«Труд женщин: Энциклопедия женской работы»

61. Модельеры восковых фигур. Catharine Questier, who lived in Amsterdam about 200 years ago, besides possessing many other accomplishments, was a modeller in wax. Joanna Sabina Preu, who lived in Germany not long after, was noted in the same way. A daughter of a Danish king also modelled in wax. "Professor Anna Manzalius, an Italian lady, modelled excellent portraits in the beginning of the eighteenth century." In England, in the early part of the eighteenth century, Mrs. Samore modelled figures and historical groups in wax. Mrs. Patience Wright, born in Bordentown, New Jersey, 1725, made a great many likenesses in wax. Some were full length and some were busts. They were mostly of the statesmen that were conspicuous in the American colonies at that time—yet some were of Englishmen, as she resided in London, after she became a widow, and supported her family by her handiwork. Her daughter, Mrs. Platt, modelled in wax in New York in 1787. I saw a maker of wax figures who said he had supported his family by his work, and thought a few others might make a living at it. One must be able to draw a model before undertaking wax figures. It requires good perceptive powers, ability to distinguish colors, and a peculiar taste. One must be able to work from life, and it is well to know how to do so from pictures. Mr. G., interested in Barnum's museum, told me that it was impossible to get such wax figures made in this country as they want. He spoke of the miserable imitations that are made, and thought a person well qualified would be patronized. Most of the groups in Barnum's museum were made by Mrs. Pelby, of Boston. Mr. Barnum wrote to Mr. Tussaud, whose mother made those so famous in London (and who is living now), to know if he would instruct some one to send to America; but he is not willing to give any one instruction. He employs persons to make the different parts; one set of workers make the bodies, another the heads, another the feet, &c. The world-famed group of his mother, Madame Tussaud, was first opened in Paris about 1770. After being exhibited in the large towns of Great Britain, it was taken to London, where it still remains. The figures are so life-like that now and then one is mistaken for a living person, while a person is as often mistaken in the group for one of the figures. More than forty persons are kept in charge of the exhibition.

62. Этикетировщики и систематизаторы минералов. A lady could not easily make collections of minerals, but she might find it an absorbing occupation to arrange and label them. Few ladies in our country have given any study to mineralogy, and very few would be competent to form cabinets. Yet, for those that are, we doubt not employment of that kind could be found. The individual wealth of our country has not been sufficient to enable many to make extensive collections. The most that exist are connected with universities and other institutions of learning. They have been collected at different times—in fact, mostly formed by single specimens, added now and then. Individual collections have been formed in the same way. Individuals add to the cabinets of their friends, as they have it in their power. The most extensive collections in the United States are at the Patent Office, Washington, and in the National Academy of Science, Philadelphia. Mr. H., a mineralogist from Berlin, says: "In Berne, Switzerland, a man and his wife are mineralogists. On the husband's death the wife will continue the business." It must require many years' study and an extensive knowledge of chemistry to become a superior mineralogist. I would think considerable time and capital were requisite for a mineralogist to establish himself. Mr. H. makes exchanges of minerals for others, receiving, I suppose, a commission for doing so. A geologist writes me: "No women are employed in my business. It requires one half of a lifetime to become fitted for the duties of a geologist. A knowledge of engineering, and most of the natural sciences, is needed. Draughting in the office is the only part suitable for women."

63. Музыканты. Madame Romeau says: "Few women have been engaged in musical compositions, and they have rarely undertaken important works. In painting and literature one is pre-occupied only with the work of the author. In music, it requires the coöperation of two persons—the composer, and the performer. Books and paintings act upon us without any intermediate objects, while the piece of the composer, to be understood, needs the flow of harmony noted on the paper in hieroglyphic signs, and must escape under the fingers from the instrument. It is necessary to animate the inert matter—to make it yield to the wish of the performer and reproduce the inspirations of the composer. Few women compose songs. A musician leads a different life from an artist, who lives in her studio and has few expenses. A musician must face the crowd, and hear its dissatisfaction, and smile at its applause. A cantatrice, or songstress, often travels from town to town like an actress." Some persons think none of the arts can be purely religious except music. "Mozart in music, and Raphael in colors, have taught us the spiritual ministry of the senses." A comparatively small quantity of music has been composed in the United States. The study of a lifetime is bestowed by very few on music. Some American ladies have gone to Europe to perfect their musical taste, and a few have acquired distinction. With musicians, as with vocalists—those who, in this country, have reaped the greatest profits in the shortest time were foreigners. Some were pianists, some flutists, some violinists—some one thing, and some another. The composition of music for soirées, fancy balls, masquerades, tableaux vivants, private theatricals, operas, dramas, musical farces, ballets, &c., might occupy all the spare time of musicians capable of composing. There is a circulating library in London of 42,000 volumes. There is, also, one in New York and one in Brooklyn. Subscribers to the one in Brooklyn pay in advance for one year $12, with the privilege of selecting from the catalogue $6 worth of music at the termination of the subscription; for six months, $6; for three months, $3; for a single piece worth less than $1, 6 cents per week; less than $2, 9 cents per week. Mr. G. thinks a lady can never become a good violinist, because it requires great strength in the right arm. The muscles of violinists are as rigid as a blacksmith's. I have heard that occasionally a pianist acquires such strength in his hands that he could almost prostrate you with one of his fingers. A gentleman told me, ladies could not become superior organists; that they cannot have sufficient power developed. It requires much strength of hands and feet. He remarked, the organist, at the church he attended, was a lady, but made no comments on her qualifications. I have known two lady organists, who were considered superior performers, and received as good salaries as gentlemen would have done. One received $500 for playing twice on Sabbath. On week days she gave instruction. I was told that she supported her whole family for years by her musical talents, and laid by money with which she purchased a comfortable dwelling in a city in New York State. The salaries of organists are small considering the amount of talent and practice required; but most organists teach music, or stand in music stores, or act as agents for manufacturers of musical instruments. "In the summer of 1860, among the Marblehead band of female shoe strikers in the procession at Lynn, Mass., was Miss Margaret Hammond, fifteen years old, who beat the drum in martial style the whole line of march." "In Ohio they have a lady drummer, who has received a diploma for her skill. Her name is Minerva Patterson, a daughter of Major Elisha Patterson, a wealthy farmer of Jersey, Licking Co." The French papers have given some insight to the prices paid great musicians, Malibran received in London, for every performance at Drury Lane, $750; Lablache, for singing twice, $750, and for a single lesson to Queen Victoria, $200. At a soirée in London Grisi received $1,200. Paganini charged $400 a lesson. "Herz and Thalberg each made about $60,000 in this country." There is a female musical society in London which gives concerts for benevolent objects.

