y ordenan los colores en la misma tela conforme al debuxo. Y así la texen, como primero la han pintado, diferenciando colores de hilos, como lo demanda la pintura.
\n6.a Usaban otras mantas que se llamaban papaloyo tilmatli tenixo. Tiene el campo leonado, y en él sembradas unas mariposas texidas de pluma blanca con un ojo de persona en el medio de cada una. Estaban ordenadas en rencle de esquina en esquina. Tiene esta manta una flocadura de ojos por todo al rededor, en campo negro, y después una franja colorada, almenada.
\n7.a Usaban también otras mantas de leonado, sembradas de unas flores que llaman ecacózcatl, puestas de tres en tres por todo el campo, y en medio de cada dos, dos trocitos de pluma blanca texidos. Tiene una franxa de pluma por todo el rededor, y después una flocadura de ojos por todo el rededor. Y esta manta se llamaba xahualcuauhyo tilmatli tenixyo.
\n8.a Usaban otras mantas que llamaban ocelotentlapalli ític ícac océlutl. Estaba en el medio pintado como cuero de tigre, y tenía por flocadura de una parte y de otra unas fajas coloradas con unos trozos de pluma blanca hacia la orilla.
\nTodas estas mantas arriba dichas son sospechosas; la manta que se llamaba ixnextlacuilolli, y otra manta que se llama olin, que tenía pintada la figura del Sol con diversos colores y labores.
\nUno de los aderezo y el primero que usaban los señores en los areitos se llamaba quetzallalpiloni, y eran dos borlas hechas de plumas ricas guarnecidas con oro, muy curiosas. Y traíanlas atadas a los cabellos de la coronilla de la cabeza, que colgaban hasta el pescuezo por la parte de las sienes. Y traían un plumaje rico a cuestas, que se llamaba tlauhquecholtzontli, muy curioso. Llevaban también en los brazos unas ajorcas de oro. Todavía las usan. Y unas orejeras
\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":"d8c513e2-148c-4cfd-8a25-2f3e46eb3ab7","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":"and they arrange the colors on the cloth itself according to the design. And this is how they weave it, first painting it, differentiating the colors by their threads, as the painting requires.\n\n6th. They would wear other capes called _papaloyoh tilmahtli tenixyoh_. It has a tawny field, and some butterflies are scattered on it, woven with white feathers and with a person’s eye in the middle of each one. These were ordered in a row from corner to corner. This cape has a fringe of eyes all around it, on a black field, and then a red crenellated border.\n\n7th. They would also wear other tawny capes scattered with some flowers that they call _ecacozcatl_, which are displayed all over the field in groups of three and having two small pieces of white feather woven between every two of these. It has a feathered border all around, and then a fringe of eyes all around it. And this cape was called _xahualcuauhyo tilmahtli tenixyoh_.[^21]\n\n8th. They would wear other capes called _ocelotentlapalli ihtic ihcac ocelotl_. Its middle part was painted like a tiger[^22] skin, and, as a fringe, it had on both sides some red sashes with some pieces of white feather toward the edge.\n\nAll of these capes mentioned above are suspicious, [as are also] the cape called _ixnextlahcuilolli_ and another cape called _ollin_,[^23] which had the figure of the sun painted on it with different colors and designs.\n\n#### Chapter 9: On the adornments that the lords use in their _areitos_\n\nOne of the adornments—the first that the lords used during the _areitos_—was called _quetzallapiloni_; and it consisted of two tassels made of valuable feathers set off with gold trim—very unusual. And they would wear them tied to the hair at the crown of the head, so that they would hang down over the temples to the back of the neck. And they would wear a rich plumage on their backs, called _tlauhquecholtzontli_—quite remarkable. They would also wear some gold bracelets on their arms—they still use them—and some gold ear ornaments, \n\n\n[^21]: _xahualcuauhyo tilmahtli tenixyoh_: cape of tree oil with eyes on the border. Molina’s vocabulary contains the following entry: “Xaualli: aseite tal” (Molina, _Arte_, s.v. _xaualli_; Xaualli: a kind of oil). This _xahualli_ oil was used as a pigment and as makeup.\n\n[^22]: “Tiger”: _tigre_. The Spaniards called _tigre_ the animal that today we call “jaguar.” This latter term derives from the Tupi word _yaguará_, a term that had not yet been incorporated into the Spanish language in the sixteenth century.\n\n[^23]: _Ollin_ (movement) is also the seventeenth calendar sign. The cape by the same name has the sun painted on it because Tonatiuh, the sun, was born on day 4 Ollin.","html":"and they arrange the colors on the cloth itself according to the design. And this is how they weave it, first painting it, differentiating the colors by their threads, as the painting requires.
