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The Florentine Codex is a 16th-century ethnographic research study in Mesoamerica by the Spanish Franciscan friar Bernardino de Sahagún. Sahagún originally titled it La Historia General de las Cosas de Nueva España (in English: The General History of the Things of New Spain ). [ 1 ]
The parchment codex called Littera Florentina is the closest surviving version of the official Digest of Roman law promulgated by Justinian I in 530–533. The codex, consisting of 907 leaves, is written in the Byzantine-Ravenna uncials characteristic of Constantinople , but which has recently been recognized in legal and literary texts ...
The Florentine Codex is a primary resource for understanding the creation and uses of codices, as well as for understanding the politics of post-conquest Mexico. The use of gypsum, tzacuhtli (organic glue extracted from orchids), nacazcólotle (dark red obtained from the wood of Caesalpinia coriaria), have all been described in the writings of ...
During the 19th century, the word 'codex' became popular to designate any pictorial manuscript in the Mesoamerican tradition. In reality, pre-Columbian manuscripts are, strictly speaking, not codices, since the strict librarian usage of the word denotes manuscript books made of vellum, papyrus and other materials besides paper, that have been sewn on one side. [1]
Codex Florentine is a set of 12 books created under the supervision of Franciscan friar Bernardino de Sahagún between approximately 1540 and 1576. The Florentine Codex has been the major source of Aztec life in the years before the Spanish conquest.
Indigenous victims (likely smallpox), Florentine Codex (compiled 1540–1585) The Cocoliztli Epidemic or the Great Pestilence [1] was an outbreak of a mysterious illness characterized by high fevers and bleeding which caused 5–15 million deaths in New Spain during the 16th century. The Aztec people called it cocoliztli, Nahuatl for pestilence.
In the Florentine Codex, Sahagún expands upon his description of Huixtocihuatl, describing the appearance of the deity captured by the impersonator. Sahagun likens her face paint, costume, and feathers to a maize plant at antithesis. [6] He says, 16th century illustration from the 2nd book, 26th chapter of Sahagun's Florentine Codex.
Tōnacātēcuhtli was the Central Mexican form of the aged creator god common to Mesoamerican religion. [3] According to the Codex Ríos, the History of the Mexicans as Told by Their Paintings, the Histoyre du Mechique, and the Florentine Codex, Tōnacātēcuhtli and his consort Tōnacācihuātl resided in "in Tōnacātēuctli īchān" ("the mansion of the Lord of Abundance"), also known as ...