The Revolution had chosen to find its artistic expression in the correct and strict severity of classical forms. Napoleon had from the beginning of his career been under the spell of Greek and Roman examples. Thus it happened that the art of the First Empire was what it is--heavy, conventional, and reminiscent. With the ever-growing rigidity of censorship, literature sometimes took refuge in abstractions, or, what is much the same thing, in the contemplation of events so remote that their discussion could give no offense. Sometimes authors accepted the curious task of defending the external forms and results of the Revolution as expressed in the Empire, while combating every principle from which the movement had sprung. Able men like Chenier published some of their writings, and locked others in their desks against a brighter day. In religion the Emperor's principle was that his subjects should hate the English because they were heretics, and the Pope because he was a fanatic. The "ideologues" and "metaphysicians" were anarchists, for the public order was endangered by their teachings. The newspapers were not only gagged, but metamorphosed--the "French Citizen" into the "French Courier," the "Journal of Debates" into the "Journal of the Empire." Their columns were filled with laudations of the Emperor; their political articles were virtually composed in the Foreign Office; and there was not a symptom of anything like the existence of party feeling. A certain journalist having been allowed to make statements concerning the luxury at court, the editor of the offending paper was given to understand that the Emperor would tolerate no such criticism nor any remarks contrary to his interests.[17] [Footnote 17: In general, for the censorship of the press see Welschinger: La censure sous le Premier Empire. Sorel: Essais d'histoire et de critique.]