ress of art in any way. As well might the Art-Union purchase for
distribution sixty copies of Dunlap's History of the Arts of Design, or
of Allston's Lectures on Art, or any object pertaining to the subject
that may be procured at any time of the book or print sellers. It is
true, they must manage to offer a number of small prizes, the best way
they can, that they may in some plausible way meet the expectations of
their very extended lists of subscribers, to which, it seems, they never
attempt to set a limit. Here is another proof that they are mere
speculators upon the labors of artists, and only seek to enlarge their
subscriptions, and usurp a power and control over the great body of
artists, which should never, with their consent, be allowed to any, no
matter how respectable, body of men.

Let us turn to the "_Western Art-Union_." Having but few good prizes to
offer, nothing indeed which would ensure them a large subscription list,
it became necessary to procure some well known production for this
purpose, as a capital prize. The managers therefore negotiated, in a
very quiet manner, with a Mr. Robb, of New Orleans, for one of HIRAM
POWERS'S finest statues, the "_Greek Slave_," then in the possession of
Mr. Robb, and it was accordingly taken to Cincinnati, and placed on
exhibition in the Art-Union, as one of the prizes to be distributed this
year. Handbills were then sent over the United States announcing this
fact. Of course, with such a celebrated work as this, thousands would be
seduced to purchase a ticket, and thus place the _Art-Union_ in a most
flourishing condition, and probably secure to it at least double the sum
which it had paid, or the sculptor had originally received, for the
statue.

Now let us consider this transaction in its true light. The Art-Union
was established solely for the purpose of benefiting artists, protecting
their interests, and increasing the knowledge of art among the people.
From these facts it is evident that neither of these purposes were kept
in view or carried out. Instead of negotiating with the sculptor himself
for one of his works, and giving him a liberal price for it, they never
mentioned the subject to him, but secretly purchased one of another
person--a rich man, who was in nowise whatever connected with the arts.

One would have supposed that even if there were very strong inducements
to such a procedure on the part of this institution, for the sake of
gain, still that