Coggins considers her to have been a historical figure portrayed as a powerful warrior and priestess, as well as a goddess, in the Mixtec codices.
The artifacts are too small for actual textile production and, unlike corresponding full-scale tools, many of them feature carvings of deities pictured in the Mixtec codices, they say.
Goddesses portrayed in the Mixtec codices often wear costumes that incorporate spinning and weaving tools, they add.
Eberhard Arnold's survey of relevant codices located in North America in the 1930s suggests there may be more than 190.
The descriptions will allow researchers to select specific codices or repositories according to their particular needs.
Another obvious strength of this work is the inclusion of numerous references to secondary sources related to various codices and texts.
What is interesting about her observation and the above classification is that several other Aztec cartographic histories use this combination of itinerary and geographic space, as indeed some Mixtec codices do as well.
Elizabeth Boone focuses on codices that are primarily historical in nature.
The Coptic Gnostic Library includes not only the Nag Hammadi tractates, but also the contents of three additional codices, the Papyrus Berolinensis 8502, the Askew codex, and the Bruce codex, all known prior to 1945.
Codex VII, the best preserved of the Nag Hammadi codices, contains five separate tractates: the Paraphrase of Shem, the Second Treatise of the Great Seth, the Apocalypse of Peter, the Teachings of Silvanus and the Three Steles of Seth.
