Part 25

=50. Employés in the United States Mint.= A very interesting description of the employment of ladies in the United States Mint at Philadelphia will be found in Godey's Lady's Book, of August, 1852. Col. Snowden, Director of the Mint, writes to me as follows: "Women are employed to adjust the weight of the blanks or planchets, preparatory to the coinage--each piece for the gold coinage being separately weighed and adjusted. So also are the larger coins of silver; namely, the dollar and the half dollar. They are also employed in feeding the coining presses. There are about fifty women at present employed. This force is amply sufficient for our present operations, and for any additional amount of work that the mint may be called on to perform. The employments in which they are engaged are healthy and pleasant. Some years ago the women received seventy-five cents a day in the adjusting room, and eighty-five cents for those employed in the coining room. Since that time I have increased their per diem compensation to $1.10 in both departments. They are paid monthly. Men employed in labor of a similar character secure about $2.20 per day. A day's work is about ten hours; ordinarily the women do not work more than seven or eight hours; sometimes more, sometimes less, but never beyond ten hours. There are no other occupations in the mint, than where they are now employed, suitable for women. I am greatly in favor of employing women, and I have extended the employment of them as far as it is practicable. For adjusting the weight of coins, and attending or feeding the coining presses, I consider women as not inferior to men, except that they cannot endure work for as great a number of hours." The adjusting room is kept very close, as even the breath of a person may affect the gold dust. The windows are kept closed on that account all the year. Visitors are not permitted to enter this room. I have been told that the adjusters wear chamois dresses, which they change before leaving the mint. They are required to wash their hands and clean their nails before leaving the premises, lest gold dust should be in them. A great many applications are made for situations in the mint. None but a thoroughly honest person should occupy so responsible a place."

=51. Engravers and Chasers of Gold and Silver.= I was told by a lady in Philadelphia, that had been engaged with her husband for some years in chasing the backs of gold watches, and had laid by quite a snug little fortune, that from $5 to $6 is paid for engraving a watch case. It requires many years to render one a competent gold or silver chaser--I think about five years. A general engraver told me he thought women could very well engrave jewelry, silver, and card plates. The superior taste of women could be exercised to advantage. He thinks a woman of good abilities could obtain sufficient practice to earn good wages at the expiration of six months. It is a very confining business, but one that pays well. It requires more skill in drawing than beauty of penmanship, though the last is a desirable item. A good engraver calculates to earn $1 an hour. The kinds most suitable for a lady are so clean that she need not have her clothes soiled by her work. Mr. C. knew a lady once in New York who was a beautiful engraver. She learned the business with her father. A watchmaker can soon learn to engrave, because he uses similar tools, and knows how to handle them. A person that can engrave watches could easily engrave coarser work. Engravers, when employed by the week, earn from $12 to $25; and $15 a week is a fair average of an engraver's wages. An engraver cannot well work more than nine hours a day. Ornamental engraving is done in some jewelry manufactories by women. Engraving is done with gravers, but chasing is executed with punches and a small hammer. Engraving is more on the surface than chasing. An article chased is indented on the inner side, one engraved is not. It requires some time to excel in chasing and engraving. There are two kinds of watch engraving--that of landscape and that of borders. I was told by an Englishman that some silver-plate chasing is done in England by women. A jeweler writes: "We occasionally employ women in engraving--on brass, and we do not find any difficulty. In this branch of business, we believe, they are more suitable than men." Mr. S., who engraves on gold, silver, and other bright metals, told me that a long time back all the engraving in his branch was done in England by women. It is light work. The designing is like a lawyer's work--hard on the brain. Most engravers in this country do their own designing. His father was the first engraver in New York. He takes apprentices for five years, not paying anything the first year, the second, $2 a week and clothing, and increases according to the attainments of the learner. There are two kinds of engraving in his branch: the line engraving can be done with one tool, the other kind requires several. He can obtain foreigners who can do both kinds (usually called mongrel engraving), and who would be glad to get work. Chasing and polishing are about as good mechanical pursuits as a woman can follow. Some silver chasing is done by filling the article with sand, and striking with proper tools; some is pressed with heavy machinery. Soft chasing is done on metals, but the chasing of plated ware requires some strength in the wrists, and is done before being plated. The patterns are placed before the workers. It requires a long time and application to acquire proficiency. More women could find employment as chasers, if they would apply themselves long and closely enough. A chaser, who employs eight girls in Providence in making and chasing jewelry, writes: "They earn from $4 to $5 per week, but men from $15 to $18. Women cannot do their work as well as men. Men spend from two to three years learning, women from one to two months. Spring and fall are the best seasons. The prospect of employment for women in this branch is good. There are other parts of the jewelry business in which women could be employed, and I think they will be. I prefer to employ women, because they are cheaper." A jewelry engraver writes: "In some branches of our style of engraving, women are employed in France and Germany. The occupation is sedentary. The average rate of workmen is $12. I think women could command the same prices as men. It requires about one year to learn. There are but few first-class engravers. A bold and steady hand, a ready and quick ingenuity, which would qualify a person to be a good draughtsman and designer, are the qualifications most needed for an engraver. About fifteen years ago there was no demand for engraving, but it is now on the increase, and considered a necessary finish to jewelry. About the Christmas holidays are the best seasons for work. Ten hours a day are required. In the Western and Southern States are openings--in large cities a surplus. I think, women are peculiarly adapted to engraving, but they would be likely to marry, and then we would have our trouble to repeat in teaching new learners."

