With the Empress Dowager of China

by Katharine A. Carl

One can tell the rank of the Chinese from the outsides of their chairs or carts. Only a reigning Emperor and Empress can go abroad in yellow chairs. The Emperor’s secondary wives ride in orange-colored chairs. The relicts of an Emperor, first or secondary, go in yellow or orange-colored carts. Princesses go abroad in red carts. Mandarins of the first and second degrees ride in green chairs; those of the third and fourth in blue chairs; and there is still another shape and style of chair for the ordinary individual, who may prefer a chair to a cart. The rank and file go in carts. These carts, peculiar to Peking, curious two-wheeled vehicles with heavy, iron-studded wheels, are uniformly covered in blue cloth. The wealth and standing of their occupants are discernible from the quality of the cloth and its trimmings, and the richness of the harness and trappings of the mule which is always used in the Peking carts. The mule in North China is a magnificent animal, much finer than the Chinese horse, which is only a pony.

The Seventh Prince (Prince Ch’un) must have been a most interesting personality. He was brother to the Emperor Hsien-Feng, the husband of the present Empress Dowager; and his wife, the mother of the present Emperor, was Her Majesty’s sister. This Prince was a valued friend of the two Empresses, the present Empress Dowager and She of the Eastern Palace, while they were Co-Regents during the minority of the late and a part of that of the present Emperor, and he remained, up to the time of his death, one of the most trusted advisers of the Regency. He was recognized by foreigners, as well as by the Chinese, to be an enlightened Prince as well as a man of fine character. The esteem in which he was held may have had something to do with the choice of his second son as the Successor of the late Emperor Tung-Chih, who died childless. The Chinese Emperors and their Council may choose the Successor to the Throne. If there be but one son, he is chosen as the next Heir; if there be a number, a selection may be made from them of the one seeming to be most suited for the exalted position. If there be no sons, the Successor is chosen from the nephews without reference to their age or to their being the sons of an elder or younger brother. The present Emperor’s Father, Prince Ch’un, was the seventh brother of the Emperor Hsien-Feng, hence his Chinese name of “Seventh Prince.”

CHAPTER IV HER MAJESTY’S THRONE-ROOM—SOME PERSONAL CHARACTERISTICS

We arrived at the Palace in good time the next morning, as Her Majesty and suite were coming out of the Great Audience Hall. She greeted us with a charming smile and made her usual inquiry for my health. We joined her suite and went along to the Throne-room where the portrait had been begun. This Throne-room is a very spacious and lofty hall; one side of the great room is almost entirely of glass, with only the wooden columns that support the roof between the windows—the lower half of plate-glass, the upper of lattice-work with Corean paper as shades. In the center of this side of windows is a huge plate-glass door, reaching from ceiling to floor. The other three sides of the hall, which separate it from the apartments at the side and back, are of the same beautiful, open woodwork carving I have mentioned as serving as partitions in my pavilion. Those in Her Majesty’s Throne-room were, however, of greater delicacy of workmanship and were more beautiful as to the painted panels. The poems, written on white silk, and alternating with the painted panels, were from Her Majesty’s favorite authors, original poems written by an Emperor or Empress, or laudatory verses dedicated to Her Majesty. There were satin portières at the doorways, and blue silk curtains over the plate-glass windows. Blue, being the Empress Dowager’s favorite color, is used for all the hangings in the Palaces which are not intended for official purposes; where yellow is the color.

