Stone's Fall

'It is surely a means of heating water for a gentleman's bathroom,' I continued in an even tone.

It was so easy to reduce him to a state of apoplexy but it was unfair to do so. He turned bright red and spluttered incoherently, until he realised I was making fun of him. Then he calmed himself and smiled, but it was an effort.

'Tell me what it is then,' I continued. 'You will have to, because I can make neither head nor tail of it.'

'Maybe,' he said. 'Maybe I will.'

I could barely hear him. The noise in the workshop was considerable, and came from the three people who seemed to be his assistants. All, I could see from their dress, were Italians, all young, all of them concentrating hard on their tasks. Except for the girl, who was obviously his daughter. She was about eight, I would imagine, and was going to be the same shape in female form as her father. Broad of shoulder with a square face and strong jaw. Her fair, short hair was curly, and could have been an advantage had it been tended in any way at all, but as it was it resembled an overgrown bramble patch. She was dressed, also, in a way utterly unbecoming: a man's oversized sweater almost disguised the fact that she was a girl at all. But her face was open, her glance intelligent, and she seemed like a pleasant creature, although the frown as she concentrated on the job of producing some technical drawing in the corner took away most of the small prettiness she possessed.

Macintyre seemed to ignore her completely; it was only as our interview continued that I realised his glance stole away, every few minutes, to that corner of the room where she sat lost in concentration. This was the man's weakness, the only person he loved.

'Come and look around,' he said abruptly when he noticed me looking at her, and led me across the open space to where most of the machinery was installed.

I find it astonishing that any man can regard fine machinery without admiration. The machines our age has produced can induce an awe in me that is as powerful as the impulse to religion in other men. Again, perhaps this is a legacy from my upbringing, with a natural piety diverted and deformed into other channels. But I find I look on such things rather in the way a medieval peasant must have looked on the looming mass of a cathedral, stunned into reverence without comprehension.

In these great halls of production there are marvels to behold. Go to the great ironworks of Sheffield and see the forges, or the new steel presses that have sprung up around Birmingham, see the gigantic monsters that can crush and bend many tons of metal in one swipe of a press, machines so vast that it would seem arrogant even to have dreamed of them. Or to the vast turbine halls that turn water into steam and then electricity in rooms so big clouds can form in their upper levels.

And, in all of these, look at the men who work there. Are the floors clean, the men well dressed and proud of their appearance? Do they work with willingness, is there a sense of purpose in their eyes? Do the employers seek out the best, or the cheapest? Five minutes is enough to tell me if an enterprise will rise or fall, prosper or diminish. It is all in the eyes of labour.

Macintyre's operation was on a much smaller scale, but the principles were the same. And the signs were good. Although ramshackle on the outside, inside the shed was spotless. All the tools were neatly ordered, the floors swept, the benches well organised. The brass on the instruments gleamed, the steel was well oiled. Each machine was cared for and well situated. It had all been thought through. And those he employed went about their business with a quiet resolve, talking rarely and then quietly. They knew what they were doing.

'I found them,' he said when I asked, 'here and there. Giacomo over there was supposed to be a boat-builder, but his father died and he could find no master. I noticed him carving a piece of driftwood to sell to passers-by. He had such fine control of his hands I knew he was intelligent. He made himself indispensable inside a week. He can set up a machine faster and more accurately than any man I have come across. If he had the technical knowledge to go with his skill, he would be formidable.'

He gestured to another. 'Luigi is another. He has more training; I found him in an artist's studio being trained as a restorer. He has no talent for painting, so he had not much of a career ahead of him. His talent is for drawing, he is an immensely skilled draughtsman, and can take my sketches and turn them into plans. He and Giacomo can then turn them into precise settings on the machinery.'

'And that one?'

'Ah, Signor Bartoli. A man of all tasks. He is the general, all-purpose worker. He helps one or other of the two and knows how to follow his instructions perfectly. If something needs doing, he will do it, faster and better than you hoped.'

'You are more fortunate than Mr Cort in your choice of labour, then.'