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”—