The next house we visit, Mr. Ashbee assures us, is a very interesting process. To be sure, it is one of the most dangerous; and what makes this worse, is the fact that the process is of that kind which requires the constant presence of the men. They can not set the machinery to work, and leave it for a given time; they must always remain on the spot. It is the "Corning House" sometimes called "Graining," as it is the process which reduces the cakes and hard knobs, into which the gunpowder has been forced by hydraulic pressure, into grains--a very nice, and, it would appear, a sufficiently alarming operation. Ascending by a rising pathway, we pass over a mound covered with a plantation of firs, and descending to a path by the river side, we arrive at a structure of black timber, some five-and-twenty feet high, set up in the shape of an acute angle. This is a "blast-wall," intended to offer some resistance to a rush of air in case of an explosion near at hand. There is also a similar blast-wall on the opposite side of the river. Passing this structure, we arrive at a green embankment thrown up as in fortified places, and behind and beneath this stands the "Corning House." It is a low-roofed, black edifice, like the rest, although, if possible, with a still more dismal appearance. We know not what causes the impression, but we could fancy it some place of torture, devoted to the service of the darkest pagan superstitions, or those of the Holy Inquisition. A little black vestibule, or out-house, stands on the side nearest us. The whole structure is planted on the river's edge, to which the platform in front extends. We enter the little vestibule, and here we go through the ceremony of the over-shoes. We are then permitted to advance upon the sacred platform, and we then approach the entrance. If we have received a strange and unaccountable impression of a place of torture, from the external appearance and surrounding circumstances, this is considerably borne out by the interior. The first thing that seems to justify this is a dry, strangulated, shrieking cry which continues at intervals. We discover that it is the cry of a wooden screw in torment, which in some sort reconciles us. But the sound lingers, and the impression too. The flooring is all covered with leather and hides, all perfectly black with the dust of gunpowder, and on this occasion all perfectly dry. We do not much like that: the wet sliding about was more amusing; perhaps, also, a trifle safer.