in teucuitlatl: in ohoac, ie no cuele itech motlalia in tlapêpecholoni, in ça papaiastic teculli, inic mocenquimiloa in tlacopinaloni, aço omilhuitl in oaqui, niman ic itech onmotlalia in xicocuitlatl, in itoca anillotl mimiltic, achtopa momimiloa: iehoatl ipiazio mochioa in teucuitlatl, inic oncan calaqui.
\nAuh in omotlalli anillotl, ie no cuele ipan momamana in tlacasxotl in oncan atiiec teucuitlatl. In icoac ie iuhqui in omochi mocencauh: niman ic tleco motlalia mocentotonia: oncan quiça oncan tlatla in xicocuitlatl in tlâtic omotlalica. In icoac oquiz, in otlatlac xicocuitlatl, niman moceuia, ic ie no cuele pani onmoteca in xalli, çan papaiastic: icoac iequene mopitza, oncan oncalaqui in tlecomic, ipan onmotlalia in teculli: auh in teucuitlatl in oncan calaquiz, nonqua tlemaco matilia:
\noncan tlami, y, inic iecaui tlachioalli. Auh in otlacat, in omopitz, in oquiz tlachioalli: niman motlasxocohuiia tepuzcaxic, ipan moquaqualatza: auh intla cana otzâtzâia oihitlacauh tlachi[oalli,]
\n","citation_key":"citation_anderson_nahuatl_transcription","citation":{"en":["Nahuatl by Anderson & Dibble 1953–1982"],"es":["Náhuatl por Anderson & Dibble 1953–1982"]}},{"id":"4befe42e-f7ef-4432-8762-4d0b4ed71120","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":"When it is dried, then in addition a covering is placed upon it, of only coarse charcoal [and clay], in order to envelop the model [of wax with its coating of powdered charcoal paste]. In perhaps two days it dries. Then to it is placed the beeswax channel, called the round *anillotl*. First it is rounded. This becomes the channel for the gold, for it to enter there.\n\nAnd when the channel has been set in, once more [the mold] is arranged [in] something like a crucible[^25] where the gold is [to be] cast. When they are this far, when all is prepared, then [the mold] is placed on the fire; it is thoroughly heated. Then flows out burning the beeswax [model] which has been placed within it. When the beeswax has come forth, when it has burned, then [the mold] is cooled, for which purpose it is once more set out over sand, quite coarse sand. Then immediately the casting takes place; there [the mold] enters the “fire pot” [a charcoal brazier][^26] on a charcoal [fire]; and the gold, which is to enter there [into the mold], is melted separate!y in a ladle [and poured].\n\nHere this ends; thus the work is finished. And when the piece has been formed, when it has been cast, when it comes forth, then it is treated with alum; in a copper vessel it is boiled. And if somewhere the piece has cracked, has split, \n\n\n\n\n[^25]: The word appears to be corrected in the MS to read *tlacasxotl*, for which Molina gives “crucible for melting metal, or a similar object” (possibly a brazier). It may be an error in transcribing *tlecaxitl*, “a small brazier.” In any event, a brazier and not a crucible would have been used to pre-heat the mold. See Pl. 62, and n. 11, *supra*.\n\n\n[^26]: Sahagún uses the word *tlecomic*. Although Molina gives “crucible for melting gold” for *tlecomitl*, the word appears to be a compound of *tletl* (fire) and *comitl* (pot), or “a brazier.” See n. 11 and n. 25, *supra*. This implies that the mold was heated twice, once to burn out the wax and a second time to assure that the molten gold would fill the mold before freezing or solidifying.—*D. T. Easby*.","html":"When it is dried, then in addition a covering is placed upon it, of only coarse charcoal [and clay], in order to envelop the model [of wax with its coating of powdered charcoal paste]. In perhaps two days it dries. Then to it is placed the beeswax channel, called the round anillotl. First it is rounded. This becomes the channel for the gold, for it to enter there.
\nAnd when the channel has been set in, once more [the mold] is arranged [in] something like a crucible1 where the gold is [to be] cast. When they are this far, when all is prepared, then [the mold] is placed on the fire; it is thoroughly heated. Then flows out burning the beeswax [model] which has been placed within it. When the beeswax has come forth, when it has burned, then [the mold] is cooled, for which purpose it is once more set out over sand, quite coarse sand. Then immediately the casting takes place; there [the mold] enters the “fire pot” [a charcoal brazier]2 on a charcoal [fire]; and the gold, which is to enter there [into the mold], is melted separate!y in a ladle [and poured].
\nHere this ends; thus the work is finished. And when the piece has been formed, when it has been cast, when it comes forth, then it is treated with alum; in a copper vessel it is boiled. And if somewhere the piece has cracked, has split,
\nThe word appears to be corrected in the MS to read tlacasxotl, for which Molina gives “crucible for melting metal, or a similar object” (possibly a brazier). It may be an error in transcribing tlecaxitl, “a small brazier.” In any event, a brazier and not a crucible would have been used to pre-heat the mold. See Pl. 62, and n. 11, supra.↩
Sahagún uses the word tlecomic. Although Molina gives “crucible for melting gold” for tlecomitl, the word appears to be a compound of tletl (fire) and comitl (pot), or “a brazier.” See n. 11 and n. 25, supra. This implies that the mold was heated twice, once to burn out the wax and a second time to assure that the molten gold would fill the mold before freezing or solidifying.—D. T. Easby.↩