The remaining scholars of this school, Paul Domenico Finoglia, Giacinto de' Popoli, and Giuseppe Marullo, all three of Orta,--Andrea Malinconico, and Bernardo Cavallino, were, if we except the last, with more or less felicity, imitators of their master. Cavallino, more original, is said to have provoked the jealousy of Massimo, who advised him to paint in small: this ought to be admitted with hesitation, for it is difficult to believe, that he who feels himself made for the grand, could be persuaded to waste his life on trifles. Another convert to the Caracci School, was Andrea Vaccaro,[124] the friend and competitor of Massimo, a man made for imitation, says Lanzi, and says too much; for, if he had no equal in that of Caravaggio, he was, when imitating Guido, inferior to Massimo: nor did he, till after the demise of Stanzioni, acquire that supremacy at Naples which remained undisputed till the arrival of Giordano, young, vigorous, and fraught with the novel style of Pietro Beretini. Both concurred for the great altar-piece of Sta. Maria del Pianto, both presented their sketches, and Vaccaro obtained preference by the verdict of Pietro da Cortona himself, who declared him equally superior in experience and correctness of style to his own scholar; but, when contending with Giordano in fresco, to which he had not been trained by early practice, Vaccaro lost the honours he had gained. The best of his school was Giacomo Farelli, whom Luca found no contemptible antagonist: had he been content to follow the style of his master, without aspiring at that of Domenichino, for which he was unfit, he might have deserved the historian's notice for more than one picture. On the School of Domenichino, the Sicilians, Pietro, Giacomo, and Teresa del Po, cannot confer much honour. The father had more theory than practice, the son less evidence than ostentation, the daughter shone in miniature. Nearer to the master, both in style and temper, was Francesco di Maria: correct, slow, irresolute, author of few but eminent works, especially the subjects relative to S. Lawrence, at the Conventuals of Naples. He excelled in portraits, one of which, exhibited at Rome with one of Vandyk and another by Rubens, was, by Poussin, Cortona, and Sacchi, preferred to both. He often has been mistaken for his master, and commands high prices: the want of grace alone betrays him--of grace Nature had not been liberal to Francesco. Hence he became the proverb of Giordano, "that sickening over bone and muscle, he rendered beauty tame." He, in retort, held up Giordano's style as heresy in art, a flowery medley of incoherent charms.