Dimensions: gm. Igth. gm. wd, body (folded length) 35 om. 37 cm.~~

Ornamentation: feathers- The entire surface of the garment is covered with feathers except in a small area across the shoulder fold. One side of the garment is covered with blue- gray feathers. Areas of orange and yellow-green feathers are arranged to create a rounded yoke. The reverse side of the garment is covered with larger feathers more sparsely arranged.

~~Design: none~~

Construction: An area along one end of the rectangle is folded to the right side before the feathers were sewed to the surfaoe. The garment is seamed along the sides w ith no opening allowed near the fold. It has a orudely out neck slit which has been loosely overoast.

~~Provenience: See entry for MPA 57.2920~~

~~IEATHER PONCHO MPA 57.293V Ground Cloth: body- 1 rectangle; plain weave; undyed ootton. 389~~

~~Dimensions» gm. Igth. gm. wd. body , (folded length) 28 cm. 28 cm.~~

Ornamentation» feathers- The entire surface of the garment is covered with feathers except in a small area over the shoulder. One side of the garment is covered with orange feathers. Areas of blue and yellow feathers are arranged to create a rounded yoke. On the reverse side of the garment the feathers are arranged in three horizontal bands in blue, yellow and orange, metal- Nine silver (?) discs are sewed to the feathered sur face along the rounded yoke line.

Design» none Construction» One end of the rectangle is folded to the right side before the feathers were sewed to the surface. The garment is seamed along the sides leaving a 6 om. opening near the shoulder fold. The tiny neck slit is cut and loosely over cast.

~~Provenience» See entry for MPA 57.2920~~

~~Reference; Photograph—Plate XXVI, this paper.~~

~~ÎEATHER PONCHO MPA 57.299V Ground Cloth» body- 1 rectangle; plain weave; undyed cotton.~~

Dimensions: gm. Igth. gm. wd. body (folded length) 26 cm. 24 cm. Ornamentation» fe a th e rs- Only one side of th e garment is ornamented with feathers. The feathers are orange and are sparsely arranged. Design» none

Construction; The piece remains a flat rectangle. It has a woven neok slit approximately 7 cm. in length. The heading cord at each end of the fabric is loosely knotted and left to hang at each of 3 9 0 the four oornera. Small orange feathers are tied into the cord.

~~Provenience: See entry for MPA 57.2920~~

~~SIEEVEIESS SHIRT MPA 58.204 Ground Cloth: body- 2 rectangles} plain weave} dark brown wool.~~

~~Dimensions: gm. Igth. gm. wd. body 37 cm. 66 cm.~~

Ornamentation : embroidery- wool in brown, red, yellow and blue borders- Embroidery is concentrated in vertical and horizontal borders. Along the vertical edges of each web the embroidery is worked over 4 warps. The embroidery starts at the end of the neck and arm slits. It is decorative and additionally serves to join the webs at the center and sides as a shirt. The horizontal border, approximately 5 cm. in width, is located Just above the fringe, field- %oh of the field area is also embroidered with a small geometric motif steadily repeated in hori zontal rows. edge finish- The neck and arm slits are finished with multi colored cross-knit looping, fringe- unwoven warp loops} grouped and plied} approximately 18 cm. in length, braids and ta s s e ls - individually constructed braids end as yarn tassels. The braids make use of the colored yarns used in the embroidery. Five braids are sewed to the top of the horizontal border at each end of the center and at each side seam. Each braid is approximately 25 cm. in length. Design: none Construction: The two rectangles are seamed a t the center and sides as a s h irt.

~~Provenience: Nazca Valley~~

~~Reference: Photograph—Plate VI, this paper. .* 391~~

SIEE"VEIESS SHIBT MPA 61.74 Ground Cloth j body- 2 rectangles; a combination of interlocked warp tech nique with slit tapestry worked over the regular weft yams used as warp; wool in dark brown, white, maroon, red and tan. Dimensions I gra. Igth. gm. wd. body 55 cm. 84 cm.

~~Ornamentation: fringe- unwoven warp loops in white; grouped and highly twisted; approximately 1 cm. in length.~~

Design: Plain dark stripes which are almost two-thirds the length of the garment are interlocked with white plain weave which makes up the lower one-third of the garment. Alternating with dark strip e s are s trip e s of tap estry weave, worked in the opposite direction. The tapestry pattern consists of a wide vertical meander having stepped edges. The meander en closes geometric motifs.

~~Construction: The two rectangles are seamed a t the center and sides as a s h ir t.~~

~~Provenience: Central Coast or Montana~~

~~Reference: Photograph—Plate XVII, this paper.~~

~~SIEEVEIESS SHIRT SI 74102 Ground Cloth: body- 2 rectangles; warp stripe plain weave; wool in tan, brown and black.~~

Dimensions: gm. Igth. gm. wd. body 26 cm. 73 cm. Ornamentation: edge finish- The qrm slits are finished with one row of cross-rknit looping. No such finish is used on the neck s l i t , fringe- un^foven warp loops; plied; approximately 2 cm. in length. 3 9 2

~~Design» The patterning consists of brotid warp stripes in which dark and lig h t strip e s a lte rn a te .~~

Construction» The two rectangles are seamed a t the center and sides as a shirt. The yarn used to join the center seam is also used to create several rows of running stitch perpendicular to each end of the neck s l i t .

~~Provenience» Anoon (?)~~

~~SIEEVEIESS SHIRT SI 133028 Ground Cloth» body- 2 rectangles; plain weave; undyed cotton.~~

~~Dimensions» gm. Ig th . gm. wd. body 58 om. 76 cm.~~

~~Ornamentation» none~~

~~Design» none~~

Construction» The two rectangles are seamed a t the center. Presently the garment is not sewed along the sides. Some evidence of sew ing along the bottom of the garment may indicate that some thing was once attached to the lower edge of the garment.

~~Provenience» Ancon (?)~~

~~HORIZONTAL NECK SLIT SHIRT SI 133029 Ground Cloth» body- 3 rectan g les; two are of plain weave and one is of p lain weave with extra warp patterning; wool mostly brown; extra warp in red and yellow.~~

~~Dimensions» gm. Ig th . gm. wd. body 116 cm. 87 cm.~~

Ornamentation» seams- The single vertical seam as well as the shoulder seams are loosely whipped with heavy blue yam. edge finish- (?) One area along the lower edge of the garment is overcast in brown yam. 3 9 3

~~Design; Two of the webs are plain weave. The third web has several warp s trip e s grouped along one side of the web.~~

Construction: The three webs are seamed so th a t the two p lain weave webs are adjacent to one another. The large piece is then folded as a tube with the warp yarns of the fabric oriented to the width of the garment. The upper edges of the tube are sewed in such a fashion as to allow for a neck opening and small arm or hand openings. All apertures are arranged on the same horizontal plane. The extra warp stripes form a border arrangement along the lower edge of the shirt. The stitch ing which Joins the three webs is carefully done with match ing thread. The stitching which joins the center seam and the shoulder area is done In blue yam and is crudely done.

~~Provenience: Ancon (?)~~

ONE-HALF SIEEVED SHIRT SI 133360 Ground Cloth: body- presently 1 rectangle; p lain , gauze and open work techniques; white cotton, sleeves- presently 1 rectangle; same fabric construction as in the body of the shirt.

~~Dimensions: gm, Igth, gm. wd. body 40 cm, 43 cm, through the sleeves 58 cm, (Width is that of the half shirt examined)~~

~~Ornamentation: fringe- unwoven warp loops; ,5 cm. in length; along the lower edge of the shirt as well as along each sleeve edge.~~

Design: The main portion of the shirt and sleeve is of plain weave. The use of gauze and open work is arranged to create a nar- rcw border along the lower edge of the shirt and sleeve. The major part of the border is a lattice open work pattern. Two rows of simple gauze technique serve to o u tlin e the open work.

~~Construction: The body web is folded and seamed a t the side allowing an opening fo r the arm. The sleeve web is seamed as a tube and sewed to the body of the garment at the arm slit. 394~~

~~Provenlenoe: Ancon (?)~~

~~SIEEVEIESS SHIRT SI 133385 Ground Cloth j body- 2 rectangles; allt tapestry; cotton In light blue, tan and brown.~~

~~Dimensionst gm. Igth. gm. wd. body 42 ora. 106 ora.~~

~~OrnamentationI fringe- separately woven, yellow wool; 3 cm. in length; sewed to the lower edge of the s h ir t.~~

Design; The all-over patterning consists of profile bird motifs ar ranged to relate to stepped edge meanders. The last S cm. of each web are patterned as a border. The border is out lined above and below with a series of plain brown and tan stripes. The center of the border consists of a single row of profile birds.

~~Construction; The two rectangles are seamed a t the center and sides as a s h irt.~~

~~Provenience; unknown~~

SIEEVED SHIRT SI 133385C Ground Cloth; body- 2 rectangles; open work and solid tapestry; wool on cotton in browns, tans, rose and yellow, sleeves- each 1 rectangle; open work of the same type and patterning as in the body of the shirt, borders- 2 units; slit tapestry; wool on cotton; in browns, tans, rose and yellow.

~~Dimensions; gm. Igth. gm. wd. body 46 om. 96 cm. through the sleeves 139 cm.~~

Ornamentation: fringe- Four layers of separately woven fringe, each slightly longer than the other, are sewed together. The total length of the fringe is 5 om. This layered frin g e band is sewed to the bottom of the s h irt and also along the end of each sleeve. 395

Designt The major portion of the a h irt oonsieta of open work tap estry technique in which the patterning la arranged in strong diagonal rows. The patterning consists of stepped fréta and profile birds. In the last 4 om. of each web, the skipped warps are replaced and the tapestry pattern is ar ranged as a border. The center of the border consists of a single row of birds. It is outlined above and below with a single plain stripe. The sleeve webs are of open work and are patterned in the same manner as the major part of the shirt. A separately woven tapestry band, which matches that at the lower edge of the garment, is sewed to the end of each sleeve.

Construction: The two webs which make up the body of the s h irt are seamed at the center allowing a neck opening. One web is reduced In width by about 4 om, with a fold turned to the inside of the shirt before the sides of the garment are seamed. Each sleeve web is seamed as a tube and then sewed to the body of the shirt at the arm slit. A separately woven tapestry band is then sewed to the lower edge of the shirt and sleeves.

~~Provenience: unknown~~

~~Reference: Photograph in Kelemen, Medieval American A rt. P late I89a.~~

~~SIEEVEIESS SHIRT SI 133385D Ground Cloth: body- 2 rectanglesJ slit tapestryj cotton in blue, brown, yellow and tan. Dimensions: gm. Igth. gm. wd. body 47 cm. llS cm.~~

~~Ornamentation: fringe- separately woven, yellow wool; approximately 4 cm. in length; sewed to the bottom of the shirt.~~

Design: The all-over patterning consists of vertical rows of small lozenge shapes and profile birds. Each lozenge is quartered with segments alternately in tan or yellow. The last 7 cm. of each web is patterned as a border. The border is out lined above and below with a series plain stripes in tan and yellow. The center of the border consists of a single row of profile fish. 3 9 6

~~Construction» The two rectangles are seamed a t the center and sides as a shirt. The fringe is sewed to the lower edge of the shirt.~~

~~ProvenienceJ unknown~~

~~SIEEVEIESS SHIRT SI 233276 Ground Cloth: body- U rectangles; double cloth; cotton in red and yellow.~~

~~Dimensions: gm. Igth. gm. wd. body 34 om. 66 cm.~~

~~Ornamentation: fringe- separately woven; red wool; approximately 2 cm. in length; sewed to the bottom of the shirt.~~

Design: On the lower two-thirds of the garment the sets of red and yellow yarns are interchanged to create horizontal rows of wave and zig zag patterning. On the upper one-third, the sets of yarns create a double layered fabric of solid red and yellow. The sets of yarns interchange at the shoulder fold so that the front of the garment is red and the reverse side is yellow.

Construction: The four units of fabric are seamed together with a neck opening allowed in the center seam. The entire piece is then folded and sewed at the sides as a shirt. A single row of running stitch is used around the arm slit to hold the two layers of double cloth together. The frin g e band is sewed to the lower edge of the s h ir t.

~~Provenience: unknown~~

~~SIEEVEIESS SHIRT SI 262243 Ground Cloth: body- 2 rectangles; plain weave; undyed cotton.~~

~~Dimensions: gm. Igth. gm. wd. body 74 cm. 72 cm.~~

~~Ornamentation: none~~

~~Design: none 397~~

~~Oonstructlon! The two reotangles are seamed a t the center and sides as a s h ir t.~~

~~Provenience: unknown~~

~~SIEEVEIESS SHIRT SI 307607 Ground Cloth: body- 2 rectangles; plain weave with extra warp patterning; wool in browns and yellow~~

~~Dimensions: gm. Igth. gm. wd. body 35 om. 72 cm.~~

~~Ornamentation: none~~

Design: The shirt is brown plain weave except for a narrow vertical stripe along each side of the garment. The narrow stripe has dark brown and yellow warps which are interchanged to create a small geometric pattern.

~~Construction: Each of the two webs is seamed at the side allowing an open ing for the arm. The stitching is rather loosely done. The center seam is no longer intact.~~

~~Provenience : Ancon (?) oieeveie;sh shirt • si 30760s Ground Cloth: body- 2 rectangles; warp strips plain weave; wool in dark brown and gold. Dimensions: gm. Igth. gm. wd. body 64 cm. 77 cm.~~

~~Ornamentation: none~~

~~Design: The s h ir t is brown p lain weave except fo r a se rie s of narrow brown and gold stripes grouped along each side of the shirt.~~

~~Construction: The two rectangles are seamed a t the center and sides as a s h ir t. 3 9 8~~

~~Provenience: Ancon (?)~~

ONE-HALF SIEEVEIESS SHIBT SI 307654 Ground Clotht body- presently 1 rectanglej plain weave with extra weft patterning; white cotton ground; extra weft in wool in red , blue and gold. Dimenaionst gm. Igth. gm. wd. body 82 cm. 40 cm. (Width is that of the half shirt examined.)

~~Ornamentation: frin g e - separately woven; red wool; approximately 1 cm. in length.~~

Design: The extra weft patterning is confined to 6 narrow horizontal rows. Eaoh row is separated by a narrow area of plain weave. Together the rows form a border which occupies the lower one- third of the shirt. Eaoh row is patterned with diagonal re peats of bird motifs. Alternate rows are patterned in red and gold or red and blue.

~~Construction: The single rectangle is folded and seamed a t the side to allow an opening for the arm. The fringe band is sewed to the bottom of the shirt.~~

~~Provenience: Mazca Valley~~

~~SIEEVEIESS SHIRT SI 307655 Ground Cloth: body- 1 rectangle; interlocked tapestry; wool on cotton in red , brown, gold and w hite.~~

~~Dimensions: gm. Igth. gm. wd. body 88 om. 78 cm.~~

Ornamentation: fringe- separately woven; red wool; approximately 2 om. in length; sewed to the bottom of the shirt, edge finish- The neck and arm slits are overcast in red. seams- The side seams are done in fig u re eig h t s titc h in brown or red to match the ground area of the shirt. 3 9 9

Designs The patterning in the upper half of the shirt is arranged to form a yoke. The outer most edge of the yoke consists of a stepped edge while the inner most edge is mostly a smooth curve. The yoke pattern is in gold while the sur rounding ground is in red. The lower portion of the shirt is divided into three vertical segments. The center segment is patterned with 4 large blocks in brown end white on a white ground. The other segments are in solid brown.

~~ConstructionJ The single rectangle is folded and seamed at the sides as a shirt. The shirt has a woven neck slit. The fringe band is sewed to the lower edge.~~

~~Provenience: Nazca Valley (?) probably Inoa Period.~~

~~SIEEVEIESS SHIRT SI 307656 Ground Cloth: body- 1 rectangle I plain weave with extra warp patterning; wool in browns, tans, and cream.~~

~~Dimensions: gm. Igth. gm. wd. body 48 cm. 46 cm.~~

~~Ornamentation: edge finish- The neck slit and the lower edge of the shirt are overcast with tan yam.~~

Design: The shirt is patterned with vertical stripes. Some stripes are plain brown or tan. In several stripes dark and light warps are interchanged to create a small geometric pattern giving a tweed effect.

Construction: The single rectangle is folded and seamed a t the sides as a shirt. At each end of the woven neck slit additional stitch ing beyond the overcasting appears to serve as a reinforce ment.

~~Provenience: Nazca (?)~~

~~HORIZONTAL NECK SLIT SHIRT SI 307804 Ground Cloth: body- 6 narrow units; warp interlocking; wool in red, white, yellow and tun. 400~~

~~Dimensions; gra. Igth. gm. wd. body 102 cm. 79 cm.~~

~~Ornamentation ; fringe- unwoven warp loops; plied and doubled back; colors are red, w hite, yellow oi tan depending on the warp color at the end of the web; approximately 1 cm. in length.~~

Design: Each narrow unit consists of a column of blocks which are joined over scaffolding wofts. Within each block warps of red and white or yellow and tan are interlocked along a stepped edge to create a diagonal division of each block. The throe units which make up one-half of the shirt ore in yellow and tan; the other half of the shirt is made up of three units of red and white.

Construction: The 6 u n its are seamed to create one large piece. The piece is folded as a tube with the warp yarns of the fabric oriented to the width of the garment. Thus, the fringe edges are overlapped and basted together to form the single vertical seam. This seam is located in the center of the garment. The upper edges of the tube are sewed in such a fashion as to allow for a neck opening and small hand or arm openings. All apertures are arranged on the same horizontal plane. A small 5 x 5 cm. bag is sewed to the garment near the shoulder fo ld .

~~Provenience: Chilca, S .E. of Lima~~

~~SIEEVEIESS SHIRT SI 307820 Ground Cloth: body- 1 rectangle; extra warp patterned stripes; wool in brown, tan and cream.~~

~~Dimensions: gra. Igth. gm. wd. body 42 cm. 65 cm.~~

~~Ornamentation: none~~

Design: The all-over patterning consists of vertical stripes. Broad light colored stripes alternate with groups of stripes. The multiple striped bands consist of narrow light and dark stripes some of which combine light and dark warps to create a small geometric patterning. 401 ■

Construction: Tho oinfjlo wob is f'cMod und aoaraod at the sides as a shirt. The same yam used to seam tho shirt is also used to create several rows of running stitch at the end of the arm slits. The shirt has a woven nock slit.

~~Provenience: Chilca, S.E. of Lima~~

~~SIEEVEIESS SHIRT SI 307821 Ground Cloth: body- 2 rectangles; extra warp p atterning; wool in browns and gold.~~

~~Dimensions: gm. Igth. gm. wd. body 35 cm. 96 cm.~~

~~Ornamentation: seams- Brown yam is used to jo in the center seam. Gold colored yam is used on the side seams.~~

Design: The all-over patterning consists of vertical stripes. Broad stripes in the gold color alternate with groups of stripes. The multiple striped bands consist of narrow dark and light stripes some of which combine light and dark warps to create a small geometric pattern.

~~Construction : The two rectangles are seamed a t the center and sides as a s h ir t. The yam used to jo in the seams is also used to create a running stitch at the end of the neck and arm s l i t s .~~

~~Provenience; Chilca, S.E. of Lima~~

~~SIEEVEIESS SHIRT SI 307822A Ground Cloth: body- 1 rectangle; extra warp patteming; wool in browns, tan and gold. Dimensions: gm. Igth. gm. wd. body 29 cm. 44 cm.~~

~~Ornamentation: none 402~~

Doaign: The all-over pabtoming conoiats of vertical strlpoo. Broad atrlpoo In tan alternate with groups of stripes. The multi ple striped bands consist of narrow dark and light stripes some of which combine light and dark warps to create a small geometric pattern.

Construction; The single rectangle is folded and seamed a t the sides as a shirt. The yam used to join the seams is also used to create a running stitch at the end of the arm slits. The shirt has a woven neck slit.

~~Provenience: . Chilca, S.E. of Lima~~

~~SIEEVEIESS SHIRT SI 3078223 Ground Cloth; body- 2 rectan g les; warp in terlo ck ; wool in brown and tan.~~

~~Dimensions; gra. Igth. gm. wd. body 37 era. 50 cm.~~

~~Ornamentation; none~~

~~Design; One side of the shirt is dark brown, the reverse side is tan plain weave. The colors are interlocked ever a scaffold weft at the shoulder fold.~~

Construction; The two rectangles are seamed a t the center and sides as a shirt. There is some evidence of the running stitch used as a reinforcem ent a t the end of the arm s l i t s . The s h irt has been mended; possibly in ancient tim es.

~~Provenience ; Chilca, S.E. of Lima~~

SIEEVEIESS SHIRT SI 307824 Ground Cloth; body- I re c tan g le; p lain weave ; wool mostly dark brown, however, some yarns seem to combine lig h t and dark fib e rs . Dimensions; gm. Igth. gra. wd. body 78 cm. 70 cm. U03

Ornamentation: edge finish- The neck slit is finished with a single, heavy row of cross-knit looping in light yam. One arm slit is loosely overcast with dark brown yam; the other with light yam. The lower edge of the shirt is over cast with light yam.

~~Design: none~~

~~Construction; The sin g le rectangle is folded and seamed a t the sides as u shirt. The ends of the neck slit are mended. The shirt has a woven neck s l i t .~~

~~Provenience: Chilca, S.E. of Lima~~

~~SIEEVEIESS SHIRT SI 307825 Ground Cloth: body- 1 rectangle; extra warp patteming; wool in dark brown and gold. Dimensions: gm. Igth. gm. wd. body 53 cm. 59 cm.~~

~~Ornamentation: none~~

Design: The all-over patterning consists of vertical stripes. Broad gold colored stripes alternate with groups of narrow stripes. The multiple striped bands consist of dark and light stripes, some of which combine dark and lig h t warp yarns to create a small geometric pattem.

Construction: The single rectangle is folded and seamed a t the sides as a s h ir t. The yarn used to jo in the side seams is used for two rows of running stitch placed perpendicular to the arm slits. Two rows of running stitch are also arranged across each end of the neck slit. The last 7 cm, of the neck slit on one side of the shirt is laced with tho sewing yarn.

~~Provenience: Chilca, S.E. of Lima m HORIZONTAL NECK SLIT SHIRT SI 365249 Ground Cloth: body- 1 rectangle} warp stripe plain weave} cotton mostly tan with stripes in brown, tan and blue.~~

~~Dimensions; gm. Igth. gm. wd. body 43 cm. 60 cm.~~

~~Ornamentation: none~~

~~Design: Tho warp stripes are grouped In two bands which are located close to one aide of tho web.~~

Construction: The single rectangle is seamed as a tube with the warp yam s oriented to tho width of the garment. The single vertical seam is arranged near ono of the side folds. The upper edges of the tube are sewed in such a fashion as to allow for neck and arm openings all on the same horizontal plane. The groups of warp stripes are arranged parallel to the shoulder fold. Each end of the neck slit is firmly overcast.

