bard's nose. But whoever, during those hours set apart by the old
gentleman for solitary labor and meditation, had happened to peep in at
the window, would, ten to one, have beheld him tilted thoughtfully back
in his chair, abstractedly tweaking, with the forefinger and thumb of
his right hand, the sacred feature in question. He had done it every
day, for many years past, and never once found himself out, and,
doubtless, the great poet was far too broad-minded ever to think of
resenting the liberty, especially as it was only in his most thoughtful
moments that the professor meddled with him.

The room contained little else in the way of furniture, except a few
extra chairs, and a malacca-joint cane, with an ivory head, which stood
in a corner near the door. It produced an impression at once of
cleanliness and disorder, therein bearing a strong analogy to the
professor's own person and habits; and the disorder was of such a kind,
that, although no rule or system in the arrangement of any thing was
perceptible, Professor Valeyon would have been at once and almost
instinctively aware of any alteration that might have been made, however
slight.

On entering the study, the old gentleman first shuffled up to the
fireplace, flapping the heels of his slippers behind him as he went, and
deposited his pipe on the mantel-piece. Next, he put on his straw hat,
and, turning to the engraving of the Transfiguration, which had served
him as a looking-glass almost ever since it had hung there, he put
himself to rights, with his usual fierce scowlings, liftings of the
chin, and jerkings at collar and stock. When every thing seemed in
proper trim, he took his ivory-headed cane from its place in the corner,
and made his way along the entry to the front door.