{"@context":"http://iiif.io/api/presentation/2/context.json","@id":"https://iiif.bodleian.ox.ac.uk/iiif/manifest/75a8f3db-69d3-4bef-bfc5-c61a55562114.json","@type":"sc:Manifest","label":"Bodleian Library MS. Arch. Selden. A. 72 (3)","description":"The 'Selden Roll'.","metadata":[{"label":"Homepage","value":"View on Digital Bodleian"},{"label":"Catalogue Description","value":"Full catalogue record in Bodleian Archives & Manuscripts"},{"label":"Catalogue Description","value":"Full catalogue record in Catalogue of Western Medieval Manuscripts in Oxford Libraries"},{"label":"Title","value":"The 'Selden Roll'."},{"label":"Shelfmark","value":"Bodleian Library MS. Arch. Selden. A. 72 (3)"},{"label":"Language","value":"No linguistic content"},{"label":"Date Statement","value":"16th century, first half"},{"label":"Place of Origin","value":"Mexico"},{"label":"Description","value":"The interpretation of the scenes is based on that made by Burland, C. A. in The Selden roll: an Ancient Mexican picture manuscript in the Bodleian Library at Oxford (Berlin, 1955). This unfortunately incomplete painted roll from the Coixtlahuaca region incorporates both Mixtec and Aztec elements. It apparently records myths of origin and the migratory journey of historical or mythical ancestors up to the time when early settlement begins. Lines of footprints are used to indicate movement of people. Dates are given according to the Mixtec calendar (see also 'Codex Bodley', MS. Mex. d. 1), and temples are represented as plinths on a paved area, rather than great pyramids. Written on native amatl paper, this roll is painted only on one side. Entirely non-European, but post-Conquest."},{"label":"Materials","value":"paper (amatl)"},{"label":"Slide Roll Title","value":"MS. Arch. Selden. A. 72 (3)"},{"label":"Collection","value":"Western Medieval Manuscripts"},{"label":"Collection","value":"Early Modern Manuscripts and Archives"},{"label":"Collection","value":"Mesoamerican Manuscripts"},{"label":"Collection","value":"Images from 35mm Slides and Filmstrips"},{"label":"Digitization Project","value":"Medieval and Renaissance Manuscript Illumination (from 35mm)"},{"label":"Record Created","value":"2018-08-01T13:00:00Z"},{"label":"Holding Institution","value":"Bodleian Libraries, University of Oxford"}],"navDate":"1500-01-01T00:00:00Z","rendering":{"@id":"https://digital.bodleian.ox.ac.uk/objects/75a8f3db-69d3-4bef-bfc5-c61a55562114/","label":"View on Digital Bodleian","format":"text/html"},"attribution":"Photo: © Bodleian Libraries, University of Oxford. Terms of use: CC BY-NC 4.0. For more information, please see 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Arch. Selden. A. 72 (3)","viewingHint":"top","canvases":[],"ranges":["https://iiif.bodleian.ox.ac.uk/iiif/range/75a8f3db-69d3-4bef-bfc5-c61a55562114/LOG_0001","https://iiif.bodleian.ox.ac.uk/iiif/range/75a8f3db-69d3-4bef-bfc5-c61a55562114/LOG_0002","https://iiif.bodleian.ox.ac.uk/iiif/range/75a8f3db-69d3-4bef-bfc5-c61a55562114/LOG_0003","https://iiif.bodleian.ox.ac.uk/iiif/range/75a8f3db-69d3-4bef-bfc5-c61a55562114/LOG_0004","https://iiif.bodleian.ox.ac.uk/iiif/range/75a8f3db-69d3-4bef-bfc5-c61a55562114/LOG_0005","https://iiif.bodleian.ox.ac.uk/iiif/range/75a8f3db-69d3-4bef-bfc5-c61a55562114/LOG_0006","https://iiif.bodleian.ox.ac.uk/iiif/range/75a8f3db-69d3-4bef-bfc5-c61a55562114/LOG_0007"],"metadata":[],"startCanvas":"https://iiif.bodleian.ox.ac.uk/iiif/canvas/fbbba1f1-4687-48b7-9d49-494b5d35076b.json"},{"@id":"https://iiif.bodleian.ox.ac.uk/iiif/range/75a8f3db-69d3-4bef-bfc5-c61a55562114/LOG_0001","@type":"sc:Range","label":"view 1: Top of the roll. Eight heavens are represented by star-studded bands (stars are typically represented as eyes), beyond the sun and moon. Footprints...","canvases":["https://iiif.bodleian.ox.ac.uk/iiif/canvas/fbbba1f1-4687-48b7-9d49-494b5d35076b.json"],"metadata":[{"label":"Image Range","value":"view 