Belgium in Brussels, and in 1825 he made a chalk drawing in vertical format as a model for a reproductive engraving made by Pradier in 1832. The General Miollis version was repurchased by Ingres in the 1830s, reworked by assistants under Ingres's direction, and never finished; The Dream of Ossian was likewise repurchased, modified, but left unfinished. He traveled to Naples in the spring of 1814 to paint Queen Caroline Murat. Joachim Murat, the King of Naples, had earlier purchased the Dormeuse de Naples, a sleeping nude (the original is lost, but several drawings exist, and Ingres later revisited the subject in L'Odalisque à l'esclave). Murat also commissioned two historical paintings, Raphael et la Fornarina and Paolo et Francesca, and what later became one of Ingres's most famous works, La Grande Odalisque, to accompany Dormeuse de Naples. Ingres never received payment, due to the collapse of the Murat regime and execution of Joachim Murat in 1815. With the fall of Napoleon's dynasty, he found himself essentially stranded in Rome without patronage. He continued to produce masterful portraits, in pencil and oils, of almost photographic precision; but with the departure of the French administration, the painting commissions were rare. During this low point of his career, Ingres augmented his income by drawing pencil portraits of the many wealthy tourists, in particular the English, passing through postwar Rome. For an artist who aspired to a reputation as a history painter, this seemed menial work, and to the visitors who knocked on his door asking, "Is this where the man who draws the little portraits lives?", he would answer with irritation, "No, the man who lives here is a painter!" The portrait drawings he produced in such profusion during this period rank today among his most admired works. He is estimated to have made some five hundred portrait drawings, including portraits of his famous friends. His friends included many musicians including Paganini, and he regularly played the violin with others who shared his enthusiasm for Mozart, Haydn, Gluck, and Beethoven. He also produced a series of small paintings in what was known as the Troubador style, idealized portrayals of events in the Middle Ages and Renaissance. In 1815 he painted Aretino and Charles V's Ambassador as well as Aretino and Tintoretto, an anecdotal painting whose subject, a painter brandishing a pistol at his critic, may have been especially satisfying to the embattled Ingres.