Loincloth Collection (#12)

The Drunkenness of Noah (oil on canvas)
XIR409299 The Drunkenness of Noah (oil on canvas) by Traversi, Gaspare (1732-69); 76x101 cm; Musee des Beaux-Arts, Pau, France; (add.info.: L Ivresse de Noe; ); Italian, out of copyright

Christ bound to the column (oil on canvas)
XIR397967 Christ bound to the column (oil on canvas) by Cano, Alonso (1601-67); 162 x 101 cm; Musee des Beaux-Arts, Pau, France; (add.info.: Christ a la Colonne; ); Spanish, out of copyright

The Apostles, St. Paul and St. Barnabas at Lystra
BAL37584 The Apostles, St. Paul and St. Barnabas at Lystra by Jordaens, Jacob (1593-1678); State Hermitage Museum, St. Petersburg, Russia; Flemish, out of copyright

Ragged, Torn and True, or the Poor Mans Resolution, an illustration from A
XJF368424 Ragged, Torn and True, or the Poor Mans Resolution, an illustration from A Book of Roxburghe Ballads (woodcut) (b/w photo) by English School

St. Sebastian
XIR426267 St. Sebastian; by Ribera, Jusepe de (lo Spagnoletto) (c.1590-1652); Colegiata de Santa Maria Church, Osuna, Spain; (add.info.: Saint Sebastien; ); Italian, out of copyright

St. Sebastian (oil on canvas)
XIR426240 St. Sebastian (oil on canvas) by Ribera, Jusepe de (lo Spagnoletto) (c.1590-1652); 208x155 cm; Musee des Beaux-Arts Andre Malraux, Le Havre, France; (add.info.: Saint Sebastien; ); Italian

Christ Presented to the People, Johannes Wierix, 1581

Inhabitants of Virginia, from Admiranda Narratio... published by Theodore de Bry
XIR182147 Inhabitants of Virginia, from Admiranda Narratio... published by Theodore de Bry (coloured engraving) by Bry, Theodore de (1528-98), after White

A Bosjesman Family, frontispiece from The History of Mankind, Vol. 1, by Prof
BAL126161 A Bosjesman Family, frontispiece from The History of Mankind, Vol.1, by Prof. Friedrich Ratzel, 1896 (litho) by Mutzel (fl.1825-28); Private Collection; German, out of copyright

Studies of Christs Loincloth (recto), Studies of Bookbindings and of Christs Loincloth (verso); Master of the Coburg Roundels, German

NATIVE HUNTER, c1907. A huntsman with his aboriginal war weapon, Philippine Islands. Stereograph, c1907

MEXICO: AZTEC ENTERTAINERS. An Aztec foot juggler and musicians. Drawing from the Codex Florentino, compiled by Bernardo de Sahagun, c1540

MEXICO: AZTEC CEREMONY. Aztec ceremony with a priest as the god Xipe Totec, wearing human skin. Drawing from the Codex Florentino, compiled by Bernardo de Sahagun, c1540

MEXICO: SACRIFICE. Pre-Columbian Native Americans burning a figure over a fire. Illumination from the Codex Florentino, c1540, compiled by Bernardino de Sahagun

MEXICO: SPANISH CONQUEST. Treaty between a Mexican Indian chief and a Spanish conquistador. Watercolor, 18th century

AZTEC RELIGIOUS CEREMONY. Aztec religious ceremony on water. Drawing from the Codex Florentino, c1540, a treatise compiled by Bernardino de Sahagun (1499-1590)

ANCIENT BOATS. Reconstruction comparing Egyptian and Mesopotamian boats of about 3000 B.C

TUPINAMBA NATIVE INDIAN MAN of Brazil, with bow and arrows. Oil on wood, 1643, by Albert Eckhout

AZTEC CODEX MENDOZA, 1540. Aztec warriors armed with bows and arrows provoking war. Page from the Codex Mendoza, c1540

CRUCIFIXION. Painting by the Master of the Legend of Saint Barbara, late 15th century

DAY: SAINT SEBASTIAN, c1906. Saint Sebastian tied to a tree with arrows in his stomach and side. Photograph by Fred Holland Day, c1906

SALMON FISHING, 1888. Top: A Native American spearing salmon on the McCloud River in California. Center: A salmon hatchery on the McCloud River

