Next day, three thousand of the Papal troops, occupying an advantageous position in front of Ancona, and commanded by Colli, were made prisoners without firing a shot; and Ancona was taken after slight resistance, though a place of some strength. A curious piece of priestcraft had been played off in this town, to encourage the people to resistance. A miraculous image was seen to shed tears, and the French artists could not discover the mode in which the trick was managed until the image was brought to headquarters, when a glass shrine, by which the illusion was managed, was removed. The Madonna was sent back to the church which owned her, but apparently had become reconciled to the foreign visitors, and dried her tears in consequence of her interview with Buonaparte.[251] [Sidenote: CAPTURE OF LORETTO.] On the 10th of February, the French, moving with great celerity, entered Loretto, where the celebrated Santa Casa is the subject of the Catholic's devotional triumph, or secret scorn, according as his faith or his doubts predominate. The wealth which this celebrated shrine is once supposed to have possessed by gifts of the faithful, had been removed by Colli--if, indeed, it had not been transported to Rome long before the period of which we treat; yet, precious metal and gems to the amount of a million of livres, fell into the possession of the French, whose capture was also enriched by the holy image of our Lady of Loretto, with the sacred porringer, and a bedgown of dark-coloured camlet, warranted to have belonged to the Blessed Virgin.[252] This image, said to have been of celestial workmanship, was sent to Paris, but was restored to the Pope in 1802. We are not informed that any of the treasures were given back along with the Madonna, to whom they had been devoted. As the French army advanced upon the Roman territory, there was a menace of the interference of the King of Naples, worthy to be mentioned, both as expressing the character of that court, and showing Napoleon's readiness in anticipating and defeating the arts of indirect diplomacy.