We cannot, therefore, believe, that this system of spoliation was dictated by any sincere and manly love of the arts, though this was so much talked of in France at the time. It must, on the contrary, be ascribed to the art and ambition of the Directory who ordered, and the general who obeyed; both of whom, being sensible that the national vanity would be flattered by this species of tribute, hastened to secure it an ample gratification. Buonaparte, in particular, was at least sufficiently aware, that, with however little purity of taste the Parisians might look upon these exquisite productions, they would be sufficiently alive to the recollection, that, being deemed by all civilized people the most admirable specimens in the world, the valour of the French armies, and the skill of their unrivalled general, had sent them to adorn the metropolis of France; and might hope, that once brought to the prime city of the Great Nation, such chefs-d'œuvre could not again be subject to danger by transportation, but must remain there, fixed as household gods, for the admiration of posterity. So hoped, as we have seen, the victor himself; and doubtless with the proud anticipation, that in future ages the recollection of himself, and of his deeds, must be inseparably connected with the admiration which the Museum, ordained and enriched by him, was calculated to produce. But art and ambition are apt to estimate the advantages of a favourite measure somewhat too hastily. By this breach of the law of nations, as hitherto acknowledged and acted upon, the French degraded their own character, and excited the strongest prejudice against their rapacity among the Italians, whose sense of injury was in proportion to the value which they set upon those splendid works, and to the dishonour which they felt at being forcibly deprived of them. Their lamentations were almost like those of Micah the Ephraimite, when robbed of "the graven image, and the Teraphim, and the Ephod, and the molten image," by the armed and overbearing Danites--"Ye have taken away my gods that I have made, and what have I more?" Again, by this unjust proceeding, Buonaparte prepared for France and her capital the severe moral lesson inflicted upon her by the allies in 1815. Victory has wings as well as Riches; and the abuse of conquest, as of wealth, becomes frequently the source of bitter retribution. Had the paintings of Correggio, and other great masters, been left undisturbed in the custody of their true owners, there could not have been room, at an after period, when looking around the Louvre, for the reflection, "Here once were disposed the treasures of art, which, won by violence, were lost by defeat."[143] FOOTNOTES: [115] Montholon, tom. iii., p. 162. [116] "--procul obscuros colles humilemque videmus Italiam. Italiam! primus conclamat Achates; Italiam! læto socii clamore salutant." VIRG. _Æneid_, Book III.--S.