64. Гравёры и фальцовщики нот. Mr. L. engraves and prints music, and employs two ladies to fold it. There are but few music engravers. The smaller the number of persons in any one kind of business the higher the prices they can command. A lady in New Orleans engraves, whose husband is a music printer. It would require but two or three years to learn it. Some ingenuity, a knowledge of the value of notes in music, and judgment in the arrangement of them are necessary to make an engraver. In New Orleans, eight months are usually considered a year, I believe, in business arrangements. At a music engraver's the young man told me that he never heard of a woman engraving music in this country, but he knows that some do in Paris. The work they turn out, he added, is not good; it will not wear, because women have not sufficient strength in the wrist to engrave as deeply as a man. A person who engraves plates for music can earn from $3 to $5 a day. German work is considered the best, because the quality of the ink used is better. Music engraving is divided into two distinct branches—one is lettering and engraving the title page—the other is engraving the notes. No steam machinery has ever been invented for printing music, because the ink must all be put on the way the work is done. Music is one of the first things dispensed with in hard times.

65. Оперные исполнители. The first opera of modern times was performed about the close of the fifteenth century. At the first introduction of the opera into France and England, it was much ridiculed by wits and critics. Voltaire, however, and others, came to its rescue, and with what success may be known, when it is acknowledged to be one of the favorite amusements of the fashionable world. The want of adaptedness of the opera to the English language has to a great extent excluded successful efforts at translation. Yet some operas have of late years been performed in English. "In Paris, the Italian opera is patronized by the Government, as a school of vocal music; and the managers are careful to maintain a complete and skilful company." In an opera, the music is the most important part, while at the theatre the music is subordinate to the play. The orchestra in some parts of the opera accompanies, and, in others, seems to respond to the sentiments of the piece. The operatic performance is not so warm, so impassioned, so abandoned, as that of the theatre. The trilling and sudden starting, so common in operas, is rather too artificial to please the unsophisticated. A conversational style is seldom used, but the words are expressed in a recitative style that is graceful and effective. In Germany, however, dialogue has been introduced. Good imitative powers are essential to success. The noble talent of music has been desecrated, in some operas, by the impure thoughts and language expressed. In the United States probably not more than thirty, out of the entire audience of several hundred, sufficiently understand the Italian, to follow the play without considerable effort; but it is so much of a pantomimic character that much is gained by the sense of sight. Much of the zest and interest are lost to those who are indifferent to the accessories. On this account, we suppose it can never become a favorite amusement with the generality of people. The French papers give some curious statements in regard to the salaries paid to great musical artists. We learn that Hummel left a fortune of $75,000, and twenty-six diamond rings, thirty-four snuff boxes, and one hundred and fourteen watches, which had been presented to him at various times. In modern days musicians are quite as extravagantly paid. Alboni and Mario get $400 every night they sing; Tamberlik, every time he sings a certain high note, demands $500; Madame Gazzaniga was paid $500 a night recently in Philadelphia; Lagrange, at Rio Janeiro, is now receiving a princely salary; and Piccolomini cost her manager over $5,000 a month; and these prices are said to be moderate, compared with those often paid in Europe to distinguished musical artists. At the opera house in Paris, for the present season, Mr. Colzado, the manager, pays as follows: to Tamberlik, for seventeen representations, $8,000; Alboni, $2,200 for seven representations; Mario, $15,000 for a season of five months; Grisi, $5,000 for two months; Madame Perer, $14,000 for the season; the Grazioni brothers, $15,400; Corsi, a baritone, $4,000; Galvani, $3,600; Nantin Didere, $4,000; Tecehini, $3,600; Mlle. de Ruda, $3,400. The chorus and orchestra cost for the season $17,600. "Parodi, the American prima donna, receives no less than $30,000 per annum, a larger salary than that paid to the President of the United States." "Miss Hensler, the American prima donna, has been engaged by the manager of La Scala for fifteen months, at the rate of $170 a month." "Sophie Curveth receives $2,500 a month, for eight representations; for every representation beyond eight in the month, $300 more."

