Exhibit curated and designed by Katiana Bagué, under the supervision of Margarita Vargas-Betancourt.
Map from Donación de un pedazo de tierra que hacen los indios de Zacualpan a Francisco de Solís, su encomendero. Incluye la venta que el convento de Zacualpan hizo a Francisco de Solís y auto y recaudos de la congregación adjudicada a Francisco de Solís. 1590.
George A. Smathers Libraries, University of Florida
(Click on image to see the enlarged digital reproduction)
This map describes a transaction where land was donated by the indigenous people of Zacualpan to their patron or landowner Francisco de Solís. Interestingly, while the first parts of the document’s text are written in Spanish, other parts are written in Nahuatl, the indigenous language of the Aztecs. This could be an indication that both the Spanish officials and the indigenous people involved contributed to the document. Therefore, it could be just as likely that this map was done by an indigenous hand. The land is represented as a geometric space, with streets bordering it, and the cardinal directions indicated on the page’s sides. The artist also included small drawings of trees and what appears to be a house structure.
Map from Testimonio de los autos de inventarios de don Nicolás de Icazbalzeta hechos ante el señor coronel del regimiento. 1807.
George A. Smathers Libraries, University of Florida
(Click on image to see the enlarged digital reproduction)
This map is quite different from the previous one. While the previous map recognized features such as trees and structures, this map uses only line and text to represent space. The artist is primarily concerned with the space of the hacienda, and not necessarily with the geographical and land features that could be associated with it. Text also plays an interesting role it is used to help indicate size and importance. For example, the title of the hacienda, found at the map’s center, is rendered is large text compared to the other names of places and towns surrounding it. The hacienda is therefore interpreted in this map as a significant and valuable property in relation to the other parts of the area.
Map from Testimonio de los autos de inventarios de don Nicolás de Icazbalzeta hechos ante el señor coronel del regimiento. 1807.
George A. Smathers Libraries, University of Florida
(Click on image to see the enlarged digital reproduction)
This map and the previous one, come from the same document that outlines the inventory of Nicolás de Icazbalzeta’s land and properties. Icazbalzeta took ownership of the two haciendas of Santa Clara Montefalco and Santa Ana de Tenango in 1770 and is one of the ancestors of Luis García Pimentel. Icazbalzeta married his niece, Ramona Antonia de Musitu y Zalvide, and together they had three children, Maria Josefa, Ana Ramona, and Nicolás Fernando. Their names are mentioned throughout the document, since they inherited the land when their father died. Contrasting the Codex Reese, this document uses text to express legal ownership, while the indigenous Codex expresses it with imagery. The imagery of the maps is used to emphasize the text’s declaration of ownership.
Map from Autos establecidos entre los dueños de las Haciendas Santa Ana Tenango y Santa Clara de Montefalco. 1823.
George A. Smathers Libraries, University of Florida
(Click on image to see the enlarged digital reproduction)
This document brings forth established decrees between the hacienda owners of Santa Ana Tenango and Santa Clara de Montefalco. The included map included is unique in its depictions of nature, representation of geographical features, including a volcano, and the use of color. Moreover, parts of this map seem to be illustrated with watercolors. The map also points out significant towns and landmarks with number labels and a key. For example, close to the center of the map, one finds a small drawing of a cathedral with small squares around it. The number thirteen is written beside it and the key at the bottom of the page indicates that it is a representation of the “Pueblo de Tetela del Volcan." This map is clearly not a representation of reality, but it does show the artist’s thoughts about land. Similar to the Codex Resse, importance is placed on plants and bodies of water rather than on space and property.
Mapa o plano que describe las cañadas, barrancas, y ríos ubicados en las cercanías de la Hacienda de Tenango y los pueblos de Teotlalco, Tlayehualco y Tenango. n.d. George A. Smathers Libraries, University of Florida
(Click on image to see the enlarged digital reproduction)
The format of this map is unique compared to the other maps exhibited. The map depicts some of the canyons, ravines, and rivers surrounding the Hacienda of Santa Ana de Tenango. The artist demonstrates the details of these land features through this three dimensional drawing. Ink outlines the elevations and crevices of the land formations, while pencil is used to add texture, shading and depth. Furthermore, the viewer is given an interesting perspective or bird’s eye view of the land. If one compares this map to the previous one there is a similar “land stacking” design. However, in this image, the artist has a better grasp on perspective techniques. On the other hand, the artist in this case did not include color or pictorial representations of plants and nature.
Map from Testimonio de la escritura de transacción, sobre límites de terrenos, otorgada por el Sr. Lic. Pedro Robles. 1883.
George A. Smathers Libraries, University of Florida
(Click on image to see the enlarged digital reproduction)
This map, like the previous one, highlights details of nature and geography. However, it appears more westernized. The work is done mostly in pencil and colored pencil, as seen with the gray curving lines that assimilate the texture of land and thick blue line that represents the Papayo River. The document is interesting in how it discusses land properties. It mentions the company of “García Icazbalceta Hermanos”, established by Don Joaquin García Icazbalceta, father of Luis García Pimentel, and it presents the negotiations of land boundaries between the company’s hacienda and the town of Tzicatlán in the state of Puebla. Furthermore, one of the negotiations was to establish a “línea recta” or straight line as the divider between the land properties, in order to eliminate future disputes. This document and map reveal how these individuals regarded the land, as a space easily divisible by straight lines.
Map from Testimonio de varios documentos y un plano relativos al Repartimiento General de las aguas del Rio de Amatzinac. 1898. George A. Smathers Libraries, University of Florida
(Click on image to see the enlarged digital reproduction)
The main feature of this map is the Amatzinac River that flows through the Mexican states of Morelos and Puebla. The document’s text discusses the distribution of water from the river among the towns in Morelos. The work itself shows the body of water as a thick blue line that curves through the center of the page. Thin blue lines branch out from the central one to show the various water outlets that flow towards each of the distinct towns. Each of the towns are labeled in text and small cube drawings surround it to represent its buildings and structures. As the water distribution is the main topic of the document, the map numbers and labels the “cajas” or dams of certain towns. Thus, this map demonstrates that bodies of water were also, like physical land, thought of as spaces for ownership and division.
Map from Escritura de adjudicación del potrero llamado Cuautzingo ubicado en la Municipalidad de Ocuituco. 1899.
George A. Smathers Libraries, University of Florida
(Click on image to see the enlarged digital reproduction)
This map is part of a twenty-nine page document that goes over the allocation of a “potrero” or a pastureland titled Cuautzingo located in the state of Morelos. This type of work is known as a topographic map and, with the use of contour lines, it shows and represents the points of elevation of the land. Labels rendered in black ink point out the distinct geographical formations of the land. Additionally, black lines at the top of the map connect to form a triangle to indicate the divisions and land properties of individuals in the area. Red lines are also seen and seem to outline significant land areas. The artist emphasized the land’s elevation and height, as well as its naturally made features
while indicating land ownership with the drawing’s points and lines.
