Furthermore, it must be recollected that many artists can only be seen to advantage under the =conditions amid which= their works were produced. This is especially the case with the Italian painters of the 14th and 15th centuries. They were =a school of fresco-painters=. Their altar-pieces and other separate panels give but a very inadequate idea of their powers, and especially of their composition. Giotto and Fra Angelico, in particular, cannot possibly be estimated aright by any of their works to be seen north of the Alps. The altar-pieces, being more especially sacred in character, were relatively very fixed in type: they allowed of less variation, less incident, less action, than the histories of saints which frequently form the subjects of frescoes. You can judge of this to a slight extent in the Louvre itself, by comparing the Madonnas at the far end of the Salle des Primitifs with Giotto’s St. Francis which hangs by: for the Madonna was the most sacred and therefore the most bound by custom of any type. You will at once observe how much freer and more naturalistic is the treatment in the episode of the Stigmata than in the comparatively wooden figures of Our Lady by which it is surrounded. Still more is this the case when we come to compare any of these altar-pieces with frescoes such as those of the Arena at Padua, or Santa Croce at Florence. Similarly with Fra Angelico: the little crowded works which he produced as altar-pieces give a totally different conception of his character and powers than that which we derive from the large and relatively spacious frescoes at San Marco, or in Pope Nicolas’s Chapel at the Vatican. In such works, we see him expand into a totally different manner. Now frescoes, by their very nature, cannot easily be removed from the walls of churches without great danger. Therefore, the school of fresco-painters—that is to say, the Early Italian school—is ill represented outside Italy.