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'Yes.'

'Good-night, Mr. Mynors,' said Anna.

'If I may I will walk down with you,' Mynors imperturbably answered.

It was one of those dramatic moments which arrive without the slightest warning. The gleam of joyous satisfaction in Miss Dickinson's eyes showed that she alone had foreseen this declaration. For a declaration it was, and a formal declaration. Mynors stood there calm, confident with masculine superiority, and his glance seemed to say to those swiftly alert women, whose faces could not disguise a thrilling excitation: 'Yes. Let all know that I, Henry Mynors, the desired of all, am honourably captive to this shy and perfect creature who is blushing because I have said what I have said.' Even the Alderman forgot his photogravure. Beatrice hurriedly resumed her explanation of the embroidery.

'How did you like the sewing meeting?' Mynors asked Anna when they were on the pavement.

Anna paused. 'I think Mrs. Sutton is simply a splendid woman,' she said enthusiastically.

When, in a moment far too short, they reached Tellwright's house, Mynors, obeying a mutual wish to which neither had given expression, followed Anna up the side entry, and so into the yard, where they lingered for a few seconds. Old Tellwright could be seen at the extremity of the long narrow garden – a garden which consisted chiefly of a grass-plot sown with clothes-props and a narrow bordering of flower beds without flowers. Agnes was invisible. The kitchen-door stood ajar, and as this was the sole means of ingress from the yard Anna, humming an air, pushed it open and entered, Mynors in her wake. They stood on the threshold, happy, hesitating, confused, and looked at the kitchen as at something which they had not seen before. Anna's kitchen was the only satisfactory apartment in the house. Its furniture included a dresser of the simple and dignified kind which is now assiduously collected by amateurs of old oak. It had four long narrow shelves holding plates and saucers; the cups were hung in a row on small brass hooks screwed into the fronts of the shelves. Below the shelves were three drawers in a line, with brass handles, and below the drawers was a large recess which held stone jars, a copper preserving-saucepan, and other receptacles. Seventy years of continuous polishing by a dynasty of priestesses of cleanliness had given to this dresser a rich ripe tone which the cleverest trade-trickster could not have imitated. In it was reflected the conscientious labour of generations. It had a soft and assuaged appearance, as though it had never been new and could never have been new. All its corners and edges had long lost the asperities of manufacture, and its smooth surfaces were marked by slight hollows similar in spirit to those worn by the naked feet of pilgrims into the marble steps of a shrine. The flat portion over the drawers was scarred with hundreds of scratches, and yet even all these seemed to be incredibly ancient, and in some distant past to have partaken of the mellowness of the whole. The dark woodwork formed an admirable background for the crockery on the shelves, and a few of the old plates, hand-painted according to some vanished secret in pigments which time could only improve, had the look of relationship by birth to the dresser. There must still be thousands of exactly similar dressers in the kitchens of the people, but they are gradually being transferred to the dining rooms of curiosity-hunters. To Anna this piece of furniture, which would have made the most taciturn collector vocal with joy, was merely 'the dresser.' She had always lamented that it contained no cupboard. In front of the fireless range was an old steel kitchen fender with heavy fire-irons. It had in the middle of its flat top a circular lodgment for saucepans, but on this polished disc no saucepan was ever placed. The fender was perhaps as old as the dresser, and the profound depths of its polish served to mitigate somewhat the newness of the patent coal-economising range which Tellwright had had put in when he took the house. On the high mantelpiece were four tall brass candlesticks which, like the dresser, were silently awaiting their apotheosis at the hands of some collector. Beside these were two or three common mustard tins, polished to counterfeit silver, containing spices; also an abandoned coffee-mill and two flat-irons. A grandfather's clock of oak to match the dresser stood to the left of the fireplace; it had a very large white dial with a grinning face in the centre. Though it would only run for twenty-four hours, its leisured movement seemed to have the certainty of a natural law, especially to Agnes, for Mr. Tellwright never forgot to wind it before going to bed. Under the window was a plain deal table, with white top and stained legs. Two Windsor chairs completed the catalogue of furniture. The glistening floor was of red and black tiles, and in front of the fender lay a list hearthrug made by attaching innumerable bits of black cloth to a canvas base. On the painted walls were several grocers' almanacs, depicting sailors in the arms of lovers, children crossing brooks, or monks swelling themselves with Gargantuan repasts. Everything in this kitchen was absolutely bright and spotless, as clean as a cat in pattens, except the ceiling, darkened by fumes of gas. Everything was in perfect order, and had the humanised air of use and occupation which nothing but use and occupation can impart to senseless objects. It was a kitchen where, in the housewife's phrase, you might eat off the floor, and to any Bursley matron it would have constituted the highest possible certificate of Anna's character, not only as housewife but as elder sister – for in her absence Agnes had washed the tea-things and put them away.

