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The scene, bathed in a cold, bright light, depicts Eugénie de Montijo, Empress of the French for two years, surrounded by eight ladies-in-waiting in a fictional country setting. She is represented with a crown of honeysuckle on her head and a branch of the same plant in her hand, acting as a scepter. She slightly dominates the other characters. She is facing the Grand Mistress of her household, on her right, Anne Debelle, Princess of Essling (1802-1887), wife of François Victor Massena, 3rd Duke of Rivoli. To her left stands her lady-in-waiting, Pauline van der Linden d'Hooghvorst, Duchess of Bassano (1814-1867), wife of Napoléon Maret. Below are the ladies of the palace, who followed the empress daily: on the left, Jane Thorne, baroness of Pierres (1821-1873), wife of Stéphane de Pierres and Louise Poitelon du Tarde, viscountess of Lezay-Marnésia (1826-1891), wife of Joseph-Antoine-Albert de Lezay-Marnesia; in the center, Adrienne de Villeneuve-Bargemont, countess of Montebello (1826-1870), wife of Gustave Olivier Lannes de Montebello, and on the right, Anne Eve Mortier de Trévise, marquise of Latour-Maubourg (1829-1900), wife of César de Faÿ de La Tour-Maubourg, Claire Emilie MacDonnel, Marquise de Las Marismas de Guadalquivir (1817-1905), wife of Alexandre Aguado Moreno, and behind them, standing, Nathalie de Ségur, Baroness of Malaret (1827-1910), wife of Paul Martin d'Ayguesvives, and daughter of the Countess of Ségur).The composition, incorporating many characters, recalls other paintings by Winterhalter, like The Decameron (1837), one of the painter's first successes. In these two paintings, the landscape forms a simple decor placed behind the characters, as on a theater stage. It was also quickly executed and still contains drips. The characters give the impression of being arranged on an inclined plane to justify the protocol order. The costumes, on the other hand, are much more detailed, with crinolines, ruffles and ruches in bright colors. A rumor has retrospectively suggested that the models present in this painting had also served as models in another work by Winterhalter, a little earlier, Florinda (Royal Collection, 1852), which uses the same composition. This comparison did not fail to cause scandal because the women are represented naked in this last work.In addition to the sketch already mentioned, a drawing and a small autograph canvas made the same year are kept in private collections.
Anne Eve Mortier de Trévise Countess of Ségur Louise Poitelon du Tarde Jane Thorne Pauline van der Linden d'Hooghvorst, Duchess of Bassano François Victor Massena, 3rd Duke of Rivoli Adrienne de Villeneuve-Bargemont Florinda Claire Emilie MacDonnel Royal Collection Anne Debelle, Princess of Essling Nathalie de Ségur Eugénie de Montijo