Wtewael's reputation may have been beneficial to other Utrecht painters, his own style remained too retardataire for him to have much influence on them. Wtewael's style remained largely unchanged, although his colours shifted from the acidic pastels of his earlier work to stronger shades after about 1615, and some influence from the style of Caravaggio can be detected in later works. The shift in his style can be seen in his largest painting, The Raising of Lazarus (158 x 208 cm) in Lille (illustrated in the gallery below), which though bought as a Spranger in 1900, shows a movement away from the more extreme poses and colours of the 1590s, and even from the drawing which may have been its modello. In the painting he have moved away from the small heads and over-long legs typical of Mannerism in both its Italian and Northern manifestations. Portraits, religious subjects, and economics In contrast, his few portraits are almost all of his family and are in a conventional and more realist style comparable to that of the leading Utrecht portraitist of his day, Paulus Moreelse (1571–1638), whose works must have been very familiar to Wtewael. The appearance of the whole family is only recorded in single formal portraits by Wtewael. He also painted a few half-length imaginary paintings of saints or gods, singly or in small groups, such as a set of the Four Evangelists that are now dispersed in various collections. The Bacchus in the gallery section was paired with a Ceres, and perhaps a now lost Venus; these may have been his last works, and show some influence from the Caravaggisti in the single large figures placed as though very close to the viewer. His biography by Carel van Mander says regretfully that his flax business occupied much of his time, and records examples of his pictures in the collections of two wealthy Dutch collectors. Many of Bloemaert's religious paintings were produced for the Catholic semi-secret schuilkerk hidden churches of Utrecht, which had a large Catholic population who were not able to worship in public. There is no evidence, or suggestion by scholars, that Wtewael's religious paintings were produced for this market; instead they are assumed to have been for the houses of the wealthy, like his other works. Among his religious subjects, the Raising of Lazarus, which he painted at least twice, was given a specifically Protestant interpretation by