But just as the greatest human energy has been given to war work, given to make things to explode, to kill, to destroy; so the greatest machines have been turned to do this work with the greatest skill and accuracy and the greatest speed--the workers are but a necessary detail--and it is the working of the great machinery in the great mills which I find so inspiring--so impressive--for the mills are shrines of war. The mills are the modern temples and in them do the people worship. And if only the engines turned out were engines of peace--how much better would the world be--but everything made in a war factory is made to destroy and to be destroyed. But one must not think of that, for if one did the war would stop, and not every one wants it to stop--or it would stop to-day--a universal demand for peace would make peace,--really would have prevented war. But war work in America is the most wonderful work in the world and that is the reason why I have drawn some of the work I have seen--seen in these endless looms of time--where history is being woven. The attitude of the workman toward the artist is curious; in France he understands, in England he looks down on you as a poor thing who has to work--in America you are regarded as a fellow workman, as an artist is! I want to thank the Secretaries of the Navy and of War, Messrs. Daniels and Baker, Mr. Creel and the other members of the Board and staff of the Committee on Public Information, and the various heads of the various sub-departments of the Army and Navy, who stood my pestering and querying and obtained for me permission to visit every industrial establishment I wanted. In every plant, camp, yard, works, field, which I wanted to work in--I was taken to, and treated with courtesy. I should like to thank and mention by name the various officials, government and civilian, who gave me every facility to see and to draw everything I wished in the War Works they directed--but we are at war--and I am not permitted to say where these drawings were made, and if I mentioned the names of some of the directors of these works the places in which I made the drawings would be known. As it is, I imagine many of them are pretty well known already. Finally I wish to thank my life-long friend, Dr. F. P. Keppel--who suggested, directed, arranged, calmed down and cheered up all those with whom I was brought in most interesting contact. He knows what he did and I know--and I shall not forget. PHILADELPHIA, THANKSGIVING DAY, 1917 JOSEPH PENNELL LIST OF ILLUSTRATIONS THE KEEL I UNDER THE SHED II THE ARMOR PLATE PRESS III IN THE LAND OF BROBDIGNAG: THE ARMOR PLATE BENDING PRESS IV BUILDING THE BATTLE SHIP V MAKING A TURBINE ENGINE VI