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+*** START OF THE PROJECT GUTENBERG EBOOK 42375 ***
+
+Transcriber's Note:
+
+ Inconsistent hyphenation and spelling in the original document have
+ been preserved. Obvious typographical errors have been corrected.
+
+ Italic text is denoted by _underscores_ and bold text by =equal
+ signs=.
+
+ The symbols in the caption for Fig 6. have been approximated by
+ characters from the available character set.
+
+
+
+
+ CHINCHA
+ PLAIN-WEAVE CLOTHS
+
+ BY
+
+ L. M. O'NEALE, E. BACON, C. W. GEMMER,
+ R. V. HALL, I. W. JOHNSON, C. M. OSBORNE,
+ M. B. ROSS
+
+
+ ANTHROPOLOGICAL RECORDS
+
+ Vol. 9, No. 2
+
+
+
+
+ ANTHROPOLOGICAL RECORDS
+ EDITORS: E. W. GIFFORD, R. F. HEIZER, R. H. LOWIE, R. L. OLSON
+ Volume 9, No. 2, pp. 133-156, 1 map, 8 figures in text, plates 1-9
+ Submitted by editors March 8, 1948
+ Issued February, 1949
+ Price, 50 cents
+
+
+ UNIVERSITY OF CALIFORNIA PRESS
+ BERKELEY AND LOS ANGELES
+ CALIFORNIA
+
+ CAMBRIDGE UNIVERSITY PRESS
+ LONDON, ENGLAND
+
+
+ MANUFACTURED IN THE UNITED STATES OF AMERICA
+
+
+
+
+FOREWORD
+
+
+The study presented here was one of a series planned by Professor Lila
+M. O'Neale, Associate Curator of Textiles in the Museum of
+Anthropology. The fundamental idea was to make use of the wealth of
+material in the collections of the Museum of Anthropology,
+particularly its pre-Columbian Peruvian textiles, as source material
+for study and analysis by advanced students. Professor O'Neale's
+sudden death on February 2, 1948, means that, although the paper was
+completed and in the hands of the Board of Editors of Anthropological
+Records, the final proofreading has not been done by Professor
+O'Neale.
+
+The Board greatly regrets that this outstanding contribution will not
+be followed by others produced under the direction and guidance of a
+highly esteemed colleague.
+
+
+
+
+CONTENTS
+
+
+ Introduction 133
+ The material 133
+
+ Dimensions of the Chincha cloths 135
+ Lengths 135
+ Widths 136
+
+ Yarns 138
+
+ Textures and weaving techniques 138
+
+ Stitchery 140
+ Patching and mending 141
+
+ Pattern 141
+
+ Color 143
+
+ Summary 143
+
+ Plates 145
+
+
+
+
+ [Illustration: Map 1
+ Chincha Environs]
+
+
+
+
+CHINCHA PLAIN-WEAVE CLOTHS
+
+BY
+
+L. M. O'NEALE, E. BACON, C. W. GEMMER, R. V. HALL, I. W. JOHNSON, C.
+M. OSBORNE, M. B. ROSS
+
+
+
+
+INTRODUCTION
+
+
+This study of the Chincha plain-weave materials in the Max Uhle
+collection of the University of California has been part of the work
+of a Senior course in technical analysis. Six members of the class,
+whose names appear as joint authors, are responsible for the data
+collected and for the initial organization.
+
+
+The Material
+
+The Chincha collection, excavated in 1900 by Dr. Max Uhle during the
+Peruvian expedition financed by Mrs. Phoebe Apperson Hearst, is
+catalogued under two lot prefixes: 4- and 16-. Specimen numbers with
+the prefix 4- indicate that the precise provenience as to site and
+grave is known. The cloths in this lot have been previously analyzed
+and a preliminary report has been published.[1] The cloths in the 16-
+lot, as is explained in the report on the pottery,[2] did not identify
+perfectly with entries in the collector's field catalogue or their
+identification was dubious.
+
+Six Chincha sites described in Uhle's field catalogue[3] are shown on
+map 1. The number of cloth specimens representing each of these sites
+varies from 2 to 52 (table 1). Briefly, the time periods indicated by
+finds forming the basis of this report are as follows.
+
+Site A (2 specimens). "On the declivities of the valley towards the
+sea, 5 km. from Tambo de Mora to the north." Late Chincha period.
+
+Site B (3 specimens). La Cumbe cemetery; nearly exhausted; the few
+graves opened were "ordinary ones." Late Chincha period.
+
+Site C (37 specimens). In "the higher Northern part of the valley."
+Late Chincha period.
+
+Site D, and "near" site D (52 specimens). "Chamberlike tombs, which
+had been dug out in a mound-like older huaca." Late Chincha period.
+
+Site E, and "near" site E (20 specimens). "The dry natural terrace ...
+in front of the ruins of La Centinela." Several graves at this site
+held European articles. Late Chincha period, in part after the Spanish
+Conquest.
+
+Site F (2 specimens). "The natural terraces with slopes directed to
+the sea north of La Cumbe (circa Las Palmas)."[4] Late Chincha period.
+
+ Table 1
+
+ Basic Table: Sites, Periods, and Number
+ of Specimens in Study
+ ===================================================
+ | | No. 4- | No. 16- | Total
+ Site | Period | specs. | specs. | specs.
+ ---------+--------------+--------+---------+-------
+ A | Late Chincha | 2 | ... | 2
+ B | Late Chincha | 2 | 1 | 3
+ C | Late Chincha | ... | 37 | 37
+ | and Inca | | |
+ D | Late Chincha | 7 | 41 | 48
+ "Near" D | | 4 | ... | 4
+ E | Late Chincha | 10 | 9 | 19
+ | and Inca | | |
+ "Near" E | | 1 | ... | 1
+ F | Late Chincha | 2 | ... | 2
+ ---------+--------------+--------+---------+-------
+ Totals | | 28 | 88 | 116
+ ---------------------------------------------------
+
+Most of the fabrics described in the literature on ancient Peruvian
+textiles are characterized by beauty of coloring or arresting designs
+or unusual workmanship--sometimes by all three. These all-cotton
+Chincha specimens have none of the expectable features. First and last
+they seem to have served utilitarian purposes; for that reason, most
+of them are comparable to our so-called domestics. The larger ones are
+probably mantles: the proportions of the largest two-breadth pieces
+with full dimensions (4-3973d, 59.5 in. by 66 in. and 16-1250, 52 in.
