"Take it," the pressman said.

He was a fright, I won't pretend he wasn't. For although he was a young man and had therefore often walked the earth and seen the sun, he seemed, at that moment, like one of those transparent creatures they say live in rivers far below the earth. His hair was fine as silk, and long and white, not like the English but the Swedes. His forehead was very tall, and so white and smooth it seemed as if it must be carved from ivory. He had pale projecting eyebrows, and eyes like water.

"Now put it down," he said.

"What?" I asked, having heard him perfectly.

"Put down the filthy pot," he pleaded, "on the stinking floor."

I saw no reason to be afraid of such a nervous creature, but when I obeyed he gave me an awful cuff across the head and took me by the ear and twisted it.

"If you ever leave me waiting again," he whispered, "I will come out the hard way"-that was how he put it-"and Piggott don't want that. Smell it," he cried, his voice cracking. "Smell."

He meant his room. I looked above his shoulder and saw he was like all men who work with black ink and white paper. That is, his printed sheets were as clean as sawn timber and his narrow bed was tightly made. He shared his snug space with a guillotine and the first iron hand press I ever saw. He was all hunched over, his arms were long and thin and he held them across his chest in a way that made me think of the roots of a pot-bound tree. I could not make out how tall he was.

It would be many years, on the other side of the world, before I understood that Piggott's house had been designed by Nicholas Owen, a clever fellow who had devised the many hiding places for priests in the reign of Elizabeth I. Whether Piggott had inherited or purchased the property, I still don't know. At the time, of course, I did not care, for while it had been easy enough to crawl along the tiny passageway, it was quite another matter to return, nudging and sliding the sloshing chamber pot. Gently, gently catchee monkey. This was now my job-penny both ways, a fortune-to bring Mr. Algernon Watkins his sandwiches and take away his slops three times a day and if I was ever to breathe so much as a word to anyone, then I would be murdered and my body bricked up inside the house. "That's an exaggeration," my father said.

I HAD NEVER SET EYES on a silkworm and I daresay young Watkins was in no way like one. Yet it is a silkworm that I think of when I recall him in 1793, a poor pale secret thing at the service of a Chinese emperor, sitting on his heels before his press, playing it like a dice box, and with all the papery essentials within the reach of his long arms. It will be no surprise, I reckon, that I got to know Algernon Watkins well enough, although the path will be curly, and not as you expect.

Piggott was as sly as a fox, as clever as a poacher. So well did he cover my tracks (and his own) that not even Weasel, the Jacobin, or Chanker, the Benthamite, had any idea what was taking place above their heads. As for my revolutionary father, it is a sad fact that you could kill his famous curiosity with less than threepence. So when I slipped away after tea he knew better than to ask me why.

It took a good many nasty trips to Watkins' dark door before I crossed the threshold, and only then did I really comprehend his terror of the chamber pot. As anyone who has served at His Majesty's Pleasure will tell you, the smells that make your guts first heave soon become your home sweet home. But Watkins was, put plainly, a more fastidious and secretive young fellow than all your sisters put together.

There was ventilation of a sort which we will come to, but because he must clean his press, the air always contained white spirits-which he feared would blow him to kingdom come. This sensible concern had him pulling on the ventilator pulley with one hand even while he worked the press, so he was-as he said himself-like one of the Jack Puddings you see outside the George and Dragon with twenty instruments, the left foot beating drums, the right one cracking walnuts, this not being a bad picture of Watkins for he also-apart from being both pressman and ventilator-kept vials of aromatics-oil of cloves, sweet geranium-in a row before his knees and was constantly dabbing these onto the silk scarf he wore across his nose and mouth.

But it was not only the straight thin nose he covered. He had white cloth draped everywhere, across the chamber pot, the press, the guillotine, his paper stock, brush box blocks, and the burins which were to play so painful a part in my life I have sometimes wished to God I never saw them.

You do not know what a burin is, and nor did I, mistaking it for a shiv, a murdering steel shaft with a hemispherical handle.

It was very tight inside Watkins' shop, as he called it, but he offered a place for Parrot to sit, jammed in a corner just inside the door. His place was also just inside the door, but on the other side, and there he remained, with his pot-bound arms around his knees and his high head bowed beneath the ceiling so we were like a pair of ill-matched firedogs.

Although he could have been no more than twenty, he had clearly forgotten what it was like to be a boy. He conversed by means of questions, answers, commentary, as if I was there to learn my catechism.

He would ask me what I had seen that day. This was mostly birds and animals, and his commentaries, particularly about the birds, were very queer and very personal and often of surprising length.

When my da was in his cups, we had some strange conversations, but none like this. For Watkins' memories could turn him so suddenly and wildly happy, and he would make a picture of stomping on the moor and all the colors of the birds and gorse he could count off on his fingers. You would think he was a saint with the light of heaven on him. In this condition he could make you share his wonder at plain old tomtit, for instance, and it was by catching this intoxication, that I drew a field mouse for him, showing off, right on his floor.

I had done this trick so often, I knew I was a prodigal. So when Watkins peered at my mouse and twisted himself around and I saw his hand burrowing under a cotton cover, then why, I thought it was my just reward. I was in no way surprised to see a big square of chocolate.

I put it in my mouth and saw him laugh at me. It was hard and brown, would break your teeth.

"What is it?" I asked. I was used to beer for my daddy or taffy for myself. Not this, this cold hard thing inside my palm.

"You are not an artist's bootlace," said he.

"What is it?"

"It is a brush box," said he, "and if you are an artist it is butter beneath your knife."

I asked him was he an artist.

For answer he would only smile and I thought how large his eyes were when they hid behind his purplish lids. He retrieved the square of steel-hard wood like a cardsharp on the Strand, not letting me touch it but allowing me to glimpse the very artful drawing of a quail he had made upon one side. I hated it and was angry that he would not praise me. At the same time he was a mystery like none I ever knew. He was uncanny, pot-bound, excitable. He was watchful and ugly but graceful too. He was close as a tomb but on that same day I drew the mouse he revealed to me, a boy, his great ambition and the reason why he had sold his services to Piggott. He planned to amass sufficient geld to produce and print the best book of birds the world had ever seen.

Saying this, his watery eyes were very bright and everything in that dreadful little tomb seemed illuminated by his joy.

"What are you smiling at?"

I said I was thinking how nice it would be to see a book like that.

"You can't imagine, boy."

I supposed I couldn't.

"You don't know what I am," he said.