With the Empress Dowager of China

to the Moon, and placed floral offerings on the altar. Then the young Empress and Ladies did likewise, while the eunuchs recited a poem in melodious and rhythmic cadence. The Chinese “recitative” is very musical, much more so, to the foreign ear, than their music. This poem to the Moon was recited by two voices in alternating rhythm with wonderful effect. When the recitation was finished, an “auto da fe” was made of the offerings, to which were added sticks of sweet incense and paper cut in curious designs. Over all was poured some of the inflammable wine from the flagons on the altar, and the flames leaped high above the huge incense-burner that stood on a great bronze tripod in the center of the moonlit terrace. It was a wonderfully picturesque sight⁠—the brilliant circle of splendidly gowned Ladies, with the Emperor and Empress Dowager in their midst, around the flaming censer, whose leaping flames glinted and glowed upon the jewels and gold embroidery of their costumes. The lantern-bearing eunuchs formed a faintly glowing circle around this shining center; and over the whole fantastic picture the brilliant Harvest Moon shone with unwonted splendor, as if to show itself worthy of the obeisances it had just received from this brilliant group.

When the flames no longer leaped from the censer, when only the white smoke of the incense curled through the interstices of its cover, Their Majesties turned away, and the lantern-lit procession followed them to the banks of the lake, where the whole Palace fleet, brilliantly illuminated, lay moored beneath the marble terrace. The eunuchs, holding aloft their gleaming lanterns, stood along the terrace and knelt on the steps leading into the water, while Their Majesties descended them. On two of the boats, at either side of the Imperial barge, the eunuchs held their lanterns to form the characters “Peace” and “Prosperity.” The waters of the lake were now glowing with the reflections of the myriad lanterns and dancing under their many-colored lights. A faint glow still illumined the western sky, while the reflection of the resplendent Moon gleamed like liquid diamonds across the lake! When we reached the Imperial landing-place, its great arc-lights on the two tall, painted poles sent their reflections shimmering, in long, wavy lines, far out into the lake, and almost rivaled in their splendor that of the celestial orb itself.

Although I took part in all these Palace festivals, my work on the portrait was advancing, but I longed for more opportunity to quietly study it and for a little more freedom in working. I felt I needed more time also for my painting. I ardently desired to be able to work some when Her Majesty did not pose, and I finally decided to ask her to allow me to remain at my painting when she and the Ladies went for their morning walks after a short sitting. It was a deprivation for me to give up even one of these delightful walks, when I saw such a charming side of the Empress Dowager’s character, but I felt it must be done. She reluctantly consented to excuse me on a few occasions, but she seemed to feel it was not hospitable on her part to leave me alone; and when she did so she would remain out a shorter time than usual. She seemed so concerned at my working while the others enjoyed themselves, that I soon ceased to ask to be left at work; I could only try to make the best of the time I had at my disposal.

My desire to have more time for my painting and more opportunity for studying the work was not the only cloud in the heaven of these delightful days. As the portrait progressed I found myself constantly running up against Chinese conventionalities as to the way it was done. They wished so much detail and no shadow. Had Her Majesty been alone to be considered, she was artistic and progressive enough to have, in the end, allowed me more liberty; but she, also, was obliged to conform to tradition, and no fantasy could be indulged in painting the portrait of a Celestial Majesty. It was necessary to conform to rigid conventions.

I had such a fine opportunity to do something really picturesque in painting this great Empress and most interesting woman, and I found I was to be bound down by the iron fetters of Chinese tradition! I could neither choose an accessory, nor even arrange a fold according to the lines of the composition. I was obliged to follow, in every detail, centuries-old conventions. There could be no shadows and very little perspective, and everything must be painted in such full light as to lose all relief and picturesque effect. When I saw I must represent Her Majesty in such a conventional way as to make her unusually attractive personality banal, I was no longer filled with the ardent enthusiasm for my work with which I had begun it, and I had many a heartache and much inward rebellion before I settled down to the inevitable.

The Empress Dowager, however, knew nothing of my discouragement, and seemed perfectly contented with the progress of the portrait then on hand⁠—so pleased, in fact, she asked me if I would not like Mrs. Conger to come and see it. I, of course, replied that I would, and an invitation was accordingly sent, through the Foreign Office, inviting Mrs. Conger to come to see the portrait.

As Her Majesty was to receive her in the Throne-room where I painted, it was decided I could not work on that day. I fully expected the portrait would be exhibited in the Throne-room, the only place where it had a proper light; but, to my disappointment, Mrs. Conger was asked to look at it in the small room where it was kept when I was not working on it. When we went in, the Chief Eunuch ceremoniously removed the yellow covering over the “Sacred Picture,” which hung