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towards vain and dangerous objects. They read books which nourish their vanity, and become passionately fond of romances, comedies, and fanciful adventures. Their minds become visionary; they accustom themselves to the extravagant language of the heroines of romance, and are spoiled for common life.

To remedy all these evils, it is necessary to begin the education of girls with their earliest infancy.FENELON: Selections from his Writings, p. 132.

MANNER OF EDUCATING GIRLS.

As women are in danger of superstition, we must try to enlighten and strengthen their minds. We must accustom them not to admit things without authority. Nothing is so painful as to see people of intellect and piety shudder at the thoughts of death. A woman ought to know how to resist weak fears, to be firm in danger, and to feel that a Christian, of either sex, should never be a coward; the soul of Christianity, if we may so call it, lies in the disregard of this life, and the love of another.

There are several faults which are common to girls brought up in indolence and timidity; they are incapable of a firm and steady conduct; there is a good deal of affectation in those ill-founded alarms, and those tears that they shed so easily. We must begin by treating them with indifference; we must repress our too-tender love, little flatteries, and compliments. We must teach them to speak in a concise manner. Genuine good taste consists in saying much in a few words, in choosing among our thoughts, in having some order and arrangement in what we relate, in speaking with composure; whereas, women in general are enthusiastic in their language. Little can be expected from a woman, who does not know how to express her thoughts with correctness, and how to be silent.

Girls are timid and full of false shame, which is a source of dissimulation. To correct this, we must lead them to discover their thoughts without disgnise; when they are tired, to say so; and not oblige them to appear to enjoy books, or society, while fatigued by them. When they have unfortunately acquired the habit of disguising their feelings, we must show them, by examples, that it is possible to be discreet and prudent without being deceitful, and tell them that prudence consists in saying little, and distrusting ourselves more than others, not in dissembling speeches. Simplicity and truth excite more confidence, and succeed better, even in this world, than dissimulation.

What is there more delightful than to be sincere, tranquil, in harmony with our conscience, having nothing to fear and nothing to pretend; whereas she who dissembles is always agitated, and under the necessity of hiding one deception by a hundred others, and yet, with all these efforts, she never

fails to be discovered; sooner or later she passes for what she is.

We should never coax children; if we do, we teach them to disguise the truth, and they never forget it. We must lead them by reason as much as possible. They observe everything. We must accustom them to speak little. The pleasure we derive from playful children often spoils them. We teach them to say everything that comes into their minds; to speak of things of which they have no distinct idea. This habit of judging with precipitation, of speaking of things without understanding them, remains during the rest of their lives, and forms a very defective order of mind.

We should never laugh at anything which is in any way associated with religion, before children. We sometimes indulge ourselves in ridiculing the devotions of a simple mind, but we commit a great fault in so doing. We should speak of God with seriousness and reverence, and never trifle upon sacred subjects. In matters of propriety, we must be careful before children.-Ibid., p. 137.

THE DUTIES OF EDUCATED WOMEN.

THE education of women, like that of men, should tend to prepare them for their duties; the difference of their employments will of course render their studies different. It is the duty of a woman to educate her children, the boys until a certain age, and girls until they are married. How much wisdom is requisite to manage the mind and disposition of each child, so as to guide their intellects, manage their humors, to anticipate the effects of their growing passions, and to rectify their errors. How much prudence should a mother have in order to maintain her authority over them, without losing their friendship and their confidence. Surely the mother of a family ought to possess a religious, mature, firm mind, acquainted with the human heart. St. Paul attaches such importance to the education of children, that he says, it is by "mothers the souls of children are saved."

I shall not attempt to specify all that they ought to know, in order to educate their children wel. To do this, it would be necessary to enter into an entire detail of their studies; but we must not omit the subject of economy. Women in general are apt to neglect it, and think it proper only for the lower classes; those women, especially, who are brought up in idleness and indolence, disdain the detail of domestic life. It is nevertheless from ignorance that the science of economy is despised. The polished Greeks and Romans took care to instruct themselves in this art. That mind is of a low order which can only speak well, and cannot act well; we often meet with women who utter wise maxims, yet, nevertheless, are very frivolous in their conduct.Ibid., p. 139.

EMPLOYMENT OF WOMEN IN CITIES.

No. II. THE PHILADELPHIA SCHOOL OF DESIGN.

