As the corpse of Astorre lay by that of Simonetto in the street, the spectators, ‘and especially the foreign students,’ compared him to an ancient Roman, so great and imposing did he seem. In the features of Simonetto could still be traced the audacity and defiance which death itself had not tamed. The victors went round among the friends of the family, and did their best to recommend themselves; they found all in tears and preparing to leave for the country. Meantime the escaped Baglioni collected forces without the city, and on the following day forced their way in, Gianpaolo at their head, and speedily found adherents among others whom Barciglia had been threatening with death. When Grifone fell into their hands near S. Ercolono. Gianpaolo handed him over for execution to his followers. Barciglia and Penna fled to Varano, the chief author of the tragedy, at Camerino; and in a moment, almost without loss, Gianpaolo became master of the city. Atalanta, the still young and beautiful mother of Grifone, who the day before had withdrawn to a country house with the latter’s wife Zenobia and two children of Gianpaolo, and more than once had repulsed her son with a mother’s curse, now returned with her step-daughter in search of the dying man. All stood aside as the two women approached, each man shrinking from being recognised as the slayer of Grifone, and dreading the malediction of the mother. But they were deceived: she herself besought her son to pardon him who had dealt the fatal blow, and he died with her blessing. The eyes of the crowd followed the two women reverently as they crossed the square with blood-stained garments. It was Atalanta for whom Raphael afterwards painted the world-famed ‘Deposition,’ with which she laid her own maternal sorrows at the feet of a yet higher and holier suffering. The cathedral, in the immediate neighbourhood of which the greater part of this tragedy had been enacted, was washed with wine and consecrated afresh. The triumphal arch, erected for the wedding, still remained standing, painted with the deeds of Astorre and with the laudatory verses of the narrator of these events, the worthy Matarazzo. A legendary history, which is simply the reflection of these atrocities, arose out of the early days of the Baglioni. All the members of this family from the beginning were reported to have died an evil death--twenty-seven on one occasion together; their houses were said to have been once before levelled to the ground, and the streets of Perugia paved with the bricks--and more of the same kind. Under Paul III. the destruction of their palaces really took place.[63]