This event, simple in itself, opened up for him a new career. Seated on a wooden form in place of a silken couch, eating crusts of stale bread and drinking plain water instead of orange syrup, Topaz was brought to well-doing by misery, the great teacher of morality and virtue, when it does not sink the sufferer deeper into the slough of debauchery and vice. Having nothing better to do, Topaz reflected on his precarious, dependent position, and his mind was filled with a longing for liberty, labour, and glory. He felt he had come to the critical point of his life, when it was necessary for him to choose a profession. No career seemed to offer the same freedom and boundless prospects as that followed by the successful artist. This became a settled conviction in his mind, and, like Pareja the slave of Velasquez, he set himself to picking up the secrets of the limner’s art, and might be seen daily perched on the top of the easel, watching each mixture of colour, and each stroke of the brush. As soon as his master’s back was turned, he descended, and going over the work with a light hand, and a second coat of colours, retired one or two paces to admire the effect. During such moments he might be heard muttering between his teeth, the words used by Corregio, and later by the crowd of youthful geniuses with which Paris is inundated: _Ed io anche son pittore_. One day, when his vanity caused him to forget his usual prudence, the master caught him at work. He had entered his studio elated with joy, having {164} received a commission to paint a cartoon of the Deluge, for a church at Boulogne-sur-Mer, where it rains all the year round. Nothing renders one so generous as self-satisfaction; instead, therefore, of taking the mahl-stick and beating his disciple, “In good faith,” he said, like a second Velasquez, “since you wish to be an artist, I give you your liberty, and, instead of my servant, I make you my pupil.”