Part 10

=39. Actresses.= The circumstances under which a play-actor's life are seen are calculated to please the young and susceptible. They put a false estimate on the pleasures it affords. They are apt to forget that the moments in which performers appear on the stage all sparkling as the diamond sands and crystal pebbles of a brook, are the principal, perhaps the only bright ones of their lives. Many a sad spirit, many a broken heart is concealed under the glittering tinsel. We are not among those who denounce the theatre as a school of vice and infamy--nor could we conscientiously laud it as a school of virtue. We think the influence and effects depend very greatly upon the character of the plays; much, too, depends upon the individuals of the audience. There is no amusement that may not suffer in the abuse. Late hours, intoxicating drinks, and bad companions, in many cases form the curse of regular theatre-goers; and for these the plays (perhaps harmless in themselves) are charged with being demoralizing. Good plays have an intellectual fascination. We think the drama might be made more a school of instruction and innocent pastime--less a school of evil tendencies. In China and Japan, the female parts in theatrical performances are never executed by women. No women ever appeared on the stage of the Greeks or Romans. Even the female characters in Shakspeare were not represented by women in his time. The first lady that appeared on the stage took the parts of Juliet and Ophelia in 1660. The publicity attending the life of an actress makes it repulsive to many, and the egotism that the profession engenders is an objectionable feature. That there are good and virtuous people connected with the theatre we cannot for a moment question; but some of the men are worthless and dissipated, and many of the girls and women engage in it because they see no other way of earning their bread. Many a ballet girl has danced to support an infirm mother or orphan brothers and sisters. The roving life of an actress and want of home influences are not conducive to the growth of domestic virtues. Yet some actresses have married advantageously in Europe, and been respected in social life, not less for their virtues than their talents. The craving of admiration incident to the calling is apt to make an actress vain. Her fondness for excitement, and her consciousness of importance in the eyes of those who patronize her, furnish additional fuel to the fire. If she makes a failure, she may die of chagrin. Mr. B., a dramatic agent, thinks there is always a supply as soon as there is a demand for dramatic performers. They cannot enter and leave the profession, like any other. They must be actively engaged in it all the time, or leave it. Their talents must be carefully considered, and they placed in the company that requires them, and in such places as suit their talents. If a play in which they excel is to be performed in a distant city, they accompany the troupe to which they belong. A company consists of a combination of various talents. The number employed is not fluctuating, but they change their localities often; that is, go from city to city and town to town, shifting their place as seems best. They are compensated according to talent and proficiency--from $3 a week to $150. They are usually paid according to the contract made with them. I think the voice of actors when off the stage is peculiar. It is deep and hollow, as if trained to be thrown to a distance. By the drama two of the senses which afford most pleasure are entertained--the eye and the ear. Madame Celeste made $50,000 clear in this country; Essler, $70,000. The play, "Our American Cousin," is said to have cleared $40,000 in New York. Mr. P., a dramatic agent, told me that actresses are paid according to their position and talent. A ballet girl is paid from $3 to $6 a week, if by the season. Wallack pays $5 or $6. Utility people are paid from $6 to $10. Prices depend very much on who and what the people are, and the class of theatre by which they are employed. Those of the better class are paid from $25 to $60 a night. When they are not required they are not paid anything. In Europe, some of the theatres are open during the summer. In New York a paper has lately been commenced, devoted almost exclusively to the drama. "Our great star actors, Mr. Forrest or Miss Cushman, command their hundreds of dollars a night. The handsome Brignoli or the ponderous Amodio will not dispense their silver notes short of fabulous thousands of golden dollars per month. Those who try the life of an actor speedily discover that, of all hard-working men, few render more constant, wearing, unceasing labor for their money, than those who conscientiously do their duty in a theatre. Multitudinous and constantly varying requirements are made of an actor who has achieved a leading position. He _must_ be a linguist, an elocutionist, a fencer, a dancer, a boxer, a painter (for the proper coloring or 'making up' of his own face and figure is no small part of his art), a soldier (so far as a knowledge of military drill and the manual exercise is concerned); and he should be a singer, and a bit of an author. In a theatre where a drama unfamiliar to the company is produced every night, or in case of a new 'star,' who plays his own pieces, a day's work of an actor may be set down as follows: To learn by heart a part not exceeding six 'lengths' (a length is forty-two lines), attend rehearsal from ten to one or two, and act at night in one or two pieces. That is, six lengths new study, rehearsal, and playing at night, is what may be required of an actor for a day's work, without giving occasion