3. Polygonal masonry peculiarities, questions related to dating and authorship, economical grounds
3.1. A general bulge of the front side and a swell in its lower part, bosses, cusps/steps at the triple junctions, polygonal bas-relief facing
A typical general bulge of the front surface as well as a swell in its lower part (should not be confused with the bosses) found in some structures (see, for instance, Photos. 1-4) often serve as one of the proofs of the “plastic” version18-21 of the polygonal masonry fabrication. According to the plastic version, the partially solidified blocks were stacked one on another. As a result, the interblock gaps in the polygonal masonry were closed under own weights of these blocks and the front surface got the specified bulge and swell.
In the proposed method, both signs – the bulge and the swell can appear by themselves at the stage of fabrication of the clay model of the wall unless the clay mixture was not thick enough and no sheathing was used on the front side. The bulge and the swell can also be produced intentionally while sculpturing the clay model.
Most likely, the bulge and swell were given to the blocks intentionally. Both features increase the feeling of massiveness, grandiosity of the structure, its colossal weight; it seems to us as if the stones are flattened under a huge weight. The bulge was also intended to demonstrate to the naive Indians the power of the arrived whites, who could “sculpt”, if necessary, a building out of huge hard stones as if from dough.
The bosses (see Photo. 9) are a well-known architectural decoration.
54 The polygonal masonries having no bosses and no bevels along with the absence of other architectural elements (arches, cornices, etc.) would look dull and monotonous especially in the cases when the block shape is close to a parallelepiped. They would look like a wall decorated with identical plane ceramic tiles. The role of the bosses as an architectural decoration in the polygonal masonry under consideration, where the blocks have an intricate geometric shape, is less significant. The fact is that the task of acquiring an attractive, interesting appearance and diversity is solved in such masonry due to the bizarre shape of the polygonal blocks themselves. Besides the architectural decoration, the bosses serve as a kind of a signature of the group of the professional builders (see
Section 3.5) who created the structures in Peru and similar ones around the world.
The bosses, whose sizes, shape, and location obey no any strict regularity from block to block, were crafted on stone blocks of arbitrary shape when there was simply an excess material of required sizes at a suitable place on the front side. In the stone blocks which bosses possess a regularity, to craft these bosses, a layer of material is removed from the front surface. Such bosses usually just slightly protrude outside, because the more the boss protrudes, the thicker is the layer of the material that must be removed from the front side.
Numerous medieval drawings and engravings (see, for example, Ill. 1) show clearly that the builders of those years used a self-holding mechanism – block tongs40,41 (lever-type lifting tongs28) to hold the stone blocks during lift-and-carry motions. Of course, the tongs and the block lifted with it are shown schematically in the picture, just to demonstrate the principle. In practice, certainly, a more complex device was used. For example, 2-3 tongs located in parallel on a common traverse could be used to lift and securely hold a heavy block. In addition, the tips of the tongs could be connected by beams parallel to the traverse for ease of operation and greater reliability of load retention, etc. In the case when the used claws could not cover the entire block, recesses were made on the untreated area of the front side and on the backside of the stone block for better engagement of the claws of the hoisting mechanism.
The use of bosses to hook the claws is at least somehow justified only if there are a couple of bosses and they are located near block edges (or there is a single boss located exactly by the gravity center in the upper part of the block) and the tips of the claws are connected by means of the above-mentioned beams. However, in fact we see that the bosses are not always located near block edges and are always concentrated at the block bottom. In general, when using the existing bosses for a hook, it is impossible to ensure reliable retention of the block due to a chance of its overturning and/or the boss splitting off. Since rigging slings are not required while using the block tongs, no protrusions, recesses, or grooves need to be made on the stone block to hook/pass these slings. Thus, no bosses are needed to lift, move, and install both the stone billets and finished blocks.
Bosses on rocks are not bridges left after block separation from the rock massif in a quarry during stone extraction. Firstly, these bridges look too neat for auxiliary elements representing a side result of the cutting down process. Secondly, these bridges are so few that they can hardly be attributed to some systematic technique of stone extraction. Thirdly, the labor productivity of the implied method of the cutting down is close to zero. Moreover, the type of the polygonal masonry under consideration, as already noted, uses boulders and stone blocks of arbitrary shape as building material. These boulders and blocks are fragmental material of natural origin. Thus, the boulders and blocks did not need to be broken out in quarries in most cases, especially in such exotic way. A place in the mountains with bosses deliberately carved on a rock is something like a Christian chapel familiar to us, a place of “power”, a holy spring, a memorable place or a kind of monument in honor of some hero or event.
The cusps (“beaks”) and steps (see
Figure 6) are clearly visible in the points where three adjacent blocks meet. These elements are produced while sculpturing the clay model and then transferred on the stone block with the pantograph. Besides a stop limiting movement of the adjacent block in the horizontal plane, the cusps give the polygonal masonry a special grace. According to the creators’ idea, the cusps along with the parallelism of the smoothly changing curved edges were intended to give a sense of easiness of working with a large and heavy stone. These features make the viewer think that the blocks are literally sculpted of stone. We must pay a tribute to the old masters; they succeeded in this technique!
