MEMORY OF THE WORLD REGISTER
NOMINATION FORM
Mexico - Collection of Mexican Codices

PART A - ESSENTIAL INFORMATION
1. Identity and Location
2. Legal Information
3. Identification
4. Management plan
5. Assessment against the Selection Criteria
6. Consultation
7. Nominator

PART B - SUBSIDIARY INFORMATION
8. Assessment of Risk
9. Preservation Assessment

PART A - ESSENTIAL INFORMATION

1. Identity and Location

1.1 Name of Documentary Heritage
Collection of Mexican Codices
1.2 Country
Mexico
1.3 State, province or region
Mexico City
1.4 Address
Paseo de la Reforma y Calzada Gandhi, Col. Polanco, Delegación Miguel Hidalgo, Postal Code 11560
1.5 Name of Organization or Institution
Biblioteca Nacional de Antropología e Historia del INAH

2. Legal Information

2.1 Owner
Instituto Nacional de Antropología e Historia (INAH)
2.2 Custodian
Biblioteca Nacional de Antropología e Historia
2.3 Legal Status
a) Owner: Public
b) Details of legal and administrative provisions for the preservation of the documentary heritage: Constitution of the INAH
c) Accessibility: to accredited researchers
d) Copyright status: INAH
2.4 Responsible administration
Secretaría Técnica INAH
Biblioteca Nacional de Antropología e Historia of the INAH

3. Identification

3.1 Description and inventory
The collection known as the “Colección de Códices Originales Mexicanos” (Collection of Original Mexican Codices) of the Biblioteca Nacional de Antropología e Historia” comprises one pre-Hispanic codex, 92 colonial originals and 68 period facsimiles.