+by 61 in.) place them in this group; a third specimen (16-1292), also
+formed of two breadths (intact breadth 35 in. plus fragmentary breadth
+28 in.) was probably a mantle 62 inches by 70 inches over all. The
+smaller specimens suggest scarves (or incomplete mantles), carrying
+cloths, or kerchiefs (figs. 1, 2).
+
+ [Illustration: Fig. 1. Diagrams of eleven specimens with
+ length-to-width proportions approximately 1:1, as indicated by
+ diagonal. Seams in two-breadth textiles shown as broken lines.
+ Largest specimen, 59.5 inches by 66 inches.]
+
+ [Illustration: Fig. 2. Diagrams of seven rectangular specimens with
+ length-to-width proportions approximately 2:1 as indicated by
+ diagonal. Largest specimen, 62 inches by 22.5 inches.]
+
+The fact that many of the Chincha cloths in the 16- lot had apparently
+been roughly torn to rectangular shapes leads us to believe that the
+excavator used them to wrap pottery specimens. Indeed, the majority
+seem to have been used even by their makers as wrappings. A number of
+them have long loose stitches or hanging cordlike threads, which
+originally may have held several layers together. Many of the single
+breadths have traces of seaming stitches on one or both selvages,
+indicating that the original wrapping was two or three times its
+preserved width.
+
+A large proportion of the cloths in this group are badly worn and
+clumsily patched. Two, three, and sometimes more pieces of irregular
+shape applied to the base material and even on top of a first patch
+are not infrequent (pl. 3,d). The mended fragments do not appear to
+be either the original sizes or shapes. Many of them have been reduced
+to their present rectangular shape by tearing off tattered (?) edges.
+
+One small group of striped textiles in the 16- lot is a noteworthy
+exception to the majority. Finely striped cottons similar to the one
+in plate 5,d must certainly have been made for other than utility
+cloths, probably for garments.
+
+There are four small bags (or pads?) in the Chincha 4- lot. Three of
+these were formed of small whole cloths sewed together at the sides
+with running, double running, and whipping stitches respectively. The
+fourth is made of a piece of an edge-stripe material and has one
+loomstring end and one side selvage. On this bag the torn edges have
+been turned in and seamed with a running stitch.
+
+Ties for one of the bags have been made by plaiting in a 4-strand flat
+braid the elements consisting of the two loomstrings plus an
+additional 12-ply cord drawn through the corner of the bag to its
+center point, thus giving two ends. Another of the bags has a draw
+string formed by a 9-ply cord drawn through the top end with a running
+stitch.
+
+FOOTNOTES:
+
+[1] L. M. O'Neale and A. L. Kroeber, Textile Periods in Ancient
+Peru:I, UC-PAAE, 28:23-56, 1930.
+
+[2] A. L. Kroeber and W. D. Strong, The Uhle Collections from Chincha,
+UC-PAAE, 21:1-54, 1924; Max Uhle (A. L. Kroeber, ed.), Explorations at
+Chincha, UC-PAAE, 21:55-94, 1924.
+
+[3] Max Uhle, Explorations at Chincha, pl. 1, pp. 87-90.
+
+[4] Ibid., pp. 68, 69.
+
+
+
+
+DIMENSIONS OF THE CHINCHA CLOTHS
+
+
+One hundred twelve cloths in the plain-weave group were measured.
+Because some of the specimens could not be placed under tension, the
+forefinger was drawn along the cloth beside a steel tape to smooth out
+wrinkles. Measurements taken by this method approximate those on a
+cloth stretched between the bars of a loom.
+
+
+Lengths
+
+Complete dimensions can be taken on eighteen Chincha specimens in lots
+4- and 16-. As figures 1 and 2 show, these dimensions cluster around
+two sets of proportions: the eleven cloths represented in the diagram
+in figure 1 are squarish; the seven in figure 2, with a
+length-to-width proportion of approximately two-to-three to one, are
+rectangular. Four of the squarish cloths are formed of two separately
+woven breadths of material. All the rectangular cloths are single
+breadths.
+
+Measurements of these specimens with complete dimensions are given
+below under the two classifications.
+
+ Squarish cloths Measurements in inches
+ Specimen 4-3633b 15.5 by 14
+ 16-1260 19 by 14
+ 4-3890a 23.5 by 26
+ 4-3883a 26.5 by 27
+ 4-4056 27 by 26
+ 16-1253 28.5 by 24
+ 4-4027 29 by 28
+ 4-4022a 40 by 35 (2 breadths)
+ 4-3883b 43.5 by 38.5 (2 breadths)
+ 16-1250 52 by 61 (2 breadths)
+ 4-3973d 59.5 by 66 (2 breadths)
+
+ Rectangular cloths
+ Specimen 4-3889c 9.5 by 5
+ 4-4029 10.5 by 4
+ 4-3962 11.5 by 9
+ 4-3882f 13 by 7
+ 4-3710m 18 by 11.5
+ 4-3883d 53.5 by 21
+ 4-4059a 62 by 22.5
+
+From the twenty Chincha plain-weave cloths with intact lengths (fig.
+4) it is possible to know (1) that the cloths were woven by methods
+standard among the ancient Peruvians; (2) that each breadth represents
+a separate warping operation which established its ultimate length;
+(3) that each breadth was made singly on the loom. The evidence for
+such procedures and the identifying features of the end selvages on
+Peruvian cloths are to be recognized in the continuous thread which
+forms the warp skein--in contradistinction to cut ends of warps--and
+in the presence of two or more heavy wefts, the first ones put across
+the web. The cords binding the end loops of the warp skein to the loom
+bars hold the first of these loomstring wefts, as they are called, to
+the bars. The two or more succeeding wefts, which are interlaced with
+the warps, establish the width of the piece and give it a certain
+firmness. On the ends of some cloths the strand of cord for
+loomstrings was long enough to carry across the web only twice. In the
+majority of our plain-weave cloths it was carried across three times;
+in over a fifth of the total number of intact ends in the 16- lot the
+loomstring carried across four times. The frequencies of two, three,
+and four loomstrings at the ends of webs in this group are
+approximately as 6:32:16. A number of these occurrences are on cloths
+in which the heavy cord is not long enough to make a complete
+crossing; the remainder of the breadth is completed with weft of the
+size used for the regular weaving.
+
+ [Illustration: Fig. 3. Complete widths of textiles in Chincha
+ plain-weave group. Separately woven webs of two-breadth cloths
+ indicated by chevrons. Narrowest width, 4 inches.]