Given the above, instead of the term “polygonal masonry”, it would be quite fair to use the term “polygonal sculpture” in the cases when a stone structure is created on the basis of hand-sculpting of a clay model made in a certain artistic style with unique lock interfaces between blocks. Besides the simple dressing of the front side of the stone blocks, the proposed technology allows to create a polygonal masonry which face surface is a bas-relief. The temple complex Angkor52 is the example (see Photo. 17), where such facing technology may have been applied. If the presented bas-relief had been made in a layer of plaster we would not have seen the joints between the polygonal blocks.
3.2. Indirect dating by the observed destructions of the masonry elements
The cusp is one of the weak points of the polygonal masonry in terms of strength. Thus, the cusps should fail first during the natural weathering process. Many stones in Peru are covered with a lichen (see Photos. 7, 9), so the biological factor must also be taken into account in addition to the weathering when estimating the rate of the stone destruction. Surprisingly, the type of the polygonal masonry under consideration is perfectly preserved in the mountains (Cusco, Machu Picchu, Ollantaytambo, etc.), where the climate is characterized by sharp temperature changes 15-20° C during a day, by a lot of precipitation and by light frosts in winter (June-August).55
Photo. 17.
A fragment of a bas-relief on the front surface of the polygonal masonry of the Angkor temple complex, Cambodia (J.-P. Dalbéra, 2011,
www.flickr.com/photos/dalbera).
Photo. 17.
A fragment of a bas-relief on the front surface of the polygonal masonry of the Angkor temple complex, Cambodia (J.-P. Dalbéra, 2011,
www.flickr.com/photos/dalbera).
Besides weathering, a shift of stones in the masonry during an earthquake or during a landslide move of the slope (often triggered by an earthquake) can cause destruction of the cusps.3-5 It should be noted that the cusp cleavages could occur while processing the stone block, during transportation, installation, or restoration. Some of these cleft cusps can be partially repaired. The repaired cusps will look more sunk into the body of the masonry than the normal ones.
The study of the polygonal masonry from hard rocks (granite, andesite, diorite, basalt) shows that the cusp damages are present but they are few in number. The absence of noticeable destructions under fairly harsh climatic conditions and high seismic activity in Peru give a reason to assert the rather recent, for about 300 years, construction of the megalithic complexes. A rough estimate can be obtained by comparing the state of the megalithic complexes with monuments being in similar weather-climatic conditions, made of similar materials, and whose date of construction is known for certain.
3.3. How to prove it? What should we look for and where?
What can serve as a confirmation of the proposed methods of fabrication of the polygonal masonry? On the territory or near the complexes with the polygonal masonry or in quarries, construction debris should remain, in which fragments of clay model blocks and fragments of clay/gypsum replicas should be searched for. Certainly, first of all, we need to study the materials of the conducted excavations. It is not unlikely that some suitable fragments in shape, size, and materials have already been found and documented. Most likely, much of the debris was used for strengthening the ground under the next erecting structure nearby. Therefore, in the case of reassembling some polygonal structure damaged by natural forces, the evidences in the form of the clay models and replicas should be sought in the ground under the structure itself.
Assuming that in the pantograph used by the builders, the clay model and the stone billet were positioned in the same way as in the modern pantograph, i. e., horizontally with the backside down (to fix the block in case of uneven back surface, small wedging stones are used), then the chisel marks on the side surface of the stone blocks should go from right to left (chisel in the left hand, hammer in the right) and from top to bottom (at the beginning of the trace, the recess is larger than at the end). The marks themselves should be short parallel strokes arranged in vertical columns.
The chisel marks should be searched for on the stone blocks from hard rocks – granite, andesite, diorite, basalt. Soft rocks, such as tuff, limestone or sandstone have a high porosity; the surface layer of these stones is quickly destroyed by weathering. Moreover, the chisel marks on the limestone surface are easily destroyed during the subsequent smoothing operation by tapping. Because of weathering, there is also no sense to study the interface surfaces of the stone blocks from hard rocks that have lain in the open air outside masonry for an unknown number of years. To analyze an interface surface, one should take stones from some untouched masonry having minimal gaps, which could get a very small amount of moisture.
It should be noted that the several hundred years old masonry of stone blocks is most likely impossible to disassemble in such a way, so as to keep the near-surface layer of stone intact in the contact areas. The fact is that during the entire period of the masonry existence under the above-mentioned climatic conditions, various physico-chemical processes took place in the contact areas causing a change in the mineral composition in these areas. As a result, depending on the process, the contact is breaking down (with sand formation) in some areas and, on the contrary, growing over and strengthening (monolithing) in other areas. An attempt to separate the areas, where the overgrowing-strengthening has taken place, will result in the destruction of the stone near-surface layer adjacent to the contact. Anyway, the sizes of the stones and their geometry will change after disassembling the old polygonal masonry. Therefore, it is impossible to reassemble the old blocks so that there would be the former tiny gaps between them.
The method of the optical 3D-profilometry (interference microscopy)56 is well suited for detecting the suspected marks of the mechanical processing on the surface of the stone blocks. The method allows to obtain a microrelief of the surface, and then to perform its computer analysis. The computer analysis using special programs of surface image filtering and processing helps to show more clearly and in some cases even reveal low-contrast chisel marks destroyed by tapping and weathering (modification) of the stone surface. In particular, it is possible to determine the Fourier spectrum of spatial frequencies of the measured microrelief of the stone block surface, and then compare this spectrum with the Fourier spectra of a test surface processed with several types of chisels according to the techniques described in the article. If a stationary profilometer is used to measure the microrelief, then it is necessary to make a replica of the surface from gypsum or silicone. In the case of using a portable profilometer, the process is simplified, since the instrument is installed on the measured surface directly.
