In 1863 we find less variety in the artists and subjects, which is due to the presence of the superb series of drawings by Millais, _The Parables_, wherein the great illustrator touched his highest level. To call these twelve pictures masterpieces is for once to apply consistently a term often misused. For, though one ransacked the portfolios of Europe, not many sets of drawings could be found to equal, and very few to excel them. The twelve subjects appeared in the following order: _The Leaven_ (p. 1), _The Ten Virgins_ (p. 81), _The Prodigal Son_ (p. 161), _The Good Samaritan_ (p. 241), _The Unjust Judge_ (p. 313), _The Pharisee and Publican_ (p. 385), _The Hid Treasure_ (p. 461), _The Pearl of Great Price_ (p. 533), _The Lost Piece of Money_[1] (p. 605), _The Sower_ (p. 677), _The Unmerciful Servant_ (p. 749), and _The Labourers in the Vineyard_ (p. 821). To F. Sandys two drawings are attributed; one is obviously from another hand, but _Sleep_ (p. 589) undoubtedly marks his final appearance in this magazine. T. Morten is represented by _Cousin Winnie_ (p. 257), _Hester Durham_ (p. 492), _The Spirit of Eld_ (p. 629, unsigned), a powerful composition that at first glance might almost be taken for a Sandys, and _An Orphan Family's Christmas_ (p. 844). In _Autumn Thoughts_ (p. 743) we have an example of J. W. North, more akin to those he contributed to the Dalziel table-books, a landscape, with a fine sense of space, despite the fact that it is enclosed by trees. John Tenniel, in _The Norse Princess_ (p. 201) and _Queen Dagmar_ (p. 344), finds subjects that suit him peculiarly well. _The Summer Snow_ (p. 380), attributed to 'Christopher' Jones, is by Sir Edward Burne-Jones of course, and the final contribution of the artist to these pages. H. J. Lucas, a name rarely encountered, has one drawing, _The Sangreal_ (p. 454). A. Boyd Houghton, in _St. Elmo_ (p. 64), _A Missionary Cheer_ (p. 547), and _Childhood_ (p. 636), is showing the more mature style of his best period. G. J. Pinwell has but a single drawing, _Martin Ware's Temptation_ (p. 573), and that not peculiarly individual; John Pettie appears with six, _The Monks and the Heathen_ (p. 14), _The Passion Flowers of Life_ (p. 141), a study of an old man seated in a creeper-covered porch with a child on his lap, _The Night Walk over the Mill Stream_ (p. 185), and _Not above his Business_ (p. 272), _A Touch of Nature_ (p. 417), and _The Negro_ (p. 476). To a later generation, who only know the pictures of the Royal Academician, these come as a surprise, and prove the versatility of an artist whose painting was somewhat mannered. Walter Crane's--a fine group of oriental sailors--_Treasure-trove_ (p. 795), and J. D. Watson's six drawings are all capable and accomplished; _A Pastoral_ (p. 32), a very elaborate composition which looks like a copy of an oil-painting, _Fallen in the Night_ (p. 97), _The Curate of Suverdsio_ (p. 333), _The Aspen_ (p. 401), _Rhoda_ (p.