=52. Equestrians and Gymnasts.= In equestrian entertainments, much depends on the accessories. Without music, artificial light, and paintings, they would be rather tame. The principal requisites for a circus rider I take to be agility, grace, and fearlessness. Size and form have not so much to do in making a successful rider and gymnast as one would suppose. The athletic exercises require vigor and firmness of muscle. One should be trained from the earliest childhood. Children usually begin as early as three years old. In former times, these children were, many of them, picked up in the streets, and there is no doubt that these human waifs had a hard time of it; but now many of the professionals bring up their own children to the business. All the performers, in addition to their several "star" or "single" acts in the ring, are required to appear in any capacity assigned them in the scenic pieces and spectacles, and to attend the rehearsals of the same; also, to appear and remain on the stage in proper dresses, for the purpose of filling the scene, and giving a gay and animated appearance to the stage. Mr. Nixon's establishment, New York, being the most complete in the country, and being thoroughly systematized in every department, will serve as the best source from which to derive information concerning the routine duties required, and the weekly moneys paid there to circus performers. "The principal performers in Mr. Nixon's company are paid as follows: Ella Zoyara, equestrian, in addition to first-class passage from England and back for self and two servants, medical attendance for self and servants, carriage and horses whenever required, and a benefit every two weeks, receives per week $500; Mr. William Cooke, equestrian, manager, passages for self and wife from England and return, and per week, $500; James Robinson, equestrian, for self and three horses, $305; the Hanlon brothers, six persons, gymnasts, per week $300; Mr. Charlton, stilt walker, passage, &c., $125; Mr. Duverey, contortionist, passage, &c., $125; Mlle. Heloise, equestrienne, $100; Mlle. Clementine, equestrienne, $100; M. and Mad. Du Boch, equestrians, $100; Master Barclay, equestrian, ten years old, $75; Mr. Whitby, ringmaster and equestrian, $100; Mr. S. Stikney, equestrian and general performer, $100; Mr. J. Pentland, clown, $100; Mr. Ellingham, ringmaster and general performer, $40; Mr. Armstrong, equestrian and general performer, $40; W. Kincaid, do., $40; W. Pastor, do., $30; W. Bertine, do., $30; Brennan, do., $25; Niel, do., $25; F. Sylvester, do., $20; A. Sylvester, do., $20; W. Ward, slack rope and clown, $30; Prof. Yates, ballet master, $25; Mr. Stark, general performer, $25; S. Ruggles, $20; Davenport, $20; Foster, $20; Peterson, $20; four lady equestrians, per week, each $20; and twenty ballet girls and twenty supernumeraries." We extract from an English paper the following statement: "In Paris, no less than 15,000 persons were admitted yesterday, although the prices were doubled for the occasion, to witness the performance on the tight rope of a woman--Madame Blanche Saqui--who is entering her eighty-fifth year."

