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They proceeded until they reached the sand-cliffs, about ten or twelve miles from Clarence; one native continuing to walk a little way in the bush, in order to be certain that the boy had not crossed or left the beach, and the other remaining with the party on the beach. Here it was ascertained that he had again taken to the bush, and they found no difficulty in tracking him until they came to an elevated spot where the wind had entirely effaced the marks of his feet. This was a most anxious moment, as even the natives seemed to be doubtful whether they would again discover the track. Migo, however, descended the hill, persisting in search along the plains inland, and, after having made a circuit of about half a mile, was once more so fortunate to fall in with the track; but, notwithstanding they had found it, they were sorely perplexed to retain it, and were kept near the spot for two hours, off and on, losing and again discovering it.

The party had nearly given up all hope of seeing the child, when Molly-Dobbin pointed out the track on the side of a deep ravine. They were then about 600 yards from the beach. The natives then went down into the ravine and commenced hallooing, thinking the child might be asleep in the bush, and still persevered in pressing through the thickest scrub, and the most diflicult country to penetrate through which they had yet passed; and observing by the tracks, that the child had evidently been there within a very short period, they journeyed on with a better hope of obtaining their object, and restoring the lost child to his afflicted parents. No sooner were these feelings of gratification excited at viewing the recent footsteps, than, at a distance of about 300 yards, the child was seen lying on the beach, its little legs washed by the surf, and apparently in a state of insensibility. Mr. Norcott galloped up to him, and calling his name, the boy instantly jumped up. Another hour, and probably the child would haye perished, as the waves were rapidly gaining on him. The joy and delight of the two natives is described to have been beyond conception; and their steady perseverance, Mr. Norcott says, was beyond any thing he could have anticipated from them: when it is considered that they walked a distance of nearly twentytwo miles, with their eyes, for ten hours, constantly fixed upon the ground, and at the same time evincing the most intense anxiety to be instrumental in rescuing the child from its impending fate, we cannot but esteem the act, and highly applaud the noble disposition of these two savages.

Mr. Norcott took the child up, and placing him on his horse before him, the party made the nearest road home, where they arrived at nine o'clock at night, having been a distance of thirty-nine miles, after being out seventeen hours without the slightest refreshment.

It is surprising that the child should have got so far, in the manner he must have been frequently compelled to force himself through the bush. He is not three feet high. His clothes were much torn, and his body was covered with scratches and bruises.

[From the WESTERN AUSTRALIAN of Jan. 3, 1835.].

HOPE is like the wing of an angel soaring up to heaven, and bears our prayers to the throne of God.—JEREMY TAYLOR.

Hoor away despair!

Never yield to sorrow; The blackest sky may wear

A sunny face to-morrow.-Miriam Coffin.

THE TRUE SOURCE OF CONTENTMENT.' THERE never was any system besides that of Christianity which could effectually produce in the mind of man the virtue of Contentment. In order to make us content with our present condition, many of the ancient philosophers tell us that our discontent only hurts ourselves, without being able to make any alleviation in our circumstances; others, that whatever evil befals us, is derived to us by a fatal necessity, to which the gods themselves are subject; while others very gravely tell the man who is miserable, that it is necessary he should be so, to keep up the harmony of the universe, and that the scheme of Providence would be troubled and perverted were he otherwise.

These and the like considerations rather silence than satisfy a man. They may show him that his discontent is unreasonable, but are by no means sufficient to relieve it. They rather give despair than consolation. In a word, a man might reply to one of these comforters as Augustus did to his friend, who advised him not to grieve for the death of a person whom he loved, because his grief could not fetch him back again: "It is for that very reason," said the Emperor, "that I grieve." Religion bears a more tender regard for human nature. It prescribes to a very miserable man the means of bettering his condition; nay, it shows him that the bearing his afflictions as he ought to do, will naturally end in the removal of them. It makes him casy here, because it can make him happy hereafter. Upon the whole, a contented mind is the greatest blessing a man can enjoy in the present world; and if in the present life his happiness arises from the subduing of his desires, it will arise in the next from the gratification of them. -ADDISON.

COMMON USE OF METALS.

