such as Bramante and Amadeo, sculptors such as Gian Cristoforo Romano, Cristoforo Solari and the Caradosso, humanists such as Baldassarre Castiglione, musicians and luthiers such as Franchino Gaffurio, Lorenzo Gusnasco, Jacopo di San Secondo, Antonio Testagrossa, as well as many of the most famous singers and dancers of the time. At her death, as Vincenzo Calmeta wrote, "everything went to ruin and precipice, and from happy heaven to dark hell the court was converted, so that each virtuous was forced to take another path". Thus began the slow diaspora of Milanese poets, artists and writers, forced, especially after the definitive fall of the Moro, to seek their fortune elsewhere. Portraits There are many portraits of Beatrice that have come down to us, both contemporary and posthumous. Most of these are of certain identification, either because they bear the name next to it or because of the distinctive features of Beatrice, such as the coazzone. Famous portraits The most famous remain the bust made by Gian Cristoforo Romano, the funeral monument of Cristoforo Solari and the Sforza Altarpiece. However, Malaguzzi Valeri notes that like Solari did not bother to reproduce the true traits of Beatrice, having to the funeral statue be placed at the top of a monument and therefore seen from below and from afar, so the unknown and coarse painter of the Sforza Altarpiece altered the physiognomy of Beatrice compared to the refined original drawings of Ambrogio de Predis, hardening the features of the face to make it almost unrecognizable: "he preferred to take care of the accessories of the dress with infinite monotony, so that the duchess, more than a living person, appears a doll too adorned". Lesser known The portrait of her as a child made by Cosmè Tura was lost in the last century. From Leonardo it had been "divinely" portrayed, as Vasari writes, on the fresco of the Crucifixion by Donato Montorfano in the refectory of Santa Maria delle Grazie, however the artist's dry technique deteriorated in such a way as to be barely distinguishable today. It is carved, together with the other duchesses of Milan, in the Portale del Lavabo of the Certosa di Pavia and in a bas-relief at the Castello Sforzesco. Uncertain identification The drawing preserved in the Uffizi with the number 209, executed in lapis and watercolor but hard retouched a little everywhere by a hand of the sixteenth century, was