Pictorial document on one single, large sheet of amate paper (composed of about 17 pieces that have been adhered together). There are 12 Nahuatl inscriptions in light black ink, oriented in various directions. The place name San Pedro Atlapolco occurs several times, which is why the document is believed to have originated in that community, and to record the foundation of its church. The drawing of ink and watercolor depicts a church under construction in the center of the community. Native men dressed in loose tunics, belted at the waist, carry loads of construction materials toward the building site. In front of the building, a friar is seated at a table with a pen and several pages of writing. Behind him, native nobles gesture in support, and in front native women kneel and form the audience. This document is part of the Techialoyan corpus, a group of pictorial documents produced by and for native communities in the State and Valley of Mexico, in the 18th century (see Diana Fane, ed., Converging Cultures: Art and Identity in Spanish America, New York: Brooklyn Museum in association with Harry N. Abrams, Inc. Publishers, 1996, p. 82-3).

In this drawing the warrior on horseback is attacking another on foot. The rider carries an eagle feather trimmed shield in his hand that has a center design of a lizard and phases of the moon on the rim. He wears a long eagle headdress. His horse's tail is tied and feathered for war. The figure on the ground turns back and fires his gun at the rider. The bullets can be seen flying beyond the horse's rump. He wears leggings and a loin cloth and carries a powder horn.

Two warriors are battling in this ledger drawing: the left side warrior carries a gun and wears long leggings, a vest and a cap with feathers. The rider on the right wears a short feathered headdress, long shirt, short leggings and tall moccasins. He has thrust a long lance towards his opponent. Even the horses butt heads during this battle. These drawings are done by tearing out paper from ledger books that were used by army and reservation post managers as a substitute for using hides- the traditional medium fro such drawingsfor offical art papers.

The battle scene on this ledger drawing is briefly as follows: The Warrior has been wounded in the chest and is bleeding from his mouth as he lies on the ground. He wears a full length eagle headdress with a non-native styled coat with buttons. His war lance lies alongside of him. His horse is also wounded in the side in front of the saddle and is bleeding from his nose. Five army men are attacking the warrior as they lay on the ground all firing you can see the bullets fly over the rear of the horse and the spurts from their guns. These drawings are done by tearing out paper from ledger books that were used by army and reservation post managers as a substitute for using hides- the traditional medium fro such drawingsfor offical art papers.

The reservation era of the late nineteenth and early twentieth centuries, when Native American tribes had ceded their land to the federal government and were confined to set aside tracts of land, created profound cultural changes for the Plains peoples. The masculine artistic tradition of painting warrior's exploits on hide shirts and robes declined but men continued to record their deeds and their changing way of life in paintings and drawings on canvas, muslin, and small notebooks, or ledger books. Many of these works memorialize individual achievements in hunting and warfare. Some ledger books were carried into battle and "captured" on the battlefield. U.S. Army men who had amicable relations with Indian scouts or were guards of Native American prisoners commissioned others. This drawing depicts one warrior scalping another fallen warrior who is dropping his bow and arrows.

Watercolor painting of a Pueblo dancer about to climb a ladder leaning against a kiva. Awa Tsireh is also called Alfonso Roybal.

The scene depicted shows the fight between a Native warrior (possibly Cheyenne) and a non-native person. The warrior is wearing long leggings with a stripe and a blue shirt. Two feathers are on his head. He is carrying a shield with a circular design decorated with feathers and using a long decorated spear. His horse, that he is riding barebacked, has his tail bobbed, dyed and possibly wrapped for battle. The non-native person has been unseated and is falling off his saddled horse. He wears a black coat over checkered pants. His derby style hat has fallen off his head. These drawings are done by tearing out paper from ledger books that were used by army and reservation post managers as a substitute for using hides- the traditional medium fro such drawingsfor offical art papers.

The reservation era of the late nineteenth and early twentieth centuries, when Native American tribes had ceded their land to the federal government and were confined to set aside tracts of land, created profound cultural changes for the Plains peoples. The masculine artistic tradition of painting warrior's exploits on hide shirts and robes declined but men continued to record their deeds and their changing way of life in paintings and drawings on canvas, muslin, and small notebooks, or ledger books. Many of these works memorialize individual achievements in hunting and warfare. Some ledger books were carried into battle and "captured" on the battlefield. U.S. Army men who had amicable relations with Indian scouts or were guards of Native American prisoners commissioned others. This drawing depicts one warrior on horseback with a rifle confront another warrior on foot about to release his arrow from the bow. Still another warrior behind the horse brandishes his rifle. A sword is suspended in mid-air behind his head.

The ledger drawing scene shows a Native man on a charging horse, clubbing a soldier with a tomahawk weapon. The Native (possibly Cheyenne) has on decorated leggings; his hair wrapped with an elaborate headpiece with a whole bird on top of his head and a flowing trailer alongside of it . The soldier, caught between the legs of the horse, wears a blue army uniform and brandishes a pistol.There is the outline of a wagon in the lower left. These drawings are done by tearing out paper from ledger books that were used by army and reservation post managers as a substitute for using hides- the traditional medium fro such drawingsfor offical art papers.

The ink is black and red.