emancipating himself from Macedonski's eclectic tendencies after 1902. By that time, the Symbolist authors Dimitrie Anghel and N. D. Cocea used Macedonski's fantasy prose as an inspiration for their own, and N. Davidescu was borrowing from his mystical discourse. The pictorial and joyous elements in Macedonski's poems were also serving to inspire Stamatiad, Eugeniu Ștefănescu-Est and Horia Furtună. In the early stages of his career, Ion Pillat wrote pieces which echo his master's choice of exotic themes. A more discreet legacy of Macedonski's ideas was also preserved inside the conservative and traditionalist camps. Although his separation from Literatorul was drastic, and led him to rally with Junimea, Duiliu Zamfirescu built on some elements borrowed from the magazine's ideology, incorporating them into his literary vision. Many of Macedonski's most devoted disciples, whom he himself had encouraged, have been rated by various critics as secondary or mediocre. This is the case of Theodor Cornel (who made his name as an art critic), Mircea Demetriade, Oreste Georgescu, Alexandru Obedenaru, Stoenescu, Stamatiad, Carol Scrob, Dumitru Karnabatt and Donar Munteanu. Another such minor author was the self-styled "hermeticist" Alexandru Petroff, who expanded on Macedonski's ideas about esoteric knowledge. Macedonski's eldest son Alexis continued to pursue a career as a painter. His son Soare followed in his footsteps, receiving acclaim from art critics of the period. Soare's short career ended in 1928, before he turned nineteen, but his works have been featured in several retrospective exhibitions, including one organized by Alexis. Alexis later experimented with scenic design as an assistant to French filmmaker René Clair; his later life, shrouded in mystery and intrigue, led him to a career in Fascist Italy and Francoist Spain. Another of Alexandru Macedonski's sons, Nikita, was also a poet and painter. For a while in the 1920s, he edited the literary supplement of Universul newspaper. Two years after her father's death, Anna Macedonski married poet Mihail Celarianu. In addition to his polemical portrayals in works by Alecsandri, Eminescu and Caragiale, Macedonski's career was an inspiration for various authors. His image acquired mythical proportions for his followers. Like Demetrescu, many of them left memoirs on Macedonski which were published before or after his death. His admirers were writing poetry about him as early as 1874, and, in 1892, Cincinat Pavelescu published a rhapsodizing portrait of Macedonski as "the Artist". Pavelescu, Dragoslav and Petică paid homage to the writer by leaving recollections which