'This is the nicest room, I know,' said Mynors at length.

'Whatever do you mean?' Anna smiled, incapable of course of seeing the place with his eye.

'I mean there is nothing to beat a clean, straight kitchen,' Mynors replied, 'and there never will be. It wants only the mistress in a white apron to make it complete. Do you know, when I came in here the other night, and you were sitting at the table there, I thought the place was like a picture.'

'How funny!' said Anna, puzzled but well satisfied. 'But won't you come into the parlour?'

The Persian with one ear met them in the lobby, his tail flying, but cautiously sidled upstairs at sight of Mynors. When Anna opened the door of the parlour she saw Agnes seated at the table over her lessons, frowning and preoccupied. Tears were in her eyes.

'Why, what's the matter, Agnes?' she exclaimed.

'Oh! Go away,' said the child crossly. 'Don't bother.'

'But what's the matter? You're crying.'

'No, I'm not. I'm doing my sums, and I can't get it – can't – ' The child burst into tears just as Mynors entered. His presence was a complete surprise to her. She hid her face in her pinafore, ashamed to be thus caught.

'Where is it?' said Mynors. 'Where is this sum that won't come right?' He picked up the slate and examined it while Agnes was finding herself again. 'Practice!' he exclaimed. 'Has Agnes got as far as practice?' She gave him an instant's glance and murmured 'Yes.' Before she could shelter her face he had kissed her. Anna was enchanted by his manner, and as for Agnes, she surrendered happily to him at once. He worked the sum, and she copied the figures into her exercise-book. Anna sat and watched.

'Now I must go,' said Mynors.

'But surely you'll stay and see father,' Anna urged.

'No. I really had not meant to call. Good-night, Agnes.' In a moment he was gone out of the room and the house. It was as if, in obedience to a sudden impulse, he had forcibly torn himself away.

'Was he at the sewing meeting?' Agnes asked, adding in parenthesis, 'I never dreamt he was here, and I was frightfully vexed. I felt such a baby.'

'Yes. At least, he came for tea.'

'Why did he call here like that?'

'How can I tell?' Anna said. The child looked at her.

'It's awfully queer, isn't it?' she said slowly. 'Tell me all about the sewing meeting. Did they have cakes or was it a plain tea? And did you go into Beatrice Sutton's bedroom?'