66. Художники. "Less prejudice exists against artists than teachers in France. They have privileges that teachers have not. Painting is considered the most desirable profession by parents for their daughters. The girl begins early in life to fit herself for her profession. The work is less severe than that of an author. Painting does not require such close application of mind, nor is it necessary to spend so much time in solitude, nor are the expense and anxiety so great as that of authorship. Gratuitous schools of art exist in Paris, where instruction is given principally in perspective. Most students prosecute the art in studios, paying from $4 to $6 a month. Most of them spend the whole day in the studios, from eight in the morning until six in the evening. The artist that instructs them visits the scholars only two or three times a week. The studio is a sort of mutual school, where pupils teach each other; they are of all ages. All conditions of society are represented. Three kinds of painting are done by them—face or portrait, landscape, and flowers. Most of the girls of the higher classes prefer landscape. Female artists compete with men, and wear their hair short. Few women like the physical fatigue of a painter's life. There is not the same play for coquetry in artists, as in singers or actors. It requires great perseverance for a female artist to acquire firmness of execution; she does not possess it to the same extent as man. Some artists are willing merely to copy paintings, paint portraits, and give lessons. The school of landscape painting is one well fitted for young and original talent. Women succeed in painting portraits; also, in painting flowers and fruit; very few have tried historical paintings." Painting is certainly a profitable employment for a lady artist of superior ability, if she can have enough to do. Miss F., New York, established a life school for lady artists. One subject is used at a time; the classes are limited—two classes—eight or ten pupils in each. Those that need instruction will pay $12 for twenty-two lessons; those without instruction, $6. There will be two sittings a week, of from three to four hours. A person of sensitive, nervous type, susceptible to every impression of a pleasant kind, is most likely to succeed as an artist. Mr. R. Peale told me that many ladies in Europe paint portraits. He considered it a higher style than landscape, or still life. He thinks painting itself not injurious to the health. The turpentine used is sanitary, and the white lead is deleterious only when taken into the lungs. What is inhaled in breathing can do no harm. Mr. Peale thought that the principal reason of artists being so poor in health, is because of their long and close confinement indoors. In painting the first coats are often applied by an assistant, employed by the artist; and in some cases, by the students of the artists. Miss Merrifield, of England, has written a work on the art of painting. A number of ladies in England, and in the United States, are winning a reputation as artists. The prospect to lady artists in the United States is very encouraging. Ladies are allowed the privilege, on proper application, to copy paintings in the Academy of Fine Arts, Philadelphia, the Düsseldorf, and the Bryant galleries, New York. According to the census of 1850, there were 2,093 male artists; but there are said to be not more than 600 or 700 superior artists in the United States. The patronage the best receive is such as to keep them well employed. A meagre support and a long life of labor are necessary to establish a reputation as an artist, even to one that has talent. But the way in which most of our first-class artists live, that are prudent and steady in their habits, and possess any business qualifications, contradicts the opinion, quite common, that an artist's life must always be one of self denial and poverty. We think artists fare as well as most people, and we do think it a life very inviting to the young ladies of our country. Those that have the time, the means, and the talents, will find it an absorbing, a fascinating employment. Women succeed best in painting pictures of their own sex, and of children. The more tender and delicate organizations are best suited to their talents. Most of our artists live in the metropolis, New York; the Western country is too new and crude. There are materials enough, but not much appreciation of talent. Besides there is less wealth, and another thing is, that artists must keep themselves where mention will now and then be made of their pictures, to bring them into notice, and where the most ready sale will be found for them. During the last few years a taste has been developed in St. Louis, that promises some golden fruit. A gallery of paintings has lately been opened there. Why is it that a talent for painting and poetry is so often combined? Is it that the quiet, contemplative state that produces poetical inspirations also favors the visible expression of beautiful thoughts? A poet painter is more frequently to be seen than a poet musician. One, I suppose, of a quick, lively disposition, and very impressible, might be more likely to possess musical talent than one of a quiet, thoughtful nature. But genius is not fettered by temperament. There is a society of female artists in London; the first public exhibition of their paintings took place in June, 1857. It is managed by a committee of eight ladies, and bound by twenty-three articles. A portrait painter writes: "The artist requires a high, well-developed anterior brain, a healthy body; and a brain and body well regulated and balanced; a love of the beautiful that inspires the character with patience and indomitable perseverance, and a contempt for applause; for 'art is long,' and, unless one is willing to 'scorn delights and live laborious days,' he can never meet with real success. If women can attain to excellence as artists, they can command the same remuneration as men receive. Art knows no sex." A professional artist remarked to me: "Amateur painters never attain excellency, because it requires not only talent, but constant application." I think if there is anything that should have its full value, it is a painting, because of the patience and perseverance necessary for an artist to excel, and the long and costly preparation requisite. It commands, too, a certain style of talent that many do not possess. In addition to this, those who can afford to buy paintings are those who can afford to pay a good price.

67. Анималисты. We know of no artist in this country whose talents have been devoted to the painting of animals, and of but one lady, in any country, that has distinguished herself in that line—the far famed Rosa Bonheur.

68. Художники по знаменам. We saw an ornamental sign painter decorating a large flag. Stars are painted on the silk, and then sized and gilt. The flag was stretched on a frame like a piece of tapestry, but upright like an easel. Mr. M. had never known of any women being employed in the trade. He decorated banners for processions, political campaigns, &c. This is evidently a field for female industry.

69. Художники мелками и пастелью. Crayon drawing seems to have been much in vogue in Italy in the seventeenth century; and we read of an Italian lady, as far back as 1700, devoting her time to pastel painting. The soft, light, dreamy effect given by the use of pastels, peculiarly fit the style for the portraits of ladies and children. Mrs. Dassel, of New York, was noted for her excellency in the use of pastels. Mrs. Hildreth, of Boston, is very successful in her crayon portraits. She charges from $30 to $40 a head. Mrs. M. A. Johnson, of Massachusetts, has spent some years working in crayon. "Her indefatigable patience in the execution of details, the fidelity of her likenesses, and the delicate perfection of finish in her pictures, are remarkable." Miss Clark received $20, and over, for crayon portraits in Boston, a few years ago. Before Miss Stebbins, of New York, became a sculptor, she drew crayon portraits, charging $50 per head. Her execution was said to be clear and forcible.

70. Художники по цветам и фруктам. During the latter part of the eighteenth and the first half of the present century, a number of lady artists have distinguished themselves in flower painting. During the seventeenth and eighteenth centuries, a few devoted themselves to it in Holland, Germany, Denmark, and France. For a few years past some American ladies have turned their attention to flower painting with marked success. A number in England have also obtained distinction.

71. Художники по фрескам. The wife of an artist told me her husband knew of a fresco painter in England, whose daughter would assist him when he was hurried. But the lady thought working with men was objectionable. I heard of a young lady in New York, who assisted her father, by filling up the outlines, as he drew them on side walls. Mrs. Ellet states that Angelica Kauffman assisted her father in the interior decoration of a church, in Schwarzenberg. She painted, in fresco, the figures of the Twelve Apostles. Her success in an undertaking so difficult excited considerable attention. Mrs. N., wife of a fresco painter, thought the work unfit for women, because they would be compelled to work with men, and stand on platforms to work on ceilings; consequently are liable to exposure of person. They might paint the side walls, and let men paint the ceilings.