ORIGINAL CODICES
Nº.
NAME
DATE
SIZE
1 Huamantla Codex - Fifth fragment  16th century 242 x 95 cm 
2 Partial Plan of Mexico City  16th century 238 x 168 cm 
3 Baranda Codex  17th century 37 x 228 cm 
4 La Cueva Codex  16th century 77.5 x 160 cm 
5 Tula Annals 16th century 17 x 487 cm 
6 Expenses Codex  16th century 104 x 32 cm 
7 Map of Sigüenza  16th century 54.5 x 77.5 cm 
8 Map of Coatlinchan  16th century 44.5 x 41.5 cm 
9 Cuetlaxcohuapan Codex  circa 1530 50.7 x 35.8 cm 
10 The Sevina Canvas  16th century 125 x 97.5 cm 
11 Map of Coateptl  16th century 56 x 42 cm 
12 Mauricio de la Arena Codex  16th century 6 fragments 
13 Huamantla Codex - First Fragment  16th century 47 x 114 cm 
14 Chavero Codex  circa 1579 139 page book 
15 Moctezuma Codex  16th century 250 x 20 cm 
16 Genealogy of a Tepeticpac family  16th century 119.5 x 58.8 cm 
17 Quiotepec and Cuicatlán Codex  16th century 61 x 102 cm 
18 Colombino Codex  Pre-Hispanic 24 pp. 18.5 x 606.5 cm 
19 Map of Cuauahtinchan Nº 4  16th century 113 x 158 cm 
20 Contlanzinco Painting  18th century 74 x 53.5 cm
21 Painting of Santo Tomás Xochtlan  18th century 67 x 41 cm
22 Post-Cortesian Mixtec Codex Nº 36  16th century 85 x 87 cm 
23 Huamantla Codex - Third Fragment  16th century 187 x 95 cm 
24 Boturini Codex  circa 1540 19.8 x 549 cm 
25 Tlatelolco Codex  circa 1565 40 x 325 cm 
26 Huamantla Codex - Second Fragment  16th century 154 x 92 cm 
27 Huamantla Codex - Fourth Fragment  16th century  189 x 91 cm 
28 Nahuatzen Canvas  16th century 72 x 102 cm 
29 Zolin Genealogy  16th century 44 x 35 cm 
30 García Granados Codex  17th century 49.5 x 674 cm 
31 Porfirio Díaz Codex  17th century 21 pp. 15.5 x 421 cm 
32 Dehesa Codex  17th century 23 pp. 17.5 x 498 cm 
33 Tax Register  16th century 16 pp. 42 x 29 cm 
34 Prayer Book  16th century 11 pp. 15.6 x 11 cm 
35 Huamantla Codex - Sixth Fragment  16th century 50 x 178 cm 
36 Cholula Codex  circa 1586 112 x 166 cm 
37 Santa Cruz Tlamapa Tax Codex  1577 8 sheets 383.5 x 31 cm 
38 Tequitlato de Zapotitlán Codex  circa 1561 25.6 x 85 cm 
39 Fragmented topographical codex  16th century 102 x 112 cm 
40 Metztepetl Genealogy  circa 16th century 88 x 68 cm 
41 Zacatepec Canvas  16th century 325 x 225 cm 
42 Codex of the lords of San Lorenzo Axotlán and San Luis Huexotla  circa 1672 29 x 111.5 cm 
43 San Antonio Techialoyan Codex  17th century 26 x 21 cm 
44 Tizimin Book of Chilam Balam  18th century 21.5 x 14.6 cm 
45 Ixil Book of Chilam Balam  18th century 44 pp. 21.5 x 14.6 cm
46 Muro Codex 17th century 14.8 x 223 cm 
47 San Juan Teotihuacan Codex  circa 1557 139 x 75 cm 
48 Map of Cuauhtinchan Nº 3  16th century 92 x 112 cm 
49 Tlaxcala Codex  16th century 97.5 x 83 cm 
50 Tax Fragment  circa 1570 38 x 18.9 cm 
51 Xalapa Codex  1540 81.5 x 45.5 cm 
52 Map of a forested region  16th century 7.5 x 4.5 cm 
53 Map of Otumba  17th century 106 x 61.5 cm 
54 Map of Tepecuacuilco  16th century 113 x 102 cm 
55 Caltecpaneca fragment  16th century 18 x 55 cm 
56 Pitzahua Genealogy  16th century 26 x 31 cm 
57 Nopalxochitl Genealogy  16th century 22 x 31 cm 
58 Nexmoyotla, Ateno, Zoyatitlan and Heuytetla Genealogies  17th century 31.5 x 86.5 cm 
59 Tetlamaca and Tlametzin Genealogies  16th century 111 x 60 cm 
60 Cotitzin and Zozahuic Genealogies  16th century 32.5 x 17 cm 
61 Genealogies of the Lords of Etla  17th century 6 sheets 
62 Teotenantzin Codex  18th century 44 x 117 cm
63 Codex of the Possessions of Don Andrés  16th century 15.7 x 86.6 cm 
64 Map of Santa María Nativitas Tultepeque  circa 1578 72 x 64 cm 
65 San Cristóbal Coyotepec Codex  17th century 74 x 96 cm 
66 Plan on fig-bark paper (amate)  16th century 40.5 x 34 cm 
67 Map of Lachiyoo  18th century 107 x 85 cm
68 San Juan Nayotla Canvas  1590 194 x 236 cm 
69 Coat of arms of Castile  16th century 41 x 34 cm 
70 Ixtapalapa Codex  17th century 58 x 37 cm 
71 Azoyú Codex Nº 1  16th century 20.5 x 23 cm 
72 Azoyú Codex Nº 2  16th century 17 pages 
73 Tlapa Canvas  17th century 285 x 76 cm 
74 Chinantla Canvas  circa 17th century 110 x 130 cm 
75 Coixtlahuaca Canvas  16th century 425 x 300 cm 
76 Tecciztlan and Tequatepec Canvas  16th century 280 x 170 cm 
77 Tocuaro Deeds  17th century 12 pages 
78 Mizquiahuala Tax Codex Poinsett Nº 1 Fragment  circa 1570 108 x 20 cm 
79 Mizquiahuala Tax Codex Poinsett Nº 2 Fragment  circa 1570 82 x 19 cm 
80 Pottua Turanzas Codex  16th century 9 fragments 
81 Yatini Canvas  18th century 160 x 117 cm
82 Valeriano Codex  1574 22 x 31.8 cm 
83 San Lucas Yataú Canvas  17th century 105 x 86 cm 
84 View of River Chiapa  18th century 37 x 142 cm
85 Cristo de Mexicaltzinco Codices  17th century 7 fragments 
86 Cuauhtli Genealogy  16th century 21.4 x 30.2 cm 
87 Analco Canvas  16th century 173 x 262 cm 
88 Map of Cuauhtlantzinco  17th century 9 sheets 30 x 43 cm 
89 Gómez de Orozco Catechism Codex  16th century 6 pages 16 x 10 cm 
90 Painting of San Juan Huautla  17th century 107 x 105 cm 
91 Chan Kan Book of Chilam Balam  19th century 128 sheets 15.5 x 11 cm 
92 Pérez Codex  circa 1837 239 sheets 14.5 x 21 cm 
93 Badiano Codex  16th century
 