Photo. 18.
The medal copying lathe by F. Singer and A. Nartov, circa 1710. The machine is intended for medal production by a large size model in automatic mode. (State Hermitage Museum, St Petersburg,
www.hermitagemuseum.org).
Photo. 18.
The medal copying lathe by F. Singer and A. Nartov, circa 1710. The machine is intended for medal production by a large size model in automatic mode. (State Hermitage Museum, St Petersburg,
www.hermitagemuseum.org).
3.4. Indirect dating by the invention time of the 2D- and 3D-pantographs
If we accept the proposed methods of the polygonal masonry fabrication, the structures of “incredibly” ancient Incas can be approximately dated by the years of invention/building of pantographs by Europeans. The pantograph for working with a flat drawing was invented in 1603-1605 by Christoph Scheiner.57 Notably, the author has published the information about the device design in the form of a separate book58 only 28 years (!) after the invention.
Comparison of the topography translator with a 2D-pantograph shows that these devices are similar in terms of their mechanical complexity, operation accuracy, used materials, and fabrication technology. This implies that the topography translator could well have been invented and built in the early 17th century. The topography translator could have appeared even earlier, since it is functionally simpler – it does not need to solve the problem of proportional scaling.
Around 1710-1720, Russian mechanics Franz Singer and Andrey Nartov
59 built a turning machine for medal copying (see Photo. 18).
60,61 The machine was intended for production of medals in automatic mode by transferring a relief from a large size medal model. It is not quite correct to compare the Singer-Nartov machine with the modern 3D-pantograph used by sculptors (see
Figure 2), since the kinematic diagrams of these mechanisms differ greatly. Despite this, attention should be paid to the complexity of the machine mechanism, which notably exceeds the complexity of the modern pantograph mechanism. In particular, the probe movement over the model surface and the cutting tool application to the billet surface in the 3D-pantograph are carried out by the sculptor manually, whereas these functions are implemented in the given example of the machine without a human intervention. Note that copying machines like this one were built and used in many European countries in the 18th century.
Photo. 19.
3D-pantograph designed and built by J. Watt, 1807. The mechanism is intended for the automatic production of reduced copies of sculptures (Science Museum, London, sciencemuseumgroup.org.uk).
Photo. 19.
3D-pantograph designed and built by J. Watt, 1807. The mechanism is intended for the automatic production of reduced copies of sculptures (Science Museum, London, sciencemuseumgroup.org.uk).
In 1807, James Watt62 began to design a mechanism63 (see Photo. 19) intended for production of reduced copies of sculptures.64 The kinematic diagram of the Watt's mechanism is close to the kinematic diagram of the modern 3D-pantograph. However, there are a number of differences. Instead of the ball joint, the boom is mounted on a universal joint; the parallelogram mechanism is missing; the model and its reduced copy are located horizontally, etc. In order to scan the surface of the 3D-object being copied, the pantograph boom performs a reciprocating-rotational motion around the vertical axis of the universal joint in the horizontal plane.
The kinematic diagram of the pantograph built by Benjamin Cheverton
65 in 1826 (see Photo. 20) is the closest to the kinematic diagram of the modern 3D-pantograph (see
Figure 2). While building the pantograph, Cheverton relied on the design previously proposed by John Hawkins.
66 Just like the Watt pantograph, the Hawkins-Cheverton pantograph was intended to produce the reduced copies of sculptures.
Photo. 20.
3D-pantograph designed and built by B. Cheverton, 1826. The mechanism is intended for the automatic production of reduced copies of sculptures (Science Museum, London, sciencemuseumgroup.org.uk).
Photo. 20.
3D-pantograph designed and built by B. Cheverton, 1826. The mechanism is intended for the automatic production of reduced copies of sculptures (Science Museum, London, sciencemuseumgroup.org.uk).
It should be noted that both the Watt pantograph and Hawkins-Cheverton pantograph had a built-in engraver, whose milling cutter performed mechanical processing of the billet. An engraver is not required in the methods of creation of the polygonal masonry considered above. Therefore, the mechanics of the construction pantograph is much simpler than the mechanics of the Watt and Hawkins-Cheverton pantographs. Ill. 2 shows the second half of the 19th century studio, where mass copying of statues was carried out manually using a 3D-pantograph.67
There is no doubt that, having created a 2D-pantograph at the beginning of the 17th century, the scientists of that time and, first of all, the inventor of the 2D-pantograph himself, Christoph Scheiner, immediately thought about the creation of a 3D-pantograph mechanism with which it would be possible to obtain the reduced/enlarged copies of the three-dimensional objects. Actually, to make transition to three-dimensional objects, the 2D-pantograph just had to be fixed not in the cylindrical, but in a ball or universal joint, and the model and the billet should have the ability to synchronously rotate around their vertical axes by means of a chain transmission (see
Figure 2) or a gear transmission65 (see Photo. 20).
Ill. 2.
A 19th century studio of statues manual copying using a 3D-pantograph (ink, artists E. Morin and E. Rovens, 1864).
Ill. 2.
A 19th century studio of statues manual copying using a 3D-pantograph (ink, artists E. Morin and E. Rovens, 1864).
