“You have been victorious in fourteen pitched battles and sixty-six combats; you have taken one hundred thousand prisoners, five hundred pieces of large cannon and two thousand pieces of smaller, four equipages for bridge pontoons. The country has nourished you, paid you during your campaign, and you have beside that sent thirty millions from the public treasury to Paris. You have enriched the Museum of Paris with three hundred _chefs-d’oeuvre_ of ancient and modern Italy, which it has taken thirty ages to produce. You have conquered the most beautiful country of Europe. The French colors float for the first time upon the borders of the Adriatic. The kings of Sardinia and Naples, the Pope, the Duke of Parma have become allies. You have chased the English from Leghorn, Genoa, and Corsica. You have yet to march against the Emperor of Austria.” His approval was their greatest joy. Let him speak a word of praise to a regiment, and they embroidered it on their banners. “I was at ease, the Thirty-second was there,” was on the flag of that regiment. Over the Fifty-seventh floated a name Napoleon had called them by, “The terrible Fifty-seventh.” His displeasure was a greater spur than his approval. He said to a corps which had retreated in disorder: “Soldiers, you have displeased me. You have shown neither courage nor constancy, but have yielded positions where a handful of men might have defied an army. You are no longer French soldiers. Let it be written on their colors, ‘They no longer form part of the Army of Italy.’” A veteran pleaded that they be placed in the van, and during the rest of the campaign no regiment was more distinguished. The effect of his genius was as great on his generals as on his troops. They were dazzled by his stratagems and manœuvres, inspired by his imagination. “_There was so much of the future in him_,” is Marmont’s expressive explanation. They could believe anything of him. A remarkable set of men they were to have as followers and friends—Augereau, Masséna, Berthier, Marmont, Junot. The people and the government in Paris had begun to believe in him, as did the Army of Italy. He not only sent flags and reports of victory; he sent money and works of art. Impoverished as the Directory was, the sums which came from Italy were a reason for not interfering with the high hand the young general carried in his campaigns and treaties. Never before had France received such letters from a general. Now he announces that he has sent “twenty first masters, from Correggio to Michael Angelo;” now, “a dozen millions of money;” now, two or three millions in jewels and diamonds to be sold in Paris. In return he asks only for men and officers “who have fire and a firm resolution not to make _learned retreats_.” The entry into Paris of the first art acquisitions made a profound impression on the people: