With the Empress Dowager of China

of the Empress Dowager and the ladies, to find that the portrait, though placed in the frame as I had desired, was in the center of the narrow hall, and every window on both sides had been opened to its widest extent, and the light came in from all sides! I had shut off all the lights of this hall, except the double windows to the north, where I had the upper glasses put in, and this is where the picture should have been placed, but as Her Majesty’s Throne always occupies the center of the Throne-rooms, the eunuchs evidently thought that was the proper place for her portrait when on exhibition. As the halls are narrow in proportion to their length, no one could get further off than four feet from this life-size portrait. This, added to the cross-lights, was heartrending. I was in despair. Her Majesty’s presence prevented my ordering the eunuchs to change the position of the portrait, and, besides, everyone had already seen it! The ladies, who could not do otherwise than express their admiration in the presence of both the August Subject and the artist, duly praised the portrait. Her Majesty, who knew how it looked in its proper light, and who only glanced at it here, did not realize at what a disadvantage it appeared, and was perfectly satisfied with the effect.

The Portrait of the Empress Dowager in Its Frame

This Frame is Made of Camphor-wood Carved in the Palace after the Empress’s own Designs and under Her Direction

An amusing little incident took place while the ladies were looking at it. The Empress Dowager, in her cursory examination in this light, noticed a part of the trimming of the gown where the design was not well worked out. She came up to me, as I stood in a group of ladies, and pointed out the defect. She took my hand in hers, and said in an almost pleading way, “There is a bit of trimming that is not well finished. You will arrange it for me, will you not, Ker-Gunia?” She did not believe in leaving anything to the imagination, and wished every detail fully worked out!

This portrait was very successfully photographed, and Her Majesty concluded she liked it much better than the one which had been sent to St. Louis. She said it would make me “famous.” But when I thought of how I might have painted this wonderfully interesting woman in the unique setting in which she was placed, I realized that “it might have been” are really the “saddest words of tongue or pen.”

The precedent having been established, the idea of a representation of the Sacred Person of a Chinese Majesty being seen by the world having been accepted, the painting of Her Majesty’s first portrait not having been followed by the dire results that the Chinese had prophesied, the traditional prejudice was overcome, and when she saw how quickly the photograph was made of the portrait, and how satisfactory it was, she decided she would have the photographer try one of herself, and she was not one to stop at a single trial. After waiting sixty-eight years to see a counterfeit presentment of herself, I know she will now indulge this new fantasy of hers to its fullest extent, and perhaps some other artist may at some time paint her according to western ideas, and represent her attractive personality in its best setting. But there must always be a pioneer, and he it is who suffers the hardships and makes the way clear for others, which must be my solace and consolation for not being able to paint her as I should have liked. The Empress Dowager “consented” to have a portrait of herself painted. Before I finished the first one she told me she wanted “many,” and suggested my passing the rest of my life out in Peking. I painted four. Who will do the others?

I felt I could not go on forever painting portraits, according to Chinese traditions, of the Empress Dowager. I could not spend my life in this dalliance with Oriental splendor. The world beyond the Palace gates called me. I hurried to finish my task. The last portrait was nearing completion. My sojourn at the Palace was drawing to a close. Though I longed to be where I might paint in a freer way, I looked forward with real regret to leaving the Palace, and especially to leaving the Empress Dowager and the young Empress, for I had come to really love them. I found Her Majesty by far the most fascinating personality it had ever been my good fortune to study at such close range. The young Empress was a sweet, kind nature, full of dignity and pathos, for whom I prayed there might be greater happiness in store than had yet fallen to her lot. My sojourn at the Palaces of Her Imperial Majesty the Empress Dowager of China, my association with herself and the Ladies of her Court, I shall always remember as one of the most charming experiences of my life.

List of Illustrations

1. The Dowager Empress and her court ladies enjoy a boating excursion.

2. A drawing of princesses of the court in various costumes.

3. A drawing of Ye-Ho-Na-Lah, the Emperor’s first wife.

4. A photograph of the American legation building.

5. A photograph of a man standing in front of stairs which lead to the archway of a Chinese building.

6. A photograph of scenery on the road from Peking to the Summer Place.

7. The Empress Dowager writes a piece of calligraphy.

8. The Empress Dowager calls a bird in the gardens of the Summer Palace.

9. A Chinese official kneels during an imperial audience.

10. A photograph of the Summer Palace, with ruins in the background.

11. A drawing of the Emperor’s secondary wife.

12. A photograph of a lakeside gate at the Summer Palace.

13. Drawings of four princesses.

14. The imperial