NEARLY A MONTH PASSED BEFORE ANNA received the preliminary report on the codex from the Fine Arts Experts Institute, an independent organisation, one of the world’s first private scientific centres dedicated to the expertise of artworks and cultural objects, and situated inside the Freeport’s zone. Its work covered the scientific authentication of paintings, sculptures, ceramics and other historical works using the most modern scientific techniques.
Anna reported to Pat Kennedy by video conference informing him of the report’s conclusions, which amongst many other things indicated the paper on which the codex was written was of European manufacturer and the radiocarbon dating indicated a date between 1570 and 1590, which corresponded to the period during which Friar Bernardino was alive and active. The cover of the codex was made from calfskin and dated from the same period.
Microscopic examination showed quill pens had been used for the execution of the texts and drawings, as for the ink it was analysed using polarized light microscopy which indicated it was composed of iron, sulphur, potassium, calcium and carbon with traces of other substances. The blue, white, red-brown and green paints of the manuscript were analysed using different techniques including scanning electron microscopy. The blue paint was composed of ground azurite with traces of copper oxide cuprite. The white paint was a mixture of egg white and calcium carbonate, whilst the green was composed of copper and copper-chlorine resinate as well as atacamite or other copper-chlorine compounds. The red-browns were red ochre composed of hematite and iron sulphide.
‘So what does all that mean,’ Pat asked.
‘Basically it was produced in Mexico at the time of Bernardino, which means it’s authentic, the paper, inks and pigments are very close to those used in the Florentine Codex, which points to it being produced by the same Franciscans.’
‘Is it part of Bernardino’s work?’
‘That I can’t say. Perhaps it was conceived as an addendum, an apothecary’s herbal pharmacopoeia of plants and cures known to the Aztecs, who knows?’
‘What about its contents?’
‘Jean-Yves’s team at Lifegen is still working on that, but from what he tells me his people have identified many of the plants.’
‘And the translation?’
‘I’ve got almost all the 16th century Spanish text converted to modern Spanish and the English version will be ready next week. The Nahuatl is going to take a little longer.’
‘Great Anna, good work. I’ll be over to Paris next week, if you can meet me there we can get together with Scott and Padraig.’
‘Yes, I’ll have finalised the initial commentaries by then.’
‘Excellent.’