CHAPTER VIII
ON THE BANK

Anna began to receive her July interest and dividends. During a fortnight remittances, varying from a few pounds to a few hundred of pounds, arrived by post almost daily. They were all addressed to her, since the securities now stood in her own name; and upon her, under the miser's superintendence, fell the new task of entering them in a book and paying them into the Bank. This mysterious begetting of money by money – a strange process continually going forward for her benefit, in various parts of the world, far and near, by means of activities of which she was completely ignorant and would always be completely ignorant – bewildered her and gave her a feeling of its unreality. The elaborate mechanism by which capital yields interest without suffering diminution from its original bulk is one of the commonest phenomena of modern life, and one of the least understood. Many capitalists never grasp it, nor experience the slightest curiosity about it until the mechanism through some defect ceases to revolve. Tellwright was of these; for him the interval between the outlay of capital and the receipt of interest was nothing but an efflux of time: he planted capital as a gardener plants rhubarb, tolerably certain of a particular result, but not dwelling even in thought on that which is hidden. The productivity of capital was to him the greatest achievement of social progress – indeed, the social organism justified its existence by that achievement; nothing could be more equitable than this productivity, nothing more natural. He would as soon have inquired into it as Agnes would have inquired into the ticking of the grandfather's clock. But to Anna, who had some imagination, and whose imagination had been stirred by recent events, the arrival of moneys out of space, unearned, unasked, was a disturbing experience, affecting her as a conjuring trick affects a child, whose sensations hesitate between pleasure and apprehension. Practically, Anna could not believe that she was rich; and in fact she was not rich – she was merely a fixed point through which moneys that she was unable to arrest passed with the rapidity of trains. If money is a token, Anna was denied the satisfaction of fingering even the token: drafts and cheques were all that she touched (touched only to abandon) – the doubly tantalising and insubstantial tokens of a token. She wanted to test the actuality of this apparent dream by handling coin and causing it to vanish over counters and into the palms of the necessitous. And moreover, quite apart from this curiosity, she really needed money for pressing requirements of Agnes and herself. They had yet had no new summer clothes, and Whitsuntide, the time prescribed by custom for the refurnishing of wardrobes, was long since past. The intercourse with Henry Mynors, the visit to the Suttons, had revealed to her more plainly than ever the intolerable shortcomings of her wardrobe, and similar imperfections. She was more painfully awake to these, and yet, by an unhappy paradox, she was even less in a position to remedy them, than in previous years. For now, she possessed her own fortune; to ask her father's bounty was therefore, she divined, a sure way of inviting a rebuff. But, even if she had dared, she might not use the income that was privately hers, for was not every penny of it already allocated to the partnership with Mynors! So it happened that she never once mentioned the matter to her father; she lacked the courage, since by whatever avenue she approached it circumstances would add an illogical and adventitious force to the brutal snubs which he invariably dealt out when petitioned for money. To demand his money, having fifty thousand of her own! To spend her own in the face of that agreement with Mynors! She could too easily guess his bitter and humiliating retorts to either proposition, and she kept silence, comforting herself with timid visions of a far distant future. The balance at the bank crept up to sixteen hundred pounds. The deed of partnership was drawn; her father pored over the blue draft, and several times Mynors called and the two men discussed it together. Then one morning her father summoned her into the front parlour, and handed to her a piece of parchment on which she dimly deciphered her own name coupled with that of Henry Mynors, in large letters.

'You mun sign, seal, and deliver this,' he said, putting a pen in her hand.

She sat down obediently to write, but he stopped her with a scornful gesture.

'Thou 'lt sign blind then, eh? Just like a woman!'

'I left it to you,' she said.

'Left it to me! Read it.'

She read through the deed, and after she had accomplished the feat one fact only stood clear in her mind, that the partnership was for seven years, a period extensible by consent of both parties to fourteen or twenty-one years. Then she affixed her signature, the pen moving awkwardly over the rough surface of the parchment.

'Now put thy finger on that bit o' wax, and say; "I deliver this as my act and deed."'

'I deliver this as my act and deed.'

The old man signed as witness. 'Soon as I give this to Lawyer Dane,' he remarked, 'thou'rt bound, willy-nilly. Law's law, and thou'rt bound.'

On the following day she had to sign a cheque which reduced her bank-balance to about three pounds. Perhaps it was the knowledge of this reduction that led Ephraim Tellwright to resume at once and with fresh rigour his new policy of 'squeezing the last penny' out of Titus Price (despite the fact that the latter had already achieved the incredible by paying thirty pounds in little more than a month), thus causing the catastrophe which soon afterwards befell. What methods her father was adopting Anna did not know, since he said no word to her about the matter: she only knew that Agnes had twice been dispatched with notes to Edward Street. One day, about noon, a clay-soiled urchin brought a letter addressed to herself: she guessed that it was some appeal for mercy from the Prices, and wished that her father had been at home. The old man was away for the whole day, attending a sale of property at Axe, the agricultural town in the north of the county, locally styled 'the metropolis of the moorlands.' Anna read: – 'My dear Miss Tellwright, – Now that our partnership is an accomplished fact, will you not come and look over the works? I should much like you to do so. I shall be passing your house this afternoon about two, and will call on the chance of being able to take you down with me to the works. If you are unable to come no harm will be done, and some other day can be arranged; but of course I shall be disappointed. – Believe me, yours most sincerely, HY. MYNORS.'

