South America: Observations and Impressions / New edition corrected and revised

by Viscount James Bryce Bryce

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 Incas[20] 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 knees pressed to the chin.

Grand as are the walls inside Cuzco, they seem insignificant when one examines the more stupendous ramparts of the prehistoric fortress on Sacsahuaman Hill, which rises immediately above the city to a height of about six hundred and fifty feet. I describe them the more fully because much study has been of late years bestowed upon the (so-called) Cyclopean and other ancient walls of Europe, such as those of Tarragona in Spain, of Greek cities, like Tiryns and Naxos (near Taormina), and of the Volscian and Latin cities round Rome, so that an account of the more imposing Peruvian structures may be of interest to some readers. The hill, nearly halfway up which, on a terrace, are the remains of its palace attributed to the Inca Manco Capac, is in its upper part extremely steep, in places even precipitous, and commands a wonderful view over the mass of red-roofed houses, the long, straight streets in some of which the dark lines of Inca wall can just be discerned, the three broad plazas with Indians and their llamas creeping about like ants, the sunny vale below, and the snow-clad summits of the Nevado (snow mountain) of Ausungate, piercing the sky in the far distance. Stone ramparts ran all round the upper part of the hill, and parts of them still remain on this southern face. What with their height and solidity and with the natural strength of the ground, the fortress must have been on this side impregnable before the invention of gunpowder. But on the other, or northerly side, that turned away from Cuzco, the hill is not only less steep, but has also much less rise, for it is less than a hundred feet above the ground behind it. Here, therefore, since nature had done less, there was more for art to do; and here we find fortress walls on a scale of incomparable grandeur.

They are built in three parallel lines, one behind the other, and both their length, nearly one third of a mile, and the massiveness of their construction, and the enormous size of many of the individual stones make this fortress one of the most impressive monuments of prehistoric times that the world contains.[23] It shews that those who raised it had a boldness of conception and a persistent energy in carrying out that conception amazing in a primitive people, for the work seems to belong to a very early time, long anterior to those historic Incas whom the Spaniards overthrew.

Hardly less wonderful than the gigantic proportions of these fortifications is the military skill shewn in their construction. Their line is not straight, as in most of the walls of ancient Greek and Italian and early mediæval cities, but consists of a series of salient and re-entering angles, so that from each salient angle and each inner angle the whole space outside and below the wall as far as the next projecting angle could be commanded by the garrison. This arrangement, which, while it increased the length of the work and required more labour to complete it, increased immensely its defensive efficiency, indicates a skill hardly to be expected in a race comparatively pacific, and more eminent in the arts of government than in those of war. Yet perhaps it was just because they were not first-class fighting men like the Aztecs or the Iroquois that the Quichuas were successful in devising expedients for defence. Sparta was the only considerable Greek city that did not surround herself with walls, because the valour of her people was deemed sufficient protection.

On the top of the hill behind these lines of ramparts there are remains of ancient buildings, though none with such enormous stones. It is hard to make out what these edifices were, for every bit of ground built upon has been ransacked over and over again for hidden treasure. Peru is full of stories about fabulous quantities of Inca gold hidden away to save it from the rapacity of the conquerors, and some of the tales may be true, though hardly any such treasures have been found for more than a century past. But the story that there is a secret passage cut in the rock from the Inca castle at the top of the hill down through it and into Cuzco where it opens to the Temple of the Sun is too much for any but native credulity. These beliefs in long subterranean passages recur everywhere in the world. It was—perhaps still is—believed in Oxford that there is such an one from the church of St. Peter in the city to the ruined nunnery on the river at Godstow (Fair Rosamond's place of confinement) two miles distant. It is believed in Kerwan (in Tunisia) that the most sacred of the wells in that most sacred of all African cities communicates underground with the well Zem Zem in Mecca two thousand miles away and on the other side of the Red Sea. The most persistent treasure hunt carried on by the Peruvians has been that for the golden chain made by the Inca Huayna Capac, which was long enough to be stretched all round the great square of Cuzco, and was thrown into the lake of Urcos lest it should fall into the hands of the Spaniards. Everybody believes it to be still at the bottom of the lake, which is very deep.

Opposite the great walls and about a third of a mile away is a rocky eminence called, from a curious convex mass of extremely hard igneous rock upon it, the Rodadero. The rock is polished smooth and has two projecting ridges on its surface. How much of this peculiar slope down which many generations of Peruvian boys have rejoiced to slide—they were doing so in the days of Garcilaso, soon after the Conquest—is due to nature, how much to art improving nature, has been matter for controversy. But far more curious are the seats carved in the hard rock all over the top and slopes of the hill, the cutting done with exquisite care and finish, the angles perfectly sharp, the flat parts perfectly smooth. The most remarkable is a set of thirteen seats, one in the centre and highest, nine others declining from it on the left and three on the right. This is called the Seat of the Inca, but there is no record, nor any authentic tradition, of the purpose for which, or the persons by whom, it was constructed, nor of the purpose of the many other seats, and small staircases, and niches, and basins similarly chiselled out of the rock which are scattered here and there all round. In one place two great and finely cut blocks look like fragments of a doorway shattered by an earthquake, and not far off there are singular passages hewn through the rock, and now in parts closed, which have the appearance of a sort of labyrinth. Looking at the Inca's Seat, one's first conjecture would be that it was a bench for judges to sit upon. Other seats look more like shrines meant for images; but no fragments of images are found. All these strange cuttings and polishings seem so inexplicable that one would conjecture the mere caprice of a whimsical ruler, but for the immense pains that must have been taken in doing such perfect work in such hard material. No Spanish writer of Conquest days gives us any light. It is a riddle, the key to which is lost, and lost irrecoverably, because there are no inscriptions and no traditions.