Battlepiece now in the Musée du Louvre, the latter painted in 40 days, full of longdrawn carnage, with ships burning in the offing; Polycrates and the Fishermen; and the Oath of Catiline (Palazzo Pitti). While occupied with a series of satirical portraits, to be closed by one of himself, Rosa was assailed by dropsy. He died a half year later. In his last moments he married Lucrezia, who had borne him two sons, one of them surviving him. His tomb is in Santa Maria degli Angeli e dei Martiri, where a portrait of him has been set up. Salvator Rosa, after struggles of his early youth, had successfully earned a handsome fortune. He was a significant etcher, with a highly popular and influential series of small prints of soldiers, and a number of larger and very ambitious subjects. Among his pupils were Evangelista Martinotti of Monferrato and his brother Francesco. Another pupil was Ascanio della Penna of Perugia. Legacy During Rosa's lifetime his work inspired followers such as Giovanni Ghisolfi, but his most lasting influence was on the later development of romantic and sublime landscape traditions within painting. Eighteenth-century artists influenced by Rosa include Alessandro Magnasco, Andrea Locatelli, Giovanni Paolo Panini and Marco Ricci. As Wittkower states, it is in his landscapes, not his grand historical or religious dramas, that Rosa truly expresses his innovative abilities most graphically. Rosa himself dismissed his early landscapes as frivolous capricci in comparison to his history paintings and later work, but the academically conventional history canvases often restrained his rebellious streak. He generally avoided the idyllic and pastoral calm country-sides of Claude Lorrain and Paul Bril in his landscapes, and created brooding, melancholic fantasies, awash in ruins and brigands. By the eighteenth century, the contrasts between Rosa and the "sublime" landscape, and artists such as Claude and the "picturesque" landscape, were much remarked upon. A 1748 poem by James Thompson, "The Castle of Indolence", illustrated this: "Whate'er Lorraine light touched with softening hue/ Or savage Rosa dashed, or learned Poussin drew".<ref>Lines from "The Indolent Castle", James Thompson, 1748 quoted by Helen Langdon in Burlington Magazine 115(84):p. 779 (1973)</ref> In a time when artists were often highly constrained by patrons, Rosa had a plucky streak of independence, which celebrated the special role of the artist. "Our wealth must consist in things of the spirit, and in contenting ourselves with sipping, while others gorge themselves in