Finally, Julius III having been elected Pope in the year 1550, and all men thinking that work would be begun in earnest on the building of S. Pietro, Mosca went off to Rome and sought to obtain at a fixed price from the superintendents of that building the commission for some capitals of marble, but more to accommodate Gian Domenico, his son-in-law, than for any other reason. Now Giorgio Vasari, who always bore love to Mosca, found him in Rome, whither he also had been summoned to the service of the Pope, and he thought that without fail he would have some work to offer him, for the reason that the old Cardinal dal Monte, when he died, had left directions with his heirs that a tomb of marble should be built for him in S. Pietro a Montorio, and the above-named Pope Julius, his nephew and heir, had ordained that this should be done, and had given the charge of the matter to Vasari; and Giorgio wished that in that tomb Mosca should execute some extraordinary work in carving. But, after Giorgio had made some models for that tomb, the Pope discussed the whole matter with Michelagnolo Buonarroti before he would make up his mind; whereupon Michelagnolo told his Holiness that he should not involve himself with carvings, saying that, although they enrich a work, they confuse the figures, whereas squared work, when it is well done, is much more beautiful than carving and is a better accompaniment for the figures, for the reason that figures do not brook other carvings about them: and even so did his Holiness order the work to be done. Wherefore Vasari was not able to give Mosca anything to do in that work, and he was dismissed; and the tomb was finished without any carvings, which made it much better than it would have been with them. Simone having then returned to Orvieto, arrangements were made to erect after his designs, in the cross at the head of the church, two great tabernacles of marble, works truly graceful, beautiful, and well-proportioned, for one of which Raffaello da Montelupo made in marble a nude Christ with the Cross on His shoulder in a niche, and for the other Moschino made a S. Sebastian, likewise nude. Work being then continued on the execution of the Apostles for the church, Moschino made a S. Peter and a S. Paul of the same size, which were held to be creditable statues. Meanwhile the work of the above-mentioned Chapel of the Visitation was not abandoned, and it was carried so far forward during the lifetime of Mosca, that there was nothing left to do save two birds, and even these would not have been wanting, had not M. Bastiano Gualtieri, Bishop of Viterbo, as has been related, kept Simone occupied with an ornament of marble in four pieces, which, when finished, he sent to France to the Cardinal of Lorraine, who held it very dear, for it was beautiful to a marvel, all full of foliage and wrought with such diligence, that it is believed to have been one of the best that Simone ever executed.