The pampa weaving factory from Azul: ponchos and girdles. Your decoration.

Pampa girdle Work of Enriqueta Mendiburu; It is the same garment that Doña Enriqueta weaves in the photographic image. Lauro Kagel Collection.




Detail of a pampas poncho ornamented with rhombuses of various colors. Ethnographic Museum and Enrique Squirru Historical Archive. Azul. Photography: Gabriel A. Eilers.




Detail of a stepped design in an old blue pampas poncho. Ethnographic Museum and Enrique Squirru Historical Archive. Azul. Photography: Gabriel A. Eilers.



Pampa sash woven by Pascuala Calderón. Photography, courtesy Gustavo Kagel.



Pampa belt of Ercilia Cestac. Azul. Circa 1990. Photography: Nicolás Vega.




Guillermo Palombo


Emeritus Member of the Argentine Institute of Military History, member of the Military History Working Group of the National Academy of History, Corresponding Academician of the Sanmartinian Academy and the Historical and Geographic Institute of Uruguay, former president of the Institute of Ibero-American Studies.


His printed production on various disciplines (books, brochures, chapters in collective works, articles in specialized magazines and newspapers) exceeds 300 titles.


By Guillermo Palombo *

(Second and last installment)


The decoration of the pampas ponchos from Azul.


The rhomboid model


D'Orbigny pointed out that the pampas wool ponchos were adorned "with very original drawings and dyed with colors that are not very bright, but very solid, and of better use than the richer and more expensive ones that are made elsewhere with cotton clothes" [ 43].


The ornamentation of the blue ponchos at the time of the greatest commercial traffic did not have any richness of colors or drawings. In most cases, the color that prevailed was the natural white of the wool over the background of the ensemble dyed black, and in a lesser number of times, two parallel longitudinal stripes or stripes were added to the black background and the white drawing. straight, or three, arranged in the center and on the edges.


The drawings are achieved through a dyeing technique known by specialists as ikat: it consists of dyeing the warp threads previously tied with threads or fabric strips that allows geometric and figurative decorations to be obtained. Dellepiane refers that to form the drawings that will decorate the poncho it was necessary to partially dye the warp. The natural white color of the wool was maintained by practicing strong ties with fabric strips in the warp. To prevent the ink from penetrating through them, they smeared the sectors to be tied with starch. The ligatures took a certain number of threads that had to be maintained so that the drawings presented an even width. And the same thing happened with the extension they covered. By immersing the warp in the dye, it took on color only in the unbound sectors. Dellepiane points out that the weavers of Villa Fidelidad carried out this very difficult and slow "tying" technique, without the presence of any previously executed drawing or scheme.


The most dominant drawing was that of a "rhomboid figure", repeated with perpendicular and horizontal lines, linked together and formed by small rectangles in vertical devices also linked together. The collection formed by Juan G. Maguire preserves a poncho that is attributed to have belonged to the cacique Cipriano Catriel, decorated with this geometric motif and also shows parallel and perpendicular lines, in red and blue, in three separate sections [44]. This design coincides with the story made by the Frenchman Armaignac of his visit to the ranch of the cacique Cipriano «Katriel», located in the ravines of the Arroyo de Nievas, on the side of the wide road from Azul to Olavarría, where he recalls that the cacique took a seat on his throne (a cow skull) covered with a “bleu foncé” poncho, that is, dark blue, strewn with white crosses [45]. It would be the same garment that can be seen in a photograph from 1909, when it still belonged to the neighbor from Azul, José Terrabassi [46].


The same characteristics can be seen in a poncho that is preserved in the Ethnographic Museum of Azul. It belonged to Evaristo Giménez, a former rancher in the area, and was made in Villa Fidelidad between 1875 and 1880. In addition to the geometric motif explained, this poncho also shows, near the edges, parallel and perpendicular colored stripes.


An “overo poncho”, with stepped cruciform motifs, which is attributed to have belonged to cacique Juan Manuel Cachul, was part of the collection that belonged to Enrique Amadeo Artayeta [47].


There is another poncho, attributed to one of the Catriel caciques [Juan José?], given to the foreman Domingo Calderón, murdered by the Indians in 1876, which joined the collection of Horacio Ramón Díaz and was inherited by his son Ramón Victoriano Diaz [48].


