His accurate study of geometrical principles taught him the most difficult art of foreshortening, which he particularly adapted to ceilings and vaulted roofs with a magical effect heretofore unattempted. Applying a like treatment to the human form, he succeeded in giving to the features a relief not inferior to that attained by the plastic manner of Squarcione and his followers, but infinitely excelling them in natural and noble character; and thus, for the first time since the revival, as in the picture just described, he gave to simple portraiture the stamp of historical delineation. Melozzo, by birth a Forlian, had probably attracted the notice of Girolamo Riario, on taking possession of his new state, and the patronage bestowed upon him by the Count and his brother the Cardinal, reflects credit upon their discrimination. In 1473, he was employed by the latter to paint, in the apsis of SS. Apostoli at Rome, our Lord's Ascension in presence of the apostles, one of the grandest works of the time, miserably sacrificed by the destructive alterations of last century. Some much over-daubed fragments of this wonderful composition are built into the great stair at the Quirinal Palace, and single heads are preserved in the sacristy of St. Peter's. The favour of this Pontiff, whom the prejudiced Infessura has libelled as "the enemy of literary and reputable men," included merit from every quarter. Baccio Pintelli, of Florence, was his chief architect; Antonio Venezianello was conjoined by him with the Umbrian della Francesca and Signorelli to decorate the sacristy at Loreto; he pensioned Andrea d'Assisi, when early blindness had clouded those great gifts ascribed to him by Vasari; the Tuscan Verrocchio, who had come to Rome as a goldsmith, became, by his encouragement, a sculptor of eminence, and the inventor of that charming style which da Vinci brought to perfection in Lombard painting. * * * * *