72. Исторические живописцы. But few ladies have devoted themselves to historical painting. The most lived during the latter part of the last century, and the commencement of the present. Catarina Vieira painted several church pictures, after the designs of her brother.

73. Пейзажисты. In the past century Holland gave to the world the largest number of female landscape painters. America and England bear away the palm for the present century. American scenery opens as wide a scope for the talent of the landscape painter as any on the globe. Mrs. ——, one of the first landscape painters of our country, thinks landscape requires more care and talent than portrait painting, but the latter pays best. She says there are some ladies in Boston, who are very good landscape painters. She thinks it would be very difficult for a young artist to become established in New York, without influential connections, and the means to keep her until she does become established; but would be more likely to succeed in cities in the South and West. She thinks there are good openings in Baltimore, for artists of every kind. She says art is much more encouraged in the United States during the last few years, and a good artist need not fear starving. The artists of New York have three receptions during the year. The object is to make known their paintings, with a view to selling. At the last annual sale of pictures for the New York Artists' Fund, $2,000 were received. Some artists copy a landscape exactly as they see it; some select the most beautiful parts of different landscapes, and combine them; and a few draw entirely from imagination. Good painters of scenes for theatres, I have been told, often receive from $25 to $40 per week.

74. Маринисты. Some very good marine views have been executed in this country, but none by ladies.

75. Миниатюристы. "We may run back as far as the twelfth century, and find a few miniature painters among the fair sex. Margaretta von Eyck devoted most of her time to painting miniatures, in the fifteenth century. In the seventeenth century, an Italian lady of Palermo distinguished herself as a painter in oils. Mrs. Wright, an English miniature painter, died in 1802; and Maria Conway was a noted miniature painter, living in London, who died in 1821. In the seventeenth century, Maria Rieger was employed to paint miniatures in the aristocratic circles of Germany. In the same century, a Swiss lady, Anna Wossar, began at the early age of thirteen to win a name in the same branch of painting. In the same century, almost every country in Europe gave birth to one." Mad. Goldbeck, of English birth; Mrs. Hill, of Boston; Miss C. Denning, of Plattsburg; Miss Anne Hall and Miss O'Hara, in New York, are the principal miniature painters in the United States. It was reported that Miss H. occasionally received as high as $500 for a miniature. Mrs. Hill received from $75 to $100 for a miniature. The popularity of photographs has caused many portrait and miniature painters to devote themselves to that branch of art. Some artists succeed in giving an ideal, spirituel beauty, truly astonishing. I think it is more observable in miniatures on ivory than any other style. Mr. W. writes: "In the department of miniature painting women find profitable employment and are ofttimes very expert at the work. I know a lady in Washington who paints very beautiful miniatures, for which she receives from $10 to $15. This is very nearly the same rate paid to men. Woman's delicate sense of touch and facility of expression make it a branch for which she is especially fitted."

76. Художники панорам. , we suppose, have pretty well paid their way, particularly the first that were exhibited; but we know not that any lady has ever engaged in this branch of painting. Mr. D., a scenic and panoramic artist, says the "decorative workshops" of Paris are 250 feet long, and 50 feet wide. The cloth for panoramas is laid on the floor, and the paint then applied, as it would run if hung up. There are galleries around the walls, some distance above, from which the artist may judge of the effect of his painting. Many dioramas are used, and might be colored by ladies. Panoramas have not been so common since Banvard painted his. Painting them does not always pay for the trouble and expense. It requires a certain order of talent for painting panoramas, and probably as high an order as any other.

77. Портретисты. "Lala, though not a native of Rome, exercised her profession in that city during the youth of Marcus Varo, painting portraits of women. Her pictures were better paid for than those of any other painter of her time. Portrait and character drawing have ever exercised the talents of the first-class artists." Mary Beale was a celebrated portrait painter, who lived in the reign of Charles II.; and Anna Killigrew painted the portraits of James II. and his queen. An artist told me that it requires the most intense mental application to bring out a variety in the expression of the countenances of some sitters, and difficult to seize the most happy expression. An ambrotype copy should be kept for the colorist to look at occasionally, while progressing with his work. He thinks seven hours a day enough for an artist, when his mind is exercised with his work. After so long an application, he might turn his attention advantageously to some style of painting more mechanical in its nature, that will be an occupation to his body and a relief to his mind. A portrait painter writes me in answer to some questions: "The artist's labor cannot well be intrusted to another. In France there are female portrait painters, who are said to execute such works with more delicacy and profit than men. The employment is not unhealthy, unless the laborer confines herself too long in a poorly ventilated room. Women are paid by the piece, when employed by artists. I would say, in general terms, why women are not better paid is owing, doubtless, to a very foolish idea that, in all respects, they are not so reliable. Perhaps a remnant of a more barbarous period has something to do with it. In inferior conditions of society women are always looked upon as inferior creatures. Women have done great things in art. See the career of Rosa Bonheur, Angelica Kauffman, Miss Sharp, of London, and, in our own country, Mrs. L. M. Spencer and Miss Hosmer." Some people are gifted with a love for, and success in, one style, and some in another. Our nation, composed as it is of representatives from all lands, will give fair play to the best powers of the portrait painter. Miss G. thinks a lady of talent, by close application, with an extensive respectable connection, can establish herself in New York as an artist, and earn a livelihood by the products of her pencil. She charges as much for a crayon portrait as for one in oil. She succeeds best in crayons. $60 is her price for a large portrait; $10 or $15 more, with hands. "Mademoiselle Rosée, born in Leyden, in 1632, deserves a place among eminent artists for the singularity of her talents. Instead of using colors, with oil or gum, she used silk for the delicate shading. It can hardly be understood how she managed to apply the fibres, and to imitate the flesh tints, blending and mellowing them so admirably. She thus painted portraits, as well as landscapes and architecture."

