The Thousand and One Nights, Vol. I.: Commonly Called the Arabian Nights' Entertainments

متاح للقراءة — ملك عام
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12 illustration(s) from this book
Ornamental Title.--At the foot is the Title in Arabic
Ornamental Title.--At the foot is the Title in Arabic
printer's mark
printer's mark
illustration
Illustration 3
Head-piece to Preface.--The Vase is formed of the Arabic words signifying 'In the name of God, the Compassionate, the Merciful' (always placed at the head of a Muslim work), written doubly, and contrarily
Head-piece to Preface.--The Vase is formed of the Arabic words signifying 'In the name of God, the Compassionate, the Merciful' (always placed at the head of a Muslim work), written doubly, and contrarily
Tail-piece to Preface
Tail-piece to Preface
Head-piece to Table of Contents
Head-piece to Table of Contents
Tail-piece to Table of Contents
Tail-piece to Table of Contents
Head-piece to List of Illustrations
Head-piece to List of Illustrations
Shahriyár going out to hunt, and Ornamental Border
Shahriyár going out to hunt, and Ornamental Border
The Wezeer presenting the letter to Sháh-Zemán
The Wezeer presenting the letter to Sháh-Zemán
Sháh-Zemán, after having killed his Wife
Sháh-Zemán, after having killed his Wife
Meeting of Shahriyár and Sháh-Zemán
Meeting of Shahriyár and Sháh-Zemán
"Many of the engravings which are so numerously interspersed in this work will considerably assist to explain both the Text and the Notes; and to insure their accuracy, to the utmost of my ability, I have supplied the artist with modern dresses, and with other requisite materials. Thus he has been enabled to make his designs agree more nearly with the costumes &c. of the times which the tales generally illustrate than they would if he trusted alone to the imperfect descriptions which I have found in Arabic works.[9] Except in a few cases, when I had given him such directions as I deemed necessary, his original designs have been submitted to me; and in suggesting any corrections, I have, as much as possible, avoided fettering his imagination, which needs no eulogy from me. He has acquired a general notion of Arabian architecture from the great work of Murphy on the Arabian remains in Spain, and from the splendid and accurate work on the Alhambra by Messrs. Goury and Jones; and through the kindness of my friend Mr. Hay, of Linplum, he has been allowed to make a similar use of a very accurate and very beautiful collection of drawings of a great number of the finest specimens of Arabian architecture in and around Cairo, executed by M. Pascal Coste, and now the property of Mr. Hay.[10] He has also consulted a number of Oriental drawings, and various other sources. My acknowledgments to other persons I have expressed in several of the Notes.
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