Chapter 15

Besides this, the testimony of Knight, Price, and Gilpin, have contributed to remove the prejudices against Vanbrugh. Knight says in his "Principles of Taste," Sir John Vanbrugh is the only architect I know of, who has either planned or placed his houses according to the principles recommended; and in his two chief works, Blenheim and Castle Howard, it appears to have been strictly adhered to, at least in the placing of them, and both are certainly worthy of the best situations, which not only the respective places, but the island of Great Britain could afford.

Vanbrugh also evinced great talent as a dramatic writer, and his masterly powers in comedy are so well evinced in the Relapse, the Provoked Wife, and other plays, that were it not for their strong libertine tendency which have properly banished them from the stage, and almost from the closet, he would have been regarded as a standard classic author in English dramatic literature. His private character seems to have been amiable, and his conduct tolerably correct. He died at his own house in Whitehall, in 1726. In his character of architect, Dr. Evans bestowed on him the following witty epitaph:

"Lie heavy on him, earth, for he Laid many a heavy load on thee"!

ANECDOTE OF THE ENGLISH PAINTER JAMES SEYMOUR.

He was employed by the Duke of Somerset, commonly called "the Proud Duke," to paint the portraits of his horses at Petworth, who condescended to sit with Seymour (his namesake) at table. One day at dinner, the Duke filled his glass, and saying with a sneer, "_Cousin_ Seymour, your health," drank it off. "My Lord," said the artist, "I believe I _have_ the honor of being related to your grace." The proud peer rose from the table, and ordered his steward to dismiss the presumptuous painter, and employ an humbler brother of the brush. This was accordingly done; but when the new painter saw the spirited works of his predecessor, he shook his head, and retiring said, "No man in England can compete with James Seymour." The Duke now condescended to recall his discarded cousin. "My Lord," was the answer of Seymour, "I will now prove to the world that I am of your blood--_I won't come._" Upon receiving this laconic reply, the Duke sent his steward to demand a former loan of £100. Seymour briefly replied that "he would write to his Grace." He did so, but directed his letter, "Northumberland House, opposite the Trunkmaker's, Charing Cross." Enraged at this additional insult, the Duke threw the letter into the fire without opening it, and immediately ordered his steward to have him arrested. But Seymour, struck with an opportunity of evasion, carelessly observed that "it was hasty in his Grace to burn his letter, because it contained a bank note for £100, and that _therefore_, they were now quits."

PRECOCITY OF LUCA GIORDANO.

At the age of five years, the natural taste of Lucia Giordano for painting, led him to adopt the pencil as a plaything; at six he could draw the human figure with surprising correctness. The Cav. Stanzioni, passing by his father's shop, and seeing the child at work, stopped to see his performances, and is said to have predicted that "he would one day become the first painter of the age." Before he was eight years old he painted, unknown to his father, two cherubs in a fresco, entrusted to that artist, in an obscure part of the church of S. Maria Nuova--figures so graceful as to attract considerable attention. This fact coming to the knowledge of the Duke de Medina de las Torres, the Viceroy of Naples, he rewarded the precocious painter with some gold ducats, and recommended him to the instruction of Spagnoletto, then the most celebrated painter in Naples, who accordingly received him into his studio. There, says Palomino, he spent nine years in close application to study, and there, he probably enjoyed the advantage of seeing Velasquez, during that great artist's second visit to Naples.

GIORDANO'S ENTHUSIASM.

When Giordano was about seventeen years old, having learned from Ribera all he could teach him, he conceived a strong desire to prosecute his studies at Rome. To this step, his father, who was poor, and could perhaps ill afford to lose his earnings, refused to give his consent. Luca therefore embraced the earliest opportunity to abscond, and ran away on foot to the metropolis of art, where he applied himself with the greatest assiduity. He copied all the great frescos of Raffaelle in the Vatican several times; he next turned his rapid pencil against the works of Annibale Caracci in the Farnese palace. Meantime, his father divining the direction which the truant had taken, followed him to Rome, where, after a long search, he discovered him sketching in St. Peter's church.

LUCA FA PRESTO.

