The steps of this re-education are most interesting. In 1505 he did the portraits of Agnolo Doni and his wife Maddalena, Figure 182. The posture of the woman is that of Leonardo’s Mona Lisa. The draughtsmanship and characterization are severe, the hint of Umbrian landscape is a survival. In later portraits we shall see the elimination of accessories, the line yielding to the most refined modelling in light and dark, the effect concentrated without insistency. A comparison of the Doni portraits with those of ten years later, the Julius II and the Fornarina, will tell better than words of the tendency of Raphael’s portraiture towards its ultimate mastery. In 1505 Raphael returned for a time to Perugino to paint the fresco of the Trinity at the Convent of San Severo. In the splendid geometrical pattern he has already improved on the flat groupings of Perugino. The consistory of Saints bends back in depth after the fashion of a semi-dome. Raphael borrows the new motive from Fra Bartolommeo’s fresco of the Last Judgment painted in 1499 for the Florentine Hospital of Santa Maria Nuova. Sixteen years later Perugino added the languid saints at the base of the Trinity, a touching reversal of the natural relations of master and pupil. As for Raphael, in a single experiment he has mastered the sort of symmetrical composition in depth which should suffice within five years for his masterpiece, the Disputa. [Illustration: FIG. 183. Raphael. Madonna del Granduca.—_Pitti._ ] [Illustration: FIG. 184. Raphael. La Belle Jardinière.—_Louvre._ ]