Students are introduced to the practice of "Ekphrasis" to practice "reading" an image/photograph.

In his article, "Three Texts in One: Book XII of the Florentine Codex," Kevin Terraciano identifies the Florentine Codex as an outstanding example of graphic pluralism. He explains:
The indigenous texts represent new (alphabetic) and older (pictorial) forms of indigenous expression that coexisted and shared space with Castilian-language writing. The format and organization were European in many ways, but the content was multicultural (53-54).
Kim N. Richter and Alicia Maria Houtrouw, project leads of the Getty Research Institute's Digital Florentine Codex initiative, build on Terraciano's concept of the "Three Texts" of the Florentine Codex. In "Introducing the Florentine Codex (1575–77) and Its Three Narratives"Links to an external site. Richter and Houtrouw write about the "third" text, neither Spanish nor Nahuatl, but visual, with hybrid meanings and traditions:
In addition to the two texts, the images provide a third source of information that complements and augments the alphabetic texts. Like the texts, these images are transcultural, combining European and Mexica pictorial traditions, as well as Nahuatl pictographic writing.
The Digital Florentine Codex is an online "digital edition" of the Florentine Codex produced at the Getty Research Institute by a team of scholars, designers, and technologists. It was created with explicit intent to make the various complex channels of communication, visual, verbal, and pictographic accessible to researchers and students. We will explore this remarkable resource, and learn some of its sophisticated features for scholarly use. Then we will extract its underlying resource, the image facsimiles of the codex, for close inspection of visual information, and share-out. This Canvas discussion-based lab activity will support our active engagement with embedded tools and instructions.
As vocabulary in the digital edition, "feather" and one of its Nahuatl translations "ihhuitl" can be searched for either Text or Image returns. Depending upon which you select, nearly all books in the Florentine Codex are represented in the returns, and the variety of content associated with these search terms is astounding. It is easy to see, in this sense, how pervasive feathers are in Nahua history and culture. Here, the profession of feather seller as two types serves as a kind of metaphor for people in general.
The feather seller is a feather worker, a merchant-the man [with] the basket.
The good feather seller [is] a gentle worker-one who esteems [his wares], who is dedicated. He sells various feathers-precious feathers; he sells fine green feathers, chili-green feathers, those curved at the tip, the feathers of young birds. He sells [feathers] of the trogonorous, the troupial, the blue cotinga.
The bad feather worker [is] a [fraudulent] embellisher of feathers, a treater of feathers with glue. He sells old, worn feathers, damaged feathers. He dyes feathers; he dyes those which are faded, dirty, yellow, darkened, smoked.
Now look for yourself at some of the entries, and follow links to related terms below any image you view:
Select one image or image detail that you want to share with the class. Submit a reply to this discussion forum with that image and a brief comment:
Make a note of the folio (page) number so you or others can find it again in the DFC site.
Submit by [date, time]
We will collaborate in our groups during class.
Submit by [date, time]