While Michelangelo could bend and contort the body into all the possible perspectives, Carracci in the Farnese frescoes had shown how it could dance. The "ceiling"-frontiers, the wide expanses of walls to be frescoed would, for the next decades, be thronged by the monumental brilliance of the Carracci followers, and not Caravaggio's followers. In the century following his death, to a lesser extent than Bernini and Cortona, Carracci and baroque art in general came under criticism from neoclassic critics such as Winckelmann and even later from the prudish John Ruskin, as well as admirers of Caravaggio. Carracci in part was spared opprobrium because he was seen as an emulator of the highly admired Raphael, and in the Farnese frescoes, attentive to the proper themes such as those of antique mythology. On July 8, 1595, Annibale completed the painting of "Saint Roch Giving Alms", now in Dresden Gemäldegalerie. Other significant late works painted by Carracci in Rome include "Domine, Quo Vadis?" (c. 1602), which reveals a striking economy in figure composition and a force and precision of gesture that influenced on Poussin and through him, the language of gesture in painting. Carracci was remarkably eclectic in thematic, painting landscapes, genre scenes, and portraits, including a series of autoportraits across the ages. He was one of the first Italian painters to paint a canvas wherein landscape took priority over figures, such as his masterful "The Flight into Egypt"; this is a genre in which he was followed by Domenichino (his favorite pupil) and Claude Lorrain. Carracci's art also had a less formal side that comes out in his caricatures (he is generally credited with inventing the form) and in his early genre paintings, which are remarkable for their lively observation and free handling and his painting of "The Beaneater". He is described by biographers as inattentive to dress, obsessed with work: his self-portraits (such as that in Parma) vary in his depiction. It is not clear how much work Annibale completed after finishing the major gallery in the Palazzo Farnese. In 1606, Annibale signs a "Madonna of the bowl". However, in a letter from April 1606, Cardinal Odoardo Farnese bemoans that a "heavy melancholic humor" prevented Annibale from painting for him.