One of the most interesting phases of the development of wood-engraving in this country has been the discussion as to its position among the arts, and the merits of the recent method of engraving drawings or paintings photographed directly on the wood. This discussion has been interesting and valuable as another evidence of the activity and importance which the art question has already assumed in the community. That engraving is an art, one would think could never be disputed, if the question had not already been raised with a certain degree of acrimony on the part--strange as it may seem--of those who are often dependent upon the genius of the engraver for the recognition of their abilities by the public--the artists themselves. It seems to us to be sufficient answer to those who consider it purely a mechanical pursuit, that the simple fact that the higher the artistic perceptions of the engraver the better is the engraving he does, proves it to be a work of art. [Illustration: "BIRDS IN THE FOREST."--[MISS JESSIE CURTIS.]] On the other hand, it appears that the engraver may in turn assume too much when he claims to improve upon an illustration, or objects _per se_ to cutting photographs on wood. While granting to engraving the rank of art, it cannot justly be forgotten that it is, after all, a means to an end,--an art, it is true, but an art subordinate to other arts which it is designed to interpret. Once this is allowed, it follows, as a matter of course, that it is the duty of the engraver to render faithfully the drawing or painting that is to be cut; and to magnify himself not at the expense of the artist who made the drawing, but by rendering, as nearly as possible, a fac-simile of the original picture. If this be granted, then is it not clear that, instead of opposing, he should hail with satisfaction any new process which enables him to give on wood or any other material a closer copy of the style and spirit of the artist whom he is interpreting. That this can be done by a clever engraver by photographing a pen-and-ink drawing or painting directly on the wood, and then studying also the original work as he cuts it, seems to be no longer an open question. It has been demonstrated by too many excellent engravers within the last five years.