| |
| 1240-1302 Cimabue | |
| 1250-1321 Giovanni Pisano | |
| 1232-1310 Arnolfo | |
| 1270-1345 Andrea Pisano | |
| 1276-1336 Giotto | |
| |
| 1374-1438 Quercia | |
| 1381-1455 Ghiberti | |
| 1377-1446 Brunelleschi | |
| 1386-1468 Donatello | |
| 1400-1481 Luca | |
| |
| 1431-1506 Mantegna | |
| 1457-1515 Botticelli | |
| 1426-1516 Bellini | |
| 1446-1524 Perugino | |
| 1470-1535 Luini | |
| 1471-1527 Dürer | |
| 1498-1543 Holbein | |
53. But why should four unfortunate masters be dropped out?
Well, I want to drop them out, at any rate; but not in disrespect. In hope, on the contrary, to make you remember them very separately indeed;—for this following reason.
We are in the careless habit of speaking of men who form a great number of pupils, and have a host of inferior satellites round them, as masters of great schools.
But before you call a man a master, you should ask, Are his pupils greater or less than himself? If they are greater than himself, he is a master indeed;—he has been a true teacher. But if all his pupils are less than himself, he may have been a great man, but in all probability has been a bad master, or no master.
Now these men, whom I have signally left out of my groups, are true Masters.
Niccola Pisano taught all Italy; but chiefly his own son, who succeeded, and in some things very much surpassed him.
Orcagna taught all Italy, after him, down to Michael Angelo. And these two—Lippi, the religious schools, Verrocchio, the artist schools, of their century.