232 



INSTITUTE OF SOCIAL ANTHROPOLOGY PUBLICATION NO. 13 



or conventionalized motifs, formed by looping the 

 heavier weft on the upper or right side, as the 

 textile is woven. Of manteles, we purchased 22 

 specimens, of which 11 are modern, the others 

 "old" — but probably not more than 10 years at 

 the most. 26 From the discussion below, it will be 

 seen that the decoration of manteles appears to 

 have shifted considerably in the course of the past 

 few years; this conclusion, we believe, does not 

 result exclusively from the smallness of our 

 sample. 



20 Eight weavers are represented : Carmen Perez Reyes, 7 speci- 

 mens ; Ignacia Hernandez, 4 ; Maria Antonia M6ndez, 4 ; Nicolasa 

 de Leon, 3 ; and Luz Valencia, Benita Isidro, Josefina Diaz, and 

 Maria Hernandez, 1 apiece. Owing to an arm injury, Maria 

 Antonia Mendez no longer weaves, nor does Luz Valencia, because 

 of age and infirmity. 



There is a high degree of interdependence among most of these 

 eight women. Benita Isidro and Josefina Diaz are daughters of 

 Carmen Perez Reyes ; she taught them, as well as Maria Antonia 

 Mendez, a neighbor, to weave. Ignacia and Maria Hernandez 

 are sisters ; Nicolasa de Le6n is their sister-in-law ; all three live 

 in adjacent houses. 



Borders. — All manteles have some sort of geometric 

 border, at the start and finish of the piece. In some cases, 

 this is confined to a simple row or double row of upraised 

 loops (fig. 57, a, a' ) ; usually, various motifs are combined. 

 Border designs from our 22 manteles are shown in figure 

 57 and their distribution given in table 13. 



Several border motifs are found among both new and 

 "old" pieces (fig. 57, a-c). Others are confined to the 

 older specimens (fig. 57, d, /, g), while two (fig. 57, e, h) 

 are to be seen only among current products. One motif 

 (fig. 57, h), prominent in the recent manteles made by 

 Carmen Perez Reyes and one of her daughters, has no 

 Totonac name. This, plus the fact that not one of the 

 older specimens carries this design, suggests that it is a 

 recent addition to the local repertoire. 



There is one further suggestion of change in border 

 treatment during recent years. Among the older pieces, 

 six have a quite different border at each end ; two more 

 correspond in major features but have differences in de- 

 tail (noted as one-half, in table 13). In short, most of 

 the older specimens have asymmetrical borders, while 

 the more recent products show a greater tendency toward 

 symmetry (table 13). 



a 



3)40 -»o soomlMii » 



•> « 



O O o o 



o <» o o 



.O O O o 



'. o o 



O u o 



•> v) O O 



o .0 c *> o 



4 "J J JOOOOCU 



•a ■> o <» e 



a » * o e 



'UOUU V00d<f IJiljo HitnUJO 



j •> o u a. 



JO 4 « 



4 . *> 



O U V 



A O O «> 



Wuucu 



it HDD 



Oy ooo . 



OOOO OOOOOcOOU UO 

 OpO OOO OOO cf 



tfoouuuuuvoo OO OOOUOuoo 



CO i> do 00 OOOOJOo 



ooouoooooo /J ituiiooeitt 



Figure 57. — Textile designs: Mantel borders. Each circle represents a loop of heavy weft on the right side of the fabric. 

 a and a' are known as talakaslit'ni; both b and c are called tasku'li. No names were recorded for the other designs, 

 save h, which goes by the Spanish term of pemoles, and which is said to have no Totonac equivalent. The distribution 

 of these elements is given in table 13. 



Table 13. — Textile ornament i 





"Old" manteles 



Recent manteles 



3 

 S 



8 



3 

 5 



5 



Designs 



■§ 



§ 



> 



3 



d 

 o 



1 



a 



a 

 ►J 



CD 



•a 



03 



*o 



O 



d 

 | 



K 



3 

 u 



03 



3 



0) 



e 

 w 



.2 



03 



& 



to 



0> 



>» 



« 



N 



a 

 u 

 <v 

 Pk 



d 

 a> 



a 



CO 



o 



1 



PS 



(-. 

 o 



d 



o 



B 



03 



u 



s 



2 

 "» 



HI 



03 



B 

 eg 



pq 



03 



5 



cS 



3 



a> 



CO 



O 



l-» 



IS) 

 V 



•a 

 d 



03 



"a 

 S 



03 



3 



1 





14 

 X 



15 



X 

 X 



16 

 X 



"x" 



17 



X 

 X 



18 



"x" 



19 

 X 



20 

 X 



21 

 X 



22 



X 

 X 



23 

 X 



24 

 X 



25 



X 

 X 

 X 



26 

 X 



27 

 X 



28 



X 

 X 



29 

 X 



30 



31 

 X 



32 



X 

 X 



33 



X 



34 

 X 



35 



Borders: 

 Motifs: 



Fig. 57, a, a' 





6. . 



Y 



c 









X 









X 







X 



X 







d.. . 

















X 















































X 









f- 



X 





























































X 























h 































X 



X 



y 2 



— - 



X 



14 









Asymmetrical 



X 



M 







H 



X 







X 



X 



X 



X 



X 









.... 



X 



X 



1 Decorative elements arc listed at the left, with references to corresponding text figures. Individual textiles, all of which are in my possession, 

 have been numbered to avoid ambiguity. 



