y ajorcas, y sartalejos que traen en las muñecas, y todo lo labor de piedras y chalchihuites. Y el agujerar y polir de todas las piedras decían que éstos lo habían inventado. Y por esto los honraban como dioses; y por esto les hacían fiesta los oficiales viejos deste oficio, y todos los demás lapidarios. Y de noche decían sus cantares y hacían velar por su honra a los captivos que habían de morir, y se holgaban en su fiesta. Esto se hacía en Xuchimilco, porque decían que los abuelos y antecesores de los lapidarios habían venido de aquel pueblo. Y dallí tienen origen todos estos oficiales.
\nSíguese la manera que tenían los lapidarios en labrar las piedras preciosas. En esta letra se pone la manera que tenían los lapidarios de labrar las piedras. No se pone en romance, porque como es cosa muy usada y siempre se usa en los pueblos principales desta Nueva España, quien quisiere entender los vocablos y esta manera de hablar podrálo tomar de los mesmos oficiales.
\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":"cad55805-8ee5-40ab-9cdf-ae2c4c8c1891","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":"bangles, and those bracelets with beads that they wear around their wrists, as well as every type of work done on stones and on _chalchihuites_. And they said that these ones had invented the piercing and the polishing of all the stones. And this is why they honored them as gods. And this is why the older artisans who practiced this craft, as well as all the other lapidaries, would celebrate festivals for them. And at night, they would sing their songs and make their captives who were to die keep vigil in their honor. And they would rejoice during their festival. This would take place in Xochimilco, because they said that the grandparents and ancestors of the lapidaries had come from that town. And all these artisans had their origin there.\n\nWhat follows is the way that the lapidaries carved the precious stones. The way that the lapidaries carved the stones is described in the [accompanying Nahuatl] text. It is not presented in Spanish because—since this is a very common craft that is commonly practiced in the main towns of this New Spain—whoever might wish to understand the words and manners of speech will be able to learn from the artisans themselves.","html":"bangles, and those bracelets with beads that they wear around their wrists, as well as every type of work done on stones and on chalchihuites. And they said that these ones had invented the piercing and the polishing of all the stones. And this is why they honored them as gods. And this is why the older artisans who practiced this craft, as well as all the other lapidaries, would celebrate festivals for them. And at night, they would sing their songs and make their captives who were to die keep vigil in their honor. And they would rejoice during their festival. This would take place in Xochimilco, because they said that the grandparents and ancestors of the lapidaries had come from that town. And all these artisans had their origin there.
\nWhat follows is the way that the lapidaries carved the precious stones. The way that the lapidaries carved the stones is described in the [accompanying Nahuatl] text. It is not presented in Spanish because—since this is a very common craft that is commonly practiced in the main towns of this New Spain—whoever might wish to understand the words and manners of speech will be able to learn from the artisans themselves.
\n","citation_key":"citation_garagarza","citation":{"en":["Spanish-to-English by García Garagarza 2023"],"es":["Español-al-inglés por García Garagarza 2023"]}}],"nahuatl_col":[{"id":"db681c79-766f-4403-8e23-d5c36ce02f87","choice":{"en":["Nahuatl by Anderson & Dibble 1953–1982"],"es":["Náhuatl por Anderson & Dibble 1953–1982"]},"type":"transcription","type_label":{"en":["nahuatl transcription"],"es":["transcripción al náhuatl"]},"column":"nahuatl","language":{"en":["Nahuatl"],"es":["Náhuatl"]},"language_code":"nci","subtitle":"(Anderson & Dibble 1953–1982)","markdown":"in izquintin teixiptlahoan mochintin papaquia, ilhuitlamatia.\nAuh inin mochioaia, ompa xochmilco iehica in isquichtin tlatecque, ompa oallaque in inculhoan, in intahoan: ompa nelhoaioticate ompa antica in innelhoaio: ca inquizcan iniolcan.\n\nIn tlatecque, tulteca: inic quitequi in iztac teuilotl, ioan tlapalteuilotl, ioan chalchiuitl, ioan quetzalitztli, ioan teuxalli: ioan tlaquaoac tepuztli. Auh inic quichiqui, tecpatl tlatetzotzontli. Auh inic quicoionia, inic quimamali tepuztlacopintli: niman ihuiian quisteca quipetlahoa, quitemetzhuia: auh in ie ic quicencaoa: itech quauitl in quipetlaoa, inic pepetlaca, inic motonameiotia, inic tlanestia: anoço quetzalotlatl in itech quipetlaoa, inic quicenca, inic quiiecchioa in intultecaio tlatecque.\n\nAuh çan no iuhqui in tlapaltehuilotl inic mochioa, inic mocencaoa: achtopa quimoleoa, quihuipeoa tepuztica, in tlatecque, in tulteca: inic iioca quitlatlalia in qualli, in motquitica","html":"in izquintin teixiptlahoan mochintin papaquia, ilhuitlamatia.\nAuh inin mochioaia, ompa xochmilco iehica in isquichtin tlatecque, ompa oallaque in inculhoan, in intahoan: ompa nelhoaioticate ompa antica in innelhoaio: ca inquizcan iniolcan.
