aids to eyesight in studying the heavens, such as some suppose were used by our Mound-Builders. A discovery made in Bolivia a few years since is cited in support of this belief. It is the figure of a man in the act of using a tube to aid vision, which was taken from an ancient tomb. Mr. David Forbes, an English chemist and geologist, obtained it in Bolivia, and carried it to England in 1864. William Bollaert describes it as follows in a paper read to the London Anthropological Society:

“It is a nude figure, of silver, two inches and a half · in height, on a flat, pointed pedestal. In the right hand it has the mask of a human face, but in the left a tube over half an inch in length, the narrow part placed to the left eye in a diagonal position, as if observing some celestial object. This is the first specimen of a figure in the act of looking through a hollow tube directed to the heavens that has been found in the New World. We can not suppose the Peruvians had any thing that more nearly resembled a telescope. It was found in a chulpa, or ancient Indian tomb, at Caquingora, near Corocoro (lat. 17° 15′ S., and long 68° 35′ W.), in Bolivia." He forgets the astronomical monument described by Captain Dupaix.

The art of writing in alphabetical characters, so far as appears, was unknown to the Peruvians in the time of the Incas. No Peruvian books existed at that time, and no inscriptions have been found in any of the ruins. They had a method of recording events, keeping accounts, and making reports to the government by means of the quippu. This was made of cords of twisted

wool fastened to a base prepared for the

purpose. These cords were of various sizes and colors, and every size and color had its meaning. The record was made by means of an elaborate system of knots and artificial intertwinings. The amautas were carefully educated to the business of understanding and using the quippus, and "this science was so much perfected that those skilled in it attained the art of recording historical events, laws, and decrees, so as to transmit to their descendants the most striking events of the empire; thus the quippus could supply the place of documents." Each quippu was a book full of information for those who could read it.

Among the amautas memory was educated to retain and transmit to posterity songs, historical narratives, and long historical poems. It is said, also, that tragedies and comedies were composed and preserved in this way, and that dramatic performances were among the regular entertainments encouraged and supported by the Incas. Whether the art of writing ever existed in the country can not now be determined. Some of the Peruvian tongues had names for paper; the people knew that a kind of paper or parchment could be made of plantain leaves, and, according to Montesinos, writing and books were common in the older times, that is to say, in ages long previous to the Incas. He explains how the art was lost, as I shall presently show.

It is not improbable that a kind of hieroglyphical writing existed in some of the Peruvian communities, especially among the Aymaraes. Humboldt mentions

books of hieroglyphical writing found among the Panoes, on the River Ucayali, which were "bundles of their paper resembling our volumes in quarto." A Franciscan missionary found an old man sitting at the foot of a palm-tree and reading one of these books to several young persons. The Franciscan was told that the writing "contained hidden things which no stranger ought to know." It was seen that the pages of the book were "covered with figures of men, animals, and isolated characters, deemed hieroglyphical, and arranged in lines with order and symmetry." The Panoes said these books "were transmitted to them by their ancestors, and had relation to wanderings and ancient wars." There is sim- • ilar writing on a prepared llama skin found among other antiquities on a peninsula in Lake Titicaca, which is now in the museum at La Paz, Bolivia. It appears to be a record of atrocities perpetrated by the Spaniards at the time of the Conquest, and shows that some of the Aymaraes could at that time write hieroglyphics.

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XI.

PERUVIAN ANCIENT HISTORY.

THE Peruvians, like most other important peoples in all ages, had mythical wonder-stories instead of authentic ancient history to explain the origin of their nation. These were told in traditions and legends preserved and transmitted from generation to generation by the amautas. If they were also recorded in secret books of hieroglyphical writing, such as those found among the Panoes on the Ucayali, which "contained hidden things that no stranger ought to know," satisfactory evidence of the fact has never been brought to light. In addition to these, they had many historical traditions of much more importance, related in long poems and preserved in the same way; and there were annals and national documents recorded in the quippus.

Some of the Spanish writers on Peru, who described what they saw in the country at the time of the Conquest, discussed its history. If they had used the proper sources of information with a more penetrating and complete investigation, and studied the subject as it might have been studied at that time, their historical sketches would now have great value. The two most important works written at this time, the "Relacion" of Sarmiento and the "Relaciones" of Polo de Ondegardo, were never

printed. But none of these writers sought to study Peruvian antiquity beyond the period of the Incas, although some of them (Acosta for instance) inquired sufficiently to see that Manco Capac was a mythical personage prefixed to the dynastic line of the Incas without actually belonging to it. This limited view of the ancient history, which was inconsistent with what could be seen in the antiquities and traditions of the country, was generally accepted, because nothing more could be known in Europe, and its influence was established by the undue importance accorded to the "Commentarios Reales" of Garcilasso de la Vega, published in 1609.

GARCILASSO'S HISTORY.

Garcilasso de la Vega, the son of a distinguished Spaniard of the same name, was born at Cuzco in 1540. His mother, named Ñusta, was a niece of the great Inca Huayna Capac, and granddaughter of his no less eminent predecessor, Tupac Yupanqui. The intimate blood relationship which connected him with the Incas naturally drew attention to his work, and, with more haste than reason, was treated as the best possible qualification for writing Peruvian history; therefore his "Commentarios" acquired a very great celebrity, and came to be regarded as the highest authority on all questions relating to Peru previous to the Conquest. The work never deserved this reputation, although it was not without value as an addition to what had been written on the subject by Spaniards. Garcilasso was not well qualified to write a faithful history of Peru either by his knowl