A Survey of Ancient Peruvian Art. 349 



CLASSES REMARKS 



I Modelled and painted ware . The class most like Proto-Chimu. 



a Semi-realistic That is, having fair modelling in 



combination with 'five-digit 

 hands. 



b Xon-realistic That is, poor modelling com- 



.bined with four-digit hands. 

 II Painted ware — not modelled The predominant Proto-Nasca 



type, 

 a "Centipede God" 



Motif Perhaps derived in part from the 



Proto-Chimu habit of masking, 

 b "Multiple-headed ' 



God" Motif Linked to "Centipede God" in 



several ways (see above) and to 

 Proto-Chimu by use of feather- 

 like ornaments. 

 c Painted human 



face motif Found usually on the same ves- 

 sels as the two foregoing types, 

 it is, at the same time, strongly 

 hke Class I, a, and Class I, b. 



d Miscellaneous Forms made up of all sorts of 



elements borrowed from . the 

 foregoing types. 



Having reviewed the distinguishing marks of Proto-Nasca art 

 as represented by the pottery, we have now arrived at the impor- 

 tant question of Proto-Nasca textiles. It has been said by good 

 authorities that there were no textiles dating from a time prior 

 to the rise of the culture of Tiahuanaco 11.^- 



It is, however, the opinion of the present writer that this 

 belief is a mistaken one. It will, no doubt, be granted by any- 

 one that if Proto-Nasca textiles do survive to the present day, 

 they will have the same or similar designs upon them as do the 

 pottery remains. We shall endeavor to show that such designs 

 do survive in textiles. Before doing so, however, it will be well 

 to remind the reader that there is no class of textiles that can 

 safely be assigned to the Proto-Chimu culture. 



The reader's attention is called to Plate IV, Figures i and 3. 

 The first shows a woven cloth from lea now in the Museum of 



"Joyce, 1912, p. 200; Beuchat, 1912, p. 574. 



