Which one of the following, if true, would most weaken the author's contention that fifteenth-century Venetian artists "had no practical experience of the large-scale representation of familiar religious stories"? A. The style of secular historical paintings in the palace of the Venetian magistrate was similar to that of Venetian narrative paintings with religious subjects. B. The style of the historical writing produced by fifteenth-century Venetian authors was similar in its inclusion of anecdotal details to secular paintings produced during that century in Tuscany. C. Many of the artists who produced Venetian narrative paintings with religious subjects served as apprentices in Tuscany, where they had become familiar with the technique of painting of frescoes. D. Few of the frescoes painted in Tuscany during the fifteenth century had secular subjects, and those that did often betrayed the artist's inability to represent elaborate architecture in perspective. E. Few of the Venetian narrative paintings produced toward the end of the fifteenth century show evidence of the enhanced drawing skill that characterized the paintings produced in Venice a century later.