The paper is to be dipped into a solution of salt in water, in the proportion of half an ounce of salt to half a pint of water. Let the superfluous moisture drain off, and then, laying the paper upon a clean cloth, _dab_ it gently with a napkin, so as to prevent the salt collecting in one spot more than another. The paper is then to be pinned down by two of its corners on a drawing board, by means of common pins, and one side washed or wetted with the Photogenic fluid, using the brush prepared for that purpose, and taking care to distribute it equally. Next dry the paper as rapidly as you can at the fire, and it will be fit for use for most purposes. If, when the paper is exposed to the sun’s rays, it should assume an irregular tint, a very thin extra wash of the fluid will render the colour uniform, and at the same time somewhat darker. Should it be required to make a more sensitive description of paper, after the first application of the fluid, the solution of salt should be applied, and the paper dried at the fire. Apply a second wash of the fluid, and dry it at the fire again: employ the salt a third time, dry it,--and one application more of the fluid will, when dried, have made the paper extremely sensitive. When slips of such papers, differently prepared, are exposed to the action of day light, those which are soonest affected by the light, by becoming dark, are the best prepared. When photogenic drawings are finished in a perfect way, the designs then taken on the plate or paper are exceedingly beautiful and correct, and will bear to be inspected with a considerable magnifying power, so that the most minute portions of the objects delineated may be distinctly perceived. We have seen portraits, finished in this way by a London artist, with an accuracy which the best miniature painter could never attempt--every feature being so distinct, as to bear being viewed with a deep magnifier. And in landscapes and buildings, such is the delicacy and accuracy of such representations, that the marks of the chisel and the crevices in the stones may frequently be seen by applying a magnifying lens to the picture; so that we may justly exclaim, in the words of the Poet: ‘Who can paint like nature!.’ That LIGHT--which is the first-born of Deity, which pervades all space, and illuminates all worlds--in the twinkling of an eye, and with an accuracy which no art can imitate, depicts every object in its exact form and proportions, superior to every thing that human genius can produce.