+
+ [Illustration: Fig. 4. Complete lengths of textiles in Chincha
+ plain-weave group. Separately woven webs of two-breadth cloths
+ indicated by chevrons. Shortest length, 9.5 inches.]
+
+In the Chincha 4- lot, loomstrings of from 2- to 12-ply formed the
+weft for from two to six courses of weaving. In seven of the
+twenty-four specimens showing finished ends, the loomstring stopped
+partway across its course in the web and was there joined to the
+regular weft yarn. In two the joining was effected by finger knots, in
+the other by splicing (?). The two specimens (4-3889c and 4-4029)
+having strong 12-ply loomstrings were small but complete cloths which
+had been doubled and stitched along the sides to form bags. The
+loomstrings thus served to reinforce the open mouth of the bag.
+
+In eleven specimens the loomstrings had an initial S and final Z
+twist; twelve show the opposite combination. In one specimen (4-4056)
+the separate plies have an S twist, but the final yarn is untwisted.
+
+Complete lengths of Chincha plain-weave cloths in order from shortest
+to longest:
+
+ Spec. no. Inches
+
+ 4-3889c 9.5
+ 4-4029 10.5
+ 4-3962 11.5
+ 4-3882f 13
+ 4-3633b 15.5
+ 4-3710m 18
+ 16-1260 19
+ 4-3890a 23.5
+ 4-3882a 26.5
+ 4-4056 27
+ 16-1253 28.5
+ 4-4027 29
+ 4-4022a 40 (× 2)
+ 4-3883b 43.5 (× 2)
+ 16-1250 52 (× 2)
+ 16-1290 53
+ 4-3883d 53.5
+ 4-3973d 59.5 (× 2)
+ 4-4059a 62
+ 16-1292 62
+
+Ninety-odd of the measured cloths are incomplete as to length. These
+preserved lengths fall within arbitrary groupings as follows:
+
+ From 5 inches to 20 inches in length 29 pieces
+ From 21 inches to 30 inches in length 33 pieces
+ From 31 inches to 40 inches in length 17 pieces
+ From 41 inches to 50 inches in length 7 pieces
+ From 51 inches to 60 inches in length 4 pieces
+ From 61 inches to 70 inches in length 2 pieces
+
+
+Widths
+
+There are three times as many weavings with complete widths as with
+complete lengths; 60 as compared to 20. Clues to the wrappings or
+blankets of which these breadths were sections are frequently
+furnished by traces of stitchery and broken threads on the side
+selvages. As shown by table 2 and figure 3, the five narrowest
+complete breadths (Group 1) are within a range of 4 to 12 inches.
+Narrow widths can be woven most rapidly on the backstrap loom.
+Complete breadths in Group 2 (18 specimens) fall within the range of
+14 to 20 inches. These widths, also, can be woven without much effort.
+Seaming together narrow breadths appears to have been preferred to
+weaving wider ones equal to the two or three which compose some of the
+rectangular specimens.
+
+Table 2
+
+Frequencies of Complete Width Measurements
+
+ ======================================+========+===========+=======
+ |Width in|Number of |Total
+ |inches |occurrences|occur-
+ | | |rences
+ --------------------------------------+--------+-----------+-------
+ Group 1 | | |
+ 4-4029 | 4 | 1 |
+ 4-3889c | 5 | 1 |
+ 4-3882f | 7 | 1 |
+ 4-3962 | 9 | 1 |
+ 4-3710m | 11.5 | 1 | 5
+ | | |
+ Group 2 | | |
+ 4-3633b, 16-1240, -1256, -1260, | | |
+ -1274 | 14 | 5 |
+ 4-3970, -4075d, 16-1274, -1280 (2) | 15.5 | 5 |
+ 16-1240, -1248 | 16 | 2 |
+ 4-4022a (2), 16-1225 | 17.5 | 3 |
+ 4-3883b (2) | 19.5 | 2 |
+ 4-4068b | 20.5 | 1 | 18
+ | | |
+ Group 3 | | |
+ 4-3883d | 21 | 1 |
+ 4-4059a | 22.5 | 1 |
+ 4-4068b, 16-1291 | 23 | 2 |
+ 16-1237, -1238, -1242, -1251, -1253 | 25 | 5 |
+ 4-3890a, -4056 | 26 | 2 |
+ 4-3883a, -4068d, 16-1251, -1265 | 27 | 4 |
+ 4-4023 (2), -4027, 16-1257, -1265, | | |
+ -1271, -1272, -1289 | 28 | 8 |
+ 4-3633a, -4055, 16-1261 | 29 | 3 | 26
+ | | |
+ Group 4 | | |
+ 16-1259 | 30 | 1 |
+ 16-1250, -1294 | 31 | 2 |
+ 4-3973d (2), 16-1283, -1304d | 33 | 4 |
+ 16-1252, -1269b | 34 | 2 |
+ 16-1266, -1292 | 35 | 2 |
+ 16-1286 | 41 | 1 | 12
+ --------------------------------------+--------+-----------+-------
+
+Group 3, as listed in table 2, comprises breadths falling within a
+range of 21 inches through 29 inches. These widths reduce weaving
+speed and bring about problems in manipulation of the loom parts. The
+twelve widest complete breadths in the Chincha lot range from 30
+inches to 35 inches with a single specimen measuring 41 inches. For
+this last piece, and possibly for several of the narrower ones in the
+same group, a two-bar loom not attached to the weaver's waist seems
+indicated.
