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Tiepolo has been called the last link in the chain of Venetian colourists, which began with the Bellini, followed by Giorgione, Titian, Tintoretto, Palma Vecchio, Bonifazio, Veronese and to this list might be added the name of the Frenchman Watteau. Chardin was also a colourist, and how many of the Poussins at this gallery might be spared to make room for one of his cool, charming paintings!
His early feeling for art was nourished by visits to the Dulwich Gallery, to which he obtained an entrance when far under the age permitted by the rules; there he would sit for an hour before some chosen picture, and in later years he could recall the "wonderful Rembrandt of Jacob's vision," the Giorgione music-lesson, the "triumphant Murillo pictures," "such a Watteau," and "all the Poussins."
"Oh, your lordship," said I, "your Guidos, and Ostades, and Poussins, and Velasquez, are not to be surpassed." "True," replied his lordship, "they are fine very fine; but you have the Murillos. I'd like to give you a good round sum," added he, "to pick out half-a-dozen pictures out of your gallery." Do you understand pictures? continued Jawleyford, turning short on his friend Sponge.
The young man stared about him, open-mouthed and open-eyed. "It's a rare fine place," he said, "and must have cost a heap of money." "Look at the pictures on the walls," said Phoebe, glancing at the panels of the octagonal chamber, which were hung with Claudes and Poussins, Wouvermans and Cuyps. "I've heard that those alone are worth a fortune.
The meek-looking "Belle Jardiniere" was as lamb-like as ever; the pearly nymph of Correggio invited the stranger's eye as frankly as of old; Titian's young man with the glove was the calm, self-contained gentleman I used to admire; the splashy Rubenses, the pallid Guidos, the sunlit Claudes, the shadowy Poussins, the moonlit Girardets, Gericault's terrible shipwreck of the Medusa, the exquisite home pictures of Gerard Douw and Terburg, all these and many more have always been on exhibition in my ideal gallery, and I only mention them as the first that happen to suggest themselves.
Here also are four rich Poussins; two typical Salvator Rosa landscapes and a battle piece from the same hand; and, by some strange chance, a portrait of Oliver Cromwell by Sir Peter Lely. But the stone table again wins most attention.
Guercino's Sibyl figures with a cottage interior by Teniers, and Lely's Prince Rupert looks down with lordly scorn on Jonah pitched into the sea by the combined efforts of the two Poussins. The link between Berghem's cows and Del Sarto's Holy Family was doubtless supplied to the minds of the hanging committee by recollections of the manger.
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