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We went along the banks of the beautiful island of Antas, after which we halted at the house of Jose Maracati, a Mundurucu chieftain, with thirty Indians under him. A delegate of the Para Province in charge of the Indians--a man of strong Malay characteristics and evidently of Indian parentage--received us, and gave me much information about the local rubber industry. He told me that the best rubber found in that region was the kind locally called _seringa preta_, a black rubber which was coagulated with the smoke of the _coco de palmeira_. He calculated that 150 rubber trees gave about 14 kilos of rubber a day. The _seringa preta_ exuded latex all the year round, even during the rainy season.

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.

However, thanks to the great civility of the managers of the Booth Line at Manaos, and to the extreme thoughtfulness of the captain of the _Atahualpa_, I was made quite comfortable in the chart-room of the ship, which was as far away as possible from the noise. We were most of the time in mid-stream. The river was so wide that we could not see anything on either side. We steamed up day after day, occasionally passing islands of some beauty rising above the muddy waters of the Solimoes. Navigation of that river was difficult, as the navigable channels were constantly changing, islands disappearing and new islands forming all the time. Elich Island, in the Timbuctuba group, was fast disappearing, while another island was forming just below it.

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