In the end he had to give in, and in the latter part of November, 1506, he went, much against his will, to Bologna, where Julius II had just entered the town as a conqueror. There took place that famous interview when the pope, angry and scolding, divided between the desire of punishing the rebel and the fear of losing the artist whom he valued, poured out his wrath on an unlucky bishop who was present, and forgave Michelangelo. Unfortunately, Michelangelo in order to make his peace with the pope, had to submit to his caprices and to that all-powerful will which had now turned in a new direction. It was no longer a question of the tomb, but of a colossal bronze statue which Julius wished to have raised to himself in Bologna. In vain Michelangelo protested that he understood nothing about the casting of bronze. He had two assistants, Lopo and Lodovico, come from Florence, and a foundryman, Bernadino d'Antonio dal Ponte. But he could never get along with any assistant. He fell out with Lodovico and Lopo, who stole from him; then the foundryman turned out to be incapable and in June, 1507, the casting failed. "The figure came out only as far down as the waist. Everything had to be done over again." Fifteen months were spent in the midst of all kinds of troubles and mortifications. Michelangelo was busy with his work until February, 1508. He nearly ruined his health over it, and he wrote to his brother that he would never be in condition to make such an effort again during his life. For so great a struggle, the result was miserable. The statue of Julius II, raised on February 21, 1508, in front of the façade of S. Petronio remained there only four years.[26] In December, 1511, it was destroyed on the return of the Bentivogli, and Alphonso d'Este had his bombardier Quirino cast a cannon from its fragments. Michelangelo returned to Rome and Julius II laid upon him another task not less unexpected and not less hazardous. He ordered the sculptor, who never painted except with reluctance and who knew nothing of the technique of fresco, to paint the ceiling of the Sistine Chapel. He had already talked with him about it before the rupture in 1506 and the disinclination of Michelangelo for this work had something to do with his flight to Florence. This may be inferred from the letter of a friend of Michelangelo written in May, 1506, which shows that Bramante, satisfied by the withdrawal of his rival, justified him for refusing the burden of this heavy undertaking.