He did not however permanently adopt any of these styles as his own. At first he evidently formed himself on Spagnoletto; afterwards, as in a picture of the Passion at S. Teresa a little before mentioned, he adhered to Paul Veronese; and he ever retained the maxim of that master, by a studied decoration to excite astonishment, and to fascinate the eye. From Cortona he seems to have taken his contrast of composition, the great masses of light, and the frequent repetition of the same features, which, in his female figures, he always copied from his wife. In other respects he aimed at distinguishing himself from every other master by a novel mode of colouring. He was not solicitous to conform to the true principles of art; his style is not natural either in tone or colour, and still less so in its chiaroscuro, in which Giordano formed for himself a manner ideal and wholly arbitrary. He pleased, notwithstanding, by a certain deceptive grace and attraction, which few attempt, and which none have found it easy to imitate. Nor did he recommend this style to his scholars, but on the contrary reproved them when he saw them disposed to imitate him, telling them that it was not the province of young students to penetrate so far. He was well acquainted with the principles of design, but would not be at the trouble of observing them; and in the opinion of Dominici, if he had adhered to them too rigidly he would have enfeebled that spirit which is his greatest merit; an excuse which perhaps will not appear satisfactory to every amateur. Another reason may with more probability of truth be assigned, which was his unbounded cupidity, and his habit of not refusing commissions from the meanest quarter, which led him to abuse his facility to the prejudice of his reputation. Hence, among other things, he has been accused of having often painted superficially, without impasto, and with a superabundance of oil, so that some of his pictures have almost disappeared from the canvass.