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.