FACSIMILE REPRODUCTIONS
No.
NAME
DATE
1 Guevea Canvas  1892
2 Huamantla Codex - Fifth Fragment  1892
3 Partial Map of Mexico City  1892
4 Baranda Codex  1933
5 Jucutácato Canvas  19th century
6 Map of San Pedro Tlacotepec  1892
7 Becker Codex Nº 2  19th century
8 Cholula Codex  unknown
9 Genealogy of the Mendoza Moctezuma family  unknown
10 Tonatiuh Cult Codex  unknown
11 Map of Sigüenza  1933
12 Map of Mizquiahuala  1892
13 Map of Mizquiahuala  1932
14 Map of Coatlinchan  unknown
15 Codex Nº 20  unknown
16 Huamantla Codex - First fragment  unknown
17 Plan of San Gabriel Cholula  1892
18 Map of Cuauhtinchan Nº 2  1892
19 Genealogy of a Tepeticpac family  1892
20 Colombino Codex  unknown
21 Map of Cuauhtinchan Nº 1  1892
22 Puácuaro Canvas  1892
23 Huamantla Codex - Third fragment  1892
24 Boturini Codex  unknown
25 Tlatelolco Codex  unknown
26 Huamantla Codex - Second fragment  1892
27 Huamantla Codex - Second fragment  unknown
28 Huamantla Codex - Fourth fragment  1892
29 Cuauhquechollan Canvas  1892
30 Cuauhquechollan Canvas  1933
31 Tlaxcala Canvas - First Panel  1773
32 Tlaxcala Canvas - First Panel  1933
33 Tlaxcala Canvas - Second Panel  1773
34 Tlaxcala Canvas - Second Panel  unknown
35 Tlaxcala Canvas - Third Panel  1773
36 Tlaxcala Canvas - Third Panel  unknown
37 Tlaxcala Canvas - Fourth Panel  1773
38 Tlaxcala Canvas - Fourth Panel  unknown
39 García Granados Codex  unknown
40 Porfirio Díaz Codex  1933
41 Tax Register  unknown
42 Veytia Mexican calendars  1836
43 Cholula Codex Copy Nº 2  circa 1732
44 Huichapan Codex  1955
45 Becker Codex Nº 2  unknown
46 The Conquest Codex  unknown
47 Map of Popotla  unknown
48 Durán Codex  unknown
49 San Cristóbal Coyotepec Codex  unknown
50 Yanhuitlán Codex  unknown
51 Tzoquitetlán Canvas  unknown
52 San Juan Nayotla Canvas  1956
53 Cuara family Codex  1892
54 Sevina Canvas  1892
55 Sevina Canvas  unknown
56 Ramírez Codex  16th century
57 Cuaquechollan-Macuilxochitepec Genealogy  1933
58 Map of Cuauhtlantzinco  1892
59 Florentino Codex  unknown
60 Oaxaca Genealogy  1892
61 Map of Santa Fe or Pátzcuaro  1892
62 Azoyú Codex Nº 1  unknown
63 Tlacoatzintepec Canvas  unknown
64 Coixtlahuaca Canvas  1942
65 San Juan Tabaa Canvas  unknown
66 Veytia Calendar - Variation Nº 7  circa 1770
67 Veytia Calendar Nº 5  circa 1770
68 Aztactepec and Citlaltepec Canvas  circa 1905
The collection is kept in the codex vault situated on level one of the building occupied by the National Museum of Anthropology (Museo Nacional de Antropología) in Mexico City. This vault, which is administered by the National Anthropology and History Library (Biblioteca Nacional de Antropología e Historia), is equipped with a security system similar to a bank vault and the environmental conditions are stabilized at 20ºC and 50% humidity.
For preservation purposes and ease of access, there is a collection of 2,124 colour slides in 4” x 5” format, high resolution emulsions, as well as monochromatic, chromogenic and some infra-red emulsions. These facsimile photographic images are used for:
1) Initial research consultations;
2) Consultation and access in order to obtain facsimile reproductions, publications for iconographic, pictorial and/or documentary researchers;
3) Access for the organization and administration of the collection of originals.
In 1991, the process of digitizing the photographic collection was begun in order to allow the greatest possible number of researchers to have access to the computer-based collection of images. At the present time there is a Kodak Photo CD work-station equipped with a Sun Spark Station II computer, a slide and transparency scanner for 35mm and 4” x 5" formats, a CD Write Thermical Dye Transfer 300 dpi photographic quality printer for prints up to Kodak XLS8600 8 x 10 inches.
The maximum imaging resolution of the codices on optical disc is 4,000 x 6,000 dpi, which allows the images to be viewed in their entirety or in high resolution close-ups.
3.2 Bibliographic/Registration Details