On the right of the Throne-room is a small chapel with an altar, over which presides a figure of the contemplative Buddha seated on the lotus. This altar was always sweet with offerings of fresh flowers and fruit. In front of the figure of Buddha stood the incense-burner, with perfumes constantly burning. On the left of the Throne-room are Her Majesty’s sleeping apartments, and behind the open-work partition at the back of the hall is a large ante-chamber where the attendants and Ladies await their turn to make their entrance into the Throne-room. In the rear of the hall is a magnificent five-leaved screen of teakwood, inlaid with lapis lazuli, chalcedony, and many other semi-precious stones. In front of this screen, on a dais, stood an immense, couch-like throne, with a large footstool. These couch-like thrones, where Their Celestial Majesties may recline when holding Audiences, are not at all favored by the Empress Dowager, who always sits extremely erect, without leaning upon a cushion or the back of the throne. Except in the Great Audience Hall, where she uses the traditional throne of state of the Dynasty, she prefers a much lighter and quite modern one, which she has introduced into the Palaces. The thrones favored by Her Majesty are of open carved teakwood, circular in form, with cushions of Imperial yellow. One of these stood in the front part of this hall, on which she sat for the portrait.

The great throne, which I have described above, was hence relegated to the back of the Throne-room and kept for the sake of tradition, but never used by Her Majesty. On either side of it stood two immense, processional fans of peafowl feathers, with ebony handles placed in magnificent cloisonné supports. Superb cloisonné vases stood at either side of these ceremonial fans; and huge bowls of rare old porcelain held pyramids of fruits—apples, sweet-smelling quince, and the highly perfumed “Buddha’s hand.”

And there were flowers everywhere! It was the season of the year when bloomed a sort of orchid, of delicious fragrance, of which Her Majesty is very fond. These were growing in rare porcelain jardinières, placed at intervals around the hall. There were also vases of lotus flowers and bowls of lilies. The combined odors of all these fruits and flowers gave a subtle, composite perfume quite indescribable and delightful, but not at all overpowering, for the Empress Dowager is so fond of fresh air that there are always windows open in the Palace, even in the coldest weather.

Aside from the fruits and flowers, clocks were the dominant feature of this Throne-room, as well as of every other one I ever went into in any of the Chinese Palaces. The love of the Chinese for clocks and timepieces is well known, and there are thousands in each of the Palaces I visited. In this Throne-room there were, as I have said before, eighty-five: magnificent jeweled and gold clocks, and specimens of all the varieties that were ever made; some with chimes; some with crowing cocks and singing-birds; some with running water; some with musical-box attachments, and others with processions of figures that came out at every hour and moved around the dial; some rare works of art and some commonplace examples of the clockmaker’s trade. There are many foreign ornaments in the Palace, but, aside from the clocks and watches, Her Majesty the Empress Dowager does not seem to care much for European “objets de virtu.” Unfortunately, what they have at the Palaces, aside from a few presents from European sovereigns, are generally very poor specimens of European art, and compare but lamentably with the beautiful Chinese curios. They are principally cheap modern stuff, bought by the Chinese nobles when abroad and sent as presents to Their Majesties. These presents, when they are accepted, are placed in apartments of the Palace not in general use.

When Her Majesty had her official garments removed (she always changed her dress after the morning Audience), and when the portrait had been placed upon the easel, she came over to look at it. After studying it for some time, she concluded that the nail-protectors on both hands were not artistic, and that she would have the gold ones (set with pearls and rubies) taken off, and show the uncovered nails on the right hand. I was delighted at this decision, for the nail-protectors destroyed the symmetry of the hand and hid the beautiful tips of her fingers. I had, of course, not presumed to make any suggestions as to her costume or ornaments. As the nail-shields are characteristic of the high-class Chinese ladies, it was well to have them on one hand.

After this change had been decided upon, she went over to a great vase, standing near, and took from it a lotus flower, held it up, in a charmingly graceful way, and asked me if that would not be pretty in the portrait, adding that the lotus was one of her attributes. As the color did not harmonize with the general scheme, I did not care for this suggestion, but temporized by saying “I was not ready to put it in then.” After a little more than an hour’s work, with the usual interruptions, she decided that enough had been done for that morning. When I suggested that I might work even after Her Majesty was tired, she said “No,” that if she were tired sitting still, I could not fail to be more so doing the work and standing as I did. She said there was no hurry, that I had plenty of time to finish the picture, and must not run the risk of making myself ill.