Several variations of the elemental over-one-under-one plain weave are exemplified by the Chincha cloths. Included are the following: combinations of pairs of warps or wefts with single yarns of the opposite system, and pairs of warps and wefts as in the two-by-two basket weave. The one hundred and twelve specimens represented in the scatter diagram (fig. 5) fall into groups, according to the variations of the plain weave these are listed below in the order of their frequency:
Group 1. Paired warps crossed by paired wefts: 8
Group 2. Single warps crossed by paired wefts: 20
The thread counts of 18 in this group are approximately 58 warps by 40 wefts per inch.
Group 3. Single warps crossed by single wefts: 22
Thread counts in this group range from 13 warps by 18 wefts to 156 warps by 40 wefts per inch. Pl. 5,d shows a fabric with count of 108 warps by 42 wefts per inch.
Group 4. Paired warps crossed by single wefts: 62
Thread counts range from 16 warp pairs by 12 wefts to 44 warp pairs by 32 wefts per inch with one specimen having the high count of 80 warp pairs by 28 wefts per inch.
In terms of weaving units, whether single yarns or pairs of yarns, 56 of the 112 counts taken fall within a range of 26 to 44 warp units and 24 to 36 weft units. Figure 5 shows this concentration within the frame.
Weaving techniques, other than the basic structural types, are few in number. Drawing in colored warps for stripes is a preliminary to the actual interlacing of the elements. The results of this procedure can best be discussed under the heading "Pattern."
The join is a technical feature that indicates standards of craftsmanship. It is customary in weaving materials with end as well as side selvages to give more or less attention to the closing of the space between the weaving proper and the heading strip. When the warps in the form of a skein had been spread out evenly and bound in place to the end bars, the ancient weavers on two-bar looms first wove a shallow heading strip to secure the warps in their positions and to establish the ultimate width of the fabric, a practice followed by some modern weavers today. Then the weaver reversed the loom end for end to begin what became the weaving proper, and continued until the length was complete. Difficulties or indifference to appearance very often resulted in a general looseness of texture where standard-size tools had to be removed and the interlacing done more or less by the fingers. Plate 2,a, b shows heading strips of different depths, fairly wide join areas in which the wefts are more widely spaced, and above these, the compact texture of the weaving proper.