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Codex Boturini

The Codex Boturini, also known as the Tira de la Peregrinación (Strip of the Pilgrimage), is a 16th-century Aztec pictorial manuscript that documents the migration of the Mexica people from their legendary origin point of Aztlan to the Valley of Mexico, where they eventually founded Tenochtitlan.^[1]^[2] Created anonymously by Nahua artist-scribes (tlacuiloque) between 1530 and 1541, shortly after the Spanish conquest of 1519–1521, the codex employs the traditional Mesoamerican pictographic writing system to narrate this journey as a continuous historical annal.^[2]^[3] It is painted on a long strip of amatl (fig bark paper) measuring 5.49 meters in length and 19 centimeters in height, divided into 22 unfinished panels using black ink for images and red-tinted ink to denote dates in the Aztec calendar.^[2] The content traces the Mexica's 200-year pilgrimage, guided by their patron deity Huitzilopochtli, through nearly 30 settlements, beginning in the year 1 Flint (scholarly dated to A.D. 1168) and marking key events such as conflicts, leadership changes, and geographic landmarks like the island of Aztlan and the hill of Chapultepec, symbolized by a grasshopper.^[1]^[2] The manuscript's narrative abruptly ends before depicting the actual establishment of Tenochtitlan, possibly due to the creator's interruption, and it reflects post-conquest Nahua efforts to preserve indigenous identity and history amid colonial pressures.^[2] Named for Lorenzo Boturini Benaducci, the 18th-century Italian antiquarian who collected it as part of his efforts to document New Spain's indigenous heritage, the codex was exhibited in London in 1824–1826 before returning to Mexico, where it was held at the Museo Nacional de Antropología since 1871; in November 2025, Mexico announced a temporary loan to France for exhibition.^[2]^[4]^[5] It was digitized by the Instituto Nacional de Antropología e Historia (INAH) in 2015, making it accessible online.^[2] As one of the earliest surviving examples of pre-Hispanic codex style produced by Native elites, it provides essential insights into Mexica cosmovision, migration geography, and the resilience of Nahua pictorial traditions.^[3]^[4]

Nomenclature and Significance

Alternative Names

The Codex Boturini derives its primary name from Lorenzo Boturini Benaducci, an 18th-century Italian scholar and collector of Mesoamerican artifacts who acquired the manuscript during his time in New Spain.^[2] This designation became standard in scholarly literature following Boturini's documentation of his collection in the mid-1700s.^[6] A widely used alternative name is Tira de la Peregrinación, which translates to "Strip of the Pilgrimage" and highlights the codex's format as a long, unfolded narrative depicting the migratory journey of the Mexica people.^[7] This title emphasizes both the physical structure of the document and its central theme of migration over approximately 200 years from Aztlán to Tenochtitlan.^[8] Other historical designations include Tira de la Peregrinación de los Mexica, which specifies the focus on the Mexica (also known as Aztecs) and their foundational odyssey, underscoring the ethnic and historical specificity in Mesoamerican studies.^[9] In Mesoamerican codicology, the term "tira" refers to a type of pictorial manuscript painted on a narrow, elongated strip of amate paper or hide, often unfolded for sequential reading, distinguishing it from folded screenfolds or bound volumes.^[10]^[11]

Cultural and Historical Importance

The Codex Boturini serves as a vital pictorial representation of the Mexica migration myth, encapsulating the foundational Aztec origin story of their departure from Aztlán toward the eventual establishment of Tenochtitlan in 1325 CE, though the narrative ends abruptly before depicting the founding itself, thereby legitimizing their imperial claims and cultural identity.^[12] This narrative, preserved in indigenous pictographic form, links the Mexica's historical journey to their political legitimacy in the Basin of Mexico, emphasizing divine mandates and communal endurance over two centuries.^[13] As one of the few surviving pictorial codices that depict post-classic Mesoamerican migrations spanning approximately 1168 to 1325 CE, the Codex Boturini offers unparalleled primary source material for reconstructing pre-Columbian Mexica history and societal organization.^[14] Unlike alphabetic chronicles, its visual storytelling format maintains the oral traditions of the Mexica, providing insights into their tribal alliances, territorial movements, and ritual observances without European mediation.^[12] The codex significantly enhances understanding of Aztec cosmology by illustrating Huitzilopochtli's role as the divine guide and protector during the migration, portraying the journey within a cyclical cosmic framework that integrates historical events with religious imperatives.^[3] This depiction underscores the god's centrality in Mexica worldview, where the migration embodies a sacred pilgrimage ordained by celestial forces, influencing later Aztec rituals and imperial ideology.^[13] Created in the early 16th century shortly after the Spanish conquest, the Codex Boturini exemplifies indigenous resistance to cultural erasure by employing pre-Hispanic visual conventions to safeguard native histories against colonial suppression.^[12] Native and mestizo artists persisted in this medium to assert Mexica identity and autonomy, transforming oral epics into enduring artifacts that countered Spanish efforts to overwrite indigenous narratives.^[15] In November 2025, Mexico agreed to loan the codex to France for temporary display, further highlighting its enduring international cultural value.^[16]

