Tinet was, however, unfortunately, a very determined man, and a connoisseur to boot, and in the two days' search, he had obtained the chief treasures in Perugia. It appeared at one time as though that notable picture, the altar-piece in the Magistrates' Chapel, painted in 1495, would be overlooked, but he remembered it at the very last moment and it was included. To add insult to injury, the Perugians were ordered to pack and transmit their treasures, but every possible effort was made to delay the work and prevent their being sent off. Much correspondence ensued, and the Priori did their utmost to raise difficulties, but all was to no purpose, and on March 27th six carriages drawn by twenty-four oxen and attended by six peasants, quitted Perugia amid the tears and lamentations of the people, carrying with them the greatest treasures of the city, never to be seen again within its walls. The very magnificent proportions of many of Perugino's pictures rendered it impossible for them to be concealed, their predella pictures and pilaster saints were in some instances safe, but the central panels it was impossible to guard, and in the thirty-two pictures carried off to Paris, there were included twelve of the greatest of the master's works, and also the famous "Sposalizio" from the chapel of the Anello, and the "Palladium" of the city, the altar-piece from the Magistrates' Chapel. Drawn by the great white Umbrian oxen, and slowly journeying across Europe, these heavily-laden vans took their way, and the pictures that for three hundred years had been objects of devotion and delight to the good people of Perugia, and were cruelly torn from their resting places, went to swell the vanity of the terrible conqueror in Paris. Still, however, Perugia now so poor in her master's works, was too rich for envious eyes. The peace of Vienna had been signed, there was a pause in the warfare in Europe prior to the invasion of Russia in 1812, and some attention was given to internal affairs. On the 25th of February 1811 appeared an Imperial decree, requiring that the treasures in the department of the Trasimène (as the district under its new French rulers was styled) should be brought together in order to ornament the picture galleries that Napoleon had erected. With cruel irony the decree stated that, doubtless, the people of Perugia would rejoice that their pictures were deemed worthy to ornament the galleries of Paris.