equinox, like that which was formerly in the Inti-pampa at Cuzco.
About half a mile up the Marca-cocha ravine the cliff becomes perpendicular, and here giant seats have been excavated, having canopies and steps up to them, with connecting galleries, all hewn out of the solid rocks. One is called Ñusta-tiana (the princess's seat), the other Inca-misana, from its resemblance to an altar. On the road from the quarry there are two hewn stones called the saycusca rumi-cuna (tired stones). One is 9 ft. 8 ins. by 7 ft. 8 ins., the other 20 ft. by 15 ft. by 3 ft. 6 ins. The excavations, the tired stones, and parts of the ruins date from the megalithic age. The rest may be of the period of Ollantay.
The second act finds Ollantay in open rebellion, and fully established in this wonderful palace, where he was engaged in building and fortifying for several years. The name may be either from the drama or from an actual event handed down by tradition, but most of the early writers only call the fortress 'Tampu' without any prefix. Molina and Salcamayhua have the complete name, Ollantay-tampu. The second act opens with Ollantay in his stronghold, hailed as Inca by his followers. In the next scene Yma Sumac, the child of Ollantay and Cusi Coyllur, who had been brought up without being aware of her mother's existence, is conversing with her attendant, Pitu Salla. The girl tells of the groans and sighs she has heard, when she has been walking in the
