[omotli]tlilani oapalpan machiotl, niman ic peoa in tlaçaloliztli, in tlachichioaliztli:\nachto mopatla, moneloa in tzacutli, tzacupatlalo, netzacupatililo: iehoan intequiuh in tzacupatlaliztli in tepilhoan, in izcaltiloni, tetzaucpatilia, tzacupatla:
\nniman ic motequi in tlilli in tlilantli, inic motlillotia, motlilancaiotia, in ihuitlacuilolli: ca iehoatl uellaiacana, achto onmoçaloa, onmopachoa omiuictica: iehoatl in tlilantli muchioa, ihuiio tzanatl, anoço chamolin, chamoloatzalli: niman ic contoquilia, motequi in itlaoatzallo, in ipepech mochioa in quenami ihuitl, in catlehoatl achto ompehoa in iuhqui ic ca machiotl, aço xiuhtototl ompeoa, anoço tzinitzcan, anoço tlauhquechol, aço aiopal, anoço xiuhuitzili, uitzitzili, quetzaluitzitzili, tleuitzilin: in ie izquican icac ihuiio itlachieliz in iuhqui ic xotla, ic pepetzca monana[mictiuh,]
\n","citation_key":"citation_anderson_nahuatl_transcription","citation":{"en":["Nahuatl by Anderson & Dibble 1953–1982"],"es":["Náhuatl por Anderson & Dibble 1953–1982"]}},{"id":"12b8276a-08f8-4821-b8ea-cdb5668a4771","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":"pattern on the board had been painted, when it had been outlined, then began the gluing, the arranging.\n\nFirst the glue was dissolved, mixed. There was dissolving, making of glue. The preparation of the glue was the task of the children who were being trained. They dissolved the glue for [the workers]; they dissolved the glue.\n\nThen the black outline was cut away in order to mark, to delineate, the feather painting. This came at the very beginning. First the [outline] feathers were glued, pressed on with the bone blade. The black outline was made of grackle feathers, or scarlet ones, the glue-hardened scarlet feathers. Then followed the cutting of its bed of glue-hardened feathers, which became the bed of the feathers according to the kind of feathers with which they first began, according to the pattern: perhaps the blue cotinga, or trogonorus, or red spoonbill, or the yellow ones,[^19] or the turquoise hummingbird, the [ordinary] one, the quetzal-green one, the flame-colored one. One by one they went matching the [precious] feathers, each being placed in position according to its appearance, as it glowed, shimmered. \n\n\n\n\n[^19]: Cf. *ayopal teuilotl *(* amatista *)*, in Molina, *op. cit*. In Sahagún, *op. cit*., III, p. 84, *ayopal* is *pluma amarilla fina*; in Seler, *op. cit*., p. 434, *l’oiseau couleur de topaze*, and in n. 68, Seler writes: *”De la couleur de la fleur de courge, c’est-à-dire un jaune foncé, ayopal-teuilotl est traduit dans la partie espagnole du dictionnaire de Molina par ‘Cristal amarillo,’ dans la partie aztèque—erronèment?—par ‘Amatista piedra preciosa.’ Il paraît que ce terme signifiait la ‘topaze fumée.’”*","html":"pattern on the board had been painted, when it had been outlined, then began the gluing, the arranging.
\nFirst the glue was dissolved, mixed. There was dissolving, making of glue. The preparation of the glue was the task of the children who were being trained. They dissolved the glue for [the workers]; they dissolved the glue.
\nThen the black outline was cut away in order to mark, to delineate, the feather painting. This came at the very beginning. First the [outline] feathers were glued, pressed on with the bone blade. The black outline was made of grackle feathers, or scarlet ones, the glue-hardened scarlet feathers. Then followed the cutting of its bed of glue-hardened feathers, which became the bed of the feathers according to the kind of feathers with which they first began, according to the pattern: perhaps the blue cotinga, or trogonorus, or red spoonbill, or the yellow ones,1 or the turquoise hummingbird, the [ordinary] one, the quetzal-green one, the flame-colored one. One by one they went matching the [precious] feathers, each being placed in position according to its appearance, as it glowed, shimmered.
\nCf. ayopal teuilotl *( amatista ), in Molina, op. cit. In Sahagún, op. cit., III, p. 84, ayopal is pluma amarilla fina; in Seler, op. cit., p. 434, l’oiseau couleur de topaze, and in n. 68, Seler writes: ”De la couleur de la fleur de courge, c’est-à-dire un jaune foncé, ayopal-teuilotl est traduit dans la partie espagnole du dictionnaire de Molina par ‘Cristal amarillo,’ dans la partie aztèque—erronèment?—par ‘Amatista piedra preciosa.’ Il paraît que ce terme signifiait la ‘topaze fumée.’”↩