+
+Complete widths of Chincha plain-weave fabrics in order from narrowest
+to widest:
+
+ Spec. no. Inches
+
+ 4-4029 4
+ 4-3889c 5
+ 4-3882f 7
+ 4-3962 9
+ 4-3710m 11.5
+ 16-1274 13.5 + 14.5
+ 4-3633b 14
+ 16-1256 14
+ 16-1260 14
+ 16-1240 14.5 + 15.5
+ 4-3970 15
+ 16-1280 15 + 15
+ 4-4075d 15.5
+ 16-1248 16
+ 16-1225 16.5
+ 4-4022a 17.5 + 17.5
+ 4-3883b 19 + 19.5
+ 4-4068b 20.5 + 23
+ 4-3883d 21
+ 4-4059a 22.5
+ 16-1291 23
+ 16-1253 24.5
+ 16-1237 25
+ 4-3890a 26
+ 4-4056 26
+ 4-3883a 27
+ 16-1251 27 + 24.5
+ 4-4068d 27.5
+ 16-1265 27.5
+ 4-4027 28
+ 16-1257 28
+ 16-1271 28
+ 16-1272 28
+ 16-1289 28
+ 4-4023 28 + 28.5
+ 16-1261 28.5
+ 4-3633a 29
+ 4-4055 29
+ 16-1259 30
+ 16-1250 30 + 31
+ 16-1294 31
+ 16-1283 33
+ 16-1304b 33
+ 4-3973d 33 + 33
+ 16-1252 33.5 + 33.5
+ 16-1269b 34
+ 16-1266 34.5
+ 16-1292 35
+ 16-1286 41
+
+Seventy-odd individually woven breadths of material are incomplete as
+to width. The arbitrary groupings in which these fall are as follows:
+
+ Under 10 inches in width 3 specimens
+ 11 inches to 20 inches 42 specimens
+ 21 inches to 30 inches 22 specimens
+ 31 inches to 40 inches 7 specimens
+
+Side selvages strengthened by any one of the several methods we know
+from commercial weavings are rare in textiles from primitive looms. It
+is not uncommon, however, to find four or five edge yarns drawn more
+closely together than are the others in the web. Familiarity with
+these two facts made our discovery of a unique selvage finish a matter
+of unusual interest. The edges of specimens 16-1228 and 16-1236 have
+been reinforced by two stitchery techniques. Plate 8,i shows the
+ordinary whipping stitches which form the foundation for the second
+technique. Plate 8,h shows this second line of work to consist of a
+double strand twined, but always from back to front, with the tops of
+the whipping stitches.
+
+On one of the Chincha 4- specimens (4-4068a) the half-inch selvage is
+distinguished from the body of the fabric by the use of warp yarns
+lighter in color than those appearing in the body of the fabric and by
+the two-over-one weave of the right-hand selvage in contrast to the
+one-over-one weave found elsewhere in the fabric. In specimen 4-4027
+the edges are strengthened on each side for some six inches of the
+length by a single heavy 4-ply warp unit.
+
+In the Chincha 4- specimens, where congestion of edge yarns occurs,
+its extent in from the edge varies from 5 threads (in 3 specimens) to
+24 threads (1 specimen); in the majority of these specimens, the
+congestion ranges from 6 to 12 threads (8 specimens). Textures in
+plate 4,a, c are comparable to those in which maximum congestion
+occurs.
+
+
+
+
+
+YARNS
+
+
+All yarns are initially spun as single plies. In the ancient Peruvian
+textiles, there are evidences of preferences for single-ply yarns or
+at least the use of them even in fabrics we should consider called for
+heavier elements. The Chincha domestic cloths are good examples. We
+made yarn analyses on half of the total number of cloths in the study.
+All but ten of the fifty-seven examined were woven with single-ply
+warp and weft elements and of these ten, only one coarse cloth had
+2-ply warps and wefts; the remaining nine had 2-ply warps crossed by
+single-ply wefts. The majority of these fabrics classified as "fine"
+weavings.
+
+Yarns may be twisted (spun) in two directions. The spirals formed by
+twisting may extend upward to the left (the S-twist) or to the right
+(the Z-twist). The frequencies of the left and the right twist in
+yarns are indicative of motor habits, if nothing more.
+
+The largest Chincha group comprises twenty-nine cloths in which the
+warp and weft elements have left spirals; a much smaller group (5
+specimens) shows yarns with right spirals. Two other groups (6 and 3
+pieces, respectively) have warps with left spirals crossed by wefts
+with right spirals and vice versa. The other cloths in which yarns
+with different twists are combined perhaps may represent the use of
+odds and ends of yarns. The following combinations were found:
+
+1. Single-ply S-twist and Z-twist warps crossed by single-ply S-twist
+wefts (2 specimens) or crossed by single-ply Z-twist wefts (1
+specimen).
+
+2. Single-ply S-twist warps crossed by single-ply S-twist and Z-twist
+wefts (1 fine-texture specimen).
+
+Yarns are characterized as soft- or slack-twist, medium-twist, hard- or
+tight-twist, with various intermediate degrees depending upon the
+angle taken by the spiral in relation to a vertical axis. A 25-degree
+angle, for example, characterizes a medium-twist yarn tending toward
+hard-twist. Yarns with 30-degree to 45-degree angles of twist are
+hard-twist yarns. More than half of an unselected sample of twenty
+yarns fell within the 25-degree to 45-degree range. The remaining
+seven had angles from 50 degrees to 90 degrees in some sections of
+their lengths. An idea of the variations in any one weaving element
+may be gained from plate 4,c and the enlarged section of fabric in
+plate 7,c.
+
+
+
+
+TEXTURES AND WEAVING TECHNIQUES
+
+
+In general, the Chincha weavings are smooth and closely woven (pls.
+3,b, and 4,b). There appears to have been little or no interest in
+varying the textures by employing yarns of different weights, although
+the usual irregularities to be noted in lengths of hand-spun yarns
+are also evident in these. Counts taken on the warps and wefts per
+inch give a fair indication of the textures, but these are to a degree
+dependent upon the spinning.
+
+ [Illustration: Figure 5. Scatter diagram of thread counts per inch.
+ Figures indicate number of specimens. Symbols: triangle, apex down,
+ unit consists of one warp and one weft element; open square, unit
+ consists of one warp, two weft elements; concentric circles, unit
+ consists of two warps, one weft element; triangle, apex up, unit
+ consists of warp and weft pairs.]
+
+Several variations of the elemental over-one-under-one plain weave are
+exemplified by the Chincha cloths. Included are the following:
+combinations of pairs of warps or wefts with single yarns of the
+opposite system, and pairs of warps and wefts as in the two-by-two
+basket weave. The one hundred and twelve specimens represented in the
+scatter diagram (fig. 5) fall into groups, according to the variations
+of the plain weave these are listed below in the order of their
+frequency:
+
+ Group 1. Paired warps crossed by paired wefts: 8
+
+ Group 2. Single warps crossed by paired wefts: 20
+
+ The thread counts of 18 in this group are approximately 58
+ warps by 40 wefts per inch.
+
+ Group 3. Single warps crossed by single wefts: 22
+
+ Thread counts in this group range from 13 warps by 18 wefts to
+ 156 warps by 40 wefts per inch. Pl. 5,d shows a fabric with
+ count of 108 warps by 42 wefts per inch.
