1600
| 1450 | 1550 |
+ + + + +
Quercia |-|-|-|-|-|-|-| | | | | | | | | | | | | | | | |
Brunelleschi |-|-|-|-|-|-|-|-| | | | | | | | | | | | | | | |
Ghiberti |-|-|-|-|-|-|-|-| | | | | | | | | | | | | | |
Donatello |-|-|-|-|-|-|-|-|-| | | | | | | | | | | | | |
Luca della Robbia |-|-|-|-|-|-|-|-| | | | | | | | | | | | |
Filippo Lippi |-|-|-|-|-|-| | | | | | | | | | | | | |
Giovanni Bellini |-|-|-|-|-|-|-|-|-|-| | | | | | | | |
Mantegna |-|-|-|-|-|-|-|-| | | | | | | | | |
Verrocchio |-|-|-|-|-|-| | | | | | | | | | | |
Perugino |-|-|-|-|-|-|-|-|-| | | | | | | |
Botticelli |-|-|-|-|-|-|-| | | | | | | | |
Luini |-|-|-|-|-|-|-| | | | | | |
Duerer |-|-|-|-|-|-| | | | | | | |
Cima |-|-|-|-| | | | | | | | |
Carpaccio |-|-|-|-| | | | | | | |
Correggio |-|-|-|-|-| | | | | | |
Holbein |-|-|-|-|-| | | | | |
Tintoret |-|-|-|-|-|-|-|-|-|

Here are the names of the twenty-five men,[I] and opposite each, a line
indicating the length of his life, and the position of it in his
century. The diagram still, however, needs a few words of explanation.
Very chiefly, for those who know anything of my writings, there is
needed explanation of its not including the 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 them weaker, men, who yet, for
the very reason of their greater simplicity of power, are better guides
for you, and of whom some will remain guides to all generations. And,
as regards the subject of our present course, I have a still more
weighty reason;--Vandyke, Gainsborough, Titian, Reynolds, Velasquez, and
the rest, are essentially portrait painters. They give you the likeness
of a man: they have nothing to say either about his future life, or his
gods. 'That is the look of him,' they say: 'here, on earth, we know no
more.'

49.