the Peasants' War, the artist can be seen to distance himself somewhat from the [Lutheran] movement..." Dürer's later works have also been claimed to show Protestant sympathies. His 1523 The Last Supper woodcut has often been understood to have an evangelical theme, focusing as it does on Christ espousing the Gospel, as well as the inclusion of the Eucharistic cup, an expression of Protestant utraquism, although this interpretation has been questioned. The delaying of the engraving of St Philip, completed in 1523 but not distributed until 1526, may have been due to Dürer's uneasiness with images of saints; even if Dürer was not an iconoclast, in his last years he evaluated and questioned the role of art in religion. Legacy and influence Dürer exerted a huge influence on the artists of succeeding generations, especially in printmaking, the medium through which his contemporaries mostly experienced his art, as his paintings were predominantly in private collections located in only a few cities. His success in spreading his reputation across Europe through prints was undoubtedly an inspiration for major artists such as Raphael, Titian, and Parmigianino, all of whom collaborated with printmakers to promote and distribute their work. His engravings seem to have had an intimidating effect upon his German successors; the "Little Masters" who attempted few large engravings but continued Dürer's themes in small, rather cramped compositions. Lucas van Leyden was the only Northern European engraver to successfully continue to produce large engravings in the first third of the 16th century. The generation of Italian engravers who trained in the shadow of Dürer all either directly copied parts of his landscape backgrounds (Giulio Campagnola, Giovanni Battista Palumba, Benedetto Montagna and Cristofano Robetta), or whole prints (Marcantonio Raimondi and Agostino Veneziano). However, Dürer's influence became less dominant after 1515, when Marcantonio perfected his new engraving style, which in turn travelled over the Alps to also dominate Northern engraving. In painting, Dürer had relatively little influence in Italy, where probably only his altarpiece in Venice was seen, and his German successors were less effective in blending German and Italian styles. His intense and self-dramatizing self-portraits have continued to have a strong influence up to the present, especially on painters in the 19th and 20th century who desired a more dramatic portrait style. Dürer has never fallen from critical favour, and there have been significant revivals of interest in his works in Germany in the