Barbara E. Mundy - El Códice mendocino - nuevas perspectivas

Domenici, Davide, Chiara Grazia, David Buti, Aldo Romani, Costanza Miliani, y Antonio Sgamellotti. 2017. “La cochinilla en la pintura de códices prehispánicos y coloniales”. En Rojo mexicano. La grana cochinilla en el arte, editado por Miguel Ángel Fernández Félix, 88-99. Mexico: Instituto Nacional de Bellas Artes / Museo del Palacio de Bellas Artes.

Domenici, Davide, Costanza Miliani y Antonio Sgamellotti. 2019. “Cultural and Historical Implications of Non-Destructive Analyses on Mesoamerican Codices in the Bodleian Libraries”. En Mesoamerican Manuscripts: New Scientific Approaches and Interpretations, editado por Maarten Jansen, Virginia M. Llado-Buisán, y Ludo Snijders, 160-174. Brill: Leiden.

Dupey García, Élodie. 2009. “Du rouge de la cochenille à la transmission des savoirs traditionnels: Les multiples significations de tlapalli chez les anciens Nahua (Mexique)”. En L’Antiquité en couleurs, editado por Marcelo Carastro, 207–22. Grenoble: Éditions Horos.

———. 2010. “Les couleurs dans les pratiques et les représentations des Nahuas du Mexique central (xive -xvie siècles)”. Tesis doctoral, École Pratique des Hautes Études.

———. 2015. “El color en los códices prehispánicos del México Central: Identificación material, cualidad plástica y valor estético”. Revista Española de Antropología Americana 45 (1): 149–66.

———. 2016. “Los colores del Códice borbónico y el átlas en cromotipia de Ernest-Theodore Hamy”. Estudios de Cultura Náhuatl 52: 225+.

Giorgi, R., D. Chelazzi, y Diana Magaloni Kerpel. 2014. “Unveiling the Artistic Technique of the Florentine Codex: When the Old World and the New World Met”. En Science and Art: The Painted Surface, editado por Antonio Sgamellotti, Brunetto Giovanni Brunetti, y Costanza Miliani, 147–69. Cambridge: Royal Society of Chemistry.

Gómez Tejada, Jorge. 2012. “Making the Codex Mendoza, Constructing the Codex Mendoza: A Reconsideration of a 16th Century Mexican Manuscript”. Tesis doctoral, Yale University.

Gómez Tejada, Jorge. 2021. "The Matrícula de Tributos: stylistic and material observations into its dating and original context". Ancient Mesoamerica, online preview, doi:10.1017/S0956536121000055

Grazia, Chiara. 2015. “Through the Shades of Time, from Pre-Columbian to Contemporary Art: Application of UV-Vis-NIR Reflectance and Fluorescence Spectroscopy to Understand Painting Materials”. Tesis doctoral, Università degli Studi di Perugia.

Grazia, Chiara, David Buti, Laura Cartechini, Francesca Rosi, Francesca Gabrieli, Virginia M. Lladó- Buisán, Davide Domenici, Antonio Sgamellotti, Aldo Romani and Costanza Miliani. 2019. “Exploring the materiality of Mesoamerican manuscripts by non-invasive spectroscopic methods: Codex Laud, Bodley, Selden, Mendoza and Selden Roll at the Bodleian Library”. En Mesoamerican Manuscripts: New scientific approaches and interpretations, editado por Maarten Jansen, Virginia M. Llado-Buisán y Ludo Snijders, 134-159. Leiden: Brill.

Hammond, Norman. 2005. “Clarifying Color in the Codex Mendoza”. Latin American Antiquity 16 (4): 467–68. https://doi.org/10.2307/30042510.

Haude, Mary Elizabeth. 1998. “Identification of Colorants on Maps from the Early Colonial Period of New Spain (Mexico)”. Journal of the American Institute for Conservation 37 (3): 240–70. https://doi.org/10.1179/019713698806082822.

Howe, Kathleen Stewart. 1992. “The Relationship of Indigenous and European Styles in the Codex Mendoza”. En The Codex Mendoza, editado por Frances Berdan y Patricia Rieff Anawalt, 1:25–33. Berkeley, CA: University of California Press.

Kirby, Jo, Marika Spring, y Catherine Higgitt. 2005. “The Technology of Red Lake Pigment Manufacture: Study of the Dyestuff Substrate”. National Gallery Technical Bulletin 26: 71–87.

