6. Pottery.—In this department of industrial art the prehistoric Peruvians showed much aptitude both "in regard to variety of design and technical skill in preparing the material. Vases with pointed bottoms and painted sides recalling those of ancient Greece and Etruria are often disinterred along the coast." The merit of those artists lay in perfect imitation of natural objects, such as birds, fishes, fruits, plants, skulls, persons in various positions, faces (often with graphic individuality). Some jars exactly resembled the "magic vases" which are still found in Hindustan, and can be emptied only when held at a certain angle.
7. Though ignorant of perspective and the rules of light and shade, these ancient Peruvians had an accurate eye for color. "Spinning, weaving, and dyeing," to quote Sir C. R. Markham, "were arts which were sources of employment to a great number, owing to the quantity and variety of the fabrics.... There were rich dresses interwoven with gold or made of gold thread; fine woolen mantles ornamented with borders of small square plates of gold and silver; colored cotton cloths worked in complicated patterns; and fabrics of aloe fiber and sheep's sinews for breeches. Coarser cloths of llama wool were also made in vast quantities."
The Quipu.
8. The quipu (i e., "knot").—Without writing or even any of the simpler forms of pictographs which some Indian races inferior to them in refinement had invented, the Peruvians had no means of sending a message relating to tribute or the number of warriors in an army, or a date, except the quipu. It consisted of one principal cord about two feet long held horizontally, to which other cords of various colors and lengths were attached, hanging vertically. The knots on the vertical cords, and their various lengths served by means of an arranged code to convey certain words and phrases. Each color and each knot had so many conventional significations; thus white = silver, green = corn, yellow = gold; but in another quipu, white = peace, red = war, soldiers, etc. The quipu was originally only a means of numeration and keeping accounts, thus:
| a single knot | = | 10 |
| a double knot | = | 100 |
| a triple knot | = | 1,000 |
| two singles | = | 20 |
| two doubles | = | 200 |
| etc. |
9. The great stone monuments described in our first section belonged, according to some writers, to a dynasty called Pirua, who ruled over the highlands of Peru and Bolivia long before the times of the Incas. That early race had as the center of their civilization the shores of Lake Titicaca.
10. The Ancient Capital.—Cuzco, the center of government till the time of the conquest by the Spaniards, and for a long time the only city in the Peruvian empire, deserves a paragraph under the head archeology. Its wonderful fortress has already been referred to, and there are other Cyclopean remains, such as the great wall which contains the "stone of twelve corners." Some monuments of the Inca period also attract much attention, such as the Curi-cancha temple, 296 feet long, the palace of Amaru-cancha (i. e., "place of serpents"), so called from the serpents sculptured in relief on the exterior. Of these and other buildings Squier remarks that the "joints are of a precision unknown in our architecture; the world has nothing to show in the way of stone-cutting and fitting to surpass the skill and accuracy displayed in the Inca structures of Cuzco." To obtain the site for their capital the Incas had to carry out a great engineering work, by confining two mountain torrents between walls of substantial masonry so solid as to serve even to modern times. The Valley of Cuzco was the source of the Peruvian civilization, center and origin of the empire. Hence the name, Cuzco = "navel," just as the ancient Greeks called Athens umbilicus terræ, and our New England cousins fondly refer to Boston, Mass., as "the hub of the universe"!
Gold Ornament (? Zodiac) from a Tomb at Cuzco.