\nIn tlatecque, tulteca: inic quitequi in iztac teuilotl, ioan tlapalteuilotl, ioan chalchiuitl, ioan quetzalitztli, ioan teuxalli: ioan tlaquaoac tepuztli. Auh inic quichiqui, tecpatl tlatetzotzontli. Auh inic quicoionia, inic quimamali tepuztlacopintli: niman ihuiian quisteca quipetlahoa, quitemetzhuia: auh in ie ic quicencaoa: itech quauitl in quipetlaoa, inic pepetlaca, inic motonameiotia, inic tlanestia: anoço quetzalotlatl in itech quipetlaoa, inic quicenca, inic quiiecchioa in intultecaio tlatecque.
\nAuh çan no iuhqui in tlapaltehuilotl inic mochioa, inic mocencaoa: achtopa quimoleoa, quihuipeoa tepuztica, in tlatecque, in tulteca: inic iioca quitlatlalia in qualli, in motquitica
\n","citation_key":"citation_anderson_nahuatl_transcription","citation":{"en":["Nahuatl by Anderson & Dibble 1953–1982"],"es":["Náhuatl por Anderson & Dibble 1953–1982"]}},{"id":"9f5cdcb2-0215-4385-84dc-19a5a3df5bec","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":"for those who were to die at dawn—all the likenesses [of these gods]. All rejoiced; they enjoyed the feasting.[^12]\n\nAnd this took place there at Xochimilco, because the grandfathers [and] fathers of all the lapidaries came from there. There was the beginning; there they took their origin. It was their native land.\n\nThe master lapidaries[^13] cut rock crystal, and amethysts, and green stones, and emerald-green jade,[^14] with[^15] abrasive sand, and hard metal.[^16] And they scraped them with a worked flint tool. And they drilled them; they bored them with a metal tubular drill.[^17] Then they slowly smoothed the surfaces; they polished them; they gave them a metallic luster. And then they finished them off with a piece of wood [and very fine abrasive]. They polished them so that they gleamed, they sent forth rays of light, they glistened. Or with a piece of fine cane [containing silica] the lapidaries polished, finished,[^18] perfected their artifacts.\n\nAnd in just the same way was amethyst worked [and] finished. First the master lapidaries broke it;[^19] they shattered it with a piece of metal, so that they could put aside the good [pieces], of good color, \n\n\n\n\n[^12]: Corresponding Spanish text: *”de noche dezian sus cantares, y hazian velar por su honrra a los captivos, que aujan de morir*: *y se holgauã en su fiesta.”*\n\n\n[^13]: Cf. Elizabeth Kennedy Easby and Dudley T. Easby, Jr.: “Apuntes sobre la técnica de tallar jade en Mesoamérica,” *Anales del Instituto de Arte Americano*, No. 6 (Buenos Aires, 1956); Foshag: “Mineralogical Studies on Guatemalan Jade,” Smithsonian Pub. No. 4307 (1957); Sahagún (Garibay ed.), III, pp. 72ff; Seler: “L’orfèvrerie des anciens mexicains,” pp. 418ff.; and M. H. Saville: “Turquoise Mosaic Art in Ancient Mexico,” *Indian Notes and Monographs* (New York: Heye Foundation, 1922), pp. 31–33.\n\n\n[^14]: Cf. *supra*, chap. 4, n. 10.\n\n\n[^15]: *Ioan*: possibly *yca in* in the *Acad. Hist. MS*.\n\n\n[^16]: Seler, *op. cit*., p. 418: bronze; Sahagún (Garibay ed.), III, p. 74: *un metal duro*.