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As such, it is with the greatest pleasure that I welcome this new color facsimile of the Codex Mendoza, published in Ecuador with wide-ranging contributions by scholars from Latin America, the United States, and Europe. This publication meets the aim of the Bodleian Libraries of the University of Oxford to make this manuscript and all of its unique features available to be more extensively studied throughout the world.

Richard Ovenden

Bodley’s Librarian

Contents

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Todd P. Olson

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Carmen Fernández-Salvador

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NEW INSIGHTS

CHAPTER 1

The History of the Codex Mendoza

Jorge Gómez Tejada

Universidad San Francisco de Quito USFQ

The Codex Mendoza, as it has been known since Francisco Clavijero first linked the manuscript to don Antonio de Mendoza, first Viceroy of New Spain at the end of the eighteenth century, is one of the most beautiful examples of tlacuilolli, the Nahua art of painting and writing. Produced at some point between 1542 and 1552, the manuscript is also one of the most famous collaborative projects between Nahua artists and Spanish interpreters of the first half of the sixteenth century.1 In the Codex Mendoza, the narrative that emerges from the convergence of Nahua pictographic writing and Spanish alphabetic writing describes the tripartite history of the Mexica world, a history that begins with the foundation of the city of Tenochtitlan in 1325 and ends with the death of its last ruling tlatoani, Moteuhczoma Xocoyotzin.