The Disappearance Of The Children Of Viracocha, Part 3: Cuzco: The City Which The Inca Found, Not Founded (cont.)
By Brien Foerster
And what of the curious nodes that project out of stones, for example, inside the Coricancha, and more impressively, in the green granite polygonal blocks of the palace attributed to the Sapa Inca, Inca Roca, and perhaps best seen in the alleyway called Hatunrumiyoq, a few blocks from the Coricancha.
Coventional scholarship states that these nodes were left, on purpose by the builders, as a projection under which a rope could be placed in order to assist in the raising of the stone to its present position. But why then would the builders, who cared so much about making the stones interlock so perfectly, so that a “human hair could not fit in the joints” leave these nodes behind? Surely they would have been chipped off and smoothed so as to not leave a trace of their presence?
The greatest proof that the Inca did not construct everything attributed to them is easy to see once you observe a simple example of how three distinct styles of construction, greatly different in quality and materials, can be found in the same exact space.
As an introduction, and returning to the Coricancha, or more exactly, a wall across the lane on its east side, is an interesting corner. At the base, and north side of this corner, and moving up about 8 feet, one finds perfectly fitting green granite polygonal blocks. Continuing up, the stone changes to being andesite, with the stones being smaller, and more uniform in size. And on the east side, crudely put together unfinished stones, held together with clay mortar, complete the wall.
An aberration? Not so. Walking north, along Loreto street, which once led from the Coricancha to the present Plaza de Armas, the current nucleus of Cuzco, the wall (of an Inca palace) on the left hand side is made up of stones that are approximately one foot long on each side, and show the white point marks, indicating where the builder had used a pointed hard stone to finish the surface. Yet, on the other side of this street, is a wall, again of a palace, where the stones are more tightly fitted together and show no sign of tool marks.
How could these two walls, which would be more or less contemporary, be so different in finish. And why would the Coricancha be the only large structure in the whole city having at least one wall made of basalt, and be curved with a flat surface, while the others are of andesite or granite, with each stone having a slightly pillow like convex shape. The whim of the builder?