78. Акварелисты. Much improvement has taken place in this style of painting during the last few years. Fanny Corbeaux is mentioned as a superior English painter in water colors, of the present century.

79. Художники по циферблатам. This is rather an artistic employment, but poorly paid. All the clock faces used in the East are said to be painted by women. Men would not do it for the prices that are paid. In Boston is a large factory where a number of girls are employed in painting hard dial plates—that is, enamelled. I saw a Swiss lady in New York who paints silver-faced dial plates. She and a gentleman in Hoboken (she told me) are the only persons in this country who paint that style. The drying of hard dial plates she thought to be bad on the health, because of the great heat to which a person is exposed in placing the enamel in the furnace, and attending to it while there. Mixing the enamel could be done by women. When learning to paint dial plates in Switzerland, she paid $3 a week for instruction and board, but for a sleeping room separately.

80. Реставраторы картин. E. says he has been thirty years engaged in restoring paintings and engravings. He thinks it is more of a natural gift than anything else. He has made money by it. His sons, who have been ten years employed as draughtsmen, cannot succeed, with all the instruction he has given them. To succeed requires the talents and experience of an artist. He never adds paint when any is left, but merely restores it. If it is gone, he supplies it. B. says, restoring paintings is a work of all time. The prospect of a lady succeeding is poor. She cannot use the heavy iron (twenty-five pounds) necessary for ironing the lining on the picture. (But that part is merely mechanical work, and can be done by a man.) The greatest aim with most restorers is to imitate the old masters. Mrs. C., whose husband is a picture liner, says there is a great wear and tear of mind in that business. A restorer may injure a picture, and have it thrown upon his hands, and have to pay ten times its value. Restoring is the most difficult, lining the most laborious. She never heard of any one being taught. I should think a restorer would find it desirable, if not essential, to visit the galleries of Europe, and study the works of the old masters. The business requires considerable artistic taste and knowledge, but, in our large cities, may after a while present a field for qualified women.

81. Настройщики фортепиано. I think a piano tuner might form a class of ladies, and give instruction in the art. $1 is the usual price for tuning a piano in the city. One should have an acute sense of hearing, to succeed; and he should commence early to cultivate that sense. It is very necessary to know how to make a nice discrimination of sounds. Practice in that is best gained in a piano factory. Some could learn the principles in half a day. More depends on practice, and a native talent for it, than anything else. At Mr. W.'s is a very superior tuner, and he has been at it but a few months. It requires strength of wrist, and a rather long arm. The change of posture and strain on the back is considerable. There is not one good tuner in fifty. Mr. W. thinks a lady might be a tuner. He says it is not necessary that a person should know how to play on an instrument, but it is better. A tuner in his factory receives $3 a day. Regulating is done by the touch, tuning by the ear. If a lady could obtain the tuning of the pianos of her friends, they might speak to others, and in that way she might succeed in obtaining sufficient custom to make a very comfortable support. It might also bring out any musical talent the individual possesses. While piano tuners are learning, if they practise long at a time, they often experience a confusion of sounds, and are not able to distinguish correctly. I was told by another manufacturer, it is not at all necessary to be a player to make a good tuner, as the two are entirely distinct. There is a great difference in the abilities of tuners. There is much difference naturally in the sense of hearing in different individuals: there is much from training, there is much from the aptness of a pupil, and in the application. When they take a boy as an apprentice, they keep him at first to sweep the room, and go errands, and give him instruction, probably an hour at a time, in tuning. Longer time would confuse a learner. They have had a tuner for three years, that they can now send to tune pianos for concerts; but, a year ago, they could not. Two piano tuners (women) are mentioned in the census of Great Britain. Mr. W. had two or three ladies to learn piano tuning in his factory. They were music teachers, living in villages and the country, who could not engage a tuner oftener than once in two or three months, when the tuner would come around. He thinks ladies could not make very good tuners, because it requires great strength in the hand or wrist, and complete control of the key; for if the key is turned ever so slightly more than it should be, the wire will break. A manufacturer of musical instruments writes: "I think women could be placed in a situation profitable to themselves and the community by learning to tune pianos and melodeons, which I believe they have the skill and capacity to do. They would also find it profitable, in some places, to instruct juvenile classes of both sexes in sacred music."

82. Художники по гипсовой скульптуре. The few women in this country who work in plaster of Paris, are, as far as we know, natives of other countries. There is an old Italian woman in Baltimore who makes and sells works in plaster. Casts are sometimes taken by women, but rarely. Casts of living persons are taken by having the individual breathe through iron tubes placed in the nostrils. Casts are also taken from reliefs, statues, and models. They require less care than the first mentioned. Fruit is imitated in this material, and colored exactly like the original. I saw a case that had been prepared by a lady for the rooms of the American Institute, New York. The librarian thought several collections might be disposed of to agricultural societies and farmers. It would pay well, and take but little time to learn. It would require a nice discernment of colors and shades, and neat, careful workmanship. In Brooklyn, I was told by a boy, that did not look to be more than 14 or 15 years of age, that he had been working in plaster of Paris for three years. His was the architectural branch. The first year he received $1.50 per week; next year, $2; and the next, $3. He thinks a woman could do any of the work. The moulds for some parts are made of wax and rosin; some of sulphur, and some of plaster of Paris. The moulds are tied together, and the liquid plaster poured in. It hardens in half an hour. Mr. W., a plaster of Paris worker, says the whole of the work could be done by women. Modelling requires practice in drawing, and a knowledge of geometrical figures. Inventive talent finds a ready field for exercise. A good moulder is paid $2.50 a day. The study of architectural ornaments and books much facilitates the advancement of the art. Modelling and casting are distinct branches. Most employers pay boys thirty-seven cents a day for casting; but to learn modelling, it is customary for the learner to pay a premium. Another maker of house ornaments said modelling could be learned in six months, and when a person has learned, he can earn from $3 to $5 a day of ten hours. One must know how to draw in order to model. Another proprietor told me he had thought of employing girls to break off the edges of architectural ornaments. They now have boys, and pay from $3 to $9 per week. Modellers can earn $2, $2.50, and $3 per day. He paid $2.50 a day, for a year, to one man. At a large store for the sale of plaster of Paris articles in New York, the proprietor, a gentlemanly Italian, said he would be willing to give instruction to a class of ladies in modelling, moulding, casting, and polishing. He would charge $2 for two hours' instruction, and thinks, after a lesson every day for three months, and some practice in the intervals, his pupils would have no difficulty in prosecuting the work alone. It soils the clothes very much. His daughter learned it, but prefers embroidery. One of the Pisani brothers told me that in Italy and Paris women work at the business. Much ornamental work is executed in alabaster, spar, composition, and plaster of Paris. None of them are unfit for women. A more desirable occupation, with the exception of its want of cleanliness, a woman could not engage in, than plaster of Paris modelling. An Italian plaster image maker in Boston writes me: "We employ about 60 women. Women are employed at this business in Florence, Rome, and Milan. I get about $10 per day, and pay women $3 per day, working ten hours. I pay both by the piece and by the day. As a general thing, we pay men better than women. It requires some genius and a lifetime to learn the business. The prospects for employment are good in Boston, and there is a pretty lively demand for hands. All the women I employ are Italians. Women are decidedly superior workers. The business can be carried on in any part of the United States. Women might be employed in taking casts from the dead, if they have sufficient nerve. I have a peculiar fancy for this branch of the work, and do not consider it unhealthy."