Giordano resided at Rome about three years with his father, who seems to have been a helpless creature, subsisting by the sale of his son's drawings; but Luca cared for nothing but his studies, satisfied with a piece of bread or a few maccaroni. When their purse was low, the old man would accompany him to the scene of his labors, and constantly urge him on, by repeating _Luca, fa presto_, (hurry Luca) which became a byword among the painters, and was fixed upon the young artist as a nickname, singularly appropriate to his wonderful celerity of execution. He afterwards traveled through Lombardy to Venice, still accompanied by his father, and having studied the works of Correggio, Titian, and other great masters, returned by way of Florence and Leghorn to Naples, where he soon after married the Donna Margarita Ardi, a woman of exquisite beauty, who served him as a model for his Virgins, Madonnas, Lucretias, and Venuses.

GIORDANO'S SKILL IN COPYING.

Luca Giordano could copy any master so accurately as to deceive the best judges. Among his patrons in his youth was one Gasparo Romero, who was in the habit of inflicting upon him a great deal of tedious and impertinent advice. For this he had his revenge by causing his father to send to that connoisseur as originals, some of his imitations of Titian, Tintoretto, and Bassano, and afterwards avowing the deception; but he managed the joke so pleasantly that Romero was rather pleased than offended at his skill and wit.

GIORDANO'S SUCCESS AT NAPLES.

In 1655, Giordano painted in competition with Giacomo Forelli, a large picture of St. Nicholas borne away by angels, for the church of S. Brigida, a work of such power and splendor, that it completely eclipsed his rival, and established his reputation at the early age of twenty-three. Two years after, he was employed by the Viceroy to paint several pictures for the church of S. Maria del Pianto, in competition with Andrea Vaccaro. The principal subjects which fell to Giordano, were the Crucifixion, and the Virgin and St. Januarius pleading with the Saviour for Naples, afflicted with pestilence; these he executed with great ability. He and Vaccaro having a dispute about placing the pictures, the matter was referred to the Viceroy, who gave the choice to Vaccaro as the senior artist; Giordano immediately yielded with so much grace and discretion, that he made a firm friend of his successful rival. His master, Ribera, being now dead, he soon stepped into the vacant place of that popular artist. The religious bodies of the kingdom, the dignitaries of the church, and princes and nobles, eagerly sought after his works.

GIORDANO, THE VICEROY, AND THE DUKE OF DIANO.

The honors heaped upon Giordano by the Marquess of Heliche, compelled him to neglect and offend other patrons. One of these personages, the Duke of Diano, being very anxious for the completion of his orders, at last, lost all patience, and collaring the artist, he threatened him with personal chastisement if he did not immediately fulfil his engagements. The Viceroy being informed of the insult, took up the painter's quarrel in right royal style. He invited the Duke, who affected connoisseurship, to pass judgment on a picture lately painted by Luca for the palace, in imitation of the style of Rubens. The unlucky noble fell into the trap, and pronounced it an undoubted work by the great Fleming. Seeming to assent to this criticism, the Viceroy replied that Giordano was painting a companion to the picture, a piece of information which Diano received with a sneer and a remark on the artist's uncivil treatment to persons of honor. Here Heliche hastily interposed, telling him that the work which he had praised was painted, not by Rubens, but by Giordano, and repeating the sentiment expressed by several crowned heads on like occasions, admonished him of the respect due to a man so highly endowed by his Maker. "And how dare you," cried he, in a loud tone, and seizing the Duke by the collar, as the latter had done to Giordano, "thus insult a man, who is besides, retained in my service? Know, for the future, that none shall play the brave here, so long as I bear rule in Naples!" "This scene," says Dominici, "passing in the presence of many of the courtiers, and some of these, witnesses of the insult offered to the painter, so mortified the pride of the provincial grandee, that he retired, covered with confusion, and falling into despondency, died soon after of a fever."

GIORDANO INVITED TO FLORENCE.

In 1679, Giordano was invited to Florence by the Grand Duke, Cosmo III., to decorate the chapel of S. Andrea Corsini in the Carmine. His works gave so much satisfaction to that prince, that he not only liberally rewarded him, but overwhelmed him with civilities, and presented him with a gold medal and chain, which he did him the honor to place about his neck with his own royal hands.

GIORDANO AND CARLO DOLCI.

While sojourning in that city, he became acquainted with Carlo Dolci, then advanced in years, who is said to have been so affected at seeing the rapid Neapolitan execute in a few hours what would have required him months to perform, in his own slow and laborious manner, that he fell into a profound melancholy, of which he soon after died: This circumstance Dominici assures us, Giordano long afterwards remembered with tears, on being shown at Naples "a picture painted by poor Carlino."

GIORDANO'S VISIT TO SPAIN.

