The next piece of work which occupied my attention after taking leave of Mr. Garthwaite, offered the strongest possible contrast to the task which had last engaged me. Fresh from painting a bull at a farmhouse, I set forth to copy a Holy Family, by Correggio, at a convent of nuns. People who go to the Royal Academy Exhibition, and see pictures by famous artists, painted year after year in the same marked style which first made them celebrated, would be amazed indeed if they knew what a Jack-of-all-trades a poor painter must become before he can gain his daily bread. The picture by Correggio which I was now commissioned to copy had been lent to the nuns by a Catholic gentleman of fortune, who prized it as the gem of his collection, and who had never before trusted it out of his own hands. My copy, when completed, was to be placed over the high altar of the convent chapel; and my work throughout its progress was to be pursued entirely in the parlor of the nunnery, and always in the watchful presence of one or other of the inmates of the house. It was only on such conditions that the owner of the Correggio was willing to trust his treasure out of his own hands, and to suffer it to be copied by a stranger. The restrictions he imposed, which I thought sufficiently absurd, and perhaps offensively suspicious as well, were communicated to me politely enough before I was allowed to undertake the commission. Unless I was inclined to submit to precautionary regulations which would affect any other artist exactly as they affected me, I was told not to think of offering to make the copy; and the nuns would then address themselves to some other person in my profession. After a day’s consideration, I submitted to the restrictions, by my wife’s advice, and saved the nuns the trouble of making application for a copier of Correggio in any other quarter.