+
+ Group 4. Paired warps crossed by single wefts: 62
+
+ Thread counts range from 16 warp pairs by 12 wefts to 44 warp
+ pairs by 32 wefts per inch with one specimen having the high
+ count of 80 warp pairs by 28 wefts per inch.
+
+In terms of weaving units, whether single yarns or pairs of yarns, 56
+of the 112 counts taken fall within a range of 26 to 44 warp units and
+24 to 36 weft units. Figure 5 shows this concentration within the
+frame.
+
+Weaving techniques, other than the basic structural types, are few in
+number. Drawing in colored warps for stripes is a preliminary to the
+actual interlacing of the elements. The results of this procedure can
+best be discussed under the heading "Pattern."
+
+The join is a technical feature that indicates standards of
+craftsmanship. It is customary in weaving materials with end as well
+as side selvages to give more or less attention to the closing of the
+space between the weaving proper and the heading strip. When the warps
+in the form of a skein had been spread out evenly and bound in place
+to the end bars, the ancient weavers on two-bar looms first wove a
+shallow heading strip to secure the warps in their positions and to
+establish the ultimate width of the fabric, a practice followed by
+some modern weavers today. Then the weaver reversed the loom end for
+end to begin what became the weaving proper, and continued until the
+length was complete. Difficulties or indifference to appearance very
+often resulted in a general looseness of texture where standard-size
+tools had to be removed and the interlacing done more or less by the
+fingers. Plate 2,a, b shows heading strips of different depths,
+fairly wide join areas in which the wefts are more widely spaced, and
+above these, the compact texture of the weaving proper.
+
+Three finely woven cloths, one of them shown in plate 5,d, exemplify
+warp locking, end-to-end. This technique is known from the earliest
+periods on the coast in the so-called patchworks from Nazca Valley
+graves. It occurs also in Middle- and Late-period textiles.[5] The
+methods of lengthening the warps by the addition of new ones vary, but
+one feature is common to all those examined: the supplementary
+transverse yarns are in effect scaffold or skeleton wefts.[6] In the
+Chincha cloths, the two warps interlock as shown in the reconstruction
+in plate 5,a. In two Chincha plain-weave cloths, as in the Nazca
+patchworks, the warps of two colors meet on the skeleton weft.
+
+Two specimens in lot 4- (3890a and 4056) are poor in quality of
+craftsmanship. Careless weaving resulted in the breaking of several
+warps, uneven shedding, and puckering in the center of the web. A
+three-inch difference in the length between the two side edges of
+specimen 4-4056 was probably due to slanting of the warping stakes
+(fig. 6). There is also a difference between the widths of the ends of
+each cloth, in one of them as much as three inches. Different weights
+of yarn are used, their twists ranging from soft-to-medium to crepe.
+
+ [Illustration: =4-4056=
+ Fig. 6. Diagram of a web showing an irregular shape which may have
+ resulted from careless warping. Occurrences of plain-weave variations
+ are indicated by symbols for units: +, one-by-one; =|,
+ one-by-two; ++, two-by-one; and #, two-by-two (27 in. × 26 in.
+ over all).]
+
+In specimen 4-3890a the warps were grouped in pairs throughout the
+breadth of the cloth. In the first eight and one-half inches of the
+length, the weft is single and for the remaining fifteen and one-half
+inches the wefts are paired. This results in plain-weave variations of
+two-by-one, or semibasket weave, and two-by-two, or basket weave.
+
+In setting up the loom for specimen 4-4056, twelve inches of the
+breadth were warped with units of single 2-ply warp yarns (fig. 6,
+right) and the remaining fourteen inches were set up for units of twin
+warps (fig. 6, left). Several plain-weave variations were found. The
+weaver introduced single and twin wefts at irregular intervals
+throughout the length of the cloth. Therefore, in the portion where
+the single warp unit interlaces with single wefts, a simple
+one-by-one, or plain weave results; where the single warp unit
+interlaces with twin wefts, a one-by-two, or semibasket weave occurs.
+In the portion of the breadth where warps are paired, interlacings of
+two-by-one, or semibasket weave, and two-by-two, or basket weave,
+occur.
+
+Owing to the difference in length between the two side edges of
+specimen 4-4056, the weaver started making adjustments before she had
+woven half the length of her cloth. In order to restore a working edge
+at right angles to her warps, she introduced incomplete or fill-in
+wefts; that is, weft yarns entered on the long side and carried a
+distance across the web and then turned back in the next shed (pl.
+8,a). The largest number of fill-in wefts occurs roughly at a point
+about a third up from the end. Here, seven wefts were introduced, one
+after the other, all entering from the same side of the web (pl.
+5,e). The distance across the web that these various wefts were
+carried ranges from ten to twenty inches. At each turning point of the
+weft there is a kelim slit.
+
+FOOTNOTES:
+
+[5] L. M. O'Neale and A. L. Kroeber, Textile Periods in Ancient Peru:
+I, basic tables at end of plates.
+
+[6] L. M. O'Neale, Textiles of the Early Nazca Period, Field Mus. Nat.
+Hist., Anthrop. Mem., 2:180, 1937.
+
+
+
+
+STITCHERY
+
+
+Three very familiar needle techniques occur on the Chincha plain-weave
+cloths. Breadths are seamed together with whipping stitches or running
+stitches, or are laced together with the antique seam, often called
+the baseball stitch (pl. 8,d). The effects vary with the depth and
+tightness of the seaming. Some of the whipping stitches are left loose
+so the two breadths lie flat, their selvages barely touching; other
+stitches are drawn so tightly that the selvages form a ridge (pl.
+5,b). The smallest stitches are taken under two or three warps less
+than one-eighth inch deep and about one-eighth inch apart. Deeper
+stitches found on the coarse wrappings and one bag (4-3889) range from
+a quarter-inch to three-eighths of an inch in depth and the same
+distances apart.
+
+The baseball stitch, if well done, can bring the selvages of two
+breadths together in a flat seam (pl. 5,d). The Chincha types range
+from very loosely drawn to tightly drawn threads.
+
+Running and double running stitches (pl. 8,b, c), never very
+carefully executed on the plain-weave specimens, fasten down all the
+patches, hems, and occasionally the edges of lapped seams in which one
+breadth is extended conspicuously over another. Specimen 16-1229 has
+such a seam with a six-inch overlap. When running stitches are small,
+they range from one-eighth to one-quarter inch in length with
+approximately the same distance between them. Many more are from
+one-quarter to one-half inch long, especially on the numerous patches
+(pl. 3,d), and the distances between the stitches may be even
+longer. When running stitches are used for the hems, the cloth edges,
+including selvages, are turned under twice, just as is our customary
+procedure. Double running stitches on a bag (4-3889c) are about a
+quarter-inch long.
