In 1871, Arthur Hughes, the chief illustrator of this magazine, to whose presence it owes most of its interest (since other artists are well represented elsewhere, but he is rarely met with outside its pages), contributes thirty pictures to Dr. George Mac Donald's _Princess and the Goblin_, and fourteen others, some of which have been republished in _Lilliput Lectures_ and elsewhere,--one, _Mercy_ (p. 195), reappearing in that work, and again as the theme of a large painting in oils, which was exhibited at the Royal Academy 1893, and reproduced in _The Illustrated London News_, May 3rd of that year. A. Boyd Houghton, in _Don José's Mule_ (p. 28), has a most delightfully grotesque illustration, and in two drawings for _The Merry Little Cobbler of Bagdad_ (pp. 337-338), both in his 'Arabian Nights' vein, is typically representative. For the rest, W. Small in _My Little Gypsy Cousin_ (p. 95), a good full page, and Ernest Griset with ten of his humorous animal pictures, combine with most of the artists already named to maintain the well-deserved reputation of the magazine. In 1872 Arthur Hughes supplies nine delightful designs for _Gutta-Percha Willie_, by the Editor; twenty-four to _Innocent's Island_, a long-rhymed chronicle by the author of _Lilliput Levée_, and a curiously fantastic drawing to George Mac Donald's well-known poem, _The Wind and the Moon_. Some one, with the initials F. E. F. (not F. A. F.), illustrates _On the High Meadows_ in nineteen sketches; with the exception of two by J. Mahoney, the rest of the pictures are chiefly by F. A. Fraser, T. Green, F. S. Walker, W. J. Wiegand, and J. B. Zwecker. In 1873 the magazine changed its name to _Good Things_. The most attractive illustrations are by Arthur Hughes: ten to _Sindbad in England_ (pp. 25, 89, 129, 193, 236, 432, 481, 594, 641), two to _Henry and Amy_ (pp. 72, 73), and one each to _A Poor Hunchback_ (p. 17), _The Wonderful Organ_ (p. 24), and _My Daughter_ (p. 136). J. Mahoney has a small design, _The Old Mill_ (p. 600). The rest are by Ernest Griset, W. J. Wiegand, and Francis Walker. On and after 1874 the _cliché_ enters, and all interest ceases. At this time the business of trading in _clichés_ had begun to assume large proportions. You find sometimes, in the course of a single month, that an English periodical hitherto exclusively British becomes merely a vehicle for foreign _clichés_. In this instance the change is so sudden that, excepting a few English blocks which we may presume had been prepared before, the foreigner is supreme. That, in at least three cases, the demise of the publication was merely a question of months is a sequel not to be regretted. But we need not assume too hastily that the _cliché_ killed it--possibly it had ceased to be profitable before, and the false economy of spending less has tempted the proprietor to employ foreign illustrations. BRITANNIA,