He rose from his chair--the man of fancy, to greet me--the man of fact.
As I looked at him, in the lamplight, it seemed to me, for the first
five minutes, that I had seldom seen an uglier little person. It took me
five minutes to get the point of view; then I began to admire. He is
diminutive, or at best of my own moderate stature, and bent and
contracted with his seventy years; lean and delicate, moreover, and very
highly finished. He is curiously pale, with a kind of opaque yellow
pallor. Literally, it's a magnificent yellow. His skin is of just the
hue and apparent texture of some old crumpled Oriental scroll. I know a
dozen painters who would give more than they have to arrive at the exact
"tone" of his thick-veined, bloodless hands, his polished ivory
knuckles. His eyes are circled with red, but in the battered little
setting of their orbits they have the lustre of old sapphires. His nose,
owing to the falling away of other portions of his face, has assumed a
grotesque, unnatural prominence; it describes an immense arch, gleaming
like a piece of parchment stretched on ivory. He has, apparently, all
his teeth, but has muffled his cranium in a dead black wig; of course
he's clean shaven. In his dress he has a muffled, wadded look and an
apparent aversion to linen, inasmuch as none is visible on his person.
He seems neat enough, but not fastidious. At first, as I say, I fancied
him monstrously ugly; but on further acquaintance I perceived that what
I had taken for ugliness is nothing but the incomplete remains of
remarkable good looks. The line of his features is pure; his nose,
_caeteris paribus_, would be extremely handsome; his eyes are the oldest
eyes I ever saw, and yet they are wonderfully living. He has something
remarkably insinuating.

He offered his two hands, as Theodore introduced me; I gave him my own,
and he stood smiling at me like some quaint old image in ivory and
ebony, scanning my face with a curiosity which he took no pains to