The collection of codices referred to above has been published in the Catalogue of the INAH Codex Collection (Catálogo de la Colección de Códices INAH), Mexico, 1964, Glass, John B. In addition: various research papers and articles published by the Codex Seminar (Seminario de Códices) of the Biblioteca Nacional de Antropología e Historia and the Centro de Investigaciones en Ciencias Sociales (CIESAS).
3.3 Visual Documentation
Starting at the end of the nineteenth century, the items comprising this collection have been reproduced using scientific photographic techniques and other reproduction techniques. The collection of photographic images is organized as follows:
35mm. Original facsimile editions of the B.N.A.H. 5,920 slides
Original codices 408 slides
6 x 7 inch originals 750 slides
6 x 7 inch copies 123 slides
4 x 5 inch originals 1,505 slides
4 x 5 inch copies 368 slides.
The following videos have been made and are available to the public:
The Coixtlahuaca Canvas VHS 20 mins. duration
Currently under production with a commentary approved by the scientific consultant:
The Zapatepec Canvas
The Post-Cortesian Mixtec Codex Nº 36
The Tecciztlan and Tequatepec Canvas
The Porfirio Díaz Codex
Introduction to the Mexican Codices.
3.4 History of the Collection
HISTORY
The history of this collection began in the strongbox of the old Museo Nacional de Arqueología, Historia y Etnografía where, among other things, a considerable number of codices from the collection made by Lorenzo Boturini between 1736 and 1743 were kept. The Boturini collection was one of the largest collections of manuscripts ever made and included older items gathered by Alva Ixtlilxochtli and Sigüenza y Góngora. Boturini's manuscripts may have been entrusted to the museum prior to 1831.
At least 42 of these codices are to be found in the library collection. Some of these are The Tax Registry, the Partial Map of Mexico City (Tenochtitlan) on fig-bark paper, the Baranda Codex, the Map of Sigüenza, the La Cueva Codex, the Map of Cuauhtinchan 4, the Chavero Codex, The Cotitzin and Zozahuic Genealogy, the Mizquiahuala Tax Codex and, naturally, the Pilgrimage Strip or Boturini Codex.
From the end of the nineteenth century onwards, the collection grew, thanks to further acquisitions. In 1891, the Colombino Codex, the only pre-Hispanic original in Mexico, was acquired. Other important acquisitions include the San Pedro Cántaros or Muro Codex, the Porfirio Díaz Codex and the Coixtlahuaca Canvas. Donations, such as the García Granados Codex, the Huexotzingo Codex, the Ixil Chilam Balam, the Cuauhquechollan-Macuilxochitepec Genealogy and other documents, also contributed to the growth of the collection. The most recent donation was the Cruz Badiano Codex. However, the collection also includes codices which are deposited there for safekeeping. The San Lucas Yataú Canvas is one of these. Each year the stewards pay their respects and, basing their instruction on the document, tell the story of the founding of their community to the young members of that community who accompany them.
PERIOD
Although certain documents which may be copies of pre-Hispanic documents are now considered to be originals, such as the Tax Register and the Pilgrimage Strip, most of the pictorial testimonies in the collection date from the sixteenth century and therefore preserve the iconographic forms and conventions of the Mesoamerican pictorial tradition.
FORMAT AND MATERIALS
There is a variety of formats: folding-screen books (the Colombino Codex); canvases (the Zacatepec Canvas); maps (Map of Coatlinchan); plans (Partial Plan of Mexico City Tenochtitlan on fig-bark paper); strips (the Moctezuma Codex); books (the Tizimin Book of Chilam Balam); and framed oil painting (Painting of Santo Tomás Xochtlan). The support media are equally diverse: most are on fig-bark paper while others are on agave (maguey) paper, tanned animal hides (usually deerskin), cloth made on indigenous looms, parchment, European paper, and oils on canvas and bristol board.
ORIGIN
The codices originate from a number of regions in the Republic of Mexico. The majority are from Mexico City, the State of Mexico and Oaxaca but others are from Guerrero, Hidalgo, Morelos, Michoacán, Puebla, Tlaxcala. Veracruz, and Yucatán, and yet others are of unknown origin.