=53. Etchers and Stamp Cutters.= In England, in the seventeenth century, Anna and Susannah Lister were regarded as having much skill in the noble art of etching. They illustrated a work on natural history written by their father. A century later, the Countess Lavinia Spencer and a Miss Hartley became noted for their skill in etching. Rosa Elizabeth Schwindel, of Leipsic, worked at the business of a stamp cutter in the beginning of the eighteenth century; and two Frenchwomen during the same century--M. A. de St. Urbin and E. Lesueur.

=54. Herbarium Makers.= Herbariums are collections of dried plants. They are formed by gluing to sheets of paper the flowers and leaves of plants, after they have been pressed and dried. To botanists, they are useful; and a choice collection is a frail, but pretty ornament, for a centre table. The largest public herbaria are at Berlin, Paris, and London. It is supposed that some of them may contain as many as 60,000 species. There is not much of beauty or interest in such a collection, but for scientific purposes they may be valuable. It is not unusual to see them made of the plants and weeds of the sea; and a very pretty collection do they make, if got up with taste. A book has been lately printed containing plates, with explanations for making them into pictures and other fanciful arrangements. The making of herbariums of both earth and marine plants, would furnish a pleasant pastime to ladies of leisure, and a source of revenue, perhaps, to those who might wish to make it a matter of profit.

=55. Lapidaries.= A skilful manipulation is necessary to the business of a lapidary. If woman has sufficient firmness of nerve to perform the duties of surgeon, we see not why she would not have for the cutting of precious stones. It is a business conducted on a limited scale and by few persons in this country. Mr. R., of New York, told me that a lady in Birmingham, England, had a large establishment, and employed women and girls to work for her. He knew of no lady that worked at the business in the United States, except one that used to be in an establishment on Broadway. The employment, he thinks, is not unhealthy. After a lady has learned, she would probably earn from $4 to $5 a week, working for others. He received $12 a week when working as a journeyman. He spent seven years as an apprentice in England, but he learned the manufacture of jewelry in connection. The prospect of employment depends much on the condition of the money market, but there is reason to think the business will increase as the country grows older. All seasons of the year are alike. Money matters only make a change. He says there are many books written on the precious stones and the art of cutting and polishing them. He mentioned a book by a lady of London on the subject. Mr. H., an importer and manufacturer of cornelian and other fancy goods, told me that grinding precious stones is very hard work. Men lie across wooden benches to apply the agate, cornelian, or whatever it may be, to the grindstone. There are eight grindstones, weighing twenty tons each, on one axle. The polishing is done by boys, who sit at small wooden wheels, some of which are covered with leather. Sometimes women do this work. As this method of grinding stones is done by water power, it is done more cheaply than by steam. In Germany, a man who works at precious stones or makes up jewelry at home, has his wife and daughters to assist him, and hires a peasant girl to do his housework. The women and girls make the fastenings for earrings, and file and polish the rings. He pays seventy cents a gross in Germany for them. He says, in the country and villages of northern Germany daughters are considered treasures, for they remain at home, and by their handiwork maintain themselves; but in the south of Germany, where there are no manufactures, girls are a burden on their parents. B., of Philadelphia, used to employ girls to set up jet, garnet, and turquoise for grinding; but those stones are now out of fashion, and so girls are not employed. He says an old lady, whose daughter is connected with the Home Mission, wished them to give instruction to her daughter in cutting stones, that she might, as a pastime, cut those brought by members of the family from the seashore and watering places. He thought it likely she would also teach the art in the Mission School. Cutting facets he thought pretty work for women. They can either sit or stand at the tables. There is nothing unhealthy in the grinding, as the stones are kept wet all the time. But the dust used in nipping glass and stones is injurious to the lungs. When a man has been nipping all day, his nostrils are nearly closed. The amount of work depends on fashion. There are seven establishments in Providence, and the work is done by steam. Some stones cannot be cut by steam machinery, as the wheel must every few seconds be graduated in motion. In hard times, the jewelry business and employments connected therewith are dull, as people dispense with superfluities. Southerners buy most jewelry, but now they do not indulge in such purchases.