83. Художники книжных иллюстраций. Hundreds of thousands of plates are annually colored in London, and some in this country. The neatness and patience of women fit them admirably for this work. It is an agreeable, but at present not a very constant or profitable employment. The coloring of lithographs in printing has done away with much hand coloring. The painting of stereoscopic plates has given employment to some ladies, and does not require much skill or taste. The gentleman who prepared stereoscopic plates for the Messrs. A., employed several ladies, to whom he paid on an average from $9 to $10 a week, working by the piece. Botanical plates are mostly colored by hand. The gentleman who prepares the fashion plates of the Ladies' American Magazine employs women, paying from $4 to $7 a week, according to application and rapidity of execution. They work from eight till dark, in winter, and by the week, not the piece. It requires but a few weeks to learn. He has stereoscopic views also painted by women. They receive rather better prices, as it requires some artistic taste and more care. The universal complaint among employers is, that their best workwomen will get married and leave them. If women were better paid, employers would not be so likely to lose them. A few years ago, we saw a newspaper statement to this effect: When maps were colored by hand in New York, girls were paid from three cents to ten cents a sheet, and they earned from $3 to $5 a week. A few years back, it was estimated that there were two hundred female paint colorers at the top of the profession, who made excellent wages by coloring costly engravings. The colorers of plates in Leslie's Magazine pay by the hundred or thousand. The first year, a learner is paid but little. If she succeeds right well in that time, she is then paid according to the quality and quantity of her work, earning from $3 to $5 per week. They must work in the shop, so the superintendent can see if it is properly done, or reject and have altered such plates as are not. All seasons are alike. A manufacturer of children's toy books told me he employed girls for coloring, paying by the piece. They earned each from $3 to $3.50 a week. They used stencil plates. He generally kept them employed all the year round, but the occupation is full. A German print colorer told me he employed thirty girls till the panic, paying by the piece from $3 to $3.50 a week. Stencil plates of varnished paper were used. He paid his workers from the first, and they could either sit or stand while at work. Another paint colorer told me his girls earned from $4 to $4.50 a week, for coloring the finest prints, working only in daylight. A manufacturer of valentines and children's toy books told me his girls painted valentines in winter, and toy books in summer. He pays two of his girls by the week $7 each, and none of the rest less than $4 a week. They work from nine to ten hours a day. The use of stencils by Germans has reduced the price of such work. He could get girls to do book coloring for $2 a week, but prefers to retain his old hands constantly. Most colorers of prints work at home. A getter up of gentlemen's fashion plates told me he pays ten cents for coloring a large sheet containing several figures, and the worker finding her own materials. No one could earn the salt of her bread at such rates. Another print colorer told me it requires from two to six weeks to learn, according to the ability of the learner. Sometimes he has Government work that must be done hurriedly. They have least work from New Year to March. Some print colorers pay by the week; $5 is a good price. I saw an engraving on the wall representing an English barnyard, for which the proprietor was paid $3 for coloring, while he pays the lady who does it, $2.25. Some ladies, he says, can earn from $10 to $12 a week.

