Salvator Rosa did not make any extended study of drawing as a young man in Naples, but his oil sketches from nature are noted by Ruskin on the previous page. Nevertheless, Mahoney, 'Drawings', p. 38, refers to the 'high quality and verve of Rosa's draughtsmanship, whose merits have always been recognised by connoisseurs despite any eclipse in the appeal of his pictures'. Mahoney comments on Rosa's talent for improvisation in drawing, the freedom and fluency of Rosa's technique with pen, ink, and, frequently, wash. However Rosa never mastered anatomy, and Mahoney writes of Rosa's studies with Aniello Falcone,' who vainly instructed Rosa in academic nude drawing ( Mahoney, 'Drawings', p. 39).
Wallace comments on a pair of plates from the British Museum (Inv. W. 7-173, and Inv. W. 7-176), of which the latter is reproduced by Wallace:
Theses two unpretentious etching seem to be among the most interesting and promising prints he did. They show a keen sensitivity to the subtlest effects of light, atmosphere and distance, as seen in the glimmering of light and reflection on water, the penetration of light into foliage, and the atmospheric veiling of distant forms. ( Wallace, 'Etchings', p. 57)
Rosa's etchings, according to Wallace, 'Etchings', p. 50, were very popular and widely circulated, with the result that 'impressions from worn plates and imitations are very common', particularly the small' Figurine' of brigands in military uniform, which were influential in establishing Rosa's reputation.