1"},{"label":"Description","value":"Top of the roll. Eight heavens are represented by star-studded bands (stars are typically represented as eyes), beyond the sun and moon. Footprints ascend from the serpent jaws of earth (see view 2) to the heaven of the sun and moon and through a path broken through the eight heavenly spheres of the stars. On either side of the first sphere is the date 1 Acatl, 1 Cipactli. In the ninth heaven is seated Quetzalcoatl between the supreme Deity, The Two, here named in both male and female aspects as Ce Mazatl. The male form of The Two lifts his hand in a gesture of giving. Quetzacoatl is dressed in full divine costume, wearing the Huaxtec hat with its contradictory penitential awls of bone, one streaming blood and the other offering the symbol of the flower and the humming bird; in his mouth, the wind-mask; at his back the feather tufts of divinity; at his neck the symbolic spiral wind-jewel of life; in his hand the xonecuilli staff of fertility; at his back the Xipe knot of vegetation, beneath him, a jaguar-skin throne. See view 2 to complement this scene. Burland's interpretation of this scene (views 1-2) is the following: 'The whole picture can be read as a poem of the conferring of symbolic powers on Quetzalcoatl. But as the footprints tell us of Quetzalcoatl's return to earth, ... we should take the whole of this section of the Selden Roll as a statement that all power to rule and control the powers of life was invested by The Two in their servant the now divine Quetzalcoatl.' (Burland, 1955, p. 15). From the nature of the rest of the story, the painter was possibly describing the divine right inherited from the first Quetzalcoatl by all subsequent High Chiefs."}],"startCanvas":"https://iiif.bodleian.ox.ac.uk/iiif/canvas/fbbba1f1-4687-48b7-9d49-494b5d35076b.json"},{"@id":"https://iiif.bodleian.ox.ac.uk/iiif/range/75a8f3db-69d3-4bef-bfc5-c61a55562114/LOG_0002","@type":"sc:Range","label":"view 2: Four figures are seated on the jaws of earth (1 Tecpatl and 7 Tecpatl facing 5 Tecpatl and 12 Tecpatl). The inner one of each pair wears an earplug...","canvases":["https://iiif.bodleian.ox.ac.uk/iiif/canvas/35409068-df78-409f-910c-47a21bbca0a8.json"],"metadata":[{"label":"Image Range","value":"view 2"},{"label":"Description","value":"Four figures are seated on the jaws of earth (1 Tecpatl and 7 Tecpatl facing 5 Tecpatl and 12 Tecpatl). The inner one of each pair wears an earplug whereas the others have an ear-stud. From the serpent jaws of earth a row of footprints ascends to the heaven of the sun and moon. See view 1 to complement this scene. Burland's interpretation of this scene (views 1-2) is the following: 'The whole picture can be read as a poem of the conferring of symbolic powers on Quetzalcoatl. But as the footprints tell us of Quetzalcoatl's return to earth, ... we should take the whole of this section of the Selden Roll as a statement that all power to rule and control the powers of life was invested by The Two in their servant the now divine Quetzalcoatl.' (Burland, 1955, p. 16). From the nature of the rest of the story, the painter was possibly describing the divine right inherited from the first Quetzalcoatl by all subsequent High Chiefs. The lack of footprints between the jaws of earth and the Hill of Flowers below is an indication of a hiatus in the story told by the roll. This gap is a kind of division of chapters separating a heavenly preamble from the earthly legend that follows it. Inside the Hill is a cave whose mouth is drawn as a bat's mouth. The sacredness of the cave is probably indicated by the plume of feathers near the top. Inside the cave is a fierce warrior, a deity, wearing on his black skin the still blacker night face-paint. He seems to be the tribal deity of the four figures depicted below (see view 3). His body is covered in a tortoise carapace, his head, hands and feet are adorned with blood tinged stone knives. His name Ce Ocelotl is appropriate as the ocelot is usually associated with ferocity and the night. Several dates appear on either side of the cave."