[tlacuilol]machiotl, ic ipan micuiloa, motlilania, iehoatl ipan onmotztiuh in tlanipa oalneci tlacuilolli:
\nauh in icoac omocencauh, in onouiian micuilo ichcatl, in atle omolcauh, in isquich ic tlatlalilli machiotl: niman ic ipan onmoçaloa ce amatl, quaoamatl, ic mocenoapaoa ic chicaoa in ichcatlaoapaoalli. Auh niman ic mopeoaltia in tepuzuictica mocui: motacalotiuh in umpa cacalactica, xoxomolactica tlacuilolli, ipan motequi, mocuicui tepiton quauhtontli in itoca quauhtlateconi: isquich ipan motequi, moteinia, moquapaiania, moquaiaoaloa in ihuitl.
\nAuh in icoac ie onouiian mocuicuic amamachiotl: in iuhqui ic ca tlacuilolli: niman ic mepan onmomana, vncan ipan ic micuiloa in metl, motocatiuh in uncan omocuicuic machi machiotl:\nIn icoac omocuicuilo metl: niman ic onmitzacuuia, ipan onmochcauia, ic motzacuoapaoa, in ichcatlaoapaoalli, in ichcatl itech oalmoteca in tlilantli, in tlapalli, oc no hoaqui tonaia: çatepan ipan moteteca in ihuitl, moteneoa tzacoatzalli, tlatzacuoatzalli,
\ntel achtopa oc nonqua mepã
\n","citation_key":"citation_anderson_nahuatl_transcription","citation":{"en":["Nahuatl by Anderson & Dibble 1953–1982"],"es":["Náhuatl por Anderson & Dibble 1953–1982"]}},{"id":"45ab3a8c-3308-4a3b-855d-e6a287bdf2b4","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":"the painted pattern. On [the cotton] was painted, delineated, on it one went tracing, the painting which appeared from underneath.\n\nAnd when finished, when the cotton was painted all over, when nothing of all the completed pattern had been forgotten, then [the cotton] was glued on a piece of paper, coarse paper,[^4] so that [this] reinforced cotton was completely strengthened, so that it was given support. And then was started the trimming, the gouging, with a metal blade where [the outline of] the painting was projecting [or] was drawing in.[^5] It was cut, trimmed, on a small piece of wood called a cutting board. All was cut on this; feathers were broken, evened off,[^6] rounded off at the top.\n\nAnd when the paper pattern had in all parts been trimmed to be like the [original] painting, then it was spread out upon a maguey leaf; on this was traced the pattern which had been cut.[^7]\n\nWhen the maguey had been painted,[^8] then it was covered with glue; cotton was applied to it; thereby the [second] reinforcement of cotton was strengthened with glue. The outline of the painting was put on it. Again it dried in the sun.[^9] Later, upon it were placed, one by one, the feathers called “the glue-hardened ones,” those which had been glued, dried.[^10]\n\nBut first, quite apart, on a maguey leaf, \n\n\n\n\n[^4]: *Quaoamatl*: cf. von Hagen, *op. cit*., p. 60: *cuah-amatl*, “coarse, thickly-fibered paper, more difficult to fashion than the fig tree variety”; product of *Acacia cornigera* (“bull’s horn acacia”). The bark is used. Seler, in *Collected Works*, II, Pt. 3–4, p. 59, refers to it as *papel de la tierra* (citing Tezozomoc); in Fr. Bernardino de Sahagún: *Historia general de las cosas de Nueva España* (México: Editorial Pedro Robredo, 1938), V (Appendix), p. 213 (*quauhamatl* or *texamatl*), he attributes it to paper made from the bark of some *ficus* tree; and in “L’orfèvrerie,” p. 431, he calls it bark paper. In Sahagún (Garibay ed.), III, p. 83, it is *papel de amate*.\n\n\n[^5]: This procedure is the cutting out of the painted design or picture to provide a stencil or a templet. The illustrations (Pls. 91 and 92) seem to indicate that it was a templet.\n\n\n[^6]: *Acad. Hist . MS*: *moquapania*.\n\n\n[^7]: *Machi machiotl*: so it appears in the MS.\n\n\n[^8]: *Acad. Hist. MS: omicuilo*. \n\n\n[^9]: See Fig. 92.\n\n\n[^10]: *Tzacoatzalli, tlatzacuoatzalli*: the first word is *tlavatzalli* (dried out) in the *Acad. Hist. MS*. In Seler, *op. cit*., p. 432, it is translated: *”plumes maigres ou collage maigre.”*","html":"the painted pattern. On [the cotton] was painted, delineated, on it one went tracing, the painting which appeared from underneath.
\nAnd when finished, when the cotton was painted all over, when nothing of all the completed pattern had been forgotten, then [the cotton] was glued on a piece of paper, coarse paper,1 so that [this] reinforced cotton was completely strengthened, so that it was given support. And then was started the trimming, the gouging, with a metal blade where [the outline of] the painting was projecting [or] was drawing in.2 It was cut, trimmed, on a small piece of wood called a cutting board. All was cut on this; feathers were broken, evened off,3 rounded off at the top.
\nAnd when the paper pattern had in all parts been trimmed to be like the [original] painting, then it was spread out upon a maguey leaf; on this was traced the pattern which had been cut.4
\nWhen the maguey had been painted,5 then it was covered with glue; cotton was applied to it; thereby the [second] reinforcement of cotton was strengthened with glue. The outline of the painting was put on it. Again it dried in the sun.6 Later, upon it were placed, one by one, the feathers called “the glue-hardened ones,” those which had been glued, dried.7
\nBut first, quite apart, on a maguey leaf,
\nQuaoamatl: cf. von Hagen, op. cit., p. 60: cuah-amatl, “coarse, thickly-fibered paper, more difficult to fashion than the fig tree variety”; product of Acacia cornigera (“bull’s horn acacia”). The bark is used. Seler, in Collected Works, II, Pt. 3–4, p. 59, refers to it as papel de la tierra (citing Tezozomoc); in Fr. Bernardino de Sahagún: Historia general de las cosas de Nueva España (México: Editorial Pedro Robredo, 1938), V (Appendix), p. 213 (quauhamatl or texamatl), he attributes it to paper made from the bark of some ficus tree; and in “L’orfèvrerie,” p. 431, he calls it bark paper. In Sahagún (Garibay ed.), III, p. 83, it is papel de amate.↩
This procedure is the cutting out of the painted design or picture to provide a stencil or a templet. The illustrations (Pls. 91 and 92) seem to indicate that it was a templet.↩
Acad. Hist . MS: moquapania.↩
Machi machiotl: so it appears in the MS.↩
Acad. Hist. MS: omicuilo.↩
See Fig. 92.↩
Tzacoatzalli, tlatzacuoatzalli: the first word is tlavatzalli (dried out) in the Acad. Hist. MS. In Seler, op. cit., p. 432, it is translated: ”plumes maigres ou collage maigre.”↩