Fig. 18. Chimú artist. Hanging. North Coast, Peru, 12th–15th century. Cotton, 61 × 79 ⼀椀 in. (155 × 201 cm). The Metropolitan Museum of Art, New York, Gift of Jacob and Bronka Weintraub, 1983 (1983.491.1) For example, one burial platform in a palace features a composition with a pelican, doubled and repeated upside down and above, joining the right-side-up form at the tail (昀椀g. 19). A creature with a head and two appendages is found in its belly. This composite image is linked with others by a vertical band. The completed form is repeated but reversed, thus knitting together the imagery, creat- ing an overall pattern of bifold rotational symmetry. This pattern extends from the 昀氀oor level to the upper border, where a zoomorphic form with a crescent headdress is repeated across the entire expanse of the walls of the entryway. Many of Chan Chan’s reliefs in other parts of Fig. 19. the city follow this structure of in昀椀nity patterns within View of Palace Wall, Chan Chan, Peru, 1893. Photo by Charles Lummis borders; that is, the motifs are repeated over and over in 18