\n6th. They would wear other capes called papaloyoh tilmahtli tenixyoh. It has a tawny field, and some butterflies are scattered on it, woven with white feathers and with a person’s eye in the middle of each one. These were ordered in a row from corner to corner. This cape has a fringe of eyes all around it, on a black field, and then a red crenellated border.
\n7th. They would also wear other tawny capes scattered with some flowers that they call ecacozcatl, which are displayed all over the field in groups of three and having two small pieces of white feather woven between every two of these. It has a feathered border all around, and then a fringe of eyes all around it. And this cape was called xahualcuauhyo tilmahtli tenixyoh.1
\n8th. They would wear other capes called ocelotentlapalli ihtic ihcac ocelotl. Its middle part was painted like a tiger2 skin, and, as a fringe, it had on both sides some red sashes with some pieces of white feather toward the edge.
\nAll of these capes mentioned above are suspicious, [as are also] the cape called ixnextlahcuilolli and another cape called ollin,3 which had the figure of the sun painted on it with different colors and designs.
\nOne of the adornments—the first that the lords used during the areitos—was called quetzallapiloni; and it consisted of two tassels made of valuable feathers set off with gold trim—very unusual. And they would wear them tied to the hair at the crown of the head, so that they would hang down over the temples to the back of the neck. And they would wear a rich plumage on their backs, called tlauhquecholtzontli—quite remarkable. They would also wear some gold bracelets on their arms—they still use them—and some gold ear ornaments,
\nxahualcuauhyo tilmahtli tenixyoh: cape of tree oil with eyes on the border. Molina’s vocabulary contains the following entry: “Xaualli: aseite tal” (Molina, Arte, s.v. xaualli; Xaualli: a kind of oil). This xahualli oil was used as a pigment and as makeup.↩
“Tiger”: tigre. The Spaniards called tigre the animal that today we call “jaguar.” This latter term derives from the Tupi word yaguará, a term that had not yet been incorporated into the Spanish language in the sixteenth century.↩
Ollin (movement) is also the seventeenth calendar sign. The cape by the same name has the sun painted on it because Tonatiuh, the sun, was born on day 4 Ollin.↩
[max]tlatl,
\ncentzonmaxtlatl tlatlatlapalpoalli,\ncempoalçotl acahecacozcaio,
\nquappachmaxtlatl acan tlamachio,
\nnochpalmaxtlatl, ocelotzontecoio
\noceloxicalcoliuhquj maxtlatl,\nquauhtzontecoio,
\nacaiujtemalacaio maxtlatl,\nacatlamachmoiaoac maxtlatl.
