“Tired of being the brunt of the scorn of profiteers and of thieves in yellow gloves I was determined to leave Turin and my home country. The Franco-Prussian War was over and it was said that the gates of Paris were open to all . . .”
The unification of Italy prompted the Savoy dynasty to transfer its royal seat—and the nation’s capital—from Turin to Florence in 1864 and then to Rome in 1871. For Turin this meant a tightening of the royal purse and a corresponding reduction in the number of publicly-funded construction or restoration projects. Opportunities for local decorative artists became fewer and more meanly competitive. This, coupled with the exploitation of his talents by better-known artists, impacted Juglaris’s future prospects in Turin. He came to believe that, notwithstanding ambition, dedication and hard work on his part, any greater success might prove elusive in his native city.
As someone born into relative wealth and privilege before financial reverses impoverished his family, Juglaris resented watching those whom he considered inferior prevailing where he could not. He had only scorn for the dandies and gentlemen of the art world who, in keeping with the fashion of the day, wore kid gloves dyed yellow or lavender. To his eye, they were thieves parading as gentleman, or gentlemen behaving like thieves. In the face so much that rankled, or that he considered humiliating, Juglaris resolved to seek a better fortune beyond Italy. Neighboring France, where a war with German Prussia had recently ended, beckoned him. His mind was made up: he would go to Paris.