}],"startCanvas":"https://iiif.bodleian.ox.ac.uk/iiif/canvas/35409068-df78-409f-910c-47a21bbca0a8.json"},{"@id":"https://iiif.bodleian.ox.ac.uk/iiif/range/75a8f3db-69d3-4bef-bfc5-c61a55562114/LOG_0003","@type":"sc:Range","label":"view 3: A pathway leaves from the cave (see previous views of the roll), meandering through stars (typically represented as eyes) and scattered with blood-...","canvases":["https://iiif.bodleian.ox.ac.uk/iiif/canvas/afa54c16-546d-4638-a8d2-084c2e902385.json"],"metadata":[{"label":"Image Range","value":"view 3"},{"label":"Description","value":"A pathway leaves from the cave (see previous views of the roll), meandering through stars (typically represented as eyes) and scattered with blood-coloured stone knives. Four chiefs visit a ceremonial complex attached to a temple of Quetzalcoatl. The Temple and priest's house are lavishly decorated with Olin symbols (symbol of Movement), and a ball-court is attached. The four figures present maize stems to a cult image. They wear grass garlands which indicates that they have fasted. They wear their 'night' face paint. Their names are 10 Calli, 13 Cuetzpalin, 4 Ozomatli and 9 Cozcaquauhtli. As the footprints seem to indicate, they go up to the cave in Flower Hill and come back (see view 2). They stand before the effigy of Quetzalcoatl made of a cloth bundle supported on a bundle of wood, wearing the Quetzalcoatl mask. In the priest's house at the back, two priests are seated, wearing distorted versions of the wind-mask of Quetzalcoatl."}],"startCanvas":"https://iiif.bodleian.ox.ac.uk/iiif/canvas/afa54c16-546d-4638-a8d2-084c2e902385.json"},{"@id":"https://iiif.bodleian.ox.ac.uk/iiif/range/75a8f3db-69d3-4bef-bfc5-c61a55562114/LOG_0004","@type":"sc:Range","label":"view 4: The four chiefs (see previous views of the roll) continue their journey past three conquered towns. These seem to be called Ocelot Hill, Eagle...","canvases":["https://iiif.bodleian.ox.ac.uk/iiif/canvas/e8ae0e7e-b267-4db5-98df-9bad04310356.json"],"metadata":[{"label":"Image Range","value":"view 4"},{"label":"Description","value":"The four chiefs (see previous views of the roll) continue their journey past three conquered towns. These seem to be called Ocelot Hill, Eagle Hill, Macaw Hill, and may be places or symbols. The footprints lead to a spring where the lady 6 Mazatl bathes in the waters of night and day. There, on the further bank, they encounter a cast down image of Quetzalcoatl from which two ants escape. This effigy, as the one in the temple (see view 3), is in the bundle form, but has a red-painted face. One of the four heroes is shown carrying it in the next scene (see view 5). It may be that they asked for this gift of power at the temple of Quetzalcoatl, and were rewarded by the discovery of the relic bundle on their return. The upper pathway continues (see views 2-3), meandering through stars (typically represented as eyes) and scattered with blood-coloured stone knives."}],"startCanvas":"https://iiif.bodleian.ox.ac.uk/iiif/canvas/e8ae0e7e-b267-4db5-98df-9bad04310356.json"},{"@id":"https://iiif.bodleian.ox.ac.uk/iiif/range/75a8f3db-69d3-4bef-bfc5-c61a55562114/LOG_0005","@type":"sc:Range","label":"view 5: The four chiefs (see previous views of the roll) next come to a Temple at White Waters and Broken-rock Plateau (which may also be read as precious...","canvases":["https://iiif.bodleian.ox.ac.uk/iiif/canvas/5466656b-c697-4171-808d-81a67335970b.json"],"metadata":[{"label":"Image Range","value":"view 5"},{"label":"Description","value":"The four chiefs (see previous views of the roll) next come to a Temple at White Waters and Broken-rock Plateau (which may also be read as precious or green plateau). First comes 10 Calli, dressed as High Priest with the spear of office and an incense