BY ALICE B. NEAL.

DID it ever occur to any of you, ladies, of the many pretty things you use daily-enjoying, with a refined taste and artistic eye, the beauty of shape and coloring-that the first process in the manufacture of each was to design the grace and loveliness afterwards brought to such perfection?

Take the journal of a summer's day, for instance. You are a thrifty housewife, perhaps, and adhere to the good old custom of washing the china and silver yourself. You like the light task; for unconsciously, perhaps, you are never weary of admiring the delicate tracery of the wrought silver, or the graceful shape and coloring of the porcelain. Then the drawing-room is to be reviewed, to see that no dust remains upon the carpet, where fruit and flowers lie crushed and tangled in wild, though graceful confusion, in colors that vie with nature's own bright tints. There are orders to be given concerning the new chintz curtains of your own room, the prettiest pattern imported this year; all your lady friends are asking that satisfactory and complimentary question, "Where did you find it?"

Now for shopping. A new wall paper for the dining-room is to be selected, and you pass a pleasant half hour in admiring the endless variety and grace which the new patterns display. An oil-cloth for the hall-here, too, variety and beauty; and then, as you are passing the upholsterer's, you cannot resist indulging yourself with another longing glance at the lace curtains you wish, but know you ought not to afford just now. "There is no harm in looking at them!" you say at least, and perhaps there is not, for the exquisite wreaths of embroidery are so beautiful in themselves. Even had you resolved to purchase, you could scarcely decide between so many attractions.

But you have only time for Levy's, and here you sit comfortably at the counter, and turn over chintzes, ginghams, mousselines, ribbons, lawns, and laces. It is not the difference in quality so much as the pattern, that keeps you hesitating so long between spots and bouquets, or perhaps the delicate shades of color are to be graduated to suit another part of your costume. But every tint, and every form is before you; there can be no complaint of a lack in variety.

On your way home, you think of the new book you have promised the children; and, as you rest from the heat and fatigue of your walk, you hear them exclaiming over the pictures, just as you did

at their age, save that picture-books then bore little comparison to the beautifully illustrated volumes enjoyed by the juveniles of the present day. Yet, in all these purchases, it has not crossed your mind to wonder how the designs of the silver, the china, the carpets, curtains, oil-cloths, paper-hangings, lawns, chintzes, laces, and wood-cuts are produced; or, if the vague thought flitted past, you knew nothing at all of the matter.

We are very apt to judge of others by ourselvesit is an all-the-world custom-and such at least was our ignorance, or thoughtlessness, until we chanced to be turning over the pattern-books of a celebrated importing house, the spring patterns alone heaping a long counter, in neatly-arranged volumes that would have made any patchwork-lover wild with delight.

"These are French lawns," said our gentlemanly informant. "These are English, but stolen from French designs; you can see that by the grace of the pattern. The French people have an unapproachable genius for these things; besides, their facilities for study are greater, and they are better encouraged to produce and invent. Their Schools of Design have made a great difference of late in our patterns. English manufacturers do not hesitate to appropriate them, however."

We had heard of "Schools of Design," it is true; but, up till that time, had never connected the name with any definite understanding of their use and intent.

"There are none in this country," we were told, in answer to our inquiries. "Those established in France and England are under government patronage. So few delicate or tasteful fabrics are manufactured in this country, that patterns here are often supplied by men who have happened to fall upon that method of earning a livelihood, without previous instruction or study, and perhaps with very little, if any, artistic knowledge."

"But is it a regular business, then ?"

"Yes, and a very profitable one abroad. You would scarcely believe the prices French manufacturers are ready to pay for a single successful design. It is a little fortune sometimes; and thus, you see, they can afford to make beautiful patterns in France."

We did not think to inquire if females were engaged in this graceful and essentially feminine em. ployment, so suited to their taste, strength, and

delicate skill, and the subject passed from our thoughts at the time. It was subsequently recalled by a portfolio of drawings shown us accidentally at the house of the British Consul. They were the work of a class of young girls taught at the expense of the lady of the house, whose energetic benevolence is well known in our city. It was something of an experiment. Mrs. Peter had selected her class from young girls of limited education and ordinary capabilities, such as usually have no resource but the needle. They commenced, with no knowledge of the art, at the simplest principles of drawing, and yet, interested in the novel pursuit, many of them had already made great progress, evincing even decided taste and spirit in their sketches. At first, Mrs. Peter gave up a room in her own house; but, the class increasing, a neighboring apartment was taken, where it could still be under her immediate supervision. At this time, one or two of the pupils had commenced wood engraving, a business entirely monopolized by men in this city, and, we believe, through the country, although, since it demands little physical strength, but the most delicate manipulation, it would seem better fitted for our own sex.