Application of the chain transmission in the construction pantograph is more justified in comparison with the gear transmission. The point is that large dimensions and weight of the processing stone blocks result in large dimensions and weight of the used gear wheels. Moreover, the chain transmission makes it easy to change the distance between the rotating platforms, which is responsible for the pantograph reducing/enlarging factor. The distance change is performed by shifting the platforms along the frame. For this purpose, the corresponding number of links is added to or removed from the chain and/or the chain is tightened by a roller located at the end of a spring-loaded console. In this case, the reducing/enlarging factor turns out to be almost continuous. To change the distance in the case of a gear transmission, the installed set of wheels is replaced with the most suitable one among the available sets, the quantity of which is usually limited. Therefore, the reducing/enlarging factor turns out to be strongly discrete.
Analyzing the mechanisms similar to the Singer-Nartov machine, we can conclude that development and building of the modern design 3D-pantograph from the point of view of the kinematic diagram complexity, the metal processing technology, and the used materials were quite feasible for mechanics in the early 18th century already. By that time, all the problems related to the copying accuracy, namely: gaps in the ball and cylindrical bronze joints, backlashes in the chain/gear transmission, as well as to the boom and frame rigidities (required to keep the relative position of the pantograph elements unchanged during operation), had been successfully solved already. Therefore, it is very strange that it took so much time to create a 3D-pantograph, more than 220 years!
Today, we still have neither written nor material evidence confirming the existence of a construction 3D-pantograph in the 18th century. Nevertheless, taking into account the general state of the art of technology of those times, one cannot exclude a chance that such a pantograph could have been developed, built and could have found a limited usage in construction, but the inventor itself and his pantograph had remained unknown to a wide range of experts. The fact is that the master masons of those days were not in a hurry to disclose their professional secrets. Judging by how long the mystery of creation of the polygonal masonry had persisted, the master masons were able to keep their secrets well.
3.5. Who built this, when, what for and with what funds?
The problem regarding the structures based on the polygonal masonry is as follows. The official history states that the structures had existed before the arrival of Europeans in the New World in the 16th century, and the American Indians did not know either iron tools or a wheel or potter’s wheel, did not have draft animals, did not own brick firing technology, and did not possess a written language at that time. From this statement, there is only one conclusion: the structures were built by some older civilization that existed in America before the Indians, meanwhile whose culture of stone working, in general, corresponded to the European construction culture of the 16-17th centuries.
The problem regarding this mythical older civilization is that it left behind no other material evidences of its existence, except for several perfect stone structures. The high-quality polygonal masonry and the structures based on it appear instantly (by historical standards) as if from nowhere, and then disappear also instantly into nowhere.22 There are neither previous nor subsequent noticeable development in architecture and technology of these structures. This may happen only when a group of professional builders comes to a certain territory for a short period, say, for 10 years, with their own tools, contrivances and construction techniques.
Transience of the events taken place in the construction industry of those years indicates the high productivity of the strange builders and their construction methods. The contradictions are instantly resolved if the authors of the structures are visiting European builders (presumably the Franciscan monastic order),27,68,69,70,71 and the time of erection of the structures is transferred from “minus infinity” to the 17-18th centuries. For delivery, moving, and rough processing of the stones, slope strengthening, and other heavy and unskilled work, of course, the local Indian people were driven together by orders of the Indian chiefs subdued/bought by the Spaniards. Thus, in a certain sense, the Peruvian megalithic complexes are the structures built by the Incas too, although not so ancient and great.
Any large-scale construction is always based on some strong economic foundation. It is difficult to imagine that the megalithic complexes were built for the Indians at the expense of the Spaniards. Of course, these complexes were created at the expense of the Indians and on bones of the Indians. But what could the Indians offer to the Spanish colonizers? The gold and silver that they had were captured in the early years of the conquest and taken to Europe. The Peruvian land was not able to produce much cotton, sugar cane, or grain.
Since the Indians had gold and silver at the beginning of the conquest, it means they took it somewhere. Therefore, the Spaniards organized gold but mainly silver extraction in mines and goldfields.71,72,73,74 And to make the work in the mines more “fun”, the aboriginal priesthood inspired the Indian people with the appearance and grandiosity of the megalithic temples, which were erected by the European builders at the expense of a part of the funds received from the extraction of the precious metals.
Put yourself in the place of those who discovered the mountain of silver in Potosí literally (today this territory belongs to Bolivia).73 A lot of low-skilled labor was required to break out the silver-bearing ore and transport it to the silver extraction/smelting place. Where could this workforce be obtained at that time? The sea transportation could not provide sufficient inflow due to the small tonnage of the ships and extremely high cost. Of course, the colonialists have offered the Indian chiefs the following mutually beneficial cooperation: we are building a network of temple complexes for you and thereby securing a certain share of your former power for you, while you provide us with people to work in the mines. We take care of the training and maintenance of your people.75
After the arrival of the Europeans, a part of the Indian chiefs together with the priesthood realized quickly that it would be possible to retain at least part of the former power only if they went into close cooperation with the invaders. The situation has no difference from what is happening in our time, when the leaders of most countries and their “retinue” have colluded and conduct a treacherous policy towards their own peoples for the sake of preserving their personal position in the arising “brave new world”. To facilitate the interaction with Indian chiefs, to make it more efficient, centralized, the Europeans provoked a series of clashes between many scattered small Indian tribes (villages). As a result, during the intragroup struggle stimulated by the colonizers, several tribes have distinguished and subjugated the rest. Later, one of these tribes received the loud name Inca “Empire”. The tribe enlargement took place up to a certain degree, which was safe for the occupiers. Likelihood of an uprising or riot was small due to the fact that the tribal leaders, along with their retinue and relatives, were involved in close relations with the Europeans and turned out to be highly dependent on them.