The same rhomboid model, but presenting an analogous formation in three separate sections and following two lines of figures, inscribed one in the other, offers us another poncho that can be seen in the same Azul Museum, but more recent than the previous one, since it dates from 1925, and with no other colors than the black of the background dyeing and the natural white of the wool that designs the drawing.


The cruciform motifs so repeated in Mapuche fabrics and silverware are extraordinary in the azuleño ponchos of the last century. It is true that the cross appears as barely hinted at in the central field of the rhomboid figure, but such hint does not respond to a deliberate purpose, but rather is the forced result of the arrangement of the rectangles that give rise to the arrangement of the figure. The Chilean Mapuche, on the contrary, when drawing the cross on their fabrics, either as an isolated and well-defined unit or in frets and combined lines, obeyed a constant and significant predilection, since the cross transcends the decorative element and has a defined symbolism.


A demonstrative example of Mapuche cruciform frets is a poncho made in Freyre, Department of Temuco, Province of Cautín, Chile, at the end of the 19th century, which can be seen in the Ethnographic Museum of Azul. The central opening of that poncho shows two white and isolated crosses, completely identical to those that hang from the trariloncos, tupos and silver pectorals of the same origin.


Ponchos with rings or porthole


Through the decorative technique called "plangi", the dyeing is carried out on ponchos of a single color and on the finished fabric, tying certain fractions of the fabric in a circle: certain places are pinched and twisted or folded, which are tied and stitched , which after dyeing, when untied, gives rise to an irregular ring, without dyeing, in the shape of a ring that in Azul is called "porthole". It is the decoration that can be seen in a poncho that belonged to Cipriano Catriel. According to a 1909 photograph, it was still owned by the resident from Azul, José Terrabassi, and later it was part of the collection formed by Enrique Amadeo Artayeta, who later donated it to the Museum of Patagonia, in San Carlos de Bariloche, of which he was director: in the background blue, is decorated with large white rings or hoops and has two concentric white rings around the mouth [49].


Dr. Zeballos in Quethé Huitú. Illustration of the work Travelers in the shadow of Darwin, by Inés Yujnovsky. Art x Art. Buenos Aires. 2021.


 

The rhombus and the quadrilong are the dominant motifs in Pampa decoration.


The rhombus and the "square" are the dominant motifs in pampa decoration, but the latter, although it sometimes appears independent and isolated, in most cases only constitutes an element of the drawing for the formation of rhomboid groups.


Perhaps it could be affirmed that the rhombus and all the rhomboid-like ensembles are nothing more than a consequence of the cross, so frequent in the native decoration of America, since this parallelogram presents the four angles as straight as if it were a square placed on end, that is, the one that is formed by drawing four straight lines that join the four extremities of a cross with equal arms, such as the American cross. It seems easy to get from this square presented as the lozenges of the heraldic shields to the rhombus at different angles but always from the

two equal and in which a cross can also be inscribed, each of whose ends ends in each of the angles of the former.


The more or less perfect figure of the rhombus is also found in the Mapuche ponchos from the same period as the Azuleños, and particularly in those made in the vicinity of Temuco (Chile).


In the mapuche drawing the parallelogram is generally a square, but in the pampa it constitutes a quadrilong


The decorative composition born of staggered squares that give the whole a rhomboid appearance, following the figure of the cross, is the most typical characteristic of pampas decoration.


While in Mapuche drawing the parallelogram is generally a square, in the pampa it constitutes a quadrilong, not so much by the intentional choice of the weaver but as a result of the repetition of the first without a break in continuity. Take a good look at the drawings of some pampas ponchos and you will see that there are two, three or more squares joined one after the other and of a uniform color that give rise to the formation of that parallelogram sometimes with its greatest extension vertically and the more of them on the opposite.


Remote background.


The decorative composition born of staggered squares that give the whole a defined rhomboid appearance, following at the same time the figure of the cross, is the most typical characteristic of Pampas decoration and the one that shows us a pictograph of its most remote culture. We refer to the one found in the vicinity of "Puerto Huemul" (Lake Nahuel Huapí), in which staggered square lines with great resemblance to those of Azuleño and Mapuche fabrics of the last century and the beginning of the present, give rise to figures in the that the rhombus is the central idea of ​​the entire composition [50]. However, that composition is not exclusive to American art. It is enough to go through the pages of any album of Asian or European ornamentation to verify the existence of other compositions of approximate similarity or coincident equality. Thus, for example, Pijoan reproduces, taking it from another author, the drawing of a pillow from the Maramures region, in Romania, whose motif is so clearly similar to pampas textiles that one would say that one has been taken from another. The same author, perhaps aware of this resemblance and attentive to the frequency of the "staircase" motif among the indigenous peoples of our continent, tells us that such a drawing and another similar one that he also reproduces would be symbols of lakes and mountains for the American Indians [ 51].