=56. Landscape Gardeners.= Mrs. R. often goes and looks at gardens, directs how to lay them out, and what to buy for them. She then orders the plants of others, and sells on commission, having them arranged according to her own taste, influenced by that of the purchaser. Her purchases are made of a German, living some distance from town, who can raise them cheaper than she could in the city. Her compensation, of course, varies greatly. A landscape gardener writes: "What a lady could do as landscape gardener at the West, I do not know. I am rather inclined to doubt her success at the East. It would require too much time and space to enter here into the details of what are required to constitute a landscape gardener: First, one must have a decided love for it, and a willingness to sacrifice much to the pleasure of the occupation. Nor can I say a great deal in favor of the profits. I have never been able to make a living by the profession, although I have often thought if I had gone to New York, or farther West, the case might have been different. In pages 381 and 382 of 'Country Life,' and in many other parts of the book, you will see what I consider essential to the making up and preparation of a landscape gardener, and better expressed than I can condense into a letter." Mr. C., of Massachusetts, writes: "I have never known a lady to undertake the profession of landscape gardening; and much of the labor which I find it necessary to perform, would be impossible for a lady. Still, there is much in which female taste would find abundant field for exertion, if the labor could be so divided as to make it profitable. My first work on any estate is to make an accurate topographical survey of the ground, and draw a plan of it in its natural state, and then proceed to make my designs for its arrangement; and when that is done, if required, I undertake the superintendence of the work at the ground. A lady would have to employ a surveyor, in the first place, and would labor under many disadvantages in directing the operations upon grounds; and, to judge from my own experience, the business could not be made profitable under such circumstances. Loudon's 'Encyclopædia of Gardening' will give the best directions I know of for the necessary operations of designing and executing plans, and Downing's work, with Sargent's appendix, comprises enough suggestions, on matters of taste, for the use of any person who is possessed of innate natural taste, without which I would advise no one to attempt to be a landscape gardener."

