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Forli's attempt to avert the danger was of a different sort, and not exerted until this danger in the shape of Cesare himself stood in arms beneath her walls.

She shrugged the same shoulder with the same gesture and held out her left hand with the elbow at her side: "Enfin, mon ami," she said, "put in this hand the price of that tiara at Forli's or..." And she turned her back on him. Edward went mad; his world stood on its head; the palms in front of the blue sea danced grotesque dances.

Against the flat walls, under the inquisition of the crudest daylight, the fragments of Melozzo da Forli's masterpiece are masterpieces still; the angelic faces, imprisoned in a place not theirs, reflect the sadness of art's captivity; and the irretrievable destruction of an inimitable past excites the pity and resentment of thoughtful men.

Nor is the work of Melozzo da Forli's pupil, Marco Palmezzano, whose facile work litters the Gallery of Forli, wanting, for here is a Crucifixion from his hand, certainly one of his more important pictures. Pietro Vanucci, called Il Perugino, was born about 1446 at Castel della Pieve, some twenty-six miles from Perugia.