~~Provenience: Trapiohe, 40 miles N.E. of Lima~~

~~SIEEVEIESS SHIRT SI 416649 Ground Cloth: body- 2 rectangles} plain weave} undyed cotton.~~

~~Dimensions: gm. Igth. gm. wd. body 66 cm. 83 cm.~~

~~Ornamentation: edge finish- Tho neck, arm slits and the lower edge of the shirt are overcast.~~

~~Design: none~~

Construction: The two rectangles are seamed a t tho center and sides as a shirt. The yam used to join the seams is also used to create two rows of running s titc h a t the ends of tho neck and arm s l i t s .

~~Provenience: Chilca 405~~

~~SIEEVEIESS SHIRT SI B8568 Ground Cloth: body- 2 reotangles; p la in weave with extra weft pattem ing; undyed cotton ground; extra w eft in brown wool.~~

~~Dimensions: gm. Igth. gm. wd. body 33 cm. 59 cm.~~

~~Ornamentation: fringe- unwoven warp loops; .5 cm. in length.~~

Design: Extra weft is used to create horizontal rows of highly stylized fish motifs. Some motifs are slightly out of the horizontal alignment. The patterning along the lower edge of the shirt is arranged as a border. The border is outlined above and below with a row of stepped edge tri angles. The center row of the border consists of dove tailed geometric motifs.

~~Construction: The two rectangles are seamed a t the center and sides as a s h irt. Provenience: unknown~~

SIEEVEIESS SHIRT TM 180 Ground Cloth: body- 2 rectangles; eacn of single element technique; wool in brown and w hite, epaulets- each 1 rectangle; plain weave with figure eight on paired warps; wool in brown and w hite.

~~Dimensions; gm. Igth. gra. wd. body 75 cm. 94 cm. epaulets (total length) 24 cm. 4 cm.~~

~~Ornamentation: fringe- unspun, vicuna in white; 4 cm. in length.~~

~~Design; Body ground patterning consists of elongated "sun faces" with birds and double headed snakes as filler motifs. A diamond p atterning is used on the epaulets.~~

~~Construction: The two rectangles which form the body area of the shirt are seamed along the shoulders and sides. The long edge of the epaulet is sewed to the arm slit. The vertical neck slit is 406~~

~~a part of the fabric construction. The fringe is applied along the sides and bottom of the garment.~~

~~Provenience: Para cas Period—Ocuoa je. Soldi Collection.~~

~~Reference: Photograph- King, Textile Journal. II, No. 1, p. 47. Discussion- King, Unpublished dissertation, p. 216, also Figure 37a.~~

~~SIEEVEIESS SHIRT TM 244 Ground Cloth: body- 2 rectan g les; p lain weave with gauze p a tte m ; undyed cotton.~~

~~Dimensions: gm. Igth. gm. wd. body S3 cm. 95 cm.~~

~~Ornamentation: fringe- yam; undyed cotton; 15 cm. in length.~~

Design; All-over gauze patterning consists of mask type figures with head appendages. Presently the last 4*5 cm. at the bottom of the shirt are of plain weave. According to King, a band of complementary warp patterning was appliqued in this space.

~~Construction: The two rectangles are seamed a t tho center und sides as a shirt. The fringe is applied to the lower edge.~~

~~Provenience: Para088 Period—Ocuoaje . Soldi C ollection.~~

~~SHOULDER PONCHO TM 280 Ground Cloth: body- 1 rectangle; plain weave; undyed cotton.~~

~~Dimensions: gm. Igth. gm. wd. body (in c .) 43 cm. 33 cm.~~

Ornamentation: embroidery- wool in pink, lavender, light green und light blue. field- Scattered motifs of naturalistic parrots and birds are worked in a chain stitch, edge finish- The neck slit is finished with several rows of cross-knit looping. The neck finish is also embroidered 407 with tiny motifs. The outer edges of the rectangle are finished with rows of chain stitch.

~~Construction: The garment remains as a fla t rectangle with a woven neck slit. The complete length of the garment is estimated to be 46 cm.~~

~~Provenience: Paracas (?) possibly E arly Nazca~~

~~Reference: King, Unpublished dissertation, photograph Figure 63, discussion p. 292 .~~

~~SIEEVEIESS SHIRT TM 296 Ground Cloth: body- 1 rectangleJ single element techniquej wool in maroon, red , brown and cream.~~

~~Dimensions: gm. Igth. gm. wd. body 70 cm. $8 cm.~~

~~Ornamentation: fringe ; unspun, vicuna in red; 5 cm. in length.~~

~~Design: Body ground patterning consists of diamonds and interlocked snake heads. A stepped fret pattem is arranged as a border along the lower edge.~~

~~Construction: The single web is folded and seamed at the sides as a shirt. The neck slit was formed during fabric construction. Fringe is applied along the aide seams and the lower edge.~~

~~Provenience: Paracas Period—Ocucaje. Soldi Collection.~~

~~Reference: Illustration and discussion in King, Unpublished dissertation. Figure 37b and p. 2l6.~~

~~SIEEVEIESS SHIRT TM 308 Ground Cloth: body- 1 rectangle; plain weave; undyed cotton.~~

~~Dimensions: gm. Igth. gra. wd. body 42 om. 71 cm. 4 0 8~~

OrriuniGritutlon; fringe- yarn; varicolored wool; 27 cm. in length at the arm elite; 1.5 om. In length along the lower edge, embroidery- wool In yellow, rod, dark red, maroon, bhie and brown. border- approximately 5 cm. In width Is arranged around the neck slit and In L-shaped peripheral bands. Motifs consist of birds In lozenges, field- A single row of standing figures, highly stylized, are arranged parallel to the L-shaped borders.

~~Construction: The single web Is folded and seamed at the sides as a shirt. The neck s l i t Is woven. Fringe Is applied along the arm slits and at the lower edge.~~

~~Provenience: Paracas Period—Ocucaje. Soldi Collection.~~

~~Reference : King, Unpublished dissertation, photograph Figure 65, dis cussion p. 214.~~

~~SIEEVEIESS SHIRT TM 91.9 Ground Cloth: body- 2 rectangles; Interlocked tapestry; wool on cotton In dark brown, red, lig h t blue, yellow, cream, maroon and w hite.~~

~~Dimensions: gm. Igth. gm. wd. body (in c .) 94 cm. I 04 cm.~~

Ornamentation: edge finish- The neck and arm slits are overcast In cream, seams- The center seam Is overcast In dark brown to match the ground cloth. Side seams are done In figure eight stitch in cream.

Design: The lower one-third of each web consists of broad, vertical ■ strip e s In dark brown which a lte rn a te with a broad decora tive stripe. The entire area of the upper two-thirds of each web is patterned as In the decorative stripe. The patterning consists of columns of rectangles, each divided by an oblique line and filled with faces and stepped puma tail motifs.

~~Construction: The shirt Is seamed at the center and along the sides. 409~~

Presently i t is also seamed along the shoulders. According to King, it was cut along the shoulders, perhaps to remove the worn area, and seamed. Designs were matched quite care fully. Although this could be modem, it appears to be aboriginal. Seaming method is one common in pre-Conquest textiles; thread appears to be old. The area is so care fu lly removed th a t one se t of interlocking wefts remains intact. Probably two complete design units were removed.

~~Provenience; unknown—oluosic Tiahuanuco~~

SIEEVED SHIRT TM 91.65 Ground Cloth: body- 2 rectangles; double cloth; cotton and wool in red and white. Some evidence of brocading or embroidery in red. sleeves- each 1 rectangle of the same double cloth fabric as in the body of the s h ir t.

~~Dimensions; gm. Igth. gra. wd. body 66 cm. 58 cm. through the sleeves 92 cm.~~

~~Ornamentation: The bits of color used on the animal patterning may be em broidery or brocade.~~

Design; The all-over patterning in the double cloth consists of two columns of rectangles in each web of the body of the s h irt and ono column in each sleeve web. Each rectangle is f ille d with a single, stylized puma. The size of the reotangles within a web vary in size so that the pattem is not matched along the center seam.

Construction; The two rectangles which form the body of the shirt are seamed at the center and along the sides. Each sleeve web is seamed as a tube and sowed to the body of the shirt at the arm s l i t . Provenience; Central Coast—Coastal Tiahuanaco

Reference; King, Ancient Peruvian Textiles Prom the Collection of The Textile Museum. Figure 23. 410 SIEEVEIESS SHIRT TM 91.83 Ground Cloth: body- 2 rectangles; warp stripe plain weave and warp float patterning} wool in red, green, blue, brown and w hite. Each rectangle consists of four segments joined in a column by means of scaffolding w efts.

~~Dimensions: gm. Igth. gm. wd. body 102 cm. 155 om.~~

~~Ornamentation: seams- The center seam is joined with inconspicuous whipping stitch. Side seams are stitched to create a Z-pattern.~~

~~Design: All-over vertical stripe. The stripes with warp float pat terning contain a small highly geometric pattem. The ver tical stripes in each segment are not aligned.~~

Construction: Two reotangles are seamed a t the center and aides as a s h ir t. Two rows of stitching arranged perpendicular to the ends of the neck slit appear as a reinforcement. There is some evidence of darning in red yam along the lower edge of the s h ir t. Provenience: Lomas, Ocunu Late Inoa (?)

PONCHO (?) TM 91.90 Ground Cloth: body- 14 narrow units of wool fabric make up the entire width of the garment; of these, 4 are plain weave in either solid blue or red and 10 are plain weave, tie-dyed. The tie-dyed stripes are each composed of a column of small, rectangular, units joined by scaffolding wefts.

~~Dimensions: gm. Igth. gra. wd. body ( f la t) 180 cm. 112 cm.~~

Ornamentation: fringe- unwoven warp loops, doubled back and plied; approxi mately 2 cm. in length, edge finish- The sides of tho flat piece are overcast except in a 17 cm. area where the arm s l i t s might have been.

~~Design: Tie-dye patteming consists of small angular motifs in red, blue and cream. Several pattern arrangements can be noted. I t appears th a t each column was tie-dyed in a single p attern a i~~

~~arrangement, disassembled, rearranged with blocks of other patteming, and reassembled. As a result, blocks of like patterning are arranged in a diagonal repeat.~~

Construction: A plain stripe forms the outer side edges of the garment. This stripe on each side is followed by two stripes of tie- dye and then another plain stripe. Six stripes of tie-dye are joined to form the center most section of the garment. Presently the neck opening (?) in the center seam is sewed up. Thus, this item has variously been considered as a mantle or shawl.

~~Provenience: South Coast—Coastal Tiahuanaco~~

~~Reference: ITiotograph in King, Ancient Peruvian Textiles From the Col lection of The Textile Mtseum. Figure 30.~~

~~SIEEVEIESS SHIRT TM 91.147 Ground Cloth: body- 1 rectangle: interlocked tapestry; wool in purple (dark brown?), green, yellow and red.~~

~~Dimensions: gm. Igth. gra. wd. body 78 era. 95 era.~~

Ornamentation: edge finish- A multi-colored blanket stitch is used along the bottom edge and along tho arm slits. The neck slit fin is h is in one color, embroidery- Several rows of double running stitch in a zig zag pattem are located just above the lower edge finish, seams- Figure eight stitch in multi-color repeating sequence is used along the side seams.

Design: The upper two-thirds of the garment consists of a checker board arrangement with each block containing a lea or S- chaped pattern. Figure and ground in each block is reversed with some blocks having a yellow ground and others a blue ground. The lower one-third of the shirt consists of broad, horizontal bands in plain colors; three red bands altemate with three in blue.

~~Construction: The single web is folded and sewed at the sides as a shirt. It has a woven neck slit. 412~~

~~Provenience: Ica Valley—Inca Period.~~

~~Reference : Photograph in King, Ancient Peruvian Textiles from the Col lection of The Textile Mugeum. Figure 42.~~

~~SIEEVEIFSS SHIRT TM 91.275 Ground Cloth: body- 2 roctangleaj Blit tupostry; wool on cotton in ohades of brown to tan, yellow and red.~~

~~Dimensions: gm. Igth. gm. wd. body 38 om. 84 cm.~~

Ornamentation : edge fin is h - The arm s l i t s are loosely overcast. The neck slit is finished with several rows of cross-knit loop ing. seams- The center seam is sewed in loosely worked fig u re eight stitch in yellow and red. The side seams are overcast in yellow, fringe- separately woven; approximately 4 cm. in length; sewed to the lower edge of the shirt.

Design: The all-over patteming consists of hexagons each containing a stylized face. The ground within each hexagon is in a shade of brown. The enclosure lines are either red or yellow. Horizontal rows of motifs are arranged to give a diagonal repeat. Individual motifs vary in size. Half motifs along the center and sides do not completely match with those in the next wob.

~~Construction: The two rectangles are seamed a t the center and sides as a s h ir t. The frin g e band is sewed to the lower edge of the s h irt.~~

~~Provenience: Central Coast, Paramonga, Pachacaraac (?)~~

~~FEATHER PONCHO TM 91.276 Ground Cloth: body- 1 rectangle?; plain weave; undyed cotton. Dimensions: gm. Igth. gm. wd. body (folded) 107 cm. 76 cm. /+;i.3~~

Ornamentation: The surface is covered with feathers except in a narrow area over the shoulder. Red, yellow and blue feathers are ar ranged in a checkerboard pattern on the upper two-fifths of the garment. The lower one-fifth is covered with dark blue fe a th e rs. Construction; The garment is permanently mounted under glass. The piece is mounted with a fo ld a t the shoulder. I t is impossible to determine the nature of the sides of the garment. The edges of the neck slit appear to be selvages.

~~Provenience : unknown~~

~~SIEEVEIESS SHIRT TM 91.282 Ground Cloth: body- 1 rectangle; interlocked tapestry; wool on cotton in pink, green and yellow.~~

~~Dimensions: gm. Igth. gm. wd. body 66 ora. 65 cm.~~

Ornamentation: edge finish- The neck and arm slits are closely overcast in green. seams- The side seams are joined with a figure eight stitch in multi-color repeating sequence, frin g e- separately woven; approximately 6 cm. in length; sewed to the lower edge of the shirt. The fringe is in dark green.

Design: The upper two-thirds of the shirt consists of four large, square, units. Each large square is divided in smaller blocks which contain a lea or S-shaped motif. Colors in motifs and ground are arranged to create a checkerboard effect. The lower one-third of the shirt is composed of broad, horizontal stripes in pink and yellow,

~~Construotion: The single web is folded and sewed at the sides as a shirt. It has a woven neck slit. The fringe band is sewed to the lower edge.~~

Provenience: loa Valley—Inoa Period 4 U SIEEVEIESS SHIRT TM 91.298 Ground Cloth; body- 2 reotangles; single faoed double cloth; cotton in lig h t blue and brown, border- 1 rectangle; tapestry; wool in rose, yellow, tan, red, dark brown, pinks, grays and orange.

~~Dimensions: gra. Igth. gm. wd. body 60 cm. 74 om. border (adds to the gra. Igth.) 20 om. (Warp length of the border is twice the width of the shirt.)~~

~~Ornamentation; fringe- separately woven; approximately 1.5 cm. in length; sewed to the bottom edge of the border.~~

Design: The double cloth pattern consists of horizontal bands of varying widths. Some bands contain small conventionalized fish heads, others consist of fret and wave patterns. The tapestry border has an all-over patterning of interlocking bird heads arranged to give a diagonal repeat.

Construction: The double cloth rectangles are seamed a t the center and sides as a s h ir t. The border is sewed to the lower edge of the shirt. The border and fringe appear as a unit and were apparently joined to the double cloth shirt in modern times. There is some evidence of mercerized thread.

~~Provenience: South Coast (?)~~

~~SIEEVEIESS SHIRT TM 91.301 Ground Cloth: body- 2 rectangles; interlocked tapestry; wool on cotton in gold, maroon, black, dark brown, light blue and white.~~

~~Dimensions: gra. Igth. gra. wd. body 104 cm. 108 cm.~~

Ornamentation: edge finish- The neck is overcast in brown. The arm slits are overcast in a combination of brown und cream, seams- The center seam is done in figure eight embroidery stitch in brown to match the solid colored, vertical, strip e s. The side seams are done in m ulti-colored repeated pattern using tho colors in the patterned strip e s. 4.15

Design; The patterning in each web consists of broad, vertical bands in which so lid brown bands a lte rn a te w ith two patterned bands. An additional narrow, patterned band is used along one side of each web. In each patterned band the motifs are arranged in: horizontal registers, each of which is in turn divided with an oblique line. Stepped fret motifs pre dominate.

~~Construction: The two rectangles are seamed a t the cen ter and sid es as a s h i r t .~~

~~Provenience : Central or South Coast—Classic Tiahuanaco~~

~~SIEEVEIESS SHIRT TM 91-303 Ground Cloth: body- 2 rectangles; plain weave; wool in dark brown.~~

~~Dimensions: gm. Igth. gra. wd. body 117 cm. 96 era.~~

Ornamentation: embroidery- wool in red, yellow and blue; worked over groups of four warps. Embroidery is concentrated in blocks arranged in a column along the entire center front, edge finish- Several rows of cross-knit looping are used to finish the neck slit edges and are continued as a deco rative trim along each side of the center front seam, seams- The side seams are in a figure eight stitch in multi colored repeating pattem. The center seam is joined with a whipping stitch, frin g e - unwoven warp loops; plied; approximately 8 cm. in length.

~~Construction: The two reotangles are seamed a t the cen ter and sides as a s h ir t.~~

~~Provenience : South Coast, Late Nazca ?~~

SIEEVEIESS SHIRT TM 91.308 Ground Cloth: body- 12 narrow units make up the width of the shirt. Each narrow unit consists of a column of rectangles joined by scaffolding wefts. Plain weave; wool in multi colored tie-dye. 416

~~Dimensions: gm. Igth. gm. wd. body 74 om. 115 cm.~~

Ornamentation: tie-dye- The all-over pattern consisting of small irregular geometric motifs. The arrangement of pattern suggests that each web was tie-dyed, disassembled, rearranged and reassembled, fringe- unwoven warp loopsj doubled back and plied; 1 cm. in length. Separately woven fringe bands are sewed along the arm slits. All fringe is multi-colored with the colors used in the tie-dye. seams- The twelve widths of fabric are sewed together in an inconspicuous fashion. The side seams are sewed to create a Z pattern.

Construction: The narrow webs are sewed together to create the width o f the shirt. A neck slit is allowed in the center most seam. The entire unit is folded and seamed at the sides as a shirt. A frin g e band is sewed to each arm s l i t .

~~Provenience: Found near Balpa, Rio Grande Valley—Tiahuanaoo Period.~~

SIEEVEIESS SHIRT TM 91.341 Ground Cloth: body- 6 narrow units make up the width of the shirt. Each narrow unit consists of a column of rectangles joined by scaffolding wefts. Each rectangle consists of two stepped edge units joined on the horizontal levels by scaffolding wefts and on the vertical levels with a whip ping s titc h . P lain weave; wool in m ulti-colored t i e - dye.

~~Dimensions: gm. Igth. gm. wd. body 86 cm. 122 cm.~~

Ornamentation: tie-dye- The all-over pattern consists of small irregular ■geometric m otifs. The arrangement of p attern suggests that each web was tie-dyed, disassembled, rearranged, and reassembled. frin g e - unwoven warp loops; doubled buck and plied ; approxi mately 1 cm. in length.

~~Construction: The narrow webs are joined to create the width of the shirt. A neck slit is allowed in the center most seam. The entire 417~~

~~unit is folded and seamed at the sides as a shirt* All seams are inconspicuous.~~

~~Provenience: South Coast~~

~~SIEEVEIESS SHIRT TM 91.342 Ground Cloth: body- 2 rectangles; interlocked tapestry; wool on cotton in purple, cerise, white, green, and shades from gold through henna to brown.~~

~~Dimensions: gm. Igth. gm. wd. body 103 cm. 98 om.~~

Ornamentation : edge finish- The bottom edge is overcast in blue (?). The neck slit may have been overcast at one time. There is no finish on the arm slits, seams- The center seam is done in fig u re eight embroidery stitch in henna to match the solid colored center stripe. The side seams are joined with the same stitch in a variety of colors with a repeating sequence.

Design: The patterning in each web consists of a broad, vertical bands in which solid colored henna bands alternate with two pat terned bands. An additional narrow patterned band is used along one side of each web. Each patterned band is divided into two v e rtic a l columns as w ell as into h o rizo n tal reg isters. Each small rectangle so formed is divided by an oblique line and filled with highly geometric pattern.

~~Construction: The two rectangles are seamed a t th e center and sides as a s h irt. Provenience; unknown—Classic Tiahuanaoo~~

SIEEVEIESS SHIRT TM 91.343 Ground Cloth; body- 2 rectangles; interlocked tapestry, wool on cotton in browns, tans and golds with accents of blue, white and red. Dimensions: gm. Igth. gm. wd. body 109 cm. 105 cm. 4 1 8

Ornamentation: edge finish- The arm and neck slits are overcast in either gold or brown to match the ground cloth, seams- The center Seam is done in figure eight embroidery in brown to match the solid colored, vertical stripes. The side seams are done in the same stitch in regu larly repeating sequence of colors.

Design: The patterning in each wob consists of broad, vertical bands in which solid brown bands alternate with two patterned bands. An additional narrow patterned band is used along one side of each web. Etioh patterned band is divided into two vertical columns as well as into horizontal registers. Each small rectan g le so formed is divided by an oblique line. The predominate motif is a stepped fret.

~~Construction: The two rectangles are seamed at the center and sides as a s h irt.~~

~~Provenience: unknown—Classic Tiahuanaoo~~

~~Reference; Photograph—Plate VII, this paper.~~

~~SIEEVEIESS SHIRT TM 91.351 Ground Cloth: body- 2 rectangles; interlocked tapestry; wool on cotton in tans, brown, gold, yellow, cream, red, pink and white.~~

~~Dimensions: gm. Igth. gm. wd. body 105 cm. 118 cm.~~

~~Ornamentation; seams- The cen ter seam is overcast in tan . Garment is presently flat with only brief evidence of figure eight stitch which once joined the sides.~~

Design: The rectangular area which outlines a yoke, resembles a shell necklace. The area enclosed in the rectangle has an all-over pattern in which a jaguar figure is dominant. The remainder of the shirt has an all-over pattern which in cludes falcon, condor, and messenger figures.

