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Lucy heard a church bell strike: she started from a fit of abstraction, and, turning to move on, confronted an old man who was crossing the bridge. The face of this old man was pale and wrinkled; his hair was long and quite white. His nose streamed down his face in a thin, curling outline; his mouth when his lips were compressed might be expressed by a simple stroke of a pencil.[Pg 30] His eyes were deep-seated and extraordinarily luminous and swift in their motions, and his eyebrows, which were as white as his hair, were so thick and overhanging that they might have passed for a couple of white mice sleeping on his brow. His apparel had that dim and faded look which in fiction is associated with miserliness. His high and dingy white cravat and the tall build of his coat at the back of his head, so sloped his shoulders that they looked to make a line with his arms. He wore a faded red waistcoat which sank very low, and under it dangled a bunch of seals. His knee-breeches left painfully visible the pipe-stem shanks clothed in grey hose and terminating in large shoes, burdened with steel buckles., "But we can't go now. I dassent leave them preserves. If I do Ma'll skin me. Anyways, ain't we goin' to let Elgin an' Fatty in on it, Bill?", She made no sign. He repeated her name as though startled by her immobility in which an element of tragedy might have been found in the singular, unwinking fixity of her stare upon her hands. He stepped to her side, and peered closely into her face and listened to hear if she breathed. Oh yes: she breathed, she was alive. But though he put his face so close to her's that she might have felt his breath upon her cheek, her form did not move by so much as might indicate the passage of a thrill, her eyes remained as steadfast in their gaze as though they were painted..