3.5.1. A few words about the role of the Vatican
The Roman Catholic Church (RCC) did not serve Jesus Christ alone, but was a religious center which controlled and guided under its shadow all the major religions and beliefs that existed in the Roman Empire at that time.25,75 The very word “Catholic” in the name of the church means “universal”, that is, uniting under its wing all religions registered and approved by it.
The Vatican did not care about the specific content of a particular religion at all. The main thing is that the accepted religion would ensure social stability, society manageability, regularity of tax revenues and order in Rome (Rome heirs after the collapse of the Roman Empire) controlled world regions, where it was practiced. As society developed, the content of the world religions were constantly adjusted in the needed direction to improve the managing efficiency of human masses in the changing technological, economic, and socio-political conditions.
Arriving in the new wild territories, representatives of the Vatican orders studied the language, way of life, culture, social structure, beliefs, myths, tales, legends, habits, world view, cosmology, cultural code, and archetype of the peoples inhabiting these lands. Moreover, the subjects of the study were the nature of the region, minerals, and climate. Having accumulated knowledge about the region, on the basis of the existing religious beliefs of the tribes living there, as well as using own groundworks made previously, an “enhanced” local religion was gradually creating for this region with a specific host of gods, special rituals, original style in architecture and temple design, etc.
As the savage peoples were integrated into the modern society of the time, the complexity of the updated local religion and its rites increased gradually. Often the process of evolution of the local religion ended with its merging with the Christian teaching (the ideal religion for slaves). This happened with certain reservations and deviations from the canons accepted in Europe. These deviations took into account local traditions and colour.76,77 Such a merging can be observed today everywhere in Central and South America, where RCC influence was especially strong.75
The fact is that the Vatican did not worship Jesus alone in those years. In particular, this is eloquently indicated by the tombstones on the graves of none, but the Roman popes!25,75 Christian symbolics on the graves of the Roman popes appear only since the beginning of the 19th century. Until the 19th century, the graves of the Roman popes had symbolics and imageries of the Old Testament (Judaism) and deities of the “ancient” Rome. Thus, up to the 19th century, the Roman popes were not Christians, they were Jews and/or pagans!
The following fact attracts attention: in many regions of the world there is and often more than one large cult, whereas an own large local religion different from Christian has failed to arise on the vast territory of both Americas. Observing scales of the megalithic construction on the territory of Peru, one can assume that here, for the entire region of South America, the Vatican planned to create another world religion, another world religious center. However, after many years of hard work, something did not work out, something went wrong.
Perhaps, there were limitations in funds; perhaps, the local human substrate turned out to be unsuitable; perhaps, there was a persistent food shortage; perhaps, the level and training of the Vatican experts sent to Peru were not up to par; perhaps, the concept has changed – it was decided that all religions should gradually be reduced to the single Christian creed. Perhaps, several of the above reasons worked at the same time or there were some other reasons that are still unknown to us. Anyway, the decision to terminate the new creed development for the South American region was made and the project was abandoned.
Vatican involvement in the “design” of religions in various regions of the world is easily traced by the general features of the main actors of the world religions and by the similar events occurring with these persons. The immaculate conception of the heroes, the demonstration of miracles by them, the accomplishment of feats, a brutal killing of the hero and his subsequent triumphal resurrection from the dead, the ascension of the hero to heaven (Osiris, Mitra, Dionysus, Krishna, etc.) gives out a common source, a common template underlying many world religions, which is just adapted to different local cultures.76-78
3.5.2. The Monroe Doctrine
Although the Monroe Doctrine79 was openly proclaimed only in 1823, however, the hatching of secret plans of this doctrine, partially voiced by the fifth US President James Monroe, certainly took place much earlier. One of the goals of the Monroe Doctrine was to oust the Spanish Empire80 from the territories of both American continents. In accordance with the set goal, all the achievements of the Spaniards in North, Central, and South Americas should be downplayed, and, on the contrary, all the negative aspects associated with the colonization should be exaggerated. Thus, the concealment of the real historical events, including the concealment of the authorship of the megalithic structures with the unique type of the polygonal masonry, turned out to be both in the interests of the RCC and in the interests of the United States, which was rapidly strengthening in those years.
3.5.3. In the bottom line
So, the RCC sought to hide its unacceptable from the viewpoint of the modern Christianity participation in support and development of the pagan cult in Peru and the US authorities wanted to belittle the achievements of Spanish builders and “appointed” the Incas as the authors of the polygonal structures by proclaiming the Inca Empire that never existed in history. Nowadays, the polygonal structures are the national pride of the Peruvians. Much young generations of native Indians have been brought up on these impressive monuments of the past. Therefore, the Peruvian authorities will never give up this heritage of “their Indian ancestors”. The truth is not needed to anyone.
Photo. 21.