CONTENTS
Some pictorial manuscripts deal with a variety of subjects so they are difficult to pigeon-hole. For example, the Dehesa Codex is a veritable compendium of information of a historical, religious, ritual, calendric and genealogical nature. Therefore, the classification provided for each individual codex should not be regarded as conclusive but merely as an initial guide. So that the reader will have a general idea of the subjects dealt with in the pictorial manuscripts contained in the collection, a brief description of the thematic groups is provided below.
THEMES
HISTORICAL-GENEALOGICAL Pre-Hispanic. Detailed information regarding important indigenous figures and aristocratic dynasties: Colombino Codex, Oaxaca coast (Tututepec), pre-Hispanic.
HISTORICAL-RITUAL-CALENDAR Made up of various sections, as well as calendar details, they provide information on religious, mythical and historical matters. Dehesa Codex, Oaxaca, sixteenth and seventeenth centuries. Porfirio Díaz Codex, Oaxaca (Cuicatlan), sixteenth and seventeenth centuries.
HISTORICAL (Annals) Chronicles which relate the events which occurred during each year: the Tlatelolco Codex, Tlatelolco, D.F., 1565; the Moctezuma Codex, Mazatepec or Xochitepec, Morelos, sixteenth century.
CARTOGRAPHIC-HISTORICAL. Some are simply maps, whereas others include historical and genealogical information: the Zacatepec Canvas, Oaxaca coast (Zacatepec or Yucusatuta), sixteenth century; the Map of Cuauhtinchan Nº 3, Cuauhtinchan, Puebla, sixteenth century.
GENEALOGICAL Historical and genealogical information. These were drawn up to defend inheritance rights in common lawsuits during colonial times: the García Granados Codex, Toluca Valley and Mexico City basin, seventeenth and early eighteenth centuries; Zolin Genealogy, possibly Tlaxcala, sixteenth century.
ECONOMIC Lists of taxes payable before or after the Conquest. They list the subject peoples and the taxes imposed on them: Tax Register, Mexico City, sixteenth century; Huexotzingo Codex, Huexotzingo, Puebla, sixteenth century.
TECHIALOYAN Documents relating to land ownership. Claims to recover land-rights and land: San Antonio Techialoyan Codex, San Antonio de Isla, Mexico State, seventeenth century; San Cristóbal Coyotepec Codex, Mexico State (?), eighteenth century.
TESTERIAN Manuscripts attributed to Friar Jacobo de Testera in the sixteenth century. These are catechisms with glyphs which were used to indoctrinate the indigenous people in Christianity: Prayer Book, of unknown origin, sixteenth century; Gómez de Orozco Catechism, Mexico City, sixteenth century.
CHILAM BALAM Books written in the Mayan language of Yucatán containing historical and calendric information, as well as prophecies, almanacs, and botanical and medical information: Ixil Chilam Balam, Yucatan, circa eighteenth century.
BOTANICAL-MEDICAL These appear in the Colony as a result of the Spaniards' desire to learn about these aspects of Mesoamerican culture: Cruz Badiano Codex, Tlatelolco, D.F., 1552.
Today the collection of codices kept at the Biblioteca Nacional de Antropología e Historia comprises 93 originals and 68 copies. Many of these, e.g. the Tlaxcala Canvas and the Guevea Canvas, were made directly from originals which have now disappeared, and are themselves now regarded as originals
Lastly, we should not like to close this section without pointing out the significance of these pictorial testimonies belonging to the indigenous tradition, in the sense that these documents describe historical events from the point of view of the people who made them.
3.5 Bibliography 3.6 Names, qualifications and contact details of independent persons or organizations with expert knowledge about the values and provenance of the documentary heritage.
a) Joaquín Galarza
b) Miguel León Portilla
c) Silvio Zavala
d) Martin Janssen
e) Alan Dornithorne, Curator of the Royal Collection, Windsor Castle, United Kingdom
f) Grant B. Romer, Chief Curator, International Photography and Cinema Museum, Rochester, N.Y.
g) Nora Kennedy, Curator at the Metropolitan Museum, New York, U.S.A.
h) Xavier Noguez Ramírez