Such was the unostentatious commencement of the "Philadelphia School of Design for Women," an institution that is now attracting much public attention, and has been followed by the establishment of one in Boston, while in New York large subscriptions are already made for a similar purpose. Satisfied with the success of her experiment, having demonstrated that her sex had taste and industry sufficient to surmount the mechanical difficulties presenting themselves, Mrs. Peter relinquished the superintendence of her class to the Board of the Franklin Institute, some two years ago, under whose patronage it has since been conducted. Unfortunately, however, this arrangement did not include pecuniary assistance, and for this it has been dependent upon donations and annual subscriptions at best a precarious trust; but, as the real importance of the school becomes known, a more permanent basis of endowment is hoped for by all connected with its management.

An hour's visit to the rooms which it now occupies will awaken more interest than the most eloquent appeal in its behalf, and therefore we shall be most happy to introduce you to the novel scene.

We are ushered into a small, but comfortably furnished apartment, the manager's room, where visitors are received, the business of the school transacted, and which is occupied principally by Mrs. Hill, the principal drawing teacher, and the efficient directress of the whole establishment. It is she who decides on the reception of a pupil, makes contracts for work, enforces discipline, guiding her pupils, however, by love rather than law, and is in all things devoted to the prosperity and advancement of her charge. With so much de

volving upon her, she has nevertheless a kindly welcome for all interested visitors, and takes the time to explain anything that may be asked. The room is decorated with a few casts from celebrated statuary, which serve also as models. An Apollo, a Clyte, and Canova's Graces are among them; while on the walls we have framed drawings, in water colors, of the celebrated Royal Lily, the Victoria Regia, exhibited by Mr. Cope the past year, in various stages of its development. From the next room comes the low hum of the drawing class, the first department of the School of Design, and here we see the animated face of the lady we are in quest of, bending over a drawing whose towers have a Pisalike inclination, for it is the first attempt of the young girl to whom it belongs. The room is large and cool; and, through a half-open door, we have a glimpse of the dressing-closet, where the bonnets and shawls ranged in order show that a large class is in attendance. The seventy pupils, which the school now numbers, are divided into classes that have alternate days, so that all may be under the immediate supervision of the teachers. The drawing-desks are full of industrious and attentive students, though there is a playful war among a group of the younger pupils, mere school girls, in the furthest window, and one or two are leaning by the mantle, or examining a model, as they wait the instructions of their teacher. Good prints are suspended on the wall, which some are patiently copying; before others are placed models in plaster, which they study. Now a bright young face looks up with a smile from a flower-piece, her first attempt perhaps at water colors; and on the desk stands a single rosebud in a wineglass, which her neighbor is transferring to the paper before her. Here a landscape in pencil, there a single figure, or beyond, placed by the window, so that it may catch the sunshine and the sweet morning air, the golden blossoms of a healthy plant are nodding, conscious, it would almost seem, of the attempt to imitate its beauty. It is a new seedling, and the drawing will be engraved for the next number of a horticultural magazine. How lifelike the shape and colors seem! The most graceful position of stem and blossoms has been seized, and transferred with a boldness, yet a correctness that would do credit to a more accomplished artist. The scarlet bells of a fuchsia are drooping near it, also a "living model" for the pencil, and others have arranged cut blossoms into groups, placed in simple vases before them.

It is here that the mechanical skill and correctness are acquired, which must, of course, form the basis of all design.

Many of the pupils in this department are, therefore, young girls, with bright, animated faces, and an exuberance of spirits that needs the watchful eye and gentle firmness of their instructress to control. Some of them are a study in themselves, as they bend over their pleasant tasks, or lean, in thought

ful mood, upon their hands, surveying critically what they have already accomplished; the graceful turn of the head, with a wealth of curls, or smoothly banded hair, or a coil of heavy braids suiting a profile as classic as the model before them.

