From 1644, Ribera's ill health greatly reduced his ability to work, although his workshop continued to produce works under his direction. In 1647–1648, during the Masaniello uprising against Spanish rule, he and his family took refuge in the palace of the Viceroy. In 1651 he sold his home, and was in dire financial straits by the time of his death in September 1652. Work His early style was influenced by the study of the Spanish and Venetian masters as well as Caravaggio and Correggio. His subject matter was notoriously gruesome, portraying human cruelty and violence with startling naturalism. In the early 1630s his style shifted from stark tenebrism to a more diffused lighting, as seen in The Clubfoot of 1642. Some major works include Saint Januarius Emerging from the Furnace in the cathedral of Naples; the Descent from the Cross in the Certosa, Naples; the Adoration of the Shepherds (1650) in the Louvre; the Martyrdom of Saint Bartholomew in the Museu Nacional d'Art de Catalunya, Barcelona; and the Pieta in the sacristy of San Martino, Naples. His mythologic subjects are often as violent as his martyrdoms, the most famous being his renditions of Apollo and Marsyas, now in Brussels and Naples, and his Tityos, now in the Prado. The Prado owns fifty-six paintings and another six attributed to Ribera, alongside eleven drawings, such as Jacob’s Dream (1639); the Louvre contain four of his paintings and seven drawings; the National Gallery, London owns three; and The Real Academia de Bellas Artes de San Fernando owns a nice ensemble of five paintings including The Assumption of Mary Magdalene from El Escorial, and an early Ecce Homo or The head of St John the Baptist. He executed several fine male portraits and a self-portrait. Saint Jerome Writing in the Prado now has been credited to him by Gianni Papi, a Caravaggio expert. He was an important etcher—indeed, the most significant Spanish printmaker before Goya—producing about forty prints, nearly all in the 1620s. The Martyrdom of Saint Philip (1639; often described as Saint Bartholomew due to overlapping iconography) is in the Prado. Nearly half of Ribera's entire oeuvre consist of half-length representations of saints, apostles, philosophers, scientists, and allegorical figures. The models for these paintings were the natives from the streets of Rome and Naples, typically humble people such as fishermen, dockworkers, elderly people, and beggars, often characterized by wrinkled skin and ragged clothes,