4. Management Plan

The collection is in the care of the curator, the historian Angeles Ojeda, who is a member of the Seminario de Códices and a researcher attached to the Biblioteca Nacional de Antropología e Historia. Basic preservation of the collection is entrusted to the Preservation and Restoration Laboratory at the Biblioteca Nacional de Antropología e Historia, which has the services of two full-time specialists. An integrated, multidisciplinary preservation programme has been drawn up to take effect after 1997 incorporating the services of a specialist textile restorer and a fig-bark paper restorer coordinated by the Assistant Director for Graphic Documents (Subdirectora de Acervos Gráficos). Both specialists have the back-up of a restoration and preservation technician and the whole programme is supported by the Biblioteca Nacional de Antropología e Historia, the INAH National Coordinating Committee for Preservation and Restoration (Coordinación Nacional de Conservación y Restauración) and the INAH National School for Preservation, Restoration and Museum Studies (Escuela Nacional de Conservación, Restauración y Museografía).
This programme is currently in the diagnostic phase, preparing a clinical history for each codex, keeping a visual record of deterioration and ordering the collection on closed shelving. These activities will dictate the broad lines of action required to ensure that the codices are preserved in the best condition possible, ensuring their stabilization, the best handling methods and/or preparation for
producing scientific photographs which will subsequently be included in a digitization process.
At no time has access to the codices been superseded for either national or international researchers. The tasks have been programmed to fit in with work schedules.
However, permits for original photographs have been restricted as far as possible, as regulations were introduced in 1991:
1. Maximum permitted illumination for scientific photography should not exceed 800 lux
2. Only tungsten lamps are used with a cross-polarized lighting system.
3. Photographs are taken in situ in the area next to the storage vault using a 4 x 5 inch camera with an apochromat and an (x,y) system for symmetrical, balanced and perpendicular camera movement. Shots are carefully monitored to ensure maximum preservation of the codex or document to be photographed. This is the reason why only the in-house team of specialists is allowed to photograph these pictorial manuscripts.
The codex vault is covered by the Accident Prevention and Control Programme administered by the Subdirección de Documentación of the Biblioteca Nacional de Antropología e Historia.
Installations and Safety Precautions
1) Smoke detectors
2) Fire extinguishers
3) Temperature and humidity gauges
4) Closed-circuit TV.
As the vault and the Biblioteca Nacional de Antropología e Historia share the same building as the Museo Nacional de Antropología, both organizations are covered by the safety precautions relating to the INAH and all national museums. It should be pointed out that both the codex vault and the vault housing archaeological artifacts and objects are the only ones of their kind in the building.
Temperature and Relative Humidity
The temperature and relative humidity in the codex vault have been kept stable since 1991-1992, when the prevailing atmospheric conditions were surveyed.
Lighting is controlled by covering all daylight lighting tubes with anti-UV filters and a second white acrylic filter which is also a light diffuser. The vault is divided into two rooms. One of these rooms contains the documents themselves, which are stored on closed (flat) metallic shelving and vertical shelving which slides along a floor-based platform with rails. There are also two strongboxes for storing books and small format documents.
A second room, separate from the first, contains a large metal table where documents can be spread out fully for consultation, thus reducing risks during handling. This same space is used for photography sessions and for public consultation of documents.
Whenever work is to be carried out in this safety area, the access door is opened in the presence of and under the supervision of security personnel, and the names of the persons entering are recorded in the visitors' book.
Only two top managers are authorized to open the Codex Vault.

