The author is aware that some demur may be raised against the lawfulness of suicide under _any_ circumstances, and that many deem it irreconcileable with a Christian profession in _every_ contingency. He begs to leave it an open question. During the Indian mutiny, and in similar cases of certain death by human violence, he believes that suicide was not only attempted, but committed, by truly religious persons. The moral character of the heroine was only gradually developing itself, and he trusts all final judgment upon her will be reserved till the close of the romance. _Note_ H, _vol._ i, _p._ 258.--REBECCA. Owing to corresponding incidents a certain resemblance to the celebrated scene in _Ivanhoe_ was almost unavoidable; the author hopes he has steered clear of any intentional likeness, but if he has caught a faint echo from the immortal Scott, he is not ashamed to own it. "_Sequiturque patrem, non passibus æquis._" _Note_ I, _vol._ ii, _p._ 45.--THE FUNERAL. The scene at Lady Arranmore's funeral was taken from the description of the impressive and beautiful ceremony performed on the occasion of the late deeply lamented Prince Consort's sepulture. _Note_ K, _vol._ ii, _p._ 126.--VAL DI BOVINO. This Val is a narrow defile formed by the _Cervaro_ through the Apennines, and has always been the celebrated haunt of brigands. The following scene is not fictitious, though names are of course changed. _Note_ L, _vol._ ii, _p._ 129.--THE VARDARELLI. This was the name of some notorious banditti in the beginning of this century. I have no reason to believe they were not true Italians, though here a foreign parentage is given to them. _Note_ M, _vol._ ii, _p._ 175.--THE MYSTERIOUS GUIDE. This story is taken from an adventure which in part happened to a countryman of the author's. _Note_ N, _vol._ ii, _p._ 259.--DEATHS OF EARL AND COUNTESS. The end of our heroine and her lord is also taken from real life. THE END. LONDON: PRINTED BY WILLIAM CLOWES AND SONS, STAMFORD STREET AND CHARING CROSS.