Part 15

=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 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. 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.