Raphael knew that the final product of his work would be produced by craftsmen rendering his design in another medium; his efforts are therefore entirely concentrated on strong compositions and broad effects, rather than felicitous handling or detail. It was partly this that made the designs so effective in reduced print versions. The Raphael of the cartoons was revered by The Carracci, but the great period of their influence began with Nicolas Poussin, who borrowed heavily from them and "indeed exaggerated Raphael's style; or rather concentrated it, for he was working on a much smaller scale". Thereafter they remained the touchstone of one approach to history painting until at least the early 19th century – the Raphael whose influence the Pre-Raphaelites wanted to reject was perhaps above all the Raphael of the cartoons.