“The procession of enormous cars, drawn by richly caparisoned horses, was divided into four sections. First came trunks filled with books, manuscripts, ... including the antiques of Josephus, on papyrus, with works in the handwriting of Galileo.... Then followed collections of mineral products.... For the occasion were added wagons laden with iron cages containing lions, tigers, panthers, over which waved enormous palm branches and all kinds of exotic shrubs. Afterwards rolled along chariots bearing pictures carefully packed, but with the names of the most important inscribed in large letters on the outside, as, The Transfiguration, by Raphael; The Christ, by Titian. The number was great, the value greater. When these trophies had passed, amid the applause of an excited crowd, a heavy rumbling announced the approach of massive carts bearing statues and marble groups: the Apollo Belvidere; the Nine Muses; the Laocoön.... The Venus de Medici was eventually added, decked with bouquets, crowns of flowers, flags taken from the enemy, and French, Italian, and Greek inscriptions. Detachments of cavalry and infantry, colors flying, drums beating, music playing, marched at intervals; the members of the newly established Institute fell into line; artists and savants; and the singers of the theatres made the air ring with national hymns. This procession marched through all Paris, and at the Champ de Mars defiled before the five members of the Directory, surrounded by their subordinate officers.” The practice of sending home works of art, begun in the Italian campaign, Napoleon continued throughout his military career, and the art of France owes much to the education thus given the artists of the first part of this century. His agents ransacked Italy, Spain, Germany, and Flanders for _chefs-d’oeuvre_. When entering a country one of the first things he did was to collect information about its chief art objects, in order to demand them in case of victory, for it was by treaty that they were usually obtained. Among the works of art which Napoleon sent to Paris were twenty-five Raphaels, twenty-three Titians, fifty-three Rubenses, thirty-three Van Dykes, thirty-one Rembrandts. In Italy rose Napoleon’s “star,” that mysterious guide which he followed from Lodi to Waterloo. Here was born that faith in him and his future, that belief that he “marched under the protection of the goddess of fortune and of war,” that confidence that he was endowed with a “good genius.” He called Lodi the birthplace of his faith. “Vendémiaire and even Montenotte did not make me believe myself a superior man. It was only after Lodi that it came into my head that I could become a decisive actor on our political field. Then was born the first spark of high ambition.”