The Fine Arts.

The engravings of the several Art-Unions of this country for the coming year will be from excellent pictures. The American Art-Union will offer its subscribers Mr. Woodville's Mexican News, engraved by Alfred Jones; the Philadelphia Art-Union, Huntington's Christiana and Her Children, by Andrews; and for the same purpose, Mr. Perkins, of Boston, has allowed the New-England Art-Union to make use of his magnificent picture of Saul and the Witch of Endor, painted by Alston, and generally considered one of the finest historical productions of that eminent artist. Each of the Unions, we believe, will also publish some less important works for distribution or prizes.

The twenty-sixth exhibition of the National Academy of Design, has commenced under favorable auspices. Upon the whole, the collection of pictures is the best ever made by the society. We have not space for any particular criticism, but must refer to Mr. Durand's admirable landscapes; the Greek Girl and full length portrait of General Scott by Mr. Kellogg; Mount Desert Island by Mr. Church; The Defence of Toleration by Mr. Rothermel; The Edge of the Wood by Mr. Huntington; Mr. Gignoux's Winter Sunset, and other pictures in the same department by Richards, Cropsey, and Kensett; and portraits by Elliott, Osgood, Hicks and Flagg,—are the works which strike us as deserving most praise.

The Bulletin of the American Art-Union for April, describes the opposition to the institution of which it is the organ, as directed by "envy, malice, and uncharitableness," and intimates that it is occasioned by the inability or unwillingness of the committee to purchase the trashy productions of incompetent painters constantly offered to them. We submit to the gentlemen connected with the Art-Union, that they should not suffer the hirelings they may sometimes employ upon the Bulletin, thus to refer to such artists and such men as Durand, Wier, Kellogg, Elliott, and many others, who have ventured to think that their Association does not present altogether the best means to be devised for the promotion of the fine arts. Taste may be displayed in writing, as well as in buying pictures.

There was recently sold at auction at Paris, for 2,700 francs, a picture by Girodet, which in its time caused not a little amusement to the Parisians. It was originally a portrait of an actress of the Theatre Français, who married a rich banker. Girodet tried to get the pay for his picture, but the lady and her husband obstinately refused. Hereupon he transformed her into a Danae, receiving the shower of gold, adding other figures, such as a turkey cock representing the eagle of Jove, which rendered the whole work as laughable as it was uncomplimentary to its subject. It was exhibited in one of the expositions in the time of the empire, and no picture was ever more successful with the public.

Kotzbue, a historical painter, now residing at Munich, has nearly completed a large picture representing the battle of Züllichau, in 1759, where the Germans under General Wedel were defeated by the Russians under Soltikoff. The work is highly praised, and its author even compared with Horace Vernet for vividness of narrative, truth in detail, and force and harmony of color.

Mr. Elliott, probably the best portrait painter now living, will soon visit Marshfield, where Mr. Webster has promised to sit to him, for a friend of his in this city.

Two statues by the lamented Schwanthaler have just been set up in the royal library at Munich. The first represents Albert V., Duke of Bavaria, the founder of the library, and a great patron of science. Of course, he is presented in middle-age costume; his head is bare, his face reflective, and his right hand supports his chin,—an image of repose, after a work is accomplished. The other statue is of King Louis (of Lola Montes memory), in royal robes, the left hand resting on his sword, and his right holding the plan of the edifice containing the library, which was built by him. His whole expression is the opposite to that of the Duke, not repose, but restless activity in search of new objects. A critic says that these statues do not stand well on their feet, and that the knees are bent as if one leg was lame, a fault, he says, not peculiar to Schwanthaler.

We last month spoke of the New Museum at Berlin, one of the finest edifices of modern times. It may be interesting to our readers to know that the total expense of the building and interior decoration was in round numbers $1,100,000. Of this sum the execution of the ornamental work and works of art in the interior, including the frescoes of Kaulbach and others, with the arrangement of objects of art and furniture necessary for their display, cost upwards of $220,000.

The Exhibition of the Munich Art-Union took place in the beginning of March. Among the pictures, attention was particularly drawn to a series of sketches from Syria, Palestine, and Asia Minor, by Löfller. Baade exhibited a Norwegian picture, representing an effect of moonlight: Peter Hess two small humorous pieces from military life, which were greatly admired, as was especially a series of aquarelles representing scenes in Switzerland and Italy, by Suter, a Swiss artist.

Kaulbach only works at Berlin on his frescoes in the New Museum during the pleasant season. The second picture, the Destruction of Jerusalem, was nearly finished last fall when the cold came on. He left it, and it is now covered and concealed by brown paper till he shall again set to work on it.

M. Lamartine recently presented in the French Assembly a petition from William Tell Poussin, formerly minister of the Republic in the United States, praying the French Government to grant a block of granite, taken from the quarries of Cherbourg, for the national monument to Washington.

Widnmann, the sculptor, of Munich, has recently completed in plaster a group of the size of life, of a man defending his wife and child against the attack of a tiger. The figures are nude, and the only figure yet finished, that of the man, is spoken of as a model.