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Many were the wonderful things which had been found in digging near Cuzco; but most interesting of all to me were the deformed crania--some flattened to almost an incredible extent on the top, others elongated backward to an amazing degree, others still with the central part of the skull deeply depressed, so as to form two globular swellings at the sides. Others, again, had been squeezed so as to form an angular ridge longitudinally on the summit. One skull particularly interested me, which had a pronounced elongation backward, and a dent just above the forehead which must have been caused by tying the cranium while young and still in a soft condition. Most of the skulls were of gigantic size when compared with those of modern times. The lower part was under-developed. Many of them possessed magnificent teeth.

The real inaugurators of Dutch portraiture were Mierevelt, Hals, Ravesteyn, and De Keyser. Mierevelt (1567-1641) was one of the earliest, a prolific painter, fond of the aristocratic sitter, and indulging in a great deal of elegance in his accessories of dress and the like. He had a slight, smooth brush, much detail, and a profusion of color. Quite the reverse of him was Franz Hals (1584?-1666), one of the most remarkable painters of portraits with which history acquaints us. In giving the sense of life and personal physical presence, he was unexcelled by any one. What he saw he could portray with the most telling reality. In drawing and modelling he was usually good; in coloring he was excellent, though in his late work sombre; in brush-handling he was one of the great masters. Strong, virile, yet easy and facile, he seemed to produce without effort. His brush was very broad in its sweep, very sure, very true. Occasionally in his late painting facility ran to the ineffectual, but usually he was certainty itself. His best work was in portraiture, and the most important of this is to be seen at Haarlem, where he died after a rather careless life. As a painter, pure and simple, he is almost to be ranked beside Velasquez; as a poet, a thinker, a man of lofty imagination, his work gives us little enlightenment except in so far as it shows a fine feeling for masses of color and problems of light. Though excellent portrait-painters, Ravesteyn (1572?-1657) and De Keyser (1596?-1679) do not provoke enthusiasm. They were quiet, conservative, dignified, painting civic guards and societies with a knowing brush and lively color, giving the truth of physiognomy, but not with that verve of the artist so conspicuous in Hals, nor with that unity of the group so essential in the making of a picture.

On January 7th we arrived at the large settlement of Condamano, a sub-Prefecture in the big province of Loreto. There were two parallel streets, clean and well kept, with others intersecting at right angles. On the main street along the water front were many large commercial houses, handsome buildings of _cana_ walls and zinc roofs. The place had been built on a flat high land about 30 ft. above the river, and had some 1,500 to 2,000 inhabitants. One of the peculiarities of Condamano was that during the rubber-collecting season the population consisted almost entirely of women, as the men were in the forest collecting the latex.

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