unnamed coffeehouse acquaintance of his. Literatorul was revived for a final time in 1919. His health deteriorated from heart disease, which is described by Vianu as an effect of constant smoking. By that stage, Vianu recalls, Macedonski also had problems coming to terms with his age. His last anthumous work was the pamphlet Zaherlina (named after the Romanian version of "Zacherlin"; also known as Zacherlina or Zacherlina în continuare, "Zacherlin Contd."), completed in 1919 and published the following year. It notably attacked Densusianu, who had become Macedonski's personal enemy. Some other polemical texts he had authored late in life saw print only after his death, under the title Mustrări postume către o generație neînțelegătoare ("Posthumous Reprimands for an Obtuse Generation"). 1920 was also the year when the People's Party cabinet attempted to pension him off from his office at the Historical Monuments Commission, but the publicized protest of Macedonski's fellow writers in Bucharest made it reconsider. Confined to his home by illness and old age, Macedonski was still writing poems, some of which later known as his Ultima verba ("Last Words"). The writer died on 24 November, at three o'clock in the afternoon. Having come to develop an addiction to floral fragrances, he was inhaling a rose petal extract during his last hours. He was buried in Bucharest's Bellu. Work General characteristics Although Alexandru Macedonski frequently changed his style and views on literary matters, a number of constants have been traced throughout his work. Thus, a common perception is that his literature had a strongly visual aspect, the notion being condensed in Cincinat Pavelescu's definition of Macedonski: "Poet, therefore painter; painter, therefore poet." Traian Demetrescu too recalled that his mentor had been dreaming of becoming a visual artist, and had eventually settled for turning his son Alexis into one. This pictorial approach to writing created parallels between Macedonski and his traditionalist contemporaries Vasile Alecsandri and Barbu Ștefănescu Delavrancea. Following the tenets of Dimitrie Bolintineanu and Théophile Gautier, the writer repeatedly called for purity in versification, and upheld it as an essential requirement, while progressively seeking to verify the quality of his poetry through phonaesthetics. A characteristic of Macedonski's style is his inventive use of Romanian. Initially influenced by Ion Heliade Rădulescu's introduction of Italian-based words to the Romanian lexis, Macedonski himself later infused poetic language with a large array of neologisms from several Romance sources. Likewise, Vianu notes, Macedonski had