A bird's-eye view of the Fortress Sacsayhuaman; the south is at the top of the picture, the north is at the bottom (
www.ollantaytambo.org). Three tiers of the indented bastions and the groundwork remains of a cylindrical citadel are clearly visible. Below is the city of Cusco.
Photo. 21.
A bird's-eye view of the Fortress Sacsayhuaman; the south is at the top of the picture, the north is at the bottom (
www.ollantaytambo.org). Three tiers of the indented bastions and the groundwork remains of a cylindrical citadel are clearly visible. Below is the city of Cusco.
Returning to the economy of Peru of that time. After a few decades of intensive extraction, the easily accessible gold and silver deposits have been exhausted, the cost of mining of the precious metals has increased, the initial plans of the Vatican regarding the development of a large local pagan cult in the area have changed and the construction of the megalithic complexes has stopped. By this time, the power of the Spaniards and the Catholic Church had increased somehow “imperceptibly”, and the number of the Indians was greatly reduced in some “incomprehensible” way.73 Poor food and living in shacks did not add health to the miners, the places of “strength” did not longer compensate for the strengths taken away by exhausting work in the mines.73 In general, the time has come when some of the abandoned religious structures of the Indians could finally be put to good use without much trouble. And these structures have been put to good use. Stone blocks and parts of the structures were used for erection of Catholic cathedrals, abbeys, palaces, villas, urban and industrial buildings.
3.6. Fortress Sacsayhuaman – the simplest star-shaped fortress
What else does indicate the European authorship of the Peruvian polygonal buildings as well as the time when they were erected? Let us take a close look at the Fortress Sacsayhuaman (Photos. 21, 22). What is this building? Before us is an early type of fortification work known as a star fortress.81
The Fortress of Sacsayhuaman occupies one of the heights dominating over the city of Cusco. At one time, the fortress controlled the access roads to the former capital from the north. The Fortress Sacsayhuaman could be used as an interim depository of the silver coins, silver and gold bars prepared for shipment to the Old World; a part of the city treasury could also be located here; in case of a danger, the fortress served as a shelter for local authorities. In addition, the fortress stored stocks of weapons, gunpowder, provisions and other property necessary for survival and retention of power at a critical moment.
Photo. 22.
Arranged in three tiers indented bastions of the Fortress Sacsayhuaman (O. Byelikova, dreamstime.com).
Photo. 22.
Arranged in three tiers indented bastions of the Fortress Sacsayhuaman (O. Byelikova, dreamstime.com).
Unlike the star fortresses of late construction that survived to our time, the bastions in Sacsayhuaman consist of one face (a long section of the wall) and one flank (a short section of the wall). The chain of these bastions forms an indented (star-shaped) trace.81 The curtain (a straight section of the fortress wall) is either absent at all here, or is a short section being a continuation of the face. The Fortress Sacsayhuaman has three tiers of the indented bastions. Since the faces are not parallel to the front of an advancing enemy, but they are located at a noticeable angle to it, then the concept of the flank while describing this bastion type can be abandoned at all, instead considering the bastion consisting only of faces – the long and short.
The reason for the observed trace geometry of the Fortress Sacsayhuaman was the desire of the fortress builders to simplify the retaining wall as much as possible minimizing the number of kinks per a bastion. Despite this simplification, the possibility of firing at the approaches to the face (and the face itself) of the bastion located on the right, and firing at the approaches to the flank (and the flank itself) of the bastion located on the left remains. Impossibility of the complete cross-firing of the enemy located near the fortress wall between the adjacent bastions or climbing this wall should be considered as a disadvantage of this trace. Nevertheless, the presence of a rifleman in the corner between the bastions makes it possible to fire along both rather short sections of the fortress walls coming out from this corner and, thus, partially ensure the cross-firing ability at these locations.
Unlike a typical star fortress, the chain of the indented bastions of the Sacsayhuaman does not form closed defense rings in its current state at least. Nevertheless, as a star fortress should be, it had a citadel inside. Judging by the groundwork remains, the citadel was a cylindrical tower.
Unlike a typical star fortress, the use of cannons was not envisaged in the Sacsayhuaman. There is simply no place for them in the star rays (bastions). The use of cannons even of a small caliber (there should be at least two for each bastion to cover the face of the bastion on the right and the flank of the bastion on the left) would require a significant increase of the bastion size. Moreover, the number of the bastions should be significantly less, since the distance between the bastions in the case of use of cannons cannot be so short as in the Sacsayhuaman. Finally, cannons are too powerful weapons against the Indians and other more strong enemy was not expected at that time.
If an enemy overcame the first fortress wall, the fortress defenders in the second defense echelon as well as the joined to them survived defenders from the first echelon opened fire on him. In the case of the second echelon capture, the situation was repeated – the survived defenders of the first and the second fortress walls joined the defenders of the third wall. Each next defense echelon is a chain of the indented bastions located in such fortresses above the previous one forming tiers. In the event of the third echelon surrender, the survived defenders took refuge in the citadel – the last line of fortress defense, and fired the enemy through the embrasures available there.