5. Assessment against Selection Criteria

5.1 Influence
The pictorial documents called “codices” are the only references we have as original sources of pre-Hispanic cultures, the early relations between the native peoples and the Spanish conquistadors, and they are the only surviving examples of a reading and writing system peculiar to the cultures of Mesoamerica. These codices permit members of Western cultures to learn about the form, image and meaning of these ancient cultures and our resemblance or otherwise to our forebears.
Time
Most of the pictorial documents which comprise this collection were made in the sixteenth century, although a small number date from the seventeenth and eighteenth centuries, and a very small number, mostly the copies, date from the nineteenth and the early twentieth century.
However, this type of documentation was also produced to record the moment of contact between two very different cultures and worlds. Without the original pre-Hispanic and colonial pictorial documents, and even the symbolic-pictorial tradition of the codices, we should never have been able to get to know Mesoamerican culture as we do today.
Place
The thematic diversity of the codices contained in this collection is relevant to the area known as the Mexican Altiplano, a high plateau situated at the intersection between two mountain chains: the Eastern and Western Sierra Madre. The extant documents bear witness to the cultures which developed in the valleys of the high plateau - the Valley of Mexico, the Puebla-Tlaxcala Valley and the Texcoco Valley. An important series of codices is the one dealing with the Mixtec area, the territory now occupied by the southern part of Puebla State, the north-west of Oaxaca State and part of the north-west of Guerrero State. This group contains the Colombino Codex, a pre-Hispanic example on deerskin primed with stucco. This document provides information regarding the extent of trade, political alliances, internal wars and the socio-political structures of the area.
The same may be said of the Partial Map of Mexico City Tenochtitlan, which reflects urban planning, land census information and land ownership of part of the Aztec capital.
The Cruz Badiano Codex shows herbal remedies and indicates the degree of development of natural medicine at the time of contact.
Subject/Theme
The codices contain sources for the study of the social, economic, political, religious and cultural organization of the pre-Hispanic peoples. The codices also reveal the historical profile of the contact between two cultures, showing how they came to terms with one another, the fate of the human groups involved in the process of conquest and colonization, and how the relationship developed from one of domination to a different type of relationship. For both worlds and cultural horizons, the survival and preservation of the codices means the safeguarding of a source of study, reflexion and understanding of two cultures in coalition.
Form and Style
The particular characteristics of the books belonging to the pre-Hispanic cultural groups derive from the iconographic writing system developed by the scribes known as “tlacuilos”. The representation system and the images used make the codices difficult documents to interpret and decode. However, the challenge was so great that many national and foreign scholars have dedicated their academic lives to the study of these documents. Exploration of a codex is a multidisciplinary exercise, since it is not merely an ethnological document but also a visual anthropological stage, a system for documenting and recording a historical event, an inventory of taxes and tributes, an economic and genealogical list and a register of property belonging to religious, civil and military authorities. The codices are often sources of scientific, mathematical and astrological information revealing the calendric and cosmogonic wisdom of the pre-Hispanic peoples.
The foregoing arguments also apply to the concept of Mesoamerica and its hegemony and influence in the New World.
Social Value
They represent a form of cultural expression of the indigenous societies of Latin America.
5.2 Contextual Assessment
The codices show the pre-Hispanic indigenous writing system and the use of different support material.
5.3 Evaluation of Authenticity
The vast majority of the documents have been subjected to laboratory testing which confirms the authenticity of the materials and pigments used.
Furthermore, national and foreign researchers have assessed the style and the characteristics of the documents to determine their authenticity.
5.4 Assessment of Rarity
The proposed collection is a rare one. Very few examples of the codices survive. Nearly all the examples painted were unique in their day, truly original manuscripts. Few of these have survived, and as a result these documents are extremely rare.

