no teculli, no tlanelolli tlaltzacutli, amo cuechtic, çan papaiastic. In icoac ic omopepecho, inic omocenquimilo tlacopinaloni: oc no omilhuitl in hoaqui: auh çatepan itech motlalia itoca amilotl, çan no sicocuitlatl: iehoatl in ipiazio mochioa in teucuitlatl, inic oncan calaqui, in icoac oatis: auh oc ceppa ipan momana, motlalia, itoca tlacasxotl, çan no teculli in tlachioalli, tlacomololli: niman iuh mati motlalia in teculli, oncan mocasxotia matilia in teucuitlatl, ic çatepan calaqui itech amilotl: inic oncan mopiaziotia, inic ontotoca tlaticpa onnoquihui.
\nAuh in icoac omopitz in çaço tlein cozcatl oiecauh: in izquitlamantli nican omoteneuh, niman ic mopetlaoa ica texalli. Auh in omopetlauh: ie no cuele motlalxocohuia moteci in tlalxocotl, ic maaltia ic momamatiloa in teucuitlatl in omopitz: oppa in tleco calaqui, ipan mototonia: Auh in ohoalquiz, oc ceppa ie no cuele ic maaltia, ic momamatiloa itoca teucuitlapatli: çan no iuhquin tlalcoztli moneloa achiton iztatl ic mocen[cahoa]
\n","citation_key":"citation_anderson_nahuatl_transcription","citation":{"en":["Nahuatl by Anderson & Dibble 1953–1982"],"es":["Náhuatl por Anderson & Dibble 1953–1982"]}},{"id":"d4deba22-82c6-4e09-882d-7d7873a390df","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":"also of charcoal, also mixed with clay—not pulverized but relatively coarse. When the mold was thus covered, thus completely enveloped, it dried for another two days, and then to it was affixed what was called the *anillotl*,[^10] likewise of beeswax. This would become the channel for the gold, for it to enter there [into the mold] when it was molten. And once more [the mold] was laid out; it was placed [in] what was called the crucible [a charcoal brazier],[^11] also made of charcoal [and clay] hollowed out. Then thus was the melting. The charcoal fire was laid. There the gold was placed in a crucible; it was melted, so that then it entered into the channel [in the mold], there to be led along, flow, spread out into the interior.\n\nAnd when it was cast, whatsoever kind of necklace it was which had been made—the various things here mentioned—then it was burnished with a pebble. And when it had been burnished, it was in addition treated with alum; the alum with which the gold was washed [and] rubbed was ground. A second time [the piece] entered the fire; it was heated over it. And when it came forth, once more, for the second time, it was at once washed, rubbed, with what was called “gold medicine.”[^12] It was just like yellow earth mixed with a little salt; with \n\n\n\n\n[^10]: In Sahagún, *op. cit*., p. 69, *anillotl* is translated as *tubo para el ero*; Seler, *op. cit*., p. 406, uses the term *échenal* (sand basin for fused metal). The term may be related to the Spanish *anillo* (ring), since the native artisans had, by the time the *Florentine Codex* was compiled, adopted some Spanish terms (cf. *esmeril, infra*). This must be the “pour” and entrance channels mentioned by Easby in “Sahagún Reviviscit,” p. 7. Some sort of venting to allow air and gases to escape was frequently necessary, and may be implied by the term *anillotl*, but is not specifically mentioned. Cf. also Easby, “Ancient American Goldsmiths,” p. 406, fig., and “Sahagún y los orfebres,” pp. 92f.\n\n\n[^11]: The mold was pre-heated in a brazier (a) to melt out the wax, (b) to dry the mold out thoroughly before pouring in the molten gold, and (c) to assure that the molten gold would flow more freely to all parts of the mold. *Tlacasxotl* seems to be an error in transcribing *tlecaxitl* (small brazier); or it may be used here with the secondary meaning given by Molina, “something like a crucible” (a brazier). “Crucible,” as we use the word today, makes little sense in this context.—*D. T. Easby*.\n\n\n[^12]: Cf. Easby, “Sahagún Reviviscit,” p. 9. The context of the MS might indicate that a mineral was used, unless the phrase *çan no iuhquin tlalcoztli* refers only to the color.","html":"also of charcoal, also mixed with clay—not pulverized but relatively coarse. When the mold was thus covered, thus completely enveloped, it dried for another two days, and then to it was affixed what was called the anillotl,1 likewise of beeswax. This would become the channel for the gold, for it to enter there [into the mold] when it was molten. And once more [the mold] was laid out; it was placed [in] what was called the crucible [a charcoal brazier],2 also made of charcoal [and clay] hollowed out. Then thus was the melting. The charcoal fire was laid. There the gold was placed in a crucible; it was melted, so that then it entered into the channel [in the mold], there to be led along, flow, spread out into the interior.
\nAnd when it was cast, whatsoever kind of necklace it was which had been made—the various things here mentioned—then it was burnished with a pebble. And when it had been burnished, it was in addition treated with alum; the alum with which the gold was washed [and] rubbed was ground. A second time [the piece] entered the fire; it was heated over it. And when it came forth, once more, for the second time, it was at once washed, rubbed, with what was called “gold medicine.”3 It was just like yellow earth mixed with a little salt; with
\nIn Sahagún, op. cit., p. 69, anillotl is translated as tubo para el ero; Seler, op. cit., p. 406, uses the term échenal (sand basin for fused metal). The term may be related to the Spanish anillo (ring), since the native artisans had, by the time the Florentine Codex was compiled, adopted some Spanish terms (cf. esmeril, infra). This must be the “pour” and entrance channels mentioned by Easby in “Sahagún Reviviscit,” p. 7. Some sort of venting to allow air and gases to escape was frequently necessary, and may be implied by the term anillotl, but is not specifically mentioned. Cf. also Easby, “Ancient American Goldsmiths,” p. 406, fig., and “Sahagún y los orfebres,” pp. 92f.↩
The mold was pre-heated in a brazier (a) to melt out the wax, (b) to dry the mold out thoroughly before pouring in the molten gold, and (c) to assure that the molten gold would flow more freely to all parts of the mold. Tlacasxotl seems to be an error in transcribing tlecaxitl (small brazier); or it may be used here with the secondary meaning given by Molina, “something like a crucible” (a brazier). “Crucible,” as we use the word today, makes little sense in this context.—D. T. Easby.↩
Cf. Easby, “Sahagún Reviviscit,” p. 9. The context of the MS might indicate that a mineral was used, unless the phrase çan no iuhquin tlalcoztli refers only to the color.↩