=57. Lithographers.= The impression for chalk drawings is made by delicate manipulations with crayon pencils; for ink drawings, with steel pens and camel-hair brushes. It requires one skilled in the use of her pencil, for every stroke of the pencil or pen on the stone remains, and cannot be erased. Consequently, any defect on the stone is conveyed to every copy of the paper. In answer to a letter of inquiry, respecting the time necessary for preparation, the writer says: "A person who draws well upon paper would, I should think, with six months' practice on stone, become proficient. The process differs little from crayon drawing on paper; and the progress of pupils depends entirely on their previous attainments in drawing. The different kinds of lithography are black, chromo, and gold illuminated; also, lithography combined, or uncombined, with embossing. In a report of a British school of design, it is stated that the chromo-lithographic class for females "exhibit the commencement of a series of useful labors." An immense number of cheap lithographs are colored by women; such as are hung in taverns, country houses, sailors' homes, servants' rooms, &c. At Mr. C.'s establishment, I was told that in France the females are quite as successful as the male artists in lithography. He says lithographs require to be more highly colored than the colors we see in nature. Mr. C. thinks of sending to France for lithographers, as he cannot get enough in New York well qualified. A correct eye, skilful manipulation, and an appreciation of art are required to make one skilful in lithography. Germans excel, because they have so much patience. An American would become nervous at the slow work that they prosecute with the greatest pleasure. At Mr. C.'s they have a forewoman, who superintends the girls, who are paid by the quantity and kind of work they do. He finds that small girls are usually the best workers. Their fingers are more nimble, and they enter into it with more zeal. He thinks it best for them to commence at ten or twelve years of age. Prospect good for employment in that branch. The coloring of all the finest pictures is done by men. It requires some time to become sufficiently expert to earn much. Their girls earn from $3 to $7 a week. The work requires care, and is wearisome, because of sitting long and steadily. Mrs. P., Brooklyn, an English lady, learned to draw when eight years old, and studied lithography with a distinguished artist of London, who executed entirely with his left hand, having lost three fingers on his right when he was a child. She has spent twenty-two years in lithographing--seventeen of them in this country. She is probably the only lady professionally engaged in this business in the United States. She has earned almost constantly, I was told, from $12 to $30 a week. Lithographing is very lucrative to a skilful artist. The remuneration is better than women often receive for their handiwork. We believe some women could find employment in it, if they were prepared. Mrs. P. excels in architectural drawing. She thinks one must have the talent of an artist, and great practice with the pencil, to succeed. She has given instruction to several youths, but never to one of her own sex. One must be articled, and pass through a regular course of advancement, to follow it advantageously. To an apprentice, after two or three years' practice, a small premium is paid. She had one youth to learn of her, who, after four years' time, received $7 a week from her for his work. She thinks there will be employment to a few well qualified. She has always been kept busy. The employment is not more unhealthy than any other of a sedentary kind. Mr. M. says they have no difficulty in finding enough of crayon lithographers, but that there is more lithographic engraving done than crayon lithographing. It is done on stone with instruments, very much as engraving is done on copper. We have read "that an improved method of transferring copies of delicate copper and steel plate engravings to the surface of lithographic stone has been invented. One copy taken from the steel or copper plate, after being transferred to the stone, is capable of producing 3,000 prints." "Lithography, engraving, and especially engraving on wood, would gain in quality by passing from men's hands to the hands of women." "Lithographic works are produced which rival the finest engravings, and even surpass them, in the expression of certain subjects." The first lithography executed in the United States was in Boston, 1826. W. & S. used to employ girls to color lithographs, but found it did not pay. They paid from $4 to $5 a week to women, who did the common part of the work. Men did the finer parts, and earned from $12 to $25 a week; but only those who are expert, have artistic taste, and understand the business, can earn so much. French lithographs are prepared and the coloring done so much cheaper in Europe, they have ceased to have it done in New York. B., lithographer, Philadelphia, employs many ladies--about twenty--in the house. Some associate in companies, and take their work to the house of one of their number; but the greater part are educated women, who do not wish it known that they earn money by their labor: these carry the plates to their own homes (and even have them sent to the fashionable places of resort in summer), so that many a fair damsel trips along Chestnut street with a roll of something, which seems to be music, but is, in fact, work. The coarse handed take no part in this employment. Very few have ever attained the highest degree of proficiency in it. The most delicate work is done by men. Americans have most aptness for coloring, although the Germans excel in drawing on stone. Women seldom attempt the latter art. It requires long practice for girls to excel in coloring. Many grades of skill are required to color lithographs, and there is much difficulty in making all the copies exactly like the first. Some need a treatment so nearly approaching the artistic, that scarcely any one who has the skill can be found to give his labor for the price, which is necessarily limited. We gained no information as to the amount of wages paid to the colorists, but, judging from the price of a very beautiful specimen (29 cents), it must be sadly inadequate. The scientific societies are the main support of this business. The Government, indeed, gives very extensive orders, but there is always so much competition to obtain them, that the profit is small. Audubon was the greatest encourager of this branch of industry. This employment is very desirable in every respect for educated women; and although machinery for printing in colors is fast encroaching on it, yet it will long offer a field for female enterprise. Our informant employs from 100 to 300 hands, according to the prosperity of the times. A commercial crisis affects this as well as all other trades. One of the firm of the best lithographic establishment in New York, told me they pay their men for drawing on stone from $25 to $30 a week. The time required to learn lithography, he thought, would depend much on natural talent. A good knowledge of drawing is necessary. He thought men would soon get over the opposition of women entering the business; but they did not like the restraint of working where women are. They would soon become accustomed to it; and if they were women of the right kind, it might be a very beneficial restraint. But, as to that, women could do the work at home. Many Germans, well acquainted with the art, are engaged in crayoning. When they first come to this country, they work for lower wages than Americans, but after a while learn their value, and ask as much as any one else. On account of the low wages for which foreigners can usually be had, but few Americans have prepared themselves for this occupation. But when work is plenty, and the individual industrious and skilful, he can earn good wages. Seven eighths of the work done for this country is executed in New York. The agent of a lithographic company writes: "Drawing on stone could be done by women as well as men; and would open to them a very genteel and remunerative branch of business. The drawing is now done mostly by Germans and Frenchmen; but ladies who have a taste for drawing could soon learn this art. The usual price for such artists now is from $12 to $35 per week." Prof. P., of New York, gives instruction in lithography, charging $12 per quarter of eleven weeks--two lessons per week. Special arrangements are made with pupils who intend to devote themselves to the profession as artists or teachers. A gentleman remarked to me that Mr. S., a certain distinguished lithographer of this city (New York), would make an excellent teacher in that art. His forte is heads. A few strokes from his pencil always give a beautiful finish to a piece of work.

