I saw him only once during these first weeks. I was at Amesbury still, superintending the work of raising the Giants’ Dance. Tremorinus was in the north, but I had a good team, and after their experience with the king-stone at Killare, the men were eager to tackle the massive stones of the Dance. For the raising of the uprights, once we had aligned the stones, dug the pits and sunk the guides, there was nothing that could not be done with rope and shear-legs and plumb-line. It was with the great lintels that the difficulty lay, but the miracle of the building of the Dance had been done countless years before, by the old craftsmen who had shaped those gigantic stones to fit as surely one into the other as wood dovetailed by a master carpenter. We had only to find means to lift them. It was this which had exercised me all those years, since I first saw the capped stones in Less Britain, and began my calculations. Nor had I forgotten what I had learnt from the songs. In the end I had designed a wooden crib of a kind which a modern engineer might have dismissed as primitive, but which—as the singer had been my witness—had done the task before, and would again. It was a slow business, but it worked. And I suppose it was a marvellous enough sight to see those vast blocks rising, stage by stage, and settling finally into their beds as smoothly as if they had been made of tallow. It took two hundred men to each stone as it was moved, drilled teams who worked by numbers and who kept up their rhythms, as rowers do, by music. The rhythms of the movement were of course laid down by the work, and the tunes were old tunes that I remembered from my childhood; my nurse had sung them to me, but she never sang the words that the men sometimes set to them. These tended to be lively, indecent, and intensely personal, and mostly concerning those in high places. Neither Uther nor I were spared, though the songs were never sung deliberately in my hearing. Moreover, when outsiders were present, the words were either correct or indistinguishable. I heard it said, long afterwards, that I moved the stones of the Dance with magic and with music. I suppose you might say that both are true. I have thought, since, that this must have been how the story started that Phoebus Apollo built with music the walls of Troy. But the magic and the music that moved the Giants’ Dance, I shared with the blind singer of Kerrec.