for grumbling at the managers. There are many actors who, upon an urgent occasion, will study from ten to fifteen lengths in a day, besides attending to their other duties. This, however, is never required except in case of sudden sickness of another performer, or some similar extraordinary event. In provincial theatres the actors are worked much harder than in New York, and paid much less. The starring system universally prevails, which necessitates a constant succession of new plays, most of which have to be studied from night to night, as a play is not often acted two nights in succession in small cities. But when a piece has a successful 'run,' the actors have no new study for several weeks. Actors are usually engaged for certain lines of business; that is, each one engages to perform only such style of characters as he is best qualified to personate. The remuneration of actors comes next into consideration, and the scale has a wide range, from $3 a week up to $200 a night. This last sum was for years the demand of Mr. Edwin Forrest. Other stars are generally content with certain 'sharing terms;' that is, the gross receipts, after a certain specific amount has been deducted for the expenses of the theatre, are equally divided between the star and the manager. Thus, for example, if the expenses of the house are $300 per night, and the receipts $400, the lucky star and the fortunate manager pocket $50 each per night. This is the fairest basis on which to conduct the starring system, because, by this plan, the salaries of all the stock company are assured _first_, and the profit of the star depends on his own power of attracting the public to the theatre. In New York the salaries paid to stock actors are higher, on the average, than those in any other city in the United States. The managers ignore, to a great extent, the technical 'lines of business,' and engage the best artists that can be had, and then have plays especially written, in which each of their leading actors shall have a part suited to his peculiar powers. While this plan secures to the New York public the finest acting that can be seen in the country, it also entails upon the managers a salary list of dimensions that would swamp a provincial theatre in a single week. The leading actors, as Messrs. Lester, Blake, and Walcot, at Wallack's Theatre; Messrs. Jefferson, Jordan, and Pearson, at the Winter Garden; Messrs. Mark Smith and Vincent, at Laura Keene's Theatre, receive from $50 to $100 per week. Salaries for women are about half, or perhaps two thirds of what are paid to men holding corresponding positions. General utility men, supernumeraries, and ballet girls receive from $3 to $10 per week. When an unusual number of 'ladies of the ballet,' or supernumeraries of the other sex are required, on some extra occasion, they are specially engaged, at 50 cents a night, or sometimes for even less money. The salaries on the east side of the city, at the Bowery Theatre, are lower than on Broadway, the principal actors seldom receiving more than $35 or $40 per week, and the others are in proportion. In smaller cities, as Buffalo, Detroit, Chicago, &c., the highest sum paid to a performer seldom exceeds $25 per week. Actors who have achieved a position which warrants them in demanding it, stipulate for a 'benefit' in addition to their salaries. On these occasions, a third or a half of the gross receipts of the evening is paid over to the performer, according as his agreement is for a 'third clear' or a 'half clear' benefit."

=40. Aquaria Makers.= One of the most innocent and pleasing amusements that has attracted attention for some time is the making of aquaria. The cases are formed of plate glass, square, oblong, circular, or any shape to please the fancy of the owner. The glass is tightly sealed when joined. The aquaria are of two kinds: one is formed of salt water, and contains marine plants and animals; the other contains fresh water, and such plants and animals as are found in rivers and smaller streams. They form a beautiful addition to a garden, conservatory, or drawing room. Rocks form the foundation, and the soil on them furnishes subsistence to the plants. Zoophytes, mollusca, and fish form the inhabitants of the aquarium. Insects also find a place in this miniature "ocean or river garden." The size for parlors is from one foot to three in length. The largest aquaria in this country are now on exhibition at Barnum's Museum, New York. "They comprise over one thousand specimens of living animals and vegetation. In these tanks the water is seldom changed, the natural operations of the plants and animals keeping it always pure." They are made to order in New York, and we think might afford a pleasant pastime to some, and pecuniary profit to others. A work giving directions for making them has been published in New York. The author is a Mr. Butler, who has got up the mammoth aquaria in Barnum's Museum. There are two establishments in New York where they may be ordered, and specimens seen. "Before we leave the margin of the sea, we must just glance at the smaller occupations pursued there by women. The most considerable of these was once the gathering and burning of kelp; but chemical science has nearly put an end to that. There is still a great deal of raking and collecting going on. In some countries half the fields are manured with small fish and the offal of larger, and sea weeds and sand. Then there is the gathering of jet and amber, and various pebbles, and the polishing and working of them. The present rage for studies of marine creatures must afford employment to many women who have the shrewdness to avail themselves of it."

