Amid the deep peace which flowed in upon her, she now recommenced with fresh vigor her artistic occupations, devoting herself with more fervor than ever to religious painting. The forenoon was regularly passed at the easel. What a pleasure it must have been to her now to produce altar and other pictures for the house of the Lord! These she donated to poor churches, sending them sometimes to great distances, even to poor Catholic communities in Greece and Paris. Whenever a call for assistance reached her, according to her capacity she was ready with her offering. Her great industry in art enabled her to respond to numerous requests, and in the course of a long life she rendered many a poor parish happy, which would otherwise have been long compelled to dispense with churchly embellishment. Free from all artistic fastidiousness, she never disdained to make copies of other pictures. Thus with great interest and ability she made a copy of a picture by Overbeck, which she had in her collection, for the chapel of the Sisters of Mercy in Munich. {231} With a modest esteem for her own abilities, she always worked under the supervision of an old master, whose judgment never failed to have its weight with her. A deep and tender sensibility pervades her pictures; and if she betrays a certain timidity in the technical execution, there is evidence of great industry and attention to detail. One of her best works, perhaps, is a portrait of Brentano, an oil painting remarkable for likeness and spirituality of expression. After his death, she had this lithographed by Knauth, and copies struck off. It is given in the first volume of his complete works, and is accompanied by a verse which serves as a burthen to one of his most beautiful legends, as it might to the legend of his life, commencing, "O star and flower, soul and clay, Love, suffering, time, eternity."