The next important volume of the year, after Millais' _Parables_, judged by our standard, is unquestionably Dalziels' edition of _The Arabian Nights_ (Ward, Lock, and Tyler)--'illustrated by A. Boyd Houghton,' one feels tempted to add to the title. But although the book is often referred to as the work of one artist, as a matter of fact it is the work of many. Houghton does not even contribute the largest number; his eighty-seven designs are beaten by T. Dalziel's eighty-nine. Nor is he the greatest draughtsman therein, for there are two by Millais. Still, notwithstanding these, and eight by John Tenniel, ten by G. J. Pinwell, one by T. Morten, two by J. D. Watson, and six by E. Dalziel, it is for Houghton's sake that the book has suddenly assumed importance, even in the eyes of those who do not search through the volumes of the sixties for forgotten masterpieces, but are content with _Once a Week_, the _Cornhill Gallery_, and Thornbury's _Legendary Ballads_. One thing is beyond doubt: that with the _Arabian Nights_ and the others on this short list you have a National Gallery of the best things--not the best of all possible collections, not even an exhaustive collection of specimens of each, but a good working assortment that suffices to uphold the glory of 'the golden decade,' and can only be supplemented but not surpassed by the addition of all the others. The book was issued in weekly numbers, as you see on opening a first edition of the volume at the risk of breaking its back. Close to the fold appears the legend, 'Printed by Dalziel Brothers, the Camden Press, N.W.,' etc. It was eventually issued in two volumes in October 1864, but dated '1865.' Mr. Laurence Housman's volume, _Arthur Boyd Houghton_ (Kegan Paul, 1896), and his excellent article in _Bibliographica_, are available for those who wish for a fuller appreciation of this fine book. [Illustration: A. BOYD HOUGHTON DALZIELS' 'ARABIAN NIGHTS,' p. 149 NOUREDDIN ALI ON HIS JOURNEY] By the side of the books already mentioned the rest seem almost commonplace, but another edition of _The Pilgrim's Progress_, with one hundred illustrations by T. Dalziel, must not be overlooked. These show that one of the famous engravers was also an artist of no mean importance, and explain much of the fine taste that distinguished the publications of the firm with which he was associated. Elsewhere the many original designs by other members of the firm go to prove this up to the hilt.