bag, but still wearing garlands of fasting (see view 3). He carries on his back the sacred image of Quetzalcoatl. Next is 13 Itzcuintli carrying a green maize cane and a circular shield. Then 4 Ozomatli carries the dart of the war leader and also a green maize cane. Finally comes 9 Cozcaquauhtli bearing a staff, incense burner and the wind jewel. The paved courtway may evoke a temple or may equate the wall pattern meaning 'a town'. The four heroes encounter sorcerers, the Mimixcoa, and their sister, alluding to human sacrifice. The heads of the men wearing their ceremonial lip plugs are on cactus plants, and their sister has had her heart cut out through one of her breasts. This event is sudden and violent, a demonic intervention in a peaceful story. The path through stars and scattered with flint knives continues in the upper part of the composition while, below, 4 Cipatli, a warrior who wears the kingly diadem but only appears here spears an ocelot-serpent which gives rise to a flood. This symbol emphasises the links between the ocelot and darkness under the earth, and also the bringing of rain (see view 2). Between the path and the battle scene, Tlaloc, marked with his calendrical name 7 Calli pours water from his black cloud-capped rain vase and in his other hand shakes his flaming, shouting axe, the thunder. This may symbolise the end of a drought and famine period."}],"startCanvas":"https://iiif.bodleian.ox.ac.uk/iiif/canvas/5466656b-c697-4171-808d-81a67335970b.json"},{"@id":"https://iiif.bodleian.ox.ac.uk/iiif/range/75a8f3db-69d3-4bef-bfc5-c61a55562114/LOG_0006","@type":"sc:Range","label":"view 6: The four chiefs (see previous views of the roll) continue to a sacred place, represented as a hill which is also a woman clothed in serpents. She...","canvases":["https://iiif.bodleian.ox.ac.uk/iiif/canvas/968d6281-7fcc-43ff-87da-fb02cdac8a9b.json"],"metadata":[{"label":"Image Range","value":"view 6"},{"label":"Description","value":"The four chiefs (see previous views of the roll) continue to a sacred place, represented as a hill which is also a woman clothed in serpents. She holds in her hands a disc representing a quetzal bird and wears the black eye-paint of darkness. At the bottom of the design is the proof that this is a representation of the goddess Xochiquetzal: two heads rise from the water, alluding to her twin children (this is her most common attribute). The 'hill' formed by her body is lined with two intertwined serpents crossing on her chest: these are the serpents of day and night who appear on the divine tree from which the Mixtecs are born. The serpent of day is edged with flames and clouds, he is the path taken by the sun. The serpent of night is edged with flint knives. On either side of the mountain of Xochiquetzal is a special variant of the war symbol with an ocelot leaping over the crossed arrows and shield symbol. A date appears at the foot of the hill and another at the top. To the left at the top of the hill, three of the four chiefs make fire before a pyramid upon which is enthroned their sacred relic bundle of Quetzalcoatl. The horizontal fire stick is held by two of them while the third one (10 Calli) makes fire with the vertical stick. The spear of lordship is no longer held by him but by 13 Cuetzpalin who descends from the path of stars and flint knives, carrying on his back the black masked image of the god Ce Ocelotl. This is the last appearance of the four heroes in the roll. The interpretation of Burland is that: 'Their function has been completed. They have made the commanded linkage with the cave-demon, they have acquired the right to rule through the mysterious bundle of Quetzalcoatl, they have been the authorities when the rain god was present at the slaying of the ocelot-serpent, they have found how to sacrifice to the gods, and have enthroned Quetzalcoatl on the Hill of Xochiquetzal and made New Fire there, while at the