earlier publications, which were separated from the alphabetic text. The images in the Florentine Codex were created as an integral element of the larger work. Although many of the images show evidence of European influence, a careful analysis by one scholar posits that they were created by "members of the hereditary profession of tlacuilo or native scribe-painter." The images were inserted in places in the text left open for them, and in some cases the blank space has not been filled. This strongly suggests that when the manuscripts were sent to Spain, they were as yet unfinished. The images are of two types, what can be called "primary figures" that amplify the meaning of the alphabetic texts, and "ornamentals" that were decorative. The majority of the nearly 2,500 images are "primary figures" (approximately 2000), with the remainder ornamental. The figures were drawn in black outline first, with color added later. Scholars have concluded that several artists, of varying skill, created the images. Art historian Diana Magaloni Kerpel deduced that twenty-two artists worked on the images in the Codex. She did this by analyzing the different ways that forms of body were drawn, such as the eyes, profile, and proportions of the body. Additionally, Magaloni studied the different artists' treatments of lines. It is not clear what artistic sources the scribes drew from, but the library of the Colegio de Santa Cruz de Tlatelolco had European books with illustrations and books of engravings. European elements appear in the imagery, as well as pre-Conquest images done in the "native style". A number of the images have Christian elements, which Peterson has described as "Christian editorializing." The entirety of the Codex is characterized by the Nahua belief that the use of color activates the image and causes it to embody the true nature, or ixiptla, of the object or person depicted. For the Aztecs, the true self or identity of a person or object was shown via the external layer, or skin. Imparting color onto an image would change it so that it was given the identity of what it was portraying. Color was also used as a vehicle to impart knowledge that worked in tandem with the image itself. Books The codex is composed of the following twelve books: The Gods. Deals with gods worshipped by the natives of this land, which is New Spain. The Ceremonies. Deals with holidays and sacrifices