Habit never dulled in him the sense of the greatness of the aims and obstacles of his profession. Habit only sharpened his inventor's gusto in contrivance, in triumphant artifice, in the Odyssean subtleties, by which wires are taught to speak, and iron hands to weave, and the slender ship to brave and to outstrip the tempest. To the ignorant the great results alone are admirable; to the knowing, and to Fleeming in particular, rather the infinite device and sleight of hand that made them possible.

A notion was current at the time that, in such a shop as Fairbairn's, a pupil would never be popular unless he drank with the workmen and imitated them in speech and manner. Fleeming, who would do none of these things, they accepted as a friend and companion; and this was the subject of remark in Manchester, where some memory of it lingers till to-day. He thought it one of the advantages of his profession to be brought into a close relation with the working classes; and for the skilled artisan he had a great esteem, liking his company, his virtues, and his taste in some of the arts. But he knew the classes too well to regard them, like a platform speaker, in a lump. He drew, on the other hand, broad distinctions; and it was his profound sense of the difference between one working man and another that led him to devote so much time, in later days, to the furtherance of technical education. In 1852 he had occasion to see both men and masters at their worst, in the excitement of a strike; and very foolishly (after their custom) both would seem to have behaved. Beginning with a fair show of justice on either side, the masters stultified their cause by obstinate impolicy, and the men disgraced their order by acts of outrage. 'On Wednesday last,' writes Fleeming, 'about three thousand banded round Fairbairn's door at 6 o'clock: men, women, and children, factory boys and girls, the lowest of the low in a very low place. Orders came that no one was to leave the works; but the men inside (Knobsticks, as they are called) were precious hungry and thought they would venture. Two of my companions and myself went out with the very first, and had the full benefit of every possible groan and bad language.' But the police cleared a lane through the crowd, the pupils were suffered to escape unhurt, and only the Knobsticks followed home and kicked with clogs; so that Fleeming enjoyed, as we may say, for nothing, that fine thrill of expectant valour with which he had sallied forth into the mob. 'I never before felt myself so decidedly somebody, instead of nobody,' he wrote.

Outside as inside the works, he was 'pretty merry and well to do,' zealous in study, welcome to many friends, unwearied in loving- kindness to his mother. For some time he spent three nights a week with Dr. Bell, 'working away at certain geometrical methods of getting the Greek architectural proportions': a business after Fleeming's heart, for he was never so pleased as when he could marry his two devotions, art and science. This was besides, in all likelihood, the beginning of that love and intimate appreciation of things Greek, from the least to the greatest, from the AGAMEMMON (perhaps his favourite tragedy) down to the details of Grecian tailoring, which he used to express in his familiar phrase: 'The Greeks were the boys.' Dr. Bell - the son of George Joseph, the nephew of Sir Charles, and though he made less use of it than some, a sharer in the distinguished talents of his race - had hit upon the singular fact that certain geometrical intersections gave the proportions of the Doric order. Fleeming, under Dr. Bell's direction, applied the same method to the other orders, and again found the proportions accurately given. Numbers of diagrams were prepared; but the discovery was never given to the world, perhaps because of the dissensions that arose between the authors. For Dr. Bell believed that 'these intersections were in some way connected with, or symbolical of, the antagonistic forces at work'; but his pupil and helper, with characteristic trenchancy, brushed aside this mysticism, and interpreted the discovery as 'a geometrical method of dividing the spaces or (as might be said) of setting out the work, purely empirical and in no way connected with any laws of either force or beauty.' 'Many a hard and pleasant fight we had over it,' wrote Jenkin, in later years; 'and impertinent as it may seem, the pupil is still unconvinced by the arguments of the master.' I do not know about the antagonistic forces in the Doric order; in Fleeming they were plain enough; and the Bobadil of these affairs with Dr.

Robert Louis Stevenson
Classic Literature Library

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