If _this_ be treason—make the most of it!’” The exact moment of time which Mr. Rothermel has seized for his painting, is when the last words which we have quoted, (“_If this be treason—make the most of it!_”) are dying away upon the ear. The impassioned orator stands erect and self-possessed, his open hand aloft, as though a thunder-bolt had just passed from his fingers, and his eye were quietly awaiting the issue, in the conscious strength of a Jupiter Tonans. Foremost in the foregoing is Richard Henry Lee. Lee sees, by a sort of prophetic intuition, the full import of this inspired oratory. His very face, under the magic of Mr. Rothermel’s genius, is a long perspective of war, desolation, heroic deeds, and the thick-coming glories of ultimate civic and religious liberty. Peyton Randolph, also in the foreground, is a most striking figure. So is Pendleton, so is Wythe, so is Speaker Robinson. Indeed, every inch of canvas tells its story. The spectator, who knew nothing of the scene or of its actors, would instantly and involuntarily become conscious that he was present at some great world-renowned action. But in dwelling upon this fascinating topic, we have been unconsciously carried away from our main point. This great painting, which was executed by Mr. Rothermel for the Art-Union, at the price of one thousand dollars, but which, by its extraordinary excellence, has already acquired a market value far beyond that sum, _is to be drawn for among the other prizes at the next annual distribution_. Every subscriber, moreover, secures for himself a copy of the engraving of this great picture, which the Managers have contracted for in a style of surpassing beauty. The picture itself, and the engraving of it, will form an era in the history of American art, as the subject itself did in the history of American Independence. Besides this, all the money obtained from the subscribers, after paying for the engraving and other incidental expenses, is to be distributed, as heretofore, in money-prizes for the purchase of other works of art, at the option of the prize-holders. Of the general beneficial influence of Art-Unions, at least of those conducted on the plan of that in Philadelphia, we have not the shadow of a doubt. We are happy, however, to quote a couple of passages quite in point. The first is from the _North British Review_.