The Prince of Wales might then have been about forty, but he looked older, which was to be accounted for by his stoutness. Tall and well-built, he had a handsome face; his features were all regular and distinguished. He wore a wig very artistically disposed, the hair parted on the forehead like the Apollo di Belvedere's, and this suited him to perfection. He was proficient in all the bodily exercises, and spoke French very well and with the greatest fluency. He was elaborately elegant--magnificently so, to the extent of prodigality. At one time he was reputed to have debts to the amount of L300,000--which were finally paid by his father and Parliament. As he was one of the handsomest men in the United Kingdom, he was the idol of the women. It was but a little while before my departure that I did his portrait. I painted him at almost full length, in uniform. Several English painters became enraged against me on hearing that I had begun this picture and that the Prince allowed me all the time I asked to finish it, for they had long and vainly been waiting for the same concession. I was aware that the Queen-mother said her son was making love to me, and that he often came to lunch at my house. Never did the Prince of Wales enter my door in the forenoon except for his sittings. As soon as his likeness was done the Prince gave it to Mme. Fitzherbert. She had it put in a rolling frame, like a large bedroom mirror, so as to move it into any of her rooms--something which I thought highly ingenious. The anger of the English artists toward me did not stop at talk. A certain M. ----, a portrait painter, published a work in which he vehemently belittled French painting in general and my own in particular. Sundry parts of the book were translated to me, and they appeared so unjust and absurd that I could not help springing to the defense of the famous painters whose countrywoman I was. Accordingly, I wrote to this M. ---- as follows: