The associations to which this success gave rise contributed to give the youthful painter that self-possession and dignity of manner, combined with a quiet modesty most becoming her age and sex, which afterward marked her deportment in elevated circles of society. Thus the few years of Kauffman’s residence in this favored Italian city were productive of manifold advantages to his daughter. The death of his wife determined him to another removal, and he went to undertake a great work in his native city of Schwarzenberg. In this enterprise Angelica was of essential service, having for the first time an opportunity of engaging in an enterprise of magnitude, and of a kind not often practiced by women. She painted in fresco the figures of the Twelve Apostles after copper engravings from Piazetta. It has been said that the time spent in this country at this period by the young artist was in the home of her father’s brother, an honest “farmer, in comfortable though narrow circumstances. At first, Angelica, accustomed to the wonders of art and the splendor of Italian cities, could scarcely bring herself to endure this homely mode of existence. The rude manners of those by whom she was surrounded--the utter want of elegance or taste--displeased and disgusted her. Gradually, however, as habit softened down these first impressions, the poetic side of the picture dawned upon her mind. She learned to love the homely simplicity of that hospitable dwelling, with its gabled front and narrow windows--the gloom and solitude of those dark pine forests, through which the sunbeams could scarcely penetrate, and ceased to long for the marble palaces of Milan and the orange-groves of Como. Besides, she had little time for idle regrets, the interior decoration of a church in the neighborhood being intrusted to her father and herself. Her success in an undertaking so difficult excited considerable attention.” After the completion of this work, which won the enthusiastic appreciation of the Bishop of Constance, a season of disquiet followed, with frequent changes of residence and a crowding of commissions, while the artist in vain longed for an opportunity to revisit the depository of art treasures--Italy. To fulfill this wish, and complete her artistic education, Angelica first returned with her father to Milan, and thence went to Florence, where she threw herself with restless zeal into the study of the great master-pieces in which that city is so rich. Her performances already met with the appreciation that was afterward testified by the admission of her portraits into the collection there made of original paintings by artists of celebrity. Cardinal de Roth called her to Constance for his portrait.