Chambers's Journal of Popular Literature, Science, and Art, No. 684

Various

Various

Chambers's Journal of Popular Literature, Science, and Art, No. 684 February 3, 1877

FEMALE PROFESSIONALS

Discussions respecting suitable employments for women have for the last few years caused much unpleasant excitement. Society is divided on the subject. Shall women study to be medical practitioners or not? Are they not entitled to compete fairly with men in such occupations as are consistent with their strength and abilities? Surely you are not going to treat them as inferior beings? These are the sort of questions that have been debated, and not always in a very placid humour. Having never interfered one way or other in this matter of dispute, we approach it in a perfectly impartial spirit, and desire to treat it not from any of the partisan views usually presented, but in the broad light of Nature – for to that every temporary and local interest must in a great degree eventually give way.

Let us go practically to the point, as that is better than any abstract reasoning. In a late number of our contemporary, The Queen, a London periodical partly devoted to illustrations of ladies' fashionable apparel, it is intimated that a wood-engraver of high standing had opened a class in London for instructing ladies in the art of wood-engraving. The announcement proceeds to say that wood-engraving is a lucrative art, in which partial training is valueless, and that the artist referred to being 'deeply interested in the extension of this work as an employment for women, does his utmost to impress upon all whom it may concern that no one can hope to succeed as a wood-engraver who is not willing to devote six hours a day for six years to learning the work. It has often been a matter of surprise to us that ladies did not study wood-engraving as a profession. If any novelty in dress or millinery is brought to us, and we desire to illustrate it in our pages, experience has taught us – and we only say this after repeated trials – that to Paris it must go to be both drawn and engraved. We have tried artists of fame, as well as unknown men, and always with the same result – utter failure. The figures may be more natural, and the faces better drawn perhaps, but as illustrations of dress or bonnets the English engravings failed to convey any definite idea of them, and were practically useless. Now that the use of illustrations in the literature of the day is constantly on the increase, and the number of periodicals devoted to ladies' requirements, are legion; also now that catalogues issued by the leading London mercers of their latest novelties yearly become more complete, we marvel why ladies who have a talent for drawing do not attempt to bring it into the market, and acquire the French knack of drawing, even such trifling matters as bonnets, on wood. Delicacy of touch rather than strength of hand is required; the cost of the requisite tools is nominal; it is essentially a home occupation, cleanly in its nature, and free from any unpleasant accompaniments. Wood-engraving is certainly worth a trial to any ladies who have studied drawing, and like the occupation, but to succeed it should be taken up seriously, and not as a pastime.'

We should be exceedingly glad to learn that the artist mentioned was successful in finding a numerous class of young women, who having little or nothing to do, would patiently and intelligently 'devote six hours a day for six years' to acquiring a satisfactory proficiency in the art of drawing and cutting illustrations on wood. It is an elegant art, requiring taste and accuracy of observation. In London especially it is, as is stated, largely in request, and accordingly to the skilled who are ready with their services, can hardly fail to be fairly remunerative. Nor should we forget that it involves no more severe bodily labour than needlework, if so much, while it is ten times more interesting.

Unfortunately, there is a per contra in almost everything, and particularly as concerns the prosecution of industria