essentially a Spanish city in its edifices, Cuzco is predominantly Indian in its people. The Quichua language is that commonly spoken, and it is the Indian aborigines who give to the aspect of its streets and squares the picturesqueness which half atones for squalor. They set up their little booths, sometimes covered with canvas, along the arcades and in the plazas, and loaf about in their bright-coloured ponchos and broad, flat, straw hats, the dry-weather side of the straw covered with a sort of velveteen adorned with tinsel, and the wet-weather side with red flannel. Women lean over the rough wooden balconies on the first floors of the houses, and talk to the loungers in the plaza below. Strings of llamas bearing their burdens pass along, the only creatures, besides the tiny mules, who do any work. There are scarcely any wheeled vehicles, for those not forced by poverty to walk, ride mostly on donkeys; and the only events are saints' days, with their processions, occurring so frequently that the habit of laziness has unequalled opportunities for confirming itself. Though the Quichuas were under the Incas a most industrious race, and still give assiduous labour to their fields, the atmosphere of the city is one of easy idleness, nothing to do, and plenty of time to do it. The only manufactory we came across was a German brewery, – there is no place, however remote, where one does not find the enterprising German. Neither is there any trade, except that of supplying a few cheap goods to the surrounding country folk. By far the best general warehouse is kept by an Italian gentleman who has got together an interesting collection of antiquities.
Now let us turn from the Cuzco of the last three and a half centuries back to the olden time and see what remains of the ancient city of the Sun and of the Incas, his children. It is worth while to do so, for here, more than anywhere else in South America, there is something that helps the traveller to recall a society and a religion so unlike the present that it seems half mythic. Whoever has read, as most of us did in our boyhood, of the marvels of the Peruvian Empire which Pizarro destroyed, brings an ardent curiosity to the central seat of that Empire, and expects to find many a monument of its glories.
The reality is disappointing, yet it is impressive. One learns more from a little seeing than from reading many books. As our expectations had been unduly raised, it is right to give this reality with some little exactness of detail. The interest of the remains lies entirely in what they tell us about their builders, for there is nothing beautiful, nothing truly artistic to describe. The traces of the Incas20 to be seen in Cuzco, and, indeed, anywhere in Peru, are all of one kind only. They are Walls. No statue, no painting. No remains of a complete roofed building, either temple or palace; nothing but ruins, and mostly fragmentary ruins. The besom of Spanish destruction swept clean. Everything connected with the old religion had to perish: priests and friars took care of that. As for other buildings, it did not occur to anybody to spare them. Even in Italy, not long before Pizarro's day, a man so cultivated as Pope Julius the Second knocked about the incomparably more beautiful and remarkable buildings of ancient Rome when they interfered with his plans of building.
But the walls at Cuzco are remarkable. They are unique memorials, not only of power and persistence, but in a certain way of skill also, not in decorative art, for of that there is scarcely a trace left, but of a high degree of expertness in the cutting and fitting together of enormous blocks. Most of the streets of the modern city follow the lines of ancient pre-Conquest streets, and in many of these there are long stretches of wall from six or eight to sixteen or eighteen feet in height so entirely unlike Spanish buildings that their Inca origin is unquestionable. They are of various types, each of which probably belongs to an epoch of its own. The most frequent, and apparently the latest type, shews very large blocks of a dark grey rock, a syenite or trachyte, cut to a uniform rectangular oblong form, the outer faces, which are nearly smooth and slightly convex, being cut in towards the joinings of the other stones. The blocks are fitted together with the utmost care, so close to one another that it is no exaggeration to say that a knife can seldom be inserted between them. The walls which they make slope very slightly backward, and, in most cases, the stones are smaller in the upper layers than in the lower. Two such walls enclose a long and narrow street which runs southeastward from the great Plaza. They are in perfect preservation, and sustain in some places the weight of modern houses built upon them. There are very few apertures for doors or windows, but one high gateway furnishes a good specimen of the Inca door and is surmounted by a long slab on which are carved in relief, quite rudely, the figures of two serpents. In other places one finds walls of the same character, but with smaller blocks and less