+
+Because of the variety of uses to which running stitches are put, they
+outnumber the other types two to one in the 16- lot, being often
+combined with the whipping and baseball techniques.
+
+Needleknitting, a decorative stitch which occurs frequently on
+Cahuachi (Early Nazca) textiles[7] is the edge finish on four of the
+Chincha plain-weave cloths (pl. 5,c). From the side, the stitch
+resembles a whipping stitch except for its compactness and the fact
+that the lines of thread are upright, not slanting; from the edge,
+the stitch resembles a chain (pl. 8,f, g). The Chincha variety
+differs slightly from that on the Early Nazca textiles: stitches taken
+straight over the edge alternate with those linked together with the
+chain effect.
+
+
+Patching and Mending
+
+Any form of repair technique in Peruvian textiles is rare. Many of the
+materials show wear and occasionally coarse stitches are put through
+the cloth to draw the edges of a tear together; otherwise there is
+little to suggest concern with prolonging the life of a garment.
+
+In a series of Chincha domestic cloths there are eleven patched
+specimens but not one trace of reweaving as in darning techniques.
+Apparently the unusual number of mended cloths interested the
+collectors in the field for, although a half dozen fragments appear to
+have been reduced to their present size, the patched portions have
+been carefully preserved. Fragmentary lengths of these textiles ranged
+from 14 to 28 inches; widths ranged from 13 to 30 inches.
+
+Certain generalizations are pertinent to all the mended fragments.
+There is no evidence of the use of a cutting tool; the edges of the
+patching pieces were torn or snagged along a thread. If the selvages
+were somewhat worn, the seamstress did not remove them but made a deep
+turn to fold the worn part to the underside. Much of the patching
+material was perceptibly worn to begin with; three brown specimens
+were badly disintegrated. On specimen 16-1259 there are four
+overlapping layers of patching material in one spot. Generally, the
+worn spot covered by a patch or several patches is an area in which
+the weaving was poorly done.
+
+The patched fabrics are in the medium- and coarse-texture groups with
+the exception of one fine cloth (16-1224). The repair materials fall
+within all three texture groups. A third of the patches (11 out of
+31) were of striped materials, most of which are of better quality
+than the base fabric. Patches too small to cover the entire worn area
+are pieced out by overlapping them with a second piece of material.
+More than a third of the patches were taken from the edges of the
+breadths, as the stripes indicate.
+
+Techniques used to fasten down the edges are hemming and whipping. The
+workmanship is fairly coarse, the lengths of the individual stitches
+approximately a quarter-inch long. Standards were much below those
+held by the weaver, but this difference is not surprising.
+
+Threads employed for the patching suggest that the seamstress used
+odds and ends of weaving yarns. Two or more kinds ordinarily appear on
+a single patch, one of them usually a coarse white cotton thread of
+fairly loose twist. Some threads are used single in the needle, some
+double. Colors are browns, blues, orange, yellow, the last happening
+to be short lengths of wool. There is no evidence that the seamstress
+attempted to match the yarn to either the ground or the patch
+materials. Where we start a new length of thread with a knot made at
+the end, these Chincha threads begin with a half-hitch around the
+first stitch taken through the cloth (16-1238) or with a stitch
+through the cloth and a knot tied with the short and long sections of
+the thread (16-1261).
+
+Plate 3,d shows one of the typical patched cloths. Four fabrics are
+represented: the base material, medium fine; and the three patching
+fabrics, the lower patch very fine and the upper right and left
+patches coarse. The most complicated arrangement of patches is found
+on a specimen (16-1240) composed of two breadths seamed together. The
+overall measurements of the torn rectangular fragment are 17 inches
+warpwise by 30 inches weftwise. Within this area are nine different
+pieces of cloth, seven of them covering worn spots or poorly woven
+areas.
+
+FOOTNOTE:
+
+[7] Ibid., pl. 53, a-c, p. 210.
+
+
+
+
+PATTERN
+
+
+The only colored decoration on the Chincha domestic cloths is in the
+form of stripes. This section presents an analysis of the types found
+on thirty-odd specimens.
+
+Stripes in this sample group either border the edge of the cloth or
+make an allover pattern. With the exception of four cloths, the
+stripes are warpwise of the materials; these four have stripes both
+warpwise and weftwise, and thus may be classified as plaids. Edge
+stripes occur in combination with an allover strip pattern in specimen
+16-1287 and in combination with plaid in specimen 4-3973d (pl. 6,f).
+There are no cloths crossbanded only with colored wefts.
+
+Apparently there was no preference as to the texture most appropriate
+for patterning by stripes; both fine and coarse cloths are thus
+decorated. For example, specimen 16-1225 is very fine (thread count,
+102 warps by 42 wefts per in.) and specimen 16-1234 is medium coarse
+(count, 36 warps by 28 wefts per in.). Both cloths are allover
+striped. Edge stripes occur on a relatively fine cloth, specimen
+16-1255a (count, 62 warps by 40 wefts per in.), and also on a coarse
+cloth (count, 28 warps by 24 wefts per in.).
+
+Five cloths in the Chincha lot are allover striped. One (16-1252) has
+solid blue and brown stripes at irregular intervals. The arrangement
+contrasts with the regularity of the other allover-striped materials
+and of the symmetrical plaids. Other allover stripes (fig. 8,a; pl.
+7,c) have units a quarter-inch wide, brown on a neutral ground.
+There is both color and texture interest in these specimens. The brown
+warp units are in pairs, the neutral-color warp units between each two
+brown units are alternately all single warps and all pairs of warps.
+As a result, every other neutral-color stripe is appreciably thinner
+than its neighbor stripes (pl. 7,c). The third allover striped
+specimen (16-1224) is alternately blue and neutral color, each stripe
+unit approximately one-sixteenth inch wide (fig. 8,c). Specimen
+16-1225 has striping in the same colors and to it is seamed a piece
+with blue on a reddish-orange ground. The blues appear to have been
+the same, but the cloth, otherwise in good condition, is so badly
+faded that the photograph does not reveal the stripes in the
+blue-orange section (pl. 5,d). The fourth allover-stripe pattern is
+common to two specimens, one of them shown in figure 8,b. The colors
+blue and tan stand out from a neutral ground. The sequence is
+blue-blue-tan, blue-blue-tan, and repeat. The stripes measure
+one-sixteenth inch in width and are about the same distance apart.
