older, which was to be accounted for by his stoutness. Tall and
well-built, he had a handsome face; his features were all regular and
distinguished. He wore a wig very artistically disposed, the hair
parted on the forehead like the Apollo di Belvedere's, and this suited
him to perfection. He was proficient in all the bodily exercises, and
spoke French very well and with the greatest fluency. He was
elaborately elegant--magnificently so, to the extent of prodigality.
At one time he was reputed to have debts to the amount of
L300,000--which were finally paid by his father and Parliament. As he
was one of the handsomest men in the United Kingdom, he was the idol
of the women.

It was but a little while before my departure that I did his portrait.
I painted him at almost full length, in uniform. Several English
painters became enraged against me on hearing that I had begun this
picture and that the Prince allowed me all the time I asked to finish
it, for they had long and vainly been waiting for the same concession.
I was aware that the Queen-mother said her son was making love to me,
and that he often came to lunch at my house. Never did the Prince of
Wales enter my door in the forenoon except for his sittings.

As soon as his likeness was done the Prince gave it to Mme.
Fitzherbert. She had it put in a rolling frame, like a large bedroom
mirror, so as to move it into any of her rooms--something which I
thought highly ingenious.

The anger of the English artists toward me did not stop at talk. A
certain M. ----, a portrait painter, published a work in which he
vehemently belittled French painting in general and my own in
particular. Sundry parts of the book were translated to me, and they
appeared so unjust and absurd that I could not help springing to the
defense of the famous painters whose countrywoman I was. Accordingly,
I wrote to this M. ---- as follows:

"_Sir_: I understand that in your work on painting you speak of
the French school. As, from what is reported to me concerning
your remarks, I gather that you have not the least idea of that
school, I think I must give you some information that you may
find serviceable. I presume, in the first place, that you do not
attack the great artists who lived in the reign of Louis XIV.,
such as Lebrun, Lesueur, Simon Vouet, etc., and Rigaud, Mignard,
and Largilliere, the portrait painters. As for the artists of the
day, you d