VICTORIAN STUDIES / VOLUME 60, NO. 4 664 Prettejohn suggests that a unique temporality like Pater’s was part of the period’s artistic and exhibitionary culture. I would add that Pater’s resistance to canons and “fas- cination with de-attribution” also suggest an attempt to escape market forces, such as wildly fuctuating values, as works were re- or de-attributed and forgeries of Old Masters appeared to feed market demand (222). Prettejohn also criticizes art historians’ presumptions about artistic lineage, critical reception, and teleological focus on priority and chronology, which fails to recognize that artists’ imitations interpret the art of the past and that history moves “backwards as well as forwards” (56). She condemns our separation of British and French art, limited by siloed university curricula or scholars’ specializations. These artists knew a great deal of one another’s work and shared sources of inspiration, such as Velázquez infuencing both Sargent and Courbet. This study is complemented by a generous number of colored plates to support Prettejohn’s analyses. These images also make the book more useful to scholars in other felds who might not be as conversant with all the art discussed in this book. Julie Codell Arizona State University doi: 10.2979/victorianstudies.60.4.17 Marvellous Thieves: Secret Authors of the Arabian Nights, by Paulo Lemos Horta; pp. 363. Cambridge, MA: Harvard University Press, 2017, $29.95, $18.95 paper. Since the early eighteenth century, there have been at least a thousand and one translations of the Arabian Nights (otherwise known as A Thousand and One Nights) (c. 1706–21), and countless books and articles written about these stories—a remarkable record for a collection of oral tales whose origins remain obscure. Paulo Lemos Horta’s Marvellous Thieves: Secret Authors of the Arabian Nights is an original work that affords genuinely new insight on this inordinately-studied text. Cleverly appropriating the embedding technique used in the Arabian Nights, Marvellous Thieves recounts highly entertaining stories about fve European translators of the original text, framing these stories with a compelling argument conceptualizing translation as a form of theft. Carefully researched and lucidly written, Marvellous Thieves examines three canonical translations of the Arabian Nights, those by Antoine Galland, Edward William Lane, and Richard Francis Burton, and two lesser-known translations by Henry Torrens and John Payne. Horta’s fndings debunk the myth of the earnest and meticulous Orientalist translator by revealing “the many acts of literary appropriation, and outright piracy” lying beneath their translations (10). European Orientalists claimed authorship of the Arabian Nights through a “rewriting of the stories of others and the construction of elaborate commentaries through which the translator assume[d] the identity of local informants or hijack[ed] the text for a performance of subversive authenticity” (11). As Horta demonstrates, while Europeans’ translations of Shahrazad’s stories have been produced from interchanges taking place across extended networks of teachers, informants, guides, local scribes, and other translators, Orientalist translators often have overlooked, downplayed, or even denied