One of the key parameters of the star trace is the distance between the vertices of the neighboring rays (distance between the ray vertice at the parapet level of a bastion and the ray vertice at the foot level of a neighboring bastion). In the Sacsayhuaman, this distance changes within the range 10-30 meters, it makes about 18 meters on average (the estimate relates to the lower bound as the bastion heights were not taken into account).53 Another important trace parameter is the value of the outward protrusion of the star rays (bastions), that is, how long the rays are. In the Sacsayhuaman, the ray lengths make about 6 meters on average.53 Finally, the third parameter of the fortress, which should be taken into account, is the distance between the going parallel fortress walls (actually, stone-faced earthen ramparts). The distance between the first and the second walls makes about 8 meters on average; between the second and the third – about 3 meters on average.53
The presented parameters of the Fortress Sacsayhuaman definitely indicate a weapon that was used for its defense. This weapon must have the aiming range of shooting and the damaging ability at a distance no less than the spacing between the vertices of the adjacent rays. It is not necessary for such weapon to tear bodies apart and scatter them around the surroundings, it is enough to cripple the attacker so that he would no longer be able to climb the wall or to resist actively. In case the fortress defenders retreat to the overlying tier, the used weapons should effectively hit the enemy who had captured the underlying tiers. When sheltered in the citadel, the weapons used by defenders must continue to be effective against the enemy besieging the citadel.
At the same time, in order to be in safety, the weapons of the fortress defenders should exceed the weapons of the attacking Indians – stones, arrows, and spears in terms of the aimed shooting range and deadly force. Note that the Spanish soldiers were equipped in a leather and metal armor, which could hardly be penetrated by a bullet fired from a flintlock pistol; most of the Indians, on the contrary, did not have any wearable protection. Taking into account that the stones, arrows, and spears had to be thrown upward, i. e., against gravity, the inclined range of aiming throwing among the Indians was about 10-15 meters while preserving a deadly force of their weapons.
Considering the above presented information, a 17-18th century musketoon (known as the blunderbuss in Great Britain or as the trabuco in Spain) – short smoothbore flintlock gun of large caliber (25-29 mm) firing a charge of buckshot, is well suited as the main weapon of the fortress defenders in close combat.82 In those days, the musketoon was actively used in cavalry, navy and for fortress siege/defense.82 This type of small arms is designed to destroy large masses of weakly protected enemy at short distances up to 30 meters.
It is worth noting that besides the fire properties, during a shot the musketoon generated a deafening (thunderous, hence the name blunderbuss) sound, a bright flash of flame and a lot of gunpowder smoke, which together produced an additional frightening effect on the Indians. Also, do not underestimate the overwhelming, formidable appearance of the Sacsayhuaman Fortress itself, which, in combination with the firearms capabilities, inspired fear and awe in the Indians.
To destroy the enemy on distant approaches to the fortress, a musket – flintlock gun with a long rifled barrel, was used. Since to repel an attack successfully, there should be two shooters on each indented bastion at least, the garrison of the Fortress Sacsayhuaman had to be consisted of 42 soldiers at least, considering the number of the available (survived to this day) bastions (the first wall includes 20 bastions, the second – 21, and the third – 18).
During construction of the Sacsayhuaman Fortress, it was assumed that the aboriginal Indians would be the main opponent to the regime established in Peru. In general, the armed resistance of the Indians was suppressed in the early years of the conquest. Nevertheless, uprisings broke out periodically and the risk of a major rebellion remained for many years. Gradually, the Indians completely submitted to the new authorities and then quite peacefully coexisted with the Spanish colonizers.27,71-75 Thus, after some time, the need for a fortress capable to protect from the Indians but unable to protect against a more serious enemy having guns and cannons in their arsenal fell away. Therefore, the Fortress Sacsayhuaman, which required funds for maintenance, was partly disassembled and over time abandoned.
It should be noted in conclusion that the Fortress Sacsayhuaman in comparison with other Peruvian monuments contains perhaps the largest number of suspicious blocks that have signs of casting, sculpting, or plastering (see details in Sections 1, 2.2, 2.5). Since these blocks do not contain any marks and there is no a chart indicating which of the blocks are original, which replace the missing blocks, or which have been restored, then any of these dubious blocks of the monument should be considered as a fake, deliberately misleading the public about the antiquity of the building and the methods used for its construction.
3.7. Phenomenon of the “tired” stones
So far, a number of questions regarding the phenomenon of the “tired” stones remain unanswered. The tired stones are scattered in a picturesque mess along the road leading from the quarry to the Fortress Ollantaytambo.6,13 How could the tired stones have lain for hundreds of years on a road side (some right on the road) and even in the town limits23 and not disappear anywhere? The Indians did not worship stone parallelepipeds. Here, if there were, say, niches in these parallelepipeds, especially trapezoidal, then it would be another matter.
Meanwhile, to this day, the finally exhausted stones with incredible persistence continue to show us the way to the quarry, where these too heavy to move blocks for the fortress are believed to have been extracted. Why in the mountainous country, where stones are used for the construction of everything – buildings, bridges, roads; these absolutely weakened stones so conveniently located on the side of the road – take and use, no one has yet been split into smaller parts and put into action? Most of the tired stones are cleft within a day by the efforts of one experienced stonemason. But, instead, we see the complete safety and invulnerability of these stones. It turns out that the local authorities for all these hundreds of years, for some reason, strictly ensured that no one touched these stone blocks.
