figure was in the exact center of the threefold screen, and so near it, it was impossible to get any atmosphere in the background. There was not a fold in either gown or sleeves; but I had now resigned myself to convention and tradition, and I copied mechanically what was placed before me, and made no more efforts at artistic arrangements, nor tried any experiments in execution. I worked like a good artisan, finishing so many inches a day.
The weather was now too cold for anything but the short constitutional, and, besides, there was no place in the Winter Palace to tempt one to promenades—only the walled-in courts and the shut-in walks, between high walls. Even Her Majesty’s promenades were confined to going to the Audience Hall in the morning, and walking through the courts, from one Throne-room to another.
Every day we saw the Empress Dowager for some moments in her Throne-room before I went to my work. On Theater days, I made her my morning salutation in her loge at the Theater, and when the light faded and I could paint no more, I would go into the young Empress’s and the Ladies’ loge for the last play and the spectacular finale, when there were always some good illuminations and pretty effects. Her Majesty and the young Empress seemed now to perfectly understand that I wanted to work, and must work, in order to finish the large portrait for the St. Louis Exposition. They saw I appreciated the amusements and ceremonies, etc, but that I did not wish them to interfere with my work. When there was a special festival, or some fine ceremony, I was always called in, but otherwise I might go or not, as I wished.
I lunched generally with the Ladies, with the charming young Empress as gracious hostess, and dined at night at Her Majesty’s table. Two huge copper braziers had now been placed in the Throne-room, and though so picturesque with the blue flames curling above their openings in the top,