But none of the preceding artists were so much favoured by nature as Bernardo Cavallino, who at first created a jealous feeling in Massimo himself. Finding afterwards that his talent lay more in small figures than large, he pursued that department, and became very celebrated in his school, beyond which he is not so well known as he deserves to be. In the galleries of the Neapolitan nobility are to be seen by him, on canvass and copper, subjects both sacred and profane, composed with great judgment, and with figures in the style of Poussin, full of spirit and expression, and accompanied by a native grace, and a simplicity peculiarly their own. In his colouring, besides his master and Gentileschi, who were both followers of Guido, he imitated Rubens. He possessed every quality essential to an accomplished artist, as even the most extreme poverty could not induce him to hurry his works, which he was accustomed frequently to retouch before he could entirely satisfy himself. Life was alone wanting to him, which he unfortunately shortened by his irregularities.[115] Andrea Vaccaro was a contemporary and rival of Massimo, but at the same time his admirer and friend, a man of great imitative powers. He at first followed Caravaggio, and in that style his pictures are frequently found in Naples, and some cabinet pictures, which have even imposed upon connoisseurs, who have bought them for originals of that master. After some time Massimo won him over to the style of Guido, in which he succeeded in an admirable manner, though he did not equal his friend. In this style are executed his most celebrated works at the Certosa, at the Teatini and Rosario, without enumerating those in collections, where he is frequently found. On the death of Massimo, he assumed the first rank among his countrymen. Giordano alone opposed him in his early years, when on his return from Rome he brought with him a new style from the school of Cortona, and both artists were competitors for the larger picture of S. Maria del Pianto. That church had been lately erected in gratitude to the Virgin, who had liberated the city from pestilence, and this was the subject of the picture. Each artist made a design, and Pietro da Cortona being chosen umpire, decided against his own scholar in favour of Vaccaro, observing, that as he was first in years, so he was first in design and natural expression. He had not studied frescos in his youth, but began them when he was advanced in life, in order that he might not yield the palm to Giordano, but by the loss of his fame, he verified the proverb, that _ad omnem disciplinam tardior est senectus_.