~~Construction; The two rectangles are joined at the center allowing for a neck opening. Currently the specimen is flat, however. 419~~

~~i t is very lik ely th a t the garment was once seamed as a flh irt.~~

~~Provenience: unknown—Classic Tiahuanaoo~~

SHIRT TM 91.377 Ground Cloth: body- 2 rectangles; each contains units of plain weave warp s tr ip e , warp faced p lain weave and extra w eft p a ttern ing. The major part of the shirt is of cotton in tan, green, white and brown, f^lti-colored wool wefts are used to create a patterned border.

~~Dimensions: gm. Igth. gm. wd. body 87 om. 80 cm.~~

Ornamentation: frin g e - separately woven; yellow wool; approximately 2 cm. in length; sewed to the bottom edge of the front of the shirt. The same sort of fringe in. red is sewed along the back edge, tassels- red and yellow tassels, approximately 21 cm. in length; sowed to the lower end of each side seam.

Design; The shirt consists of units joined by means of scaffolding wefts. The stepped yoke area is woven in multi-colored warp s trip e . The body area is composed of two u n its of warp faced plain weave, interlocked near the waist level to allow for a change in color. Along the lower edge of each web, extra weft patterning is used to produce a border pat terned with geometric and cat motifs.

~~Construction: The two rectangles are seamed a t the center and sides as a shirt. The fringe bands and tassels are sewed to the lower edge of the shirt.~~

~~Provenience: unknown~~

~~SIEEVEIESS SHIRT TM 91.388 Ground Cloth; body- 2 rectangles; p lain weave and gauze p attern in g worked on the same warp; white cotton.~~

~~Dimensions: gm. Igth. gm. wd. body 32 om. 74 om. 420~~

~~Ornamentation: none~~

~~Design: The gauze weave, which is concentrated in a band across the shoulders and others along the hem, is patterned with a tree or stylized bird motif.~~

~~Construction; The two webs are sewed at the center and sides as a shirt.~~

~~Provenience: unknown~~

~~lEATHER PONCHO TM 91.395 Ground Cloth: body- 1 rectangle; plain weave; undyed cotton.~~

~~Dimensions: gm. Igth. gm. wd. body (flat length) 98 cm. 68 cm.~~

Ornamentation; The surface is covered with feathers except in the very nar row area across the shoulders. Front and reverse sides of the garment are identical in motif. About chest level are a pair of birds in blue. Below the pair of birds are 4 smaller birds arranged within a red H-shaped frame. The middle of the H-shaped frame is green. A narrow trans verse stripe in blue is used below the bird motifs. The ground area consists of yellow feathers. The edges of some feathers are cut to create smooth shapes.

~~Construction: The single web of fab ric is mounted as a f l a t item . I t has a woven neck slit. The series of cords along each side are apparently designed to lace the garment.~~

~~Provenience: unknown~~

~~SIEEVEIESS SHIRT TM 91.402 Ground Cloth: body- 2 rectangles; interlocked tapestry; wool on cotton in dark brown, tan, red, rose, pink, gold, bright blue and white.~~

~~Dimensions: gm. Igth. gm. wd. body 84 cm. 82 cm. 421~~

~~Ornamentation; seams- The center seam is done in multi-colored figure eight embroideiy s titc h . Side seams are in the same stitch but done in a color to match the fabric pat tern along the sides.~~

Design: The major field area of the shirt consists of multi-colored vertical stripes. Tapestry weave in a pattern seen on many Tiahuanaoo shirts is concentrated in a narrow band along the side seams. Along the arm slits the vertical stripes of the body appear in compressed form.

~~Construction: The two rectangles are seamed a t the center and sides as a s h irt.~~

~~Provenience: unknown—Tiahuanaoo Period~~

~~SIEEVEIESS SHIRT TM 91.424 Ground Cloth: body- 2 rectangles; warp stripe and extra warp patterning; wool in brown, black and white.~~

~~Dimensions: gm. Igth. gm. wd. body 34 cm. 76 cm.~~

~~Ornamentation: fringe- unwoven warp loops; 6 cm. in length.~~

Design: The patterning consists of broad vertical stripes in which solid brown strip e s a lte rn a te with those in which brown, black and white warps combine to create a tweed effect. Construction: The two rectangles are seamed a t the center and sides as a s h ir t.

~~Provenience; Central Coast—Late Nazcu Period~~

~~FEATHER PONCHO TM 91.431 Ground Cloth: body- 1 rectangle (?); plain weave; undyed cotton~~

~~Dimensions gm. Igth. gm. wd. body ( fla t length) 160 cm. 66 cm. 4 2 2~~

Ornamentations The surface is covered with feathers except for a small area over the shoulders. The motifs on the front and re verse sides of the garment differ. A stepped yoke area is created with white feathers. Much of the ground area is covered with dark brown feathers. One side of the garment has four puma cats, two in yellow and two in white. The other side is ornamented with two orange birds. Along the lower edge on each side of tho poncho is a brown wave m otif against a white ground. The edges of some feathers are cut to create a smooth line.

~~Construction : The garment is permanently mounted in a flat form. The neck s l i t appears to be woven. A worn area a t the w aist suggests th a t the poncho was worn with a b e lt.~~

~~Provenience; Central or South Coast, Chanoay Period~~

~~SIEEVEIESS SHIRT TM 91.442 Gfcround Cloth; body- 2 rectangles; plain weave with supplementary weft loop pile; white cotton.~~

~~Dimensions; gm. Igth. gm. wd. body 45 cm. 63 cm.~~

~~Ornamentation; none~~

~~Design; none~~

~~Construction; The two rectangles are sewed a t the center and sides as a s h ir t.~~

~~Provenience: unknown~~

SIEEVEIESS SHIRT TM 91.452 Ground Cloth; body- 2 rectangles; a combination of interlocked warp tech nique with slit tapestry worked over the regular weft yarns used as warp; wool in dark brown, white, orange, tan and red. 4 2 3 DiniorujLons: Ifjth, gm. wd. body 50 ora. Ü4 ora.

~~Ornamentation; fringe- unwoven warp loopsj grouped and highly twisted; ap proximately 1 ora. in length, edge finish- The neck and arm slits are overcast in red, yellow and white wool.~~

Design: Plain dark stripes which are almost two-thirds the length of the garment, are interlocked with white plain weave which makes up the lower one-third of the garment. Alternating with the dark s trip e s are strip e s of tap estry weave, worked in the opposite direction. The tapestry pattern consists of a wide vertical meander having stepped edges. The meander encloses geometric motifs.

~~Construction: The two rectangles are seamed a t the center and sides as a s h irt.~~

~~Provenience : Central Coast or Mcntana~~

~~SIEEVEIESS SHIRT TM 91.453 Ground Cloth: body- 2 rectangles; slit and interlocked tapestry; wool in red, white and tan.~~

~~Dimensions: gm. Igth. gm. wd. body 6 l ora. 74 cm.~~

~~Ornamentation: edge finish- The neck and arm slits are overcast.~~

Design: All-over patterning is highly geometric and consists of horizontally arranged zig zag bands which tend to form lozenge enclosures. Centered within these enclosures is a stepped cross in red and tan on a yellow ground. Each zig zag band consists of narrow rows of red, tan and red. No stepped crosses appear below the last zig zag band, thus, creating a dark red border. Half motifs which occur along the center seam are matched so that the patterning across tho entire garment is uninterrupted.

~~Construction: The two rectangles are seamed a t the center and sides as a s h irt. 4 2 4~~

~~Provenience : Paramonga, Pachacamac (?)~~

~~Reference : Photograph—see Plate XVIII, this paper.~~

ÜLEEVED SHIRT TM 91.458 Ground Cloth: body- ^ rootanf^lon; rilit tnpoetry; wool on cotton in tun, rod, rod, und black, sloovoa- ouch 1 roctunglo; warp ntrlpo plain wouvo; wool on cotton in red, tun und bluck.

~~Dimensions: gm. Igth. gm. wd. body 42 cm. 90 cm. through the sleeves 109 cm.~~

~~Ornamentation; edge finish- The neck slit is overcast in white and tan. The last centimeter of warp loops is interlaced with red yam to create a tubular finish.~~

Design: The major portion of the ground area is solid tan in color. On each wob, located at the chest level, is a large diamond- shaped geometric m otif. The la s t 5 cm. of the shirt is pat terned as a border. Tho border is outlined above and below with a series of stripes and contains a central row of geo metric motifs. The evenly spaced stripes in each sleeve are parallel to the vertical direction of the shirt.

~~Construction : The two rectangles which form the body of the shirt are seamed at the center and sides. Each sleeve web is seamed as a tube and then sewed to the body of the shirt at the arm s l i t .~~

~~Provenience: Paramonga, Pachacamac (?)~~

SIEEVED SHIRT TM 91.459 Ground Cloth: body- 2 rectangles; extra weft patterning; cotton in yellow, sleeves- each is a, rectangle of fabric although not a com plete loom structure. The fabric is the same in con struction and pattern as that in the body of the shirt. Dimensions: gm. Igth. gm. wd. body 49 om. 72 cm. through the sleeves 103 ora. 425 Ornamentation ; none

Design: The all-over pattern is so concentrated that the surface of the fabric appears to be solid yellow. The patterning, which incorporates considerable variety, consists mainly of horizontally arranged rows of zig zag bands. Along the lower edge is a border area, approximately 8 cm. in width, which is outlined with plain stripes.

~~Construction ; The two webs which form tho body are seamed a t the center and sides as a shirt. The sleeves are soamed at or near the shoulder before being sewed to tho arm slits of the shirt.~~

~~Provenience; Paramonga, Pachacamac (?)~~

SIEEVEIESS SHIRT TM 91.469 Ground Cloth: body- 4 units make up the width of the shirt; each narrow u n it consists of a column of rectangles joined by scaffolding wefts. Each rectangle consists of two stepped edge units of plain weave joined on the hori zontal levels by scaffolding and on the vertical levels with a whip stitch. Wool in multi-colored tie-dye.

~~Dimensions: gm. Igth. gm. wd. body 88 om. 87 om.~~

Ornamentation; tie-dye- The all-over pattern consists of small irregular geometric motifs. The arrangement of pattern suggests that each web was tie-dyed, disassembled, rearranged, and reassembled, fringe- unwoven warp loops, doubled back and plied; approxi mately 1 om. in length.

Construction: The narrow webs are joined to create the width of the shirt. A nock slit is allowed in the center most seam. The entire u n it is folded and seamed a t th e sides as a s h ir t. All seams are inconspicuous.

~~Provenience; unknown~~

Reference : Photograph—see Plate XII, this paper. 426 SIEEVEIESS SHIRT TM 91.472 Ground Cloth: body- 1 rectangle; consists of 10 horizontal bands joined by scaffolding wefts, of which 4 are of interlocked tapestry and 6 are of warp stripe plain weave; wool In brown, orange, ochre, tan and white.

~~Dimensions: gm. Igth. gm. wd. body (length as mounted) 36 om. 70 ora.~~

~~Ornamentation : fringe- unwoven warp loops; approximately 2 om. In length.~~

Design: The tapestry bands consist of a single row of octagon shapes In orange on a brown ground. These bands form the lower edge of the shirt und alternate with two bands of the warp striped fabric. The warp stripes, which are of dark brown, brown, ochre, orange, tan and white, are so arranged that the vertical stripes In each band are not aligned.

Construction: The garment, folded at the shoulder (?), Is permanently mounted under g lass. The neck s l i t appears to be woven. It Is Impossible to determine the nature of the treatment along the sides.

~~Provenloice: Pachacamac (?)~~

~~SIEEVEIESS SHIRT TM 91.474 Ground Cloth: body- 2 rectangles; plain weave and Interlocked tap estry ; wool In dark brown, blue, tan, orange, red and rust.~~

Dimensions: gm. Igth. gm, wd, body 24 cm. 58 cm. Ornamentation: edge fin is h - One arm s l i t Is overcast, fringe- constructed separately; approximately 6 cm. In length; very thick; sewed to the lower edge of the s h ir t.

Design: Decorative tapestry weave is concentrated In narrow width along the vertical edges of each web and In an 8 om. border along the lower edge of the shirt. Each web has two squares of tapestry pattern arranged parallel to the lower border. The ground area of the shirt Is dark brown and the tapestry 4-27 pattern is highly geometric with blue, tan, orange and ru s t on a red ground.

~~, Construction: The two rectangles ore sewed ut the center and sides as a shirt. The thick fringe is sewed to the lower edge of the s h ir t.~~

~~Provenience; Blue Huari (?)~~

~~SIEEVEIESS SHIRT TM 91.4^4 Ground Cloth: body- 2 rectangles; plain weave; wool in tan.~~

~~Dimensions: gm. Igth. gm. wd. body 44 cm. 78 cm.~~

Ornamentation ; embroidery- wool in red, blue, black, yellow and tan. Em broidery is concentrated in vertical and horizontal borders. Along all vertical edges the embroidery is worked over 4 warps. It is decorative as well as functional in that it serves to join the two rectangles as a shirt. The vertical borders, about 7 om. in width, are wider in the area of the neck and arm slits. The horizontal border, approximately 5 cm. in width, is placed just above the fringe, edge finish- The neck slit is finished with several rows of cro ss-k n it looping. No fin ish is used on tho arm s l i t s , fringe- unwoven warp loops; plied; approximately 11 cm. in length. braids and tassels- individually constructed braids end as yarn tassels. The braid is made up of the colored yarns used in the embroidery. Nine such braids are sewed to the top of the horizontal border at each end of the center seam. Seven braids are similarly placed at each side seam. Each braid is approximately 20 cm. in length.

~~Design; none~~

~~Construction: The two rectangles are joined at the center and sides as a shirt. The braids are sewed to the horizontal borders at the center and sides of the garment.~~

~~Provenience: Lata Nazoa 4 2 8~~

~~SIEEVEIESS SHIRT TM 91.489 Ground Cloth: body- 1 rectangle; single element technique; wool in brown, red, maroon, cream, border- 1 long narrow rectangle; plain weave; wool in red.~~

~~Dimensions; gm. Igth. gm. wd. body 65 cm. 62 om. border (adds to length) 6 cm. (Warp length of the border is twice the width of the sh irt.)~~

~~Ornamentation: fringe- unspun, vicuna in red, approximately 5 cm, in length, embroidery- The border motif consists of monkey-like figures in alternating colors, black, green, purple and brown.~~

~~Design; Body ground patterning consists of an all-over arrangement. Zig sags arranged in the vertical direction of the garment form lozenge shapes. Within each shape is a simple cross.~~

~~Construction: The single web is folded and seamed at the sides. Tufted fringe is sewed along the arm slits and the lower edge of the s h ir t.~~

~~Provenience: Paracas Period—Ocucaje.~~

~~Reference: Photograph, Bird and Bellinger, Paracas Fabrics and Nazca Needlework. P late CXXIII.~~

~~SIEEVEIESS SHIRT TM 91.493 Ground Cloth: body- 2 rectangles, slit tapestry; cotton in tan, white, blue and n atu ral. Dimensions: gm. Igth. gm. wd. body 47 cm. 118 cm.~~

~~Ornamentation: fringe- separately woven; approximately 5 om. in length; sewed to the bottom of the s h irt.~~

Design: All-over patterning is arranged in small blocks. Each block is divided diagonally with a stepped edge. Each segment of each block contains a stylized bird. The diagonal movement which results from the repeating pattern is accented by the 429

~~arrangement of colors. The patterning is arranged as a border along the lower edge. The single row of dog-like figures in the border are outlined on each side by tan and brown s tr ip e s .~~

~~Construction; The two rectangles are sewed together at the center and sides as a shirt. Fringe is sewed along the lower edge.~~

~~Provenience; According to Bird, Central to North Coast, shortly before Inoa control.~~

~~ONE-HALF SIEEVEIESS SHIRT TM 91.523 Ground Cloth; body- presently 1 rectangle; slit tapestry; cotton in tan, w hite, lig h t blue and brown.~~

~~Dimensions; gm. Igth. gm. wd. body 46 cm. 57 cm. (Width is that of the half shirt examined.)~~

~~Ornamentation; fringe- separately woven; approximately 3 cm. in length; sewed to the bottom edge of the shirt.~~

Design: All-over patterning is organized, within vertically oriented chevrons. These oblique lines are filled with small motifs which include cats, birds, latch hooks and geometric forms. In an area 9 om. wide along the bottom of the shirt the pat tern is arranged as a border. The center area of the border consists of a single row of interlocked birds (?). The border is outlined on each side by a series of alternating tan and cream stripes.

Construction; The side seam is joined with a whip stitch allowing an open ing for the arm. What would have been the center seam is now sewed as the other side seam. A v e rtic a l neck s l i t has been cut in the center of the single web to make this partial shirt into a complete garment. Separately woven fringe is sewed along the bottom edge.

~~Provenience; Central or North Coast—Chimu Period (?) A30~~

~~SIEEVEtESS SHIRT TM 91.531 Ground Cloth; body- 2 rectangles; plain weave and interlocked tapestry; wool in dark brown.~~

~~Dimensions: gm. Igth. gm. wd. body 27 cm. 55 cm.~~

~~Ornamentation: frin g e - separately woven; approximately 7 cm. in length; sewed to the bottom of the shirt.~~

Design: Decorative tapestry weave is concentrated in a 2 cm. width along all vertical edges in each web and in a 7 cm. border along the lower edge. This lower border is divided into three blocks each containing geometric pattern in orange, purple, black, yellow and blue-green. Three blocks of sim ilar patterning are arranged within each web. Of these, two small blocks are located just above the lower border and as a part of the vertical borders. The remaining block, more the size of those in the lower border, is located along the center seam just above the small block.

~~Construction : The two rectangles are seamed a t the center and sides as a shirt. The fringe is sewed to the lower edge.~~

~~Provenience: unknown~~

~~SIEEVEIESS SHIRT TM 91.533 Ground Cloth; body- 2 rectangles; interlocked tapestry; wool on cotton in yellow, rose, pink, brown, tans, maroon and white.~~

~~Dimensions; gm. Igth. gm. wd. body 99 cm. 108 cm.~~

Ornamentation; edge finish- The neck and arm slits are overcast in yellow yam . seams- The center seam is done in figure eight stitch in yellow to match the center solid stripe. The side seams are done in the same s titc h in m ulti-colored repeating sequence in which the colors are those seen in the decorative stripe. 431

Design: The patterning in each wob consists of broad, vertical bands in which solid yellow bands alternate with a single decora tive band. An additional narrow, patterned band is used along one side of each web. Each patterned band contains composite m otifs of the lÿpe I I described by Sawyer.

~~Construction: The two rectangles are seamed a t the center and sides as a s h irt.~~

~~Provenience: unknown—Tiahuanaoo sty le~~

~~SIEEVEIESS SHIRT TM 91.557 Ground Cloth: body- 2 rectangles; extra weft patterning; undyed cotton ground of crepe-like texture; wool extra wefts in blue, brown, and tan.~~

~~Dimensions: gm. Igth. gm. wd. body 69 cm. 51 cm.~~

~~Ornamentation: fringe- yam; applied as an embroidery technique; approxi mately 2 cm. in length.~~

Design: Extra weft patterning is used to create a border which fills almost half the length of the shirt. In each web the border consists of a single, highly stylized, human figure outlined above and below with narrow blue and brown stripes. The fig ure in one web is more elongated than in the other, thus, the borders do not completely match.

Remarks : Shirts TM 91.557 and 558 are almost identical. Both are of the same fabric construction in which the yams in the ground as well as the extra weft patterning vary considerably in diameter, th u s, giving the fa b ric a nubby surface.

~~Construction: The two rectangles are seamed a t the center and aides as a shirt. Ftinge is applied to the lower edge.~~

Provenience: Central Coast 432 SIEEVEIESS SHIRT TM 91.558 Ground Cloth: body- 1 rectanglej extra weft patterning} undyed cotton ground in crepe-like texture; wool extra weft in blue, brown, red and tan.

~~Dimensions: gm. Igth. gm. wd. body 64 cm. 50 om.~~

~~Ornamentation: frin g e- sep arately woven; approximately 4 om. in length; sewed to the lower edge of the shirt.~~

Design: The patterning consists of a border which fills two-thirds of the length of the garment. The border consists of two highly stylized, human figures outlined above and below with a blue stripe. One figure is done in brown and blue; the other with dark blue and red. On the back side of the gar ment the coloring involves alternating arrangements of brown and blue.

~~Remarks: See "remarks" for TM 91.557.~~

~~Construction: The single web is folded and seamed at the sides as a shirt. The garment has a woven neck slit. The fringe is sewed to the lower edge.~~

~~Provenience: Central Coast~~

~~SHOULIER PONCHO TM 91.563 Ground Cloth: body- 1 rectangle; plain weave; undyed cotton.~~

~~Dimensions: gm. Igth. gm. wd. body ( f l a t length) 56 cm. 38 cm.~~

Ornamentation: embroidery- wool in purple, red, green, gold and tan. Em broidery is concentrated in borders approximately 4 om. in width which surround the neck s lit and form L-shaped areas at the periphery. The motif consists of a single row of multi-colored "goat suckers" on a dark purple ground. 4-33

~~Construction: The garment remains as a flat rectangle with a woven neck s l i t .~~

~~Provenience: Paracas Period—Necropolis~~

~~Reference ; Photograph in Bird and B ellinger, Paracas Fabrics and Nazca Needlework. P late IX.~~

~~SIEEVEIESS SHIRT TM 91.604 Ground Cloth: body- 2 rectangles; warp and weft floats with extra weft p attern in g ; brown cotton ground; extra warp and weft yams of wool in cream, red, yellow and green.~~

~~Dimensions: gm. Igth. gm. wd. body 25 cm. 46 cm.~~

~~Ornamentation: none~~

Design: A single band of extra weft patterning in either stepped fret or interlocking snake motifs is used across the shoulders and along the lower edge. The bands, each ap proximately 2 om. in width, are in shades of red, yellow and green. The remaining surface of the shirt is covered with cream colored warp and weft flo a ts which create rows of fret motifs. These cream yams are incorporated in the side selvages.

~~Construction: The two rectangles are seamed a t the center and sides as a s h ir t. Provenience : Richacamac (?)~~

SIEEVED SHIRT TM 91.628 Ground Cloth: body- 2 rectangles; extra weft patterning; cotton in yellow and tan . sleeves-each 1 rectangle, although not a complete loom structure. The fabric is of the same construction and pattern as that used in the body of the shirt. 434 Dimensions: gm. Ig th . gm. wd. body 35 cm. 85 cm. through the sleeves 113 cm.