She was charmed with the idea – to her so audacious – and relieved that the note was not after all from Titus or Willie Price: but again she had to regret that her father was not at home. He would be capable of thinking and saying that the projected expedition was a truancy, contrived to occur in his absence. He might grumble at the house being left without a keeper. Moreover, according to a tacit law, she never departed from the fixed routine of her existence without first obtaining Ephraim's approval, or at least being sure that such a departure would not make him violently angry. She wondered whether Mynors knew that her father was away, and, if so, whether he had chosen that afternoon purposely. She did not care that Mynors should call for her – it made the visit seem so formal; and as in order to reach the works, down at Shawport by the canal-side, they would necessarily go through the middle of the town, she foresaw infinite gossip and rumour as one result. Already, she knew, the names of herself and Mynors were everywhere coupled, and she could not even enter a shop without being made aware, more or less delicately, that she was an object of piquant curiosity. A woman is profoundly interesting to women at two periods only – before she is betrothed and before she becomes the mother of her firstborn. Anna was in the first period; her life did not comprise the second. When Agnes came home to dinner from school, Anna said nothing of Mynors' note until they had begun to wash up the dinner-things, when she suggested that Agnes should finish this operation alone.

'Yes,' said Agnes, ever compliant. 'But why?'

'I'm going out, and I must get ready.'

'Going out? And shall you leave the house all empty? What will father say? Where are you going to?'

Agnes's tendency to anticipate the worst, and never to blink their father's tyranny, always annoyed Anna, and she answered rather curtly: 'I'm going to the works – Mr. Mynors' works. He's sent word he wants me to.' She despised herself for wishing to hide anything, and added, 'He will call here for me about two o'clock.'

'Mr. Mynors! How splendid!' And then Agnes's face fell somewhat. 'I suppose he won't call before two? If he doesn't, I shall be gone to school.'

'Do you want to see him?'

'Oh, no! I don't want to see him. But – I suppose you'll be out a long time, and he'll bring you back.'

'Of course he won't, you silly girl. And I shan't be out long. I shall be back for tea.'

Anna ran upstairs to dress. At ten minutes to two she was ready. Agnes usually left at a quarter to two, but the child had not yet gone. At five minutes to two, Anna called downstairs to her to ask her when she meant to depart.

'I'm just going now,' Agnes shouted back. She opened the front door and then returned to the foot of the stairs. 'Anna, if I meet him down the road shall I tell him you're ready waiting for him?'

'Certainly not. Whatever are you dreaming of?' the elder sister reproved. 'Besides, he isn't coming from the town.'

'Oh! All right. Good-bye.' And the child at last went.

It was something after two – every siren and hooter had long since finished the summons to work – when Mynors rang the bell. Anna was still upstairs. She examined herself in the glass, and then descended slowly.

'Good afternoon,' he said. 'I see you are ready to come. I'm very glad. I hope I haven't inconvenienced you, but just this afternoon seemed to be a good opportunity for you to see the works, and, you know, you ought to see it. Father in?'

'No,' she said. 'I shall leave the house to take care of itself. Do you want to see him?'

'Not specially,' he replied. 'I think we have settled everything.'

She banged the door behind her, and they started. As he held open the gate for her exit, she could not ignore the look of passionate admiration on his face. It was a look disconcerting by its mere intensity. The man could control his tongue, but not his eyes. His demeanour, as she viewed it, aggravated her self-consciousness as they braved the streets. But she was happy in her perturbation. When they reached Duck Bank, Mynors asked her whether they should go through the market-place or along King Street, by the bottom of St. Luke's Square. 'By the market-place,' she said. The shop where Miss Dickinson was employed was at the bottom of St. Luke's Square, and all the eyes of the marketplace was preferable to the chance of those eyes.

