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Just beyond, upriver, lie ruins of the Ludwell House and the Third and Fourth Statehouses. In 1900-01, Col. Samuel H. Yonge, a U.S. Army Engineer and a keen student of Jamestown history, uncovered and capped these foundations after building the original seawall. A strange discovery was made here in 1955 while the foundations were being examined by archeologists for measured drawings. Tests showed that no less than 70 human burials lay beneath the statehouse walls, and an estimated 200 more remain undisturbed beneath the remaining structures or have been lost in the James River. Here may be the earliest cemetery yet revealed at Jamestown--one so old that it was forgotten by the 1660's when the Third Statehouse was erected. It is, indeed, quite possible that these burials, some hastily interred without coffins, could date from the "starving time" of 1609-10, when the settlers strove to dispose of their dead without disclosing their desperate condition to the Indians.

Upon his arrival in Africa, Marius was not well pleased that a Quaestor had been assigned to him who was only known for his profligacy, and who had had no experience in war; but the zeal and energy with which Sulla attended to his new duties soon rendered him a useful and skillful officer, and gained for him the unqualified approbation of his commander, notwithstanding his previous prejudices against him. He was equally successful in winning the affections of the soldiers. He always addressed them with the greatest kindness, seized every opportunity of conferring favors upon them, was ever ready to take part in all the jests of the camp, and at the same time never shrank from sharing in all their labors and dangers. It is a curious circumstance that Marius gave to his future enemy and the destroyer of his family and party the first opportunity of distinguishing himself. The enemies of Marius claimed for Sulla the glory of the betrayal of Jugurtha, and Sulla himself took the credit of it by always wearing a signet ring representing the scene of the surrender.

The fifth chapel represents the birth of the Virgin. Having obtained permission to go inside it, I found the date 1715 cut large and deep on the back of one figure before baking, and I imagine that this date covers the whole. There is a Queen Anne feeling throughout the composition, and if we were told that the sculptor and Francis Bird, sculptor of the statue in front of St. Paul's Cathedral, had studied under the same master, we could very well believe it. The apartment in which the Virgin was born is spacious, and in striking contrast to the one in which she herself gave birth to the Redeemer. St. Anne occupies the centre of the composition, in an enormous bed; on her right there is a lady of the George Cruikshank style of beauty, and on the left an older person. Both are gesticulating and impressing upon St. Anne the enormous obligation she has just conferred upon mankind; they seem also to be imploring her not to overtax her strength, but, strange to say, they are giving her neither flowers nor anything to eat and drink. I know no other birth of the Virgin in which St. Anne wants so little keeping up.

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