Ornamentation: fringe- separately woven; yellow wool; approximately 6 om. in length; sewed along the bottom of the shirt and at the end of each sleeve. The manner in which the frin g e is sewed to the edge of the garment v a rie s. Fringe is sewed to the edge of one sleeve and overlaps the fa b ric on the other sleeve. The fringe band along the bottom of the shirt is longer than the width of the garment and is overlapped to adjust its size.

Design: The all-over patterning is so concentrated that the surface of the fabric appears to be solid yellow. The patterning, which incorporates considerable variety, consists mainly of horizontally arranged rows of zig zags which include oat heads and b ird s.

~~Construction: The two rectangles which form the body are seamed at the center and aides as a shirt. The sleeve fabric is seamed at the underarm and sewed to the arm slit of the shirt.~~

~~Provenience : Ghincha (?)~~

~~SIEEVEIESS SHIRT TM 91.656 Ground Cloth: body- 2 rectangles, plain weave; tan wool.~~

~~Dimensions: gm. Igth. gm. wd. body 51 cm. 72 cm.~~

Ornamentation: embroidery- multi-colored wool. Embroidery is concentrated in vertical and horizontal borders. Along the verti cal edges of each web the embroidery is worked over 4 warps. The embroidery starts at the end of the neck and arm s l i t s and is decroative as w ell as functional in that it serves to join the webs at the center and sides as a shirt. A horizontal border, approximately 4 cm. in width, is placed just above the fringe. The motif in the embroidery is highly geometric and in cludes a variety of colors on a rose ground, edge finish- The neck and arm slits are finished with sev eral rows of multi-colored cross-knit looping. 435

fringe- unwoven warp loopsj plied} approximately 22 cm, in length. braids and tassels- individually constructed braids end as yarn tassels. The braid is made up of the colored yams used in the embroidery. Four such braids are sewed to the top of the horizontal border at each end of tho center seam and at each aide seam. Each braid is ap proximately 26 cm. in length.

~~Design: none~~

~~Construction: The two rectangles are joined at the center and sides as a shirt. The braids are sewed to the horizontal border at the center and side seams.~~

~~Provenience; unknown~~

SIEEVED SHIRT TM91.729A Gro’nd Cloth: body- 2 rectangles; each combining units of gauze weave with units of slit tapestry joined by a scaffolding tech nique; brown cotton in gauze weave; m ulti-colored wool in tapestry. sleeves- each 1 web which incorporates the same fabric and patterning seen in the fabric used in the body of the s h ir t.

~~Dimensions; gm. Igth. gm. wd. body 42 om. 78 cm. through the sleeves IO 9 cm.~~

Ornamentation: frin g e - tap estry weave tab s, approximately 8 cm. in length; a part of the basic warp. Each tab is approximately 4 cm. in width and contains a single, stylized, standing figure in red on a gold ground. Each tab is slit about half the length of the tab. A series of yellow, tan and blue stripes along the bottom of the shirt just precede the woven tabs, applique- Separately woven discs of red tapestry are sewed to the surface of the ground cloth. These discs are spaced over the entire surface of the fabric covering much of the pattern of the ground cloth, tassels- sewed to the center of each disc as well as di rectly on the ground cloth. Tassels are of red yam and are about 3 om. in length. 4 3 6

Design: The ground cloth consists of blocks joined by scaffolding wefts. Four of the blocks in each web (eight blocks when considering front and reverse sides of the shirt) are of gauze weave in brown cotton. The remaining blocks are of tapestry weave and contain two standing figures apparently on a reed raft.

~~Renwirks : The shirt has a matching loincloth and turban, TM 91*730 and 731. A fourth item, of which only fragments remain, may have been a matching mantle.~~

Construction: The two rectangles which form the body are seamed a t the center and sides as a shirt. Separately woven sleeve webs are seamed at the underarm and then joined to the shirt along the arm slits.

Provenience: This shirt is a part of a series of six shirts and matching garments found in the same burial cache. The garments are noted as found at "Punta, Perjerey on Paracas Bay". Accord ing to Bird, technical features of the fabric construction suggest that the shirts are of late North Coast style. Ac cording to King, there have been further rumors that they came from Chan Chan, but there is s till no definite pro venience.

SIEEVED SHIRT TM 91.732 Ground Cloth: body- 2 rectangles; double cloth and extra weft patterning; ground in brown and white cotton; extra weft pattern ing in rose and yellow wool, sleeves- each 1 web of the same fabric and patterning as in th e body of the s h irt.

~~Dimensions: gm. Igth. gm. wd. body 46 cm. 85 om. through the sleeves 117 cm.~~

~~Ornamentation; embroidery (?)- It is difficult to know whether rose and yellow wool is embroidery or brocade. The wool is used to highlight the double cloth patterning.~~

~~Design: Ground cloth patterning consists of broad, zig zag bands arranged horizontally. Arranged within the zig zag bands are geometric and bird motifs. Brocading (?) is omitted 4-37~~

~~from ü 7 cm. width along the lower edge of the shirt, thus suggesting a border.~~

Construction: The two rectangles which form the body are seamed at the center and sides as a s h ir t. Separately woven sleeve webs are seamed at the underarm and then joined to the shirt along the arm s li t s .

~~Remarks : The shirt has a matching loincloth and turban, TM 91.733 and 734. Provenience: See TM 91.729A~~

SIEEVED SHIRT TM 91.735 Ground Cloth: body- 2 rectangles; double cloth and extra weft patterning; ground in brown and w hite cotton; extra weft p attern in g in rose wool. sleeves- each 1 web of the same fabric and patterning used in the body of the shirt.

~~Dimensions; gm. Igth. gm. wd. body 43 cm. 85 cm. through the sleeves 113 cm.~~

Ornamentation: embroidery (?)- It is difficult to know whether the rose wool is embroidery or brocade. The color is used to high light the ground cloth patterning, fringe- separately woven; yellow wool; approximately 5 cm. in length; sewed to the lower edge of the s h irt.

Design: Each web contains two large rectangular shapes; one fills the front and another fills the reverse side of the garment. Rectangles of the same nature, only scaled to the size of the sleeve web, are arranged in the same fashion on the sleeves. Within these large rectangles are a series of pro gressively smaller rectangles. Arranged within the rec tangles are small "raonkey-bird" motifs.

~~Remarks: The shirt has a matching sash, TM 91.736. In fabric tech nique it belongs with a series of five garments including shirt TM 91.732 and garments TM 91.733, 734 and 736. A3B~~

Gonstruotion: The two rectangles which form the body of the s h irt are seamed a t the center and sid es. Separately woven sleeve webs are seamed a t the underarm and then sewed to the body of the shirt along the arm slits. Separately woven band of frin g e is sewed along th e lower edge of th e s h irt.

~~Provenience : See TM 91.729A~~

~~SIEEVEIESS SHIRT TM 91.759 Ground Cloth: body- 1 rectangle; warp s trip e plain weave; mostly undyed cotton with occasional warp in rose or purple.~~

~~Dimensions: gm. Igth. gm. wd. body 47 cm. 38 om.~~

Ornamentation: embroidery- rows of pink geometric motifs, arranged in a band across the shoulders, are embroidered directly on the ground cloth. Separately constructed bands of cross-knit looping, 1 om. in width, are appliqued around the neck slit and in a 14 om. area along the arm slit. The cross-knit looping is mostly red with small bird motifs in blue and yellow, fringe- unwoven warp loops; approximately 2 cm. in length. S eparately woven frin g e bands are sewed to the arm slits in the same area decorated with cross-knit loop ing. The arm fringe is approximately 10 cm. in length. Design: none

Constiniction: The single web is folded and seamed at the sides as a shirt. Decorative bands are appliqued around the woven neck slit and along part of the arm slits. Fringe is also sewed to the arm s l i t s . At one end of the neck s l i t are two tie s which appear to be designed to lace the neck opening.

~~Provenience: Tunga, Nazca Valley—Nazca Period~~

~~SIEEVEIESS SHIRT TM 91.760 Ground Cloth: body- 1 rectangle; p lain weave; undyed cotton 439~~

~~Dimensions: gm. Igth. gm. wd. body 34 cm. 33 cm.~~

Ornamentation: embroidery- rows of small b ird motifs arranged in a band across the shoulders are embroidered directly on the ground cloth. Separately constructed bands of cross- knit looping, 1 cm. in width, are appliqued around the neck slit and in a 10 cm. area along the arm slits. The cross-knit looping is mostly red with a small motif in blue and yellow, fringe- The bottom edge of the shirt is badly deteriorated. It is difficult to determine whether or not it was fin ished with fringe. Separately woven fringe bands are sewed to the arm slits in the same area decorated with cross-knit looping. The arm fringe is approximately 11 cm. in length.

~~Design: none~~

~~Construction: Same as TM 91.759 Provenience: Same as TM 91.759~~

~~SIEEVEIESS SHIRT TM 91.761 Ground Cloth: body- 2 rectangles; plain weave; wool in red. epaulets- each 1 rectangle; tapestry; wool in yellow, blue tan, rose and gold.~~

~~Dimensions: gm. Igth. gm. wd. body 71 cm. 110 cm. through epaulets 122 cm. (Complete warp length of each epaulet is 14 cm.)~~

Ornamentation: frin g e - unwoven warp loops; grouped and wound with blue- green yam to form fla t, rounded nobs; approximately 3 cm. to the length. Separately woven fringe, also in blue-green, is sewed to the edge of each epaulet. The arm fringe, which is not bundled, is 7 cm, in length, edge finish- The ends of the neck slit are overcast in red. This appears to be in the nature of a reinforcement. At the end of the arm slits are several rows of running stitch, also suggestive of a reinforcement. 4 4 0

~~Deoign: The p lain weave has a single row of twining across the bottom of the shirt and just above the fringe. The tapestry pat tern in the epaulets consists of colorful zig zags.~~

Construction: The two rectangles are seamed at the center and sides as a shirt. Separately constructed epaulets are sewed to the arm slits. Separately constructed fringe is sewed to the epaulets. Fringe along the lower edge is specially bundled to create a decorative effect. Stitching in the nature of reinforcement occurs at the ends of the neck and arm slits.

~~Provenience: Jumana, Palpa Valley—Nazca Valley~~

~~Reference: Photograph of an identical shirt in D'Noale, "Textiles of the Early Nazca Period," fro n tisp iec e.~~

~~SIEEVEIESS SHIRT TM 91.811 Ground Cloth: body- 2 rectangles; extra warp patterning in stripes; wool in sev eral tones of brown and w hite.~~

~~Dimensions: gm Igth. gm. wd. body 58 ora. 79 cm.~~

~~Ornamentation; seams- Plied yams are used in a saddler stitch to join the center and side seams, edge fin is h - The neck s l i t is overcast in dark brown.~~

Design: Surface of each web is patterned in vertical stripes. In alternate stripes dark and light yams are exchanged to give a checked (?) appearance to the stripe. The plain stripes are in dark brown.

~~Construction: The two rectangles are seamed at the center and sides as a shirt. Rows of stitching across the ends of the neck and arm slits appear as reinforcement.~~

~~Provenience: Huayuri, Santa Cmz Valley 441~~

~~SIEEVEIESS SHIRT TM 91.816 Ground Cloth: body- 1 rectanglej interlocked and eccentric tapestryj wool on cotton in black, red, maroon, green and gold.~~

~~Dimensions: gm. Igth, gm, wd. body 86 cm, 78 cm.~~

~~Ornamentation: edge fin is h - The arm s l i t s are overcast in red. seams- The side seams are done in a rath er coarse figure eight stitch in a single color.~~

Design: Upper three-fourths of the shirt is sectioned into 8 large blocks. A checkerboard effect is created as alternate blocks contain stripes in red, green, gold and maroon. Remaining blocks are further sectioned into many smaller blocks, each containing a star (?) motif. The ground area under the star motifs is green, gold or red. Tho lower one-fourth of the s h ir t is plain maroon in color.

~~Construction: The single rectangle is folded and seamed at the sides as a shirt. There is a woven neck slit.~~

~~Provenience : Samaca, Ica Valley-Inca or Colonial~~

~~SIEEVEIESS SHIRT TM 91.843 Ground Cloth: body- 1 rectanglej interlocked tapestry; wool on cotton in gold, red, white and several shades of tan.~~

~~Dimensions: gm. Igth. gm. wd. body 94 cm. 76 cm. Ornamentation: edge finish- The neck and arm slits are overcast in red. seams- Figure eight stitch in red is used to join the side seams.~~

Design: The all-over patterning consists of columns and rows of blocks. Each block encloses an eight pointed star motif. A checkerboard effect is created as light stars appear on a dark ground as well as the reverse combination. 4 4 2

~~Construction; The single rectangle is folded and seamed at the sides as a shirt. The shirt is patched with like fabric possibly taken from a duplicate shirt.~~

~~Provenience: South Coast—Inoa or Colonial~~

SIEEVED SHIRT TM 91,849 Ground Cloth: body- 4 units joined to create the width of the shirt; inter locking warp and weft technique; cotton in brown, tan and w hite. sleeves- each 1 rectangle of the same fabric construction patterning as in the body of the shirt.

~~Dimensions; gm. Igth. gm. wd. body 44 cm. 94 cm. through the sleeves 126 cm.~~

~~Ornamentation: fringe- separately woven; yellow wool; approximately 3 cm. in length; sewed to the lower edge of the s h irt and to the end of each sleeve.~~

Design: A large scale all-over patterning consists of bird motifs and stepped frets arranged in chevron shapes. The bird motifs, in dark brown, fit within the stepped edge chevrons. One complete motif is arranged over much of the area of three widths of fabric. The patterning in the sleeve webs continues the chevron shapes of the body of the shirt.

Remarks : The shirt apparently matches mantle TM 91.58.850 Construction: The four pieces of fabric are seamed to create the width of the s h ir t. The seamed rectangle is then folded and sewed at the sides. Separately constructed sleeves are sewed to the arm slits. Finally, separately woven bands of fringe are sewed to the lower edge of the shirt and to the ends of the sleeves.

~~Provenience: unknown—A note on the matching mantle states "North Coast— Chirau". UU3~~

SIEEVED SHIRT TM 91.851 Ground Cloth: body- 2 rec ta n g le s 5 double cloth and extra weft patterning; ground in brown and white cotton; extra weft p attern in g in rose wool. sleeves- each 1 rectangle of the same fabric and patterning as in the body of the shirt.

~~Dimensions: gm. Igth. gm. wd. body 44 om. 85 cm. through the sleeves 115 om.~~

Ornamentation: embroidery (?)- It is difficult to know whether the rose wool is embroidery or brocade. The color is used to highlight the ground patterning, frin g e - sep arately woven; yellow wool; approximately 4 ora. in length; sewed to the lower edge of the shirt.

Design: The patterning throughout the entire length of each web contains twelve rectangles arranged in two columns. Within each rectangle is a hexagon shape and a double headed serpent m otif. Each sleeve web contains a single column of similar patterning. Rose extra weft patterning is used in the ground areas surrounding the rectangular shapes.

Remarks: The shirt has a matching loincloth and turban, TM 91.852 and 853. Construction : The two rectangles which form the body of the shirt are seamed at the center and sides as a shirt. Separately woven sleeve webs are seamed a t the underarm and then joined to the s h irt along th e arm s l i t s .

~~Provenience: See TM 91.729A~~

PONCHO (?) TM 1959.11.1 Ground Cloth: body- 4 units make up the width of the shirt; of these, the 2 center units are constructed of interlocking warp and weft technique and the 2 side units are of triple cloth; wool in red, gold, green, dark brown.

~~Dimensions: gm. Igth. gm. wd. body ( f la t length) 207 cm. 99 cm. IM~~

~~Ornamentation: fringe- yam; applied as an embroidery technique along the arm slits; approximately 17 cm. in length, edge finish- The neck slit is finished with several rows of cross-knit looping.~~

Design: All-over patterning in warp and weft interlocking units con sists of highly stylized interlocking snake motifs. An area across the shoulders and others along the lower ends of the garment appear as borders. The borders have a pattern which is closely related to that in the field of the garment. A guilloche pattern is used in the narrow (5 cm. in width) triple cloth units.

Construction: The units which create the width of the garment are seamed. A neck slit is allowed in the center seam. Fringe is ap p lied along the arm s l i t s . The garment is p resen tly mounted in its flat form. There is no indication of sewing along the sides.

~~Provenience: Paracas Period—Ocucaje~~

Reference: Photograph in King, Ancient Peruvian Textiles from the Col lection of The Textile Miseum. Figure 4*

SIEEVED SHIRT TM 1959.11.2 Ground Cloth; body- 4 units make up the width of the garment. Each of these units is in turn made up of 4 rectangles pat terned by means of warp and weft in terlo ck in g . These patterned rectangles are arranged in a column and are joined with scaffolding wefts. The shirt is of cotton and wool in white, red, yellow, blue and tan. sleeves- each sleeve consists of a rectangle of red plain weave and another of white joined by scaffolding yams.

~~Dimensions; gm. Igth. gm. wd. body 73 cm. 102 cm. through the sleeves 132 cm.~~

~~Ornamentation: edge finish- The neck slit and one sleeve edge are finished with several rows of multi-colored cross-knit looping. 445~~

Design; Each rectangular unit within the body of the shirt contains a reciprocal bird motif, designed with stepped edges. The use of color, in which dark motifs appear on a light ground as well as the reverse, results in a checkerboard effect.

Construction : The four u n its of the body are seamed together and Joined at the sides as a shirt. Each sleeve web is seamed at the underarm and then joined to the body of the shirt at the arm s l i t s .

~~Provenience : South Coast, Nazca (?)~~

~~SIEEVEIESS SHIRT TM 1959.15.1 Ground Cloth: body- 1 rectangle; single element technique; wool in maroon, red, brown and cream.~~

~~Dimensions: gm. Igth. gm. wd. body 68 cm. 60 cm.~~

~~Ornamentation: fringe- un spun, vicuna in red; 5 cm. in length.~~

Design: Patterning consists of a large, human (?), figure with ap pendages which tra il from the head and legs and which virtually fill up the total area of the shirt. A small stepped fret pattern is arranged as a border along the- lower edge.

~~Construction: The single web is folded and seamed a t the sides as a s h ir t. The neck slit was formed during fabric construction. Fringe is applied along the side seams and the lower edge.~~

~~Provenience; Paracas Period—Ocucaje~~

~~Reference : Photograph—Plate V, this paper.~~

~~SIEEVEIESS SHIRT TM 1959.20.4 Ground Cloth body- 1 rectangle, horizontal bands of warp Interlocking technique, with tu fted p ile ; wool in brown and white. 4 4 6~~

~~Dimensions; gm. Igth. gm. wd. body 89 cm. 76 cm.~~

~~Ornamentation: none~~

Design; Patterning consists of 3 broad horizontal bands of brown plain weave interlocked with 3 equally broad bands of white plain weave. Tufts of wool, matching the color of the band, were inserted in the weaving process and create a shaggy pile surface.

~~Construction: The single web is folded and seamed a t the sides as a s h ir t. The garment has a woven neck s lit.~~

~~SIEEVEIESS SHIRT TM 1959.20.5 Ground Cloth; body- 2 rectangles; p lain weave and extra weft patterning; undyed cotton ground; wool extra weft in red, yellow and green.~~

~~Dimensions; gm. Igth. gm. wd. body 90 cm. 78 cm.~~

~~Ornamentation; fringe- separately woven; red wool; approximately 1 cm. in length; sewed to the lower edge of the shirt.~~

~~Design; Tho upper two-thirds of the garment has extra weft pattern ing in bird and geometric motifs arranged in diagonal rows. Lower one-third of the garment is white plain weave.~~

~~Construction; The two rectangles are seamed at the center and sides as a shirt. Fringe band is sewed to the lower edge.~~

~~Provenience; This shirt and the three which follow this entry are from the same grave lot, however, it is not identified.~~

~~SIEEVEIESS SHIRT TM 1959.20.6 Ground Cloth; body- 2 rectangles; plain weave and extra weft patterning; white cotton ground, wool extra weft in red, yellow, green and brown. U 7~~

~~Dimensions: gm. Igth. gm. wd. body 93 om. 79 om.~~

~~Ornamentation: frin g e - separately woven; red wool; approximately 1 om. in length; sewed to the bottom of the shirt.~~

Design: The upper two-thirds of the garment is in extra weft pattern ing. A third of the patterned area, near the shoulder fold, consists of red bird motifs arranged in strong diagonal rows. The remainder of the patterned area consists of narrow hori zontal rows of bird motifs spaced to allow alternate rows of plain weave. The lower one-third of the garment is plain weave.

~~Construction: Same as TM 1959.20.5 Provenience: See TM 1959.20.5~~

~~SIEEVEIESS SHIRT TM 1959.20.7 Ground Cloth: body- 2 rectangles; plain weave and gauze weave; white cotton.~~

~~Dimensions; gm. Igth. gm. wd. body 85 cm. 74 cm. Ornamentation: frin g e - separately woven; red wool; approximately 1 cm. in length; sewed to the bottom of the shirt.~~

~~Design: Upper tw o-thirds of the s h ir t is in gauze weave and consists of diagonal lines of zig zags. The lower one-third of the shirt is in plain weave.~~

~~Construction: Same as TM 1959.20.5~~

~~Provenience: See TM 1959.20.5~~

~~SIEEVEIESS SHIRT TM 1959.20.8 Ground Cloth: body- 2 rectangles; plain weave, extra weft patterning and gauze weave; salmon cotton ground, wool extra weft in red. 4 4 8~~

~~Dimensions! gm. Igth. gm. wd. body 91 cm. 80 cm.~~

~~Ornamentation! fringe- separately wovenj yellow wool; approximately 1 om. in length. The band is sewed to overlap the lower edge of the shirt and thus adds nothing to the length of the garment.~~

Design! The upper two-thirds of the shirt is patterned while the lower one-third remains as plain weave. One-third of the patterned area near the shoulder fold consists of extra weft patterning which is mostly deteriorated. The motifs were undoubtedly arranged in narrow vertical rows. A nar row horizontal band in red extra weft patterning divides the shoulder area from the gauze weave. Gauze patterning is arranged in narrow horizontal rows consisting of al ternate groups of two or three rows of gauze spaced with plain weave.

~~Construction: Same as TM 1959.20.5 with the exception being the way in which the fringe is attached to the lower edge of the s h ir t.~~

~~Provenience! See TM 1959.20.5~~

SIEEVEIESS SHIRT TM 1959.20.12 Ground Cloth: body- 2 rectangles, each consisting of many small colored blocks of plain weave interlocked over scaffolding wefts; wool in blue, green, yellow, dark red and salmon.

Dimensions: gm. Igth. gm. wd. body 24 cm. 64 cm. Ornamentation: fringe- unwoven warp loops; apprxoiraately 15 cm. in length. Fringe is multi-colored as a result of the colored blocks used in the fabric construction.

