Napoleon by the daughter of the Emperor of Austria, the boy whom for some reason everyone called “The King of Rome.”
A very pretty curly-headed boy with a look of the Christ in the Sistine Madonna was depicted playing at stick and ball. The ball represented the terrestrial globe and the stick in his other hand a scepter.
Though it was not clear what the artist meant to express by depicting the so-called King of Rome spiking the earth with a stick, the allegory apparently seemed to Napoleon, as it had done to all who had seen it in Paris, quite clear and very pleasing.
“The King of Rome!” he said, pointing to the portrait with a graceful gesture. “Admirable!”
With the natural capacity of an Italian for changing the expression of his face at will, he drew nearer to the portrait and assumed a look of pensive tenderness.
He felt that what he now said and did would be historical, and it seemed to him that it would now be best for him—whose grandeur enabled his son to play stick and ball with the terrestrial globe—to show, in contrast to that grandeur, the simplest paternal tenderness.
His eyes grew dim, he moved forward, glanced round at a chair (which seemed to place itself under him), and sat down on it before the portrait. At a single gesture from him everyone went out on tiptoe, leaving the great man to himself and his emotion.
Having sat still for a while he touched—himself not knowing why—the thick spot of paint representing the highest light in the portrait, rose, and recalled de Beausset and the officer on duty. He ordered the portrait to be carried outside his tent,