Chapter 8 Vitrified Stones

This chapter is al about the phenomenon of vitrified stones at the ancient sites in and near Cusco. A special layer, many times one would not notice, but looking into the details, it can be observed at almost all sites.
Here the transcription of the text from this chapter:
Here we will show how the monolithic Hanan Pacha and the cellular Uran Pacha show the process of vitrification in the shine seen on the surface of the stone. It is unlike the shine produced as a result of the erosion of a busy thoroughfare or any other well-used stone structure.
Vitrification implies a molecular change in the structure of the stone caused by high temperatures which transform the naturally rough surface of the rock to form a bright and shiny finish such as that found in the interior of the site known as Amaru Machay.
This molecular modification caused by temperature produces a skin, or surface layer, on the rock. This can be seen in some damaged vitrified stones, where a thin, even layer can be discerned across the vitrified surface. The presence of this stone skin is undeniable, and in ancient times would have covered the whole piece.
During both Hanan Pacha and Uran Pacha, vitrification was used to lend the stonework cohesion, strength and precision.
A special process of vitrification was used in the borders of several pieces. Representing an exception, because of being formed with pieces (blocks), this complex is one of the greatest works of the Hanan Pacha culture. The existence of an overlaid structure at the rear of this
monument from the Uran Pacha period gives us the key to this insight.
It was revealed to Alfredo Gamarra that in this monument the six days of creation are represented by the largest stones, together with the dynasties of mankind, from Adam to the dynasty of Noah, represented in the small stones. The soft stone was marked for all eternity by the rapidly drawn designs of the first man.
Moulds of several designs and sizes gave form to the rock, as can be seen here in this patina of vitrification.
The greatest expression of Uran Pacha, known today as Sacsayhuamán, was formed in the same way, regardless of its great size and rough surface. The nocturnal illumination of the monument reveals the presence of the vitrified borders. The combined use of moulding and heat have given the rough stone a mirror-like finish.
The use of moulding and heat have given the surface of the stone its metallic sheen. This shine and special texture covers the area originally covered by the mould. Beyond the area covered by the mould, the stone retains its natural texture. The knowledge of vitrification applied by the cultures of Hanan Pacha and Uran Pacha has a special importance.
It allows precise and incontrovertible archaeological and historical conclusions to be drawn. For example, applying this knowledge, we can establish with precision the historical reality of Loreto Street in Cusco, which has been attributed to the architecture of the Incas.
The two walls which form Loreto were assumed to have been manufactured by the same hand, but on closer analysis this proves not to have been the case. Using what Alfredo Gamarra called “the flashlight test”, we can verify the existence of a wall from the Inca Ukun Pacha built using hammer and chisel. The same test on the facing wall shows the patina formed by vitrification associated with the pre-Inca Uran Pacha culture.
Seen together, the differences in technology are apparent, although the two styles are similar. In the pre-Inca wall of Uran Pacha one can find these manipulated (massificated) stones, by day and by night.
During the making of this film, the Inca wall of this street underwent a restoration process. The pre-Inca side of the street, having been vitrified, needed no restoration work whatsoever. The characteristics corresponding to the Hanan Paccha culture, to use masable stone, use of
moulding and heat and with a style of rounded internal corners, not only exist in Peru. They are to be found on all continents, at the most sacred places.

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