For the most part, the 19th century articles presented below deal with the means by which the inherent material qualities of albumen paper can be manipulated to achieve artistic effect. One of the great arguments for harnessing technical mastery for the purposes of "artistic achievement" is Blanquart-Evrard's On the Intervention of Art in the Practice of Photography from 1863 (Parts I and II). This article presents a comprehensive, technical, treatise on image making not for its own sake but in the service of expressive goals. Two early articles by great figures in 19th Century photography, Henry Peach Robinson's Composition not Patchwork (1860) and Oscar Rejlander's, An Apology for Art-Photography (1863), both make strong arguments that photography is not a mere mechanical medium for reproduction but can and should be harnessed for higher artistic purposes. The primary purpose of Francis Frith's article Photographic Contributions to Knowledge: Egypt and Palestine (1860) seems to be publicity for his views of Egypt. However, he too makes a claim from transcending the merely technical aspects of the medium, asserting that his views constitute "photographic treasures" resulting from "all the most approved manipulations" (examples of Rejlander's, Robinson's and Frith's work are available in the Gallery). Robert Sobieszek's monograph British Masters of the Albumen Print contextualizes the aspirations and achievements of these and other photographers from the mid 19th Century.