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express origin. The father, we are told, poverty-stricken and greedy of gain, was perpetuallyurging his boy to exertion with the phrase, " Luca, fa presto." The youth obeyed his See also:

PARENT, SIMON NAPOLEON (1855– )

parent to the See also:

LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

letter, and would actually not so much as pause to snatch a hasty See also:

MEAL

meal, but received into his mouth, while he still worked on, the See also:

food which his father's See also:

hand supplied. He copied nearly twenty times the " See also:

BATTLE

Battle of See also:

CONSTANTINE

Constantine" by Julio Romano, and with proportionate frequency several of the See also:

GREAT

great See also:

WORKS

works of See also:

RAPHAEL (Hebrew smm, " God heals ")

Raphael and See also:

MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo. His rapidity, which belonged as much to invention as to See also:

mere handiwork, and his versatility, which enabled him to imitate other painters deceptively, earned for him two other epithets, " The Thunderbolt " (Fulmine), and " The See also:

Proteus," of See also:

PAINTING

Painting. He shortly visited all the See also:

main seats of the Italian school of art, and formed for himself a See also:

style combining in a certain measure the ornamental pomp of See also:

Paul Veronese and the contrasting compositions and large schemes of See also:

CHIAROSCURO (from the Ital. chiaro, Iight or brightness, and oscuro, darkness or shade)

chiaroscuro of Pietro da Cortona. He was noted also for lively and showy See also:

COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour. Returning to Naples, and accepting every sort of See also:

COMMISSION (from Lat. commissio, committere)

commission by which See also:

MONEY

money was to be made, he practised his art with so much See also:

APPLAUSE (Lat. applaudere, to strike upon, clap)

applause that See also:

Charles II. of See also:

Spain towards 1687 invited him over to See also:

MADRID

Madrid, where he remained thirteen years. Giordano was very popular at the See also:

SPANISH

Spanish See also:

court, being a sprightly talker along with his other marvellously facile gifts, and the See also:

king created him a See also:

CAVALIERE, EMILIO DEL

cavaliere.

One See also:

ANECDOTE (from av-, privative, and isSLSwµu, to give out or publish)

anecdote of his rapidity of work is that the See also:

queen of Spain having one See also:

day made some inquiry about his wife, he at once showed Her See also:

MAJESTY (Fr. majeste; Lat. majestas, grandeur, greatness, from the base mag-, as in magnus, great, major, greater, &c.)

Majesty what the See also:

LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

lady was like by painting her portrait into the picture on which he was engaged. Soon after the See also:

DEATH

death- of Charles in 1700 Giordano, gorged with See also:

WEALTH

wealth, returned to Naples. He spent large sums in acts of munificence, and was particularly liberal to his poorer brethren of the art. He again visited various parts of See also:

Italy, and died in Naples on the 12th of See also:

JANUARY

January 1705, his last words being " O Napoli, sospiro mio " (O Naples, my See also:

heart's love!). One of his See also:

MAXIMS, LEGAL

maxims was that the See also:

GOOD, JOHN MASON (1764-1827)

good painter is the one whom the public like, and that the public are attracted more by colour than by See also:

DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design. Giordano had an astonishing readiness and facility, in spite of the See also:

general commonness and superficiality of his performances. He See also:

LEFT

left many works in Rome, and far more in Naples. Of the latter one of the most renowned is " See also:

Christ expelling the Traders from the See also:

Temple," in the See also:

church of the Padri Girolamini, a See also:

COLOSSAL

colossal work, full of expressive lazzaroni; also the frescoes of S. Martino, and those in the Tesoro della Certosa, including the subject of " See also:

Moses and the Brazen See also:

SERPENT (Lat. serpens, creeping, from serpere; cf. "reptile " from repere, Gr.4 ml-eta)

Serpent "; and the See also:

CUPOLA (Ital., from Lat. cupula, small cask or vault, cupa, tub)

cupola-paintings in the Church of S. Brigida, which contains the artist's own See also:

TOMB (Gr. Tuµ/3a, Tuµ(3os, probably allied to Lat. tumulus, literally a swelling, tumere, to swell)

tomb. In Spain he executed a surprising number of works, —continuing in the See also:

ESCORIAL

Escorial the See also:

SERIES (a Latin word from serere, to join)

series commenced by See also:

CAMBIASI, LUCA (1527-1585)

Cambiasi, and painting frescoes of the " Triumphs of the Church," the " See also:

GENEALOGY (from the Gr. yivos, family, and Vryos, theory)

Genealogy and Life of the Madonna," the stories of Moses, See also:

GIDEON (in Hebrew, perhaps " hewer " or " warrior ")

Gideon, See also:

David and See also:

Solomon, and the " Celebrated See also:

WOMEN

Women of Scripture," all works of large dimensions. His pupils, Aniello See also:

Rossi and Matteo Pacelli, assisted him in Spain.

In Madrid he worked more in oil-colour, a Nativity there being one of his best productions. Other See also:

SUPERIOR

superior examples are the " See also:

JUDGMENT

Judgment of See also:

Paris " in the See also:

Berlin Museum, and " Christ with the Doctors in the Temple," in the See also:

CORSINI

Corsini See also:

GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery of Rome. In See also:

Florence, in his closing days, he painted the Cappella Corsini, the Galleria Riccardi and other works. In youth he etched with considerable skill some of his own paintings, such as the " Slaughter of the Priests of See also:

BAAL

Baal." He also painted much on the crystal borderings of looking-glasses, cabinets, &c., seen in many Italian palaces, and was, in this See also:

FORM (Lat. forma)

form of art, the See also:

MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of Pietro Garofolo. His best See also:

PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil, in painting of the See also:

ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary See also:

KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind, was See also:

PAOLO (GIROLAMO GASPARE)5 (1532-1600)

Paolo de Matteis. Bellori, in his Vite de' pittori moderni, is a leading authority regarding Luca Giordano. P. Benvenuto (1882) has written a work on the Riccardi paintings.

End of Article: GIORDANO, LUCA (1632–1705)

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