señores, que se llaman Temalacayo tilmatli tenixyo. Esta manera de mantas era leonado oscuro todo el campo, y en este campo estaban texidas unas figuras de rueda de molino. En la circunferencia tienen un círculo negro, y dentro déste círculo blanco, más ancho, y el centro era un círculo pequeño leonado, rodeado con un círculo negro. Estas figuras eran doce, de tres en tres, en cuadro. Tenía esta manta una franja por todo al rededor, llena de ojos, en campo negro, y eso se llama tenixyo, porque tiene ojos por toda la orilla.
\n4.a Usaban también otras mantas que se llamaban itzcoayo tilmatli, que tenían seis sierras como hierros de aserrar, dos en el un lado y otras dos en el otro, y otras dos en el medio, todas contrapuestas en un campo leonado. Entre cada dos estaban unas eses sembradas con unas oes entrepuestas. Tenían dos bandas del campo leonando más desocupadas que lo demás. Tenía una franja por todo el rededor, con unos lazos de pluma en unos campos negros.
\n5.a Usaban también otras mantas que se llamaban ume tochtecomayo tilmatli. Estaban sembrados de unas xícaras muy hermosas, que tenían tres pies y dos alas como de mariposa. El vaso era redondo, colorado y negro. Las alas verdes, bordadas de amarillo, con tres esférulas amarillas en cada una. El cuello desta xícara era hecha con una marquesota de camisa, con cuatro cañas que salían arriba, labradas de pluma azul y colorado. Estaban sembradas estas xícaras en un campo blanco. Tenían en las dos orillas delanteras dos bandas de colorado con unas bandas atravesadas de blanco, de dos en dos.
\nNo se explican más mantas que las dichas, porque comúnmente las demás las usan todos. Pero es de notar la habilidad de las mujeres que las texen, porque ellas pintan los labores en la tela cuando la van texiendo,
\n","citation_key":"citation_lopez_spanish_transcription","citation":{"en":["Spanish by López Austin & García Quintana 2000"],"es":["Español por López Austin & García Quintana 2000"]}},{"id":"11172539-4f48-42ff-9e04-4bd0a1022e31","choice":{"en":["Spanish-to-English by García Garagarza 2023"],"es":["Español-al-inglés por García Garagarza 2023"]},"type":"translation","type_label":{"en":["spanish translation"],"es":["traducción al español"]},"column":"spanish","language":{"en":["English"],"es":["Inglés"]},"language_code":"eng","subtitle":"(García Garagarza 2023)","markdown":"called _temalacayoh tilmahtli tenixyoh_. This type of cape had a field that was completely a dark tawny color, and some figures of a mill wheel were woven on this field. [These mill wheels] have a black circle around their edges and a white, broader circle inside of it. And their center was a small tawny circle surrounded by a black circle. There were twelve of these figures, [displayed] in groups of three, forming a square. This cape had a border all around it, filled with eyes, on a black field; and that is called _tenixyoh_, because it has eyes all along the edge.\n\n4th. They would also wear other capes called _itzcoayo tilmahtli_, which had six toothed saws, like metal saws: two on one side and another two on the other [side] and yet another two in the middle, all of them crisscrossed over a tawny field. Between every two of these [saws] were some scattered Ss interspersed with some Os. Two of the bands on the tawny field were emptier than the rest [of the design]. It had a border all around it, with some feather bows over some black fields.\n\n5th. They would also wear other capes called _ome tochtecomayoh tilmahtli_. These were decorated with some very beautiful _jícaras_[^20] scattered over them, which had three feet and two wings, like butterflies. The vessel was round, red and black. The wings were green and bordered in yellow, with three small yellow spheres on each. The neck of this _jícara_ was made with a shirt-like ruff, with four reeds protruding from the top, and embroidered with blue and red feathers. These _jícaras_ were scattered over a white field. [The capes] had two red bands crossed with some white bands on their two front edges, [displayed] in pairs.\n\nNo other capes apart from the ones already mentioned will be explained here, since the rest are commonly used by everyone. However, the skill of the women who weave them is to be noted, for they paint the designs on the cloth when they are going to weave it, \n\n\n[^20]: _jícaras_: plural Hispanicized form of the Nahuatl word _xicalli_ (gourd, drinking cup).","html":"called temalacayoh tilmahtli tenixyoh. This type of cape had a field that was completely a dark tawny color, and some figures of a mill wheel were woven on this field. [These mill wheels] have a black circle around their edges and a white, broader circle inside of it. And their center was a small tawny circle surrounded by a black circle. There were twelve of these figures, [displayed] in groups of three, forming a square. This cape had a border all around it, filled with eyes, on a black field; and that is called tenixyoh, because it has eyes all along the edge.
