The stolen pictures formed the best part of what was now called the Musée Napoléon. Though not surreptitiously obtained they had been acquired in virtue of conventions imposed on a conquered people. Thus pictures from the galleries of Parma, Piacenza, Milan, Cremona, Modena, and Bologna, were made over to France by the armistices of Parma, Bologna, and Tolentino. The public was admitted to view the conquered treasures on the 6th of February, 1798. Some months afterwards masterpieces from Verona, Mantua, Pesaro, Loretto, and Rome were added to the marvellous collections; which on the 19th of March, 1800, was further augmented by drafts of pictures from Florence and Turin. In 1807 France received the artistic spoils of Germany and Holland. Among the famous works of art which France at this time possessed, and which were all on exhibition at the Louvre, may be mentioned "The Belvedere Apollo," "The Laocoon," "The Medicean Venus," "The Wrestlers," "The Transformation" and "The Spasimo"; Domenichino's "Communion of St. Jerome," Tintoretto's "Miracle of St. Mark," Paul Veronese's four "Last Suppers," and Titian's "Assumption"; Correggio's "St. Jerome" and Guercino's "St. Petronilla"; "The Lances" of Velasquez, and the "St. Elizabeth" of Murillo; Rubens' "Descent from the Cross," and Rembrandt's "Night Patrol." The French say with some justice that many of these works by being sent to the Louvre were saved from destruction. Many of them, too, though falling into decay, were restored with the greatest care; and some were transferred with success from worm-eaten panels to canvas, thus receiving new brilliancy and a new life. When Paris was occupied by the allies in 1814, the art treasures of which so many European countries had been despoiled were left in the possession of the French, who may be said on this occasion to have been magnanimously treated. The object, indeed, of the allies was not to weaken nor to humiliate France as a nation, but simply to restore Louis XVIII. to the throne of his ancestors. In 1815, after the return from Elba and the Waterloo campaign, it was determined to treat France with a certain severity. She was deprived of the Rhine provinces for the benefit of Prussia, while Milan and Venice were placed in the hands of Austria, so that both from the Italian and from the German side France might be held in check. The artistic plunder which France had collected from so many quarters was at the same time given back to the countries from which it had been taken.