Part 2 (2/2)
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Luca della Robbia
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Filippo Lippi
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Giovanni Bellini
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Mantegna
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Verrocchio
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Perugino
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Botticelli
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Luini
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Durer
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Cima
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Carpaccio
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Correggio
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Holbein
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Tintoret
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Here are the names of the twenty-five th of his life, and the position of it in his century The diagram still, however, needs a feords of explanation
Very chiefly, for those who know anything ofthe names of titian, Reynolds, Velasquez, Turner, and other such men, always reverently put before you at other times
They are absent, because I have no fear of your not looking at these
All your lives through, if you care about art, you will be looking at them But while you are here at Oxford, I want to make you learn what you should know of these earlier, many of thereater siuides for you, and of whoards the subject of our present course, I have a still h, titian, Reynolds, Velasquez, and the rest, are essentially portrait painters They give you the likeness of ato say either about his future life, or his Gods 'That is the look of him,' they say: 'here, on earth, we know no raved, have soenerally much,--either about the future life of man, or about his Gods They are therefore, literally, seers or prophets False prophets, it e; but you e; and read (or hear) them consistently; for you don't know them till you have heard them out But with Sir Joshua, or titian, one portrait is as another: it is here a pretty lady, there a great lord; but speechless, all;--whereas, with these twenty-five men, each picture or statue is not merely another person of a pleasant society, but another chapter of a Sibylline book
50 For this reason, then, I do not want Sir Joshua or Velasquez in roup; and for my present purpose, I can spare froifts, and io, Carpaccio, Tintoret;--and one who has no special gift, but a balanced group of many--Cima This leaves twenty-one for classification, of whom I will ask you to lay hold thus You must continually have felt the difficulty caused by the na with their years;--the year 1201 being the first of the thirteenth century, and so on I aued by it myself, y; and I y, to use as far as possible a different forram the vertical lines are the divisions of tens of years; the thick black lines divide the centuries The horizontal lines, then, at a glance, tell you the length and date of each artist's life In one or two instances I cannot find the date of birth; in one or two more, of death; and the line indicates then only the ascertained[J] period during which the artist worked
And, thus represented, you see nearly all their lives run through the year of a new century; so that if the lines representing them were needles, and the black bars of the years 1300, 1400, 1500 werethe bars
52 I will actually do this, then, in three other sirams I place a rod for the year 1300 over the lines of life, and I take up all it touches I have to drop Niccola Pisano, but I catch five Noith ain catch five
Noith my rod of 1500, I indeed drop Filippo Lippi and Verrocchio, but I catch seven And here I have three pennons, with the staves of the years 1300, 1400, and 1500 running through the the names of nearly all the roups of five, five, and seven And these three groups I shall hereafter call the 1300 group, 1400 group, and 1500 group