Physical Characteristics

Materials and Dimensions

The Codex Boturini is crafted from a single continuous sheet of amate paper, a traditional Mesoamerican writing material produced from the inner bark of fig trees (Ficus spp.). This sheet measures 549 cm in length and 19 cm in height, forming the base for the codex's narrative illustrations.^[17]^[18]^[19]^[2] The paper is folded in an accordion-style screenfold format, typical of pre-Hispanic Mesoamerican codices, resulting in 22 leaves or panels, each approximately 25 cm wide when unfolded. This structure allows the codex to be compactly stored or fully extended to reveal the sequential migration story. The obverse side of the amate is coated with gesso—a lime-based plaster—to create a smooth, prepared surface suitable for painting.^[17] Currently, the codex comprises 22 extant panels, though evidence suggests that some final folios were possibly lost during its tumultuous history in the 19th century, prior to its return to Mexico.^[1]

Inks, Glosses, and Condition

The Codex Boturini features a distinctive use of inks that reflect its unfinished production process. Initial draft lines were sketched in pale black ink, while the primary figures and glyphs were finalized with bolder black outlines to emphasize key elements of the migration narrative. Red ink, possibly derived from cochineal extract, was applied selectively to denote date glyphs and as connecting lines between sequential events, serving as chronological markers in the pictorial sequence.^[20] Post-creation annotations consist of 24 glosses in the Nahuatl language, written in faded sepia ink and added likely during the 16th century to provide explanatory labels for ambiguous scenes, such as place names and descriptive phrases. These glosses, not integrated into the original composition, appear sporadically and enhance readability for later audiences familiar with both pictorial and alphabetic systems. The codex remains in an unfinished state, with red ink applications limited to outlines and no further coloration or detailing beyond basic black forms, indicating an abrupt halt in its elaboration. Its current condition is fragile, marked by age-related fading, visible creases from its original accordion folding, the loss of final folios due to 19th-century damage, and gold paint added to the edges at some point in its history. Since the 19th century, it has been preserved in a controlled environment at the Museo Nacional de Antropología in Mexico City, with limited exhibition to prevent further deterioration and digital reproductions made available for study.

Creation and Manufacture

Techniques and Processes

The Codex Boturini was assembled from individual sheets of amate paper, a traditional Mesoamerican medium derived from the inner bark of wild fig trees such as Ficus padifolia. These sheets were joined end-to-end to form a continuous screenfold strip approximately 549 cm long, using a natural adhesive made from the roots of plants in the Orchidaceae family combined with sap from the guanacaste tree (Enterolobium cyclocarpum) to create strong, flexible seams. To prepare the surface for painting, the tlacuilo applied a layer of gesso exclusively to the obverse side of the assembled strip, consisting of a mixture of calcium sulfate and carbonate that provided a smooth, absorbent base while filling imperfections and allowing for corrections. This selective application on one side only reflects practical adaptations in postconquest production, ensuring the reverse remained untreated for potential folding or storage durability. The illustration process followed a methodical sequence typical of indigenous scribal practices. The tlacuilo began with initial sketches across the entire codex using pale black ink to outline the narrative elements, including glyphs, figures, and date cartouches. These preliminary lines were then reinforced with bolder black outlines to define forms and enhance visibility, while symbolic red accents were added to connect chronological elements, such as linking year symbols to migration events, thereby emphasizing the continuous temporal flow of the Mexica journey. Evidence of erasures and adjustments, such as scraped areas under glyphs on folios 8–11 and 16, indicates an iterative refinement during drafting, underscoring the precision required in this labor-intensive medium. The consistent hand throughout—marked by uniform figure proportions, even line quality, and shared stylistic motifs—points to single-handed production by a skilled tlacuilo, embodying the venerable tradition of Mesoamerican painter-scribes who integrated pictorial narrative with historical record-keeping.

