Codex Nuttall

DESCRIPTION OF THE CODEX

Like the nine other Mexican CodicesPlural of codex; the traditional screen-fold books of Mesoamerica, which are distinct from European bound volumes. in existence, which constitute the finest remaining specimens of native pictographyA form of writing that uses pictures or symbols to represent words or ideas.,¹ the present one is painted on prepared deer-skin. The strips of skin are glued together at intervals to form a long, folded band. Both surfaces of the skin are covered with a thick layer of a white substance Usually a gesso-like base made of calcium carbonate or gypsum, providing a smooth surface for painting. which presents a smooth, slightly glazed finish. On this surface, the artist first drew the outlines of his figures in black and subsequently filled these in with color. A careful study of the original reveals that the artist prepared small quantities of each color at a time, and that he did not always succeed in obtaining exactly the same shade twice. The scheme of color on the obverseThe 'front' or primary side of the manuscript. is, moreover, different from that on the reverseThe 'back' or secondary side of the manuscript., which presents a greater profusion of detail. The paints employed were so fine and skillfully prepared that for nearly four centuries they have preserved, undimmed, their exquisite beauty and delicacy. According to Bustamante Carlos María de Bustamante (1774–1848), a pioneering Mexican historian and politician who championed the study of pre-Hispanic heritage., the native artists purposely withheld from their conquerors the secret of the knowledge they had attained through centuries of experience in manufacturing beautiful and lasting colors from vegetable and mineral substances.

The present publication reproduces the exact dimensions of the original. The stiff parchment covers which protect the facsimileA precise reproduction or copy of a manuscript. have been designed by me in strict accordance with native methods.

Although no traces now exist to prove that the original Codex was once provided with outer covers, we know that such were employed by the Ancient Mexicans. The outer folds of the Laud Codex, preserved at the Bodleian Library, are covered with stiff pieces of deer-skin; the originally hairy coating of these appears to have been destroyed by moths.

The Vatican Codex (3773) is protected by thin, polished wooden boards, one of which is plain, while the other exhibits traces of incrustationsDecorative inlays, often made of precious materials like turquoise or shell.. Mr. Troncoso Francisco del Paso y Troncoso (1851–1916), a renowned Mexican scholar who cataloged indigenous manuscripts in European collections. has rightly pointed out that the cover on which an inlaid disc of green stone still exists is attached to the first page of the Codex, and therefore designates its beginning.

Experience in handling a folded native book—particularly one which, like the present Codex, is painted on both sides with signs in reverse positions—teaches not only the importance of designating the beginning of a Codex, but also the necessity of some external sign which indicates the position of the figures on the first page.

The present Codex completes this list as No. X. In order to simplify references to the above Codices, some of which have been recently renamed by Mr. Troncoso, it is my intention to cite them in the future by the above numbers—a method I recommend to the consideration of my fellow-workers.