The mechanical processes by which Nature is so closely imitated, and the increase of which during the last few years is one of the most remarkable facts in science, may at the first glance appear to have lessened the marvellous in Art, by making available to all the exact representation of still-life. But, when duly considered, the effect is precisely the reverse; for exactly in proportion as we become familiar with the mechanical production of the similitudes of natural and artificial objects, do we instinctively demand higher powers of conception, greater spiritual expression in the artist. The discovery of Daguerre and its numerous improvements, and the unrivalled precision attained by Photography, render exact imitation no longer a miracle of crayon or palette; these must now create as well as reflect, invent and harmonize as well as copy, bring out the soul of the individual and of the landscape, or their achievements will be neglected in favor of the fac-similes obtainable through sunshine and chemistry. The best photographs of architecture, statuary, ruins, and, in some cases, of celebrated pictures, are satisfactory to a degree which has banished mediocre sketches, and even minutely finished but literal pictures. Specimens of what is called "Nature-printing," which gives an impression directly from the veined stone, the branching fern, or the sea-moss, are so true to the details as to answer a scientific purpose; natural objects are thus lithographed without the intervention of pencil or ink. And these several discoveries have placed the results of mere imitative art within reach of the mass; in other words, her prose language, that which mechanical science can utter, is so universal, that her poetry, that which must be conceived and expressed through individual genius, the emanation of the soul, is more distinctly recognized and absolutely demanded from the artist, in order to vindicate his claim to that title, than ever before.