"No industrial problem?" he replied. "We have a great many. We do not produce half enough. Of course, compared with other countries, it may seem that we are doing very well, but we are not satisfied." "I meant rather that you have no disturbances, no strikes, no Trade Unionism or anything of that sort." "Of course, you cannot help thinking of what you have seen in other countries. No, we have no time for nonsense of that kind. But I take no interest in that sort of thing. I have enough to do with my work. The chief Director of the Imperial Porcelain Factory is a busy man, I assure you." At this moment Madame Blobber came in and I was introduced to her. She was a great contrast to her husband in many ways. She was tall and rather thin--at any rate for a Meccanian--and would have been graceful but for a certain stiffness and coldness in her manner and bearing. She had a pale face with cold blue eyes. Her mouth was rather large, and her lips thin and flexible. While her husband's voice was leathery, like that of most Meccanians, hers was thin and penetrating, but not loud. We crossed into the dining-room. A butler in a chocolate-coloured livery saw that all was in order, and left the room. Waiting was unnecessary. The first dishes were on the table, where they were kept hot by electricity, and others on the sideboard were afterwards handed by a woman servant in a grey uniform. It was a rather silent meal. Mr. Blobber was much occupied with his food, which he evidently enjoyed, and at a later stage he relapsed into a sleepy condition. Madame Blobber then took the lead in the conversation. She was evidently a very well-read woman, especially in all matters relating to Art. I suspected she had no children and had made herself a blue-stocking. She talked like a professor, and with all the dogmatism of one. She said the Chinese had never had any true knowledge of colour. They had merely hit upon some colours which were pleasing to a crude taste. The Meccanians in fifty years had absorbed all the knowledge the Chinese had ever possessed, and much more besides. I ventured to say that there were still some secrets of artistic production in porcelain that foreigners had not discovered. She laughed at the idea. The 'secrets,' she said, were the very things the Meccanian experts had rejected as of no value. I might as well say that the Chinese political constitution was a secret because the Meccanians had not adopted it. When I suggested that scientific knowledge was not a complete equipment for Art, and would not necessarily increase the artistic powers of a nation, she said this was a mere superstition. Art was not a mystery. Every work of art admitted of being analysed; the laws of its production were ascertainable; and it could be reproduced or modified in every conceivable way. I asked if the same were true of music. I had heard, I said, that for nearly a hundred years even the Meccanians had produced no great musician.