84. Фотографы и колористы. Mr. F. says they would employ good lady artists, if they could get them; but ladies do not succeed so well, because they do not have such an efficient course of training—do not go through the same gradations in a preparation for the work. They mostly employ men that are foreigners to color. A colorist of photographic views for stereoscopes says he pays a lady to color for him $6 a gross. English ladies color best. The firm with which he is connected cannot get their coloring done in New York, so have most of it done in London; and as work is cheaper, it costs them no more with the addition of transportation. At one photographic establishment in Philadelphia, the proprietor told us that several artists now devote their time to the coloring of photographs. He pays one lady at the rate of $12 a week. She is employed on the low-priced pictures, such as are sold for $5, exclusive of frame. The portraits range from $75 up. The lady painter is daughter of an English artist. She works all the hours of daylight, when required—sometimes only six hours. B. has at different times encouraged and employed female artists; has never met with any one who excelled, but does not doubt they might do so if properly trained. He had a lady partner in daguerreotyping and photographing. She was very poor when she commenced, but, while engaged in it, supported herself and children, and educated them, and left $3,000. He told me of two ladies making a handsome support by coloring photographs. His best pictures are painted by gentlemen artists. He thinks the taking of photographs not so suitable for women, because it is dirty work; that is, the nitrate of silver that gets on the fingers stains them like indelible ink—a small difficulty, I think, in the way of a woman that has a living to make. There are several ladies in Philadelphia who make their living by painting photographs. Some ladies have quitted the profession of teaching to become photographers. Ladies are sometimes employed in photographic galleries, to wait upon company, agree upon prices, deliver the work, and receive pay. For such services they are paid from $3 to $5 per week, according to the amount of business done. Photographers work from eight to ten hours. Some think the business unhealthy, because of the gases that arise from the combination of chemicals. Women that have had practice in drawing and painting can give a pretty and delicate touch in the coloring of photographs. L., photographist, employs two ladies to color photographs in water colors. He teaches it for $10. A good colorist, with constant employment, can earn from $10 to $15 a week. He thinks there are openings in the South. Some prefer water coloring to oil, because you can see the pictures in any light. Oils are better for large pictures that you see at a distance. Painting in water colors does not pay the artist so well as painting in oils. Misses E., New York, are busy all the time. They execute different styles of painting, but have lately found it more profitable to color photographs. They each earn from $12 to $15 per week coloring photographs, when busy. Their work is all brought to the house. They have had several offers to go South, and better prices than they receive in New York. Miss E., with whom I talked, thought if any ladies would learn thoroughly, and could not obtain painting to do, they could easily obtain situations as teachers of painting. I saw the wife of an artist who gives instruction in drawing and painting. She told me her husband is very conscientious and will not recommend any one to spend their time and money learning to draw and paint, if he finds they have not talent of that kind. Some people think they possess genius, and can excel in painting, even if they commence when thirty or more years of age; but it is best for an artist to commence early in life. The talent of some is developed in a shorter time than others. One may learn in three months what another could not in six. Her husband can advance an American pupil as far in two years as he did his German pupils in four. He thinks the Americans are more apt, and acquire more rapidly. She thought a lady would not find any difficulty in obtaining constant employment as a painter. Miss J., Philadelphia, has as much to do at coloring photographs as she wishes. It takes her about a day to color a small one, for which she receives $1. For those pictures on which there is more work, the prices are higher. The painting of ivorytypes is more expensive. An ivorytype the size of a $1 photograph would cost $10. Most photographers send their coloring out of the establishment to be done, and pay by the piece. In several States, women have been successfully engaged as daguerreans and photograph colorers. Some have travelled through the country, stopping in various towns to carry on their business. Some knowledge of chemistry is necessary for a photographer. One photographer writes: "Women are employed in every country where there are first-class galleries. It is unhealthy in the operating rooms, on account of the acids and poisons. We pay $4 a week to ladies to attend the show case and wait upon customers. We pay men $6 and $7, because they can do more by one third of the same kind of work than a woman. Any part of the business can be performed by a woman. We pay girls $4 from the commencement. They spend eight or ten hours at the gallery, but are not employed all the time. They are as comfortable as in their own parlors receiving visitors. Ladies prefer one of their own sex in the reception room. There is always demand for superior work in our line; consequently, a prospect of employment so long as the world stands. In Syracuse, fall and winter are the most busy seasons." Mr. A. says the occupation of portrait and miniature painters is gone since the discovery of the photographer's art. He thinks ladies are as capable of arriving at great excellence as men in painting, if they will only apply themselves as closely. Their knowledge of colors probably makes them excel in that respect. He teaches photographic coloring, charging $1 a lesson of one hour. A mechanical execution in coloring is gained in a short time, but a good photographist ought to be an experienced artist. Mr. R. told me his girls are engaged in painting and mounting. He pays one $7 a week, and the other $5. An individual that is bright, intelligent, and capable of rapid tuition, could learn in six months. They spend from eight to six o'clock in the gallery. They have but a few minutes recess at noon, as that is the most busy time. He prefers women for some parts of the work. Men are more powerful artists, give a better expression; women are more careful, and give a finer finish. I talked with a photographic colorist, who gives instruction to a few ladies in coloring, and employs four. He thinks women are generally better judges of colors than men, but some women never learn the shades. (I think, unless it arises from some physical defect, it is because they are not taught to distinguish colors when children. It is difficult to teach a person the careful use of any of the senses if they are neglected in childhood.) The work requires some artistic taste. A knowledge of drawing and colors, and a good education, are essential to success. A young lady in the business should be social in her nature, and of pleasing address. I would think an artist of any kind would need the talent of drawing to the surface the soul of his or her sitter, for much of the beauty of a picture depends upon expression. Mr. G. thinks water colors neater for ladies than oil. The employment is now in its infancy. The taste for photographs is increasing. There are now one hundred engaged in the business where fifteen years ago there was but one. Photographists are usually employed from nine to six, or from eight to five. The remuneration is good when constant employment can be had. The best locality is a growing place. The business would grow up with the place. The prices paid enable ladies to obtain boarding in houses that possess the comforts, and even the luxuries of life. Summer is the dullest season, but much depends on weather. French women generally succeed well in coloring. Some English ladies, also, do well. Mr. G. gives a lady colorer $12 a week. Mr. B., a photographist, writes: "Women are employed in my branch of art in England. I would like to find competent assistance, but have been unable to do so. The work is not unhealthy, but it is very trying to the eyes. I should think that in many respects the work would be well adapted to females, but think, from trials that I have made, that the mathematical precision of the work is a feature unfavorable to the feminine mind. Were I to find such assistance as I would be satisfied with, I would pay according to capacity and work. Thorough artistic education and natural talents are essential. In point of taste, as regards color and elegance, I think women might be superior; as regards precision and firmness of minute work, I am uncertain. It would require considerable time and patience to learn the art." One of the proprietors of a photographic establishment in Philadelphia writes: "I employ from two to four ladies in painting photographic pictures, and pay by the week from $3 to $6. They work eight hours a day. I pay men about twice as much, because the men, being longer at the business, work better and quicker. It requires several years' practice to gain a moderate acquaintance with this branch. It is our opinion, that women are well adapted for most branches of photographing, and for some they would be superior to men, provided always, that they bring to the work a certain degree of education, and some natural talent. We suppose the reason they are not more employed in this and similar pursuits, is, that young women of a certain degree of education, are seldom eager for any sort of employment. Besides, in this business, it requires years of earnest application to master it, and before this is accomplished, many marry. The employer feels little security in retaining a woman at the business after going through years of instruction, because in many, or most cases, they marry, and must attend to their domestic duties. With a man the reverse takes place. He becomes a better and more steady worker after marriage." "We have a great improvement in photography by its combination with lithography. By the process adopted, the object to be represented is photographed at once on the stone, and thus the intermediate operations are avoided." In times of excitement, like the present, when soldiers are going from their homes, there is much for the artists to do.

