There has been a great change in public feeling since the day, not twelve years since, when I heard Dr. Parkman refuse Lucretia Mott permission to speak in the old Federal-street Church.
Among historical instances of the theological influence of woman, that of the Countess Matilda stands pre-eminent; but a book by Capefigue, recently published at Paris, shows, that Madame de Krudener was the first to conceive the idea of the Holy Alliance, and her influence over the Emperor Alexander was sufficient to induce him to propose what his allies had no power to decline. Her purpose was finally accomplished, by her engaging the emperor in prayer. She was finally exiled, and died, I believe, in the Crimea. It was pretended that her preaching was dangerous; but, as she spoke only in French, that could hardly be true.
ART SCHOOLS.
An art school, which started some years ago in Boston, in private hands, finally surrendered its casts, lithographs, and so forth, to the teachers of the Free Art School of the Lowell Institute. The female classes of this school are always crowded, and are doing a great deal of good. Artists are accustomed to say very disparaging things of the school at the Cooper Institute; but I visited it in December, 1866, and found a very great improvement within a few years. Under Dr. Rimmer, a most admirable lecturer on anatomy, there has been an infusion of new life. The drawings from casts looked better than I have ever seen them. They have a good master in color, and the drawing and engraving on wood by the pupils find a ready market. Two of them, Miss Roundtree and Miss Curtis, are said to have a high reputation. I was delighted to find a large class coloring photographs; for heretofore it has been almost impossible for women to receive decent instruction in this art. The classes are all full; and three times the number of pupils might be received, if there were more light in the large rooms. It is to be hoped Mr. Cooper may some time divide them, and put in gas.
I have taken advantage of the residence in this country of a well-known member of the Royal Academy, Mrs. Elizabeth Murray, to ascertain what circumstances led to the formation of the Society of Female Artists, in London. To Mrs. Grote, the wife of the historian, and Mrs. Murray herself, this society owed its existence, somewhere in the winter of 1854 and 1855. There is no objection to it, so far as I know, except one apparent on its catalogues, the present preponderance of distinguished amateur artists on the Board of Direction. I insert here Mrs. Murray's letter in reply to my inquiries. The best artists, such as Rosa Bonheur and Mrs. Murray herself, exhibit with this society.
My dear Mrs. Dall,—On my return to England, after an absence of many years, I found that women labored under very disheartening conditions; their professional occupations consisting chiefly of teaching, music and singing, literature and the fine arts. In the latter department, they came more under my own personal observation; and I found, that, although they were countenanced by men individually, collectively they were persecuted by men, seldom being permitted membership with any public body, or, when admitted, were not allowed the full privileges accorded to men.
For instance: At the Royal Academy of London, women are not admitted at all to membership. On the walls of that exhibition may be seen the works of women, which rank among the best; but here their privilege ends. They assist in bringing their quota of the entrance fees, the main source of income of the academy, while they are debarred from all privileges and emoluments.
The two water-color societies profess to admit women as
members, which they do to a very limited extent; but even here they are subject to the same restrictions. Under these circumstances, the project occurred to me of founding a separate and independent society, which should include only the works of female artists, in order to give to those excluded from other societies, opportunities of asserting their own powers.
The first step was to get up an exhibition to excite public sympathy in favor of the scheme. This was a most difficult undertaking, as opposition was met with, not only from men, but from the very women whose interests were at stake; those who were strong in the profession fearing to lose caste, and the weaker ones being afraid to act independently.
After much perseverance and explanation, several large-minded persons of the more moneyed and influential ranks in society came forward, and assisted, by their cordial co-operation, in establishing a temporary committee. Money was freely contributed; and the society had a fair start, opening to the public a very creditable exhibition of the works of female artists.
Finding that, for the future, I must necessarily be absent from England, I retired from the Committee of Direction.
The society has continued in a more or less prosperous condition up to the present time, although my plan of establishing an adequate school of art has not been carried out. Much private good has been the result; and I think the class of women for whom the society was founded, have been raised in position. Believe me, dear madam,
Very truly yours,
(Signed) Elizabeth Murray.
13, Pemberton Square, Dec. 22, 1866.
In Paris, Rosa Bonheur is now the directress, under the government, of the École Impériale de Dessein, established exclusively for young women.