~~Design: The a ll-o v e r p attern is the re s u lt of many rows and columns of blocks of p lain weave in various colors. 449~~

~~Construction: The two rectangles are seamed a t the center and sides as a s h ir t.~~

~~Provenience: unknown~~

~~SIEE'VEIGSS SHIRT TM 1960.6.3 Grounâ' Cloth: body- 2 rectangles; slit tapestry; wool on cotton in tans, yellow, red, white, brown, pink and black.~~

~~Dimensions: gm. Igth. gm. wd. body 50 cm. 60 cm.~~

~~Ornamentation: none~~

Design: The all-over patterning consists of horizontal and diagonal rows of bird motifs. In alternate rows the birds face in the opposite direction. The half bird motifs which occur along the center and side seams are not matched. Along the lower edge of the shirt the pattern is arranged as a border w ith a single row of small birds outlined above and below with a series of plain stripes.

~~Construction: The two rectangles are sewed a t the center and sides as a s h ir t.~~

~~Provenience: Central Coast~~

~~Reference: Photograph in King, Ancient Peruvian Textiles from the Col lection of The Textile Museum. Figure 38.~~

SIEEVEIESS SHIRT TM 1960.12.1 Ground Cloth: body- 2 rectangles; interlocked tapestry; wool on cotton in tans and browns as well as red, blue, green, pink, white and gold. Dimensions: gm. Igth. gm, wd. body 101 cm. 99 om. 450

Ornamentation: edge finish- The neck slit may have been overcast. It is now badly deteriorated, seams- The center seam is joined with a figure eight em broidery stitch in red to match the center stripe. The side seams are done in the same stitch but in multi colored repeating sequence.

Design: The patterning in each web consists of broad, vertical bands in solid red which alternate with a single deoroative band. The decorative band is divided into two columns as well as into horizontal registers. The blocks so created are addi tionally divided with a diagonal line. All small sections are filled with geometric patterning described as profile faces and stylized puma tails. An additional narrow deco rative band occurs along the edge of the fabric joined as the side seam.

~~Construction: The two rectangles are seamed a t the center and sides as a s h ir t.~~

~~Provenience: Ujujalla, Ica Valley—Tiahauanao~~

~~SIEEVEIESS SHIRT TM 1960.12.2 Ground Cloth: body- 2 rectangles; interlocked tapestry; wool on cotton in browns and tans as well as yellow, pink and blue.~~

~~Dimensions: gm. Igth. gm. wd. body 106 cm. 108 cm.~~

Ornamentation: edge finish- The neck and arm slits are overcast in brown, seams- The center front seam is joined with a figure eight embroidery in brown to match the center stripe. The side seams, now badly deteriorated, were of the same stitch in multi-colored repeating sequence.

~~Design: The patterning arrangement is much the same as TM 1960.12.1 with the exception th a t the plain band is brown and th a t two broad, decorative bands and one narrow one occur in each web.~~

~~Construction: Same as TM 1960.12.1 451~~

~~Provenience: See TM 1960.12.1~~

~~SIEEVEIESS SHIRT TM 1960.12.4 Ground Cloth; body- 2 rectangles; interlocked tapestry; wool on cotton in browns and tans as w ell as rose, pink, red and gold.~~

~~Dimensions: gm. Igth. gm. wd. body 102 cm. 101 cm.~~

Ornamentation: edge finish- The neck and arm slits are badly deteriorated but appear to have been overcast, seams- The center seam'is joined in figure eight embroidery in gold to match the center stripe. The side seams of the same stitch are in multi-colored repeating sequence.

~~Design; Same as TM 1960.12.1 with the exception that the plain band is gold.~~

~~Construction; Same as TM 1960.12.1~~

~~Provenience ; unknown—Tiahuanaco Style~~

~~PONCHO (?) TM 1960.12.6 Ground Cloth; body- 3 rectangles, of these, 2 are of cotton and wool double cloth and 1 is of cotton and wool tapestry In red, w hite, green, yellow, brown and pink.~~

Dimensions; gm. Igth. gm. wd. body ( fla t length) 183 cm. 90 cm. Ornamentation; edge fin is h - The neck s l i t is fin ish ed with several rows of cross-knit looping, fringe- unwoven warp loops; in both red and white, on the double cloth rectangles; approximately 3 cm. in length. There is no fringe on the tapestry panel.

~~Design; The all-over patterning on the center tapestry panel depicts a stylized animal motif. The double cloth patterning con sists of many narrow, horizontal rows of stepped frets. 452~~

Construction: The three pieces of fabric are seamed to create the width of the garment. There is no evidence that the garment was ever sewed along the sides, A woven neck slit is centered in the tapestry panel.

~~Provenience; Callungo, Ica Valley—Ghincha-Ica Period (?)~~

~~SLEEVEIESS SHIRT TM 1960,12,7 Ground Cloth; body- 2 rectangles; plain weave, wool in natural brown.~~

~~Dimensions; gm, Igth, gm. wd, body 38 cm. 66 cm.~~

Ornamentation; embroidery- wool in red, yellow , brown and blue-green, border- Embroidery is concentrated in vertical and horizontal borders. Along the vertical edges of each web the embroidery is worked over U warps. The embroidery starts at the end of the neck and arm slits. It is decorative and additionally serves to join the webs at the center and sides as a shirt. The horizontal border, approximately U cm, in width, is located just above the fringe, field- Mich of the field area is also embroidered with a small geometric motif steadily repeated in horizontal rows, edge finish- The neck and arm slits are finished with sev eral rows of cross-knit looping, fringe- unwoven warp loops; plied; approximately 24 cm. in length, braids and tassels- individually constructed braids end as yarn tassels. The braid is made up of the colored yams used in the embroidery. Three such braids are sewed to the top of the horizontal border a t each end of the center seam and at each side seam. Each braid is approximately 28 cm. in length.

~~Design; none~~

~~Provenience: unknown~~

~~SIEEVEIESS SHIRT TM 1960.12.8 Ground Cloth; body- 2 rectangles; plain weave; undyed wool. 4.53 Dimensions: gm. Igth. gm. wd. body 27 cm. 61 cm.~~

Ornamentation; embroidery- wool, double running stitch in red, yellow, brown, and dark blue. Embroidery is concentrated in borders 7 cm. in width. Borders are arranged along the vertical edges of each web. Along the sides the embroidery occurs only in the area of the arm slit. The borders are solidly embroidered with a blocked effect evident because of the use of color, fringe- unwoven warp loops; plied; approximately 6 cm. in length.

~~Design: none~~

~~Construction: The two rectangles are sewed together a t the center and sides as a shirt.~~

~~Provenience: unknown~~

SIEEVEIESS SHIRT (?) TM 1960.12.14 Ground Cloth: body- 1 rectangle made up of 3 horizontal bands of wool, warp and weft interlocking in red, white, yellow and brown. These bands alternate with 4 horizontal units of plain weave in maroon wool. All bands are joined with scaffolding w efts. The p lain maroon bands which appear at each end of the garment have a woven slit at what is the center of the garment. The slit is sewed together.

~~Dimensions: gm. Igth. gm. wd. body 37 cm. 78 cm.~~

~~Ornamentation: fringe- unwoven warp loops; approximately 3 cm. in length. It appears that extra yarns were added to create a heavier fringe.~~

~~Design: The bands of warp and weft interlocking are patterned with a single row of S-shaped motifs.~~

~~Construction: The item is now mounted as a f l a t piece, however, some tufts of yam along the sides may suggest the garment 454~~

~~was once seamed as a shirt. The garment has a woven neck s l i t .~~

~~Provenience : unknown~~

~~INCOMPIETE SIEEVEIESS SHIRT TM 1960.13.7 Ground Cloth: body- 1 rectangle; interlocked tapestry; wool on cotton in maroon, red, white, olive and yellows.~~

~~Dimensions: gm. Igth. gm. wd. body (in c .) 65 cm^ 79 cm.~~

Ornamentation: embroidery- Rows of double running stitch in a zig zag pat tern are arranged just above the lower edge of the s h ir t. seams- The sidè seams are joined with multi-colored figure eight stitch. edge finish- The lower edge is finished with multi-colored blanket stitch arranged in the same sequence of colors used in the side seams.

Design; Most of the ground of the shirt is maroon, weft faced plain weave. At the apparent waist level, is a horizontal band of tapestry patterning. The band is divided into three regis ters and in vertical rows. Each small block is filled with geometric pattern in red, white, olive and yellows.

~~Construction: The single web was apparently folded and sewed a t the sides as a shirt.~~

~~Provenience: unlcnown—Inoa sty le~~

SIEEVEIESS SHIRT TM I 96 I. 3.IA Ground Cloth: body- 2 rectangles; p lain weave with extra weft patterning; ground is of undyed cotton, almost sheer in texture; extra weft is of wool in red, yellow, tans and blue.

~~Dimensions; gm. Igth. gm. wd. body 44 cm. 89 cm. 455~~

~~Ornamentations frin g e - separately woven; using yam s in brown, yellow and red; approximately 4 cm. in length; sewed to the lower edge of the shirt.~~

Design: Extra weft patterning is used in a border area 32 cm. in width. Thus, the border area makes up most of the area of the shirt. The central area of the border consists of a single row of motifs each of which involves two men on a raft. Stylized birds are used for filler motif. The figured motif is outlined above and below by plain and weft patterned stripes.

~~Constructions The two rectangles are seamed a t the center and sides as a s h ir t.~~

~~Provenience: unknown~~

~~Reference : Photograph—Plate XVI, this paper.~~

SIEEVEIESS SHIRT TM 1961.3.lU Ground Cloths body- 2 rectangles; interlocked tapestry; wool on cotton in gold, pink, rose, glue-green, blue, white, dark brown and red. Dimensions: gm. Igth. gm. wd. body (in c .) 77 cm. I l l cm.

~~Ornamentations seams- The center seam is done in figure eight embroidery stitch in gold to match the center stripe. The side seams are done in the same stitch in multi-colored re peating sequence.~~

Design: The lower two-thirds of each web of this partial garment con sists of broad, gold stripes which alternate with a broad decorative stripe. An additional narrow, decorative stripe occurs along the edge used for the side seam. The upper one- third is completely patterned with the same motifs seen in the decorative stripe. The patterning consists of vertical columns and horizontal registers, each filled with motifs described as "condor heads". 456

Construction: Although the garment is incomplete in length, it is apparent th a t th e two o rig in a l rectangles of fab ric were seamed a t the center and sides as a shirt. Presently a segment of the shirt through the shoulders is missing.

~~Provenience: unknown~~

SIEEVED SHIRT WITH LINING TM 1961.3.4 Ground Cloth: body- 2 rectangles; slit tapestry; wool on cotton in yellows, red, pink, black, white and tans, sleeves- each of 1 rectangle; same fabric and patterning as in the body of the garment, lin in g - body- 2 rectangles; sheer, brown plain weave, sleeves- each 1 rectangle; same fabric as body lining.

~~Dimensions: gm. Igth. gm. wd. body 45 cm. 103 cm. through the sleeves 144 cm.~~

Ornamentation: fr in g e - separately woven; red wool; approximately 5 cm. in length. Fringe is sewed to the bottom of the shirt as well as to the end of each sleeve. The fringe band at the bottom of the sh irt is narrow when compared to the width of the body of the shirt. Thus, the shirt is slightly gathered onto the fringe.

Design; All-over patterning consists of horizontal rows of standing figures. Alternate figures in a row are wearing a headdress. All figures in a row are joined at the hands. Some small birds are used as filler motif. This same patterning is used on the sleeve webs. Along the lower edge of the body of the shirt are three plain stripes in red, tan and yellow.

Construction : The two webs which form the body are seamed at the center and sid es as a sh ir t. The sleeves are sewed at the underarm and are then sewed to the body along the arm slits. Fringe bands are sewed to the bottom of the shirt and to the edge of each sleeve. The lining is constructed separately in the same manner as the outer shirt. The two garments are sewed to gether at the neck slit, along the edge of the sleeves, and along the lower edge of the garment.

~~Provenience: Central Coast-Ohancay 4 5 7~~

~~SIEEVEIESS SHIRT TM 1961.3.17 Ground Cloth; body- 2 rectangles; interlocked tapestry; wool on cotton in tans, browns, white, pink, red, green, and yellow.~~

~~Dimensions: gm. Igth. ' gm. wd. body 105 om. 103 cm.~~

Ornamentation; seam- The center seam is now just whipped together. It is doubtful that this is the original stitching. The piece is permanently mounted and th e side seams are not visable. edge finish- The neuk slit is overcast in gold to match the center stripe. The arm slits are also apparently over cast in gold.

Design; The patterning in each web consists of broad, vertical bands in solid gold color which alternate with a single decorative band. In each decorative band the running messenger figure is the major m otif. I t is repeated in a v e rtic a l column. An additional narrow decorative band occurs along the edge of the fabric which is joined as the side seam.

~~Construction; The two rectangles are seamed at the center and sides as a s h ir t.~~

~~Provenience ; South or Central Coast—Tiahuanaco.~~

~~Reference ; Photograph in King, Ancient Peruvian Textiles from the Col lection of The Textile Museum. Figure 20.~~

SIEEVED SHIRT WITH PADDING AND LINING TM 1961.11.1 Ground Cloth; body- 5 long, narrow units make up the width of the garment. Additionally 2 small units fill out the length of the center most unit. Wool on cotton; extra warp pattern ing in blues, tans, browns, white and pink. border- 1 web of fabric sewed to the bottom of the shirt to extend its length by approximately 6 cm. Same fabric construction and patterning as in the body of tho s h ir t. sleeves- each is made up of 2 rectangles of fabric; also of the same fabric construction and patterning as the body. 458

lin ln g - body- 2 rectangles make up the body dimensions of the shirt; undyed, cotton, plain weave, sleeves- each 1 web of the same fabric construction as the body lin in g , padding- unspun, undyed cotton.

~~Dimensions: gm, Igth, gm. wd. body (to ta l length) 117 cm. 111 cm. through the sleeves 167 cm.~~

Ornamentation: fringe- separately woven; red wool; approximately 2 cm. in length, sewed to the end of each sleeve; approximately 7 cm. in length, sewed to the bottom of the shirt, edge finish- The neck slit is reinforced at the ends with cross-knit looping.

Design: The narrow warp stripes contain highly stylized human fig ures, birds, and geometric pattern. The motifs are less obvious than the vertical stripes. The stripes In the border are used In the width direction of the shirt.

Construction: The webs which make up the width of the sh ir t are sewed to gether with a simple whip stitch. The neck slit is cut into the center most panel. The border Is sewed to the bottom of the shirt. The pieces which make up each sleeve are sewed together. The sleeve i s then sewed a t the underarm and joined to the body at the arm silts. Fringe Is sewed to the end of each sleeve and to the bottom of the shirt. The two rectangles of lining fabric which form the body of the shirt are seamed at the center and sides. The single web of lining which forms each sleeve Is seamed at the underarm and then joined to the body. The two shirts are Joined to gether at the neck slit, sleeve edge and lower edge of the shirt. Between the lining and the outer shirt is a layer o f unspun cotton padding.

~~Provenience : Central or North Coast—Post Tiahuanaco~~

~~Reference: Photograph—Plate XXVII, th is paper.~~

~~SIEEVEIESS SHIRT TM 1961,11,5 Ground Cloth: body- 2 rectangles; plain weave with extra weft patterning; ground in brown cotton; extra weft yams in red, tan, brown, gold, yellow and purple wool. m~~

~~Dimensions: gm. Ig th . gm. wd. body 79 cm. 86 om.~~

~~Ornamentation: fringe- separately woven; yellow wool; approximately A om. in length; sewed to the lower edge of the s h ir t.~~

Design: Extra weft patterning is concentrated in an 8 cm. wide bor der at the lower edge of the shirt. The border consists of a central row of stylized fish motifs outlined above and below with six solid colored stripes.

~~Construction: The two rectangles are seamed a t the center and sides as a s h ir t.~~

~~Provenience: unknown~~

~~Reference: Hiotograph—Plate XIV, this paper.~~

SIEEVED SHIRT TM 1 9 6 l.ll.2 8 Ground Cloth: body- 2 rectangles; weft faced plain weave with slit tapestry border; wool on cotton in red and white, sleeves- each 1 rectangle of the same fabric and patterning of the body of the shirt.

~~Dimensions: gm. Igth. gm. wd. body 34 cm. 78 cm. through the sleeves 97 cm.~~

~~Ornamentation: none~~

Design: The major part of the shirt is plain red. Along the ends of the sleeves and the lower edge of the shirt is a stepped edge border in slit tapestry. The stepped edges of the border are repeated in red and white.

Construction: The two rectangles which form the body are seamed a t the center and sides as a s h ir t. One sleeve is sewed a t the under arm and the other mid way between the shoulder and the under arm. The sleeves are then sewed to the body of the shirt along the arm slits. 460

~~Provenience; Central Coast (?)~~

~~SIEEVEIESS SHIRT TM 1961.11.29 Ground Cloth: body- 2 rectangles; warp striped plain weave with some extra w eft bands ; cotton in brown and white,~~

~~Dijuensions: gm. Igth. gm. wd. body 23 cm. 56 cm.~~

~~Ornamentation; fringe- unwoven warp loops; approximately .5 cm. in length.~~

Design; Warp s trip e s in brown and white vary in width and are grouped in a regular sequence. Transverse stripes in brown and white are used near the lower edge on each side of the shirt. The transverse stripe near the shoulder fold appears on one side of the shirt only.

~~Construction; The two rectangles are seamed at the center and sides as a s h ir t.~~

~~Provenience: Central Coast~~

~~SIEEVED SHIRT TM 1 9 6 l.ll.4 7 Ground Cloth; body- 2 rectangles; plain weave; undyed cotton sleeves- each, 1 rectangle; plain weave; undyed cotton.~~

~~Dimensions: gm. Igth. gm. wd. body 41 cm. 90 om. through the sleeves 126 cm.~~

~~Ornamentation: frin g e - separately woven; 2 om. in length; sewed to the end of each sleeve and to the lower edge of the shirt.~~

~~Design; none~~

Construction: The two rectangles which make up the body of the shirt are seamed at the center and sides as a shirt. Each sleeve web Is seamed a t the underarm and then sewed to the arm s l i t . Fringe bands are sewed to the sleeves and the lower edge of the s h ir t. 461

~~Provenience : Central or North Coast~~

~~SIEEVED SHIRT TM 1961.11.48 Ground Cloth: body- 2 rectangles; plain and gauze weave; white cotton, sleeves- each, 1 rectangle of the same fabric construction as the body of the s h ir t.~~

~~Dimensions: gm. Igth. gm. wd. body 39 om. 94 ora. through the body 124 om.~~

~~Ornamentation: fringe- unwoven warp loops; approximately .5 om. in length. The fringe appears at the lower edge of the shirt and also along the ends of the sleeves.~~

Design: The major portion of the shirt is of plain weave. The gauze weave is concentrated in a 5 om. border area along the lower edge of the shirt and sleeves. The gauze borders are pat terned with a bird motif.

~~Construotion: The two rectangles which make up the body of the shirt are seamed a t the center and sides as a s h ir t. Each sleeve web is seamed a t the underarm and sewed to the arm s l i t s .~~

~~Provenience: unknown~~

~~SIEEVEIESS SHIRT TM 1961.24.13 Ground Cloth: body- 2 rectangles; plain and gauze weave; red wool.~~

~~Dimensions: gm. Igth. gm. wd. body 73 om. 100 cm.~~

~~Ornamentation: fringe- unwoven warp loops; grouped and plied; approximately 11 om. in length.~~

~~Design: Blocks of gauze weave containing c at o r human fig u re with many appendages alternate with blocks of plain weave. The plain weave areas are woven with teardrop slits. 462~~

Construction: The two rectangles are seamed a t the center and sides as a shirt. One rectangle is considerably longer than the other. In order to make the webs compatible for the construction of the shirt the extra length is adjusted by means of two tucks.

~~Provenience: Paracas, possibly Ocucaje~~

~~SIEEVEIESS SHIRT TM 1961.30.1 Ground Cloth: body- 2 rectangles; p lain weave with extra weft patterning; ground is in brown cotton; extra weft is in purple, pink, yellow, cream, red.~~

~~Dimensions: gm. Igth. gm. wd. body 54 ora. 74 cm.~~

~~Ornamentation: none~~

Design: The major portion of the shirt is in plain weave. Extra weft patterning is concentrated in a border area along the lower edge of the shirt. The central part of the border contains a row of highly geometric, interlocking bird motifs outlined above and below with pink, yellow and purple stripes.

~~Construction: The two rectangles are seamed at the center and sides as a s h irt. Provenience: Central Coast~~

~~ONE-HALF SIEEVEIESS SHIRT TM 196l.30.12 Ground Cloth: body- 1 rectangle remains of what was a 2 rectangle shirt; interlocked tapestry; wool on cotton In red and gold.~~

Dimensions: gm. Igth. gm. wd. body 105 cm. 56 om. (Although the dimensions listed here are those of the frag ment, the length apparently is that of the finished garment and the width is that of one web or one-half of the total garment width.)

Ornamentation: none is noted on the fragment. 463 Design; The finished garment appears to be sectioned into broad, horizontal bands. The band at the lower edge of the gar ment as well as that in which the shoulder fold occurs are identical in patterning. The pattern consists exclusively of long rectangular shapes arranged vertically within the band. In the center portion of the shirt this motif serves as a background on which another geometric pattern is superimposed. Construction; The construction of the garment cannot be determined from the fragment. However, based on i t s sim ila rity to specimen TM 1967 . 26 . 1, which is a complete garment, it can be assumed th a t two such webs were seamed a t the center and sides as a s h ir t.

~~Provenience; unknown~~

SIEEVEIESS SHIRT WITH PADDING (?) TM 1961.30.U 7 Ground Cloth; body- warp stripe and extra warp patterning; cotton in brown, tan, white and blue, padding (?)- some tufts of unspun fiber cling to the inside of the shirt.

~~Dimensions; gm. Igth. gm. wd. body 38 om. 32 cm.~~

~~Ornamentation; none~~

Design; The all-over patterning consists of vertical stripes. Most of the stripes are plain in brown, tan and light blue. Four stripes in each web have extra white yams which are used to create a small, geometric, float pattern.

Construction ; The two rectangles which make up the shirt are not equal in width. In order to make the widths of comparable size, one has a 4 cm. fold which reduces its width. The fold, which occurs along the side of the garment, is turned to the out side of the shirt and is held in place by a long running s titc h . The two webs are then seamed a t the center and sides as a shirt.

