The greatest simplicity is observed in the construction of the buildings, which are usually free from outward ornament; though in some the huge stones are shaped into a convex form with great regularity, and adjusted with such nice precision to one another, that it would be impossible, but for the flutings, to determine the line of junction. In others, the stone is rough, as it was taken from the quarry, in the most irregular forms, with the edges nicely wrought and fitted to each other. There is no appearance of columns or of arches; though there is some contradiction as to the latter point. But it is not to be doubted, that, although they may have made some approach to this mode of construction by the greater or less inclination of the walls, the Peruvian architects were wholly unacquainted with the true principle of the circular arch reposing on its key-stone. *30 [Footnote 30: Condamine, Mem. ap. Hist. de l'Acad. Royale de Berlin, tom. II. p. 448. - Antig. y Monumentos del Peru, Ms. - Herrera, Hist. General, dec. 5, lib 4, cap. 4. - Acosta, lib. 6, cap. 14. - Ulloa, Voyage to S. America, vol. I. p 469. - Ondegardo, Rel. Seg., Ms.] The architecture of the Incas is characterized, says an eminent traveller, "by simplicity, symmetry and solidity." *31 It may seem unphilosophical to condemn the peculiar fashion of a nation as indicating want of taste, because its standard of taste differs from our own. Yet there is an incongruity in the composition of the Peruvian buildings which argues a very imperfect acquaintance with the first principles of architecture. While they put together their bulky masses of porphyry and granite with the nicest art, they were incapable of mortising their timbers, and, in their ignorance of iron, knew no better way of holding the beams together than tying them with thongs of maguey. In the same incongruous spirit, the building that was thatched with straw, and unilluminated by a window, was glowing with tapestries of gold and silver! These are the inconsistencies of a rude people, among whom the arts are but partially developed. It might not be difficult to find examples of like inconsistency in the architecture and domestic arrangements of our Anglo-Saxon, and, at a still later period, of our Norman ancestors. [Footnote 31: "Simplicite, symetrie, et solidite, voila les trois caracteres par lesquels se distinguent avantageusement tous les edifices peruviens.' Humboldt, Vues des Cordilleres, p. 115.]