Disregarding the universality of the composition and circumscribing it to our America, it can be attributed both to a Pampa culture prior to the Mapuche and to a remote Peruvian origin, taking into account that its geometric expression is that of the ladder and this is the representation of the mountain with the profile of the agricultural «andenería» [52]. The simplicity of the sign had the same external stimulus for its conception and plastic representation throughout the Andean massif.


The first hypothesis – origin in a Pampa culture prior to the Araucanian culture – finds a certain point of support in the pictography of «Puerto Huemul». The second - remote Peruvian origin - which is the most generally accepted, has adequate verification in fabrics from Ica and other points, such as one reproduced by Nadal Mora, in which enclosed within a rhombus formed by thick dark purple lines and on the background of another color and the same parallelogram appear inscribed, one on the other, two square figures [53]. Oyarzún, referring to a Mapuche macuñ, recalls that the set of small squares arranged in a staircase is as seen on the ancient walls of the Chan-Chan palace in Trujillo and affirms that it is very common in oriental fabrics [54]. The device of squares in stairs up and down, which is also found in Nazca textiles, reproduced by Raoul d'Harcourt [55] and in the ornamentation of diaguita ceramics from La Ciénaga published by Debenedetti in one of the plates of his posthumous work [56], always assumes the appearance of the rhomboid figure of the Pampas and Mapuche expressions and we also find it in cultures far removed from the Peruvian and those subject to its influence, such as in Colorado, in North America [57] , and the inscribed cross within the rhombus on an 1841 Salish weave (Southern British Columbia) [58].


Do the cruciform motifs in the central field of the rhomboid figure have a symbolic meaning?


The cross is one of the predominant motifs in pampa decoration. The cruciform motifs are extraordinary in the azuleño ponchos of the last third of the 19th century, so repeated in Araucanian fabrics and silverware. During his stays in Azul in 1957 and 1960, Dellepiane observed that the weavers he visited kept old ponchos in their homes, in which he was able to observe a great variety of ornamental elements currently forgotten, in which cruciform motifs were attached, staggered or they lined up accentuated by boxes, establishing a conventional decorative composition.


It was certainly not an indigenous creation, it had its immediate origin in the Araucanian silversmiths, but these were not its creators either. What was its symbolic significance? Is it perhaps the Christian cross as many authors maintain, among them Fr. Meinrado Hux? [59].


Although no one has been able or perhaps can fully explain or interpret this symbol like other symbols without hesitation, some deny it, among them Félix San Martín, for whom it is not the Christian cross but rather the cross with equal arms, the «cross of America” as Adán Quiroga called it, a symbol of the cult of water, whose four arms indicate the four directions of the quadrant [60]. It would be the same cross of the Aztecs, Mayas and Quichuas who, according to Crane Brinton, represented with it the four winds that generate rain.


People of maximum ease, deeply rooted carnivores, specifically hippophagous, the beneficial rain was not an essential element of life for the pampas, since the plain densely populated with cattle and other animal species provided them with an abundance of food without the need to submit to harsh agricultural fatigue. Therefore, despite the importance they gave to rain in their ceremonies [61], the Pampas silversmiths, when reproducing the types of jewelry of their trans-Andean colleagues and giving preponderance to the cross with equal arms, did not give much importance to the symbolic representation of rain. the same and it is admissible that the cross lost its mythical value as a cult of water to be reduced to the simple expression of a traditional decorative element, saying this with many reservations.


Female trousseau pampas; from left to right: a sequil and two trapelacuchas. Donation M. T. Ayerza de González Garaño. Juan B. Ambrosetti Ethnographic Museum. Buenos Aires' University. Photography Gustavo Sosa Pinilla. Courtesy: Ministry of Foreign Affairs, International Trade and Worship.



Although sometimes the cross appears as barely hinted at in the central field of the rhomboid figure, such an insinuation would not respond to a deliberate purpose, but would simply be the forced result of the arrangement of the rectangles that give rise to the composition of the figure. Héctor Greslebin, who studied the decorative forms of pampas ponchos, assures that the figure of the cross is "the mechanical result of alternating the weft with the warp" so that, since these geometric forms are due to an automatic process, they lack true symbolism. and they have no other meaning than the artistic” [62].