Others have more thoughtful faces; life's struggle, perhaps with care and want, from which this will win a release, has already commenced. Study is with them an earnest purpose, and every moment golden; for others will be dependent upon the labors of their hands. And here, sadder still, the bowed figure, and the gentle smile of pain and patience, mark a sufferer, it may be, for life, to whom this knowledge will be not only an occupation, but one full of the holiest ministry, by bringing constant and unwearied interest, and pleasant thoughts to beguile the monotonous round of the invalid's lonely hours.

The pattern-room has a more novel aspect, though there are not so many at the desks, and there is a more methodical and business-like air about those who occupy them. The walls are filled with strips of paper hangings, or gay flowers, on dark backgrounds, less pleasing in their first aspect than the engravings and prints of the outer room; but here we have also the application of those studies. It does not seem particularly interesting, at first, to watch the flowers, leaves, and tendrils which the young lady we approach is sketching roughly in charcoal upon a white ground. She does not know that we are observing her, and goes on, apparently without an object, until her paper is filled with these fragmentary studies. But here is a leaf that she seems to like; it is transferred to a more open space, a spray from another corner is added, rubbed out, drawn again, but with a different inclination. Now an open blossom, apparently a rude imitation of a rose, then a spray of bells, with the stem entwining the heavier stalk of the rose, the blossom of a sweet pea, with its curling tendrils; and the half-satisfied artist holds up the rough sketch to catch the effect, for the first time noticing that she is observed. But it does not confuse her, visitors are often admitted, and she goes on with a quiet and ladylike self-possession. She is designing a mousseline-de-laine pattern, that you may possibly chance to wear this winter, or at least see at your dressmaker's, the property of some lady who has a fancy for those bright styles that would not suit your figure or complexion.

Now she has an idea of what she intends the figure shall be. A smaller square of paper is produced, and she proceeds to cover it with a dark chocolate ground, in tempera, or water colors, thickened with a size or glue, which gives something the effect of those on wall-paper. On this the tiny bouquet she has designed is placed, every touch being in full relief; now a stem, now a petal is added, until the whole shall receive her own approbation or that of her teacher, who is busy, with a large drawing-board before him, in a distant part of the

room. The combination and execution are not so speedily finished as described; but this is the process, the result of previous study, both in taste and skill.

There is a pile of finished patterns submitted to our inspection; those which even your inexperienced eye selects as superior to the rest are already ordered for a manufactory; the others are merely studies, or are still for sale. You can see also the great improvement effected in this year's patterns over the last, both in grace and ease of design, and smoothness of execution. Here are some intended for lawns or fine chintzes, in contrast to the warm coloring of the mousselines, a white or pale tinted ground, with a delicate spot, star, leaf, or lozenge, in some contrasting tint. What infinite variety and changeful fancy! And this is a business increasing yearly in importance; for the present season, the richest Organdies have been produced by the French manufacturers, so beautiful in design that they have taken the place of silk fabrics in demi-toilets. They are printed à disposition, as it is called, as brocades are now woven; that is, one pattern for the skirt, another corresponding, but still different, for the waist and sleeves, and a running border for the five flounces which fashion at present dictates. Exquisite cashmeres and tissues are also printed in this style, plain colors being voted out of date, so richly ornamented are the designs and colors in use. This branch of the school will therefore be one of the most lucrative connected with it, as well as one of the lightest and most truly feminine employments that can be chosen.

But here we have scrolls and arabesques on a larger scale, and recognize something very like a fine wall-paper, in the corner, already finished. This also is an order; and those three patterns near you have been printed from the designs of the same young lady, one of the original pupils, who displays unusual promise in her profession. The richest of these is more commonly called "gilt paper," being in white, two shades of stone color and gold. It was printed at the large manufactory of Howell & Brothers, in this city, where it is already a favorite pattern. In these there is also great variety, both in design and coloring; they compare with the chintzes in popularity, and the price they will readily command from the manufacturers. The rich bordering gives more scope for tasteful fancy, as you will see by the specimens exhibited.

A third is occupied with the neutral tints in squares and diamonds, which mark the present favorite styles of oil-cloths for entrance halls, and near her, in more glowing colors and larger proportions, an order for a carpet manufactory is being executed. In all of these, nearly the same method is pursued as that at first described, the pattern, of course, being correspondingly proportioned.