Ir a convincing and familiar proof of the extensive application of the metals to the common purposes of life, were required, we need only refer to the case of many a common cottager, who could not carry on his daily concerns and occupations without the assistance of several of the metals. He could not, for instance, make his larger purchases, nor pay his rent, without silver, gold, and copper. Without iron he could neither dig, nor plough, nor reap; and, with respect to his habitation, there is scarcely a part of the structure itself, or of the furniture contained in it, which is not held together, to a greater or less extent, by means of the same metal; and many articles are either entirely of iron, or of iron partially and superficially coated with tin. Zinc and copper, and antimony, and lead, and tin, are component parts of his pewter and brazen utensils.

Quicksilver is a main ingredient in the metallic coating of his humble mirror: cobalt and platina, and metals, perhaps, more rare and costly than these, as chrome, are employed in the glazing of his drinking-cups and jugs. And, if he be the possessor of a fowling-piece, arsenic must be added to the foregoing list, as an ingredient in the shot with which he charges it; for it is arsenic which enables the shot, during the process of its granulation, to acquire that delicately spherical form by which it is characterized. So that, of the whole number of metals made use of by society at large, for common purposes, amounting to no less than twenty, more than half of these are either directly used by the peasant, or enter into the composition of the furniture and implements employed by him.-KIDD.

POTTERY AND PORCELAIN
No. II.

THE CANARY THAT FORSOOK ITS HOME.

A FABLE.

THOU who, on schemes of pleasure bent,
Regardless of thy friends' consent,
Unmoved by home-felt sympathies,
Unchecked by duty's sterner ties,
Wouldst rashly fly the sheltering roof,
Endure a Fable's short reproof.

Thou seek'st, perchance, a happier home
The change a misery may become,
And in the hour of lone distress,
Thy sweet be turned to bitterness.

A little, foolish, fluttering thing,
That late had flown on truant wing,
Roused from his morning vision, now
Stood shivering on a leafless bough.
True, he had wandered all the day,
And only thought of sport and play,
And sat, and sung, and told his tale
To feathered idlers in the vale;
Whilst pleasure filled his fluttering breast,
To think his voice excelled the rest.
Nor had he stopped to ponder yet
On his dear home, and friends' regret,
Till evening came, and cold, and pain,
With hunger, in the dismal train:
Then, lone and motionless he pined,
In want of all he'd left behind;
And when the midnight dews came on,
The little sufferer's life was gone!

The leafless branch swung to and fro,

Rocked by the bleak wind o'er my head,
And, touched with thoughts of kindred woe,
In many a human heart, I said:
"Alas! thou silly, trembling thing,
Is this thy golden dream of bliss?
And hast thou plumed the truant wing,
To taste of freedom such as this?
"Why burst the gentle, silken ties,

That bound thee to thy owner's hand?
What kinder mistress now supplies

The food thy little wants demand?
"I've heard thee sing, and blithely, too,
Before you struggled to be free;
Those feathers were of glossier hue,
Ere yet you dreamed of liberty.
"I marked thy full and sparkling eye,
But ah, 'tis dim and glazed now;
And vain this wide expanse of sky,
For cold hath chained thee to the bough
"In fondly seeking to be free,

AMONG the remains of the manufactures of ancient nations, none are more conspicuous, or more generally distributed, than vessels in the form of urns, or as they are more commonly called, vases. Although the materials of these are in most instances merely baked clay, the makers appear to have exercised their greatest skill and ingenuity in their formation; and the result is, that in no instance is the taste of the earlier inhabitants of the earth displayed to greater advantage than in the efforts of the potter. Even the rudest nations exhibit traces of genius in the formation of their earthen utensils. Perhaps the perfection of these specimens of ancient art may, in a considerable degree, be attributed to the nature of the material. The carver in wood, and the sculptor of marble, would find great difficulty in replacing any portion of their work, which might have been removed by want of caution; but the plastic nature of clay would enable the potter to retouch his work by the addition of fresh material, until his eye was satisfied with the correctness of its form.

Although we have said that these remains of antiquity are in general formed of clay, it must be understood that this is far from being constantly the case. They were often made of different kinds of metal, as silver, gold, brass, &c., sculptured in stone, or fashioned in a substance between glass and porcelain.