=41. Architects.= We scarcely know to what extent this branch of business can come within the province of woman. Yet it is as practicable, perhaps, as some we mention. Civil architecture is the only one open to women. In this art we are as a people little more than novices; yet great improvements are going on. In a century's time, perhaps, the art in this country will have obtained the perfection of ancient nations. Properzia di Rossi, born in Bologna, 1490, is said to have furnished some admirable plans in architecture. The author of "Women Artists" mentions as designers in architecture, Madame Steenwyck, of the Dutch school, and Esther Juvenal, of Nuremberg. She also gives the name of a lady who was a practical architect in Rome, in the seventeenth century--Plautilla Brizio--who has left monuments of her excellence in that species of art. The villa Giraldi, near Rome, is the joint work of this lady and her brother. "The wife of Erwin von Steinbach materially assisted her husband in the erection of the famous Strasbourg cathedral; and within its walls a sculptured stone represents the husband and wife as consulting together on the plan." The most varied and general information is desirable for a first-class architect. A knowledge of drawing and the first principles of geometry are the most important requisites. Some architects select the materials for the building, which of course requires a knowledge of the different kinds and conditions of wood, their fitness for various parts of a building; also, the qualities of iron, stone, brick, and whatever goes toward making up the building. An architect should also select the most suitable site for the erection of the intended structure, which would be decided, to some extent, by the way in which it was to be used. He also should be able to judge the nature of the soil, and the way in which a want of fitness may be remedied. Then he must see that the foundation is securely laid; and, as the building progresses, that the workmen carry out the details of the plan which he furnishes. Much of this work seems unsuitable for women; but the making and executing of plans could be very well done by them. It would give exercise to their taste and inventive talents. Men employed in architectural drawing earn from $1.25 to $3 a day of ten hours. Miss H. told me of a wealthy lady in New York who is quite an architect by nature. Mrs. D. told me of a young lady of her acquaintance who is gifted with talents that would make a superior architect. She has planned several houses for her father, who has sold them at an advance of from $3,000 to $4,000, on account of the convenient arrangement of the rooms and their tasteful decoration. She displays exquisite taste in the selection and arrangement of furniture. She is withal economical in her expenditures. She is a close calculator of the cost of materials, and a great economist of space.

=42. Cameo Cutters.= There are two kinds of cameo cutting--one with a lapidary's wheel, of hard stones, as the onyx and the sardonyx. The shell cameos are cut with small steel chisels, from the white portion of the shell, leaving the chocolate color for the background. The figures are in relief. The stone is prepared by the lapidary, and the artist arranges his design according to the capabilities of the stone. He makes a drawing in paper on an enlarged scale, and a model in wax of the exact size, and the latter is carefully compared with the stone, and such alterations made as the markings on the stone seem to require. The outline is then sketched on the surface, and cut with tools prepared for that purpose. After it has been properly cut, it is smoothed and polished. In Mrs. Lee's "Sculpture and Sculptors" we find an account of those that have engaged in cameo cutting in the United States. Mrs. Dubois, of New York, cut several cameo likenesses of her friends, and so well did she succeed that she went to Italy to acquire proficiency in the art; but the artist to whom she applied said he could teach her nothing--she had only to study the antique. John C. King, a sculptor of Boston, has also engaged in the art of cutting cameos; and Peter Stephenson, of Boston, had cut in 1853 between 600 and 700 cameo likenesses. He writes me: "Cameo cutting might be done by girls, especially the finishing process--polishing. When in Italy, some years ago, I employed girls to polish my cameos, and paid from 12 to 50 cents apiece. I think they earned about $1 a day. The employment is not unhealthy, but confining." Margaret Foley, formerly a member of the New England school of design, resided in Lowell, and cut cameos at $35 apiece. She was kept busy in filling orders. The Misses Withers, of Charleston, S. C., are said to cut cameo likenesses with beauty and skill. I saw Mr. L. a Frenchman, in New York, copying a likeness from a daguerreotype. He also copies from life. He learned the business in Paris. He charges $15 for those large enough for a breastpin, and which it requires him about three days to make; smaller ones are lower in price. He imports the stones, and furnishes without extra charge to those for whom he works. A good intaglio worker can make cameos, but a cameo worker cannot make intaglios. Some men can never learn the business. It would form a beautiful pastime and a profitable and refined occupation for a lady, if sufficient work could be obtained.

