"A star hath left the kindling sky-
A lovely northern light:
How many planets are on high,

But that has left the night!"-L. E. L.

A gentle lady, newly wed,

Far from her native shore,

Went with the partner of her bed,
Like her who loved the Moor.
With heartfelt blessings from old friends,
The friends of earlier times,
She climbs the ship, and pensive wends
Her way to torrid climes.

Fixed on the cliffs of England's shore,

That loved one's eyes were kept;
And when they could be seen no more,
She droop'd her head and wept.

And fondly turn'd and gaz'd upon
"The lovely northern light,"
And wondered if its rays fell lone
On friends at home that night.
Yet full of hope, and joy, and life,
The future dream'd and plann'd,
She went, a lov'd and loving wife,
To her adopted land.

And safely o'er a thousand waves,
That noble ship hath gone,
Unto the land of sable slaves,
Within the torrid zone.

tense imagination and desire of the contrary SURPLUS POPULATION and the POOR

rinsings of different liquors at a night-cellar CARL

instead of a bottle of fine old port. It is without clearness or body, and a heap of affectation.

❤UBS MEL,

IBI MUSCA."

No. 41-NEW SERIES.]

SATURDAY, OCTOBER 12.

[TWOPENCE.

Every purchaser of this number of "THE FLY," is entitled to an exquisitely-executed Lithographic PRINT, "The Sailor Boy," which is presented gratuitously.—[A similar print with every number.]

Ye leaves pale and sear that are strewed on the

ground!

Hail ye last sunny days! nature's sadness and grief

Are allied to my own, and afford me relief.

Through the wood's lonely pathway as musing
I stray,

I love for the last time to look on the ray
Of the fast paling sun, that can scarcely il-
lume,

Its light is so feeble, the forest's deep gloom.

Yes, in Autumn when nature does sicken and die,

There's a charm on her features that gladdens the eye;

'Tis like friendship's adieu, the last smile that

arose

Ga the lips which we pressed before life's final

close.

Yet perhaps at the bottom one drop may re-
main,

Of sweetness to soothe me, and solace my
pain!

was left

Had my days been protracted, perhaps there
Some small share of comfort whereof I am
reft,

Perhaps in the crowd some kind spirit was

To return smile for smile, to give back sigh
for sigh!

As the flower when it fadeth exhausts all its

store

Of fragrance, and blooms in the sunshine no

more,

So I die, andlike music streams melting away,
My glad soul escapes from its prison of clay.

SCULPTURE.

nor brittleness; but the favourite sort is found prized that it is of an agreeable colour. With in Derby and Stafford shires, and is the more with wooden or metallic rods, and having an the materiel at hand, the artist proceeds to build and block out the mass, supporting it

When

less or more resemblance to the general effect eye either to a living subject or model bearing schoolmistress of art, and though every thing he wishes to produce. Nature is the great sprinkling of mannerism in her works, that she does is perfect in its way, there is such a figure of a young lady, rather than proceed even the great Raphael, when painting the altogether at random, was in the habit of calling in his porter when the fair sitter happened to be absent. With his mass of clay erect, the artist proceeds to work it gradually into the required shape-an operation which is chiefly performed with the fingers. It is only in very minute figures, or the more delicate parts of large ones, such as the eyes, nostrils, &c., that tools are found to be of use. Though thousands have been in a painter's the model is touched, retouched, and finishedgallery, and seen him mix his colours and that is, in what may be called the fleshy parts, adjust his easel, few, comparatively, have attention is next directed to the drapery. And been privileged with the right of entré to a sculptor's study. We all know that busts, figure relieves the sculptor from a world of here it may be supposed that the drapery of a aid of the hammer and the chisel, but of metry-just as a figures, groupes, &c., are formed by the trouble, and hides many imperfections of symthe initiatory process, or series of processes, back of an Irishman, conceals a shabby suit of "dread-nought," on the most persons are as completely ignorant as clothes. But no. Oh! earth, sun, and valleys so dear to my strument with which the they are of the shape and temper of the in- born, so must the model or copy be finishedAs the living subject is heart, man of the moon pares his corns. as perfect as possible in the minutest parts, beIn these circum-fore a particle of drapery is appended. The modus operandi-that is, as far as the writer to the tailoring part of the process, and a lay stances, it may be useful to advert to the model is then carefully examined with a view understands it himself, or has been able to figure composed of moveable joints, dressed profit by the instructions of others. with real garments-whether composed of silk form; and after the most graceful folds are or satin-a judge's robes or an officer's uni obtained, a fac-simile of the whole is carefully modelled upon the naked figure. And here, as in the limbs, arms, and features, accu

And here as I stand on the verge of the tomb, Lamenting o'er hopes long since vanished in gloom,

I retrace the past years of my life, and repine For the joys and the pleasures that never were mine.