same time renewing their contact, by means of his image from the night, with their tribal god Ce Ocelotl.' (Burland, 1995, pp. 19-20). To the right of the relic bundle are two warriors 7 Miquiztli and 7 Cuetzpalin who seem to have become chiefs of the tribe. Armed with shields and double edged maquahuitl they advance to war in Year 3 Calli, day 2 Ehecatl. Their victims, lying in various positions, could be mythological, but of the two who could be deities, only one has the proper calendrical name. They could also represent tribes in the four directions around the Hill of Xochiquetzal. As they have calendrical names, they probably are actual chiefs who were captured and sacrificed. The two-faced one is 2 Cipactli, the twisted stone man is called 7 Quauhtli (this tribe is often shown at war with the Mixtecs in other codices), and the man with the skull-mask is 9 Malinalli. A fourth one lies further to the right (see view 7). At the bottom right of this view is a war chief (10 Cipactli) holding a prisoner dressed for the gladiatorial sacrifice on the temalacatl supports one side of a frame (see view 7 for rest of the scene)."}],"startCanvas":"https://iiif.bodleian.ox.ac.uk/iiif/canvas/968d6281-7fcc-43ff-87da-fb02cdac8a9b.json"},{"@id":"https://iiif.bodleian.ox.ac.uk/iiif/range/75a8f3db-69d3-4bef-bfc5-c61a55562114/LOG_0007","@type":"sc:Range","label":"view 7: Footprints disappear in this section, and mountains and temples form like a map. A fourth victim of the two warriors (see view 6) lies upside down...","canvases":["https://iiif.bodleian.ox.ac.uk/iiif/canvas/b1ad484f-4948-4df3-8083-60ea3ef97513.json"],"metadata":[{"label":"Image Range","value":"view 7"},{"label":"Description","value":"Footprints disappear in this section, and mountains and temples form like a map. A fourth victim of the two warriors (see view 6) lies upside down in the upper part of this view. He is called 9 and his day-name is missing, presumably because he wears it as his mask: 9 Ehecatl, Quetzalcoatl himself. This may be a priest or a local chief, Burland is against identifying him as one of the great Quetzacoatls of Tula (see Burland, 1955, p. 20). There is no sign that he is dead or sacrificed. Beside him is a small hill ('Drum Hill'?) and a small lake underneath, below to the left is cleft-topped hill containing an eagle ('Eagle Hill'?). Further to the right is the vertical tail end of a rugged mountain range. In the lower part of this section, two war chiefs (10 Cipactli and Ce Ocelotl who wears the nose-jewel), each holding a prisoner dressed for the gladiatorial sacrifice of the temalacatl, support a wooden frame raised in a ball-court (for the left hand-side chief and his prisoner, see view 6). A figure dressed in monkey costume (probably the equivalent of the Maya god of the North Star) is rotating on a specially pivoted frame. This may be a ceremony in honour of the North Star, the pivot of the heavens. The prisoners wear a costume referring to the Cipactli, the alligator-like earth monster, with plumes symbolising its divinity. To the right of this scene is the monkey-like figure lying in an enclosure, which may be a petate. There is no evidence that there has been a sacrifice. However, above him is another lying figure in the same position, an unnamed prisoner being sacrificed by the Priestess 13 Cipactli, who raises his heart in her hand. She stands beside a hill marked with the calendrical name Ehecatl, Quetzalcoatl. The top of this hill looks like a sacrificial stone. In the upper right corner of the roll is a Death temple (judging from the skull pattern), while in the lower right corner is another temple decorated with sun ray and jewel symbols. These are probably the temples of Mictlantecuhtli and Tonatiuh. The paper broke at a fold here and the rest of the document is lost."}],"startCanvas":"https://iiif.bodleian.ox.ac.uk/iiif/canvas/b1ad484f-4948-4df3-8083-60ea3ef97513.json"}]}