seen in the success of the painter Frans Post, who spent the rest of his life painting Brazilian landscapes after a trip there in 1636–1644. Other painters who never crossed the Alps could make money selling Rhineland landscapes, and still others for constructing fantasy scenes for a particular commission such as Cornelis de Man's view of Smeerenburg in 1639. Compositional formulae using elements like the repoussoir were evolved which remain influential in modern photography and painting, notably by Poussin and Claude Lorrain, both French artists living in 17th century Rome and painting largely classical subject-matter, or Biblical scenes set in the same landscapes. Unlike their Dutch contemporaries, Italian and French landscape artists still most often wanted to keep their classification within the hierarchy of genres as history painting by including small figures to represent a scene from classical mythology or the Bible. Salvator Rosa gave picturesque excitement to his landscapes by showing wilder Southern Italian country, often populated by banditi. Dutch Golden Age painting of the 17th century saw the dramatic growth of landscape painting, in which many artists specialized, and the development of extremely subtle realist techniques for depicting light and weather. There are different styles and periods, and sub-genres of marine and animal painting, as well as a distinct style of Italianate landscape. Most Dutch landscapes were relatively small, but landscapes in Flemish Baroque painting, still usually peopled, were often very large, above all in the series of works that Peter Paul Rubens painted for his own houses. Landscape prints were also popular, with those of Rembrandt and the experimental works of Hercules Seghers usually considered the finest. The Dutch tended to make smaller paintings for smaller houses. Some Dutch landscape specialties named in period inventories include the Batalje, or battle-scene; the Maneschijntje, or moonlight scene; the Bosjes, or woodland scene; the Boederijtje, or farm scene, and the Dorpje or village scene. Though not named at the time as a specific genre, the popularity of Roman ruins inspired many Dutch landscape painters of the period to paint the ruins of their own region, such as monasteries and churches ruined after the Beeldenstorm. Jacob van Ruisdael is considered the most versatile of all Dutch Golden Age landscape painters. The popularity of landscapes in the Netherlands was in part a reflection of the virtual disappearance of religious painting in a Calvinist society, and the decline of religious painting in the