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"I have wondered why he keeps coming here," she said slowly. "You scarcely need his companionship, now you are busy with your duties. But there," she broke off with a smile, "I have no right to doubt his sincerity; I am sure he has never spoken one word to me that he should not speak and I know he is really fond of you.",

"No, sir," cried Billy. "You don't fool me ag'in. I'm goin' to climb up there an' see jest how much gold is hid in that hole under the gable.",

"Hould on now!" Harry swayed up from the log, the grin gone from his face. "Ut's little did I think that Billy Wilson would be misunderstandin' me," he said, reproachfully. "Not wan article that the box contained has been teched by me. A small bit av the whisky have I took, because it was no more than sufficient reward fer me findin' the stuff, but the box is safe and safe ut wull be returned to Spencer whin the proper time comes.",

"But he had no right to call us savages, Ma," protested Billy.

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"Lucy, my dear," exclaimed Miss Acton, "play 'Now, Goody, Please to Moderate,' or 'My Lodging is on the Cold Ground,' or 'Sally in our Alley.' I do not care which. They are all very beautiful, and I know no song, brother, that carries me back like 'Sally in our Alley.' Do you remember how finely our father used to sing it? He was at Dr Burney's one night, sir," said she, talking to Mr Lawrence, "when a famous Italian singer of that day—who was it now?—she was as yellow as a guinea, and her hoops were so large there were many doors she could not pass through—who was it now? But no matter; after my father had sung she stepped over to him, and curtsying as though she would sit before him, she said: 'I have often heard this song sung and thought nothing of it. But now, sir, I shall ever regard it as the loveliest composition in English music.'",

"Mr Greyquill!" cried Miss Acton. "Why, he may have come with news of Lucy. Bid him step in!",

Scroggie nodded. "Drowned through an air-hole in the lake. Say, Billy, do you skate?",

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.