~~Provenience ; unknown 464~~

~~SIEEVEIESS SHIRT TM 196l.30.159 Ground Cloth: , body- 2 rectangles; warp stripe and extra warp patterning; cotton in brown, tan, white and blue.~~

~~Dimensions: gm. Igth. gm. wd. body 15 cm. 34 cm.~~

~~Ornamentation: none~~

Design: The all-over patterning consists of vertical stripes. Most o f the strip es arc plain in brown, tan and lig h t blue. Three strip es on one side and two on the other, have extra white yams which are used to create a small, geometric, float pattern.

~~Construction: The two rectangles are seamed a t the center and sid es as a sh ir t.~~

~~Provenience: unknown~~

~~SIEEVEIESS SHIRT TM 1961.30.167 Ground Cloth: body- 2 rectangles; extra warp patterning, cotton in tans and light blue.~~

~~Dimensions: gm. Igth. gm. wd. body 39 cm. 64 cm.~~

~~Ornamentation: none~~

Design: The patterning in each web is concentrated in three vertical stripes. Two of the stripes are arranged as a pair and the th ird is placed along the edge of the fa b ric which becomes the center seam. With a similar arrangement of patterning in the second web, the finished shirt consists of three, double stripes. Each stripe is patterned with a reciprocal fish motif.

~~Construction: The two rectangles are seamed a t the center and sides as a s h ir t.~~

~~Provenience: unknown 465 SIEEVEIESS SHIRT TM I 96 l . 3 0 . l 69 Ground Glbth: body- 2 rectangles, plain weavej white cotton~~

~~Dimensions; gm. Igth. gm. wd. body 33 cm. 86 om.~~

~~Ornamentation; fringe- unwoven warp loopsj approximately 3 om. in length.~~

~~Design; none~~

~~Construotion: The two rectangles are seamed at the center and sides as a shirt. There is some evidence of aboriginal mending along one edge.~~

~~Provenience; Central Coast~~

~~SIEEVEIESS SHIRT TM i 96 l . 3O .l84 Ground Cloth; body- 2 rectanglesJ warp and weft stripes with some extra warp patterning} cotton in tan, brown, blue and white.~~

~~Dimensions; gm. Igth. gm. Wd. body 28 om, 52 om.~~

~~Ornamentation; none~~

Design; The all-over patterning consists of a subtle plaid effect with narrow, patterned, v e rtic a l s trip e s somewhat more pre dominant. Extra warp yams are used to create a cross motif where plaids intersect.

~~Construction; The two rectangles are seamed at the center and sides as a s h ir t. Provenience: unknown~~

~~SIEEVEIESS SHIRT TM 1961.30.203 Ground Cloth: body- 2 rectangles, warp and weft striped plain weave; cotton in tan and lig h t blue. 4.66~~

~~Dimensions: gra. Ig th . gra. wd. body 60 ora. 67 ora.~~

~~Ornementation; none~~

~~Design: A ll-over patterning co n sists of blue windowpane check on brown ground. Construction: The two rectangles are searaed a t the center and sides as a s h ir t.~~

~~Provenience: Central Coast~~

SIEEVEIESS SHIRT TM 196l.30.2U Ground Cloth: body- 2 rectangles; plain weave with extra weft patterning; ground in brown cotton; extra weft of wool in reds, yellow and tan s. Dimensions: gra. Ig th . gra. wd. body 79 ora. 72 era.

Ornamentation: frin g e - separately woven; yellow wool; approximately 6 era. in length; sewed along the bottom edge of the shirt. A separately woven band of red fabric as well as the yellow fringe band are sewed along each arm slit.

Design: The extra weft patterning area is concentrated in a 9 ora. border along the lower edge of the shirt. The central raotif of the border consists of a single row of stylized birds. Above and below the central motif are a series of red, yel low and tan strip e s.

Construction: The yam used to join the rectangles at the center is also used to create a reinforcement at each end of the neck slit. The original side seams have been repaired at the end of the arm with red and yellow yams. A fringe band is sewed to the bottom of the shirt. Added to each arm slit is a narrow, incomplete band of red fabric as well as a band of yellow fa b ric .

~~Provenience: unknown m~~

SIEEVEIESS SHIRT WITH LINING (?) TM 1961.37.5 Grourd Cloth5 tody- 8 narrow rectangles; slit tapestry; wool on cotton in yellow, tan, red, purple and some white. liningC?)- 2 rectangles, open plain weave, undyed cotton.

~~Dimensions: gm. Igth. gra. wd. body 74 om. 109 cm.~~

~~Ornamentation: edge finish- Several rows of red cross-knit looping are used along the arm slits and along the bottom edge on only one side of the garment.~~

Design: The all-over patterning in each web consists of a checker board effect in which alternate blocks are filled with a oat motif. This effect is heightened by the reversal of dark and light figure and ground relationship. The ground area of the blocks includes the use of red, purple or gold. All of the cat figures are placed in the same direction. Thus, as the fabric is folded at the shoulder to make the shirt, the cat motifs on the reverse aide of the garment are upside down.

Construction: The eight rectangles are seamed together allowing a neck open ing in the center most seam. The entire piece was folded and seamed at the sides as a shirt. The two rectangles of lining are presently seamed only at the center. The lining, which was with the shirt when it was received in the museum, is presently not attached to the outer garment and is cataloged separately.

~~Provenience: Tunga, Nazca V alley—Late Period.~~

~~SIEEVEIESS SHIRT TM 1962.2.1 Ground Cloth: body- 1 rectangle; plain weave; undyed wool.~~

~~Dimensions: gm. Igth. gm. wd. body 50 cm. 71 cm.~~

Ornamentation: frin g e- yam- varicolored; wool; applied as an embroidery tech nique; approximately 65 cm. in length along the arm slits; approximately 2 cm. in length along the en t i r e length of each side seam. 468

tab- woven tabs; eight warps in width; approximately 45 om. in length. This fringe is worked as a part of the basic warp of the ground cloth, embroidery- appliqued bands- 5 cm. in width to surround the neck slit; 12 cm. in width to form 2 L-shaped peripheral borders. The embroidery consists of anthropormorphic figures in gold, navy, red, and dark green on a red ground. field- worked directly on the ground cloth; concentrated in borders; arranged to surround the neck slit appliqued band; arranged to follow the peripheral appliqued borders only in the area of the arm s l i t s .

Construction: The single rectangle is folded and seamed at the sides as a shirt. It has a woven neck slit. Long yam fringe is ap plied to the arm slits and a shorter version of the same fringe is used along the side seams.

~~Provenience: Paracas Period—Callango~~

~~SIEEVEIESS SHIRT TM 1962.4.1 Ground Cloth: body- 2 rectangles; simple extra warp patterning; wool in dark brown and w hite.~~

~~Dimensions: gm. Igth. gm. wd. body 48 cm. 89 cm.~~

~~Ornamentation: fringe- unwoven warp loops; approximately 5 cm. in length.~~

Design: The major surface of the fabric consists of a brown and white checked or tweed effect created when brown and white warps exchange places in the interlacing pattern. Along each side of the garment are several narrow solid stripes in dark brown and white.

~~Construction: The two rectangles are seamed at the center and sides as a s h ir t. Provenience: Central or South Coast 4 6 9~~

~~SIEEVEIESS SHIRT TM 1962.4.3 Ground Cloth; body- 2 rectangles} plain weave, wool in dark brown.~~

~~Dimensions: gm. Igth. gm. wd. body 50 cm. 70 cm.~~

Ornamentation: fringe- unwoven warp loops; grouped and twisted; approximately 18 cm. in length, embroidery- wool in red, yellow, gold and cream. Embroidery is concentrated in narrow bands along the vertical seams. The embroidery in the v e rtic a l d ire c tio n is worked over three warps and serves to join the webs as a shirt. Each web contains a simple embroidered circle at about chest level. edge finish- The neck slit is finished with several rows of brown cro ss-k n it looping. The same fin is h in a v ariety of colors is used along the arm slits.

Design: The p lain weave fab ric has several rows of twining ju st above the fringe. The ends of the colored yams used in the twining are formed into round and wrapped tassels which hang a t each center and side seam.

~~Construction: The two rectangles are joined at the center and sides as a s h ir t.~~

~~Provenience; South Coast—Nazca~~

~~SIEEVEIESS SHIRT TM 1962.5.1 Ground Cloth: body- 2 rectangles; interlocked tapestry; wool on cotton in gold, brown, maroon, white, tan, red, and blue.~~

~~Dimensions: gm. Igth. gm. wd. body 100 cm. 113 cm.~~

Ornamentation: edge finish- The neck slit is overcast in red to match the center stripe. The arm slits are finished with multi colored cross-knit looping which matches the color sequence in the side seam, seams- The center seam is done in figure eight stitch in red to match the center stripe. The side seams make use of the same stitch in multi-colored repeating sequence. 470

Designs The patterning in each web consists of broad, vertical bands in solid red which alternate with a single, broad decorative band. An additional narrow, decorative band is used along th e edge which becomes the side seam. The p a t terning within the decorative bands consists of highly stylized motifs described as "four way repeat of facing feline heads".

~~Constructions The two rectan g les are seamed a t the center and sides as a shirt. Four rows bf double running stitch along the lower end of each arm slit appear to serve as a reinforcement.~~

~~Provenience: unknown Reference: Photograph in King, Ancient Peruvian Textiles from the Col lection of The Textile Miseum. Figure 21.~~

~~SIEEVEIESS SHIRT TM 1962.9.6 Ground Cloth: body- 2 rectangles; plain weave; undyed cotton~~

~~Dimensions: gm* Igth. gm. wd. body 34 cm. 44 cm.~~

Ornamentation: feathers- sewed to the surface to form two horizontal bands; one in blue and the other in yellow. The width of each band is made up of three rows of tiny feathers. The total width of both bands is 5 cm. metal- 12 small squares of silver (?) with incised pattern are arranged in a row just above the feathered bands. There is a small hole in each comer of each metal square which facilitates sewing the piece to the ground.

~~Design: none~~

~~Construction: The two rectan g les are seamed a t the center aM sides as a s h ir t.~~

~~Remarks: Garment TM 1962.9.7 is apparently a miniature copy of this garment. 471~~

~~Provenience: Chancay (?)~~

~~SIEEVEIESS SHIRT (?) TM 1962.9.7 Ground Cloth: body- 1 rectangle; plain weave; undyed cotton.~~

~~Dimensions: gm. Igth. gm. wd. body ( f l a t length) 23 cm. 15 cm.~~

~~Design: none~~

~~Construction: The garment remains as a flat rectangle with a woven neck slit. Since there is no evidence of sewing along the sides, it may be considered as a poncho.~~

~~Remarks: See TM 1962.9.6~~

~~Provenience: Chancay (?)~~

~~SIEEVEIESS SHIRT TM 1962.28.U Ground Cloth : body- 2 rectangles; interlocked tapestry; wool on cotton in rust, pink, maroon, browns and gold.~~

~~Dimensions: gm. Igth. gm. wd. body 105 cm. 106 cm.~~

Ornamentation: edge finish- The neck slit is overcast in a rust color to match the center stripe. The area of the arm slits is badly deteriorated and the finish cannot be determined, seams- The cen ter seam is done in figure eight s tlto h in rust to match the center stripe. The side seams have been out but evidence of the multi-colored stitching remains to in d icate th a t the piece was seamed as a s h ir t. 472 Design: The patterning of eaoh web consists of broad, vertical bands in solid rust color which alternate with two, broad, deco rative bands. An additional narrow, decorative band is ar ranged along the edge which becomes th e side seam. Each decorative band is divided in to two columns and a series of horizontal registers. The blocks so formed are also divided by a diagonal line. The motifs which occur within these segments consist of profile heads and stepped puna tails.

~~Construction: The two rectangles are seamed a t the center and aides as a s h ir t.~~

~~Provenience: Pound in a grave lot in Monte Grande, Rio Grande Valley~~

SIEEVEIESS SHIRT TM 1962.30.1 Ground Cloth: body- 2 rectangles; interlocked and slit tapestry, wool on cotton in tans, brown, light blue, pink, maroon, white and black. Dimensions: gm. Igth. gm. wd. body 105 cm. 110 om.

Ornamentation: edge finish (?)- Currently the neck and arm slits are not finished. A few bits of yam along these edges may indicate that these edges were once overcast, seams- The center front and side seams are done in figure eight stitch in areas of red or gold to match the ground of the blocks in the fabric pattern.

Design: The all over-pattem in each web consists of a checkerboard arrangement in which alternate squares are in red and gold stripes. The remaining squares each contain a stylized human figure in profile.

~~Construction: The two rectangles are seamed a t the center and sides as a s h ir t.~~

~~Provenience: unknown~~

~~Reference: Riotograph in King, Ancient Peruvian Textiles from the Col- l9gtion.Qf_Tb9 IsartUe Figure 22. 473~~

~~SIEEVEIESS SHIRT TM 1962.30.2 Ground Cloth: body- 2 rectangles} interlocked tapestry; wool on cotton in red, gold, brown, tan, rose and pink. ,~~

~~Dimensions: gm. Igth. gm. wd. body 105 om. 107 cm.~~

Ornamentation: edge finish (?)- The shirt is in very fragile condition, especially at the shoulder area. Thus, the neck and arm s lit finish cannot be determined, seams- The center front seam is in figure eight stitch in gold colored yam. The side seams are done in the same stitch In colors to match the fabric patterning.

Design: The patterning in each web consists of broad, vertical bands of solid gold color which alternate with two, broad, decora tive bands. An additional narrow, decorative band is used along the edge which becomes the side seam. The decorative bands are not divided into the usual columns and registers but are rather filled with staff bearing figures repeated in a column.

~~Construction: The two rectangles are seamed at the center and sides as a s h ir t.~~

~~Provenience: unknown~~

~~HORIZONTAL NECK SLIT SHIRT TM 1962.57.3 Ground Cloth: body- 1 rectangle; plain weave with extra weft patterning; ground is in white cotton; extra weft is wool in rose and dark brown.~~

~~Dimensions: gm. Igth. gm. wd. body 46 cm. 126 om.~~

~~Ornamentation: none~~

Design: The patterning is arranged with respect to the edge of the fabric which is used as the shoulder area of the shirt. On one side of the garment the patterning consists of two, inverted, L-shaped bands in which the longest areas are parallel to the shoulder and the shortest segments are m located near the center and perpendicular to the shoulder. These bands are patterned with a stepped edge interlocking snake head motif. At the center and located between the bands is a highly stylized standing figure. Other smaller geometric shapes are placed on eaoh side of the center. On the reverse side of the garment, the patterning consists of two bands, unequal in length, arranged perpendicular to the shoulder. These bands are arranged to one side of the cen ter. They are patterned with a cat motif.

Construction: The single rectangle is folded and seamed as a tube with the warp oriented to the width of the garment. The single ver tical seam is located approximately 10 cm, in from one side of the gannent. The upper edges of the tube are sewed in such a fashion as to allow for a neck opening and small arm or hand openings. All apertures are arranged on the same horizontal plane. A long running stitch along the bottom edge of the shirt is unexplained.

~~Provenience: King indicates a post-Tiahuanaoo Period~~

SIEEVEIESS SHIRT WITH PADDING AND LINING TM 1963.13.1 Ground Cloth: body- 2 rectangles; plain weave and extra weft patterning; ground is brown cotton; extra weft is wool in red, yellow, tan, pink, black and white, lining- 2 rectangles; plain weave; undyed cotton, padding- unspun fiber

~~Dimensions: gm. Igth. gm. wd. body 5A cm. 94 om. Ornamentation: fringe- separately woven; yellow wool; approximately 4 om. in length; sewed to the lower edge of the garment.~~

Design: The extra weft patterning is concentrated in a border ap proximately 13 cm. wide along the lower edge of the shirt. The central portion of the border consists of chevron bands filled variously with bird, cat, or fret motifs. The pat terned band is outlined above and below with a series of solid colored, narrow stripes.

~~Construction: The two rectangles of p la in weave and extra weft p atterning are seamed at the center. Currently the garment is not seamed a t the sid e s, however, i t was once undoubtedly 475~~

seamed aa a s h ir t. The lin in g webs are also seamed a t the center. The lin in g and the outer garment are sewed together along the neck and arm slit areas and at the lower edge of the garment. Padding is arranged between the two layers.

~~Provenience: Chancay (?)~~

~~SIEEVELESS SHIRT TM 1964.12.2 Ground Cloth: body- 1 rectangle; interlocked tapestry; wool on cotton in gray, red, brown, gold, yellow, blue and white.~~

~~Dimensions: gm. Igth. gm. wd. body 90 cm. 76 cm.~~

~~Ornamentation: edge finish- The neck slit is cut and overcast, seams- The side seams are overcast.~~

Design: The major portion of the s h ir t is of weft faced p lain weave in natural tan color. The tapestry patterning is concen trated in a 12 cm. band arranged at the level of the waist line. The patterning consists of a single row of stepped edge lozenge shapes. Each is filled with similar shapes in decreasing scale. Above and below the patterned band, extra wefts are inserted and manipulated to give the surface of the garment a wavy appearance.

~~Construction: The single web is folded and seamed at the sides as a shirt. The vertical neck slit is cut and overcast.~~

~~Provenience: South Coast—Inca Period~~

~~SIEEVEIESS SHIRT TM 1964.39.1 Ground Cloth: body- 2 rectangles; interlocked tapestry; wool on cotton in red, gold, brown, tan, yellow, rose, blue pink and w hite.~~

~~Dimensions: gm. Igth. gm. wd. body 106 cm. 108 om.~~

~~Ornamentation: edge finish- The arm and neok slits are overcast in red and gold to match the striped center band. 476~~

aoams- The centor aeura ia done in u figure eight stitch In alternating areas of red and gold. The garment ia pres ently open at the sides, however, the evidence of a fig ure eight stitch in a multi-colored repeating sequence remains to indicate the specimen was once seamed as a s h ir t. Design: The patterning in each band consists of broad, vertical bands of evenly spaced red and gold stripes. These striped bands alternate with two, broad, decorative bands. An ad ditional narrow, decorative band is used along the side which becomes the side seam. The m otif w ithin the decora tive band consists of various stylized human figures re peated in a column.

~~Construction: The two rectangles are seamed a t th e center and sides as a s h ir t.~~

~~Provenience: unknown~~

~~SIEEVEIESS SHIRT TM I 964 .6I .9 Ground Cloth: body- 2 rectan g les; plain weave with extra weft patterning; ground in brown cotton, extra weft patterning in wool in red , black and tan.~~

~~Dimensions: gm. Igth. gm. wd. body 30 cm. 76 om. Ornamentation: fringe- unwoven warp loops; approximately 3 cm. in length.~~

Design: The extra weft patterning is concentrated in a 5 om. wide border area along the bottom of the shirt. The central por tion of the border consists of single row of bird motifs. This patterning is outlined above and below with a series of solid colored stripes. Construction: The two rectangles are seamed at the center and sides as a s h ir t.

~~Provenience: unknown 477~~

~~SIEEVEIESS SHIRT TM 1965.6.1 Ground Cloth: body- 2 rectangles; Interlocked tapestry; wool on cotton in browns, tans, rose, black, pink, blue and white.~~

~~Dimensions: gm. Igth. gm, wd. body 97 cm. 99 cm.~~

Ornamentation: edge finish- The arm and neck slits are overcast in blue yarn. seams- The center front seam is done in figure eight stitch in blue. The side seams have been out, however, evi dence is clear that at one time the item was seamed with figure eight stitch also in blue.

Design: The rectangular area which outlines a yoke resembles a shell necklace. The area enclosed by the rectangle is completely patterned with a motif which resembles a seated monkey (?). The remainder of the shirt is also fully pat terned. Noted in the patterning are anthropormorphic figures. The yoke area is outlined in red and white.

Construction: The two rectangles are seamed a t the cen ter. P resently, the garment is mounted flat, however, there is sufficient stitch ing remaining along the sides to indicate the garment was once seamed as a s h ir t.

~~Provenience; unknown~~

~~SIEEVEIESS SHIRT TM 1965.6.2 Ground Cloth: body- 2 rectangles; interlocked tapestry; wool on cotton in brown, gold, red, white, and pink.~~

~~Dimensions: gm. Igth. gm. wd. body 53 cm. 105 cm.~~

Ornamentation: edge finish- The neck and arm slits are overcast in gold colored yam. seams- The center seam is done in a figure eight stitch in gold, but not as closely worked as seen on many Tlahauanaco shirts. The side seams were cut, however, the remains of gold figure eight stitching indicate that the piece was once seamed as a shirt. 4.78

~~Design: The all-over patterning In the entire length of each wet consists of 6 horizontal rows of highly geometric motifs showing a Nazca-Wari influence.~~

~~Construction: The two rectangles are now seamed at the center. The sides have been cut, however, the flat piece was undoubtedly once seamed as a s h ir t.~~

~~Provenience: Nazca-Wari~~

~~SIEEVEIESS SHIRT TM 1965.4-0.42 Ground Cloth: body- 2 rectangles; warp stripe plain weave; wool and cotton in brown, gold, white, blue, red and tan.~~

~~Dimensions: gm. Igth. gm. wd. body 83 om. 99 om.~~

Ornamentation: edge finish- The neck and arm slits are finished with sev eral rows of multi-colored cross-knit looping, seams- The center and side seams are done in a figure eight stitch in red, blue, white and gold, fringe (?)- The shirt, at one time, may have had a warp . fringe. The lower edge is now overcast in brown. The stitching is rather loosely done.

~~Design: The all-over patterning consists of broad, vertical bands. Broad plain bands in red alternate with broad bands which have multi-colored stripes.~~

~~Construction: The two rectangles are seamed at the center and sides as a s h ir t.~~

~~Provenience: From a Chilca grave lot.~~

SIEEVEIESS SHIRT TM 1965.40.43 Ground Cloth: body- 2 rectangles; plain weave; natural tan wool. Dimensions: gm. Igth. gm. wd. body 82 cm. 109 cm. 479 Ornamentation! tie-dye- Diamond shapes in red are arranged in a series of rows which run diagonally across the en tire sh irt. Thus, the tie-dye design results in a broad X across the entire length and width of the finished shirt, seams- The yam used to lace the side and center seams is grouped into a small tassel, about 6 om. in length, and hangs at the end o f the neck and arm s l i t s .

~~Design: none~~

~~Construction: The two rectangles are seamed a t the center and sides as a sh ir t.~~

~~Provenience: Found in the same Chilca grave lot as TM 1965.40*43~~

~~FEATHER PONCHO TM 1965.40.60 Ground Cloth: body- 1 rectangleI plain weave; undyed cotton.~~

~~Dimensions: gm. Igth. gm. wd. body ( f la t length) 57 cm. 24 cm.~~

Ornamentation; feathers- On one side of the garment small blue feathers are arranged to form a small yoke area. The edges of these blue feathers are trimmed to create a smooth lin e . The remainder of that side is covered with rows of small orange feathers. On the reverse side of the garment three rows of large, blue, iridescent feathers fill the entire surface. edge finish- The out edges of the neck slit are loosely over cast.

