After greeting Mrs. Conger, the Empress Dowager looked toward me, and I advanced with a reverence. She met me half-way and extended her hand with another brilliant smile which quite won me, and I spontaneously raised her dainty fingers to my lips. This was not in the protocol program. It was an involuntary and surprised tribute on my part to her unexpected charm. She then turned and with graceful gesture extended her hand toward the Emperor and murmured “The Emperor,” and watched me closely while I made His Majesty the formal reverence. He acknowledged the salutation by a slight bow and a stereotyped smile, but I felt that he, too, was closely scrutinizing me as his shrewd glance swept my person. After a few moments’ conversation, interpreted by the Ladies Yu-Keng, Her Majesty ordered my painting things brought in, while she retired to be dressed in the gown she had decided upon as appropriate for the portrait. After she had left the Throne-room, I tried to take in the conditions of the place for painting. The hall was large and spacious, but the light was false, the upper parts of the windows being covered with paper shades. The only place in the hall where there was any sort of light for painting was in front of the great plate-glass doors, and this was but a small space in which to begin so large a picture. To get a light upon the portrait, as well as upon the sitter, I should be forced to place my canvas very near the throne where she was to sit; and, with so large a portrait as I was to paint, this would be a great disadvantage. When I thought I must paint here, and begin at once upon the canvas which was to be the final picture, my heart fell! Her Majesty wished, above all, to have a large portrait, and I was told she would not understand my beginning on a small canvas or making any preliminary studies--that if I did not begin on the big canvas at once she would probably not give me any more sittings; in fact we had that morning been told at the Foreign Office that Her Majesty was to give me but two sittings, so there was no alternative! There could be no preliminary poses, no choice from several sketches, and only a few moments in which to choose the pose, which must be final--and I totally ignorant of the possibilities of my sitter or her characteristics.