Michelangelo, with a finer instinct for harmony, a deeper grasp on his own dominant ideal, excluded this element of _quattrocento_ decoration from his scheme.

Raffaello, with the graceful tact essential to the style, developed its crude rudiments into the choice forms of fanciful delightfulness which charm us in the Loggie.

Signorelli loved violence.

A large proportion of the circular pictures painted _en grisaille_ on these walls represent scenes of massacre, assassination, torture, ruthless outrage.

One of them, extremely spirited in design, shows a group of three executioners hurling men with millstones round their necks into a raging river from the bridge which spans it.