There are instances of the Apostles introduced into a scheme of ecclesiastical decoration as devotional figures, but assuming, from the style of treatment and from being placed in relation with other personages, a touch of the dramatic and picturesque. Such are Correggio’s Apostles in the cupola of the duomo at Parma (1532), which may be considered as the most striking instance that could be produced of studied contrast to the solemnity and simplicity of the ancient treatment: here the _motif_ is essentially _dramatic_. They stand round the dome as spectators would stand in a gallery or balcony, all in picturesque attitudes, studiously varied (some, it must be confessed, rather extravagant), and all looking up with amazement, or hope, or joy, or adoration, to the figure of the glorified Virgin ascending into heaven. Another series of Apostles in the San Giovanni at Parma, which Correggio had painted earlier (1522), are conceived, I think, in a finer spirit as to character, but, perhaps, not more appropriate to the scene. Here the Twelve Apostles are seated on clouds round the glorified Saviour, as they are supposed to be in heaven: they are but partially draped. In the heads but little attention has been paid to the ancient types, except in those of St. Peter and St. Paul; but they are sublime as well as picturesque in the conception of character and expression. The Apostles in Michael Angelo’s Last Judgment (A.D. 1540) exhibit a still further deviation from the antique style of treatment. They stand on each side of the Saviour, who is not, here, Saviour and Redeemer, but inexorable Judge. They are grandly and artificially grouped, all without any drapery whatever, and with forms and attitudes which recall an assemblage of Titans holding a council of war, rather than the glorified companions of Christ. In early pictures of Christ in glory, the Apostles, his companions in heaven as on earth, form, with the Patriarchs and Prophets, the celestial court or council: they sit upon thrones to the right and to the left.[151] Raphael’s ‘Disputa’ in the Vatican is a grand example of this arrangement. Sets of the Apostles, in devotional pictures and prints are so common, that I shall particularise only a few among the most interesting and celebrated. Engravings of these can easily be referred to. 1. A set by Raphael, engraved by Marc Antonio: grand, graceful figures, and each with his appropriate attribute. Though admirably distinguished in form and bearing, very little attention has been paid to the ancient types, except perhaps in St. Peter and St. John. Here St. James Minor is omitted to make room for St. Paul. 2. A set by Lucas van Leyden, smaller than Raphael’s, but magnificent in feeling: here also the ancient types are for the most part neglected. These two sets should be compared as perfect examples of the best Italian and the most characteristic German manner. Some of the German sets are very curious and grotesque.