La sentencia deste capítulo no importa mucho, ni para la fe ni para las virtudes porque es prática meramente geométrica. Si alguno, para saber vocablos, maneras de decir exquisitas, podrá preguntar a los oficiales que tratan este oficio, que en toda parte los hay.
\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":"28aa6901-3487-4f94-95d8-b17409750b4a","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":"#### Chapter 16: On the way that the silversmiths practiced their craft\n\nThe meaning of this chapter[^102] is not very important, neither for the faith nor for the virtues, because it merely deals with matters of practical geometry. If anyone [wishes] to learn words, exquisite ways of speaking, [this person] can ask the artisans who practice this craft, for they can be found everywhere.\n\n\n[^102]: “The meaning of this chapter”: _La sentencia deste capítulo_; that is, translating the corresponding Nahuatl text.","html":"The meaning of this chapter1 is not very important, neither for the faith nor for the virtues, because it merely deals with matters of practical geometry. If anyone [wishes] to learn words, exquisite ways of speaking, [this person] can ask the artisans who practice this craft, for they can be found everywhere.
\n“The meaning of this chapter”: La sentencia deste capítulo; that is, translating the corresponding Nahuatl text.↩
in aquin iscocoiaia, ompa iuic monetoltiaia inic quipatiz, anoço quitotiz in ichan tecoanotzaz, tetlaqualtiz quichiuiltiaia itilma, itoca tentlapalli.
\nIn iehoantin teucuitlapitzque: in tecultica, ioan xicocuitlatica tlatlalia, tlacuiloa: inic quipitza teucuitlatl, in coztic, ioan iztac: inic ompeuhtica intultecaio, achto iehoatl tlaiacana, quinpalehuia in teculli, achto uel quiteci, quicuechoa, quicuechtilia. Auh in oquitezque: niman connamictia quineloa achiton çozçoquitl, iehoatl in tlaltzacutli in comitl mochioa, ic quipoloa, ic quixaqualoa ic quimatzacutilia in teculli, ic tlaquaoa, in tepitzaui.
\nAuh no quicencauhque, çan oc iuhqui in quitlatlascaloa: tonaian quimamana, ioan cequi çan oqu iuhqui tlaçoquitlalilli, tonaian quitlatlaliaia: omihuitl in oaqui, tepioaqui, tepitzoaqui, tepitzaui. In icoac ouel hoac, in otlaquaoac: çatcpan moxixima, mocuicui in teculli, ica tepozhuictontli:
\nçan misnenpehoaltia, moiolcapeoaltia in mocuicui, ça mishuia, moiolhuia, inic ipan quiçaz, in çaço tlein
\n","citation_key":"citation_anderson_nahuatl_transcription","citation":{"en":["Nahuatl by Anderson & Dibble 1953–1982"],"es":["Náhuatl por Anderson & Dibble 1953–1982"]}},{"id":"ab171675-7df9-40b3-a402-a2366a710bbb","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":"any who suffered eye ailments. There they made vows to him so that he might cure them. Perhaps one would have dancers dance, provide a banquet in his home to feed the people, [or] have a cape made for him, called the cape with the colored fringe.\n\n\n#### Sixteenth Chapter. Here is told how the craftsmen who cast precious metals fashioned their wares.[^1]\n\nThe craftsmen fashioned [and] designed objects by the use of charcoal [and clay molds] and beeswax [models] to cast gold and silver. With this [step] they made a beginning in their craft. To start with, he who presided distributed charcoal among them. First they ground it, they pulverized it, they powdered it. And when they had ground it, then they added it to, they mixed it with, a little potter’s[^2] clay; this was the clay which served for *ollas*. Thus they made the charcoal [and clay mixture] into a paste, kneaded it, worked it with the hands into a cohesive mass, so that it would dry and harden.\n\nAnd also they prepared it: in just the same manner [as tortillas] they made it into flat cakes, which they arranged in the sun; and others were likewise formed of clay which they set in the sun. In two days [these cakes] dried; they became firm, they hardened. When they had dried well, when they had hardened, then the charcoal [and clay core][^3] was carved, sculptured, with a small metal blade.