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 anconæ, the Veronese masters were managing crowds of figures and rendering distances successfully. Altichiero puts in homely touches from everyday life with a freedom which shows he has not yet mastered the principles of selection or the dignified fitness which guided the great masters; as, for instance, in the case of the old woman, among the spectators of the Crucifixion, who shows her grief by blowing her nose. He lets himself be drawn off by all manner of trivial detail and of gay costume; but again in such frescoes as S. Lucia, or the "Beheading of St. George," in the Paduan chapel of the Santo, he proves how well he understands the force of solid, simply-draped figures, direct in gesture and expression, while the decorative use he makes of lances against the background was long afterwards perhaps imitated, but hardly surpassed, by Tintoretto.