FOOT RACE, c1861. Deerfoot, The Seneca Indian Runner in One of His Celebrated Matches. Lithograph, c1861

CHRISTOPHER COLUMBUS (1451-1506). Italian navigator. Columbus landing on the island of Hispaniola, 1492. Etching, Spanish, 1728

CRUCIFIXION, c1200. Tempera on panel, Umbrian School, c1200

EGYPTIAN POTTERS. Egyptian potters at work. After a tomb painting, c2000 B. C
EGYPTIAN POTTERS. Egyptian potters at work. After a tomb painting, c2000 B.C

AFRICA: IVORY TRADE. African villagers buying and selling elephant tusks. Engraving, late 19th century

HOPI MAN, 1897. A Hopi man wearing a breechcloth and body paint, standing on a ladder at the entrance to the antelope kiva in the village of Oraibi, Arizona. Photographed in 1897

CATLIN: OJIBWA WARRIORS. Two Ojibwa warriors and a woman. Oil on card mounted on paperboard, 1861-69, by George Catlin, after a sketch of 1834

IROQUOIS CHIEF AND WARRIOR. A chief in European dress, a child, and a warrior scalping an enemy. Aquatint, c1787, by Jacques Grasset de Saint-Sauveur

MOHAVE & MARICOPA MEN. Men of the Mohave (standing) and Maricopa tribes. Photographed in Pasadena, California, 1876, by Elias A. Bonine

UTE MAN, c1874. A Ute man in the summer in Utah. Photograph by John K. Hillers, c1874

APACHE SCOUTS, 19th CENTURY. Five Apache scouts with the 6th Cavalry of the U. S
APACHE SCOUTS, 19th CENTURY. Five Apache scouts with the 6th Cavalry of the U.S. Army. Photograph, 19th century

SIOUX DANCERS, 1890. Five grass dancers in ceremonial clothing, probably participants in a Miniconjou Sioux grass dance near the Cheyenne River in South Dakota. Photographed in 1890 by John C.H

PUEBLO NATIVE AMERICANS. Pueblo Native American cliff dwellers of the American Southwest. Lithograph, American, 1892

NEW AMSTERDAM, 1660. Peter Stuyvesant, Dutch governor of New Netherland, receiving a delegation of Hackensack Native Americans from New Jersey at New Amsterdam, 1660

BRAZIL: TUPINAMBA WOMAN. Tupinamba woman and child of Brazil. Painting, 1641, by Albert Eckhout

CHILE: MAPUCHE VILLAGE. Mapuche (Araucanian) village in present-day Chile, prior to the arrival of Europeans. Photogravure, 1892

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"The Loincloth: A Symbol of Cultural Identity and Resilience" Throughout history, the loincloth has been a garment that transcends time and continents, representing various cultures and their unique traditions. From ancient Aztec warriors to indigenous tribes in South America, from religious figures depicted in European art to native fishermen in Hawaii, the loincloth holds a significant place in humanity's diverse tapestry. In Barburdar or punkah wallah communities of India, where men served as fan bearers to keep their masters cool during colonial times, the loincloth was an essential part of their attire. It symbolized both humility and resilience as they endured harsh conditions while fulfilling their duties. Artistic masterpieces like Guercino's "Saint Sebastian" or Hendrick ter Brugghen's "The Crucifixion with the Virgin and Saint John" depict religious figures draped modestly in loincloths. These artworks not only showcase the artists' skill but also highlight how this simple garment can convey profound messages of sacrifice, devotion, and vulnerability. Traveling across continents brings us to Hawaii where native fishermen relied on spears and nets for sustenance. Clad only in loincloths, these brave individuals ventured into treacherous waters embodying strength and connection with nature. From South Africa's Khoisan people donning animal-skin loincloths to Yanomami tribe members navigating through dense jungles clad similarly; these garments represent cultural heritage passed down through generations, and are symbols of identity that connect individuals with their ancestors' wisdom and teachings. Even beyond tribal contexts, historical photographs capture moments such as Apache Medicine Men performing sacred rituals or Veddah men wielding bows and arrows on Ceylon Island (now Sri Lanka). In each instance, the loincloth serves as a reminder of tradition preserved amidst changing times. Java Island showcases yet another facet of this versatile garment.