Anecdotes of Painters, Engravers, Sculptors and Architects, and Curiosities of Art - Shearjashub Spooner (best fiction books to read .TXT) 📗

during his first interview with the painter, had remarked with regret, that a certain picture in the Alcaza, by that master, wanted a companion, Giordano secretly procured a frame and a piece of old Venetian canvas of the size of the other, and speedily produced a picture, having all the appearance of age and a fine match to the original, and hung it by its side. The King, in his next walk through the gallery, instantly noticed the change with surprise and satisfaction, and learning the story from his courtiers, he approached the artist, and laying his hand on his shoulder, saluted him with "Long life to Giordano." GIORDANO A FAVORITE AT COURT.

No painter, not even Titian himself, was more caressed at court, than Giordano. Not only Charles II., but Philip V., delighted to do him honor, and treated him with extraordinary favor and familiarity. His brilliant success is said to have shortened the life of Claudio Coello, the ablest of his Castilian rivals. According to Dominici, that painter, jealous of Giordano, and desirous of impairing his credit at the court of Spain, challenged him to paint in competition with him in the presence of the King, a large composition fifteen palms high, representing the Archangel Michael vanquishing Satan. Giordano at once accepted the challenge, and in little more than three hours, produced a work which not only amazed and delighted the royal judge, but confounded poor Coello. "Look you, man," said the King to the discomfited Spaniard, and pointing to Luca Fa-presto, "there stands the best painter in Naples, Spain, and the whole world; verily, he is a painter for a King."

Both Charles and Queen Mariana of Neuberg, sat several times to Giordano for their portraits. They were never weary of visiting his studio, and took great pleasure in his lively conversation, and exhibitions of artistic skill. One day, the Queen questioned him curiously about the personal appearance of his wife, who she had learned was very beautiful. Giordano dashed off the portrait of his Cara Sposa, and cut short her interrogation by saying, "Here, Madame, is your Majesty's most humble servant herself," an effort of skill and memory, which struck the Queen as something so wonderful as to require a particular mark of her approbation,—she accordingly "sent to the Donna Margarita a string of pearls from the neck of her most gracious sovereign." Giordano would sometimes amuse the royal pair, by laying on his colors with his fingers and thumb, instead of brushes. In this manner, says Palomino, he executed a tolerable portrait of Don Francisco Filipin, a feat over which the monarch rejoiced with almost boyish transport. "It seemed to him as if he was carried back to that delightful night when he first saw his beautiful Maria Louisa dance a saraband at the ball of Don Pedro of Aragon. His satisfaction found vent in a mark of favor which not a little disconcerted the recipient. Removing the sculpel which the artist had permission to wear in the royal presence, he kissed him on the crown of the head, pronounced him a prodigy, and desired him to execute in the same digital style, a picture of St. Francis of Assisi for the Queen." Charles, on another occasion, complimented the artist, by saying, "If, as a King I am greater than Luca, Luca as a man wonderfully gifted by God, is greater than myself," a sentiment altogether novel for a powerful monarch of the 17th century. The Queen mother, Mariana of Austria, was equally an admirer of the fortunate artist. On occasion of his painting for her apartment a picture of the Nativity of our Lord, she presented him with a rich jewel and a diamond ring of great value, from her own imperial finger. It was thus, doubtless, that he obtained the rich jewels which astonished Palomino, and not by purchase. Charles II., dying in 1700, Giordano continued for a time in the service of his successor Philip V., who treated him with the same marked favor, and commissioned him to paint a series of pictures as a present to his grandfather, Louis XIV., of France.

GIORDANO'S RETURN TO NAPLES.

The war of succession, however, breaking out, Giordano was glad to seize the opportunity of re-returning to his family, on the occasion of the King's visit to Naples. He accompanied the court to Barcelona, in February, 1702, but as Philip delayed his embarkation, he asked and received permission to proceed by land. Parting through Genoa and Florence to Rome, he was received everywhere with distinction, and left some pictures in those cities. At Rome he had the honor to kiss the feet of Clement XI., and was permitted by special favor to enter the Papal apartments with his sword at his side, and his spectacles upon his nose. These condescensions he repaid with two large pictures, highly praised, representing the passage of the Red Sea, and Moses striking the Rock. On his arrival at Naples, he met with the most enthusiastic reception from his fellow-citizens, his renown in Spain having made him still more famous at home. Commissions poured into him, more than he could execute, and though rich, he does not seem to have relaxed his efforts or his habits of industry, but he did not long survive; he died of a putrid fever in January, 1705, in the 73d year of his age.

GIORDANO'S PERSONAL APPEARANCE AND CHARACTER.

