shows itself in his manner of draping living persons. Now, Cardinal
Caprara, one of the assistants of the Pope at the ceremony of the
coronation, wore a wig; and David, in giving him a place in his picture,
thought it more suitable to take off his wig, and represent him with a
bald head, the likeness being otherwise perfect. The Cardinal was much
grieved, and begged the artist to restore his wig, but received from
David a formal refusal. "Never," said he, "will I degrade my pencil so
far as to paint a wig." His Eminence went away very angry, and
complained to M. de Talleyrand, who was at this time Minister of Foreign
Affairs, giving, among other reasons, this, which seemed to him
unanswerable, that, as no Pope had ever worn a wig, they would not fail
to attribute to him, Cardinal Caprara, an intention of aspiring to the
pontifical chair in case of a vacancy, which intention would be clearly
shown by the suppression of his wig in the picture of the coronation.
The entreaties of his Eminence were all in vain; for David would not
consent to restore his precious wig, saying, that "he ought to be very
glad he had taken off no more than that."

After hearing this story, the particulars of which were confirmed by the
principal actor in the scene, his Majesty made some observations to M.
David, with all possible delicacy. They were attentively noted by this
admirable artist, who, with a bow, promised the Emperor to profit by his
advice. Their Majesties' visit was long, and lasted until the fading
light warned the Emperor that it was time to return. M. David escorted
him to the door of his studio; and there, stopping short, the Emperor
took off his hat, and, by a most graceful bow, testified to the honor he
felt for such distinguished talent. The Empress added to the agitation
by which M. David seemed almost overcome by a few of the charming words
of appreciation she so well knew how to say, and said so opportunely.