For linguistics, anthropologist, folklorists, and ethnohistorians, the memoirs, and the folktales (zazanilli) told in Nahuatl by doña Luz Jiménez, are of great, significance. Not only is their content important, but students, and teachers of Nahuatl use her memoirs, De Porfirio Díaz a Zapata: memoria náhuatl de Milpa Alta as a textbook of the language as it has been spoken in the twentieth century. In his introduction to her memories Fernando Horcasitas mentions her career as model for Jean Charlot and Diego Rivera, but the full extent of her role in post-Revolutionary art in Mexico escaped the social scientist who worked with her. By 1930 Julia Jiménez González, in her assumed persona of Luciana, had been employed by Mexico City’s art schools for a decade. She also worked directly for many of the artists whose careers took shape in Mexico City during the 1920s. In 1929 Diego Rivera had begun yet another monumental project, painting murals in México’s National Palace, and he once again engaged Luz as one of his models. Yet de-spite this work that placed her face and figure permanently before the eyes of the public, the end of the 1920s brought personal hard-ship to Luz.