~~Design: none~~

~~Construction: The garment remains as a flat rectangle with a out neok slit.~~

~~Provenience: unknown 480~~

~~SIEEVEIESS SHIRT TM 1965.47.2 Ground Cloth: body- 1 rectangle; sin g le element technique; wool in maroon, red, brown and cream.~~

~~Dimensions: gm. Igth. gm. wd. body 69 cm. 59 cm.~~

~~Ornamentation: fringe- unspun vicuna in red; 5 ora. in length.~~

Design: A large centrally arranged, highly sytlized, human figure dominates the patterning. Behind this figure the ground is covered with stepped edge zig zags arranged in a vertical direction. Within the lozenge shapes formed by the rows of zig zags is a cross motif.

~~Construction: The single web is folded and seamed at the sides. Tufted fringe is sewed along the sides and lower edge of the shirt.~~

~~Provenience: Ocucaje—Paracas Period~~

PONCHO TM 1965.48.1 Ground Cloth: body- 3 rectangles; of th ese, 2 are of plain and exiira warp patterned stripes in combination with some warp and weft interlocking. The center panel is of loosely worked warp and weft interlockin g. The sh irt is wool in brown, blue, rust, gold and white.

~~Dimensions: gm. Igth. gm. wd. body (flat length) 100 cm. 100 cm.~~

Ornamentation: fringe- brown and blue yarn; applied as an embroidery tech nique; approximately 15 cm. in length; along the lower edge of the poncho, embroidery- Bits of embroidery are used on the toes of the human figure patterned on the center panel, edge finish- The neck slit and the side edges of the poncho are finished with several rows of cross-knit looping in brown and white.

~~Design: Eaoh of the side panels is patterned with a series of plain and extra warp patterned stripes arranged near one side of the panel. The border at each end of these panels is 481~~

created In warp and weft interlocking technique. The borders at the opposite ends of these webs differ somewhat in design. The center panel, exclusively in warp and weft interlocking, contains a single, large, crudely stylized human figure. The figure, which appears at one end of the rectangle, is not repeated for the reverse side of the garment. The borders at each end of the center panel are much like those on the side panels.

~~Construction: The three pieces are sewed together to create the width of the garment. Fringe is applied at each end. The gannent remains a flat piece with a cut neck slit.~~

~~Provenience: South Coast—Ocuna Valley~~

~~Reference: Photograph in King, Ancient Peruvian Textiles from the Col lection of The Textile Museum. Figure 44.~~

~~SIEEVEIESS SHIRT TM 1965.70.1 Ground Cloth: body- 2 rectangles; plain weave and extra warp strip es; wool in brown, green, blue, red, black and gold.~~

~~Dimensions: gm. Igth. gm. wd. body 79 cm. 134 cm.~~

Ornamentation: edge finish- The neck slit is finished with a single row of cross-knit looping. A multi-colored finish of the same type is used on the arm slits, seams- The side seams are done in a figure eight stitch in a multi-colored repeating sequence. The center seam is joined with a whipping stitch.

Design: The all-over patterning consists of vertical stripes in vary ing widths. The broad plain stripes are in green. Extra warp patterned stripes outline groups of narrow plain stripes in a variety of colors. The patterning within a stripe con sists of elongated snake motifs.

~~Construction: The two rectangles are seamed a t the center and sid es as a shirt. Several rows of running stitoh are located perpen dicular to the ends of the neok slit. 482~~

~~Provenience: South Coast~~

~~SIEEVEIESS SHIRT TM 1965.70.2 Ground Cloth: body- 2 rectanglesj warp and weft interlocking; wool in gold, red, green, brown and blue.~~

~~Dimensions: gm. Igth. gm. wd. body 65 om. 124 cm.~~

~~Ornamentation: frin g e- separately woven; m ulti-colored wool; approximately 6 cm. in length; sewed to the lower edge of the garment.~~

Design: A large standing figure, holding trophy heads, virtually fills the space on eaoh web. The stepped edges of the de sign make it difficult to follow the pattern. At times the design appears to be horizontal rows of geometric m otifs.

~~Construction: The two rectangles are seamed a t the center and sides as a sh ir t.~~

~~Provenience: Nazca-Wari~~

~~SIEEVEIESS SHIRT TM 1966.3.2 Ground Cloth: body- 2 rectangles; interlocked tapestry; wool on cotton in dark brown, tan, rose, pink and orange.~~

~~Dimensions: gm. Igth. gm. wd. body 136 cm. 114 cm.~~

Ornamentation: edge finish (?)- The garment is badly deteriorated at the shoulder and so the finish along the neok and arm slits cannot be determined, seams- The center seam is done in figure eight stitch in rose-red to match the center stripe of the shirt. The side seams are done in the same s titc h in m ulti colored repeating sequence.

~~Design: The patterning in each web consists of broad, vertical bands of an unusual rose-red. These bands alternate with two 483~~

broad, decorative banda. An additional narrow, decorative band is used along the edge which becomes the side seam. The raotif within the decorative bands consists of a highly stylized anthropomorphic puma figure repeated in a column.

~~Construction: The two rectangles are seamed at the center and sid es as a sh irt.~~

~~Provenience: Coyango, Rio Grande de Nazca V olley—Tiahuanaco Period~~

~~SIEEVEIESS SHIRT TM 1966.5.2 Ground Cloth: body- 2 rectangles; interlocked tapestry; wool on cotton in gold, brown, pink, red, tan and black.~~

~~Dimensions: gra. Igth. gm. wd. body 103 cm. I l l om.~~

Ornamentation: edge finish- The arm slits are finished with two rows of cross-knit looping in red and yellow. There is no fin ish on the neck s l i t , seams- The center seam ir done in figure eight stitch in red to match the strip e in the s h ir t. The side seams are done in the same stitch in multi-colored repeating sequence.

Design: The patterning in each web consists of broad, vertical stripes in solid red which alternate with two, broad, decorative stripes. An additional narrow, patterned stripe is used along the edge which becomes the side seam. The decorative strip es are not divided into columns or registers and are filled with a highly geometric pattern described as "four way repeat of facing feline heads".

~~Construction: The two rectangles are seamed a t the center and sid es as a sh ir t.~~

~~Provenience: unknown~~

~~SIEEVEIESS SHIRT TM 1966.7.30 Ground Cloth: body- 2 rectangles; slit tapestry; cotton in brown, blue, tan and white. m Dimensions: gm. Igth. gm. wd. body 51 om. 109 om.~~

~~Ornamentation; fringe (?)- The stitohing along the bottom edge of the shirt may Indloate that something was attached along that edge. Presently, there is no fringe on the garment.~~

Design: On eaoh web two standing human figures with their arms raised, fill much of the space. Behind the figures are meandering plant forms. In an 8 cm. area along the bottom of the shirt the pattern is arranged as a border. The cen tral motif of a single row of cats is outlined above and below with stripes in brown, tan and white.

~~Construction: The two rectangles are joined at the center. Presently the side seams are open, however, there is every indication that the item was once seamed as a s h ir t.~~

~~Provenience: Ullajaia, Ica Valley~~

~~SIEEVEIESS SHIRT TM 1966.7.35 Ground Cloth: body- 2 rectangles; slit tapestry; cotton in red, white and gold.~~

~~Dimensions: gm. Igth. gm. wd. body 50 cm. 109 cm.~~

~~Ornamentation: frrlnge- separately woven; yellow wool; approximately 4 cm. in length; sewed to the lower edge of the shirt.~~

Design: The all-over patterning consists of 5 horizontal rows of stylized bird motifs. On each row the birds face in the cpposite direction. An 11 cm. area along the lower edge of the garment is patterned as a border. In the border area a single row of bird motifs is outlined above and below with a series of stripes in red and gold.

~~Construction: The two rectangles are seamed a t the center and sid es as a sh ir t.~~

~~Provenience: Lower Ica Valley 4 8 5 SIEEVEIESS SHIRT TM 1966.7.46 Ground Cloth: body- 2 rectangles} interlocked tapestry; wool on cotton dn red, gbld, tan and brown.~~

~~Dimensions: gm. Igth. gm. wd. body 78 cm. 84 om.~~

Ornamentation: edge finish- The neck and arm slits are finished with one row of red cross-knit looping. In an area at the end of the neck and arm slits, an additional row of white cross-knit looping is used as a sort of reinforcement. The bottom edge of the shirt is finished with red blanket stitoh. seams- The side seams are done in a figure eight stitch in red, gold and tan. The center seam is joined with a whipping stitch, embroidery- Scattered areas of embroidery occur thorughout the sh irt to h igh ligh t the woven pattern.

Design: Each web is patterned so that broad horizontal segments of the shirt are noted. In the area from the shoulder to ap proximately the waistline are rows of stepped edge pattern forming an oblique line. Together with the second web these lines form a V-shaped yoke. The ground inside of the yoke is red; that outside the yoke on one web is red, on the other is brown. Centered w ithin the area below the w aist line is a square. Inside of the square, in decreasing scale, are diamond and stepped edge lozenge shapes and fin a lly a sty liz ed ca t. The ground around the square in one web is gold in color, in the other red.

~~Construction: The two rectangles are seamed at the center and sides as a sh ir t.~~

~~Provenience : Ullajaia, Ica Valley—grave lot 12—Inca Period.~~

SIEEVEIESS SHIRT TM 1966.7.73 Ground Cloth: body- 1 rectangle; warp striped plain weave; cotton in tan, blue and brown. Dimensions: gm. Igth. gm. wd. body 29 cm. 29 om. 486 Ornamentation: edge finish- The neck slit is overcast in an 8 cm. area at each end. The overcasting appears to serve as a rein forcement.

~~Design: The surface of the shirt is covered with vertical stripes. The stripes, rather uniform in width, are all in muted tones.~~

~~Construction: The single rectangle is folded and seamed as a shirt. The neck s l i t is woven.~~

~~Provenience: Ullajaia, Ica Valley~~

~~COLLAR OR YOKE TM 1966.7.118 Ground Cloth: body- 2 stepped edge piecesj tapestry; wool on cotton in red, rust and blue.~~

~~Dimensions: gm. Igth. gm. wd. body ( f u ll length) 49 om. 32 cm.~~

Ornamentation: edge finish- The edges of the neck slit are finished with several rows of cross-k n it looping. This fin ish is extended and continues along the entire center seam. The horizontal edges of each stepped edge are finished with one row of cross-knit looping.

~~Design: The all-over patterning consists of narrow, diagonal rows of zig zags between which are rows of bird heads. The outer stepped edge of the garment was p ossibly worked over scaffolding yams.~~

~~Construction: The two pieces are seamed a t the center and remain as a f la t item.~~

~~Provenience : Ullajaia, Ica Valley~~

~~SIEEVEIESS SHIRT TM 1966.7.168 Ground Cloth: body- 2 rectangles; plain weave with tapestry; wool in yellow, black, red and blue. 4.87 Dlrnonalono! gra. Ig th . gm. wd. body 31 cm. 58 om.~~

Ornamentation; fringe- unwoven warp loops; approximately 1 om. in length, embroidery- in a 3 ora. wide border arranged along the arm slits. The embroidery consists of small geometric motifs in red, blue and black, edge finish- The neok and arm slits are finished with sev eral rows of m ulti-colored cross-k n it looping.

Design: The tapestry patterning is oonoentrated in a 13 cm. border along the lower edge of the shirt. The patterning consists of oblique lined geometric forms arranged in horizontal rows. The tapestry is in yellow, black, red and blue.

~~Construction; %e two rectangles are seamed a t the center and sid es as a sh ir t.~~

~~Provenience: Coyango, Rio Grande Valley~~

~~SIEEVEIESS SHIRT TM 1966.7.170 Ground Cloth; body- 2 rectangles; warp faced plain weave with a border of warp interlocking; wool In red and white.~~

~~Dimensions: gm. Igth. gm. wd. body 59 cm. 74 cm.~~

Ornamentation: fringe- unwoven warp loops; doubled back and highly twisted; approximately 3 cm. In length, seam- The center and side seams are done in figure eight s titc h in red or white to match the ground fab ric.

~~Design: The major portion of the shirt is red plain weave. Along the lower edge of the shirt a white stepped triangle border is the result of warp interlocking.~~

~~Construction: The two rectangles are seamed a t the cen ter and sides as a s h irt.~~

~~Provenience: Rio Grande Valley—grave lo t 12 488~~

~~SIEEVEIESS SHIRT TM 1966.7.171 Ground Cloth: bbdy- 1 rectangle; interlocked tapestry; wool on cotton in red, brown and white.~~

~~Dimensions : gm. Igth . gm. wd. body 87 cm. 74 cm.~~

Ornamentation: seams- The side seams are done in a figu re eigh t stitc h in repeating sequence which includes red, brown and yellow, edge finish- The neck and arm slits are overcast in red. The lower edge of the shirt is finished with a blanket stitch which follows the same color sequence used in the side seams. embroidery- Rows of double running stitoh are used to create a narrow zig zag band just above the finish on the lower edge of the shirt.

~~Design: A checkerboard arrangement of brown and white blocks covers much of the shirt. The blocks form a stepped edge V-shaped yoke which is In bright red.~~

~~Construction: The single web is folded and seamed at the sides as a shirt. The shirt has a woven neok slit.~~

~~Provenience : Rio Grande Valley, grave lot 12—Inca Period~~

~~Reference : See P late XXVIII, th is paper.~~

~~SIEEVEIESS SHIRT TM 1966.7.172 Ground Cloth: body- 1 rectangle; interlocked tapestry; wool on cotton in red,brown and white.~~

~~Dimensions: gm. Igth. gm. wd. body 93 om. 76 cm.~~

Ornamentation; seams- The side seams are done In a fig u re eigh t stito h In repeating sequence which includes red, brown and yellow, edge finish- The neok and arm slits are overcast in red. The lower edge of the shirt is finished with a blanket stltoh which follows the same color sequence used in the side seams. 489

~~embroidery- Revs of double running stitch are used to create a narrow zig zag band just above the finish on the lower edge of the shirt.~~

~~Design: A checkerboard arrangement of brown and white blocks covers much of the shirt. The blocks form a stepped edge, V-shaped yoke which is in bright red.~~

~~Construction: The single web is folded and searaed at the sides as a shirt.~~

~~Remarks: This shirt and TM 1966.7.171 are virtually identical. This shirt is more coarsely woven.~~

~~Provenience: Rio Grande V alley~~

~~SIEEVEIESS SHIRT TM 1966.7.205 Ground Cloth: body- 2 rectangles; plain weave; wool in natural tan.~~

~~Dimensions: gm. Igth. gm, wd. body 53 cm. 66 cm.~~

~~Ornamentation: edge finish (?)- One of the webs is overcast along one of the ends.~~

~~Design: none~~

~~Construction: The two rectangles are seamed at the center and sides as a shirt. Two rows of running stitch are used at the ends of the neck and arm slits as a sort of reinforcement.~~

~~Provenience: Caqui, Chancay V alley~~

~~SIEEVEIESS SHIRT TM 1966.7.208 Ground Cloth: body- 1 rectangle; plain weave; undyed cotton. Dimensions: gm. Igth. gm. wd. body 74 om. 74 om. 490~~

Ornamentation: edge finish- The neck and arm slits are finished with one row of tan and white cross-knit looping. The bottom edge of the shirt is finished with a row of brown cross-knit looping, embroidery- One row of double running stltoh is arranged as a zig zag and placed just above the finish on the lower edge of the shirt.

~~Design: none~~

~~Construction: The single web is folded and seamed at the sides as a shirt.~~

Remarks: Presently the plain weave shirt is covered with a great va riety of applique. Much of It is arranged to decorate only one side of the garment. Some of the pieces are obviously out from fabric designed for another purpose, as evidenced by the raw edges and the presence of partial motifs. Pieces of red wool tapestry are orudely sewed along the shoulder fold and surrounding the neck line. A long band of white tapestry, patterned with a seated monkey motif, is sewed to one end of the neok slit. It extends beyond the length of the shirt. Two colorful tassels are also sewed to the neck slit. Two separately woven fish motifs are appliqued to the ground cloth on each side of the center tapestry band.

~~Provenience: Lauri, Chancay Valley—grave lot 13.~~

~~SIEEVEIESS SHIRT TM 1966.7.217 Ground Cloth: body- 2 rectangles; plain weave; red wool.~~

~~Dimensions : gm. Igth . gm. wd. body 78 cm. 79 cm.~~

Ornamentation: fringe- yam; applied as an embroidery technique; approxi mately 5 om. in length; along the lower edge of the s h ir t. embroidery- One row of double running stitch is arranged as a zig zag and placed just above the fringe, edge finish- The arm slits were at one time finished with a single row of cross-knit looping, ttioh of this finish has disintegrated. There is no finish along the neck s l i t . 4 9 1

~~fjQûms- The center aeum la done in a lo o sely worked figu re eight stitch in rod. The side seams are done in a simple decorative stitch in gold.~~

~~Design: none~~

~~Construction: The two rectangles are seamed at the center and sides as a sh ir t.~~

~~Provenience: Ullajaia, Ica Valley—grave lot 19~~

~~SIEEVEIESS SHIRT TM 1966.7.218 Ground Cloth: body - 2 rectangles} plain weave with extra warp patterning; wool on cotton in red, brown, blues and gold.~~

~~Dimensions: gm. Igth. gm. wd. body 81 cm. 101 cm.~~

~~Ornamentation: none~~

Design: The all-over patterning consists of vertical stripes which vary in width. Broad, plain red stripes alternate with groups of warp patterned stripes. The patterning within the stripes consists of stepped geometric and bird motifs.

~~Construction: The two rectangles are seamed at the center and sides as a sh ir t.~~

~~Provenience: Ocucaje, Ica Valley—grave lot 19~~

~~HORIZONTAL NECK SLIT SHIRT TM 1966.7.220 Ground Cloth: body- 1 rectangle; plain weave; undyed cotton ground which has been painted.~~

~~Dimensions: gm. Igth. gm. wd. body 66 om. 113 om.~~

~~Ornamentation: painted- The painted motifs are arranged in squares in an all-over repeat. Some squares are filled with a bird 4 9 2~~

motif; othorti oontuln a ainclo, highly goometric form; and still others, a small geometric pattern in oblique lines. The arrangement of squares creates a strong diagonal feeling. Motifs are painted in brown, yellow orange and grey on the natural cotton ground.

~~Design; none ?~~

Construction: The single rectangle is folded and seamed as a tube, with the warp oriented to the width of the garment. The upper edges of the tube are seamed in suoh a fashion as to allow for a neck opening and small arm or hand openings. All apertures are arranged on the same horizontal plane. On one side of the garment three deep pleats are arranged at each side of the neck slit. The reverse side of the garment is smooth. The width of the pleats accounts for the difference between the 372 om, total length of fabric and the finished width of the shirt.

~~Provenience: From Banos de Bosa, Chancay Valley~~

~~SIEEVEIESS SHIRT TM 1966,8,1 Ground Cloth: body- 1 rectangle; plain weave; undyed cotton.~~

~~Dimensions: gm. Igth, gm, wd, body 66 om, 75 cm.~~

Ornamentation: embroidery- The embroidery worked d ir e ctly on the ground cloth consists of rows of small red and black squares arranged in a band across the shoulders. Separately constructed bands of oroas-knit looping, approximately I om, in width, are appliqua! around the neck slit and in a 21 om, area along each arm slit. Small multi colored motifs are embroidered on the cross-knit looping, fringe- separately woven; 9 cm, in length along the arm slit in the area decorated with oross-knit looping; II om, in length along the lower edge of the shirt.

~~Design: none~~

~~Construction: The single web is folded and seamed at the sides as a shirt. Decorative bands are appliquéd around the woven neok s l i t 4 9 3~~

~~and along part of the arm slits. Fringe is also sewed to the arm s l i t s . At one end o f the neok s l i t are two t ie s which appear to be designed to lace the neok opening.~~

~~Provenience : unknown~~

~~SIEEVEIESS SHIRT TM 1966.24.1 Ground C loth: body- 2 rectangles; interlocked tapestry; wool on cotton in gold, brown, tans and blue.~~

~~Dimensions: gm. Igth. gm. wd. body 106 om. 106 ora.~~

Ornamentation: edge finish- The neok slit is overcast in gold. The arm slits are overcast in the multi-colored sequence used on the side seams, seams- The center seam is worked in a figu re eight s titc h in gold to match the center stripe of the shirt. The side seams are done in the same stitch in multi-colored repeating sequence.

Design: The patterning in each web consists of broad, vertical stripes in a gold color which alternate with two, broad, decorative stripes. An additional narrow, patterned strip e i s used along the edge which becomes the sid e seam. The decorative stripes are not divided into columns or registers and are filled with highly stylized staff bearing figures arranged in a column.

~~Construction: The two rectangles are seamed at the center and sides as a sh ir t.~~

~~Provenience : unknown~~

~~SIEEVEIESS SHIRT TM 1966.24.2 Ground Cloth: body- 2 rectangles; interlocked tapestry; wool on cotton in gold, brown, tan s, blue and white.~~

~~Dimensions: gm. Igth. gm. wd. body 105 cm. 106 cm. 494~~

Ornamentation: seums- The center oeam lo done in figure eight stitch in gold to match the center strip e of the sh ir t. The side seams seam are done in the same stitch in multi-colored repeating sequence, edge finish (?)- 'The shirt is badly deteriorated in this area of the neck and arm slits. No finish is evident.

Design; The patterning in each web consists of broad, vertical stripes in gold color which alternate with two, broad, decorative stripes. An additional narrow, patterned stripe is used along the edge which becomes the sid e seam. The decorative stripes are not divided into columns or registers and are rather filled with a staff bearing figure repeated in a column.

~~Construction: The two rectangles are seamed at the center and sides as a shirt. Presently, the neok and arm slits are closed with a whipping stitch.~~

~~Provenience; unknown~~

~~SIEEVEIESS SHIRT TM 1966.48.3 Ground Cloth: body- 2 rectangles; slit tapestry; wool in red, white and tan.~~

~~Dimensions; gm. Igth. gm. wd. body 60 om. 72 cm.~~

~~Ornamentation; none~~

Design: Each web is fully patterned with horizontal rows of red and tan zig zags. These zig zags form lozenge shapes which en close a red, white and tan stepped cross motif. The half motifs which occur at the center seam match those in the second web to form a complete motif. Half motifs also occur along the lower edge of the shirt.

