In the following chapter I shall have more to say about the rhythmic movements of the figures. Let us conclude this one with a few words about the geometric plan on which the composition of the “Jurisprudence” is based. As I have said, it is not nearly so apparent as that of the _Disputá_. The latter’s plan looks as if it might have been laid out with straight edge and compasses. It was, as I have told you, adapted from a composition by Raphael’s master, Perugino, and he, very possibly, may have adapted it from some one else’s plan; for in those days, artists did not see any harm in starting with another man’s design, and altering it a little, or perhaps making it more elaborate to suit their own purpose for the moment. But in the short time that elapsed between the painting of the _Disputá_ and the _Jurisprudence_ the pupil had made great strides. He had found his own strength and was working in the glory of it. Therefore the _Jurisprudence_ exhibits a freedom of design, which so disguises the ground plan, that it is difficult to be sure of what it is, although one still feels that it is geometrical.