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ONE:She had his letters opened for him with her usual speed, but as she worked he could see by the soft creased line between her eyebrows, even as he{158} had seen it yesterday morning, when she was anxious about her brother, that something troubled her. To-day, however, he did not question her: she might tell him if she felt disposed, and guessing that it was connected with the events of last night, his instinct told him that it was for her to speak or be silent. Then, when she had opened the letters, she placed them by him, and without a word, took up her writing-block and pencil for the shorthand dictation. But still her brow did not clear, the smudge of shadow lay perpendicularly between her eye-brows, as fixed as if it was some soft pencil mark on the skin. CHAPTER SEVEN TWO:"In the first place, the bowl of plain porcelain is ground, so that the enamel will stick closely, which it would not do if the surface were glazed. Then the artist makes a design, on paper, of the pattern he intends putting on the bowl. When his design is finished, he lays it on a flat surface, and takes little pieces of brass wire which has been passed between rollers so that it becomes flattened; these he bends with pincers, so that they take the shape of the figure he wants to represent. Thus he goes over his whole design until every part of the outline, every leaf, flower, and stem��in fact, every line of his drawing��is represented by a piece of wire bent to the exact shape. The wire then forms a series of partitions; each fragment of it is a cell, or cloison, intended to retain the enamel in place and keep the colors from spreading or mingling. That is the first step in the work.THREE:THE CLOCKWORK MAN EXPLAINS HIMSELF