His Majesty continued the examination of the picture in all its details, and praised especially the group of the Italian clergy near the altar, which episode was invented by the painter.  He seemed to wish only that the Pope had been represented in more direct action, appearing to give his blessing, and that the crown of the Empress had been borne by the cardinal legate.  In regard to this group, Marshal Bessieres made the Emperor laugh heartily, by relating to him the very amusing discussion which had taken place between David and Cardinal Caprara.

It is well known that the artist had a great aversion to dressed figures, especially to those clothed in the modern style.  In all his paintings, there may be remarked such a pronounced love for the antique that it even 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.

Opposite the picture of the coronation was placed that of the Sabines.  The Emperor, who perceived how anxious M. David was to dispose of this, gave orders to M. Lebrun, as he left, to see if this picture could not be placed to advantage in the grand gallery at the Tuileries.  But he soon changed his mind when he reflected that most of the figures were represented in naturalibus, which would appear incongruous in an apartment used for grand diplomatic receptions, and in which the Council of Ministers usually sat.