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32. THE BASILICA OF WAR.

Here was another big gun-planing shop, built on the same lines as a religious shop - why call it anything else? Only instead of shrines and side altars were lathes and planes, only at the far end instead of a reredos were the wheels of war; instead of cardinals' hats, chains hung from the roof.

33. THE OLD GUN PIT.

At one period of their creation the guns were given an oil bath; the crane seizes them, lifts them, and then lowers them into the strange-shaped towers where they were heated; then it raises them again, and drops them into an oil bath, where they are left to harden and cool.

34. THE NEW GUN PIT.

The new pits are like the old, only they are in a great hall, and instead of monstrous forms, there are marvelous effects - suggestions in mighty, lofty vagueness.

35. BRINGING IN THE GUN.

On one side was the river, on the other "the bank"; between the glass and iron palace, where the great turret was being built. And as I drew, and wanted something to show the might and the height of the building, the engine dragged in a gun to be fitted in the turret and my subject was before me.

36. BUILDING THE GREAT TURRET.

Story above story, all glass and iron, rises the shop where the great turrets are built, and below the floor in deep pits their bases stand. This is the other end of the shop in the previous picture. What struck me most, however, was that the open part of the turret made a design - the Pediment of War and Labor. Here was the Greek idea carried out by British workmen, and no British artist has ever seen it. But from something of this sort in Greece, Greek artists got their scheme of decoration when they were building the earliest temples.

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37. FITTING GUNS IN TURRETS.

I saw these smaller guns being fitted in a turret in another shop. They are put in and then the turret is tried. When I saw it, however, the whole floor was covered with parts; it was like a watchmaker's table magnified a million times. The parts were all behind me, and the authorities did not seem to want me to draw them. This is the same subject that I found at Essen, but so different.

38. THE SHOPS AT NIGHT: CHANGING SHIFTS.

Black was the bridge, black the crowd crossing it, black the crowded trams, the blue-white light glowed from the ever-working shops, and the lights upon the cranes by the river side, on the railroad tracks and suggested the workscape by their ever winking, twinkling lines and groups and dots and masses of lamps.

39. READY FOR WAR.

The mounted howitzer was getting its finishing touches; it had been tested, and soon the great doors would open, the engine puff in, carry it off on its long journey to the front, to do its infernal work - a triumph of misdirected energy and skill - for "War is Hell."

40. TAKING THE BIG GUN AWAY.

When this big gun had been fitted and worked in its turret, it was again taken out, carried to the river side, and between them the four cranes put it on a barge and that carried it off to the ship or its carriage.

41. FIVE O'CLOCK.

With the first note of the buzzer, out the work-people come - a solid mass; you fly from thousands and thousands of them; and when they have gone another mass swarms in, for the work never stops, the mills never rest; and every eight hours the same thing happens.

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