There were works upon the looms when the Commission began inspecting the works of art to see if they were proper stuff for the newly-made Republic to nurse upon. In September, 1794, they found and condemned twelve large pieces on the looms unfinished, and on which work was immediately suspended. Of three hundred and twenty-one models examined, which were the property of the factory, one hundred and twenty were rejected. In fact, only twenty were designated as truly fit for production, not falling under the epithets "anti-republican, fanatic or insufficient." The latter description was applied to all those exquisite fantasies of art that make the periods Louis XV and Louis XVI a source of transcendent delight to the lover of dainty intellectual design, and include particularly the work of Boucher. The mental and moral workings of the commission on art may be tested by quoting from their own findings on the _Siege of Calais_, a hanging by Berthelemy, depicting an event of the Fourteenth Century. This is what the temper of the times induced the Commission--among whom were artists too--to say: "Subject regarded as contrary to republican ideas; the pardon accorded to the people of Calais was given by a tyrant through the tears and supplications of the queen and child of a despot. Rejected. In consequence the tapestry will be arrested in its execution." The models allowed in this benumbing period were those of hunting scenes, and antique groups such as the _Muses_, or scenes from the life of Achilles. A vicious system of pay was added to the vicious system of art restriction. And so fell the Gobelins, to revive in such small manner as was accorded it in the Nineteenth Century. Its great work was done. It had lifted up an art which through inflation or barrenness Brussels had let train on the ground like a fallen flag, and it had given to France the glory of acquiring the highest period of perfection. To France came the inspiration of gathering the industry under the paternal care of the government, of relieving it from the exigencies of private enterprise which must of necessity fluctuate, of keeping the art in dignified prosperity, and of devoting to its uses the highest talent of both art and industry. The Revolution and the Directory both hesitated to kill an institution that had brought such glory to France, that had placed her above all the world in tapestry producing. But what deliberate intent did not accomplish, came near being a fact through scant rations. Operators at the Gobelins were irregularly paid, and the public purse found onerous the burden of support. But with the coming of Napoleon the personal note was struck again. A man was at the head, a man whose ambition invaded even the field of decoration. The Emperor would not be in the least degree inferior in splendour to the most magnificent of the hereditary kings of France. The Gobelins had been their glory, it should add to his.