=43. Copperplate Engravers.= In a hasty reading of "Women Artists," we find mention made of a number of ladies occupied at various times, in different European countries, as copperplate engravers: in the sixteenth century, one in Holland, and one in Italy; in the seventeenth century, Germany produced seven, France one, Spain one, and Italy three; in the eighteenth century, Italy two, France one, and Denmark one. It may have been that some escaped my notice. Mr. S. told me he knew a family of copperplate engravers; but the daughters are now married. I saw a lady who engraves on copper; she had an office in New York. She was willing to instruct a lady on these terms: after the pupil had acquired about six months' practice, she would allow her half for all the work she did in six months more; then she could be at liberty to work for herself. She thinks a year sufficient time to acquire a good knowledge and practice of card engraving. She had spent a year at it irregularly, having no instructor, but asking advice and assistance now and then. In that way she did not obtain the custom she would have done by being known to others. The patience and careful attention to details requisite, and the sedentary nature of engraving, render it a more suitable occupation for women than men. To make a good card engraver, an educated eye, a steady hand, and ability to form letters gracefully, are the principal requisites. A card engraver told me he knew a lady who assisted her husband in his work, that of copperplate engraving. As the people of the United States become wealthy, and cultivate a taste for the fine arts, engravers will be more patronized. There is a collection of old and choice copperplate engravings in the possession of Mr. Plassman, who has a school of art in New York; there is also such a collection at the Historical rooms in the same city.

=44. Daguerreans.= The process consists in concentrating the light of the sun on a metal plate, so prepared by chemicals as to retain the impression of an image that falls upon it. The shadow catcher has become almost interwoven with the every-day realities of life. Prof. Draper speaks of daguerreotyping as introducing a beautiful work, in which "the fair sex may engage without compromising a single delicate quality of woman's nature." Some artists, not content with moving in the ordinary way from place to place, have cars built that roll on wheels and are drawn by horses. The daguerrean sleeps in his little home, and, on the road, far away from a good tavern, can even do his own cooking, or have it done, in his car. The business has also been carried on by men in small boats, floating down rivers and stopping at villages and farm houses. It requires taste and judgment both to make an operator and to color. Colorers of photographs could, if skilful and constantly employed, earn $30 a week in large cities. An operator, if busy, works from 9 to 5 o'clock in winter. A wonderful improvement has taken place in the daguerrean art since its discovery. A lady daguerrean and photographer writes me: "Ladies are employed in the business as operators, and to superintend; also to repaint and retouch photographs. With care in the use of chemicals, I do not consider it particularly unhealthy; less so, I think, than sewing by hand or machine. No person will do well for himself, herself, or patrons, who commences business without a good knowledge of it. The time of learning will depend upon the individual's knowledge of the sciences bearing on photography, and their talent for the business. It would vary from two weeks to three months. The labor of the learner is usually given while learning, and from $25 to $100 besides. Spring and fall are the best seasons, summer the poorest; but there is no time during the year in which there is not something to do. I operate and superintend in my own establishment, and hire a boy only, who does chores. The principal discomforts of the business are the heat to which we are exposed in summer (being usually and necessarily near the roof), the smell of chemicals (which do not unpleasantly affect any one), and the soiling of clothing, which is more unavoidable with women. The amount of business, and consequently the location, decide the profits of the business. As the business is attended with considerable expense, it is necessary, in order to make it pay, to seek a good location. It is profitable when a person is well established in a desirable location. I think ladies and children usually prefer a lady artist. Upon the whole, I think the business quite as suitable for women as men. There is generally more or less spare time, but a woman is most apt to occupy such time with fancy work or reading." A daguerrean writes: "Women are sometimes employed in the reception room to receive ladies--occasionally, in the operating room. They receive from $3 to $8, according to capacity and address. Men generally command better prices, because they can sometimes perform labor out of a woman's sphere, such as unpacking goods, carrying packages, and other jobs, not suitable for women. I think the business as healthy as any indoor business. It requires from six to twelve months to learn the duties of the operating room; for the reception room, from one to three weeks. Industry, patience, perseverance, shrewdness, and suavity of manners, are the necessary qualifications. Prospect for employment poor, as prices are reduced to almost nothing. All seasons are nearly alike. November and June are dull. Our women work in summer from seven A. M. to six P. M. The work averages about eight hours per day the year through. Men are superior in patience (?) and force of character. Women are easily discouraged, and liable to be petulant. In many instances, there is much running up and down stairs, which is harder on women than men. And there is too much standing for a woman's health."