=58. Map Makers.= Women could not well travel about to obtain information of localities for the making of maps, but nearly all the manual labor connected with the business would be very suitable for them. Lithographing maps is said to be a profitable branch of the art, and opens a field to competent women. Attending the machines for making impressions from the stones might very well be performed by women. "In Philadelphia, map coloring gives employment to about 175 females, some of whom display exquisite taste in this delicate art." There used to be 150 girls in New York painting maps, but there are very few now. Freedley tells of a map-manufacturing establishment in Philadelphia that "turns out 1,200 maps weekly. Connected with it are two lithographic printing offices, having twenty presses, and coloring rooms, in which 35 females are employed." I was told by a lady who had colored maps, that it is trying on the eyes and poorly compensated. A map maker said he was always most busy in the fall, and then employed from 12 to 16 women. In winter he employed about half that number, and they principally married women, who have worked for them several years. Mr. W. pays two of his best and most experienced lady workers a certain sum by the week, and they hire girls and women to work for them. The profits of these forewomen, aside from their own work, amount to $1.50 to $2 a week the year round. Girls receive $1.50 a week while learning. It requires from six months to one year to become proficient. Neatness, a steady hand, knowledge of colors, and fineness of touch, are the principal requisites for a good map colorist. It requires no artistic knowledge. An expeditious and experienced hand can earn $1 a day. There is at present a need of hands in New York, and a surplus in Philadelphia. All seasons are alike in this business, except as monetary affairs are concerned. All Mr. W.'s hands work in the house. They work about nine hours a day all the year, and never take maps home with them, as they are mostly large and heavy maps. Map making is mostly confined to Philadelphia and New York. None are made in the South and West. There is one map publisher reported in Richmond, but he has his maps made in New York. Mr. C. gives his maps to a map mounter, who employs a girl to sew the bindings on with a sewing machine. She is paid at the same rate as any other operator. The paper bindings are of course pasted on. Mr. C. employs one girl to paint the outlines, but all the other painting is done by stencil plates. Map coloring formerly gave employment to many females, but now it is very rare that a map is colored by hand. The stencilling process introduced by the Germans has superseded it, as they are thereby rendered cheaper. Girls used to earn 75 cents to $1 a day for painting maps. If girls would learn stencilling and work on their own responsibility, they might compete with the Germans. The process is very simple and soon learned. At Mr. H.'s, I saw a large room full of Germans stencilling. Men earn $8 or $9 a week, and do it faster and better than girls, as they have more strength. I saw one girl shading, who earned $1 a day. A map manufacturer writes me: "In map coloring I am compelled to employ men to a large extent. A curious fact is, that respectable middle-aged women, who have been coloring for years on piecework, make from $4 to $5 per week; while young men, comparatively unpractised, earn at the same prices, say from $9 to $10." A manufacturer who employs about 80 females, writes: "I employ women in pasting and putting down maps, who receive from $3 to $4 a week, being paid by the week, and working ten hours a day. The difference in prices of male and female labor is about one half. One can learn the business in a few weeks; the only qualifications requisite are sobriety and strength. The prospect for work in this branch is good. There is no difference in the seasons. Some parts of the work can be done more cheaply by women. A supply of hands can always be had. The women do their work less carefully than men." A map publisher in New Hampshire writes: "I employ 28 women and girls in binding, mounting, stitching, and coloring maps, and pay from $3 to $6 per week, working eight hours a day. The engraving is done by men, who receive from $6 to $20 per week. Women's labor can be learned in a few weeks, and is not so hard or difficult as men's. Engravers spend three years learning. I employ women to color, because they have better taste than men. Draughting surveys, engraving, and lithographing have never been attempted by women. New York is preferable as a locality." A gentleman in Boston writes: "We employ from four to eight women in our map-mounting department. They could not be employed in any other branch, which is varnishing and polishing all kinds of hard wood. There are a large number employed in New York, Philadelphia, and Buffalo. Pay varies from $3 to $5 per week--ten hours a day. We employ no men in this branch. There is something new to learn every day. Business is the same all the year. We pay our girls nothing while learning." A lithographer in Boston writes: "I employ women to color maps and pictures, paying by the piece, the workers earning from $3 to $6 per week. The employment is not unhealthy."

