Let us turn to the "_Western Art-Union_." Having but few good prizes to offer, nothing indeed which would ensure them a large subscription list, it became necessary to procure some well known production for this purpose, as a capital prize. The managers therefore negotiated, in a very quiet manner, with a Mr. Robb, of New Orleans, for one of HIRAM POWERS'S finest statues, the "_Greek Slave_," then in the possession of Mr. Robb, and it was accordingly taken to Cincinnati, and placed on exhibition in the Art-Union, as one of the prizes to be distributed this year. Handbills were then sent over the United States announcing this fact. Of course, with such a celebrated work as this, thousands would be seduced to purchase a ticket, and thus place the _Art-Union_ in a most flourishing condition, and probably secure to it at least double the sum which it had paid, or the sculptor had originally received, for the statue. Now let us consider this transaction in its true light. The Art-Union was established solely for the purpose of benefiting artists, protecting their interests, and increasing the knowledge of art among the people. From these facts it is evident that neither of these purposes were kept in view or carried out. Instead of negotiating with the sculptor himself for one of his works, and giving him a liberal price for it, they never mentioned the subject to him, but secretly purchased one of another person--a rich man, who was in nowise whatever connected with the arts. One would have supposed that even if there were very strong inducements to such a procedure on the part of this institution, for the sake of gain, still that a friendly feeling towards the great sculptor, of whom the Queen City is so proud, and a due regard for his interests and his fame, would have prevented the consummation of such an act. It can be no pleasing reflection to Mr. Powers, that a work which many persons in Europe, as well as in America, would have purchased at any reasonable price, should, by any movement of his own townsmen, be disposed of at a public raffle, so that of its final destination he must long remain in ignorance. It seems, from what has here been adduced, that Art-Unions have not proved of service to art or artists, notwithstanding the immense amount annually collected for this ostensible purpose; but that they are in reality only lotteries operating under another but less objectionable name.