Now we find something quite as novel to unpractised eyes. This window is occupied by a small

table, where one of the pupils is busily employed in drawing; but neither on Bristol board nor drawingpaper of any description. A heavy block of smooth gray stone, smoother than the paper itself, receives the fine touches of her crayon. She is lithographing; and these prints lying beside her are proof impressions of a drawing just completed, spirited, clear, far better than many lithographs exhibited for sale in the windows of the print-seller, or bound up in the cheap literature of the day; yet, until very lately, no woman has ever thought of attempting it.

But this reminds us of a not less important, or, in the end, less profitable employment-the woodcutting department. It is a smaller room, and under the charge of a distinct teacher. But perhaps you, ladies, know as little as we ourselves did a few years since, of this process. A hard block of pear-tree wood is carefully prepared, almost as smooth as the stone, on which a drawing is made. The lights of the picture are then carefully cut out, leaving raised lines or ridges in the wood, which correspond to the raised letter on a common type, from which it is printed. Turn to any wood-cut in the magazine, and you will see what care and delicacy this requires; or hold-some of the very prints they are now cutting will be found in our fashion department the present number, the caps, which will challenge comparison with any others in the "Book," the work of far more practised hands. In no department of the school has more rapid advancement been made; and, as the present demand for illustrated books, magazines, and newspapers is still increasing, its value and importance become obvious.

Still another department claims our notice, if you have patience or time remaining, the last now in operation. Did it occur to you to wonder how the design for the wall-paper was to be transferred to the endless strips displayed in the warehouse of the manufacturer? These, too, are printed from wooden blocks, on which the pattern has to be first traced in pencil, and then cut like a coarse wood engraving. They are perhaps half a yard square, and the wood is to be cut away much more from the design; consequently, larger tools and more manual labor are needed. The operator stands at her work with chisel and maHet, patiently and carefully bringing out the complicated design. It seems the hardest work of any, yet those who have chosen it prefer it to any other department in the school. There must be a separate block for every color introduced, so here also is an ample field of employment.

"Is it not hard work?" we say to a young girl almost too busy to notice our approach.

"Not very, except all work is hard, you know," she answers, shaking back the long curls that have fallen over her shoulder.

No doubt she finds all work hard, for she is very

young, not more than fifteen; but how much better this than the close workshop, or the constrained position of the needlewoman! Here also we find a competent teacher, interested in the success of his pupils.

And now we return to the board-room, to discuss the management of the school, full of wonder at its rapid advance and active results.

We find the terms of instruction merely nominal, when we consider the great expense by which such an institution is conducted. Four dollars a quarter for the drawing-class, or, if circumstances seem to require it, only an entrance fee of half that sum, is required. No pupil can pass from this to the industrial department without a careful examination of progress, and even then is required to spend a part of every day in drawing. The principal has knowledge of the character and pursuits of every pupil, and thus there is a great moral influence excited, as well as in the study itself; for, "by infusing a love of the beautiful, the fine arts have a tendency to disgust the mind with the deformity of vice, and, though not always leading to the practice of virtue, they at least tend to the admiration of it."

Yet, strange as it may seem, both at home and abroad, there has been, and still continues to be, opposition to the employment of women in a business evidently so well suited to them, on the plea that it is going out of their sphere, and taking work from those to whom it rightfully belongs.

The importance of Schools of Design to manufacturers no one now attempts to dispute. In looking over the official reports made to the Board of Trade of the English Government Schools, we everywhere find this acknowledged. Speaking of the branch school, Coventry, they say, "Previously to the establishment of the school the manufacturers were dependent upon French designs, which are, indeed, still forced upon them by the influence of fashion; their present obligations, and their hopes of the future, are effectually acknowledged by their support of it."

And at Nottingham, so celebrated for its lace manufactories, the hope is expressed that, in their lace curtains, they "shall soon be able to compete with France and Belgium in what has hitherto been the stronghold of the foreign market-beauty of design."

At Stoke and Hanly, where the great porcelain manufactories are situated, the official report speaks more plainly of the discouragement attending the female schools:

"There is the usual difficulty to be reported in the maintenance of the female classes. Whatever reason may be put forward for their failure, the real and efficient cause is the envy and jealousy of the male artisans, and the offensive regulations with regard to the employment of women in manufactories. In offering prizes for competition, the manufacturers hope to see this done away with, and

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