and the indigent, now a cultural center. Puget's view of naval architecture soon clashed with the views of the new Commissioner of Fortifications, the Chevalier de Clairville. Clairville changed all of the Puget's plans, removed decoration he considered unnecessary, and rejected his elegant new headquarters building. Puget appealed to Colbert, but Colbert sided with Clairville. At the end of 1669, Puget took a leave of absence and departed the dockyards for his traditional sanctuary, Genoa, where he made a series of works, including The Virgin (1670), now in the oratory of the Church of Saint Philippe de Néri. When he returned to the dockyards in June 1670, he found they were commanded by a new officer, and that the decoration of ships he had begun had been given to others. He also learned that, upon the instructions of Colbert, any work he did had to be approved at higher levels by Le Brun and the senior sculptors in Paris. He was to design only what he was told to design. Furthermore, Colbert presented a new argument; British ships had little or no sculptural decoration, and they usually won battles. Therefore French ships should also be without sculpture. Marseille, architecture and urban design In 1672, having no further work at the Naval Arsenal, Puget returned to his birthplace, Marseille. His first project was a new urban square and street, the Cours Saint-Louis, and rue Canabière. It took much of its inspiration from the urban planning and architecture of Genoa, and resembled on a small scale the later urban projects of Baron Haussmann and Napoleon III in Paris. He also created an ornate sculptural plaque with the coast of arms of the King to decorate the facade of the Hotel de Ville. He designed a new fish market, completed in 1672, which is still in use, and La Vieille Charité, begun in 1679, originally a home for beggars and the indigent, now a cultural center. In addition, he designed town houses in Aix-en-Provence, including the Hotel d'Aiguilles (1675), a baroque mansion. Versailles - Milon of Croton Puget had still not broken into the exclusive group of sculptors who were receiving royal commissions for the statuary of the new gardens of Versailles. He still possessed several blocks of fine marble from Genoa, In 1671 he sent to Colbert designs for two large-scale statues, Milon of Croton (now in the Louvre) and the bas-relief