[citation needed] While the work was still being created, a visit from Alfonso II of Naples resulted in his addition to the far left of the group of foreground figures.[7] The active drapery, with its massive complexity, and the figures, particularly several apostles, including St. John the Evangelist, with beautiful features, long flowing hair, elegant demeanour, and refinement recall St Thomas from Verrocchio's bronze group in Orsanmichele.The poses of the actors fall into a small number of basic attitudes that are consistently repeated, usually in reverse from one side to the other, signifying the use of the same cartoon.The octagonal temple of Jerusalem[citation needed] and its porches that dominates the central axis must have had behind it a project created by an architect, but Perugino's treatment is like the rendering of a wooden model, painted with exactitude.The sense of an infinite world that stretches across the horizon is stronger than in almost any other work of his contemporaries, and the feathery trees against the cloud-filled sky with the bluish-gray hills in the distance represent a solution that later painters would find instructive, especially Raphael.