\n\n[If] a good likeness, an animal, was started, [the core] was carved to correspond to the likeness, the form in nature [that] it imitated, so that from it would issue [in metal] whatsoever it was desired \n\n\n\n\n[^1]: An earlier tentative version of our translation of this chapter was analyzed by Herbert Maryon, O. B. E., the British Museum’s expert on ancient metalwork, with whom Anderson consulted in 1955 during research in Europe made possible by a Fellowship of the John Simon Guggenheim Memorial Foundation. Also we have enchanged ideas with Dudley T. Easby, Jr., who has written extensively on pre-Columbian goldwork and goldworkers, defending Sahagún as an accurate technical reporter. See “Sahagún Reviviscit in the Gold Collections of the University Museum,” *University Museum Bulletin*, Vol. 20, No. 3 (Philadelphia, 1956), pp. 3ff.; “Ancient American Goldsmiths,” *Natural History*, Vol. LXV, No. 8 (New York, 1956), pp. 401ff.; “Orfebrería y orfebres precolombinos,” *Anales del Instituto de Arte Americano*, Vol. 9 (Buenos Aires, 1956), pp. 21ff.; and “Sahagún y los orfebres precolombinos de México,” *Anales del I. N. A.H*., Vol. IX, 1955 (México, 1957), pp. 85ff. Cf. also Sahagún (Garibay ed.), Vol. III, pp. 67–72; Seler: “L’orfèvrerie des ancients mexicains,” pp. 402ff.; and M. H. Saville: “The Goldsmith’s Art in Ancient Mexico,” *Indian Notes and Monographs* (New York: Heye Foundation, 1920), pp. 125–142.\n\n\n[^2]: *Çozçoquitl*: *cozçoquitl* is intended. In the *Acad. Hist. MS* the term is *conçoquitl*, equivalent to *cozçoquitl;* cf. Ignacio de Paredes: *Compendio del arte de la lengua mexicana* (Mexico: Bibliotheca Mexicana, 1759), p. 2.\n\n\n[^3]: Easby has suggested that Sahagún uses the word “charcoal” frequently as a short-hand name for objects in the process which contain charcoal, and that its meaning must be determined from the context. In this part, Sahagún is obviously referring to the core of the mold, made of the mixture of charcoal and potter’s clay. See “Sahagún y los orfebres precolombinos de México,” p. 88.","html":"any who suffered eye ailments. There they made vows to him so that he might cure them. Perhaps one would have dancers dance, provide a banquet in his home to feed the people, [or] have a cape made for him, called the cape with the colored fringe.
\nThe craftsmen fashioned [and] designed objects by the use of charcoal [and clay molds] and beeswax [models] to cast gold and silver. With this [step] they made a beginning in their craft. To start with, he who presided distributed charcoal among them. First they ground it, they pulverized it, they powdered it. And when they had ground it, then they added it to, they mixed it with, a little potter’s2 clay; this was the clay which served for ollas. Thus they made the charcoal [and clay mixture] into a paste, kneaded it, worked it with the hands into a cohesive mass, so that it would dry and harden.
\nAnd also they prepared it: in just the same manner [as tortillas] they made it into flat cakes, which they arranged in the sun; and others were likewise formed of clay which they set in the sun. In two days [these cakes] dried; they became firm, they hardened. When they had dried well, when they had hardened, then the charcoal [and clay core]3 was carved, sculptured, with a small metal blade.
\n[If] a good likeness, an animal, was started, [the core] was carved to correspond to the likeness, the form in nature [that] it imitated, so that from it would issue [in metal] whatsoever it was desired
\nAn earlier tentative version of our translation of this chapter was analyzed by Herbert Maryon, O. B. E., the British Museum’s expert on ancient metalwork, with whom Anderson consulted in 1955 during research in Europe made possible by a Fellowship of the John Simon Guggenheim Memorial Foundation. Also we have enchanged ideas with Dudley T. Easby, Jr., who has written extensively on pre-Columbian goldwork and goldworkers, defending Sahagún as an accurate technical reporter. See “Sahagún Reviviscit in the Gold Collections of the University Museum,” University Museum Bulletin, Vol. 20, No. 3 (Philadelphia, 1956), pp. 3ff.; “Ancient American Goldsmiths,” Natural History, Vol. LXV, No. 8 (New York, 1956), pp. 401ff.; “Orfebrería y orfebres precolombinos,” Anales del Instituto de Arte Americano, Vol. 9 (Buenos Aires, 1956), pp. 21ff.; and “Sahagún y los orfebres precolombinos de México,” Anales del I. N. A.H., Vol. IX, 1955 (México, 1957), pp. 85ff. Cf. also Sahagún (Garibay ed.), Vol. III, pp. 67–72; Seler: “L’orfèvrerie des ancients mexicains,” pp. 402ff.; and M. H. Saville: “The Goldsmith’s Art in Ancient Mexico,” Indian Notes and Monographs (New York: Heye Foundation, 1920), pp. 125–142.↩
Çozçoquitl: cozçoquitl is intended. In the Acad. Hist. MS the term is conçoquitl, equivalent to cozçoquitl; cf. Ignacio de Paredes: Compendio del arte de la lengua mexicana (Mexico: Bibliotheca Mexicana, 1759), p. 2.↩
Easby has suggested that Sahagún uses the word “charcoal” frequently as a short-hand name for objects in the process which contain charcoal, and that its meaning must be determined from the context. In this part, Sahagún is obviously referring to the core of the mold, made of the mixture of charcoal and potter’s clay. See “Sahagún y los orfebres precolombinos de México,” p. 88.↩