From the central hall, a raised marble platform led into the third of the buildings. Here, again, the central hall occupied the entire height, while the sides were divided into two stories. This was one of the Emperor’s Throne-rooms, and he had graciously given it for my use while painting the Empress Dowager’s portraits. I had been told I was to have a “magnificent place for working” in the Winter Palace, and so far as magnificence went, I had it here. But, lofty and spacious as the hall was, it was very dark, and there was also a disagreeable reflection from the shining, yellow-tiled roof of the Palace in front. The court was very small, and the reflection from the roof was consequently unavoidable. My heart fell. It was a dreadful disappointment to find that my “studio,” to which I had so looked forward, was so unsatisfactory as to light! The Empress Dowager’s quarters at the Winter Palace are separated by high walls and guarded gates from the Emperor’s. The pavilions of the Emperor’s inclosure are on a more magnificent scale even than those of the Empress Dowager. The Audience Hall of the Winter Palace is in the Emperor’s inclosure. In Her Majesty’s inclosure, there is a Theater, but the Imperial “loge” is small, indeed, when compared with the splendid hall at the Summer Palace. Tradition seemed to be more rigidly observed here than at the Summer Palace, and everything seemed to be referred to the Emperor; whereas Her Majesty seemed to be the first figure at the Summer Palace, and there, traditional laws were often in abeyance. CHAPTER XXV PEKING--BEGINNING THE PORTRAIT FOR ST. LOUIS The Legation quarter of Peking lies in the Tartar City, just under the walls of the Imperial City. The United States Legation, in 1904, occupied a Chinese Temple on the canal, at the left of the “Water Gate,” the opening of which was exacted by the Allies in 1900. Before this time, there was no gate between the Chien-Mên and the Hata-Mên.