Mother Saint Mechtilde, who had charge of the singing arrangements, was glad to make use of the boarders for this purpose; she generally selected a complete musical scale, that is to say, seven assorted voices, from ten to sixteen years inclusive, whom she drew up in a line, ranging from the shortest to the tallest. In this way she produced a species of living Pandean pipes, composed of angels. The lay sisters whom the boarders liked most were Sister Saint Euphrasie, Sister Saint Marguerite, Sister Saint Marthe, who was childish, and Sister Saint Michel, at whose long nose they laughed. All these nuns were kind to the children, and only stern to themselves; there were no fires lit except in the schoolhouse, and the food there was luxurious when compared with that of the convent. The only thing was that when a child passed a nun and spoke to her, the latter did not answer. This rule of silence produced the result that in the whole convent language was withdrawn from human creatures and given to inanimate objects. At one moment it was the church bell that spoke, at another the gardener's; and a very sonorous gong, placed by the side of the sister porter, and which could be heard all through the house, indicated by various raps, which were a sort of acoustic telegraphy, all the actions of natural life which had to be accomplished, and summoned a nun, if required, to the parlor. Each person and each thing had its raps: the prioress had one and one, the sub-prioress one and two; six-five announced school hour, so that the pupils talked of going to six-five; four-four was Madame Genlis' signal, and as it was heard very often, uncharitable persons said she was the "diable à quatre." Nineteen strokes announced a great event; it was the opening of the cloister door, a terrible iron plate all bristling with bolts, which only turned on its hinges before the archbishop. With the exception of that dignitary and the gardener, no other man entered the convent; but the boarders saw two others,--one was the chaplain, Abbé Banès, an old ugly man, whom they were allowed to contemplate through a grating; while the other was M. Ansiaux, the drawing-master, whom the letter which we have already quoted calls "M. Anciot," and describes as an odious old hunchback. So we see that all the men were picked. Such was this curious house. CHAPTER VIII. POST CORDA LAPIDES. After sketching the moral figure, it may not be time lost to indicate in a few words the material configuration, of which the reader already possesses some idea.