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The second structure was a smaller (1,200 square feet), but imposing, house located near the present shoreline, considerably downriver. One of the features of this second mansion was a basement in the center of which was sunk a square, brick-lined recess, 3.3 feet on a side and 2.7 feet deep. Among the many wine bottle fragments in this recess were 3 bottle seals--1 with "WW" and 2 with "FN" stamped on them. Whether or not this mansion can be associated with Sir Francis Nicholson, the last governor resident at Jamestown (who moved the capital to Williamsburg), we do not know. Artifacts found in the refuse indicate this house was dismantled, not burned, shortly before or after the turn of the 17th century. The mystery of the little brick-lined recess is not entirely solved, but it is probable that here was a primitive cooler, deep below the house, in which perishable foods or wines were stored.

The demands of the art of the Renaissance were so great, and so unlike those of earlier days, that it is not surprising that few women, in its beginning, attained to such excellence as to be remembered during five centuries. Especially would it seem that an insurmountable obstacle had been placed in the way of women, since the study of anatomy had become a necessity to an artist. This, and kindred hindrances, too patent to require enumeration, account for the fact that but two Italian women of this period became so famous as to merit notice--Caterina Vigri and Onorata Rodiana, whose stories are given in the biographical part of this book.

In the parish church at Saas-Grund there are two altar-pieces which deserve attention. In the one over the main altar the arrangement of the Last Supper in a deep recess half-way up the composition is very pleasing and effective; in that above the right-hand altar of the two that stand in the body of the church there are a number of round lunettes, about eight inches in diameter, each containing a small but spirited group of wooden figures. I have lost my notes on these altar-pieces and can only remember that the main one has been restored, and now belongs to two different dates, the earlier date being, I should imagine, about 1670. A similar treatment of the Last Supper may be found near Brieg in the church of Naters, and no doubt the two altar-pieces are by the same man. There are, by the way, two very ambitious altars on either side the main arch leading to the chance in the church at Naters, of which the one on the south side contains obvious reminiscences of Gaudenzio Ferrari's Sta. Maria frescoes at Varallo; but none of the four altar-pieces in the two transepts tempted me to give them much attention. As regards the smaller altar-piece at Saas-Grund, analogous work may be found at Cravagliana, half-way between Varallo and Fobello, but this last has suffered through the inveterate habit which Italians have of showing their hatred towards the enemies of Christ by mutilating the figures that represent them. Whether the Saas work is by a Valsesian artist who came over to Switzerland, or whether the Cravagliana work is by a Swiss who had come to Italy, I cannot say without further consideration and closer examination than I have been able to give. The altar-pieces of Mairengo, Chiggiogna, and, I am told, Lavertezzo, all in the Canton Ticino, are by a Swiss or German artist who has migrated southward; but the reverse migration was equally common.

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