During the six years which separate 1819 from 1825， the prioress of the Petit-Picpus was Mademoiselle de Blemeur， whose name， in religion， was Mother Innocente. She came of the family of Marguerite de Blemeur， author of Lives of the Saints of the Order of Saint-Benoit. She had been re-elected. She was a woman about sixty years of age， short， thick， "singing like a cracked pot，" says the letter which we have already quoted; an excellent woman， moreover， and the only merry one in the whole convent， and for that reason adored. She was learned， erudite， wise， competent， curiously proficient in history， crammed with Latin， stuffed with Greek， full of Hebrew， and more of a Benedictine monk than a Benedictine nun.

The sub-prioress was an old Spanish nun， Mother Cineres， who was almost blind.

The most esteemed among the vocal mothers were Mother Sainte-Honorine; the treasurer， Mother Sainte-Gertrude， the chief mistress of the novices; Mother-Saint-Ange， the assistant mistress; Mother Annonciation， the sacristan; Mother Saint-Augustin， the nurse， the only one in the convent who was malicious; then Mother Sainte-Mechtilde (Mademoiselle Gauvain)， very young and with a beautiful voice; Mother des Anges (Mademoiselle Drouet)， who had been in the convent of the Filles-Dieu， and in the convent du Tresor， between Gisors and Magny; Mother Saint-Joseph (Mademoiselle de Cogolludo)， Mother Sainte-Adelaide (Mademoiselle d'Auverney)， Mother Misericorde (Mademoiselle de Cifuentes， who could not resist austerities)， Mother Compassion (Mademoiselle de la Miltiere， received at the age of sixty in defiance of the rule， and very wealthy); Mother Providence (Mademoiselle de Laudiniere)， Mother Presentation (Mademoiselle de Siguenza)， who was prioress in 1847; and finally， Mother Sainte-Celigne (sister of the sculptor Ceracchi)， who went mad; Mother Sainte-Chantal (Mademoiselle de Suzon)， who went mad.

There was also， among the prettiest of them， a charming girl of three and twenty， who was from the Isle de Bourbon， a descendant of the Chevalier Roze， whose name had been Mademoiselle Roze， and who was called Mother Assumption.

Mother Sainte-Mechtilde， intrusted with the singing and the choir， was fond of making use of the pupils in this quarter. She usually took a complete scale of them， that is to say， seven， from ten to sixteen years of age， inclusive， of assorted voices and sizes， whom she made sing standing， drawn up in a line， side by side， according to age， from the smallest to the largest. This presented to the eye， something in the nature of a reed-pipe of young girls， a sort of living Pan-pipe made of angels.

Those of the lay-sisters whom the scholars loved most were Sister Euphrasie， Sister Sainte-Marguerite， Sister Sainte-Marthe， who was in her dotage， and Sister Sainte-Michel， whose long nose made them laugh.

All these women were gentle with the children. The nuns were severe only towards themselves. No fire was lighted except in the school， and the food was choice compared to that in the convent. Moreover， they lavished a thousand cares on their scholars. Only， when a child passed near a nun and addressed her， the nun never replied.

This rule of silence had had this effect， that throughout the whole convent， speech had been withdrawn from human creatures， and bestowed on inanimate objects. Now it was the church-bell which spoke， now it was the gardener's bell. A very sonorous bell， placed beside the portress， and which was audible throughout the house， indicated by its varied peals， which formed a sort of acoustic telegraph， all the actions of material life which were to be performed， and summoned to the parlor， in case of need， such or such an inhabitant of the house. Each person and each thing had its own peal. The prioress had one and one， the sub-prioress one and two. Six-five announced lessons， so that the pupils never said "to go to lessons，" but "to go to six-five." Four-four was Madame de Genlis's signal. It was very often heard. "C'est le diable a quatre，--it's the very deuce--said the uncharitable. Tennine strokes announced a great event. It was the opening of the door of seclusion， a frightful sheet of iron bristling with bolts which only turned on its hinges in the presence of the archbishop.

With the exception of the archbishop and the gardener， no man entered the convent， as we have already said. The schoolgirls saw two others: one， the chaplain， the Abbe Banes， old and ugly， whom they were permitted to contemplate in the choir， through a grating; the other the drawing-master， M. Ansiaux， whom the letter， of which we have perused a few lines， calls M. Anciot， and describes as a frightful old hunchback.

It will be seen that all these men were carefully chosen.

Such was this curious house.

