Museum Expedition 1941, Ella C. Woodward Memorial Fund

Gift of Francis F. Randolph, J. Ogden Bulkley, and David T. Bulkley

Gift of Francis F. Randolph, J. Ogden Bulkley, and David T. Bulkley

Museum Expedition 1941, Frank L. Babbott Fund

Gift in memory of Arthur W. Clement

Henry L. Batterman Fund and the Frank Sherman Benson Fund

Henry L. Batterman Fund

Dick S. Ramsay Fund

Size: adult; probable wearer: male. Wool (camelid), warp-faced plain weave; wool, silk, and metallic (on linen core) embroidery; wool plain-weave appliqué (European?). One of only a few known Spanish Colonial embroidered tunics composed of a single length of warp-faced plain weave camelid wool with a subtle herringbone pattern. It is dark brown in color with broad stripes of red at the sides and embroidered designs at the neck opening and the bottom. In several places the embroidery is covered by small appliqués of cloth. The warp threads alternate narrow stripes of yarns spun in the "S" direction with narrow stripes of yarns spun in the "Z" direction. The result is a subtle striping effect throughout the fabric called l'loque. Contemporary Andean weavers believe l'loque keeps the "spirit" of the cloth contained. On one side, the border design consists of two Inca warriors amid three pairs of heraldic animals; on the other side three Incas are portrayed attended by musicians and women offering flowers. Embroidered above the head of the central Inca is a rainbow. The heraldic animals and Inca warriors on the other side are sewn with silver threads in a dense composition that resembles European textile designs, while the Incas and their attendants are sewn in bright colors with each figure standing out clearly against the background in an arrangement similar to the painted designs on native drinking cups (keros). The bottom edges of both sides are the same. They are embroidered with a row of small rectangular patterns that recall the tocapu designs woven on pre-Conquest Inca tapestry tunics. The neck of the tunic is also decorated with tocapu-like designs and floral motifs; on one side below the neck opening is an appliqué of a double-headed eagle of European derivation. It is possible that some of the embroidery is a recent addition; however, the appearance of the garment convincingly indicates prolonged use.

The backs of these mittens and the thumbs are quilled with red, light blue, white, and purple porcupine quills in a floral design. The main composition is symmetrically arranged around an equal-armed, eight pointed element on a quadrate layout. The effect is of a flowering plant bursting into blossoms toward the fingertips so that the design is oriented towards the wearer. Design elements consist of the double curve cross, the trefoil, tear drop shaped and heart shaped motifs. A smaller curvilinear floral and leaf is embroidered on the thumb. Clustered on a single stem, similar design elements appear in blue, red, white, and purple. The cuffs are made of dark blue Stroud cloth decorated at the border with beads and ribbon. From the upper third of the cuff, proceeding toward the fingers, the ornaments are arranged: a scalloped design of white beads, each point terminating in a trilobal design; then a field of red ribbon; followed by a simple line of single white beads; a narrow band of gold or dark yellow ribbon; and finally a border of two lines of white beads. Blue and white bird quills decorate the seams. See supplementary file in Arts of Americas office.