64. Music Engravers and Folders.
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. Opera Performers.
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. Painters.
"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 in
struction,
$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. Animals.
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. Banners.
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. Crayon and Pastel.
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. Flowers and Fruit.
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. Fresco.
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. Historical.
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. Landscape.
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. Marine.
Some very good marine views have been
executed in this country, but none by ladies.
75. Miniature Painters.
"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. Panoramas
, 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. Portrait.
"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. Water Colors.
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. Painters of Dial Plates.
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. Picture Restorers.
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 can
not
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. Piano Tuners.
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. Plaster Statuary.
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. Painters of Plates for Books.
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. Photographists and Colorists.
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 busi
ness
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. Photog
raphists
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. Preparers of Scientific Plates.
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. Seal Engravers.
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.