perfect workmanship. Of a third type the wall of the so-called Palace of the Inca Roca is the best instance. It is what we call in Europe a Cyclopean building, the blocks enormous and of various shapes, but each carefully cut and adjusted to the inequalities of outline in the adjoining blocks, so that all fit perfectly together. One famous stone shews twelve angles into which the stones above, below, and at each side of it have been made to fit. This type seems older, perhaps by centuries, than that first described. In none of the walls is any mortar or any other kind of cementing material used: their strength consists in their weight and in the exactness with which they are compacted together. The most beautifully finished piece of all is to be seen in the remains of the great Temple of the Sun on whose site and out of whose ruins have been built the church and convent of St. Dominick. Here, at the west end of the church, there is what was evidently the external wall of the end of the temple. It is rounded, and each of the large squared stones is so cut as to conform perfectly to the curve of the whole. None of the single stones has the convexity which appears in the walls first described, because the surfaces of all have been levelled and polished so that they form one uniformly smooth and uniformly curved surface, as if they were all one block. A more exquisitely finished piece of work cannot be imagined. It is at least as good as anything of the same kind in Egypt, and stands as perfect now as it was when the Spaniards destroyed the superstructure of the temple.
The city is full of these fragments of wall. I discovered in out-of-the-way corners some that were supporting little terraced garden beds, others in backyards, or even in pigsties, and it seemed to me that there were four or five distinct styles or types of stone cutting and stone fitting, belonging to different ages.21 If all the buildings erected since 1540 could be removed without disturbing the older buildings beneath them, that which was left would be sufficient to give a fairly complete ground plan of the Inca city and enable us to form some idea of its character. But we should not then be much nearer to knowing what was the actual aspect of the great palaces and temples before the work of destruction began. The Incas built immense covered halls, we are told of one two hundred paces long by fifty wide, but it does not appear how they were roofed over, for the arch was, of course, unknown. Apparently there was little or nothing of that advanced form of art in pattern ornamentation and in figures of men and animals which we admire in the ruins of Copan (in Honduras) or Palenque (in Mexico) and other places in Central America. Perhaps the intractable nature of the volcanic and other hard igneous stone used by the Incas compared with the comparatively soft limestones of Palenque and Mitla discouraged attempts at elaborate mural decoration. Perhaps the artistic talent of the Peruvians did not go far. Their pottery, whether plain or made to represent the forms of living creatures, is generally rude, and the paintings on wooden vessels shew only mediocre power of drawing, though they do shew that fine sense of colour which is present in most of the art work of the aboriginal Americans.
Cuzco has no public museum, but there are two or three small private collections. In one of these the most interesting objects shewn us were the pictures on wood representing combats between Peruvian warriors and their enemies, the savage tribes of the eastern forests. The former fight with the spear and have the sling for their missile weapon, the latter use the bow, as do their descendants to this day. In this collection there were also bows taller than a man, with arrows of corresponding size, formidable weapons, which some of the natives of the forest, placing them flat on the ground, draw with their feet and with which they are said to kill fish in the rivers as well as land game. These, and the beautiful feather plumes, and the rude heads of pumas, wild cats, and birds of prey, had all a flavour of barbarism, and were far inferior to the remains of Egyptian or Assyrian art.22 The Peruvian mummies, specimens of which we also saw, are not laid out at full length, like those of Egypt, but have the
The name "Inca" properly belongs to the ruling family or clan in the Peruvian monarchy, of whose ethnic relations to its subjects we know very little, but I use it here to denote not only the dynasty, but the epoch of their rule, which apparently covered two centuries (possibly more) before the arrival of Pizarro. The expression "The Inca" means the reigning monarch.
A patient archæologist might be able by examining and photographing specimens of each style to determine their chronological succession and thus throw some light on the history of the city. The oldest type appeared to be that of the Inca Roca wall, very similar to that of the Sacsahuaman walls to be presently described.
Good specimens of all these things may be seen in the American Museum of Natural History of New York.
