Anna began to receive her July interest and . During a fortnight , 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 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 by which capital yields interest without suffering from its original bulk is one of the commonest 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 . Tellwright was of these; for him the between the 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 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 its existence by that achievement; nothing could be more 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 trick affects a child, whose sensations hesitate between pleasure and . Practically, Anna could not believe that she was rich; and in fact she was not rich—she was merely a 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 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 , she was even less in a position to remedy them, than in previous years. For now, she her own fortune; to ask her father's was therefore, she divined, a sure way of a rebuff. But, even if she had dared, she might not use the income that was hers, for was not every penny of it already to the 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 force to the 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 ; 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 the 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 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 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 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 , the agricultural town in the north of the county, locally styled 'the 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 , to occur in his absence. He might 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 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 curiosity. A woman is profoundly interesting to women at two periods only—before she is 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 . '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 : '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 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 on his face. It was a look disconcerting by its . The man could control his tongue, but not his eyes. His demeanour, as she viewed it, 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 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 flax and made a garment, and the last man will want an earthen after he has abandoned his ruined house for a cave, and his woven rags for an animal's skin. This 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 daily struggle, may forget their to an unbroken tradition of centuries, the seal of their venerable calling is upon their foreheads. If no other of an immemorial past is to be seen in these modernised streets, there is at least the living of that extraordinary kinship between workman and work, that mastery of clay which the past has 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 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 ; when to and when to force it, when to rely on it and when to distrust it. The of Lancashire have him with an obscene 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 in terms of another vocation. A dozen decades of science have of course resulted in the interposition of elaborate 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 , the number of processes has been multiplied tenfold: the in which six men is now produced by sixty; and thus, in one sense, the touch of finger on clay is more 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 of jacket-men,[1] 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 all his 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 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 ' 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 ; after it had 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 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 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 before, and was struck by his enthusiasm. And Mynors was in fact always very enthusiastic concerning the of the general markets. He had no sympathy with specialities, or otherwise. He found his satisfaction in honestly meeting the public taste. He was born to be a manufacturer of cheap goods on a scale. He could dream of fifty ovens, and his ambition blinded him to the present 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 ignorant of the craft of , 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 clay into the moulded, decorated and vessel. The large 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—wer............