Authorship and Dating

The Codex Boturini is attributed to a single anonymous tlacuilo (Nahuatl painter-scribe) working in the Basin of Mexico during the early 16th century. This attribution stems from the codex's stylistic consistency, suggesting the work of one skilled indigenous artist familiar with pre-Hispanic pictorial conventions, though no individual creator is named in historical records or the manuscript itself.^[3] The dating of the codex remains debated among scholars, with proposals ranging from pre-Conquest (before 1519) to early post-Conquest (approximately 1530–1540). Advocates for a pre-Conquest origin point to the absence of overt European stylistic elements and the use of traditional materials like amatl paper, aligning it with indigenous manuscript practices prior to Spanish contact. In contrast, those favoring a post-Conquest date highlight the addition of Nahuatl glosses in sepia ink—there are 24 such glosses, added post-manufacture in faded sepia ink, mostly identifying place names—which may reflect colonial-era annotation practices, and subtle European influences in certain motifs.^[21] Key evidence includes the codex's iconography, which closely matches pre-Hispanic traditions seen in other Mexica pictorial histories, such as the sequential depiction of migration events without Christian symbolism.^[3] However, its unfinished nature—abruptly ending mid-narrative during a depiction of warfare between Colhuacan and Xochimilco—may result from the creator's inability to complete it or later loss of folios, rather than events of the Conquest.^[22] The later addition of explanatory glosses further supports a post-Conquest completion or revision.^[21] No definitive chemical or radiocarbon dating has been performed on the codex, leaving scholars reliant on stylistic comparisons to related manuscripts like the Codex Azcatitlan and Codex Aubin, as well as analysis of its material qualities and historical context. These comparisons reinforce the early 16th-century timeframe but do not resolve the pre- versus post-Conquest question conclusively.

Provenance

Early Ownership and Boturini's Collection

The Codex Boturini was likely produced by indigenous artists in the early colonial period, shortly after the Spanish conquest of the Aztec Empire in 1521, with stylistic and material evidence placing its creation between approximately 1530 and 1541.^[2] This timing aligns with the post-conquest efforts of Nahua scribes to document pre-Hispanic histories using traditional pictographic techniques amid the disruptions of colonization.^[23] Little is known of its specific ownership in the intervening centuries, but the manuscript appears to have circulated within indigenous and early colonial networks in Mexico City, the capital of New Spain, where such codices were preserved by native elites and Franciscan institutions before entering European collector circles in the eighteenth century.^[24] In 1736, the codex came into the possession of Lorenzo Boturini Benaduci, an Italian scholar from Milan who arrived in New Spain motivated by a scholarly interest in the region's indigenous past and a desire to compile comprehensive historical records.^[25] Between 1736 and 1743, Boturini actively acquired the manuscript as part of his extensive collection of over 30 native codices, pictorial documents, and artifacts, which he intended to form the foundation of a proposed historical museum or academy dedicated to Mexican antiquities and a grand narrative of North American history titled Historia de América Septentrional.^[25] His efforts focused on sourcing materials from indigenous communities, convents, and private holders in central Mexico, emphasizing the preservation of pre- and post-conquest narratives against the backdrop of colonial erasure.^[26] Boturini's ambitions were curtailed in 1743 when colonial authorities, suspicious of his unauthorized excavations and collections, arrested him on charges of lacking proper permissions from the viceregal council.^[27] The arrest led to the temporary confiscation of his entire collection, including the Codex Boturini, by Viceroy Pedro Cebrián y Agustín, with the items deposited in the viceroy's secretariat for inventory and review.^[25] While Boturini was eventually exonerated and allowed to catalog his holdings from prison, the seizure marked a pivotal disruption in the codex's early modern trajectory, highlighting the tensions between European antiquarianism and Spanish colonial control over indigenous heritage.^[6]

19th-Century Exhibitions and Return to Mexico

Following Lorenzo Boturini's expulsion from Mexico in 1746, the Codex Boturini remained in Mexico as part of his dispersed collection after confiscation by viceregal authorities. The manuscript remained in Mexico until the early 19th century, when it was acquired by British naturalist and collector William Bullock during his 1823 expedition to the country. Bullock transported the codex to London, where it was exhibited from April 1824 to September 1825 as a highlight of his "Ancient and Modern Mexico" display at the Egyptian Hall in Piccadilly, alongside other Mesoamerican artifacts, manuscripts, and panoramic paintings by Agostino Aglio. The exhibition drew over 60,000 visitors and introduced European audiences to the codex's pictographic narrative of Mexica migration, though scholars suggest that some folios may have been lost or detached during this period, contributing to the manuscript's incomplete state today.^[4] Despite selling much of his Mexican collection to the British Museum in 1825, Bullock honored an agreement with Mexican officials and personally returned the Codex Boturini to Mexico in 1826, ensuring its repatriation rather than permanent export. The manuscript then entered Mexican institutional hands, where it was documented in inventories of national antiquities during the mid-19th century. By the 1860s, it had been formally integrated into Mexico's emerging national collections, housed initially in the National Library and later transferred to the National Museum of Anthropology, safeguarding it as a key artifact of indigenous heritage amid the country's post-independence cultural revival.^[4]^[28]