López Luján, Leonardo, y Giacomo Chiari. 2012. “Color in Monumental Mexica Sculpture”. RES: Anthropology and Aesthetics 61–62 (marzo): 330–42. https://doi.org/10.1086/RESvn1ms23647839.

Magaloni Kerpel, Diana. 2011. “Painters of the New World: The Process of Making the Florentine Codex”. En Colors between Two Worlds: The Florentine Codex of Bernardino de Sahagún, editado por Gerhard Wolf y Joseph Connors, 47–76. Florence: Kunsthistorisches Institut in Florenz Max-Plank-Institut - Villa I Tatti The Harvard University Center for Italian Renaissance Studies.

———. 2012. “The Traces of the Creative Process: Pictorial Materials and Techniques in the Beinecke Map”. En Painting a Map of Sixteenth-Century Mexico City: Land, Writing, and Native Rule, editado por Mary Ellen Miller y Barbara E. Mundy, 75–90. New Haven: Yale University Press.

———. 2014. Los colores del nuevo mundo: artistas, materiales y la creación del Códice florentino. Ciudad de México: Universidad Nacional Autónoma de México, Instituto de Investigaciones Estéticas.

Miliani, Costanza, Davide Domenici, Catia Clementi, F. Presciutti, Francesca Rosi, David Buti, Aldo Romani, L. Laurencich Minelli, y Antonio Sgamellotti. 2012. “Colouring Materials of Pre-Columbian Codices: Non-Invasive in Situ Spectroscopic Analysis of the Codex Cospi”. Journal of Archaeological Science 39 (3): 672–79. https://doi.org/10.1016/j.jas.2011.10.031.

Miliani, Costanza, Francesca Rosi, Brunetto Giovanni Brunetti, y Antonio Sgamellotti. 2010. “In Situ Noninvasive Study of Artworks: The MOLAB Multitechnique Approach”. Accounts of Chemical Research 43 (6): 728–38. https://doi.org/10.1021/ar100010t.

Miller, Mary Ellen. 2012. “Introduction: The Beinecke Map”. En Painting a Map of Sixteenth-Century Mexico City: Land, Writing, and Native Rule, editado por Mary Ellen Miller y Barbara E. Mundy, 1–8. New Haven: Yale University Press.

Newman, R., y M. Derrick. 2012. “Analytical Report of the Pigments and Binding Materials Used on the Beinecke Map”. En Painting a Map of Sixteenth-Century Mexico City: Land, Writing, and Native Rule, editado por Mary Ellen Miller y Barbara E. Mundy, 91–100. New Haven: Yale University Press.

Pottier, Fabien, Anne Michelin, Aurélie Tournié, Fabrice Goubard, Aymeric Histace, y Bertrand Lavédrine. 2019. “Preliminary Investigation on the Codex Borbonicus: Macroscopic Examination and Coloring Materials Characterization”. En Painting the Skin : Pigments on Bodies and Codices in Pre-Columbian Mesoamerica, editado por Élodie Dupey García y María Luisa Vázquez de Ágredos Pascual, 157–74. Tucson, AZ: The University of Arizona Press.

Robertson, Donald. (1959) 1994. Mexican Manuscript Painting of the Early Colonial Period: The Metropolitan Schools. New Haven: Yale University Press.

Russo, A. 2011. “Postface. Uncatchable Colors”. En Colors between Two Worlds: The “Florentine Codex” of Bernardino de Sahagún, editado por Gerhard Wolf y Joseph Connors, 389–410. Florence: Kunsthistorisches Institut in Florenz Max-Plank-Institut - Villa I Tatti The Harvard University Center for Italian Renaissance Studies.

Zetina, S., J. L. Ruvalcaba, M. Lopez Cáceres, T. Falcón, E. Hernández, C. González, y E. Arroyo. 2011. “Non Destructive In Situ Study of Mexican Codices: Methodology and First Results of Materials Analysis for the Colombino and Azoyu Codices”. En Proceedings of the 37th International Symposium on Archaeometry, 13th - 16th May 2008, Siena, Italy, editado por Isabella Turbanti-Memmi, 349–54. Berlin, Heidelberg: Springer. https://doi.org/10.1007/978-3-642-14678-7_50.

1Los datos relativos a los cinco códices analizados en la Biblioteca Bodleiana fueron publicados previamente en Domenici et al. (2019) y Grazia et al. (2019). Aquí presentamos una discusión mucho más detallada de los datos relativos al Códice mendocino.

CAPÍTULO 3

Informe de reparaciones de 1985-86, marcas de agua y compaginación del Códice mendocino