—A hard metal, however, would not have held the abrasive sand so well as a soft metal; hammer-hardened copper would have been satisfactory. Wood and bone were also used with abrasives. On the nature ot the abrasive sand, cf. Durán, *op. cit*., lvi (p. 442), on Moctezuma’s embassy to the south to secure special sand requested by the lapidaries.—*D. T. Easby.*\n\n\n[^17]: Cf. Siméon, *op. cit*.; also Easby and Easby, *op. cit*., p. 11. Seler, *op. cit*., p. 419: *pointe de cuivre nue*; Sahagún, *loc. cit*.:* punzõn de metal*.\n\n\n[^18]: *Quicencaua* in *Acad. Hist. MS*.\n\n\n[^19]: *Quihuipeoa* reads *quihuipena* in the *Acad. Hist. MS*.","html":"for those who were to die at dawn—all the likenesses [of these gods]. All rejoiced; they enjoyed the feasting.1
\nAnd this took place there at Xochimilco, because the grandfathers [and] fathers of all the lapidaries came from there. There was the beginning; there they took their origin. It was their native land.
\nThe master lapidaries2 cut rock crystal, and amethysts, and green stones, and emerald-green jade,3 with4 abrasive sand, and hard metal.5 And they scraped them with a worked flint tool. And they drilled them; they bored them with a metal tubular drill.6 Then they slowly smoothed the surfaces; they polished them; they gave them a metallic luster. And then they finished them off with a piece of wood [and very fine abrasive]. They polished them so that they gleamed, they sent forth rays of light, they glistened. Or with a piece of fine cane [containing silica] the lapidaries polished, finished,7 perfected their artifacts.
\nAnd in just the same way was amethyst worked [and] finished. First the master lapidaries broke it;8 they shattered it with a piece of metal, so that they could put aside the good [pieces], of good color,
\nCorresponding Spanish text: ”de noche dezian sus cantares, y hazian velar por su honrra a los captivos, que aujan de morir: y se holgauã en su fiesta.”↩
Cf. Elizabeth Kennedy Easby and Dudley T. Easby, Jr.: “Apuntes sobre la técnica de tallar jade en Mesoamérica,” Anales del Instituto de Arte Americano, No. 6 (Buenos Aires, 1956); Foshag: “Mineralogical Studies on Guatemalan Jade,” Smithsonian Pub. No. 4307 (1957); Sahagún (Garibay ed.), III, pp. 72ff; Seler: “L’orfèvrerie des anciens mexicains,” pp. 418ff.; and M. H. Saville: “Turquoise Mosaic Art in Ancient Mexico,” Indian Notes and Monographs (New York: Heye Foundation, 1922), pp. 31–33.↩
Cf. supra, chap. 4, n. 10.↩
Ioan: possibly yca in in the Acad. Hist. MS.↩
Seler, op. cit., p. 418: bronze; Sahagún (Garibay ed.), III, p. 74: un metal duro.—A hard metal, however, would not have held the abrasive sand so well as a soft metal; hammer-hardened copper would have been satisfactory. Wood and bone were also used with abrasives. On the nature ot the abrasive sand, cf. Durán, op. cit., lvi (p. 442), on Moctezuma’s embassy to the south to secure special sand requested by the lapidaries.—D. T. Easby.↩
Cf. Siméon, op. cit.; also Easby and Easby, op. cit., p. 11. Seler, op. cit., p. 419: pointe de cuivre nue; Sahagún, loc. cit.:* punzõn de metal*.↩
Quicencaua in Acad. Hist. MS.↩
Quihuipeoa reads quihuipena in the Acad. Hist. MS.↩