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."