for the chapel on the place where the accident occurred, and a commission for eight additional stained-glass designs for Orléans chapel in Dreux. He became a professor at the Ecole des Beaux-Arts in Paris. He took his students frequently to the Louvre to the see the classical and Renaissance art, instructing them to look straight ahead and to avoid the works of Rubens, which he believed deviated too far from the true values of art. The Revolution of 1848, which overthrew Louis Philippe and created the French Second Republic, had little effect on his work or his ideas. He declared that the revolutionaries were "cannibals who called themselves French", but during the Revolution completed his Venus Anadyomene, which he had started as an academic study in 1808. It represented Venus, rising from the sea which had given birth to her, surrounded by cherubs. He welcomed the patronage of the new government of Louis-Napoleon, who in 1852 became Emperor Napoleon III. In 1843 Ingres began the decorations of the great hall in the Château de Dampierre with two large murals, the Golden Age and the Iron Age, illustrating the origins of art. He made more than five hundred preparatory drawings, and worked on the enormous project for six years. In an attempt to imitate the effect of Renaissance frescos, he chose to paint the murals in oil on plaster, which created technical difficulties. Work on the Iron Age never progressed beyond the architectural background painted by an assistant. Meanwhile, the growing crowd of nudes in the Golden Age discomfited Ingres's patron, the Duc de Luynes, and Ingres suspended work on the mural in 1847. Ingres was devastated by the loss of his wife, who died on 27 July 1849, and he was finally unable to complete the work. In July 1851, he announced a gift of his artwork to his native city of Montauban, and in October he resigned as professor at the École des Beaux-Arts. However, in 1852, Ingres, then seventy-one years of age, married forty-three-year-old Delphine Ramel, a relative of his friend Marcotte d'Argenteuil. Ingres was rejuvenated, and in the decade that followed he completed several significant works, including the portrait of Princesse Albert de Broglie, née Joséphine-Eléonore-Marie-Pauline de Galard de Brassac de Béarn. In 1853 he began the Apotheosis of Napoleon I, for the ceiling of a hall in the Hôtel de Ville, Paris. (It was destroyed in