of the New World." During the Porfiriato (1876-1910), the Paseo de la Reforma became a key place to display statues to Mexican heroes, with the traffic round-abouts (glorietas) having a particular place of honor. In 1887, Porfirio Díaz commissioned the statue of the last Aztec emperor, Cuauhtémoc, which can be seen on Paseo de la Reforma. Cuauhtémoc is depicted with a toga-like cloak with a feathered headdress similar to an Etruscan or Trojan warrior rather than an Aztec emperor. The base has elements reminiscent of Mitla and Roman architecture. This base contains bronze plates depicting scenes from the Spanish conquest, but focusing on the indigenous figures. A modest obelisk commemorating the Niños Héroes, cadets who died defending their post during the U.S. takeover of Mexico City during the Mexican American War (1847), was erected in 1884. A much larger one was built in the mid-twentieth century at the entrance to Chapultepec Park. Arguably the most famous monument of the era is the Monument to Independence, often called "the Angel of independence" for its winged victory. It was commissioned for the centenary of independence in 1910 and inaugurated by Porfirio Díaz during the festivities in September 1910. Gallery 20th century The Academy of San Carlos continued to advocate classic, European-style training until 1913. In this year, the academy was partially integrated with National Autonomous University of Mexico (UNAM). Between 1929 and the 1950s, the academy's architecture program was split off as a department of the university; the programs in painting, sculpture, and engraving were renamed the National School of Expressive Arts, now the Escuela Nacional de Artes Plásticas (ENAP). Both moved to the south of the city in the mid-20th century, to Ciudad Universitaria and Xochimilco respectively, leaving only some graduate programs in fine arts in the original academy building in the historic center. ENAP remains one of the main centers for the training of Mexico's artists. Mexican muralism and Revolutionary art While a shift to more indigenous and Mexican themes appeared in the 19th century, the Mexican Revolution from 1910 to 1920 had a dramatic effect on Mexican art. The conflict resulted in the rise of the Partido Revolucionario Nacional (renamed the Partido Revolucionario Institucional), which took the country in a socialist direction. The government became an ally to many of the intellectuals and artists in Mexico City and commissioned murals for public buildings to reinforce its political messages including