The fame of Giordano had already reached Madrid, when Don Cristobal de Ontañon, a favorite courtier of Charles II., returning from Italy, full of admiration for Giordano and his works, so sounded his praises in the royal ear, that the King invited him to his court, paying the expense of his journey, and giving him a gratuity of 1500 ducats, and appointing him his principal painter, with a salary of 200 crowns a month.

The painter embarked from Naples on board one of the royal galleys, accompanied by his son Nicolo, a nephew named Baldassare Valente, and two scholars, Aniello Rossi and Matteo Pacelli, attended by three servants. Landing at Barcelona, and resting there a few days, he proceeded to Madrid, where he arrived in May 1692. Six of the royal coaches were sent to meet him on the road, and conduct him to the house of his friend Ontañon. On the day of his arrival, by the desire of the King, he was carried to the Alcaza and presented to his Majesty. Charles received him with great kindness, inquired how he had borne the fatigues of his journey, and expressed his joy at finding him much younger in appearance than he had been taught to expect. The painter, with his usual courtly tact, replied, that the journey he had undertaken to enter the service of so great a monarch, had revived his youth, and that in the presence of his Majesty, he felt as if he were twenty again. "Then," said Charles smiling, "you are not too weary to pay a visit to my gallery," and led him through the noble halls of Philip II., rich with the finest pictures of Italy and Spain. It was probably on this occasion, that Giordano, passing before Velasquez's celebrated picture of the Infanta and her meniñas, bestowed on it the well known name of the _Theology of Painting_. The King, who paid the painter the extraordinary honor to embrace him when first presented, gave him a still greater mark of his favor at parting, by kissing him on the forehead, and presenting him with the golden key as gentleman of the royal bed-chamber.

GIORDANO'S WORKS IN SPAIN.

Luca Giordano resided in Spain ten years, and in that time he executed an incredible number of grand frescos, and other works for the royal palaces, churches, and convents, as well as many more for individuals, enough to have occupied an ordinary man a long life. In the short space of two years, he painted in fresco, the stupendous ceiling of the church, and the grand staircase of the Escurial; the latter, representing the Battle of St. Quintin, and the Capture of Montmorenci, is considered one of his finest works. His next productions were the great saloon in the Bueno Retiro; the sacristy of the great church at Toledo; the ceiling of the Royal Chapel at Madrid, and other important works. After the death of Charles II., he was employed in the same capacity by his successor, Philip V. These labors raised his reputation to the highest pitch; he was loaded with riches and favors, and Charles conferred upon him the honor of knighthood.

GIORDANO AT THE ESCURIAL.

Whilst Giordano was employed at the Escurial two Doctors of Theology were ordered to attend upon him, to answer his questions, and resolve any doubts that might arise as to the orthodox manner of treating his subjects. A courier was despatched every evening to Madrid, with a letter from the prior to the King, rendering an account of the artist's day's work; and within the present century, some of these letters were preserved at the Escurial. On one occasion he wrote thus, "Sire, your Giordano has painted this day about twelve figures, thrice as large as life. To these he has added the powers and dominations, with proper angels, cherubs, and seraphs, and clouds to support the same. The two Doctors of Divinity have not answers ready for all his questions, and their tongues are too slow too keep pace with the speed of his pencil."

GIORDANO'S HABITS IN SPAIN.

Giordano was temperate and frugal. He wrought incessantly, and to the scandal of the more devout, was found at his easel, even on days of religious festivals. His daily habit was to paint from eight in the morning, till noon, when he dined and rested two hours. At two he resumed his pencil, and wrought till five or six o'clock. He then took an airing in one of the royal carriages which was placed at his disposal. "If I am idle a single day," he used to say, "my pencils get the better of me; I must keep them in subjection by constant practice." The Spanish writers accuse him of avarice, and attribute his intense application to his ambition to acquire a large fortune; that he received large prices for his works, and never spent a maravedi except in the purchase of jewelry, of which he was very fond, and considered a good investment; thus he astonished Palomino by showing him a magnificent pearl necklace; but it should be recollected he was in the service of the King, and had a fixed salary, by no means large, which he was entitled to receive whether he wrought or played. He was doubtless better paid for his private commissions, which he could quickly despatch, than for his royal labors.

GIORDANO'S FIRST PICTURES PAINTED AT MADRID.

The first work Giordano executed in Spain was a fine imitation of a picture by Bassano, which happened under the following circumstances. The King, 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.