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1. 1 2024-05-05T20:42:52+00:00 Caroline Grinstead 14539d71ef2f98952575af1aefd8bc9cc3bc6d66 at banquets merchants would sit on one side Caroline Grinstead 1 plain 2024-05-05T20:42:52+00:00 Caroline Grinstead 14539d71ef2f98952575af1aefd8bc9cc3bc6d66
2. 1 2024-05-05T20:43:03+00:00 Caroline Grinstead 14539d71ef2f98952575af1aefd8bc9cc3bc6d66 feather artisans would sit on the other side Caroline Grinstead 1 plain 2024-05-05T20:43:03+00:00 Caroline Grinstead 14539d71ef2f98952575af1aefd8bc9cc3bc6d66

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• 1 2024-04-24T20:34:49+00:00 The Diverse Role of Parrots In Mexica Society 23 While birds played an important role for the Mexica, parrots were specifically used in areas such as clothing for religious ceremonies and pieces worn into battle. They were documented in great detail, and their feathers were used to decorate important and sacred items. #ParrotPower #BattleGear plain 2024-05-21T13:53:08+00:00 Parrots are represented in a variety of different ways throughout the Florentine Codex. Specifically, their feathers were used to decorate the pieces of clothing of important powerful and sacred figures. These pieces included anything from the shirts, skirts, and jackets for religious ceremonies to the shields and fans for warriors going into battle. Feather artisans chose to used parrot feathers so frequently because of their wide array of bright colors. Throughout the Florentine Codex, there are many different types of parrots documented. The types of parrots are categorized based on their feather color, feather texture, and beak shape. When the word “parrot” is used in the Nahua text, the type of parrot is always specified. There are a number of different Nahua words to differentiate between the types of parrots they recorded. Alternatively, the Spanish versions of the text do not use any specific words to differentiate between the types of parrots. It also does not use the word parrot, but instead it uses words like “bird” or “precious feathers” to describe these parrots. By comparing these two versions of the text in the Florentine Codex, we can see how the significance of parrots was interpreted differently between the Mexica and the Spanish.
  
  In book four of the Florentine Codex, The Soothsayers, the various types of parrots are described as yellow, multicolored, red and yellow, scarlet, and blue. Additionally, in book ten, The People, the white-fronted parrot is described in detail. In both of these sections, the specific names and descriptions are only included in the Nahua version. The Spanish text does not include any description other than the word “bird” or “precious feather.” Later, in book eleven, Earthly Things, more types of parrots are mentioned such as the white-fronted, Aztec, and red-crowned. This book also gives specific Nahua words for these types of parrots. Included is the toznene, which is described as having a yellow hawk-like curved bill, a red head, and inhabiting the province of Cuextlan. Another is the toztli, described as having shiny, yellow feathers, this parrot’s name literally means “a very yellow thing.” Another is called alo and is describes as also living in the province of Cuextlan. Another parrot is called quiliton, and it is described as being small, with a red head, green body, and red wings. This bird is also described as being able to talk and repeat information that is given to them. The last type of parrot that is given a specific name is called the tlalacuezali. They are described as living in the mountains, and they have a curved yellow beak, a red head, dark wings, dark yellow breast, and a green tail and back. Parrots were clearly important to the Mexica, as they used specific names to distinguish each type of parrot they saw. Their importance can also be seen in book six, Rhetoric and Moral Philosophy, in a section describing a confession they would repeat. One passage uses the symbol of a young parrot hatching from its shell to represent the rebirth into a new life. Additionally, in book one, The Gods, there is a description of the god of merchants, Yacateuctli. The description talks about the god leading the merchants through different hardships and through the discovery of precious feathers, animals, and pelts, including parrots. There existed a diverse array of parrots that the Mexica recorded, and their significance was well incorporated into their society as well.
  
  Another way parrot feathers were incorporated into Mexica society was through important ceremonies. In book two of the Florentine Codex, The Ceremonies, parrot feathers are included in the descriptions of clothing in religious ceremonies and rituals. One ceremony that was performed at the beginning of the seventh month, Tecuilhuitontli, included dressing the goddess of salt, Huixtocihuatl, in ceremonial clothes that were adorned with parrot feathers from all parts of the body. In another ceremony that occured every four years, the lord and nobles would perform a dance called netecuhitotilo. During this ceremony, they would also perform a ritual where they pierced the ears of all children under three years old. They would then use very soft parrot feathers to cover the piercing for it to heal. The names for these types of feathers are tlachcayotl and ocotzotl, and they are described as being as soft as cotton. Additionally, they would put a skullcap made of parrot feathers on the children’s heads that were glued together with a pine resin called ocotzotl. In another festival called Huauhquiltamalcualiztli, the Mexica would construct a statue of the god of fire. They would then make a crown of parrot feathers and ornaments to place on the statue’s head. The feathers are described as precious and valuable and would decorate all parts of the crown, including green feathers that would hang from the back of the crown and cover the back of the statue. Another ceremony implementing parrot feathers is described in book four, The Soothsayers. During a festival celebrating Huitzilopochtli, the god of war, they would provide offerings. One of these important offerings is called tozquemitl and means a cape made of bright yellow parrot feathers. In book three, The Origin of the Gods, there is a description of the ceremony performed for burying their dead. During this process, they would glue papers together to wrap the body, then they hung various parrot feathers on it. Parrot feathers played a crucial role in the dress of figures in religious ceremonies.
  