从一八一九到一八二五那六年中，小比克布斯修院的院长是德·勃勒麦尔小姐，宗教界称她为纯贞嬷嬷。她和《圣伯努瓦会诸圣传》的作者玛格丽特·德·勃勒麦尔是一家。她两次当选。她是一个六十来岁的矮胖妇人，我们在前面提到过的那封信里说她“唱起诗来象个破罐”，除此以外，人非常好，在那修院里，只有她一个人是性情愉快的，因此为大家所热爱。

她能继承先人玛格丽特棗修会中的泰斗棗的遗风。能文，识掌故，博学，多才，谙悉奇闻异事，满脑子的拉丁文，满腔的希腊文，满肚子的希伯来文，虽是女流，却有丈夫气。

副院长是个眼睛几乎瞎了的西班牙籍老修女，西内莱斯嬷嬷。

在那些“参议”中最受重视的是圣奥诺雷嬷嬷，司库；圣热尔特律德嬷嬷，初学生们的第一导师；圣安琪嬷嬷，第二导师；领报嬷嬷，司衣；圣奥古斯丁嬷嬷，护士，她是全院中唯一的恶人；还有圣梅克蒂尔德嬷嬷（戈梵小姐），极年轻，嗓音美妙；安琪嬷嬷（德鲁埃小姐），她曾在圣女修院和吉索尔与马尼间的宝藏修院里待过；圣约瑟嬷嬷（柯戈鲁多小姐）；圣阿德拉依德嬷嬷（奥威尔涅小姐）；慈悲嬷嬷（西弗安特小姐，她受不了刻苦的生活）；温情嬷嬷（米尔齐埃小姐，六十岁破例特许入院，极有钱）；神德嬷嬷（罗第尼埃小姐）；入庙嬷嬷（西甘查小姐），一八四七年当院长；最后，圣赛利尼嬷嬷（雕塑家赛拉奇的姐妹），后来疯了；圣尚达尔嬷嬷（苏松小姐），也疯了。

在那些最漂亮的姑娘里，还有一个芳龄二十三的美人，她出生在波旁岛①，是罗兹骑士的后裔，社会上叫她罗兹小姐，在那里名叫升天嬷嬷。

①波旁岛，即留尼汪岛，在印度洋。　

圣梅克蒂尔德嬷嬷负责指导唱歌和唱诗，她喜欢选用寄读生。她经常把她们组成一个完整的音阶，就是说，七个人，从十岁到十六岁，每岁一个，声音和身材都要相称，她要求她们立着唱，从最小到最大，按照年龄，看去好象一座锦屏，一种由天使组成的排箫。

在那些勤务嬷嬷中，寄读生们最喜欢的是圣欧福拉吉嬷嬷、圣玛格丽特嬷嬷，老糊涂圣玛尔泰嬷嬷和那教人见了就要笑的长鼻子圣米歇尔嬷嬷。

所有那些妇女对每个孩子都是亲亲热热的。修女们只对自己才严厉。只有寄读学校里才生火，她们的伙食，和修院里的伙食比较起来，算是讲究的了。具他的照顾也是无微不至的。不过，当孩子打修女身旁走过和她说话时，修女却从来不答话。

那种保持肃静的院规产生了这样一种后果，那就是在全院，语言已从人的身上消退并交给了无生命的东西。有时是礼拜堂上的钟在说话，有时是那园丁的铃。在担任传达的嬷嬷旁边，挂着一口声音非常洪亮全院都能听到的铜钟，通过各种不同的敲法，好象是种有声电报似的，来表达在物质生活中所应进行的全部活动，并且，在必要时，还可把修院里的这个或那个人找到会客室里去。每个人和每件东西都有一定的敲法。院长是一下接一下，副院长是一下接两下。六下接五下表示上课，以致小学生们从来不说去上课，而是说去六五。四下接四下是让利斯夫人的呼号。大家听到这呼号的次数非常多。“四头鬼又来了，”一些一点也不厚道的姑娘们常那样说。十下接九下报告一件大事。就是“围墙大门”的开放，那是一道闩杠累累、吓得坏人的铁板门，只是在迎送大主教时才开放。

我们说过，除了他和园丁，任何男人都不许进修院。寄读生还见过另外两个，一个是又老又丑的教义导师，巴内斯神甫，这是可以让她们从唱诗台上隔着铁栅栏看看的，另一个是图画教师昂西奥先生，也就是我们在前面见了几行的那封信里所提到的“安西奥先生”和“驼背老妖怪”。

可以看出，每一个男人都是经过挑选的。

这就是那个怪修院的面貌。