“You ask, my friend,” she says, in one of her letters, “why Como is ever in my thoughts? It was at Como that, in my most happy youth, I tasted the first real enjoyment of life. I saw stately palaces, beautiful villas, elegant pleasure-boats, a splendid theatre. I thought myself in the midst of the luxuries of fairyland. I saw the urchin, too, young Love, in the act of letting fly an arrow pointed at my breast; but I, a maiden fancy free, avoided the shaft, and it fell harmless. After the lapse of years,” she proceeds, “the genius that presides over my destiny led me again into this delicious region, where I tasted the delights of friendship with the charms of nature, and listened with deeper joy than ever to the murmur of waves on that unrivaled shore. One day I was walking with agreeable company around one of the most beautiful villas near the lake. In the shadow of a wood I again saw the youthful god slumbering. I approached him. He awakened, looked at me, and, recognizing her who had contemned his power, sprang up suddenly, intent on swift revenge. He pursued me, the arrow sped once more, and but by a hair’s breadth failed to reach my heart.”
All too quickly, indeed, passed the two years of her first residence in Como; and it was with poignant regret that she left her beloved home, when, in 1754, her father went to settle his family in Milan.
Even this dreaded change, however, was a fortunate one; for it seemed to be appointed that Angelica’s youth should glide away like a stream in the sunshine of happiness. A new world of wonders opened to her view in this city, where she saw works of art surpassing in merit those she had yet beheld. She had copied antique models in her drawing, and the engravings of pictures by the early masters which were among her father’s treasures. Here she was first introduced to an acquaintance with works of great beauty and importance in the history of art. Here Leonardo da Vinci had labored, and founded a school in which are still conspicuous the gentle dignity, purity, and elevation that live in his creations. The impressions received from her contemplation of the productions of the most famous of the Lombard masters, and the care with which she studied them till her own style became imbued with their spirit, decisively influenced the professional career of the young artist.
The change had a not less favorable effect upon her worldly circumstances. Her copies of some pictures found in the palace of Robert d’Este, Duke of Modena and Governor of Milan, induced him to declare himself her patron, and led to her introduction to the Duchess of Carrara. After she had painted by command the portrait of that princess, she received orders for a number of pictures for other ladies of rank.
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.
Yet even Florence was regarded by her only as a place of preparatory study; the great goal of her ambition was Rome. Thither she went in 1763, and her usual good fortune followed her. She went through a course of perspective the following year. The immortal Winkelmann was then in the midst of his great work of breathing new life into ancient art, and it was his delight to interpret the inspiration for others, and to promote social intercourse and a good understanding among artists.
It was not long ere the youthful votary became acquainted with this great man. It was beautiful to see the friendship that subsisted between this girl of eighteen, in the fresh bloom of life, and the experienced man of sixty, who had spent so many years of labor in his profession: she brilliant and ardent, full of hope and enthusiasm—his brow furrowed with study and reflection; both inspired by the same spirit; both having felt the same ardent desire to visit the Eternal City.