  Parrot feathers were not just used for religious ceremonies, but they were also used in the dress of other important figures such as lords and warriors going into battle. In book eight, Kings and Lords, the lords who are going into battle are described as wearing clothes adorned with parrot feathers. Specifically, they would wear jackets and insignias called zacatzontli, which was made of valuable yellow parrot feathers. Later, the book describes a common piece of clothing for women, which was an orange-colored shift that was decorated with yellow parrot feathers. Another common piece of women’s clothing was called a huipiles, which would be red or blue and decorated with various types of bird feathers, including the neck feathers of a yellow parrot. Similarly, in book nine, Merchants, a description of women’s clothing includes skirts called chicocueitl or tetenacazco that would be decorated with parrot feathers. Parrot feathers served an important purpose when decorating the clothing of important figures.
  
  Feather merchants were extremely important for the incorporation of parrot feathers in Mexica society. Book nine, The Merchants, provides an extensive description of the practices and techniques of feather merchants, which often included the use of parrot feathers. The two head feather traders were called Itzcoatzin and Tziuhtecatzin, and they would trade blue and scarlet parrot feathers, which made up most of their business. During one ceremony, a banquet would take place to honor the merchants and the feather artisans. They would sit across from each other and were seen as equal in wealth and status. The merchants brought valuable feathers, which included many types of parrot feathers, and the artisans used them to decorate the shields and insignias for lords and nobles. A main technique the feather artisans would use was called glue-hardening.
  In this process, the artisans would glue together blue and green parrot feathers to create a bed of feathers as the base for the piece they were making. While parrot feathers were highly valued among the artisans, certain ones were favored over others. One section describes how yellow parrot feathers were favored, as they were used for the basis of most feather-working techniques the artisans would use. Common items that were made using yellow parrot feathers included fans, which were decorated with pendants, tufts, balls, and tassels. In another section, there is a description of a lord’s clothing that included a fan made of yellow parrot feathers.
  
  The incorporation of parrot feathers extended beyond the clothes items the artisans would make, as even some interior spaces were covered in parrot feathers. In book ten, The People, there is a description of a house of feather working, which was covered with parrots, including many yellow parrot feathers. There also existed private feather workers who would specialize in one item and only sell that specific item. Feather merchants played a key role in incorporating parrot feathers into the daily life of the Mexica.

  Works Cited

  Available at Digital Florentine Codex/Códice Florentino Digital, edited by Kim N. Richter and Alicia Maria Houtrouw, "Book 11: Earthly Things", fol. 23v, (Anderson & Dibble 1953–1982) nahuatl and spanish translation Getty Research Institute, 2023. https://florentinecodex.getty.edu/en/book/11/folio/23v Accessed 4 May 2024.
  
  Available at Digital Florentine Codex/Códice Florentino Digital, edited by Kim N. Richter and Alicia Maria Houtrouw, "Book 9: Merchants", fol. 60v, (Anderson & Dibble 1953–1982) nahuatl and spanish translation Getty Research Institute, 2023. https://florentinecodex.getty.edu/en/book/9/folio/60v Accessed 4 May 2024.
  
  Available at Digital Florentine Codex/Códice Florentino Digital, edited by Kim N. Richter and Alicia Maria Houtrouw, "Book 9: Merchants", fol. 66v, (Anderson & Dibble 1953–1982) nahuatl and spanish translation Getty Research Institute, 2023. https://florentinecodex.getty.edu/en/book/9/folio/66v Accessed 4 May 2024.
  
  Available at Digital Florentine Codex/Códice Florentino Digital, edited by Kim N. Richter and Alicia Maria Houtrouw, "Book 9: Merchants", fol. 64v, (Anderson & Dibble 1953–1982) nahuatl and spanish translation Getty Research Institute, 2023. https://florentinecodex.getty.edu/en/book/9/folio/64v Accessed 4 May 2024.
  
  Available at Digital Florentine Codex/Códice Florentino Digital, edited by Kim N. Richter and Alicia Maria Houtrouw, "Book 8: Kings and Lords", fol. 30v, (Anderson & Dibble 1953–1982) nahuatl and spanish translation Getty Research Institute, 2023. https://florentinecodex.getty.edu/en/book/8/folio/30v Accessed 4 May 2024.
  
  Manuel Aguilar-Moreno (2006). Handbook to Life in the Aztec World. Forward: John Pohl. New York, Facts on File. HandbookAztec.pdf
  
  Nahuatl Dictionary https://nahuatl.wired-humanities.org/content/huitzilopochtli