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Based on naked-eye examinations of the original manuscript at the Bodleian Libraries and personal communictions with Diana Magaloni Kerpel, Gómez Tejada proposed that the two painters used a constant and restricted palette composed by lamp black, a white paint he calls tízatl (often mixed with other colors), an organic yellow he identifies as zacatlaxcalli, cochineal red, a purple he identifies as camopalli, brown ochres, and Maya blue. He also observed that these colors were sometimes superimposed over one another and mixed. As for the alphabetic texts, he recognized the use of ferrogallic inks (sometimes also used to correct details of the images) and he supposed that the red color used to trace the alphabetic transcription of the year signs on page 1v is minium (that is, red lead). In sum, Gómez Tejada (2012, 136) stressed that the Codex Mendoza was painted as a single and coherent project by at least two artists who consciously mixed native and European materials, techniques, and modes of representations “as conscious and powerful rhetorical devices that are employed to meet the narrative priorities of the artists and authors of the work and not merely approached or emulated”.