The excellent Miss Onthank--for by this title the parson always compliments her--is a type of a schoolmistress which is found no longer: grave, stately, with two great moppets of hair on either side her brow, (as in the old engravings of Louis Philippe's good queen Amelia,) very resolute, very learned in the boundaries of all Christian and heathen countries, patient to a fault, with a marvellous capacity for pointing out with her bodkin every letter to some wee thing at its first stage of spelling, and yet keeping an eye upon all the school-room; reading a chapter from the Bible, and saying a prayer each morning upon her bended knees,--the little ones all kneeling in concert,--with an air that would have adorned the most stately prioress of a convent; using her red ferule betimes on little, mischievous, smarting hands, yet not over-severe, and kind beneath all her gravity. She regards Adele with a peculiar tenderness, and hopes to make herself the humble and unworthy instrument of redeeming her from the wicked estate in which she has been reared. And Adele, though not comprehending the excess of her zeal, and opening her eyes in great wonderment when the good woman talks about her "providential deliverance from the artful snares of the adversary," is as free in her talk with the grave mistress as if she were her mother confessor. Phil and Reuben, being the oldest boys of the school, resent the indignity of being still subject to woman rule by a concerted series of rebellious outbreaks. Some six or eight months after the arrival of Adele upon the scene, this rebel attitude culminates in an incident that occasions a change of programme. The rebels on their way to school espy a few clam-shells before some huckster's door, and, putting two or three in their pockets, seize the opportunity when the good lady's eyes are closed in the morning prayer to send two or three scaling about the room, which fall with a clatter among the startled little ones. One, aimed more justly by Reuben, strikes the grave mistress full upon the forehead, and leaves a red cut from which one or two beads of blood trickle down. Adele, who has not learned yet that obstinate closing of the eyes which most of the scholars have been taught, and to whom the sight recalls the painted heads of martyrs in an old church at Marseilles, gives a little hysteric scream. But the mistress, with face unchanged and voice uplifted and unmoved, completes her religious duty. The whole school is horrified, on rising from their knees, at sight of the old lady's bleeding head. The mistress wipes her forehead calmly, and, picking up the shell at her feet, says, "Who threw this?" There is silence in the room. "Adele," she continues, "I heard you scream, child; do you know who threw this?" Adele gives a quick, inquiring glance at Reuben, whose face is imperturbable, rallies her courage for a struggle against the will of the mistress, and then bursts into tears. Reuben cannot stand this.