I owe you a tear-drop before I depart;
How fair is that sun to the dying man's eye!
How pure is the light, and how balmy the
sky!

Ah! I wish that this cup to the dregs were
all quaff'd,

There are wormwood and nectar both mixed in the draught;

Modelling is the very soul of sculpture, and after the artist has got his design modelled or drawn in miniature, he proceeds to operate on a mass of clay. Any kind of clay will do, provided it is neither remarkable for shrinkin

John Cunningham, Printer, Crown-court, Fleet-street.

racy and nature are indispensable requisites,
since any error that may creep into the
is exceedingly apt to be transferred to and
perpetuated in the marble. In large establish-
ments, it rarely happens that the same person and equally distributed, till it cover and come spects on the principle which obtains in a pin

when rendered plastic by the element of fire, work more than is done in Britain. One man
any form or shape he pleases. While this is good at the head, a second at a hand, a third
process is going forward, the mould is shaken at a limb, and so on and bthis species
gently, that the liquid within may be diffused of co-operation, they proceed in some re-
in contact with the minutest indentations. manufactory. The ancients, however, sedu.
Time, as before, is allowed for hardening, and lously eschewed every thing which tended to
then the moulder proceeds to chip the outer render their favourite art mechanical, and itis
casing away. In doing this, he comes to the recorded of the great Michael Angelo, that he
seam of a darker hue, produced by the sprink- not only finished but blocked out his statues
ling of the clay water, and which is meant to with his own hand. But here I must be un
greatest care and caution. Proce
want him that he must proceed with the derstood as speaking comparatively. Cont
whole of statues exhibited on
about a quarter of an inch of the figure, and nent invariably retain the mark of the Grading,
knows from experience, that any unseemly and, as contrasted with the present style of
gashes or scars, unlike those inflicted in battle, finishing, can only be said to be in a pro
in place of being regarded as a badge of ho- gressive state. But this defect, which arose
nour would be viewed in a very different light. from the Herculean labours he undertook, and
When the whole casing is cleared away, the might easily be remedied by filing, pumice
moulder arrives at the hidden treasure-the stone, &c., (all arts of modern introduction,) or
statue of a warrior, majestic and bold of a any thing calculated to produce asilky smooth
senator renowned for eloquence and wisdom-ness of surface, militates but little against the
or a reigning beauty, that hundreds worship, grandeur of his designs, and the elegance of
and can hardly look upon, even in effigy, with his grouping. And it is here that a statuary's
out exclaiming,
forte resides. The modelling department can
neither be subdivided nor executed by a deputy
excepting in such cases as are recorded in the
legends of Roslin Chapel, where the appren-
tice happened to be a much greater genius
than his master. One accomplished and in-
dustrious modeller will give employment to
several carvers: yet his is the more painful
pared with the bulk of his assistants, may be
task of the two; and Mr. Chantrey, as com
likened to the great Napier himself, who by
the invention of logarithms, furnished excise-
men, navigators and others, with an instru
ment equally potent and precise, by which
they arrive at certain results, without under
standing the philosophic secret that lurks
beneath the cabalistic numbers they employ.
A talent for designing may exist apart from a
talent for modelling; and the first, perhaps,
may be called the poetry, and the second the
prose of painting or sculpture. But the
greatest statuaries excel in both. Thorvald
son is a striking example of this; and if I
may judge from what I have seen and heard,
he can actually tell a story in marble, rivalling
the sublimity of an epic poem. Chantrey
genius is more peculiar; but for ease, force,
truth, and grace, he has no rival at home or