Conclusion on the elements and geometric combinations found in azuleño fabrics of undoubted Pampa origin.


The elements and geometric combinations expressed so far –crosses, rhombuses and ring designs– are the only ones that I have been able to verify in azuleño fabrics of undoubted Pampa origin; They are the same ones that Kermes mentions as seen by him in the Negro River valley and that have their best graphic example in a photograph taken of Estanislao Zeballos in La Pampa in 1879.


I clarify this, because Fausto Burgos and María Elena Catullo when referring to the pampa poncho, after saying that «the warp is visible throughout the poncho and forms the blue background and the white drawings» [63] present as a graphic demonstration one (identified as figure No. 19) in which the drawings are formed with combinations that I have never observed and bear no resemblance to the numerous and diverse ones contained in the aforementioned album of Araucanian textiles and pottery from Oyarzún and Latcham and the book by Brother Claude Joseph [64] , so rich in types of “macuñ”, “choapinos”, belts and fur coats. All the elements of the combinations of this example of poncho offered by Burgos and Catullo are separated from each other, free from any point of union and forming frets that have in some way the appearance of pampas clothing, with thick line strokes that affect rectangular shapes. .


Pampas girdles.


The need to fasten the chamal to the waist, whether it was dressed around it and falling along it like a skirt, or placed between the legs like the chiripá, imposed the use of the belt, both in clothing of the indigenous as in that of their women, and it still constitutes one of the most widespread pieces in the Mapuche weaving. Our countrymen also wore it to hold the panties, adopting a reduced size, but not in a very extensive way, since they always preferred the use of the leather belt studded with silver coins and completed with the classic and showy drag, also of coins and other ornaments of the same metal.


At the Paris Universal Exposition of 1867, Mrs. de Ballester presented «wool girdles or belts woven by the Indians of the Pampas» and «various woolen fabrics of Indian origin» [65], and at the first industrial exhibition of the Republic Argentina, held in Córdoba (1871), Juan Francisco Vivot exhibited «A girdle and a pair of pampas garters woven by the Indians of the Azul» [66] as a typical product of the province of Buenos Aires.


The sashes of the Azuleño looms differ greatly from those of the Mapuche, both in their format and in their decoration.


Pampas belts woven in Villa Fidelidad. Different weavers. Ethnographic Museum and Enrique Squirru Historical Archive. Azul. Photography: Gabriel A. Eilers.



In its format, because the belts used by the pampas were very long, sometimes three meters and relatively narrow, they were called trariwé (from trari = to tie). Those seen by Kermes in Río Negro were two to three meters long and three to six centimeters wide [67]. The most modern azuleñas, made of industrially manufactured silk or cotton, with a «tubular face», generally measure from two meters to two meters sixty centimeters in length and from seven to ten centimeters in width [68].


And in its decoration because smooth or carved (with works that have not transcended but were cruciform at the beginning of the 19th century) there were also lists or longitudinal canes with the typical colors (blue, yellow and red) and with cruciform motifs. Similar cruciform decorations can be seen in the Mapuche sashes woven in Temuco, Chile, but as a secondary motif, so that other geometric representations and various anthropomorphic and zoomorphic stylizations acquire greater prominence and occupy more space. Thus, I have observed a band in the Ethnographic Museum of Azul, which shows us between two small wine-colored crosses and below a checkered piece and a very common fretwork, the appearance of a human figure in a rigid attitude, very open the legs, horizontal, the arms extremely short, the forearms raised and the hands outstretched as in an oratorical gesture. This figure, both because of the position of its limbs, as well as because of its entire drawing or appearance, is similar to those that adorn as complementary hangings and replacing the small crosses of some of the Mapuche jewelry mentioned above, it is plausible to admit that such anthropomorphic stylization represented Pillán, the supreme divinity, feared lord of thunder and lightning. In the same band, in another fragment, we find identical crosses below the stylization of a bovine animal and between frets equal to those of the previously analyzed piece, several times repeated, as well as the stylizations and checkerboard throughout the length of the piece. I have never observed this type of ornamentation, as far as human and zoomorphic figures are concerned, in the sashes woven in Azul or in Villa Fidelidad in distant or not so recent times, but on the other hand it began to appear in recent times when the stronger requirements of taste of buyers are shown.


