So, too, in the "Apotheosis of San Bernardino," which occupies the altar wall, the sense of space and largeness is the prevailing quality. Overhead, the stiff _mandorla_ with cherubic heads frames the Saviour, who, standing upon clouds, raises His hand in benediction. This figure, as usual, is not altogether happy in the rendering; but thin and awkwardly drawn as it is, it is not without force or dignity, and has something earnest and lovable in its expression. It is the direct simplicity of Pintoricchio's manner which saves from self-consciousness, and gives a serious quality that atones for the want of grandeur. The remaining figures leave hardly anything to be desired. Italian art can show us few more beautiful single figures than that of St. Louis of Toulouse.[21] The young bishop in his rich episcopal robes and mitre, his pastoral staff laid against his shoulder, while with absorbed earnest look he turns the pages of his great breviary, is one of the most satisfactory creations, full of dignity, goodness and thought, that any artist has shown us. The face is well and strongly modelled, and the outline is simple and large. Sant' Antonio of Padua on the opposite side, holding his flaring heart in token of burning love, is a feebler figure, and reminds us of some of Perugino's weaker saints; but San Bernardino himself, in the midst, is full of striking individuality, and there is great simplicity and repose in the outlines of all three figures. Nowhere have more beautiful angels been painted. Pintoricchio has shaken himself out of the conventional slavery of Perugino. These figures making music upon the clouds are full of life and vigour, reminiscent of Melozzo da Forli's energetic inspiration, while the two who, bearing lilies, kneel and between them raise a golden crown above the saint's head, are Pintoricchio's own, instinct with his own fresh and delicate feeling for the beautiful, as lovely in colour as they are in form. [21] Patron Saint of Lodovico Buffalini.