One of the most celebrated of these vases is at

present in the British Museum. It was formerly known by the name of the Barberini Vase, and was discovered about the end of the sixteenth century, in the Monte del Grano, about three miles from Rome. It was preserved for a length of time in the Barberini palace, and from thence acquired its name.

This vase is now called the Portland Vase, from its having been purchased of Sir W. Hamilton, about forty years since, by the late Duke of Portland. It is nine inches and three quarters in height, and twenty-two inches and three quarters in circumference. Its substance is semi-transparent, and consists of two bodies, of material resembling glass of different colours, intimately connected with each other, and forming two distinct strata. The upper stratum, a beautiful white, serves for the figures, which are in relief; and the under one, a dark blue, forms the ground: the whole is wrought after the manner of a cameo, and exhibits, along with the design and workmanship of the finest bas-reliefs, the minute and delicate finishing of the best gems. The meaning of the figures with which this beautiful specimen of ancient art is decorated is WHILE Some animals exhibit individual powers in higher not well understood; but most probably they are perfection, man stands for their superior, not only in comallegorical, or have some relation to the religious bining in his own body all the senses and faculties which mysteries of the country, as the same subject is rethey possess, but in being endowed with moral and intel-peated on other ancient remains. The most famous lectual powers which are denied to them, and which at once place him at the head of the living creation, and constitute him a moral, religious, intelligent, and responsible being.

Thou'st met a chill and wintry air,
And on the branch of forest tree,

Nought but to pine and perish there.”—M.

-COMBE.

NONE of the comforts of this life are pure and unmixed; there is something of vanity mixed with all our earthly enjoyments, and that causeth vexation of spirit. There is no sensual pleasure but is either purchased by some pain, or attended with it, or ends in it.-TILLOTSON.

WHILST we are within the reach of troubles, we cannot be without the danger, and ought not to be without the fear, of sin; and it is as hard for us to escape sin, being in adversity, as to be calm in prosperity. Happy man, that still keeps the golden bridle of moderation upon his passions and affections, and who still keeps possession of himself, whatsoever he lose vossession of.

work of the celebrated Wedgewood was a model of this ancient urn. This model was purchased by the then Duchess of Portland for one thousand guineas. In addition to that purchased by the Duchess, fifty other casts were taken, which were sold for the sum of fifty guineas each.

The Warwick Vase, called so from its possessors, the family of the Earl of Warwick, is another splendid specimen. It is of white marble, beautifully sculptured, and large enough to contain one hundred and sixty-three gallons of liquid; and is evidently of Grecian workmanship.

We noticed that some of these vessels contained oil, used in sacred mysteries. It seems to have been an act of religious duty among the Greeks, to pour

*See Saturday Magazine, Vol. VII., p. 204

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oil upon the tombs of their ancestors, or on any piece of sculpture erected in commemoration of some peculiar event. "A man true to the duties of religion," says a Greek historian, "stops as soon as he perceives in any place a stone that has been anointed; he takes his lecythe, he pours the oil respectfully upon that stone, and does not leave it without having first bent his knee before it." A similar custom is noticed in the Old Testament after the vision of Jacob, and in commemoration of that event: "And Jacob rose up early in the morning, and took the stone that he had put for his pillows, and set it up for a pillar, and poured oil upon the top of it."-Gen. xxviii. 18.

From the remains of the pottery of the Romans which have been preserved to the present time, it appears that they had made great progress in the art of manufacturing it, as far as regards elegance of form, and taste in the ornamental parts of the work. The above engraving contains a representation of several ancient Etruscan vases, as they have been called, from Etruria, the portion of the Roman empire in which they were discovered. They are all of red clay, and generally covered with ornaments on a black ground. Vases of this description have also been found in Sicily, and among the ruins of ancient cities in Greece; and as the paintings with which they are adorned relate to the customs or mythology of the latter country, some authors have been inclined to give them the name of Grecian vases. There can, however, be no doubt that some of the most elegant specimens were brought from Etruria;-the work, most likely, of Grecian artists settled in Italy. The beautiful designs which decorate these specimens of ancient art, have rendered great service to the historian, by explaining many points in the history and manners of former times; and forwarded the views of the artist by the example of their graceful forms, and elegant compositions.

