exion 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 m