=59. Medallists.= "Beatrice Hamerani worked at medallions, and in 1700 elaborated a large medallion of Pope Innocent XII., highly praised by Goethe." "Toward the end of the seventeenth century we hear of Madame Ravemann, who executed a beautiful medal, an exquisite specimen of cutting." In the school of design in New York, we saw two very creditable medallions, executed by one of the members of the school.

=60. Modellers.= An ornamental designer and modeller writes me: "In England I attended my lady pupils at their own residences, except one to whom I gave instruction at my residence. One was the daughter of the Lord Mayor of the city, another the daughter-in-law of the Earl of H. Very few ladies learn any of the higher branches of art, except those that do so for recreation. A person that has some skill in drawing would, without the slightest doubt, soon acquire a knowledge of this beautiful art. Some persons have a natural gift for modelling, while others would not learn it with all the cultivation arising from education and good society. Probably the best source of employment in New York would be to design and model for the silversmiths--such as Ball & Black, Tiffany, &c. One of the most fertile departments in Europe to lady modellers is not carried on to any extent in this country--the making of fine pottery. The fingers, of course, must be soiled in modelling; but such an inconvenience is trifling compared with the pleasure of forming fruit, flowers, and foliage, or modelling the medallions of friends." The modelling of gas fixtures might afford employment to a small number of qualified women. We know of one establishment in Philadelphia where part of the designing for fixtures, lamps, and chandeliers, is done by a lady, and all the copying done for illustrated catalogues of those which are finished. She receives $6 a week, and goes about 9 o'clock A. M. and remains until 4 P. M. Mr P., at his school of art in New York, has a very large collection of casts. He gives instruction to boys and young men in modelling and drawing, charging 25 cents a lesson of 3 hours in the day or 2 in the evening. They are instructed in classes. Some of his casts are gigantic. In one of his rooms is a beautiful, but small model, in wax, for $300, representing a hunting scene. We have been told that some ladies in Germany model wax patterns for the ornamental work on china. Few tools are used by a modeller--the only ones are for the sharp and delicate parts that cannot be formed by the fingers. As clay does not shrink uniformly in drying it is moulded before drying in plaster of Paris, and a cast of the same material taken from that, which serves as a model for the workman. Some artists model in wax. Women might be employed in modelling ornamental and scroll work for brass founderies, &c., and get good wages.