It should be said that the original characteristics of pampa decoration have been lost in those that are woven today, due to the incorporation of elements that are absolutely foreign to primitive weaving. Most of them are pieces that respond to requests from those who have them made, without any knowledge of indigenous decoration and responding to their personal preferences. In some cases, the weaver is forced to reproduce modern designs or additions. In other cases, the initials or the name and surname of the owner are mixed with the drawing more or less faithfully. Thus, it is a hybrid ensemble without any authenticity, a simple distortion of an original whose beauty resided in its own characteristics and in its unmistakable expression of spontaneity. Of course, some exceptions can be pointed out, which indicate a purpose of reaction in the sense of returning to the purity of the decorative themes.


SUSPENDERS


We have just expressed it, in the first industrial exhibition of the Argentine Republic, held in Córdoba (1871), Juan Francisco Vivot exhibited «A girdle and a pair of pampas garters woven by the Indians of the Azul» [69] as a typical product of the province of Buenos Aires and the Museum of Luján preserves those donated in 1939 by the resident from Azul Juan López Ferrer [70].


The garters, used to tie the "pont boots", were made of very fine spun wool, and some luxury ones with silk threads. They were a little over a meter long and two to two and a half centimeters wide, with fringes or small tassels at both ends” [71].


The Loom for sashes.


Lithograph by Charles Pellegrini. It is part of his album “Recuerdos del Río de la Plata”, Buenos Aires, Lithography of the Arts, 1841.



To make short-width, long-length pieces –sashes or belts– the loom was slightly different from the one used to weave ponchos, since it consisted of the four essential sticks, but the vertical ones, without any inclination, were nailed to the ground, not very different from the one in an 1841 illustration by Carlos Enrique Pellegrini, taken from the Pampas tribes settled in the Sierra de la Ventana around 1829. which shows us the loom with the four essential sticks nailed to the ground, where the indigenous weaver can be seen weaving a multicolored sash [72].


The pampas belt loom, which in its original form consists of two vertical stakes between which the warp is laid crosswise, has a single heddle, a set of spacer sticks for the warp threads to maintain the crossings, and a stick that holds the threads. chosen for the decorations.


Epilogue


The decorative theme of the pampas, both in its silverware and in its fabrics, was very simple, made up of a few geometric elements. Their insistent repetition and the few combinations to which they were susceptible, or to which the weavers were limited, gave rise to their own and unmistakable style, perhaps somewhat monotonous, but with a characteristic and therefore authentic expressiveness. In this lies the most nurtured of its value, where the folkloric consideration must be sought and seen, in the case of indigenous manifestations, the faithful enunciation of the feelings and quiet thoughts of those who produced them. Because it was not by simple creative whim or by mere chance that the pampas weaver traced the drawing of a cross with equal arms or a succession of squares or quadrilongs in succession of stairs, or other well-known models of ornamentation, but to give external form, language of lines and figures to his intimate world, perhaps subconsciously, perhaps with a lot of unnoticed automatisms, but always responding to circumstances of racial transmission or personal elaboration that were in his spirit.


And behold, how the indigenous women, while the white man dominated their lands and concentrated on exploiting the rural tasks, were the only ones, at the beginning of our great material progress, who began and maintained in the middle of the pampas and without no protective law or subsidies, an activity in which the economic motive has much less importance than its artistic aspect.


Notes:

43. D'Orbigny and Éyriés, Picturesque Journey…, vol. 1 p. 267.

44. Guillermo Palombo: «The ponchos of the cacique Cipriano Catriel», in El Tradicional no. 42, [February] 2001, ps. 8-9.

45. Armaignac, Voyages…, p. 274.

46. ​​«The relics of a mitrist cacique», in Caras y Caretas, year XII, no. 547, Buenos Aires, March 27, 1909.

47. «The collection of pampas objects by Enrique Amadeo Artayeta», in La Prensa, no. 22,234, Buenos Aires, January 8, 1931, 2nd section [p. 2].

48. Guillermo Palombo, «The poncho that Catriel gave to Mayoral Domingo Calderón», in El Tradicional, no. 44, April 2002, p. 10 and 11 col. 1. With a facsimile of a document consulted in the Historical Archive of the Army and a photographic view of the poncho, preserved in a private collection.

49. «The relics of a Mitrist cacique» and «The pampas objects collection of Enrique Amadeo Artayeta», cit., [p. 2]. Kermes also mentions the presence of the hoop design as typically pampa ("Pampa fabrics", p. 186, figure 2).

