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"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.

There, grouped around his table, sat the Dominie, Doctor Critchel, Bright the inn-keeper, and the schoolmaster, for Hanz had invited them to sup with him, and Angeline had prepared the best she had to set before them. There, too, was Tite's empty chair. There it stood, silent and touching, all the pleasant memories it once contained made sad now by the mystery that enshrouded his long absence. There was his plate, and his knife and fork, all so bright and clean, set as regularly as if he were home, and guarded so tenderly. The eloquence of that vacant chair, appealing so directly to the finer sensibilities of every one present, left a deep and sad impression. Supper was nearly over before any of the guests had courage to refer to it. The Dominie at length raised his spectacles and addressing Angeline, said: "Heaven gives to every house its idol. We have been blessed to-day, and made happy. It will yet please Heaven to bring back the idol of this house, and fill that empty chair. I am sure we shall all be glad when the boy gets home."

Magdalen always seemed to me as if soliciting the student's presence in a peculiar manner. A favourite resort of mine, at certain times, was the road passing the Observatory, leading to Woodstock. But of all the college walks, those of Magdalen were the more impressive and attractive. It appeared to embody the whole of the noble city in its own personification, as a single word will sometimes express the pith of an entire sentence. The "Mighty Tom" in the olden time, even of Walter de Mapes, if its metal was then out of the ore, never sounded (then perhaps not nine) but the midnight hour, to that worthy archdeacon, with more of the character of its locality, than the visual aspect of Magdalen represents the beautiful city to one in its entirety. It seems a sort of metonymy; Maudlin put for Oxford. The walk is, after all, but a sober path, worthy by association with one of the walks of Eden.


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