Parnamoya Grandafoeti Sectory 06
Page 04

The aim of these artists was to represent with sincerity what they saw, and the simple sincerity of painters who preceded Raphael led them to choose a name which Ruskin called unfortunate, "because the principles on which its members are working are neither pre- nor post-Raphaelite, but everlasting. They are endeavoring to paint with the highest possible degree of completion what they see in nature, without reference to conventional established rules; but by no means to imitate the style of any past epoch. To paint Nature--Nature as it was around them, by the help of modern science, was the aim of the Brotherhood."

"James Citty," like all other settlements in all ages, had to have places for disposal of refuse. That much refuse was disposed of by casting it in the James River is unlikely, since before the dawn of history it has been a trait of man to live on top of his own refuse rather than litter a shore with it. While it may be that no pits were dug purposely for refuse disposal, pits opened for brick or ceramic clay (or dug for ice houses, wells, or other purposes and later abandoned) were used for dumping trash. In 1955 a refuse pit almost 40 feet square was discovered in the "industrial area" near the workshop, ironworking pit, and pottery kilns. Filled with trash from the first half of the 17th century, this pit contained such artifacts as a swepthilt rapier (made about 1600), a cutlass, the breastplate and backpiece of a light suit of armor, a number of utensils of metal, ceramics, and glass, to add to the collection of early 17th-century arts and crafts. Several smaller refuse pits were noted, and it is worth commenting that many ditches finally became trash accumulation areas.

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