A Francesco Ruviale, a Spaniard, is also mentioned in Naples, called Polidorino, from his happy imitation of his master, whom he assisted in painting for the Orsini some subjects illustrative of the history of that noble family; and after the departure of his master, he executed by himself several works at Monte Oliveto and elsewhere. The greater part of these have perished, as happened in Rome to so many of the works of Polidoro. This Ruviale appears to me to be a different artist from a Ruviale, a Spaniard, who is enumerated among the scholars of Salviati, and the assistants of Vasari, in the painting of the Chancery; on which occasion Vasari says, he formed himself into a good painter. This was under Paul VII. in 1544, at which time Polidorino must already have been a master. Palomino has not said a word of any other Ruviale, a painter of his country; and this is a proof that the two preceding artists never returned home to Spain. Some have included among the scholars of Polidoro an able artist and good colourist, called Marco Calabrese, whose surname is Cardisco. Vasari ranks him before all his Neapolitan contemporaries, and considers his genius a fruit produced remote from its native soil. This observation cannot appear correct to any one who recollects that the Calabria of the present day is the ancient Magna Græcia, where in former times the arts were carried to the highest pitch of perfection. Cardisco painted much in Naples and in the state. His most celebrated work is the Dispute of S. Agostino in the church of that saint in Aversa. He had a scholar in Gio. Batista Crescione, who together with Lionardo Castellani, his relative, painted at the time Vasari wrote, which was an excuse for his noticing them only in a cursory manner. We may further observe that Polidoro was the founder of a florid school in Messina, where we must look for his most able scholars.[109]