s 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