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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., The house, or at least the front of it, was built after a design by Inigo Jones. The pediment was perforated by a circular window glazed with a casement whose frame resembled the spokes of a ship's wheel. A variety of antique symbolism resembling the hideous sculptures which sometimes close the chapters in books of the seventeenth century, under-ran the eaves. The tall, narrow windows gleamed blackly amidst the skeletons of the winter, or the coloured embroidery of the[Pg 3] summer creepers. The hall door was noble and hospitable in expanse. A carriage drive swept from it on either hand the oval lawn to a handsome gate whose supports were crowned by the arms of the Actons on the one hand and the arms of a family into which one of the Actons had married on the other hand., CHAPTER III APPRAISING THE NEW TEACHER.