\n4th. They would also wear other capes called itzcoayo tilmahtli, which had six toothed saws, like metal saws: two on one side and another two on the other [side] and yet another two in the middle, all of them crisscrossed over a tawny field. Between every two of these [saws] were some scattered Ss interspersed with some Os. Two of the bands on the tawny field were emptier than the rest [of the design]. It had a border all around it, with some feather bows over some black fields.
\n5th. They would also wear other capes called ome tochtecomayoh tilmahtli. These were decorated with some very beautiful jícaras1 scattered over them, which had three feet and two wings, like butterflies. The vessel was round, red and black. The wings were green and bordered in yellow, with three small yellow spheres on each. The neck of this jícara was made with a shirt-like ruff, with four reeds protruding from the top, and embroidered with blue and red feathers. These jícaras were scattered over a white field. [The capes] had two red bands crossed with some white bands on their two front edges, [displayed] in pairs.
\nNo other capes apart from the ones already mentioned will be explained here, since the rest are commonly used by everyone. However, the skill of the women who weave them is to be noted, for they paint the designs on the cloth when they are going to weave it,
\njícaras: plural Hispanicized form of the Nahuatl word xicalli (gourd, drinking cup).↩
[oce]lotilmatli,\noçeloquauhtlatlapanquj tilmatli,\nquappachixcoliuhquj tilmatli,
\ntlallecaoazio, tilmatli,\ntlamachmoiaoac tilmatli,\nxomoiujtilmatli tentlapallo,\nxomoiujtilmatli quappatlacio,
\niztac xomoiujtilmatli tenjxio\nxomoiujtilmatli elotic
\ncujtlaichujtilmatli,\nxiuhtlalpilli tenjxio,\ntonatiuhio tilmatli tenjxio,\nquauhtzonteconio tilmatli mamanquj,\nteuatl tlachinoltilmatli,\noacalxuchio tilmatli,\neloxuchio tilmatli,\ntlapaltecuxuchio tilmatli,\nacucuxuchio tilmatli,\ncacaloxuchio tilmatli,\ncuetlaxxuchio tilmatli,\niztac xomoiujtilmatli nacazmjnquj,\niztac xomoiujtilmatli cujtlachixio,
\ntlapaliujtilmatli tlamachio,\ncujtlachixio tilmatli,\nquauhaaujtzoio tilmatli,\ntenjzqujxuchio tilmatli,\nquaxoxotilmatli,\nvevej tilmatli pepechtli,\nquachpepechtli,\nvevej tilmatli neoatzalonj,\nquaxoxoacatlamachio maxtlatl,
\ntianqujzio maxtlatl,\nquauhtetepoio maxtlatl,\nxiuhtezcaio maxtlatl,
\nacapapaloio max[tlatl,]
\n","citation_key":"citation_anderson_nahuatl_transcription","citation":{"en":["Nahuatl by Anderson & Dibble 1953–1982"],"es":["Náhuatl por Anderson & Dibble 1953–1982"]}},{"id":"a2956c55-4873-482d-b6c5-878477f5f4b5","choice":{"en":["Nahuatl-to-English by Anderson & Dibble 1953–1982"],"es":["Náhuatl-al-inglés por Anderson & Dibble 1953–1982"]},"type":"translation","type_label":{"en":["nahuatl translation"],"es":["traducción al náhuatl"]},"column":"nahuatl","language":{"en":["English"],"es":["Inglés"]},"language_code":"eng","subtitle":"(Anderson & Dibble 1953–1982)","markdown":"The ocelot cape;\n\nThe half-ocelot, half-eagle cape;\n\nThe tawny cape provided with the design of an eye upon a hooked element;[^12] \n\nThe cape with the design of a ladder on the earth; \n\nThe cape with an embroidered, radiating design; \n\nThe cape of duck feathers with a colored border; \n\nThe cape of duck feathers with [a design of] flattened heads;\n\nThe white duck feather cape, bordered with eyes; \n\nThe duck feather cape, with [a design of] young ears of maize;\n\nThe bear skin cape;\n\nThe blue knotted [cape], bordered with eyes; \n\nThe cape with a