Modern Preservation and Access

The Codex Boturini has been housed at Mexico's National Museum of Anthropology in Mexico City since the museum's opening in 1964, where it is cataloged as Manuscript 35-38. The institution plays a central role in the preservation of Aztec artifacts, providing controlled environmental conditions to protect the codex's fragile amate paper and screenfold structure from further deterioration.^[29] Following damages sustained between 1804 and 1824, which affected portions of the manuscript including its folds and some inks, conservation efforts by the National Institute of Anthropology and History (INAH) have included stabilization treatments to secure the accordion-style binding and reinforce the organic pigments and carbon-based inks, ensuring the codex's structural integrity for ongoing study and display. In 2015, INAH digitized the codex, producing high-resolution scans that enable public access to its pictographic content without physical handling, available through the institute's official online platform.^[30] This digital initiative facilitates scholarly analysis and broader educational outreach while minimizing wear on the original artifact.^[31] Recent material analyses, such as a 2019 study of Aztec codex fragments in Berlin's ethnographic collections—originally part of Lorenzo Boturini's 18th-century acquisitions—have identified shared pigments like cochineal and carbon inks, as well as amate paper characteristics, offering comparative insights into the Codex Boturini's production techniques and authenticity that refine interpretations of its early colonial context.^[32]

Narrative Content

Migration Journey from Aztlán

The Codex Boturini chronicles the Mexica migration from their mythical homeland of Aztlán, located in northern Mexico, to the Valley of Mexico, spanning from the Aztec calendar year 1 Flint (corresponding to A.D. 1168) until around 1303 in the early 14th century.^[1]^[33]^[34] The journey is depicted under the divine guidance of Huitzilopochtli, beginning with a semi-divine couple, including the goddess Chimalma and an unnamed male figure, carrying sacred bundles representing the god.^[35]^[36] Under Huitzilopochtli's divine guidance, conveyed through prophetic commands and symbols, the Mexica advance southward in search of their destined homeland.^[1] The narrative unfolds chronologically across 22 panels on a continuous strip of amate bark paper, with footprints symbolizing the direction and duration of travel, red lines linking successive sites, and tonal date glyphs (e.g., 1 Flint) anchoring key temporal markers.^[1]^[36] The codex illustrates stops at nearly 30 settlements during this odyssey, among them Culhuacan (a late-stage refuge near the Valley of Mexico).^[1]^[33]

Key Events, Symbols, and Rituals

The Codex Boturini prominently features human sacrifices as a pivotal ritual to secure divine favor during the Mexica migration, often depicted with victims positioned on plants or altars and streams of blood emphasizing the life force offered to Huitzilopochtli. These acts, introduced early in the narrative on folio 4, mark the Mexica's transformation into a warrior people under the god's command, with victims shown in animal-skin attire and entrails sometimes placed in water to symbolize renewal. A central ritual illustrated is the New Fire Ceremony, performed every 52 years to renew the cosmic cycle and avert catastrophe, depicted on folio 6 with a fire drill at the heart of a Reed year glyph bound by a knotted rope representing the "binding of the years." This event, occurring early in the migration in the year 2 Reed, underscores Huitzilopochtli's role in guiding the migrants through temporal renewal, with flames and the eagle carrying fire tools symbolizing divine intervention and survival.^[37] The invention of pulque, a fermented maguey drink central to Mexica identity, is shown on folio 13 at Cohuatitlan, where a figure pierces the plant's heart to extract juice for fermentation, accompanied by motifs of rabbits linked to the "400 Rabbits" deities of pulque and intoxication. This scene highlights the adoption of Chalco cultural practices during the journey, portraying pulque production as a ritual of sustenance and communal bonding, with vessels and consuming figures emphasizing its sacred consumption.^[38] The codex concludes abruptly on its final folio amid a war between Colhuacan and Xochimilco, showing two Mexica warriors departing with obsidian blades and bags to collect noses from 8,000 slain enemies as proof of victory for Colhuacan ruler Coxcoxtli, without resolution or damage to the manuscript suggesting an intentional or interrupted composition.^[39] Symbolic elements recur throughout, including star bundles or tlaquimilolli—sacred packages carried by god-bearers like Chimalma from Aztlan—representing Huitzilopochtli's presence and guidance, often adorned with arrows, bows, and hummingbird motifs to invoke the deity's protection. Temple constructions at migration stops, such as provisional altars for sacrifices at Tizaapan or structures at Tlatelolco with workers hauling stones, symbolize the Mexica's persistent devotion and territorial claims, reinforcing their divine mandate through built sacred spaces.