Surprisingly, the phenomenon of the “tired” stones is found not only in South America. So, for example, there is the “tired” Aswan obelisk83 in Africa and the well-known no less “tired” Baalbek parallelepipeds84 in the Middle East. After a crack appeared in the Aswan obelisk, its cutting was stopped, and the quarry, attention, was closed forever. Only the latter circumstance can explain the fact that the obelisk has survived to this day. However, this is impossible in a real quarry, where a discarded large granite block similar to the Aswan is manually split by means of a sledgehammer and steel wedges almost during a day into smaller parts, which are sent to other customers the next day. In the case of the Baalbek parallelepipeds, the fairy tale story has been repeated again.
For hundreds of years, empires arose and collapsed, devastating wars were waged, others came to the place of some peoples on the territories, where the mentioned monuments are located, but, as in Peru, we again see the amazing preservation of these weakened and finally exhausted stone megaliths. Of course, such preservation is impossible without participation of local authorities. So, all this time some powers forced the local authorities to ensure strictly that nothing happened to these artifacts of the “distant” past.
3.8. Fabrication of symmetrical statues by means of a 3D-pantograph
The casting method, in which, first, a core (solid or hollow) of cheap concrete43 is cast, and then, after the end of core shrinkage, a comparatively thin shell (“plaster” layer) of more expensive artificial granite is cast over (see
Section 2.2), due to its complexity is not suitable for the large-scale polygonal construction, in which all the stone blocks are different. Meanwhile, this method is great both for making single unique statues and for mass production of identical statues. Note that geopolymeric concretes44 of appropriate compositions could also be used as concrete for the core and the outer shell.
Photo. 23.
Bust of pharaoh Ramses II in Luxor, Egypt (2011, wikimedia.org). The symmetry of the sculpture is noteworthy.
Photo. 23.
Bust of pharaoh Ramses II in Luxor, Egypt (2011, wikimedia.org). The symmetry of the sculpture is noteworthy.
For example, some “Ancient” Egyptian statues of pharaohs and sphinxes covered with a layer of plaster of artificial stone (granite, dolerite) were apparently fabricated using this technology.45,49 Since among some “Ancient” Egyptian statues there are statues that differ only in size, it can be assumed that these statues were created by the same original model using the 3D-pantograph adjusted for different enlargement factors.
A number of researchers have long drawn attention to the perfect enough symmetry (face, headdress, torso) of some Egyptian statues (Ramses II, Amenhotep III, Nefertiti), see Photo. 23.85 The question of how this symmetry was accomplished remained open for a long time. Meanwhile, a small modification of the pantograph mechanism makes it possible to produce statues with a high degree of symmetry of the left and the right sides.49 Let us show how this was achieved in practice.
First, as usual, a sculptor creates an enlarged clay model by the reduced clay model with help of the pantograph.30,31 After that, the 0-shaped chain in the pantograph is replaced with an 8-shaped one. As a result of this modification, the platform with the reduced model of the statue and the platform with the enlarged model of the statue will rotate in mutually opposite directions. If the used pantograph has an intermediate gear wheel65 (in the general case, an odd number of identical intermediate gears) to drive the platforms instead of the chain, then a pair of identical intermediate gears (in the general case, an even number of identical intermediate gears) should be installed instead of this wheel or exclude any intermediate gears at all.
Now the sculptor by considering the artistic merits of the left and right halves of the reduced model of the statue should decide – which side of the statue he wants to exactly copy to its other side. Having decided on the side, let it be the left side for definiteness, the sculptor applies the probe to the left side of the reduced model. In this case, the pantograph pointer will show the corresponding point in space on the right side of the enlarged model. If there is an excess of clay at the indicated point, then it is removed directly by the pantograph pointer; if there is a shortage, then the sculptor adds the necessary amount of clay to this point.
When touching the model with the pantograph probe, the probe should be guided so that the straight line passing along it crosses the vertical axis of the model rotary platform (Table A in
Figure 2) at 90° angle. In order to use the pantograph with probe directions different from the one specified (general case of touching the model surface at an arbitrary angle), the parallelogram mechanism should be replaced with an antiparallelogram28 mechanism. To do this, the long bars of the parallelogram just need to be moved into the place of the parallelogram diagonals.
Thus, applying the modified pantograph, it is possible to obtain a sculpture which left and right halves are highly symmetrical. Deviations from symmetry in such sculpture are determined by the error of the pantograph mechanism and the errors of the used fabrication technology (depending on the sculpture size, the total error ranges from a few to a dozen millimeters). To reduce the effect of the pantograph error, the symmetrization work of a head, for example, should start from the nose tip, where the error will be zero, and end at the back of the head, where the error will be the greatest, but least noticeable.
Note that a gradual increase in the symmetry violation from the nose to the back of the head will be a sign of the technology based on use of a 3D-pantograph. To detect such violation, it is best to use a coordinate measuring machine (CMM),86 which error much less than the error of the 3D-pantograph (depending on the sizes of the measured body, the CMM error ranges from a few to hundreds of microns).
There are several polygonal buildings that have short sections of masonry with a symmetrical arrangement of blocks (Sacsayhuaman, Ollantaytambo). However, the symmetry at these sections is only approximate (see, for example, Photo. 11). The blocks on the left and on the right sides of the vertical axis of symmetry are not completely reflection symmetric, they differ in shape and size. Thus, the technical opportunity provided by the 3D-pantograph, that allows to create the polygonal masonry with exactly reflection symmetric sections, was either unknown to the builders of the polygonal complexes at that time or was not simply used.