Metamorphoses. Sandro Botticelli's The Birth of Venus ( 1485) was also partially inspired by a description by Poliziano of a relief on the subject. Later Italian renditions of the same scene include Titian's Venus Anadyomene ( 1525) and Raphael's painting in the Stufetta del cardinal Bibbiena (1516). Titian's biographer Giorgio Vasari identified all of Titian's paintings of naked women as paintings of "Venus", including an erotic painting from 1534, which he called the Venus of Urbino, even though the painting does not contain any of Aphrodite/Venus's traditional iconography and the woman in it is clearly shown in a contemporary setting, not a classical one. Jacques-Louis David's final work was his 1824 magnum opus, Mars Being Disarmed by Venus, which combines elements of classical, Renaissance, traditional French art, and contemporary artistic styles. While he was working on the painting, David described it, saying, "This is the last picture I want to paint, but I want to surpass myself in it. I will put the date of my seventy-five years on it and afterwards I will never again pick up my brush." The painting was exhibited first in Brussels and then in Paris, where over 10,000 people came to see it. Jean-Auguste-Dominique Ingres's painting Venus Anadyomene was one of his major works. Louis Geofroy described it as a "dream of youth realized with the power of maturity, a happiness that few obtain, artists or others." Théophile Gautier declared: "Nothing remains of the marvelous painting of the Greeks, but surely if anything could give the idea of antique painting as it was conceived following the statues of Phidias and the poems of Homer, it is M. Ingres's painting: the Venus Anadyomene of Apelles has been found." Other critics dismissed it as a piece of unimaginative, sentimental kitsch, but Ingres himself considered it to be among his greatest works and used the same figure as the model for his later 1856 painting La Source. Paintings of Venus were favorites of the late nineteenth-century Academic artists in France. In 1863, Alexandre Cabanel won widespread critical acclaim at the Paris Salon for his painting The Birth of Venus, which the French emperor Napoleon III immediately purchased for his own personal art collection. Édouard Manet's 1865 painting Olympia parodied the nude Venuses of the Academic painters, particularly Cabanel's Birth of Venus. In 1867, the English Academic painter Frederic Leighton displayed his Venus Disrobing for the Bath at