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51 I n the early fifteenth century, war broke out between the Tepaneca, the reigning power in Central Mexico, whose capital was at Azcapotzalco, and many of their subject cities. Clearly, this was a major event in Valley of Mexico politics for it receives a great deal of attention in many Aztec histories , in which the Tenochca stand out as the major combatants in the ensuing Tepanec War. However, it is unclear whether or not they had help, and if so, who their principal allies were; accounts vary depending on the local bias of the source. It is no surprise, then, that the account of the Tepanec War in the Tira emphasizes Tepechpan’s role in the battle, which is not mentioned in any other sources. Azcapotzalco was eventually conquered, after which Tenochtitlan emerged as the leading imperial power in much of Central Mexico and beyond. At this point in his history, Painter A’s agenda appears to have shifted somewhat to emphasize Tepechpan’s relationship to Tenochtitlan. I suspect this shift was an attempt to place Tepechpan in the role of principal ally of the Mexica. In this regard, Painter A’s history is similar to that of other Central Mexican cities, especially Texcoco, which is traditionally accepted as Tenochtitlan’s principal ally. The remainder of Painter A’s imperial history focuses on the dynastic successions of Tepechpan and Tenochtitlan, respectively. His dynastic account continues to communicate the sacred nature of rule for the Tepechpan tlatoque, especially through their association with the calendar. Moreover, he adds only a few historic events concerningTepechpan, and none dealing with Tenochtitlan. Though minimal, these added details emphasize the continued autonomy and political power of Tepechpan while also communicating its acceptance of Mexica hegemony. THE TEPANEC WAR The representation of the Tepanec War is one of the most complicated sections in the Tira (plate 9). Under the year 4 Reed (1431), Painter A painted the place glyph of Azcapotzalco (Ant Heap), and below this, he drew a shield over an obsidian club, an ideogram that signifies war. This glyph is attached to a speech scroll issuing from the mouth of the Mexica ruler Itzcoatl (Obsidian Snake), who had just been seated in power in 1 Flint (1428). In short, Itzcoatl declared war on Azcapotzalco in 4 Reed. Under the shield is a representation of Maxtla (Loincloth), who is marked as the ruler of Azcapotzalco by his turquoise diadem, white mantle, and woven reed throne. Footprints from Maxtla lead to the left, back in time, and carry the action to the upper Tepechpan register, where they end at a representation of four figures, all named hieroglyphically and marked as Tepaneca .1 Because the footprints originate with Maxtla, the interlopers must have been sent on his orders. They also wear distinctive headdresses, which in the Primeros memoriales (Sahagún 1993:262r) are worn by the god Otontecuhtli, who is specifically associated with the Tepaneca (Noguez 1978, 1:79). Furthermore, these men carry tobacco gourds marked with stone glyphs (te-tl) that 4. Imperial History 52 the tira de tePechPaN may act as phonetic indicators again identifying these men as Tepaneca. Although their ethnicity is clear, the men are not so obviously marked as warriors, for they wear only loincloths, and the tobacco gourds they carry are more commonly associated with priests (Boone 2000:202). Perhaps Painter A wished to communicate that these soldiers came in disguise. Nonetheless, their mission is clear: three of the men carry clubs, and one actively beats Tencoyotzin, who lies prone with blood coming from his face. Tencoyotzin wears only a loincloth, indicating his defeated status, as does his awkward pose. The fourth invader carries a rope, presumably to bind Tencoyotzin for capture and sacrifice, though his closed eyes already indicate his death, as does the associated year disk, which changes from blue to red. Quaquauhtzin (Wooden Staff), next in line to the throne of Tepechpan, stands beside the dead Tencoyotzin. His bare head reveals that he was not yet an official ruler, presumably because he was forced to flee after his predecessor’s death. Indeed, footprints lead from him to a place glyph of a hill with superimposed flint knives over the sign for “preciousness,” or chalchihuitl, perhaps reading “Tecpatepec Chalco.”2 Quaquauhtzin is shown again, seated, next to this place glyph, which indicates that he fled to this town and settled for a time.3 Quaquauhtzin still does not wear the xihuitzolli, and he is seated only on a small...

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