[mo]neloa iztac copalli, ic uellaquaoa, çatepan moiectia motzetzeloa: inic uel uetzi in itlaiello, itlallo, in çoquixicocuitlatl. Auh in icoac omocencauh xicocuitlatl: çatepan itztapaltepan mocanahoa, momimiloa ica quanmaitl mimiltic: ie in uel xipetztic tetl, in texixipetztic, ipan mocanaoa momimiloa.
\nIn icoac uel omocacanauh: in ça iuhqui tocapeiotl, in aoccan chicotilaoac, niman itech motlalia in teculli, ic onmisquimiloa: auh amo çan iliuiz in itech motlalia, çan ihuian achitoton mocotontiuh, motectiuh: inic çan ipan oncacalaqui iueuetzian onmotlaça, icacalaquian, iaaquian: onmaquia: in oncan omocuicuic teculli, tepiton quauhtontli inic onmoçalotiuh.
\nAuh in icoac omocencauh, in ie nouiian itech omotlali in sicocuitlatl: çatepan teculatl isco moteca in sicocuitlatl, uel moteci mocuechtilia in teculatl: auh istilaoac in isco ommoteca xicocuitlatl.
\nAuh in ie iuhqui in omocencauh: oc ceppa itech motlalia tlapepecholoni, ic moquimiloa mocentlapachoa. In oiecauh tlachioalli: inic mocopinaz teucuitlatl, inin tlapepechaloni çan
\n","citation_key":"citation_anderson_nahuatl_transcription","citation":{"en":["Nahuatl by Anderson & Dibble 1953–1982"],"es":["Náhuatl por Anderson & Dibble 1953–1982"]}},{"id":"40a2db1d-058e-4536-85ed-e36abcbd8f35","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":"It was mixed with white *copal*, so that it would [become firm and] harden well. Then it was purified, it was strained, so that its foreign matter, its dirt, the impure beeswax, could fall.[^5] And when the beeswax had been prepared, it was then flattened, rolled out, upon a flat stone with a round piece of wood. It was a very smooth, flat stone on which [the wax] was flattened [and] rolled.\n\nWhen it was well flattened, just like a cobweb, nowhere of uneven thickness, then it was placed over the [carved] charcoal [and clay core]; the surface was covered with it. And carefully it was placed on [the core]; cautiously little pieces [of wax] were cut off or pared away. By this means a little [wax] entered hollows, covered eminences, filled depressions in places where the charcoal [and clay core] had been carved away. By means of a stick [or sliver of wood] they went making it adhere [to the core].[^6]\n\nAnd when it was prepared, when everywhere the beeswax was placed, then a paste of powdered charcoal[^7] was spread on the surface of the beeswax. Well was the charcoal ground, pulverized; and a rather thick[^8] coating [of paste] was spread[^9] on the surface of the beeswax.\n\nAnd when it was so prepared, again a covering was placed over it, to wrap, to envelop completely the [thus far] completed work, in order for the gold to be cast. This covering was \n\n\n\n\n[^5]: That is, be eliminated.\n\n\n[^6]: At this point, in the case of hollow castings it was frequently necessary to transfix the wax by pegs, perhaps of wood or thorn, to anchor the core in place within the mold when the wax was later melted out. This was an essential step where the core was not in direct contact with the outer shell of the mold. It may or may not be implied from the context.—*D. T. Easby*. Cf. Easby, “Sahagún Reviviscit,” p. 6, and “Sahagún y los orfebres,” pp. 90ff., 97, 116–117; see also Pl. 47.\n\n\n[^7]: Cf. “Sahagún Reviviscit,” p. 8. Seler, *op. cit*., p. 405, refers to *charbon pulvérisé, and, on pp. 415f., to *eau de charbon*.—The latter is technically correct and is accepted foundry practice today, except that an aqueous emulsion of graphite, instead of charcoal, is used.—*D. T. Easby*. Cf. also discussion in Easby, “Sahagún y los orfebres,” p. 94.\n\n\n[^8]: *Achi yxtilauac* in the *Acad. Hist. MS*; this is in keeping with what would be required.\n\n\n[^9]: Probably with a brush, in order to work the paste into all the minute interstices in the wax.—*D. T. Easby*.","html":"It was mixed with white copal, so that it would [become firm and] harden well. Then it was purified, it was strained, so that its foreign matter, its dirt, the impure beeswax, could fall.1 And when the beeswax had been prepared, it was then flattened, rolled out, upon a flat stone with a round piece of wood. It was a very smooth, flat stone on which [the wax] was flattened [and] rolled.
\nWhen it was well flattened, just like a cobweb, nowhere of uneven thickness, then it was placed over the [carved] charcoal [and clay core]; the surface was covered with it. And carefully it was placed on [the core]; cautiously little pieces [of wax] were cut off or pared away. By this means a little [wax] entered hollows, covered eminences, filled depressions in places where the charcoal [and clay core] had been carved away. By means of a stick [or sliver of wood] they went making it adhere [to the core].2
\nAnd when it was prepared, when everywhere the beeswax was placed, then a paste of powdered charcoal3 was spread on the surface of the beeswax. Well was the charcoal ground, pulverized; and a rather thick4 coating [of paste] was spread5 on the surface of the beeswax.
\nAnd when it was so prepared, again a covering was placed over it, to wrap, to envelop completely the [thus far] completed work, in order for the gold to be cast. This covering was
\nThat is, be eliminated.↩
At this point, in the case of hollow castings it was frequently necessary to transfix the wax by pegs, perhaps of wood or thorn, to anchor the core in place within the mold when the wax was later melted out. This was an essential step where the core was not in direct contact with the outer shell of the mold. It may or may not be implied from the context.—D. T. Easby. Cf. Easby, “Sahagún Reviviscit,” p. 6, and “Sahagún y los orfebres,” pp. 90ff., 97, 116–117; see also Pl. 47.↩
Cf. “Sahagún Reviviscit,” p. 8. Seler, op. cit., p. 405, refers to charbon pulvérisé, and, on pp. 415f., to *eau de charbon.—The latter is technically correct and is accepted foundry practice today, except that an aqueous emulsion of graphite, instead of charcoal, is used.—D. T. Easby. Cf. also discussion in Easby, “Sahagún y los orfebres,” p. 94.↩
Achi yxtilauac in the Acad. Hist. MS; this is in keeping with what would be required.↩
Probably with a brush, in order to work the paste into all the minute interstices in the wax.—D. T. Easby.↩