Many girls work at dressmaking in the summer months, taking to the stage regularly when the pantomime season comes on. Then there is the ballet, which in London alone employs thousands of women. An ordinary ballet dancer receives £1 to £1 10_s._ a week, and has to work hard for her money; the best members of the troupe however may earn as much as 35_s._ a week. The earnings of “solo” dancers are of course much higher. English principals in pantomimes receive £5 and £9 a week, but the usual custom is to employ foreigners--French or Italians--who are paid as much as £12 a week. Popular performers receive fancy salaries, and a dancer or music-hall singer who has hit the public taste sometimes makes as much as £70 a week. A lady in this branch of the profession was recently invited to visit America at a salary of £250 a week. A “variety artist” sued her manager for £43 6_s._ 8_d._ as a week’s salary, and gained all but the odd £3 6_s._ 8_d._ Miss Loie Fuller, the “serpentine” dancer, was engaged, as a subsequent lawsuit shewed, by a French manager for three years, at a salary of 102,000 francs, or over £4000 a year. If reward went by talent and artistic culture these figures would be highly satisfactory, but as a rule the reverse is the case. With regard to dancing, however, public taste is improving, and both on the stage and in private houses graceful dancing--dancing worthy of being called an art--is increasingly appreciated. A really good dancer is highly paid, though not upon the extravagant scale quoted above. =Handicrafts.=--A word must be said about the position of women in artistic crafts and in designing, though it is to be feared that the account will somewhat resemble the famous chapter on “Reptiles in Ireland.” Pottery is almost the only field in which women are employed as designers, and here, as in isolated examples in other trades, what has happened is rather that an artist has turned trade designer, than that the trade has educated an artist. For example, a lady now carrying on business as a jeweller was educated at an art school, and owing to some accidental circumstance began designing for a jeweller. Eventually she set up in business for herself, and still designs many of the articles manufactured in her workshop. Isolated cases of the same kind might be cited from other trades. Speaking generally, however, women designers have not shaken themselves free from the trammels of the art schools, or gained the practical acquaintance with crafts and manufacture which alone can make their work marketable. It is probably more difficult for women than for men to gain this practical knowledge, and those who mean to succeed must bring both courage and perseverance to the task.