sun [design], bordered with eyes; \n\nThe old cape with the eagle head design;[^13] \n\nThe cape with the war symbol;\n\nThe cape with the basket flower design;[^14] \n\nThe cape with the magnolia flower design;[^15] \n\nThe cape with the colored Lord’s flower design; \n\nThe cape with the dahlia design;[^16] \n\nThe cape with the plumeria flower design;[^17] \n\nThe cape with the poinsettia design;[^18] \n\nThe white duck feather cape, diagonally divided; \n\nThe white duck feather cape, with the face of a bear; \n\nThe cape of colored feathers, with embroidery; \n\nThe cape with the face of a bear; \n\nThe cape with the tips of eagle wings; \n\nThe cape with a border of popcorn flowers; \n\nThe cape with the ivy design;[^19] \n\nThe bed covering cape;\n\nThe mattress;[^20] \n\nThe large cape used to keep oneself dry;\n\nThe breech clout with the ivy design embroidered at the ends;[^21] \n\nThe breech clout with the market place design; \n\nThe breech clout with the eagle’s leg design;\n\nThe breech clout with the turquoise mosaic mirror design; \n\nThe breech clout \n\n\n\n\n[^12]: Cf. representation in *Primeros memoriales*, Cap. IV.\n\n\nIn the *Real Academia de la Historia MS, yapalixcoliuhqui tilmatli* follows *quappachixcoliuhqui tilmatli*.\n\n[^13]: Cf. Sahagún, *op. cit*., I, p. 161 (*quauhtzontli*). \n\n\n[^14]: Pannier flower design, in Eduard Seler: *Collected Works* (J. Eric S. Thompson and Francis B. Thompson, eds.; Cambridge, Mass.: Carnegie Institution of Washington, 1939), Vol. II, Part 3, p. 95 (*Anthurium* sp.?). Emily Walcott Emmart, in *The Badianus Manuscript* (*Codex Barberini, Latin 241*) (Baltimore: The Johns Hopkins Press, 1940), p. 234, calling it a basket flower, says it is a species of *xanthosoma*. Francisco de Santamaría, in *Diccionario general de americanismos* (Méjico: Editorial Pedro Robredo, 1942), II, p. 102, identifies the *huacalsóchil (-súchil)* as *Phyllodendron affine,* Hemsl. \n\n\n[^15]: Seler, *op. cit*., p. 96 (*Magnolia* sp.?). Emmart, *op. cit*., p. 275, mentions another *eloxochitl* belonging to the *Compositae*.\n\n*Yolloxochiotilmatli*, here listed in the *Real Academia de la Historia MS*, is omitted in the *Florentine Codex*. \n\n[^16]: In Francisco Hernández: *Historia de las plantas de Nueva España* (México: Imprenta Universitaria, 1942), I, p. 24, this is *Dahlia coccinea* Cav.; in Seler, *loc. cit*., *D. variabilis;* in Emmart, *op. cit*., p. 305, *Dahlia* sp.\n\n\n[^17]: In Hernández, *op. cit*., III, p. 806, *Plumeria acutifolia* Poir; in Seler, *loc. cit., P. rubra*; in Emmart, *op. cit*., p. 308, *P. rubra* L. Santamaría, *op. cit*., I, p. 251, identifies the *cacalosúchil* as *P. rubra* L., *P. bicolor* R. & P., and *P. acutifolia* Poir. Cecile Hulse Matschat, in *Mexican Plants for American Gardens* (Boston and New York: Houghton Mifflin Company, 1935), pp. 23, 177, has *P. acuminata*, and refers to it as “frangipani” and “temple flower.”\n\n\n[^18]: In Hernández, *op. cit*., III, p. 958, *Euphorbia (Poinsettia) pulcherrima* Willd; in Seler, *loc. cit., *Poinsettia pulcherrima*. \n\n\n[^19]: Sahagún, *op. cit*., III, p. 257.\n\n\n[^20]: *Vevej tilmatli pepechtli; quachpepechtli:* cf. Alonso de Molina: *Vocabulario de la lengua mexicana* (Julio Platzmann, ed.; Leipzig: B. G. Teubner, 1880), Spanish-Nahuatl section—*alhombra, colchon*.\n\n\n[^21]: Seler, *op. cit*., p. 97, reads *yaca*- for *aca*-.","html":"The ocelot cape;
\nThe half-ocelot, half-eagle cape;
\nThe tawny cape provided with the design of an eye upon a hooked element;1