Scholarly Interpretations

The Codex Boturini shares a detailed itinerary of the Mexica migration with the Codex Aubin, including key stops and chronological markers, though discrepancies exist in the exact years for several events, such as the departure from Aztlán marked as 1 Flint in the Boturini but shifted by one year in the Aubin for subsequent sites like Atotonilco. Both codices employ similar pictographic conventions to narrate the journey, reflecting a shared emphasis on the Mexica's divine guidance from Aztlán. In comparison to the Codex Mexicanus, the Boturini exhibits notable stylistic parallels, including recurring footprint motifs to indicate movement and progression along the migration path, red ink lines connecting date glyphs to events for temporal sequencing, and a focus on divine departures, such as the initial exodus led by Huitzilopochtli. These elements underscore a common visual language among early colonial Nahua manuscripts for recording historical and mythological narratives. The Codex Boturini contrasts with the Codex Azcatitlan in artistic approach, maintaining a more traditional pre-Hispanic style with fluid, indigenous pictography and minimal European influence, whereas the Azcatitlan incorporates collaborative elements like alphabetic annotations and hybrid iconography reflective of colonial interactions. This distinction highlights varying degrees of cultural adaptation in post-conquest manuscript production. Collectively, the Codex Boturini belongs to the "migration codices" tradition alongside the Aubin, Azcatitlan, and Mexicanus, which together preserve fragmented accounts of Mexica origins and journeys, enabling scholars to reconstruct aspects of pre-colonial Aztec histories otherwise lost to conquest-era disruptions.

Unresolved Questions and Recent Studies

The Codex Boturini is dated to the early post-conquest period (ca. 1530–1541) based on stylistic analysis, historical context, and comparisons to related manuscripts, though no chemical analysis of its gesso or inks has been conducted. While the exact year remains uncertain, scholarly consensus places its production after the Spanish conquest of 1521, with material examinations aligning with early colonial techniques. Advanced testing, such as radiocarbon dating or pigment spectroscopy—as applied to comparable Aztec codex fragments in a 2019 Berlin study—could provide further precision but has not yet been performed on the Boturini.^[32] The codex's incomplete state, due to lost folios in the early 19th century, fuels ongoing discussions about its narrative wholeness, particularly the absence of depictions of Tenochtitlan's founding, which abruptly halts the migration account. These missing sections, referenced in colonial indexes from New Spain, likely included critical events in Mexica settlement, complicating reconstructions of the full historical sequence and prompting speculation on how their omission affects interpretations of Aztec origins. In March 2024, Mexican authorities recovered the three Codices of San Andrés Tetepilco (dating to the late 16th to early 17th century), which are believed to continue the Boturini narrative by depicting the arrival and founding of Tenochtitlan, offering potential resolution to this gap.^[40] Recent scholarship has advanced understanding through comparative analyses, notably Angela Herren Rajagopalan's 2019 book Portraying the Aztec Past: The Codices Boturini, Azcatitlan, and Aubin, which examines iconographic developments across these manuscripts to trace post-Conquest adaptations in visual storytelling. Complementing this, a 2019 material study of fragmented Aztec codices in Berlin confirmed the use of indigenous amate paper sourced from bark, reinforcing connections to pre-Hispanic techniques while highlighting regional sourcing variations in colonial-era productions.^[32] Interpretive difficulties persist regarding the 24 Nahuatl glosses added post-manufacture in faded sepia ink, which may have reframed indigenous symbols to resonate with colonial Spanish audiences, potentially overlaying Christian or administrative interpretations on original meanings. These annotations, analyzed for legibility and intent, underscore challenges in distinguishing native intent from later modifications, especially when compared briefly to the Aubin Codex's varying date emphases that highlight similar chronological discrepancies.^[24]

References

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