50. Milcíades Alejo Vignati, «The indigenous cultures of the Pampa», in Ricardo Levene (Dir. Grl.), History of the Argentine Nation (from the origins to the definitive organization in 1862), 3rd. edition, vol. I, p. 325, figure 12 (Buenos Aires, “El Ateneo”, [1961]).

51. Jose Pijoan, Summa Artis. General History of Art, Vol. 1 ("Art of the aboriginal peoples") (Madrid, Espasa-Calpe, 1931).

52. Ricardo Rojas, Syllabary of American decoration, p. 111 (Buenos Aires, “El Ateneo”, 1930).

53. Vicente Nadal Mora, Manual of autochthonous American ornamental art, plate 29, motif A (Buenos Aires, Argentine Printing Company, 1935).

54. Aureliano Oyarzún-Ricardo E. Latcham, Album of fabrics and Araucanian pottery (Santiago, Imprenta “Universo”, 1929).

55. Raoul and M. D'Harcourt, Documents d´art ornementel. Les tissus indiens du Vieux Pérou, plate 5 (Paris, 1924).

56. Salvador Debenedetti, L´ancienne civilisation des Barreales du nord-ouest argentin. La Ciénaga et la Aguade, d´apres les collections privees et les documents de Benjamin Muniz Barreto, plate IV, figure «a» (Paris, 1931).

57. G[ustaf]. Nordenskjöld, The Cliff Dwellers of the Mesa Verde. Southwestern Colorado. Their pottery and implements (Stockholm, P. A. Norstedt & Söner, [1893]).

58. Reproduced by Davis Penney in Native American Art, p. 228 (Köln, Könemann, 1994).

59. P. Meinrado Hux, «The concept of God among the Araucanians; the religiosity and beliefs of our aboriginal people, the Mapuches”, in New World Theological Magazine, IV, no. 2, ps. 227-250, Buenos Aires, 1974.

60. Felix San Martin, Neuquen, p. 112 (Buenos Aires, 1930).

61. Against Armaignac, Voyages…, ps. 269-270, refers that the object of the ceremony that he observed in the tribe of Catriel and describes in detail had the purpose, in times of drought, to ask the divinities for beneficial rain.

62. Héctor Greslebin, «Introduction to the study of autochthonous art in South America», in Revista de Educación, New Series, Supplement no. 1, La Plata, Ministry of Education of the Province of Buenos Aires, 1958.

63. Fausto Burgos and María Elena Catullo, Inca and Creole Textiles, p. 40 (Buenos Aires, Ministry of Justice and Public Instruction, 1927).

64. Claude Joseph, Araucanian tissues (Work published in the «Revista Universitaria», year XIIII, no. 10, p. 978, organ of the Universidad Católica de Chile, Santiago, 1928) (Padre Las Casas, Impr. “San Francisco”, [1931]).

65. The Argentine Republic at the Universal Exhibition of 1867 in Paris, p. 164 (Buenos Aires, Future Press, 1868). Another text with some variation: «Mrs. Ballester – Woolen sashes woven by the Indians of the Pampas – Different woolen fabrics of Indian origin» («Catalogue of objects that have appeared in the Universal Exhibition in Paris. Argentine Section», Group IV, Dresses, fabrics and other objects, class 31, in Anales de la Sociedad Rural Argentina, volume 1, page 433].

66. Supplement to the General Catalog of the National Exhibition in Córdoba, October 15, 1871. Official publication, p. 6 (Córdoba, Pedro Rivas Press, 1871).

67. Kermes, Pampas fabrics, p. 185

68 Chertudi-Nardi, Araucanian Textiles, p. 60. Kermes, Pampas fabrics, p. 185.

69. Supplement to the General Catalog of the National Exhibition in Córdoba, p. 6.

70. Enrique Udaondo, Director of the Museum of Luján, to Juan López Ferrer, Luján, 26-X-1939, in “Donation to the Museum of Luján” (El Tiempo, Year LXIII, no. 22,769, Azul, 19-V-1996 , p. 16).

71. Chertudi-Nardi, Araucanian Textiles, p. 163.

72. Monumenta iconographica: landscapes, cities, types, uses and customs of Argentina: 1536-1860, vol. 2, plate LXXXIII (Buenos Aires, Emecé, 1964).


* Exclusive text for Hilario. Arts Letters Crafts


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