o strange artists.

9. To offer to one another reciprocal comfort.

10. To follow the funerals of members with torches.

11. The President is to exercise reference authority.

12. The member who has the longest membership to be President.

There were also by-laws, which provided that no master should accept
a pupil for less than three years, and this acceptance had to be
definitely registered by the public notary, a son, brother, grandson, or
nephew being the only exceptions. No master might receive an apprentice
who should have left another master before his time was out, unless with
that master's free consent. There were penalties for enticing away a
pupil, and others to be enforced against pupils who broke the agreement.
Severe restrictions existed with regard to the sale of pictures, no one
but a member of the Guild being allowed to sell them. No one might bring
a work from any foreign place for purposes of sale. It might not
even be brought to the town without the special permission of the
_Gastaldiones_, or trustees of the Guild, and those trustees were
permitted to search for and destroy forged pictures. Every painter,
therefore, had to subordinate his interests and inclinations to the
local school. It helps us to understand why the individual character of
the different masters is so perceptible, and one of the primary causes
of this must have been the careful training of the pupils in the
master's workshop.

The fresco left by Altichiero, Pisanello's first master, in the Church
of S. Anastasia in Verona, shows how worthily a Veronese painter was at
this early time following in the footsteps of Giotto. Three knights of
the Cavalli family are presented by their patron saints to the Madonna.
The composition has a large simplicity, a breadth of feeling which is
carried into each gesture. The knights with their raised helmets, in the
pattern of horses' heads, are full of reality, the Madonna is sweet and
dignified, and the saints are grand and stately. The picture has a
delightful suavity and ease, and the colouring has evidently been
lovely. The setting is in good proportion and more satisfactory than
that of the Giottesques. From the series of frescoes in S. Antonio,
Verona, we gather that while Venice was still limited to stiff anconae,
the Veronese masters were managing crowds of figures and rendering
distances successfully. Altichiero puts in homely touches from everyday
life with a freedo