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

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

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

=64. 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 instruction, $6. There will be two sittings a week, of from three to four hours. A person of sensitive, nervous type, susceptible to every impression of a pleasant kind, is most likely to succeed as an artist. Mr. R. Peale told me that many ladies in Europe paint portraits. He considered it a higher style than landscape, or still life. He thinks painting itself not injurious to the health. The turpentine used is sanitary, and the white lead is deleterious only when taken into the lungs. What is inhaled in breathing can do no harm. Mr. Peale thought that the principal reason of artists being so poor in health, is because of their long and close confinement indoors. In painting the first coats are often applied by an assistant, employed by the artist; and in some cases, by the students of the artists. Miss Merrifield, of England, has written a work on the art of painting. A number of ladies in England, and in the United States, are winning a reputation as artists. The prospect to lady artists in the United States is very encouraging. Ladies are allowed the privilege, on proper application, to copy paintings in the Academy of Fine Arts, Philadelphia, the Düsseldorf, and the Bryant galleries, New York. According to the census of 1850, there were 2,093 male artists; but there are said to be not more than 600 or 700 superior artists in the United States. The patronage the best receive is such as to keep them well employed. A meagre support and a long life of labor are necessary to establish a reputation as an artist, even to one that has talent. But the way in which most of our first-class artists live, that are prudent and steady in their habits, and possess any business qualifications, contradicts the opinion, quite common, that an artist's life must always be one of self denial and poverty. We think artists fare as well as most people, and we do think it a life very inviting to the young ladies of our country. Those that have the time, the means, and the talents, will find it an absorbing, a fascinating employment. Women succeed best in painting pictures of their own sex, and of children. The more tender and delicate organizations are best suited to their talents. Most of our artists live in the metropolis, New York; the Western country is too new and crude. There are materials enough, but not much appreciation of talent. Besides there is less wealth, and another thing is, that artists must keep themselves where mention will now and then be made of their pictures, to bring them into notice, and where the most ready sale will be found for them. During the last few years a taste has been developed in St. Louis, that promises some golden fruit. A gallery of paintings has lately been opened there. Why is it that a talent for painting and poetry is so often combined? Is it that the quiet, contemplative state that produces poetical inspirations also favors the visible expression of beautiful thoughts? A poet painter is more frequently to be seen than a poet musician. One, I suppose, of a quick, lively disposition, and very impressible, might be more likely to possess musical talent than one of a quiet, thoughtful nature. But genius is not fettered by temperament. There is a society of female artists in London; the first public exhibition of their paintings took place in June, 1857. It is managed by a committee of eight ladies, and bound by twenty-three articles. A portrait painter writes: "The artist requires a high, well-developed anterior brain, a healthy body; and a brain and body well regulated and balanced; a love of the beautiful that inspires the character with patience and indomitable perseverance, and a contempt for applause; for 'art is long,' and, unless one is willing to 'scorn delights and live laborious days,' he can never meet with real success. If women can attain to excellence as artists, they can command the same remuneration as men receive. Art knows no sex." A professional artist remarked to me: "Amateur painters never attain excellency, because it requires not only talent, but constant application." I think if there is anything that should have its full value, it is a painting, because of the patience and perseverance necessary for an artist to excel, and the long and costly preparation requisite. It commands, too, a certain style of talent that many do not possess. In addition to this, those who can afford to buy paintings are those who can afford to pay a good price.

=67. 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."