THE FINE ARTS.

National Academy of Design.—The twenty-fifth anniversary of this institution was held on the first of last month, at the new galleries, No. 663 Broadway, in the rear of the Stuyvesant Institute. It is extremely gratifying to the friends of Art to know that this excellent nursery of artistic talent has now suitable buildings for its accommodation, and the display of the productions of the painters of New York. It was only last fall that definite arrangements were made for the construction of this building, and already, as if at the bidding of the genii who ministered to the wants of our youthful friend Aladdin, it has sprung into existence. This result has been effected by the constant exertions and devoted attentions of the building trustees, Messrs. Durand, Cummings, Ingraham, Edmonds, Sterges and Leupp. The new edifice is situated in the heart of the fashion of the metropolis; the galleries are five in number, all intercommunicating, well lighted, airy, spacious and elegantly neat. The coup d’œil of the whole, when filled with works of art for exhibition, will present one of the most animating and beautiful scenes which the city can afford. The artists of New York have a right to be proud of this edifice, and we do not doubt that the public will be equally proud of those splendid productions with which they will adorn its walls. At the advanced period, when we write this article, it is impossible to give any definite account of the present exhibition; but the notes of preparation, the foreshadowings and the glorious promise of an array of talented names, are the tokens that it will be of unusual brilliancy. Every exertion will be made to give éclat to the opening, and more pains will be bestowed on this display, that its debut before the public may be dazzling and defiant of criticism.

We learn from the New York papers, and from other sources, that all the artists of that city will offer “tastes of their quality” to the public. Huntington, who has been exhibiting nearly all his prominent works for his own benefit, states in the catalogue that his latest efforts have been retained privately for the opening of the new gallery. Durand has a new work, of which report speaks in the most rapturous terms; this, with others of his elaborate and highly finished compositions, will be displayed. Cummings, Ingraham, Gray, Edmonds, Elliott, Cropsey, Stearns, Kensett, Gignoux, Cafferty, Edouart, Audubon, and others, will contribute portraits, compositions, landscapes, etc. In fact, the artists have determined by every means in their power to make the first exhibition in the new building both brilliant and attractive. We hope by our next number to be able to speak more fully of this exhibition.

The Philadelphia Art Union.—It is but a few years only since the first plan of an Art Union was suggested in Germany, and already they are in existence wherever the beautiful is venerated and art admired. In this country we have Art Unions in New York, Philadelphia, Boston, Newark and Cincinnati. The Philadelphia institution differs from all the rest in its mode of distribution, and follows, we believe, in every respect the London one, which has been by far the most successful ever started. In New York the managers purchase pictures and distribute them. Under this arrangement it frequently happens that the person who draws a prize is disappointed, because he has not obtained some particular picture in the collection which pleased his fancy. The Philadelphia plan is to divide the proceeds of the subscription money into various sums, which are allotted to the subscribers, who with the certificates, when successful, can choose any picture which may suit their taste, provided it is by an American artist, and on exhibition in some accredited gallery of art in the country. The annual distribution of the Philadelphia Art Union takes place on the 6th of this month, and we are pleased to learn that its prospects are most flattering. The engraving for this year is from Huntington’s celebrated picture of “Mercy’s Dream,” which will be executed in a mixed style of line, stipple and mezzotint by A. H. Ritchie, of New York. This composition is derived from Bunyan’s Pilgrim’s Progress, where Mercy relates to Christiana the sweet dream she had in a solitary place, where she saw a winged messenger approaching, who placed a crown upon her head, and invited her to a golden gate, etc. The landscape of this picture is clothed in the first shades of evening, and the figures of Mercy and the Angel form the attraction of the work. In calm, spiritual expression, anatomical precision, delicacy of coloring, and perfect keeping, there is no modern work which can surpass this.

The Free Gallery of this Institution, located at No. 210 Chestnut Street, has doubtless had a most beneficial influence in disseminating a taste for Art, and preparing the public for its just appreciation. The walls of this gallery have been constantly supplied with much-admired pictures, and a crowd of visiters are always in attendance. We hope hereafter to find much pleasure in referring to the new pictures exhibited in this gallery. The effects which are dependent upon the success of the Art Union, are shown by the great impetus which has been given of late years to many extremely varied branches of manufactures and commerce by a judicious encouragement of the Arts of Design. It has been found, more particularly in Europe, that numerous classes, hitherto considered as inoperative and useless, have been supplied with employment, and entire districts revivified, as it were, by the establishment of certain manufactures, whose excellence depended mainly upon the skill of the artist. The surest means of effecting this result, is to create a public taste, and not merely comply with it as it exists at large; and it may be brought about by offering rewards for the best designs, by the publication of the best specimens of Art at cheap prices, by the erection of free galleries of painting, and chiefly by the encouragement of Art Unions. With such objects in view, and such results to achieve, the multiplication of these institutions in our country must be regarded as a cheering indication of the true progress of the age, and the precursor of a widely diffused love of the Beautiful in Art, which cannot but tend to the general improvement of the useful arts. All such results must be effected by our citizens at large, for we cannot expect legislative aid, and hence it is that we feel the necessity of impressing upon the public attention the operation of the Art Unions, as the great popular plan for fostering talent, infusing a love for the beautiful in Nature and Art, and cultivating those studies which invariably mark national progress in civilization, refinement and general happiness.

