Fig. 17. Chimú artist. Loincloth. North Coast, Peru, 12th–15th century. Cotton, camelid 昀椀ber, 146 ⼀椀 × 44 ⼀最 in. (370.8 × 113.7 cm). The Metropolitan Museum of Art, New York, The Michael C. Rockefeller Memorial Collection, Bequest of Nelson A. Rockefeller, 1979 (1979.206.597) compositions with dynamic three-dimensional elements. hues, the ensemble would have made a striking impression For example, an overscale man’s loincloth, perhaps never against the muted colors of the desert coast. intended to be worn in life, features a front panel woven from Textiles made solely of cotton tend to have a paler cotton and camelid 昀椀bers (昀椀g. 17). Likely made between the color palette, as seen in a wall hanging with a stylized twelfth and 昀椀fteenth centuries in a workshop of the Chimú monkey motif and a zigzag organized into alternating kingdom (ca. 1000–ca. 1470), the panel (now missing its tie horizontal bands. In this design, the tail of each monkey band) has three rows of six squares, each composed of a fuses with the body of the next one in a pattern of in昀椀nite yellow fringe surrounding a large red tassel, in an openwork repetition (昀椀g. 18). This type of pattern is echoed on the grid pattern embellished with smaller red tassels. The loin- wall reliefs on buildings at Chan Chan, a massive adobe cloth was part of a garment set that included a matching city and the capital of the Chimú kingdom, situated on the shirt and headdress. With its impressive scale and vibrant coast near the modern city of Trujillo in the Moche Valley. 17