\nQuetzallalpilonj, coztic teocujtlaio injc qujlpiaia, intzon
\nquetzalpatzactli, coztic teocujtlaio in qujmama
\ntlauhquetzoltzontlj tlaçotlanquj, quetzalli icuecuetlacacaio, iujcal ueuetl coztic teocujtlaio, in tlaujztli in qujmama mjtotia
\nteucujtlamatemecatl, coztic\nteocujtlanacochtli coztic in caquja
\nmatzopetztli in cuetlaxtli, vej chalchiujtl ololiuhquj, anoço vej teuxiujtl ipan ca in jmaquechtlan qujtlalia ujtziloxitica injc tlachiuhtli injc tlapetzolli
\nchalchiuhtentetl coztic teucujtlatica callo,
\n","citation_key":"citation_anderson_nahuatl_transcription","citation":{"en":["Nahuatl by Anderson & Dibble 1953–1982"],"es":["Náhuatl por Anderson & Dibble 1953–1982"]}},{"id":"936f280e-7734-4d5f-a31c-1446bef2e273","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":"with the butterfly design at the ends;[^21] \n\nThe breech clout striped in many colors;\n\nThe breech clout made of twenty pieces,[^22] with the wind jewel design at the ends;[^21] \n\nThe tawny colored breech clout with embroidered ends;\n\nThe carmine-colored breech clout with the ocelot head;\n\nThe ocelot breech clout with a step design;\n\nThe coyote fur [breech clout] with the eagle head;[^23] \n\nThe breech clout with feathered discs at the ends; \n\nThe breech clout with radiating embroidery at the ends. \n\n\n#### Ninth Chapter, in which is told that with which the rulers were arrayed when they danced.\n\nThe [head] band with [two] quetzal feather[^1] tassels set off with gold, with which they bound their hair;\n\nA quetzal feather crest device set off with gold, which he bore upon his back;\n\nA finely wrought headdress of red spoonbill[^2] feathers, with flaring quetzal feathers, and with it a drum [covered] with gold—a device which he bore upon his back as he danced; \n\nA golden arm band;[^3] \n\nGolden ear plugs, which he inserted [in the lobes of his ears]; \n\nA wrist band of cured leather, on which was a large, round, green stone or a fine turquoise which he placed on his wrist; [it was] treated with Peru balsam, so that it gleamed; \n\nA green stone lip plug set in gold;\n\n\n\n\n[^22]: Cf. Spanish text, fol. 16*v*.\n\n\n[^23]: The *Florentine Codex* omits *coyoichcamaxtlatl* before *quauhtzontecoio*, found in the *Real Academia de la Historia MS*. \n\n\n[^1]: Clark, *op. cit*., II, p. 112, identifies *quetzaltototl* as *Pharomachrus mocinno mocinno*. \n\n\n[^2]: *Platalea ajaja* L. (Seler, *op. cit*., p. 124). \n\n\n[^3]: One such is described more fully in Anderson and Dibble, *op. cit*., II, p. 67.","html":"with the butterfly design at the ends;21
\nThe breech clout striped in many colors;
\nThe breech clout made of twenty pieces,1 with the wind jewel design at the ends;21
\nThe tawny colored breech clout with embroidered ends;
\nThe carmine-colored breech clout with the ocelot head;
\nThe ocelot breech clout with a step design;
\nThe coyote fur [breech clout] with the eagle head;2
\nThe breech clout with feathered discs at the ends;
\nThe breech clout with radiating embroidery at the ends.
\nThe [head] band with [two] quetzal feather3 tassels set off with gold, with which they bound their hair;
\nA quetzal feather crest device set off with gold, which he bore upon his back;
\nA finely wrought headdress of red spoonbill4 feathers, with flaring quetzal feathers, and with it a drum [covered] with gold—a device which he bore upon his back as he danced;
\nA golden arm band;5
\nGolden ear plugs, which he inserted [in the lobes of his ears];
\nA wrist band of cured leather, on which was a large, round, green stone or a fine turquoise which he placed on his wrist; [it was] treated with Peru balsam, so that it gleamed;
\nA green stone lip plug set in gold;
\nCf. Spanish text, fol. 16v.↩
The Florentine Codex omits coyoichcamaxtlatl before quauhtzontecoio, found in the Real Academia de la Historia MS.↩
Clark, op. cit., II, p. 112, identifies quetzaltototl as Pharomachrus mocinno mocinno.↩
Platalea ajaja L. (Seler, op. cit., p. 124).↩
One such is described more fully in Anderson and Dibble, op. cit., II, p. 67.↩