The Life of Napoleon Bonaparte. Ida Minerva Tarbell

in the van, and during the rest of the campaign no regiment was more distinguished.

      The effect of his genius was as great on his generals as on his troops. They were dazzled by his stratagems and manœuvres, inspired by his imagination. “There was so much of the future in him,” is Marmont’s expressive explanation. They could believe anything of him. A remarkable set of men they were to have as followers and friends—Augereau, Masséna, Berthier, Marmont, Junot.

      The people and the government in Paris had begun to believe in him, as did the Army of Italy. He not only sent flags and reports of victory; he sent money and works of art. Impoverished as the Directory was, the sums which came from Italy were a reason for not interfering with the high hand the young general carried in his campaigns and treaties.

      Never before had France received such letters from a general. Now he announces that he has sent “twenty first masters, from Correggio to Michael Angelo;” now, “a dozen millions of money;” now, two or three millions in jewels and diamonds to be sold in Paris. In return he asks only for men and officers “who have fire and a firm resolution not to make learned retreats.”

      The entry into Paris of the first art acquisitions made a profound impression on the people:

      “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.”

      Trained in a religion full of mysticism, taught to believe in signs, guided by a “star,” there is a tinge of superstition throughout his active, practical, hardworking life. Marmont tells that one day while in Italy the glass over the portrait of his wife, which he always wore, was broken.

      “He turned frightfully pale, and the impression upon him was most sorrowful. ‘Marmont,’ he said, ‘my wife is very ill or she is unfaithful.’” There are many similar anecdotes to show his dependence upon and confidence in omens.

      In a campaign of such achievements as that in Italy there seems to be no time for love, and yet love was never more imperative, more absorbing, in Napoleon’s life than during this period.

      “NAPOLEONE BUONAPARTE.”

      “Oh, my adorable wife,” he wrote Josephine in April, “I do not know what fate awaits me, but if it keeps me longer from you, I shall not be able to endure it; my courage will not hold out to that point. There was a time when I was proud of my courage; and when I thought of the harm that men might do me, of the lot that my destiny might reserve for me, I looked at the most terrible misfortunes without a quiver, with no surprise. But now, the thought that my Josephine may be in trouble, that she may be ill, and, above all, the cruel, fatal thought that she may love me less, inflicts torture in my soul, stops the beating of my heart, makes me sad and dejected, robs me of even the courage of fury and despair. I often used to say, ‘Man can do no harm to one who is willing to die;’ but now, to die without being loved by you, to die without this certainty, is the torture of hell; it is the vivid and crushing image of total annihilation. It seems to me as if I were choking. My only companion, you who have been chosen by fate to make with me the painful journey of life, the day when I shall no longer possess your heart will be that when for me the world shall have lost all warmth and all its vegetation.... I will stop, my sweet pet; my soul is sad. I am very tired, my mind is worn out, I am sick of men. I have good reason for hating them. They separate me from my love.”

      Josephine was indifferent to this strong passion. “How queer Bonaparte is!” she said coldly at the evidences of his affection which he poured upon her; and when, after a few weeks separation, he began to implore her to join him she hesitated, made excuses, tried in every possible way to evade his wish. It was not strange that a woman of her indolent nature, loving flattery, having no passion but for amusement, reckless expenditure, and her own ease, should prefer life in Paris. There she shared with Madame Tallien the adoration which the Parisian world is always bestowing on some fair woman. At opera and ball she was the centre of attraction; even in the street the people knew her. Notre Dame des Victoires was the name they gave her.

      In desperation at her indifference, Napoleon finally wrote her, in June, from Tortona:

      “My life is a perpetual nightmare. A black presentiment makes breathing difficult. I am no longer alive; I have lost more than life, more than happiness, more than peace; I am almost without hope. I am sending you a courier. He will stay only four hours in Paris, and then will bring me your answer. Write to me ten pages; that is the only thing that can console me in the least. You are ill; you love me; I have distressed you; you are with child; and I do not see you.... I have treated you so ill that I do not know how to set myself right in your eyes. I have been blaming you for staying in Paris, and you have been ill there. Forgive me, my dear; the love with which you have filled me has robbed me of my reason, and I shall never recover it. It is a malady from which there is no recovery. My forebodings are so gloomy that all I ask is to see you, to hold you in my arms for two hours, and that we may die together. Who is taking care of you? I suppose that you have sent for Hortense; I love the dear child a thousand times better since I think that she may console you a little. As for me, I am without consolation, rest, and hope until I see again the messenger whom I am sending to you, and until you explain to me in a long letter just what is the matter with you, and how serious it is. If there were any danger, I warn you that I should start at once for Paris.... You! you!—and the rest of the world will not exist for me any more than if it had been annihilated. I care for honor because you care for it; for victory, because it brings you pleasure; otherwise, I should abandon everything to throw myself at your feet.”

      After this letter Josephine consented to go to Italy, but she left Paris weeping as if going to her execution. Once at Milan, where she held almost a court, she recovered her gaiety, and the two were very happy