Fragment of tapestry-woven panel depicting Catholic symbols, birds and flowers, Peru, 17th century

Tapestry panel, woven in coloured wools on cotton warps. The ground of the pattern is red. In the middle is an eccesiastical hat with four tassels: above it is a bishop's mitre, on one side is a crozier and a glove; and on the other an archiepiscophal cross and a birretta. The rest of the ground is filled with animals and birds in pairs, including humming birds and parrots; flowers and detached leaves, and with objects connected with religious ceremonial. There is a triple border at the upper and lower ends, filled with continuous foliage.

Technical description (from The Colonial Andes, 2004, p. 299):
Tapestry weave with single-interlocking joins, dovetail and wedge weave; embroidered edge has overcast stitching.
Warp: cotton
Weft: camelid; hair is a fuzzy wool, possibly sheep.
Embroidery: camelid (red).
Selvages: cut on all four edges, but some remnant of warp loops at top edge.

Given by Louis C Clarke

Purchased in Cuzco prior to 1924 along with an armorial tapestry now in the British Museum (1913.3-11.1), given to the museum by Louis Clarke in that year.

Historical significance: Significant as an example of a hybrid object which combines European motifs with traditional Andean patterns and motifs in a commission for the church in Cuzco.

This tapestry reveals how Andean weavers followed European modes to create hybrid, colonial work. The design combines Andean geometrical motifs with symbols of the Christian church hierarchy. The zigzag design represents the potato flower and vine, a motif known from contemporary native Andean weavings and frequently found on traditional garments. In the centre is a black tasseled hat which may indicate the office of a priest or regional administrator, or an archbishop (Kendrick presumed the last in 1925). The double cross to the right of the hat would have preceded an archbishop in processions. An Andean flower with curved stem, depicted upside-down to the left of the hat, perhaps referred to the pastoral staff. Interspersed among these ecclesiastical symbols are Andean spotted felines, parrots, and running animals, all framed within a traditional Andean band of patterning.

According to Elena Phipps (2004), the tapestry weaving is characteristically Andean, with technical features typical of colonial tapestry of this period, including double-sided tapestry weave with single-interlocked colour changes and uncut warp loops. The hatching of the colours to indicate basket forms, the detailing of the birds' wings, and the overall outlining of the motifs may been adapted from European models.

Similar piece: Textile Museum, Washington, D.C. (91.253).

Part of a longer piece which was probably used to cover the back of choir seats in a church in Peru.

T.15-1923