As early as the middle of the 11^th -12^th centuries, the Novgorod icons acquired features that would prevail in the local icon-painting school founded in the 13^th century. Thus, the palette of the St. George icon is composed of local color spots. The 13^th century was the time of the highest development of the Novgorod art school. Light-and-shade modeling of faces gave way to graphic techniques, linen wrinkles were now depicted in broken lines and almost lacked gaps, bright local colors were often counterpoised. The Novgorod art of the 14^th century divided into two directions: one based on a local painting tradition, and the other oriented itself to the contemporary Byzantian art traditions that manifested basically in fresco-painting. The frescoes of the Church of the Transfiguration on Ilyin Street (14^th century) painted by Theophanes the Greek influenced further evolution of the Novgorod icon-painting. In the late 15^th century, during the last surge of confrontation between Novgorod and Moscow, the local saints and history began to be glorified. But as early as the first half of the 16^th century the Novgorod and Moscow icon-painting traditions merged. On the whole, the Novgorod art school is distinguished for its solid and austere images, generalized and simplified lines, bigger shapes and details, more geometric pattern and flatness.