Probably no one in the Five Towns takes a conscious pride in the antiquity of the potter's craft, nor in its unique and intimate relation to human life, alike civilised and uncivilised. Man hardened clay into a bowl before he spun flax and made a garment, and the last lone man will want an earthen vessel after he has abandoned his ruined house for a cave, and his woven rags for an animal's skin. This supremacy of the most ancient of crafts is in the secret nature of things, and cannot be explained. History begins long after the period when Bursley was first the central seat of that honoured manufacture: it is the central seat still – 'the mother of the Five Towns,' in our local phrase – and though the townsmen, absorbed in a strenuous daily struggle, may forget their heirship to an unbroken tradition of countless centuries, the seal of their venerable calling is upon their foreheads. If no other relic of an immemorial past is to be seen in these modernised sordid streets, there is at least the living legacy of that extraordinary kinship between workman and work, that instinctive mastery of clay which the past has bestowed upon the present. The horse is less to the Arab than clay is to the Bursley man. He exists in it and by it; it fills his lungs and blanches his cheek; it keeps him alive and it kills him. His fingers close round it as round the hand of a friend. He knows all its tricks and aptitudes; when to coax and when to force it, when to rely on it and when to distrust it. The weavers of Lancashire have dubbed him with an obscene epithet on account of it, an epithet whose hasty use has led to many a fight, but nothing could be more illuminatively descriptive than that epithet, which names his vocation in terms of another vocation. A dozen decades of applied science have of course resulted in the interposition of elaborate machinery between the clay and the man; but no great vulgar handicraft has lost less of the human than potting. Clay is always clay, and the steam-driven contrivance that will mould a basin while a man sits and watches has yet to be invented. Moreover, if in some coarser process the hands are superseded, the number of processes has been multiplied tenfold: the ware in which six men formerly collaborated is now produced by sixty; and thus, in one sense, the touch of finger on clay is more pervasive than ever before.

Mynors' works was acknowledged to be one of the best, of its size, in the district – a model three-oven bank, and it must be remembered that of the hundreds of banks in the Five Towns the vast majority are small, like this: the large manufactory with its corps of jacket-men,⁵ one of whom is detached to show visitors round so much of the works as is deemed advisable for them to see, is the exception. Mynors paid three hundred pounds a year in rent, and produced nearly three hundred pounds worth of work a week. He was his own manager, and there was only one jacket-man on the place, a clerk at eighteen shillings. He employed about a hundred hands, and devoted all his ingenuity to prevent that wastage which is at once the easiest to overlook and the most difficult to check, the wastage of labour. No pains were spared to keep all departments in full and regular activity, and owing to his judicious firmness the feast of St. Monday, that canker eternally eating at the root of the prosperity of the Five Towns, was less religiously observed on his bank than perhaps anywhere else in Bursley. He had realised that when a workshop stands empty the employer has not only ceased to make money, but has begun to lose it. The architect of 'Providence Works' (Providence stands godfather to many commercial enterprises in the Five Towns) knew his business and the business of the potter, and he had designed the works with a view to the strictest economy of labour. The various shops were so arranged that in the course of its metamorphosis the clay travelled naturally in a circle from the slip-house by the canal to the packing-house by the canal: there was no carrying to and fro. The steam installation was complete: steam once generated had no respite; after it had exhausted itself in vitalising fifty machines, it was killed by inches in order to dry the unfired ware and warm the dinners of the workpeople.

Henry took Anna to the canal-entrance, because the buildings looked best from that side.

'Now how much is a crate worth?' she asked, pointing to a crate which was being swung on a crane direct from the packing-house into a boat.

'That?' Mynors answered. 'A crateful of ware may be worth anything. At Minton's I have seen a crate worth three hundred pounds. But that one there is only worth eight or nine pounds. You see you and I make cheap stuff.'

'But don't you make any really good pots – are they all cheap?'

'All cheap,' he said.

'I suppose that's business?' He detected a note of regret in her voice.

'I don't know,' he said, with the slightest impatient warmth. 'We make the stuff as good as we can for the money. We supply what everyone wants. Don't you think it's better to please a thousand folks than to please ten? I like to feel that my ware is used all over the country and the colonies. I would sooner do as I do than make swagger ware for a handful of rich people.'

'Oh, yes,' she exclaimed, eagerly accepting the point of view, 'I quite agree with you.' She had never heard him in that vein before, and was struck by his enthusiasm. And Mynors was in fact always very enthusiastic concerning the virtues of the general markets. He had no sympathy with specialities, artistic or otherwise. He found his satisfaction in honestly meeting the public taste. He was born to be a manufacturer of cheap goods on a colossal scale. He could dream of fifty ovens, and his ambition blinded him to the present absurdity of talking about a three-oven bank spreading its productions all over the country and the colonies; it did not occur to him that there were yet scarcely enough plates to go round.

