In 1504, Gonfaloniere Soderini desired to adorn the great Municipal Hall with the paintings of two masters, Leonardo da Vinci and Michael Angelo. The latter was only twenty-nine, while Da Vinci was over fifty. He had recently come from Milan, where he had been painting the "Last Supper," which, Grimm says, "in moments of admiration, forces from us the assertion that it is the finest and sublimest composition ever produced by an Italian master." And now with this "first painter in Italy" the first sculptor, Michael Angelo, was asked to compete, and he dared to accept the offer. He chose for his subject an incident of the Pisan war. As the weather was very warm, the Florentines had laid aside their armor and were bathing in the Arno. Sir John Hawkwood, the commander of the opposing forces, seized this moment to make the attack. The bathers rushed to the shore, and Michael Angelo has depicted them climbing the bank, buckling on their armor, and with all haste returning the assault. "It is not possible," says Grimm, "to describe all the separate figures, the fore-shortenings, the boldness with which the most difficult attitude is ever chosen, or the art with which it is depicted. This cartoon was the school for a whole generation of artists, who made their first studies from it." Da Vinci's painting represented a scene at the battle of Anghiari, where the Florentines had defeated the Milanese in 1440. "While these cartoons thus hung opposite to each other," says Benvenuto Cellini, "they formed the school of the world." Raphael, Andrea del Sarto, and others made studies from them. Da Vinci's faded, and Michael Angelo's was cut in pieces by some enemy. Before the artist had finished his painting he was summoned to Rome by Pope Julius II., the great patron of art and literature, who desired a monument for himself in St. Peter's. The mausoleum was to be three stories high; with sixteen statues of the captive liberal arts, and ten statues of Victory treading upon conquered provinces, for the first story; the sarcophagus of the pope, with his statue and attendant angels, for the second; and, above all, more cherubs and apostles. "It will cost a hundred thousand crowns," said the artist. "Let it cost twice that sum," said the pope.