New Jersey Art Union.—We announce with great pleasure that an association of the friends of art in Newark have drawn up the programme of an Art Union, and made a stirring appeal to the citizens of the State for encouragement and co-operation. A free gallery will be opened immediately at Newark, and pictures purchased for distribution among subscribers. For the present, no engraving will be contracted for, and this heavy item being dispensed with, will increase the sum to be appropriated for the purchase of paintings. We most cordially wish the enterprise success, and trust that our New Jersey friends will be prompt in sending their names to Thomas H. Stephens, the Corresponding Secretary, at Newark.

Gliddon’s Panorama of the Nile.—This magnificent work has been exhibited in New York and Boston with great éclat. Mr. Gliddon is favorably and extensively known as a lecturer on hieroglyphical literature, and has rendered popular throughout our country, the wonderful discoveries and theories of the Champollionists of ancient mythological history. As a work of art, the superiority of this panorama cannot be doubted, when we mention the facts, derived from the Boston Transcript, that while such artists as Warren, Bonomi, and Fahey, in England, aided by numerous assistants, conceived and executed the painting; Martin, the famed depictor of “Belshazzar’s Feast,” volunteered the exquisite moonlight, sunset, and other transparent scenes, where the effects of fire, light, and heat are produced with magical skill, Carbould volunteered the magnificent Arabian horses, and Weigall the boats, and similar objects that actually seem to spring forth from the canvas. The spectator of the panorama begins his supposed voyage at Cairo, ascends the eastern bank of the Nile to the second cataract, and descends on the western bank, as far as the location of the Sphinx. The interest is not in the ancient associations alone, but Turks, Arabs, Bedouins, Nubians in their variegated costumes, Mohammed Ali and his court, the manners, customs, and usages of oriental life, with the various geological, botanical, zoological, and even atmospherical singularities of the land are faithfully depicted. Even the music which accompanies the exhibition is characteristically of Eastern origin, and novel airs of Egypt, Arabia, Turkey, Greece, etc., are introduced. The whole may be considered as a work of infinite attraction, and of a high order of art.

Le Roi d’Yvetot.—This comic opera, by Adolphe Adam, is but little known in this country, except the overture, and it is very recently that it has been presented, for the first time, to a London audience. It was first produced October 1849, in Paris, at the Théâtre Royal de l’Opéra Comique, and made a very decided impression. It is founded on the political chanson of Béranger, and of course the caricatures of royalty, and the hits at the nobility, are the very life of the drama. The music is full of vivacity and elegant melody. It is somewhat singular that Adam is an expert organist, and composes a fugue or a comic strain with equal facility; his sacred compositions are very grand, and he has a remarkable skill in adapting music to the most fantastic ideas and expressions in a libretto. Many of his works in the opera buffa are well known in our country—the “Postilion de Lonjumeau” and “Le Brasseur de Preston,” in particular, while the mournful sweetness and touching simplicity of his ballet music, in “Giselle,” have been often felt and enjoyed. We live in hopes that some day we may hear “Le Roi d’Yvetot” —

——the king

In history little known,

Who thought that glory, useless thing,

Would not become his throne.

A cotton night-cap graced his brows,

Which Jeannette, mistress of his house,

Gave him as crown. O dear!

Oh! what a funny king was here.

Meyerbeer’s “Prophete” was given fifty times at the Grand Opera in Paris, when it was withdrawn for a time, as Madame Viardot had to visit Berlin, to fulfill an engagement. Madame Castellan, so well remembered in this country, sung the part of Berthe in this opera.

Verdi has selected the subject of Shakspeare’s “Tempest,” for the libretto of his next opera. The genius of Verdi will luxuriate in the storm of the elements and the fierce contentions of passion, but he will never be able to illustrate the spirit of the “dainty Ariel,” or the innocent devotedness of Miranda. We should think, however, that he will construct a magnificent composition upon the many sublime themes and graphic word-paintings of the great bard.