+
+ [Illustration: Fig. 7. Schematic representations of stripings with
+ color changes indicated by symbols. Units consisting of pairs of warps
+ represented by pairs of triangles. Chevron marks center of bilateral
+ groupings of colors.]
+
+The four fragments symmetrically plaided with an identical arrangement
+of warp and weft stripes (16-1279; 16-1303) probably came from the
+same cloth despite the different numbers.
+
+Edge stripes, the most numerous group, vary in width from
+three-sixteenths inch to one and three-eighths inch. They are simple
+in construction, eight of the thirteen being symmetrical both in
+arrangement and count of colored warps. The semblance of balance is
+marked, also, in those stripes which are not symmetrical.
+
+The edge stripes with two exceptions (16-1260, a kerchief, and full
+breadth 16-1287) border only one of the selvages on the complete
+widths analyzed for this section. The opposite selvages have hanging
+threads, remnants of the stitchery which originally seamed two
+breadths together. The stripes decorated the outside edges of this
+seamed rectangle.
+
+No specimen in the Chincha plain-weave group has stripes showing more
+than three colors, exclusive of the color of the ground material. The
+ground color is usually neutral and may originally have been white or
+brown cotton. The most frequently occurring color in the stripes is
+brown, followed by blue. Red and rose occur only twice.
+
+In five specimens we found the warps used in pairs. In specimens
+16-1224 (fig. 7,a) and 16-1280 (fig. 7,k) the colored warps are
+paired, the ground is set up with single warps; in 16-1240 (fig.
+7,j), the stripe warps and certain sections of the ground warps are
+paired, the greater portion is set up with single warps. In several
+specimens the otherwise uniform setup of single colored warps is
+broken by a warp unit comprising a pair (fig. 7,f), and in two
+specimens (cf. fig. 7,d) the series of single warps is broken by two
+pairs of warps in one of the stripes. These units may have been
+deliberately planned by the weaver, since they are maintained for the
+entire length of the preserved stripe.
+
+All of the Chincha striped cloths examined for this study were woven
+either in the over-one-under-one interlacing or its variation, twin
+warps crossed by single weft, a technique sometimes designated as the
+semibasket weave. What textural differences there are between the
+colored stripes and the ground material are the results of combining
+the single-warp plain weave with its twin-warp variation. The
+following tabulation shows the occurrences of these two techniques
+among the thirteen striped pieces in figure 7:
+
+ No. of
+ Weave of ground material Weave in stripes specimens
+
+ Single warps, single wefts same as ground 1
+
+ Single warps, single wefts single and twin
+ warps, single wefts 2
+
+ Twin warps, single wefts single warps,
+ single wefts 7
+
+ Twin warps, single wefts same as ground 1
+
+ Twin warps, single wefts single and twin
+ warps, single wefts 2
+
+
+
+
+COLOR
+
+
+Fifty-odd yarns, samplings from the striped and plain cloths of the
+Chincha lots, were matched against the printed samples in Maerz and
+Paul's _Dictionary of Color_.[8] We found yarns corresponding to
+thirty-two samples representing five of the eight color groups. We
+found no dyed yarns in these cloths for colors in the yellow-to-green,
+the blue-to-red, and the purple-to-red groups. Only four yarns out of
+three hundred and fifty matched in a previous study,[9] corresponded
+to colors in the purple-to-red group and these four matched very dark
+samples on plate 56. The available evidence indicates either that the
+ancients had not developed dyestuffs to produce such hues as our
+fuchsias, magentas, and heliotropes or that they did not favor these
+colors.
+
+Over a dozen yarns matched samples on plates 14 and 15 of the
+orange-to-yellow groups; as many more matched the browns on plate 37.
+Some of the yarns in this series are darker than any of the printed
+samples on plate 39. The third largest series, approximately twenty,
+match eight samples in the blue-green-to-blue group. The fewest number
+represent the green-to-blue-green group. Yarns in four cloths are
+similar to poplar and bottle greens.
+
+Stripes are in one, two, or three colors (fig. 8). Most of the
+one-color stripes (approximately 10) are blue (37F3, 37I5), one is an
+orange-red (5K10), and one clay color (14F8). For the two-color
+stripes we were able to distinguish blue (37F3), golden browns
+(approximating 15A12), and orange reds (approximating 5K10). In only
+one of the six two-color examples, however, were the two colors
+sufficiently clear to match the printed samples. Specimen 16-1251
+combines brown (15A12) and blue (38C3) stripes.
+
+The three-color stripes in the 16-lot were similarly difficult to
+match with the samples in the Dictionary. Yarns from the four
+specimens matched samples as follows:
+
+ 16-1268: yellow (10C7) and two browns (14L10, 15A12)
+
+ 16-1277: two yellows (11K8 and one other darker than any in the
+ group) and blue (36F6)
+
+ 16-1283: yellow (9J5), blue (35D4), and one other color too
+ dull to match any printed sample in the blue group
+
+ 16-1287: yellows and browns (7C12, 11K6, and 14F6)
+
+One three-color specimen in the 4- lot (pl. 6,f) has a number of
+well-preserved portions. The weaving proper is natural-color white
+cotton with plaiding in dark brown (15C12) and gray similar to adobe
+(14D7). The wide edge stripe has the same dark brown, a lighter, more
+golden brown (14D12), and central pinkish stripes which approximate
+printed samples 3C10 or 3C11.
+
+ [Illustration: Fig. 8. Diagrams of stripings in Chincha plain-weave
+ cloths: a, two-color stripe, blue and natural color cotton; b,
+ two-color stripe, blue and brown on natural-color ground; c, allover
+ stripe of blue on natural-color ground.]
+
+FOOTNOTES:
+
+[8] A. Maerz and M. R. Paul, A Dictionary of Color, 1930.
+
+[9] L. M. O'Neale, Textiles of the Early Nazca Period, p. 144.
+
+
+
+
+SUMMARY
+
+
+Analyses of over a hundred plain-weave cloths in the Max Uhle
+collection from Late-period sites at Chincha form the material of this
+report.
+
+The utilitarian character of most of the cloths is conspicuous. A few
+plain-weave fabrics undoubtedly belong to garments of the better type,
+although these specimens, too, are without decoration except for
+stripings.
