arranged in registers in vertical bands (昀椀g. 11). Yale University expanded or contracted within the same composition to playful effect, while anthropomorphic and zoomor art historian George Kubler, whose work was in昀氀uential to - artists such as Anni Albers and Sheila Hicks in the twentieth phic forms—including staff-bearing 昀椀gures, pumas, and century, likened such variations on a theme to the multiple, condors—could be deconstructed into nearly unidenti- 9 independent lines of melody in polyphonic music. 昀椀able shapes. One particularly 昀椀ne tunic bears a winged Organized into a grid pattern—surely an echo of the feline motif repeated sixteen times, with eight versions orthogonal structure of textiles themselves—motifs on the front and eight on the back (昀椀g. 12). The being is were arranged by weavers in imaginative ways through depicted in pro昀椀le, with head facing upward, staff in hand, mirroring, reversals, and inversions repeated with often and a patterned textile on its back. The most recognizable unexpected color alterations in the tapestry-woven cloth part of the 昀椀gure, the head, has a circular magenta nose, of the Wari. In addition, a single motif or design could be black-and-white teeth, and a circular “split” eye—half white Fig. 11. Wari artist. Tunic. Peru, 7th–9th century. Camelid 昀椀ber, 42 11/16 × 42 15/16 in. (108.5 × 109 cm). The Metropolitan Museum of Art, New York, Gift of Claudia Quentin, in celebration of the Museum’s 150th Anniversary, 2020 (2020.79) 12