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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., CHAPTER IX MOVING THE MENAGERIE, Captain Acton and Lucy were strictly reserved—in some directions rigidly silent. Even Aunt Caroline, who had looked carefully after the home, and particularly Lucy's little terrier Mamie, and who swooned away in a bundle of flowered gown and hoop at the sight of her niece, was kept in ignorance of many essential features of this story—where it begins when she steps off the stage—for fear that her tongue should betray more truth to outside ears than it was expedient or desirable they should be made acquainted with..