~~Construction: The two rectangles are seamed at the center and sid es as a sh ir t.~~

~~Provenience: unknown 495~~

SIEEVEIESS SHIRT TM 1966.48.4 Ground Cloth: body- 2 rectangles} plain weave with extra weft patterning; dark brown cotton ground; wool extra weft in various values of tan. border- 1 web; plain weave with extra weft patterning; dark brown cotton ground; multi-colored wool extra weft.

~~Dimensions: gm. Igth. gm. wd. body 38 ora. 83 om. border (adds to the lengiih) 6 era.~~

~~Ornamentation: fringe- separately woven; approximately 4 ora. in length; sewed to the lower edge of the shirt.~~

Design: The extra weft patterning in the body of the shirt oonsists of many horizontal rows of a small bird motif. The border fabrio is patterned with a central row of bird motifs en closed in squares. The central pattern is outlined above and below with a series of plain colored stripes.

Construction: The two rectangles which make up the body of the shirt are seamed at the center and sid es as a s h ir t. The border fabric is sewed along the bottom of the shirt. Finally, the fringe band is sewed to the lower edge of the border.

~~Provenience: unknown~~

~~SIEEVEIESS SHIRT TM 1966.48.5 Ground Cloth: body- 2 rectangles; plain weave with extra weft patterning; undyed cotton ground; wool extra w eft in brown, gold, red, tan, pink and black.~~

~~Dimensions: gm. Igth. gm. wd. body 37 cm. 81 cm.~~

~~Ornamentation: fringe- separately woven; tan wool; approximately 3 cm. in length; sewed to the bottom of the shirt.~~

Design: Much of the ground area of the shirt is solid tan in color. On each web, located at the chest level and appearing on both front and reverse sides, are two large diamond-shaped geometric m otifs. One is in gold and the other in brown. 496

The reverse of this oolor arrangement is used in the second web. Along the lower edge of the shirt, extra weft pat terning is used to create a border 6 om. in width. The central row of the border consists of a highly geometric motif. This row is outlined above and below with a series of stripes in several colors.

~~Construction: The two rectangles are seamed at the center and sides as a shirt. The fringe band is sewed to the lower edge of the s h ir t.~~

~~Provenience: unknown~~

SIEEVED SHIRT TM 1966.48.6 Ground Cloth: body and sle e v e s- 2 webs of fab ricj extra warp patterning; wool and cotton in brown, black, gold, white and red. border- 1 web of the same fabric and patterning as In the body.

~~Dimensions: gm. Igth. gm. wd. through the body 38 cm. 96 cm. through the sleeves 130 cm. border (adds to the length) 8 cm.~~

~~Ornamentation: fr in g e - separately woven; yellow wool; approximately 4 ora. in length; sewed to each sleeve and to the lower edge of the shirt.~~

Design: The patterning consists of vertical stripes. Plain stripes alternate with those in which extra warp patterning occurs. The patterning consists of chevron shapes filled with cat and bird motifs. The patterning in the border is the same as that in the body of the shirt, however, the fabric is used in a horizontal direction.

Construction: The two pieces of fabric which make up the body of the gar ment a lso embody the extensions which make up the sleev es. It is difficult to determine whether the resulting garment was produced by cutting away the fabric in the underarm area to produce the sleeves or whether the fabrio was woven using scaffolding yams to produce the sleeve extensions. The seams which jo in these webs as a sh irt as w ell as th at which join s the border to the garment are clo sely overcast, making examination d if f ic u lt . While the underarm area of the sleev e extensions appear to be loom finished edges, those along the 497

~~end of the sleeves appear to be out. The edge of the border seamed to the shirt appears to be out while the opposite edge, that to which the fringe is sewed, appears to be loom fin ish ed .~~

~~Provenience; unknown~~

~~SIEEVEIESS SHIRT TM 1966.48.12 Ground Cloth; body- 2 rectangles; slit tapestry; wool on cotton in red, tan and w hite, border- 1 web; tapestry; wool on cotton in gold, maroon, red and tan.~~

~~Dimensions: gm. Igth. gm. wd. body 29 cm. 84 cm. border (adds to the length) 14 cm.~~

~~Ornamentation; fringe- tabs worked as a part of the border; each tab is 6 warps in width. The tabs add 6 om. to the border which is not reflected in the above dimensions.~~

Design; The two rectangles which make up the body of the shirt are fully patterned with horizontal rows of red and tan zig zags. These zig zags form lozenge shapes which enclose a red, white and tan stepped cross motif. The half motifs which occur at the center seam match those in the second web to form a complete motif. Half motifs also occur along the lower edges of the webs. The border area is made up of units of tapestry weave in which the patterning co n sists of rows of interlocked cat heads. The narrow area inserted in the border were cut along the upper edge. The lower edge of the border is worked as tab frin g e.

Remarks ; The two webs which make up the major portion of the shirt are similar in weaving technique, color and patterning to shirts TM 1966.48.3, TM 91.453 and MAI T-226. The border area is so different in color and patterning that it appears to have been a part of a totally different shirt. A shirt of a structure similar to that noted in the border is illustrated in Reiss and Stubel, The Necropolis of Ancon. Plate 65a.

~~Construction: The two main rectangles are seamed at the center and sides as a shirt. The border fringe area is sewed along the bottom edge of the shirt. A9B Provenience ; unknown~~

SIEEVED SHIRT TM 1966.48.23 Ground Cloth: body- 2 rectangles; plain weave and extra weft patterning; white cotton ground ; extra weft in red, w hite, black and tan wool. sleeves- each 1 rectangle; same fabric construction as the body.

~~Dimensions: gm. Igth. gm. wd. body 42 cm. 85 om. through the sleeves 117 ora.~~

~~Ornamentation: none~~

Design: The major portion of the shirt is white cotton plain weave. The last 1 om. of warp loops at each end of each web is filled with colorful extra weft yams so as to create a tubular finish. The finish is used along the lower end of the sh ir t and at the end o f each sleeve.

~~Construction: The two webs of the body are seamed at the center and sides as a s h ir t. Each sleeve web is sewed at the underarm and then sewed to the arm slit of the shirt.~~

~~Provenience: unknown~~

~~INCOMPIETE SIEEVEIESS SHIRT TM 1966.59.2? Ground Cloth: body- 1 rectangle; interlocked tapestry: wool on cotton in black, yellow and red.~~

~~Dimensions: gm. Igth. gm. wd. body (in c .) 45 cm. 75 cm.~~

Ornamentation: embroidery- Rows of double running stitch in a zig zag pat tern are arranged just above the lower edge of the s h ir t. seams- The sid e seams are joined with m ulti-colored figu re eight stitch. edge finish- The lower edge is finished with multi-colored blanket stitch arranged in the same sequence of colors used in the side seams. 499

Design! Mast of the ground of the shirt is black, weft faced plain weave. At the apparent waist level, is a horizontal band of tapestry patterning. The patterning oonsists of a single row of stepped edge lozenge shapes. Each is filled with stepped edge cross.

~~Construction! The sin gle web was apparently folded and sewed a t the sid es as a shirt. Only the lower half of the garment remains.~~

~~SIEEVEIESS SHIRT TM 1966.59.28 Ground Cloth! body- 1 rectangle} interlocked tapestry; wool on cotton in dark and light values. The shirt is in poor condition and the colors are badly oxidized.~~

~~Dimensions! gm. Igth* gm. wd. body 82 om. 71 cm.~~

~~Ornamentation! seams- The sid e seams are done in figu re eigh t s titc h in a multi-colored repeating sequence.~~

Design! The upper tw o-thirds o f the garment is in a checkerboard pattern highlighted by the alternate use of light and dark on figu re and ground. Each block contains an S-shaped or lea motif. The bottom one-third of the shirt is made up of horizontal stripes; three dark stripes alternate with three of lighter value.

~~Construction! The single web is folded and seamed at the sides as a shirt. The shirt has a woven neok slit.~~

~~Provenience! South Coast—Inoa Period~~

COLLAR OR YOKE TM 1967.7.1 Ground Cloth: body- 4 units with stepped ends make up the width of the garment; interlocked tapestry; wool on cotton in red, gold and brown. Dimensions: gm. Igth. gm. wd. body 49 ora. 19 cm. 5 0 0

Ornamentation; edge finish- The horizontal edges of each stepped edge are fin ish ed with one row of brown cross-k n it looping, tassels- A 6 cm. length of highly twisted cord is used to attach each of 5 small silver squares to each end of the garment. The metal is folded to give the three- dimensional form suggestive of a bell.

~~Dosifjn; Each unit has an all-over pattern of blocks each containing several variations of a stepped fret motif.~~

Construction: The four units are seamed together to make up the width of the flat garment. A neok slit is allowed in the center seam. Tassels are added along the stepped edge of the finished p ie c e .

~~Provenience; la te Ica~~

~~SIEEVEIESS SHIRT TM 1967.8.2 Ground Cloth: body- 2 rectangles; plain weave; natural wool.~~

~~Dimensions: gm. Igth. gm. wd. body 58 om. 124 cm.~~

~~Ornamentation: fringe- unwoven warp loops; approximately 6 om. in length, tie-dye- Four large diamond areas are reserved by a tie-dye technique on each web. The ground cloth is dyed red.~~

~~Design: none~~

~~Construction: The two rectangles are seamed at the center and sides as a shirt. At the end of the neck and arm slits, several rows of running stitch are used as a sort of reinforcement.~~

~~Provenience : unknown~~

~~SHOULIER PONCHO TM 1967.8.7A Ground Cloth: body- 1 rectangle; plain weave; undyed ootton. 501~~

~~Dimensions: gm» Igth. gra. wd. body 35 om. 20 cm.~~

Ornamentation: embroidery- wool in reds and blues. Embroidery is concen trated in a 2 cm. border which surrounds the neck slit and the periphery. The border is designed with small bird motifs. fringe- blue yam; approxijnately .5 cm. in length; applied as an embroidery technique to all lour edges of the rec tan gle. edge finish- The neck slit is finished with four rows of cross-knit looping.

~~Design: none~~

~~Construction: The garment remains as a f l a t rectangle with a woven neck slit. Fringe is applied to all outer edges.~~

~~Provenience: unknown—Para cas Period~~

~~PONCHO TM 1967.8.28 Ground Cloth: body- 1 rectangle; very loosely woven plain weave; natural tan wool.~~

~~Dimensions: gm. Igth. gm. wd. body ( f la t length) 152 cm. 68 cm.~~

Ornamentation: tie-dye- Small diamond shapes, arranged in horizontal zig zag bands, are tie-dyed to allow cream, orange, ton and dark green sp ots on a dark blue ground, edge finish- The yam used to create the several rows of cross-knit looping which finish the neck slit edges also forms two braid-like tassels which hang at each end of the neck opening.

~~Design: none~~

~~Construction: The garment remains as a f l a t garment with a woven neck s l i t .~~

~~Provenience: unknown 5 0 2~~

~~SIEEVEIESS SHIRT TM 1967.26.1 Ground Cloth: body- 2 rootünt'lea} Interlocked tapestry; wool on ootton In red and gold.~~

~~Dimensions : gm. Igth. gm. wd, body 101 ora. 110 ora.~~

~~Ornamentation: seams- The center and side seams are worked in a figure eight stitoh in red.~~

Design: The entire length of each web appears to be sectioned into 5 broad horizontal u n its. Thus, on the fin ish ed length o f the garment only 2 o f the bands and on e-h alf of the third are visable. The patterning in each of the units consists of long, narrow rectangular shapes arranged v e rtic a lly in each band.

~~Construction: The two rectangles are seamed at the center and sides as a sh irt.~~

~~Provenience: Ica Valley~~

~~SIEEVED SHIRT TM 1968.1.11 Ground Cloth: body- 2 rectangles; plain and gauze weave; white cotton, sleeves- each 1 rectangle; same fabric construction as in the body.~~

~~Dimensions; gm. Igth. gm. wd. body 37 ora. 78 cm. through the sleeves 112 cm.~~

Ornamentation: frin ge- separately woven; approximately 3 cm. in length; sewed to the lower edge and the end of each sleeve, embroidery- Bird motifs are embroidered in white on the gauze areas of eaoh web. Bits of blaok yam are used for the eyes.

Design: The major portion of each web is plain weave. Gauze weave is concentrated in a 7 cm. band along the lower edge of the shirt and at the end of each sleeve. Hie gauze area is set o ff above and below with narrow str ip e s o f weft faced p la in weave. 503

Remarks ; The surface of the garment Is virtually covered with assorted bits of colorful applique which apparently were added to make a simple shirt more Impressive. Pieces of slit tapestry are used to create a band through the chest area of the shirt. This band is further trimmed with a row o f ta s s e ls . Other bands of tapestry with tab fringe have been added to the lower edge of the shirt and sleeves. Also added to the sur face of the shirt and sleeves are tubular units of cross knit looping.

Constructions The two rectangles which make up the body of the shirt are seamed a t the center and sid es as a s h ir t. The sleeve u n its are seamed at the underarm and joined to the body at the arm slits. Fringe bands are sewed to the lower edge of the s h ir t and to the ends o f eaoh sleeve.

~~Proveniences Chancay Culture—Laury, Chancay Valley~~

~~SIEEVEIESS SHIRT TM 1968.1.12 Ground Cloths body- 1 rectanglej plain weave with extra weft patterning; tan cotton ground; extra weft in wool in red, yellow and blue.~~

~~Dimensionss gm. Igth. gm. wd. body 42 om. 39 om.~~

~~Ornamentations fringe- unwoven warp loops; approximately 1 cm. in length.~~

Designs The major portion of the shirt is plain weave. Extra weft patterning is concentrated in bands approximately 3 om. in width arranged across the shoulders and at the chest level. The patterning consists of a fret motif.

~~Constructions The single web is folded and seamed at the sides as a shirt. The sh irt has a woven neok s l i t .~~

~~Proveniences Rio Grande Valley~~

~~SIEEVED SHIRT TM 1968.26.5 Ground Cloths body- 2 rectangles; plain weave; tan ootton. 5 0 4~~

~~sleeves- eaoh 1 rectanglej plain weave; tan cotton.~~

~~Dimensions: gm. Igth. gm. wd. body 65 cm. 87 cm. tlirough the sleeves 131 om.~~

~~Ornamentation; fringe- separately woven; approximately 3 cm. in length; sewed to the lower edge and along the ends of the sleev es.~~

Design: The major portion of the shirt is a balanced plain weave in a rather sheer texture. A series of weft faced stripes worked over paired warps i s used along the lower edge of the garment and across the shoulders.

Construction: The two rectangles which make up the body of the shirt are seamed a t the center and sid es as a s h ir t. Each sleeve web is seamed at the underarm and then sewed to the body at the arm s l i t s .

~~Provenience; North or Central Coast--Late Period~~

~~SIEEVED SHIRT TM 1968,26.6 Ground Cloth: body- 2 rectangles; p la in weave; undyed cotton, sleeves- only one sleeve remains; 1 rectangle; plain weave; undyed cotton.~~

~~Dimensions: gm. Igth. gm. wd. body 63 cm. 75 cm. through the sleeves (total width is assumed) 129 cm.~~

~~Ornamentation: fringe- separately woven; approximately 3 cm. in length; sewed only along the bottom of the shirt.~~

Design: The major portion of the shirt is a balanced plain weave in a rather sheer texture, A series of weft faced stripes worked over pairs of warps is used along the lower edge of the garment and across the shoulders.

~~Construction: The two rectangles which make up the body of the shirt are seamed a t the center and sid es as a s h ir t. Only one sleeve 505~~

~~rem ains. I t is seamed a t the underarm and then sewed to the body at the arm slit. A fringe band is sewed along the lower edge of the shirt.~~

~~Provenience; North or Central Coast—Late Period BIBLIOGRAPHY~~

~~Books~~

~~Art of the Americas; Picture Book. No. 2. Cleveland; The Cleveland Museum of Art, 1946.~~

~~Bandelier, Adolph F. The Islands of T ltloaoa and Koatl. New York; The Hispanic Society of America, 1910,~~

~~Bennett, Wendell E. Ancient Arts of the Andes. New York; Museum of Modem A rt, 1954.~~

~~Bennett, Wendell, and Bird, Junius B. Andean Culture History. New York; The Natural History Press, I960.~~

~~Bird, Junius B. "Technology and Art in Peruvian Textiles," in Technique and P ersonality. New York; The Museum of Prim itive Art, 1963, 45-77.~~

~~Bird, Junius, and Bellinger, Louisa. Faracas Fabrics and Nazoa Needlework. 3rd Century B.C. -» 3rd Century A.D. Washington, B.C.; National Publishing Company, 1954.~~

~~Bushnell, G. H. S. Ancient Arts of the Americas. New York; Frederick A, Praeger, 1965.~~

~~Bushnell, G. H. 8. Peru. New York; Frederick A. Praeger, 1957.~~

~~Cieza de Leon, de Pedro. The Inoas. Translated by Harriet de Onis. Norman; U niversity of Oklahoma P ress, 1959.~~

~~D isselh off, H. F ,, and Llnne, S. The Art of Ancient America; Civilizations of Central and South America. New York; Crown Publishers, Inc., I960,~~

~~Emery, Irene. The Primary Structures o f Fabrics; An Illu stra ted Classification. Washington, B.C.; The Textile ftiseum, 1966.~~

~~Guaman Pona de Ayala, Felipe. Nueva Coronloa y Buen Gobiemo. Paris: Institut B'Ethnologie, 1936.~~

Harcourt, Raoul d ' . T extiles of. Ancient Peru and Their Techniques. Edited by Grace G. Denny and Carolyn M. Osborne. Translated by Sadie Brown; Seattle; University of Washington Press, 1962. 506 507

~~Jones, Julie. Art of Emu ire; TheInoa of Peru. New York: The Museum of Primitive Art, I 964 .~~

~~Keleraen, Pal. Medieval American Art: A Survey in Two Volumes. New York: The Maomillian Co., 1943.~~

~~King, Mary Elizabeth. Ancient Peruvian Textiles from the Collection o f The T ex tile ^tiseum. New York: The Museum o f Prim itive Art, 1965.~~

~~Kubler, George. The Art and Architecture of Ancient America. Baltimore: Penguin Books, 1962.~~

~~banning, Edward P. Peru before the Inoas. New Jersey: Prentice- Hall, Inc., 1967.~~

~~Levillier, Jean. Paracas: A Contribution to the Study of Rre-Incaic Textiles in Ancient Peru. Paris: Libreria Hispano-Araericana, 1928 .~~

~~Lothrop, S. K., Foshag, W. F., and Mihler, Joy. Pre-Columbian Art. New York: Phaldon Publishers In c ., 1957.~~

~~Mayer, Charlotte Christa. Masterpieces of Western Textiles. Chicago; The Art Institute of Chicago, 1969.~~

~~Means, Philip Ainsworth. Ancient Civilizations of the Andes. New York: Charles Scribner's Sons, 1931.~~

~~Means, Philip Ainsworth. A Study of Peruvian Textiles. Boston: Museum of Fine Arts, 1932.~~

~~Montell, Goata. Dress and Ornaments in Ancient Peru. Goteborg: Elanders Boktryckeri Aktiebolag, 1929.~~

~~Reiss, Wilhelm, and Stubel, A. The Necropolis of Ano&i in Peru. 3 vols. Berlin: A. Asher and Co., 1880-87.~~

~~Sawyer, Alan. Mastercraftsmen of Ancient Peru. New York: The Solomon R. Guggenheim Foundation, 1968.~~

~~Sawyer, Alan. Tiahuanaoo Tapestry Design. New York: The Museum of Primitive Art, 1963.~~

~~Stafford, Cora E, Para cas Embroideries. A Study of Repeated Patterns. New York: J. J. Augustin Publisher, 1941.~~

~~Taullard, A lfredo. TeJedos y Ponchos Jndegenas de Sud America. Buenos Aires : Guillermo Kraft Limitada, 1%4. 5 0 8~~

~~Tello, Julio. Bara cas. Primera Parte. Llm: T. Soheuoh, 1959.~~

~~Ubbelohde-Doering, Heinrich. The Art of Ancient Peru. New York: Frederick A. Praeger, 1952.~~

~~Uhbelohde-Doering, Heinrich. On the Royal Hlehwaye of the Inca. New York: Frederick A. Praeger, 1967.~~

~~VanStan, Ina. Problems in Pre-Columbian Textile OlagBlflcatlon. Tallahassee: The Florida State University Press, 1956.~~

~~Willey, G. R., and Corbett, J. M, Early Ancon and Early Supe Cul tu re . New York: Columbia U niversity Press, 1954.~~

~~Zimmem, Nathalie. Introduction to Peruvian Costume. New York: The Brooklyn Maseura, 1949.~~

~~Articles and Periodicals~~

Bennett, John W. "Recent Developments in the Functional Interpreta tion of Archaeological Data," American Antiquity. IX, No. 2 (1943), 208-219. Bennett, Wendell. "Andean Highlands: An Introduction," in Handbook of South American Indiana ("Bureau of American Ethnology Bulletins," No. 143 [6 vols.; Washington, B.C., 1946]), II, 1-60.

Bennett, Wendell. "If You Died in Old Peru," Natural History. XII, No. 2 (February, 1936), 119-125. Bennett, Wendell. "The Archaeology of the Central Andes," in Handbook of South American Indians ("Bureau of American Ethnology Bul- letins," No. 143 [6 vole.; Washington, D.C., 1946]), II, 61-147. Bennett,, Wendell. "Weaving in in tnethe Land of the Inoas," Natural History. XXXVI, (June, 1935), 63-72. Carri6n Cachot, Rebeoa. "La Indumentaria en la Antigua Cultura de Parac a s," Wire Kooha. I , No. 1 (1931), 37-86. Crawford, M, D. G. "Peruvian Fabrics," Anthropological Papers of the American Hxeem of Natural History. X I I . P art IV (1916). 107-191. Crawford, M. D. 0. "Peruvian Textiles," Anthropological Papers of the American Hiseum of Natural History. X I I . P art I I I (1915). 5 0 9

~~Easby, Elizabeth. "Conservation of a Unique Peruvian Fabrio," Brooklyn Museum Annual. VII (l96$-66), 65-73.~~

~~Emery, Irene, and King, Mary Elizabeth. "Additional Examples of an Unusual Peruvian Shirt Type," American Antiquity. XXIII, No, 1 (July, 1957), 71-74.~~

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~~O’Neale, Lila. "Peruvian 'Needleknlttine'," American Anthropologist. XXXVI, No. 3 (July-Septeraber, 1934), 405-430.~~

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~~O'Neale, Lila, and Kroeber, A. L. "Textile Periods in Ancient Peru I," University of California Publioat^ons American Archaeology and Ethnology. XXVIII. No, 2 (Ï930). 23-56,~~

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