+
+Measurements and textures suggest that some weavings may have been
+mantles or other large wrappings. All the intact ends have the
+customary Peruvian selvages with heavy loomstring wefts. Intact single
+breadths range in widths between 4 inches and 41 inches. The wider
+breadths suggest that the loom upon which these specimens were woven
+was not the type ordinarily attached to the weaver's waist.
+
+Smooth textures and the uniformly good edges indicate that the weaving
+yarns were of the high quality we have learned to expect in the
+ancient cloths. Thread counts show a wide range, as shown in figure 5.
+
+Technical features in these plain cloths are the standard ones in most
+respects. Warp locking of the end-to-end variety and a unique finish
+on a side selvage are the most noteworthy deviations from the norm.
+Perhaps the least expected feature is the patching of weak or worn
+spots in the cloths. In their present condition, the several repaired
+examples reveal hard wear subsequent even to the patching.
+
+Ornamentation in the Chincha plain-weave cloths analyzed for this
+study consists solely of stripes and plaids; an occasional edge finish
+is as much a strengthening device as a decorative detail. A few cloths
+are allover striped; a greater number are bordered on one edge with a
+series of colors, mainly yellow, browns, and blues.
+
+The group as a whole represents the many fabrics which must have been
+woven solely for ordinary wear or use, being used later as grave
+wrappings.
+
+
+
+
+PLATES
+
+
+EXPLANATION OF PLATES
+
+(Numbers preceded by 4- and 16- are University of California Museum of
+Anthropology specimen-catalogue numbers.)
+
+
+Plate 1
+
+Chincha doll (4-4116) dressed in scrap of plain-weave material. Height
+overall, 7 inches. Head, a knob wrapped with fiber; black human hair
+folded over top and drawn in at neck with fiber string. Body composed
+of 2 tortoras separated to form legs; all elements wrapped with fiber
+and with one extra "toe" applied to each foot. Arms of wrapped tortora
+with fingers (3) applied at ends.
+
+Garment of plain cotton material torn crosswise; fold at one side;
+lapped seam held with coarse stitches at opposite side; seam across
+shoulders; no openings for arms. Tatters at bottom edge turned to
+outside and secured with running stitches. Length 5¼ inches; breadth
+7¼ inches.
+
+
+Plate 2
+
+Loomstring ends of Chincha fabrics, a, b, detail of ends of two
+webs (16-1304b, 16-1270) to show heading strip (1) and weaving proper
+(2) comparable in texture; (3) section between them, the join, more
+loosely woven. Width of sections shown, 3.5 inches.
+
+
+Plate 3
+
+a, b, c, examples of medium-coarse Chincha fabrics (16-1282,
+16-1217, 16-1252), fair to good qualities of weaving; d, worn
+material reinforced by patches held down by running stitches
+(16-1222). Dark section of b, 1.25 inches wide; a and c in
+proportion; upper patch of d, 9 inches by 6 inches.
+
+
+Plate 4
+
+Textures of fine fabrics. a, comparable to modern cheesecloth
+(4-4058b); b, canvaslike (16-1255a); c, open plain weave showing
+high twist of single-ply yarns (4-3883b).
+
+
+Plate 5
+
+a, reconstruction of end-to-end warp locking, shown in d, by
+methods which make possible the change from monochrome to stripes;
+b, close-texture, semibasket weave with three heavy loomstring wefts
+at end selvage, whipped seam (16-1292); c, end selvage reinforced
+with needleknitting (16-1217) (cf. pl. 8,f, g); d, fine cotton
+garment material with stripes below monochrome section (16-1225),
+right-hand striped section faded; e, section of textile (×2) with
+turn of fill-in straightening wefts indicated by black threads
+(4-4056) (cf. pl. 8,a). Width of b and c, 3 inches.
+
+
+Plate 6
+
+a-e, border stripes on Chincha cloths (16-1268, 16-1277, 16-1214,
+16-1251, 16-1255a), colors, brown and blue; f, section of plaid with
+border stripe (4-3973d). Selvages at left. Width of narrowest border
+stripe, one-fourth inch; others in proportion.
+
+
+Plate 7
+
+a, reconstruction of border stripes of fabric in plate 6,e; b,
+reconstruction of stripe found on several specimens; c, section of
+fabric (×2) showing variations in plain weave and amount of twist
+given to weaving elements (16-1240); d, section of fabric (×2)
+showing two-and-two basket weave varied in appearance by arrangement
+of colored yarns (4-3962).
+
+
+Plate 8
+
+Reconstructions, a, fill-in weft to straighten working edge (cf. pl.
+5,e); b, plain running stitch; c, double running stitch shown in
+two colors for clarity; d, seam in saddler's or baseball stitch,
+also called antique seam; e, seam in whipping stitch: f, g, top
+and side view of needleknitting type found on Chincha edge (pl.
+5,c), alternate stitches plain whipping stitches; h, i, two
+views of reinforced selvage showing strand of twining through tops of
+whipping stitches.
+
+
+Plate 9
+
+Weaving and sewing equipment: a-g, undressed thorns, 3.5 to 6 inches
+long (4-3653); h-o, bunch of fine wooden needles (n shows eye)
+4.5 inches long, black and pale color wood (4-3651); p, copper
+needle (4-4094); q, headed and pointed stick, possibly a warp-lifter
+(4-3865f); r-w, sticks, some of cane including pointed and headed
+tools (4-3865a-e, g, h): s, u, weaving swords; t, loom bar; x,
+weaving sword, 18 inches long.
+
+ [Illustration: Plate 1. Chincha Doll]
+
+ [Illustration: Plate 2. Loomstring Ends]
+
+ [Illustration: Plate 3. Chincha Fabrics]
+
+ [Illustration: Plate 4. Textures of Fine Fabrics]
+
+ [Illustration: Plate 5. Weaving Techniques]
+
+ [Illustration: Plate 6. Pattern: Stripes and Plaids]
+
+ [Illustration: Plate 7. Pattern: Stripes and Variations in Plain
+ Weaves]
+
+ [Illustration: Plate 8. Reconstructions of Stitches]
+
+ [Illustration: Plate 9. Weaving and Sewing Equipment]
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Chincha Plain-weave cloths, by
+Lila M. O'Neale and E. Bacon and C. W. Gemmer and R. V. Hall and I. W. Johnson and C. M. Osborne and M. B. Ross
+
+*** END OF THE PROJECT GUTENBERG EBOOK 42375 ***
generated by cgit v1.2.3 (git 2.25.1) at 2026-06-04 18:07:27 +0000