Thus far, along an obvious line of thought, Raymond's reflections took him, but there his slight mental effort ended, and even this much tired him. The time for dinner came; Mr. Best now turned certain hand-wheels and moved certain levers. They shut off the power and gradually the din lessened, the pulsing and throbbing slowed until the whole great complexity came to a stand-still. The drone of the overhead wheels ceased, the crash of the draw-heads stopped. A startling silence seemed to grow out of the noise and quell it, while a new activity manifested itself among the workers. As a bell rang they were changed in a twinkling and, amid chatter and laughter, like breaking chrysalids, they flung off their basset aprons and dun overalls, to emerge in brighter colours. Blouses of pink and blue and red flashed out, straw hats and sun-bonnets appeared, and all streamed away like magic to their neighbouring houses. It was as though its soul had passed and left a dead mill behind it. Raymond, released for a moment from the attentions of the foreman, strolled among the machines of the minders and spinners. Then his eyes were held by an intimate and personal circumstance that linked these women to this place. He found that on the whitewashed walls beside their working corners, the girls had impressed themselves--their names, their interests, their hopes. With little picture galleries were the walls brightened, and with sentiments and ideas. The names of the workers were printed up in old stamps--green and pink--and beside them one might read, in verses, or photographs, or pictures taken from the journals, something of the history, taste and personal life of those who set them there. Serious girls had written favourite hymns beside their working places; the flippant scribbled jokes and riddles; the sentimental copied love songs that ran to many verses. Often the photograph of a maiden's lover accompanied them, and there were also portraits of mothers and sisters, babies and brothers. Some of the girls had hung up fashion-plates and decorated their workshop with ugly and mean designs for clothing that they would never wear. Raymond found that picture postcards were a great feature of these galleries, and they contained also, of course, many private jests and allusions lost upon the visitor. Character was revealed in the collections; for the most part they showed desire for joy, and aspiration to deck the working-place with objects and words that should breed happy thoughts and draw the mind where its treasure harboured. Each heart it seemed was holding, or seeking, a romance; each heart was settled about some stalwart figure presented in the picture gallery, or still finding temporary substance for dreams in love poetry, in representations of happy lovers at stiles, in partings of soldier and sailor lads from their sweethearts. Beside some of the old workers the walls were blank. They had nothing left to set down, or hang up.