'I suppose we had better start at the start,' he said, leading the way to the slip-house. He did not need to be told that Anna was perfectly ignorant of the craft of pottery, and that every detail of it, so stale to him, would acquire freshness under her naïve and inquiring gaze.

In the slip-house begins the long manipulation which transforms raw porous friable clay into the moulded, decorated and glazed vessel. The large whitewashed place was occupied by ungainly machines and receptacles through which the four sorts of clay used in the common 'body' – ball clay, China clay, flint clay and stone clay – were compelled to pass before they became a white putty-like mixture meet for shaping by human hands. The blunger crushed the clay, the sifter extracted the iron from it by means of a magnet, the press expelled the water, and the pug-mill expelled the air. From the last reluctant mouth slowly emerged a solid stream nearly a foot in diameter, like a huge white snake. Already the clay had acquired the uniformity characteristic of a manufactured product.

Anna moved to touch the bolts of the enormous twenty-four-chambered press.

'Don't stand there,' said Mynors. 'The pressure is tremendous, and if the thing were to burst – '

She fled hastily. 'But isn't it dangerous for the workmen?' she asked.

Eli Machin, the engineman, the oldest employee on the works, a moneyed man and the pattern of reliability, allowed a vague smile to flit across his face at this remark. He had ascended from the engine-house below in order to exhibit the tricks of the various machines, and that done he disappeared. Anna was awed by the sensation of being surrounded by terrific forces always straining for release and held in check by the power of a single wall.

'Come and see a plate made: that is one of the simplest things, and the batting-machine is worth looking at,' said Mynors, and they went into the nearest shop, a hot interior in the shape of four corridors round a solid square middle. Here men and women were working side by side, the women subordinate to the men. All were preoccupied, wrapped up in their respective operations, and there was the sound of irregular whirring movements from every part of the big room. The air was laden with whitish dust, and clay was omnipresent – on the floor, the walls, the benches, the windows, on clothes, hands and faces. It was in this shop, where both hollow-ware pressers and flat pressers were busy as only craftsmen on piecework can be busy, that more than anywhere else clay was to be seen 'in the hand of the potter.' Near the door a stout man with a good-humoured face flung some clay on to a revolving disc, and even as Anna passed a jar sprang into existence. One instant the clay was an amorphous mass, the next it was a vessel perfectly circular, of a prescribed width and a prescribed depth; the flat and apparently clumsy fingers of the craftsman had seemed to lose themselves in the clay for a fraction of time, and the miracle was accomplished. The man threw these vessels with the rapidity of a Roman candle throwing off coloured stars, and one woman was kept busy in supplying him with material and relieving his bench of the finished articles. Mynors drew Anna along to the batting-machines for plate makers, at that period rather a novelty and the latest invention of the dead genius whose brain has reconstituted a whole industry on new lines. Confronted with a piece of clay, the batting-machine descended upon it with the ferocity of a wild animal, worried it, stretched it, smoothed it into the width and thickness of a plate, and then desisted of itself and waited inactive for the flat presser to remove its victim to his more exact shaping machine. Several men were producing plates, but their rapid labours seemed less astonishing than the preliminary feat of the batting-machine. All the ware as it was moulded disappeared into the vast cupboards occupying the centre of the shop, where Mynors showed Anna innumerable rows of shelves full of pots in process of steam-drying. Neither time nor space nor material was wasted in this ant-heap of industry. In order to move to and fro, the women were compelled to insinuate themselves past the stationary bodies of the men. Anna marvelled at the careless accuracy with which they fed the batting-machines with lumps precisely calculated to form a plate of a given diameter. Everyone exerted himself as though the salvation of the world hung on the production of so much stuff by a certain hour; dust, heat, and the presence of a stranger were alike unheeded in the mad creative passion.

'Now,' said Mynors the cicerone, opening another door which gave into the yard, 'when all that stuff is dried and fettled – smoothed, you know – it goes into the biscuit oven: that's the first firing. There's the biscuit oven, but we can't inspect it because it's just being drawn.'