Portrait of Jenny Lind, engraved by Mote, London. Paris Fashions, from Le Follet. Portrait of the Editor, engraved by Armstrong. Lake of Como, executed in colors by Devereux. Woodcock Shooting, engraved by Brightly. Designs for Mantelets, engraved by Brightly, Thomas, and Talfer. The Shark, engraved by Brightly. The Origin of Music, engraved by Tucker. Paris Fashions, from Le Follet. The Sisters, engraved by Thomas B. Welch. He Comes Not, engraved by Holl. Paris Fashions, from Le Follet. Dance of the Mandan Indians, engraved by Rawdon, Wright & Hatch. Rail Shooting, engraved by Brightly. The Slave of the Pacha, engraved by J. Brown. The Way to Church, engraved by T. McGoffin. Paris Fashions, from Le Follet. Portrait of Thomas Johnson, engraved by Brightly. Teal Shooting, engraved by Brightly. The Highland Chase, engraved by T. B. Welch. The Angel’s Whisper, engraved by T. Illman & Son. Paris Fashions, from Le Follet. American Quail, engraved by Brightly. Catskill Mountain House, engraved by Smillie. The Home of Milton, engraved by W. E. Tucker. Mariner’s Beacon, engraved by H. Smith. Paris Fashions, engraved by David. Ruffed Grouse, engraved by Brightly. * * * * * GRAHAM’S MAGAZINE. Vol. XXXVII. PHILADELPHIA, JULY, 1850. No. 1. * * * * * THE VITAL AND THE MECHANICAL. It may be universally affirmed that every thing having shape either grows or is put together, is a living organism or a contrived machine; and the radical distinction between minds in all the modes of their operation, and between things in all the forms of their manifestation, is expressed in the antithesis of vitality and mechanism. To suggest, in a manner necessarily imperfect and rambling, some of the important consequences involved in this distinction, is the object of the present essay.