[moiec]tllio.
\nIn icoac omocencauh: niman teculatl isco moteca, ioan tzacutli ic onisxipetziui: ic niman mopaoaci in xicotlatl, moneloa in iztac copalli, in iuhqui omoteneuh: in oceuh, in omoiecti, niman mocanaoa itztapaltepan, quanmatica momimiloa: ic niman itech motlalia, itech moçalohoa in tlatlalilli, çoquitl inic mocopinaz teucuitlatl: in çaço tlein mochioaz, in aço Jarro, anoço tlapopochhuiloni, in quitocaiotia perfomador, ic micuiloa, ic motlatlamachia in qualli tlacuilolli:
\noc cenca ie quimati in xicocuitlatl, oc cenca ie tlahuica inic tlacuilolo, inic tultecatioa: ca tel achto cecni mocopina in xicocuitlatl. In icoac ouel mocencauh: ipan onmopachoa in tlacopinaloni: ca oncân câ icopinaloca in isquich tlamachtli, in aço totoatlapalli, anoço suchitl, anoço quilatlapalli, in çaço tlein qualnezqui tlacuilolli
\nic onmopachotiuh ic onmoçalotiuh quauhtontli quitocaiotia quauhuitztli, aço omilhuitl in iectia in moiectlalia.
\nIn icoac omocencauh, in onouiiampa moçalo xicocuitlatl: niman ic isco moteca
\n","citation_key":"citation_anderson_nahuatl_transcription","citation":{"en":["Nahuatl by Anderson & Dibble 1953–1982"],"es":["Náhuatl por Anderson & Dibble 1953–1982"]}},{"id":"093309f0-f51d-4cc5-959b-9f09f4976ac6","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":"perfected.[^19]\n\nWhen [the core] is prepared, then powdered charcoal paste is spread on its surface, and the surface is made smooth with a clay paste. Then the beeswax[^20] is melted; it is mixed with white *copal*, as was mentioned. When cooled, when purified, then it is flattened, rolled out on a flat stone with a piece of wood. Forthwith it is placed upon—joined to—the clay object to form the shape of the gold, whatsoever is to be made, perhaps a jar or an incense burner, which they call *perfumador*. It is painted; it is designed with a beautiful design.\n\nThey especially esteem beeswax; they use it especially to form patterns, to produce works of art. But first, somewhere, a model of beeswax is made. When it has been well prepared, the mold is pressed upon it [to make the wax model].[^21] For there is a model [in wax] of all they make, whether birds’ wings,[^22] or flowers, or leaves of plants, or whatsoever beautiful design.\n\nBy means of a small wooden stick, called a thorn stick, [the wax] is pressed on; it is made to adhere [to the core of the mold].[^23] In perhaps two days it is perfected; it is made good.\n\nWhen it has been prepared, when in all places the [modeled] beeswax has been made to adhere [to the core], then on its surface is spread [a thin paste of powdered charcoal].[^24] \n\n\n\n\n[^19]: *Moiectlalia* is intended; cf. *ibid*.\n\n\n[^20]: *Xicocuitlatl* is intended; cf. *ibid*.\n\n\n[^21]: That is, parts of the wax model were pressed in molds and then applied to the core, instead of the wax being modeled free-hand on the core (as is generally done).—*D. T. Easby*.\n\n\n[^22]: *Totocuitlapilli* follows *totoatlapalli* in the *Acad. Hist. MS*.\n\n\n[^23]: Here possibly the wax was transfixed by pegs as noted *supra*, n. 6.\n\n\n[^24]: *Teculatl*, in the *Acad. Hist. MS*.","html":"perfected.1
\nWhen [the core] is prepared, then powdered charcoal paste is spread on its surface, and the surface is made smooth with a clay paste. Then the beeswax2 is melted; it is mixed with white copal, as was mentioned. When cooled, when purified, then it is flattened, rolled out on a flat stone with a piece of wood. Forthwith it is placed upon—joined to—the clay object to form the shape of the gold, whatsoever is to be made, perhaps a jar or an incense burner, which they call perfumador. It is painted; it is designed with a beautiful design.
\nThey especially esteem beeswax; they use it especially to form patterns, to produce works of art. But first, somewhere, a model of beeswax is made. When it has been well prepared, the mold is pressed upon it [to make the wax model].3 For there is a model [in wax] of all they make, whether birds’ wings,4 or flowers, or leaves of plants, or whatsoever beautiful design.
\nBy means of a small wooden stick, called a thorn stick, [the wax] is pressed on; it is made to adhere [to the core of the mold].5 In perhaps two days it is perfected; it is made good.
\nWhen it has been prepared, when in all places the [modeled] beeswax has been made to adhere [to the core], then on its surface is spread [a thin paste of powdered charcoal].6
\nMoiectlalia is intended; cf. ibid.↩
Xicocuitlatl is intended; cf. ibid.↩
That is, parts of the wax model were pressed in molds and then applied to the core, instead of the wax being modeled free-hand on the core (as is generally done).—D. T. Easby.↩
Totocuitlapilli follows totoatlapalli in the Acad. Hist. MS.↩
Here possibly the wax was transfixed by pegs as noted supra, n. 6.↩
Teculatl, in the Acad. Hist. MS.↩