Some Winter Days at the Palace
The big, official portrait for St. Louis was advancing. I was able to accomplish much more now that I had a place where I could work uninterruptedly, and quietly study the painting when I was not working. Her Majesty came, with her usual retinue, to pose, but it was not at fixed times, and was often when I did not expect her. She was looking more and more anxious these days; but she came to pose whenever it was necessary, and was very particular as to all the details in the portrait. She often had the jewels and ornaments changed, and her pearl mantle was made over, after she saw it in the first sketch, as she did not like its form.
The throne, about which there had been a question when I began the portrait, and which had been a present to Her Majesty from the late Emperor Tong Chih, her son, had been “lost” during the Boxer troubles, but Her Majesty thought it might be reproduced from descriptions and from sketches by the Palace painters who had seen it; but I could not consent to work either from memory or other painters’ sketches, and I was finally obliged to paint, faute de mieux, one of the carved teakwood thrones of which Her Majesty is so fond. This throne did not suit the straight lines of the composition so well as almost any other in the Palace would have done, but Her Majesty wished it.
I found the representation of the nine life-size phoenix, in vigorous colors, on a blue cloisonné screen placed almost touching the throne, very difficult to represent, so that they did not seem to be real birds flying around her head. The vases of flowers and ornaments were also placed at exactly equal distances on either side of the throne, but it was necessary to paint them this way. It would not have been “proper” otherwise. The