With the Empress Dowager of ChinaCarl, Katharine A. (Katharine Augusta)
History
With the Empress Dowager of China
Carl, Katharine A. (Katharine Augusta)
China -- Court and courtiers; Cixi, Empress dowager of China, 1835-1908; Empresses -- China -- Biography
The morning after our return to the Summer Palace, my easel was again
placed in the Throne-room. The portrait was taken down from its
resting-place and work resumed. Her Majesty gave me a long sitting,
and the portrait made a step ahead. If I had only had a place to work
alone, where I might study the picture, when she was not posing, I
could have made so many improvements! But I was obliged to possess my
soul in patience, and work along for the short space of an hour or so a
day and stop the moment Her Majesty felt fatigued, when my brushes and
palette were whisked away, as if by magic. There was no chance to study
the portrait or to do anything, except when the Empress Dowager and the
crowd of attendants were present.
I had taken to the Palace only a small folding easel, which was not
at all suitable for regular work on so large a portrait, but it was
impossible to get a better one in Peking. Her Majesty, who observed
everything, noticed that it was not convenient, and suggested that I
draw a design for a large easel and give it to the Palace carpenters to
copy. She thought they would be able to make me one. I did so, and they
made me a very satisfactory working easel. When the eunuchs found that
this Palace easel suited me, five others of different sizes were made.
I asked for what reason, and was told that everything for Her Majesty
was made in sixes. It would have been establishing a precedent, making
an innovation, to have fewer than six easels for her portrait.
Her Majesty also ordered some large flat boxes, with lock and key, to
be made for my materials. These boxes were covered in yellow, for they
were to be used for the Sacred Picture, and must be in the Imperial
color. I forgot to say the six easels had all been stained a bright
yellow! A table, surmounted by one of these yellow boxes, occupied a
prominent place in the Throne-room during the whole time this portrait
was being painted. When I finished painting each day, the Chief Eunuch,
himself, removed the picture from the easel, and a number of others
came and took my brushes and palette, put away the easel and closed
the yellow box and locked it. Our head eunuch carried the key to the
box.
Public-domain text, read in full here on John Shaqi.
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