REMARKABLE INSTANCE OF GIORDANO'S RAPIDITY OF EXECUTION.
Giordano, on his return to Naples from Florence, established himself in Ribera's fine house, opposite the Jesuit's church of S. Francesco Xavier. In 1685 he was commissioned by the Fathers to paint a large picture for one of the principal altars, and agreed that it should be completed by the approaching festival of the patron saint. Giordano, having other engagements on hand, put off the execution of the altar-piece so long, that the Jesuits began to be clamorous, and at length appealed to the Viceroy to exercise his authority. Determined to see for himself how matters stood, that great man paid an unexpected visit to Giordano's studio. The painter had barely time to escape by a back door to avoid his wrath, when the Marquess de Heliche entered, who perceiving that he had not touched the vast canvas with his brush, as suddenly retired, muttering imprecations and menaces. Luca's dashing pencil now stood him in good stead. He immediately sketched the outlines of his composition, and setting his disciples to prepare his palettes, he painted all that day and night with so much diligence that by the following afternoon, he was able to announce to the impatient Fathers the completion of the picture. The subject was the patron of the church, St. Francis Xavier, the great Jesuit missionary, baptizing the people of Japan. He is represented standing on a lofty flight of steps; behind him, in the distance, is a party of zealous converts pulling down the images of their gods, and beneath in the foreground, kneels St. Francis Borgia in the attitude of prayer. The picture was executed with such boldness and freedom, and excellence of coloring, that at the proper distance it produced a grand and magnificent effect. It was immediately carried to the church, and placed over the destined altar, the day before the appointed festival, and the Viceroy whose anger had hardly cooled, invited to inspect it. Charmed with the beauty of the work, and amazed by the celerity of its execution, he exclaimed, "the painter of this picture must be either an angel or a demon." Giordano received his compliments, and made his own excuses with so much address, that the Marquess, forgetting all past offences engaged him to paint in the palace, and passed much of his time by his side, observing his progress, and enjoying his lively conversation.