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Galleporto Bavicarius Directory 11
Page 04
The most important spoon in the Jamestown collection, and one of the most significant objects excavated, is an incomplete pewter spoon--a variant of the trifid, or split-end, type common during the 1650-90 period. Impressed on the handle (in the trefoil finial of the stem) is the mark of the maker, giving his name, the Virginia town where he worked, and the year he started business. This is the sole surviving "touch" or mark of an American pewterer of the 17th century. The complete legend, encircling a heart, reads: "IOSEPH COPELAND/1675/CHUCKATUCK." (Chuckatuck is a small Virginia village in Nansemond County, about 30 miles southeast of Jamestown.) Joseph Copeland later moved to Jamestown where he was caretaker of the statehouse from 1688-91. He may have made pewter in Virginia's first capital. His matchless spoon found in the old Jamestown soil is the oldest dated piece of American-made pewter in existence.
My men were paddling away with great vigour and were making rapid progress, the river flowing almost all the time northward, with deviations of a few degrees toward the east, in stretches from 2,000 to 6,000 m. in length. We crossed an immense basin 1,500 m. broad with most gorgeous sand beaches. Their formation in small dunes, occasionally with an edge like the teeth of a double comb, was most interesting. Once or twice we came to musical sands such as we had found before. Everywhere on those beaches I noticed the wonderful miniature sand plants, of which I made a complete collection.
It is, of course, quite true that no writer is bound by traditions of art, and there is no one who need consider how the thing has been done before, or follow a prescribed code. But for all that, art is not a thing of rules made and enforced by critics. All that critics can do is to determine what the laws of art are; because art has laws underlying it which are as certain as the laws of gravity, even if they are not known. The more permanent art is, the more it conforms to these laws; because the fact is that there is a vital impulse in the human mind towards the expression of beauty, and a vital discrimination too as to the form and method of that expression. Architecture, for instance, and music, are alike based upon instinctive preferences in human beings, the one for geometrical form, the other for the combination of vibrations. It is a law of music, for instance, that the human being prefers an octave in absolute unison, and not an octave of which one note is a semitone flat. That is not a rule invented by critics; it is a law of human perception and preference. Similarly there is undoubtedly a law which determines human preferences in poetry, though a far more complicated law, and not yet analysed. The new poet is not a man who breaks the law, but one who discovers a real extension of it.
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