both cuts and models, and hence excellent
modellers are not unfrequently indifferent car
vers, and vice versa. But the artist, even after
his task is finished, supervises and guides those
who carve, and either gives the finishing
touches himself, or communicates such infor-
mation to others, as enables them to remove
blemishes, supply defects, and bring beauties
nearer to the standard of perfection.
The model, when finished, is handed to the
moulder-a branch of the art distinct from
any other, and which I shall endeavour to ex-
plain as briefly as possible. If clay could be
kept from shrinking and cracking-that is, for
any length of time—no other model would be
necessary but as that unfortunately cannot
be done, it is necessary to have recourse to a
harder material. While in the hands of the
artist, the clay, both from its inherent hu-
midity, and the occasional applications of a
brush and water, is kept sufficiently moist and
"Oh, that these lips had motion."
plastic; but from the moment that operation is The cast is then transferred to the carver,
finished, the atmosphere exercises its natural who selects a proper block of marble, places it
influence, and would soon, by drying, cracking, according to the rules of his craft, takes cer-
and shrinking, denude it of all its fair propor- tain bearings, as sailors do at sea, and by hew-
tions. To work, therefore, the moulder sets, ing off the superfluous marble, produces an
reducing plaster of Paris to a liquid state, and outline of the human figure. This part of the
covering the model as fast as he can, to the work may be executed by a common stone ma
thickness, I shall say, of a quarter of an inch. son. With instruments to aid him, and cer-
After the lapse of a few minutes, he dips his tain rules to go by, he measures distances,
brush into clay water, and by sprinkling the takes proportions, inserts points, gauges and
coating already attached, gives to the plaster a sounds, punctures a great number of small
darker tinge, for an important purpose to be holes; and by numbering and otherwise,
afterwards explained. A second coating of makes as many dots and marks as engravers
plaster follows, three times as thick as the do in etching anatomical figures, or de-
first; the depth is now an inch or more, and signers in drawing patterns for damask
the substance, as before, is distributed with weavers. The instruments alluded to need
the greatest expedition and equability. In not to be described since nobody would under-
two or three hours the stucco becomes suffi-stand them without diagrams. Suffice it,
ciently dry, and at this stage of the business therefore, to say, that the model is placed near
the casing may be compared to the shell of an to the block of marble-that the mason's
egg, and the model, to the meat or yolk within. soundings are taken from it, and that when
And the great object now is to pick the clay this task is finished, he is succeeded by a per-
model piece-meal away without injuring the son who is familiar with the finer parts of sta-
casting or shell-an operation, as may be sup- tuary. The model is of course placed before
posed, of some nicety. But to facilitate the him, and by relying mainly on the accuracy
process, certain joints are left in the casing, of his eye, as a painter does when sketching
according to the intricacy of the figure or sub- from nature, he gradually animates the inert
ject, while to prevent, as already stated, any mass, making, if I may slide into the language
accident arising from warping, the stucco is of metaphor, vitality wait on every trace of
supported by iron rods, while the clay is in his chisel, or any other instrument he may
the act of being removed. When this is done, chance to employ. The artist himself comes
the inside of the cast is not only carefully last of all, and for this, among many other
picked, but well soaked and washed with soap reasons, that he who modelled, if he did not
and water, to obviate the adhesion of the design, is the best judge of the faithfulness of
plaster in the important operation about to the copy. Like a critic familiar with classic
follow. The soft plaster, when spread over composition, or a great musician whose ear is
the model, seizes, of course, every lineament attuned to absolute harmony, he detects every
and feature ; or in other words, what was transgression to the rules of prosody-every
convex becomes concave, until reversed by the bastard bar, and apocryphal note; and warmed
second operation of the moulder. To produce, alike by genius and his previous conceptions
therefore, a fac-simile of the original model, a of the strictest proportion and dependence of
mass of liquid stucco is poured into the inside parts, communicates those masterly touches,
of the casing-just as an iron-founder, by which constitute the very essence of the
pouring cast metal into a trough or frame, re- witchery of art.
duces nearly the hardest of all substances, The modern Italian carvers subdivide their

abroad.

M'DIARMIÐ.

AN OMNIBUS INCIDENT. "He looked not like a habitant of earth, And yet was on it."

There are surely to be met with now-a-days fewer dwarfs than formerly. Still one meets occasionally those mis-shapen, diminutive per sons whom customtime out of mind designates by the title of "My Lord."

A few days ago, I stepped into one of those convenient, disagreeable, public carriages, called an omnibus, in Oxford-street, running to the Elephant: it was late in the evening. About to place myself by the door, some obstacle presented itself; I imagined it to be a large parcel on the seat, and sat down lower. Journeying on, by degrees the vehicle filled,