With the Empress Dowager of China

In Short

This memoir recounts the experiences of an American artist invited to paint the portrait of the Empress Dowager of China in the early 1900s. Living within the secluded precincts of the Imperial Palace, the author observes the intricate rituals, courtly etiquette, and daily habits of a world largely hidden from the West. Far from a dry political history, the book captures the human side of the Manchu court, focusing on the personalities of the Empress, the Emperor, and the ladies-in-waiting, while providing a vivid, respectful window into a vanished era.

The Story

The narrative begins with the author’s arrival at the Summer Palace, where she is ushered into the “sacred precincts” to begin her task. From the outset, the reader is immersed in the opulent, highly structured environment of the Chinese court. The author describes the sensory details of the palace—the red-lacquered architecture, the rare blooming plants, and the quiet, noiseless efficiency of the eunuchs who manage every movement.

As the portrait sittings progress, the author moves past the formality of her initial presentation. She is drawn into the daily life of the court, joining the Empress Dowager and her ladies for tea, lunch, and leisurely boat trips on the palace lakes. Through these interactions, the author shifts her perspective from that of an outsider to a sympathetic witness. She details the Empress Dowager’s "universal" charm, her sharp intelligence, and her genuine interest in the arts and household management.

The story also delves into the lives of other court figures, notably the Emperor Kwang-Hsu. The author describes him as a stark contrast to the Empress—ascetic, intellectual, and "typically Oriental," with a reserved, serious demeanor. She explains his complicated role as the "Son of Heaven," struggling under the weight of tradition while harboring dreams of progress. The author further explores the lives of the ladies-in-waiting, particularly the young Empress, whose grace and dignity leave a lasting impression.

The narrative provides a candid look at the political isolation of the palace, describing the “gilded prison” existence of its inhabitants. The author reflects on the events of 1900, recounting the Empress Dowager’s fear and eventual flight from the city during the Boxer Rebellion. This glimpse into the volatility of the outside world underscores the fragile nature of the court’s sequestered peace.

As the portrait work nears completion, the author experiences a growing sense of attachment to the women of the court. The final chapters transition from a professional account to a personal reflection on her departure. She acknowledges the limitations of her time there—the inability to truly capture the soul of the Empress in paint—but concludes with a profound appreciation for the warmth and humanity she discovered behind the imperial gates. She leaves the palace not just as an artist who finished her commission, but as someone who experienced a profound, fleeting connection to a world on the brink of change.

How It Unfolds

The voyage begins The author travels sixteen miles from Peking to the Summer Palace, passing through guarded gates into the heart of the imperial residence. She is immediately struck by the silence and the rigorous, centuries-old protocol that governs every action within the palace walls.

An inside view The daily schedule of the Empress Dowager is revealed, from the morning Audience to the afternoon nap and evening theater performances. The author finds herself participating in these rituals, learning the nuances of Chinese etiquette and even mastering the use of chopsticks.

Studying the subjects The author provides detailed character sketches of the Emperor and the various princesses, noting their temperaments and their daily duties. She contrasts the Empress Dowager’s magnetic personality with the Emperor’s quiet, ascetic intensity.

The weight of history The narrative pauses to reflect on the turbulent year of 1900, offering a sobering account of the court's desperation during the siege of Peking. This section humanizes the imperial family’s fear, showing the Empress Dowager as a vulnerable woman rather than a detached figurehead.

The final portrait As the painting reaches its conclusion, the author faces the reality of returning to the outside world. She balances her desire for creative freedom with a genuine sense of loss at leaving the companions who welcomed her into their private lives.

The People

• Empress Dowager Cixi: The central focus of the book, she is portrayed as a woman of immense charm, intelligence, and administrative capability. Despite her absolute power, the author emphasizes her love for flowers, her skill at games, and her keen, royal memory for people.
• Emperor Kwang-Hsu: A figure of intellectual depth but lacking in personal magnetism, he is described as a man of slight figure and great reserve. His struggles to reconcile his desire for progress with the "immutable" laws of his dynasty define his tragic, constrained existence.
• Sih-Gerga (Fourth Princess): The Empress Dowager’s first lady-in-waiting, she is depicted as a woman of great beauty and dignity. Her life as a widow, and the respect she commands, provides insight into the status of women in the Manchu court.
• The Chief Eunuchs: Specifically Li Lien Ying, whose shrewdness and intelligence make him a powerful, if controversial, figure in the palace. The author treats these men as essential, complex functionaries whose influence is a direct result of the court's forced isolation.

In Its Own Voice

"When the young Emperor first took over the direction of affairs and held his Audiences alone, he would get very impatient at hearing several of these old men go over tiresome details."

(The author describes the Emperor’s attempts to escape the tedious rigidity of his courtly duties.)

"The Chinese are not a religious people, though so moral a race."

(The author reflects on the philosophical nature of the Chinese people, noting that their traditions are grounded more in Confucian ethics than in dogmatic religious observance.)

What It's Really About

The book explores the tension between tradition and modernity, and the human search for connection within a strictly defined hierarchy. At its heart, it is an argument against the "foreign" caricature of the Empress Dowager as a mere tyrant. The author suggests that the imperial court, while often seen as an "empty shell" of ancient rites, was a living, breathing community of individuals bound by duty, art, and nature. It poses questions about the nature of power, the isolation required by such leadership, and whether true understanding can ever transcend cultural barriers.

Why Read It Today

Readers who enjoy intimate, observational memoirs will find this book deeply rewarding. The author writes with a warmth that softens the edges of historical distance, making the daily life of a long-vanished court feel tangible and present. You will appreciate the vivid descriptions of palace life—the scents of perfume, the intricate details of silk, and the quiet moments of laughter at the dining table.

However, be prepared for the author’s period-specific attitudes; she writes from a Western perspective of the early 20th century, and her views on class and "oriental" customs reflect the biases of her time. The pacing is reflective rather than action-oriented, mirroring the slow, measured flow of life in the palace. It is a slow read, best enjoyed by those who prefer immersion in a specific time and place over a fast-paced plot. What stays with you is not the political outcome of the dynasty, but the image of a woman behind a screen, finding peace in a chapel or delight in a bowl of grapes, reminding us that even the most powerful figures are fundamentally human.