\nThe cape with the design of a ladder on the earth;
\nThe cape with an embroidered, radiating design;
\nThe cape of duck feathers with a colored border;
\nThe cape of duck feathers with [a design of] flattened heads;
\nThe white duck feather cape, bordered with eyes;
\nThe duck feather cape, with [a design of] young ears of maize;
\nThe bear skin cape;
\nThe blue knotted [cape], bordered with eyes;
\nThe cape with a sun [design], bordered with eyes;
\nThe old cape with the eagle head design;2
\nThe cape with the war symbol;
\nThe cape with the basket flower design;3
\nThe cape with the magnolia flower design;4
\nThe cape with the colored Lord’s flower design;
\nThe cape with the dahlia design;5
\nThe cape with the plumeria flower design;6
\nThe cape with the poinsettia design;7
\nThe white duck feather cape, diagonally divided;
\nThe white duck feather cape, with the face of a bear;
\nThe cape of colored feathers, with embroidery;
\nThe cape with the face of a bear;
\nThe cape with the tips of eagle wings;
\nThe cape with a border of popcorn flowers;
\nThe cape with the ivy design;8
\nThe bed covering cape;
\nThe mattress;9
\nThe large cape used to keep oneself dry;
\nThe breech clout with the ivy design embroidered at the ends;10
\nThe breech clout with the market place design;
\nThe breech clout with the eagle’s leg design;
\nThe breech clout with the turquoise mosaic mirror design;
\nThe breech clout
\nIn the Real Academia de la Historia MS, yapalixcoliuhqui tilmatli follows quappachixcoliuhqui tilmatli.
\nYolloxochiotilmatli, here listed in the Real Academia de la Historia MS, is omitted in the Florentine Codex.
\nCf. representation in Primeros memoriales, Cap. IV.↩
Cf. Sahagún, op. cit., I, p. 161 (quauhtzontli).↩
Pannier flower design, in Eduard Seler: Collected Works (J. Eric S. Thompson and Francis B. Thompson, eds.; Cambridge, Mass.: Carnegie Institution of Washington, 1939), Vol. II, Part 3, p. 95 (Anthurium sp.?). Emily Walcott Emmart, in The Badianus Manuscript (Codex Barberini, Latin 241) (Baltimore: The Johns Hopkins Press, 1940), p. 234, calling it a basket flower, says it is a species of xanthosoma. Francisco de Santamaría, in Diccionario general de americanismos (Méjico: Editorial Pedro Robredo, 1942), II, p. 102, identifies the huacalsóchil (-súchil) as Phyllodendron affine, Hemsl.↩
Seler, op. cit., p. 96 (Magnolia sp.?). Emmart, op. cit., p. 275, mentions another eloxochitl belonging to the Compositae.↩
In Francisco Hernández: Historia de las plantas de Nueva España (México: Imprenta Universitaria, 1942), I, p. 24, this is Dahlia coccinea Cav.; in Seler, loc. cit., D. variabilis; in Emmart, op. cit., p. 305, Dahlia sp.↩
In Hernández, op. cit., III, p. 806, Plumeria acutifolia Poir; in Seler, loc. cit., P. rubra; in Emmart, op. cit., p. 308, P. rubra L. Santamaría, op. cit., I, p. 251, identifies the cacalosúchil as P. rubra L., P. bicolor R. & P., and P. acutifolia Poir. Cecile Hulse Matschat, in Mexican Plants for American Gardens (Boston and New York: Houghton Mifflin Company, 1935), pp. 23, 177, has P. acuminata, and refers to it as “frangipani” and “temple flower.”↩
In Hernández, op. cit., III, p. 958, Euphorbia (Poinsettia) pulcherrima Willd; in Seler, loc. cit., *Poinsettia pulcherrima.↩
Sahagún, op. cit., III, p. 257.↩
Vevej tilmatli pepechtli; quachpepechtli: cf. Alonso de Molina: Vocabulario de la lengua mexicana (Julio Platzmann, ed.; Leipzig: B. G. Teubner, 1880), Spanish-Nahuatl section—alhombra, colchon.↩
Seler, op. cit., p. 97, reads yaca- for aca-.↩