In person, Luca Giordano was of the middle height, and well-proportioned. His complexion was dark, his countenance spare, and chiefly remarkable for the size of its nose, and an expression rather melancholy than joyous. He was, however, a man of ready wit and jovial humor; he was an accomplished courtier, understood the weak points of men that might be touched to advantage, and possessed manners so engaging, that he passed through life a social favorite. His school was always filled with scholars, and as a master he was kind and popular, although, according to Palomino, on one occasion he was so provoked that he broke a silver-mounted maul-stick over the head of one of his assistants. Greediness of gain seems to have been his besetting sin. He refused no commission that was offered to him, and he despatched them according to the prices he received, saying that "he had three sorts of pencils, made of gold, of silver, and of wood." Yet he frequently painted works gratuitously, as pious offerings to the altars of poor churches and convents.

GIORDANO'S RICHES.

Giordano died very rich, leaving 150,000 ducats invested in various ways; 20,000 ducats worth of jewels; many thousands in ready money, 1,300 pounds weight of gold and silver plate, and a fine house full of rich furniture. Out of this he founded an entailed estate for his eldest son, Lorenzo, and made liberal provisions for his widow, two younger sons and six daughters. His sons and sons-in-law enjoyed several posts conferred on them in the kingdom of Naples by the favor of Charles II.

GIORDANO'S WONDERFUL FACILITY OF HAND.

Giordano may be said to have been born with a pencil in his hand, and by constant practice, added to a natural quickness, he acquired that extraordinary facility of hand which, while in his subsequent career, it tended to corrupt art, materially aided his fame and success. He was also indefatigable in his application. Bellori says, "he made twelve different designs of the Loggia and paintings by Raffaelle in the Vatican; and twenty after the Battle of Constantine by Giulio Romano, besides many after Michael Angelo, Polidoro da Caravaggio, and others. The demand for his drawings and sketches was so great, that Luca, when obliged to take refreshments, did not retire from his work, but gaping like a young bird, gave notice to his father of the calls of nature, who, always on the watch, instantly supplied him with food, at the same time repeating, Luca, fa presto. The only principle which his father instilled into his mind was despatch." Probably no artist, not even Tintoretto, produced so many pictures as Giordano. Lanzi says, "his facility was not derived wholly from a rapidity of pencil, but was aided by the quickness of his imagination, which enabled him clearly to perceive, from the commencement of the work, the result he intended, without hesitating to consider the component parts, or doubling, proving, and selecting, like other painters." Hence Giordano was also called, Il proteo della pittura, and Il Falmine della pittura—the Proteus, and the Lightning of painting. As an instance of the latter, it is recorded that he painted a picture while his guests were waiting for dinner.

GIORDANO'S POWERS OF IMITATION.

Giordano had the rare talent of being able to imitate the manner of every master so successfully as frequently to deceive the best judges; he could do this also without looking at the originals, the result of a wonderful memory, which retained everything once seen. There are numerous instances of pictures painted by him in the style of Albert Durer, Bassano, Titian, and Rubens, which are valued in commerce at two or three times the price of pictures in his own style. In the church of S. Teresa at Naples, are two pictures by him in the style of Guido, and there is a Holy Family at Madrid, which Mengs says may be easily mistaken for a production of Raffaelle. Giordano also had several scholars, who imitated his own style with great precision.

GIORDANO'S FAME AND REPUTATION.

Perhaps no artist ever enjoyed a greater share of contemporary fame than Luca Giordano. Possessed of inexhaustible invention, and marvellous facility of hand, which enabled him to multiply his works to any required amount he had the good fortune to hit upon a style which pleased, though it still farther corrupted the declining taste of the age. He despatched a large picture in the presence of Cosmo III., Grand Duke of Florence, in so short a space of time as caused him to exclaim in wonder, "You are fit to be the painter of a sovereign prince." The same eulogium, under similar circumstances, was passed upon him by Charles II. A similar feat at Naples, had previously won the admiration and approbation of the Viceroy, the Marquess de Heliche, and laid the foundation of his fortune. It became the fashion, to admire everything that came from his prolific pencil, at Madrid, as well as at Naples. Everywhere, his works, good or bad, were received with applause. When it was related as a wonder that Giordano painted with his fingers, no Angelo was found to observe, "Why does not the blockhead use his brush." That Giordano was a man of genius, there can be no doubt, but had he executed only a tenth part of the multitude he did, his fame would have been handed down to posterity with much greater lustre. Cean Bermudez says of his works in Spain, "He left nothing that is absolutely bad, and nothing that is perfectly good." His compositions generally bear the marks of furious haste, and they are disfigured in many cases by incongruous associations of pagan mythology with sacred history, and of allegory with history, a blemish on the literature as well as the art of the age. Bermudez also accuses him of having corrupted and degraded Spanish art, by introducing a new and false style, which his great reputation and royal favoritism, brought into vogue. Still, he deserves praise for the great facility of his invention, the force and richness of his coloring, and a certain grandeur of conception and freedom of execution which belong only to a great master. The royal gallery at Madrid possesses no less than fifty-five of his pictures, selected from the multitude he left in the various royal palaces. There are also many in the