The uses to which the vessels used to be applied were various. They formed part of the ornamental, as well as useful furniture, at private and public festivals; but they were more frequently used as prizes to the victors in different games. Others were set apart for religious ceremonies; but the greater part of those discovered by the moderns were sepulchral, and intended to contain the ashes of the deceased, which were collected after the burning of the body,a custom which prevailed much among the Greeks

and Romans. "When the corpse was burnt, it was the office of the nearest relation, as soon as the pile was consumed, and the fire extinguished, to soak the embers with wine, to collect the ashes and bones of the deceased, to besprinkle them with the richest perfumes, with wine, with milk, and with their tears, and then to deposit them in a vessel destined for the purpose. Although it was sometimes the custom to place the ashes of the dead person in one urn, and the bones in another, yet more generally all the remains of the burnt body were placed in the same receptacle." The family vaults, or rather mausoleums, of some of the most distinguished among these people, were splendid buildings containing several chambers, round the walls of which these vases were arranged in numerous niches. On a few of these votive urns, inscriptions have been discovered, bearing the name of the person for whom the honour was intended. An instance of this occurs in a vase in the British Museum, on the bottom of which was traced with a pointed instrument, before the clay was baked, an inscription to the following purport:-" My dear Phile, adieu.

This vase to be placed in the second sepulchre." In some cases, these vessels have been discovered ranged round the skeleton of the deceased, the latter being enclosed in a kind of coffin of stone. An exquisite little model of a coffin of this kind, containing the skeleton and vases, may be seen in the Fitzwilliam Museum, at Cambridge. Vessels of baked clay were also formed for many other purposes, as lamps, pateræ (a kind of dishes), altars, &c.

PINS.-How quickly a luxury becomes a convenience, and a convenience a necessary! Pins, of which so many thousand of millions are now used in England annually, were not known 300 years ago. Up to 1543 both sexes were in the habit of using loop-holes, ribbons, lacings, with points and tags, clasps, hooks and eyes, and little brass skewers.

NOTHING is to be expected from the workman whose tools are for ever to be sought.Idler.

IDLENESS is the Dead Sea, that swallows all virtues, and the self-made sepulchre of a living man.

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Magazine,

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UNDER THE DIRECTION OF THE COMMITTEE OF GENERAL LITERATURE AND EDUCATION, APPOINTED BY THE SOCIETY FOR PROMOTING CHRISTIAN KNOWLEDGE.

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ELY CATHEDRAL. AMONG those works in the fine arts which are objects of sight, the religious architecture of the Middle Ages is contemplated with the most general interest and pleasure. In order to have a competent relish for the beauties of painting and statuary, or of civil or military architecture, it seems necessary that we should be in some measure qualified and prepared, by a previous knowledge of the principles and rules of those arts, or at least possess some curiosity and disposition to learn them. Certain happy efforts, indeed, may produce the intended effect on the unskilful spectator, as well as on the correct judge; but in general it is not so. Many persons are apt to gaze with affected pleasure, but with real indifference; and perhaps sometimes honestly avow that they know not what others can find to admire. With respect to ancient religious architecture the case is very different. Nobody pleads that he cannot admire because he does not understand; nobody feigns an admiration which he does not feel. All feel admiration because all are fitted and qualified to admire. It is forcibly and justly observed by the author of a recent work on Ely Cathedral, "that few indeed, and very inconsiderable, are those who enter an ancient Cathedral church without heing instantly, on the first view, impressed with a sentiment of devout awe. Its wide and lofty arches, its massive or clustered columns, its spreading vaults and lengthened aisles, conspire to produce an effect which is not produced in the same or in similar force and universality, by any other style of building whatsoever. They lift up the heart to that awful Being, who, though he dwelleth not in temples made with hands, must be worshipped in them; and, therefore, it is their distinction and appropriate merit, that they excite those suitable

emotions."

