In Rome, on a bright sunny morning in the month of March, 186–, two ladies were seated in a drawing-room, the windows of which looked upon the Corso. Mother and daughter they evidently were; and, as they play a prominent part in this story, we may be permitted to devote a short time to describing them. As a mark of respect to age, we shall give the elder lady precedence. Although she was dressed in black, and seated at a table working, one could judge that her figure was tall and elegant. In her youth she had been a great beauty; yet it could not be said that strong traces of that beauty still lingered over those thin, worn features, for "sorrows, nor few, nor light," had set their mark upon them. But neither time nor grief had destroyed the calm, gentle expression of that countenance, ever ready to light up with a cheerfulsmile and look happy in the happiness of others. Her character may be expressed in a single word—devotedness. As daughter, sister, wife, and mother, her whole life had been one almost unbroken act of self-sacrifice. Most of those whom she loved had been taken from her while she was still in the bloom of life; her children alone remained. The two elder—a son and a daughter—were married, and therefore, in some degree, lost to her, so that Flora, her second daughter, was the only one really left; and in this, her youngest child, was centred Mrs. Adair's every hope and thought. Their affection was mutual: Flora Adair believed herself to be blessed indeed in her mother. And now let us turn to the young lady. We are obliged to confess that, although she is considered to be like her mother, it is a resemblance not boasting of much physical beauty. A sad drawback this, doubtless, to a heroine; but, according to the old saying, "what can't be cured must be endured." Her figure, however, was really good; she was about the middle height, with tiny hands and feet, a broad forehead, blue eyes—fairly large and dark—a small but well-formed nose, round cheeks, a large mouth, with a tolerably good, but an over-crowded, range of teeth; a complexion far from bright or clear, and a profusion of dark brown hair brushed off her forehead, and twisted round the back of her head in thick plaits. Such is our heroine's picture—not a very attractive one, it may be said, and of this no one was more fully conscious than Flora Adair herself.

Vols. for 1871-76, 1913-14 include an extra number, The Christmas bookseller, separately paged and not included in the consecutive numbering of the regular series.