6. Consultation

6.1 Details of consultation about the nomination with the:
a) Owner
b) Custodian
c) Relevant Regional or National Memory of the World Committee (if appropriate).

7. Nominator

7.1 Name
Dr. Stella Mª González Cicero
7.2 Relationship to documentary heritage
Director of the Biblioteca Nacional de Antropología e Historia
7.3 Contact person (if appropriate)
Lic. Consuelo Méndez Tamargo
7.4 Contact details
Subdirección de Documentación de la Biblioteca Nacional de Antropología e Historia

PART B - SUBSIDIARY INFORMATION

8. Assessment of Risk

8.1 Nature and scope of threats to the documentary heritage
Political Climate - voluntary information
The political climate in Mexico is stable and social conditions are peaceful. Possible differences of opinion are resolved by democratic means.
Environmental Conditions
As the Codex Vault is located in the basement of the building, stable atmospheric conditions can be maintained and these are monitored weekly using temperature and humidity gauges.
Physical Conditions
The building where the collection is kept is of solid construction and is endowed with safety devices, such as closed-circuit television, smoke detectors and fire extinguishers.
There are also ultraviolet radiation filters, large format metal shelving to store large documents, slipcases for small format documents and a security door of the type used in bank vaults.
Preservation Budget
There are three basic projects envisaged for 1997 aimed at preserving and providing access to the collection with a budget of 292,000 Mexican pesos (two hundred and ninety two thousand pesos).
Extent and Nature of Use
Consultation of original documents is restricted to accredited researchers who must present a written application explaining the reasons why they require to consult the originals, as excellent photographic material of virtually the whole collection is available.

9. Preservation Assessment

9.1 Present Physical State
Stable physical state
History of Preservation
Specially designed shelving was commissioned so that the documents could be stored flat as far as possible in order to prevent damage due to folding. Each storage shelf has first-level document covers and second-level document covers are being designed for the different formats.
A topographical list exists allowing the documents to be located quickly, as each document has a specifically allocated place within each drawer.
Current Preservation Policy in relation to proposed nominated documentary heritage.
A scientific photography programme is being carried out which will allow top quality material to be made available, thus avoiding constant handling of the originals.
This programme also included the design of a lighting system to eliminate the use of flashbulbs, which are now completely forbidden.
The photographic plates are digitized in high resolution and kept on PRO CD MASTER discs. This allows the images of the codices to be viewed in high resolution, zoom techniques permitting the images to be studied in greater detail.
Paper and acetate prints of photographic quality are also made available. These are printed directly in the Subdirección de Documentación of the Biblioteca Nacional de Antropología e Historia.
Person or organization responsible for preservation
Personnel attached to the work programmes of the Codex Collection of the Bibioteca Nacional de Antropología e Historia
Organization and Administration of the Programme
Lic. Consuelo Méndez Tamargo
Subdirectora de Documentación
Curator
Lic. Angeles Ojeda Díaz
Preservation and Restoration
Pres.: Lic. Marie Vander
Pres.: Lic. Mª del Refugio Gutiérrez
Restorer
Xochiquetzal Rodríguez Horta
Preservation and Access
Scientific Photography
Ramón Viñas (Archeologist)
Lic. Sonia Reyes Moreno
MC. Fernando Osorio Alarcón
Lic. Gabriela Luna Díaz
Patricio and Pedro García (Technician)
Diagnosis and Preservation of Photographic Archive
Pres.: Kimie Suzuki
MC. Fernando Osorio Alarcón
Video Production
Lic. Angeles Ojeda Díaz (Scientific Adviser)
Lic. Saúl Rodríguez (Producer)
Digitization Laboratory
MC. Carlos Coronel
C. Hueman Jaimes Díaz
Photograph Library
Lic. Mónica Salazar López (Records Management)
Lic. Alicia Barragán Isidro (Records Management)