As a stranger approaches the western entrance of this Cathedral, he must be struck with the great magnificence of the western façade, though it is impossible not to regret the loss of the north wing. In its original state, as built by Bishop Ridel, in 1119, this must have been a superlatively-grand entrance to a solemn temple, and could not fail to make on the mind a powerful impression of awe. It did not continue long in this state, for the succeeding Bishop Northwold, added a turret or spire, covered with lead; but the old tower, as it is now seen, was not of either Bishop Ridel's or Bishop Northwold's erection. On the first spire being taken down, the additional octagon of 64 feet in height, as it now appears, was erected in 1380. The height of the Tower with the four stone turrets, is about 215 feet. Above this was also erected a spire, which has since been taken down. The magnificent portico which is now the entrance to the Cathedral, was the work of Bishop Eustachius, and is a beautiful and splendid specimen of the early English, being finished about 1215. The door-arch, which communicates with the tower, cannot but attract the notice of the stranger: it is highly ornamented, with columns of Purbeck marble.

The whole interior length of the Cathedral from west to east is about 517 feet. On the south side of the tower is the south-west wing or transept; the interior parts of it still show its original splendour, and in the ruins of the north wing there are portions exactly corresponding. The tower, supported by four grand and lofty pointed arches, communicates with the nave of the church. This part of the building with the side-aisles, is all Norman, with the exception of some windows of more recent date, having been begun in 1081, and finished in 1174. The whole nave is clear up to the transepts, and very fine; it

will be observed that the arches are lighter and loftier than is usual in Norman Cathedrals, that they form an arc not greater than a semicircle, but some little way rectilinear before they take the circular bend. The north and south transepts extending on each side of the octagon, are the most ancient parts of the present Cathedral, having been built in the reign of Henry the First. The old transept tower fell down in 1322, and was replaced by the present octagon, a work well deserving the attention of the public It is impossible, indeed, not to admire the wonderful skill by which was suspended so extensive a roof over so wide an area. This magnificent structure was finished by Alan de Walsingham about 1342. Three arches eastward, adjoining to the old transept tower, having been destroyed with it, were rebuilt and embellished with its present light and delicate tracery at the same time, at the expense of Bishop Hotham. One arch of the lower part of this work is concealed by the organ-gallery, under which is the entrance to the choir, a most beautiful and chaste building of the early English style of architecture. The ornaments are graceful and elegant, and in no part is this more conspicuous than in the roof. This addition of six arches was built at the expense of Bishop Northwold, and finished in seventeen years, about 1252.

At the entrance of the choir are four stalls, and on the north and south sides twenty-seven each; making sixty-two, for the bishop and prior, and sixty monks, which was the number of this community when first formed. These stalls were a part of the work by Alan de Walsingham, and are beautiful and highly-finished specimens of the carved work of that age. There is no bishop's throne, but the bishop took the seat of the abbot on the righthand side of the choir, and the dean that of the prior on the left. The beautiful window at the cast end will shortly be filled with painted glass, through the munificence of the present bishop. In the sideaisles are monuments of several of the bishops, some of them highly interesting to the antiquary. At the east end of the aisle on the north side is the chapel of Bishop Alcock, a rich and elaborate specimen of the florid style of architecture, erected in 1488. At the east end of the aisle on the south side is the still more beautiful chapel of Bishop West: it is a consummate specimen of the florid style. The tracery is most exquisite, and some of the small heads are executed with all the softness and nicety of wax. was built in 1534, and this date may be seen in various parts of the work, in delicate tracery.

It

On the north side of the choir, is the building formerly occupied as the Lady Chapel, but now used as the church of the parish of Holy Trinity. It is a beautiful and finely-proportioned building, having two noble windows at each end. Along the side walls, and under the other windows, are beautiful triangular arches, highly ornamented with tracery; but the figures are much defaced, and the original gilding has long been covered with an execrable crust of whitewash. This building was finished in 1349, having been carried on at the same time with the octagon and the three adjoining arches.

On an external view of Ely Cathedral, the firmness of the stone of which it is built will appear to great advantage. The string course of mouldings, both the treble-billet and the double-hatched mouldings, together with the corbel-tabie under the upper parapets, all these, with the mouldings round the uppermost windows, retain a wonderful degree of their original sharpness.

From what has been said, it will appear that this

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