PLace-names in mexico-TenochTiTLan • 155themselves as belonging to one of the four parcialidades, as
their symbol alone is set at the head of the page. Instead,
it is the goods delivered, and again not paid for, that are
connected with lines to the symbols of three of the four
parcialidades (a facing page is incomplete because here
we would expect the arrow of San Sebastián). In other
words, the self-identifying marks of painters and sculptors
are not linked to these particular Christian symbols of the
parcialidades, where they may have resided, whereas the
tribute delivered is.
These corporate identifications expressed by the icons
of sculptors and painters—where native craftsmen and
-women felt a sense of collective unity—had deep roots,
and such social groups had many opportunities to main-
tain their strength in the colonial city. Sahagún’s Floren-
tine Codex tells us that the practitioners of certain crafts,
like goldworkers and featherworkers, lived together in
certain neighborhoods in the pre-Hispanic city and
shared in the worship of a particular cult deity, with the
goldworkers worshipping Xipe Totec, the featherworkersfiguRe 7.10. Unknown creator,
tribute paid by the painters of Mexico-
Tenochtitlan, Genaro García 30,
fol. 10v, ca. 1553–1554. Nettie Lee
Benson Latin American Collection,
University of Texas Libraries,
University of Texas at Austin.