85. Подготовители научных иллюстраций. Mrs. B. has supported herself for some time by making drawings of fossils for works on geology. She is now doing one for a work on Niagara. It requires a great deal of care. It is very trying to the eyes as the engraver imitates every line made by the pencil, and a magnifying glass is of course much used for presenting enlarged views of the smallest fossils. I think she is paid by the piece or set, for the work. Of course this pursuit must be limited.

86. Гравёры печатей. Seal engraving is cutting in a precious stone, letters or a device. The cutting is done by means of a lathe and sharp cutting tools. Diamond dust and oil are used. The lathe is moved by treadles. The finer the work, the smaller the tools. Taste, good eyesight, and a knowledge of form are necessary. No pattern is used. The hand and eye must serve as guides. It would be a very pretty occupation for women, but would require time, patience, and practice. Seal engravers in New York earn from $10 to $12 per week, but the occupation there is filled. Mrs. Ellet, in her "Women Artists," mentions a Prussian and a German lady as being noted for their skill in cutting precious stones. A seal engraver told me he does not pay apprentices the first year, but the second year $2, and from that up, according to the abilities of the worker. It requires from four to seven years to learn all the branches thoroughly. Another engraver told me the business is not worth learning now that gum mucilage has done away with sealing wax, and consequently the use of seals. The designs for seals are usually taken from a heraldry book; always when for a coat of arms. Such seals are in greater demand in Europe. Seal engravers in this country do not have constant employment. They cut fancy seals when not otherwise occupied. The work can be done at night by a good light.

87. Скульпторы. Properzia di Rossi, Maria Domenica, Anna Maria Schurmann, Maria von Steinbach, Anne Seymour Damer, Falicie de Faveau, and in our own country and time Miss Lander, Harriet Hosmer, and Miss Stebbins, are among those who have proved the ability of woman to succeed in sculpture. Sculptors, it should be understood, seldom, if ever, labor with the chisel. They prepare models, which are made in a composition of clay or wax, and then superintend the imitation of these in marble. Sculpture is the chastest imitation of nature and the highest expression of the form and spirit of beauty known to art; and while woman is possessed of the finest sensibility and most exquisite perceptions, there can certainly be no reason why she should not succeed in it. Mr. Lagrange, in urging the establishment of Government schools of design in France, says: "Painting, engraving, and sculpture, encouraged as music and dancing are, promise equal success; they provide a more assured support in its being better acquired, and a more substantial renown, and especially a calmer and chaster existence. Painter, engraver, or sculptor, it is her works alone that claim the public eye. Her person is sacred; no one dares to lift the veil that conceals her countenance; no one presumes to call upon her to courtesy to feeble applause. A young girl, chaste and pure, she may watch by the lonely hearthside; a wife, she may not see her smiles and caresses in dispute as the seal of a purchased rite; a mother, she may educate her children under a name they will never be tempted to despise. Exhibitions, open to everybody, will afford the public an opportunity to measure her talent or genius; critics will confine their attacks to her works; and praise, if she deserves it, will reach her eyes and ears in terms that she will be able to listen to or peruse without the accompaniment of a blush." Mrs. Wilson, wife of a physician living in Cincinnati, has executed busts of her husband and children that are said to be excellent likenesses. Mrs. Dubois, of New York, has sculptured in marble several specimens. Misses Lander and Stebbins, and Miss Hosmer, we believe, find their art lucrative. Sculptors should attend anatomical dissections; should learn the structure of the human frame, and the appearance of the muscles under the various conditions to which circumstances may subject them. Indeed the study of anatomy is essential to success. In sculpture, we closely imitate the parent, nature. The most superior specimens of statuary are said to be modelled after nature, as seen in the unlaced, unpinched, unaltered original—just as nature's own hand has chiselled. In sculpture, modelling is the inventive part of the work, and requires taste and genius; copying is a merely mechanical operation. A pursuit of this kind, if followed from the love of it, becomes a soul-engrossing study. Means or friends to rely upon, for at least two years, during the time of study, will be necessary in most cases; for if the artist is to support herself while she studies, only the highest earnestness can sustain her; but then those that are not in earnest should not undertake this art—for "it is better to pursue a frivolous trade in a serious manner, than a sublime art frivolously." Without very decided talent it will be some time before a sculptor comes sufficiently into notice to sustain herself entirely by the filling of orders. "Sculpture has become almost a fashion in Paris; but a woman finds it difficult to devote herself to studies pertaining to the art. Though greater in number than painters, they have accomplished scarcely any remarkable works." Many women who might not undertake sculpture, might learn to work in marble for sculptors. A marble worker in its various branches, writes me: "I think women might be very well employed in the lighter parts of finishing. I suppose they are not so employed, because there has not yet been any organized and extended effort made to introduce them into this line of business. I am not sure, but think it likely, women are employed to a limited extent in chiselling marble in Italy and France. Miss Hosmer has done more than mould for others to copy. She has herself handled the mallet and chisel. The employment in general is healthy; but lettering, and indeed fine chiselling of any sort, requiring the eye to be brought near to the work, raises a dust, which is breathed into the lungs—though the injury is not very apparent till the lapse of years reveals it. The qualifications desirable are a good judgment, and eye for form, and a certain slight of hand. The prospect for marble workers is good in all departments." On the other hand, another writes: "Sculpture is too laborious for women, and if women practise the art, they hire all the work done." In Rome, two thousand women serve as models to painters and sculptors.