Besides the serious loss of revenue arising from this source, the Philadelphia Art-Union lost by fire its two most valuable steel plates, just at the moment when it was about to reap from them a golden harvest. These splendid plates, “Mercy’s Dream,” and “Christiana and her Family,” which had cost the society several thousand dollars, and which were unquestionably among the most attractive prints ever issued in this country, were entirely destroyed in the conflagration of Hart’s buildings in this city. It is not, therefore, mere good luck, nor the absence of discouraging circumstances, that has given the Philadelphia Art-Union its present condition of success. This success is based on the principles of its organization, which differ materially from those of other kindred associations. In the first place, though located nominally in Philadelphia, and having its Board of Managers here, it is really an Art-Union for every place where it finds subscribers. Its prize-holders may select their prizes from any gallery in the United States, or may order a picture from any artist of their own selection. This puts it entirely out of the power of the Board of Managers, even if they had the inclination, to exercise favoritism toward any particular clique of artists, or to practice any kind of fraud or trickery either in the purchase or the valuation of pictures. Secondly, and for the very reason just assigned, the Philadelphia Art-Union enjoys in a high degree the confidence of the artists themselves. They know by experience that its free gallery is the means of selling a large number of pictures, besides those which are ordered in consequence of the annual distributions. They know also that in order to sell their pictures, or to obtain orders for painting, they have not to cater to the fancies or caprices of a small clique of managers, but to appeal to the public at large, depending solely upon the general principles of their art. In other Art-Unions, the managers themselves select and buy the pictures that are to be distributed as prizes. Hence they are almost invariably regarded with jealousy by every artist who does not receive from them an order—that is, by at least nine-tenths of the whole body. The artist sees, however, that the Philadelphia Art-Union does not admit of any favoritism of this kind. Its very plan renders the thing impossible. If any particular artist finds that among the prize-holders, no order or purchase has come to his studio, he may see in it evidence perhaps that he has not pleased the public taste, but no evidence of partiality in the Board of Managers. So far as their operations are concerned, they give to all competitors “a fair field and no favor”—and this is all that the artist asks.