Meanwhile, a new Pope had been elected, and in 1505 Michael Angelo was once more called to Rome. Throughout his artist's life he oscillated thus between Rome and Florence--Florence the city of his ancestry, and Rome the city of his soul; Florence where he learnt his art, and Rome where he displayed what art can do of highest. Julius was a patron of different stamp from Lorenzo the Magnificent. He was not learned in book-lore: "Place a sword in my hand!" he said to the sculptor at Bologna: "of letters I know nothing." Yet he was no less capable of discerning excellence than the Medici himself, and his spirit strove incessantly after the accomplishment of vast designs. Between Julius and Michael Angelo there existed a strong bond of sympathy due to community of temperament. Both aimed at colossal achievements in their respective fields of action. The imagination of both was fired by large and simple, rather than luxurious and subtle thoughts. Both were _uomini terribili_, to use a phrase denoting vigour of character made formidable by an abrupt uncompromising temper. Both worked _con furia_, with the impetuosity of daemonic natures; and both left the impress of their individuality graven indelibly upon their age. Julius ordered the sculptor to prepare his mausoleum. Michael Angelo asked, "Where am I to place it?" Julius replied, "In S. Peter's." But the old basilica of Christendom was too small for this ambitious pontiff's sepulchre, designed by the audacious artist. It was therefore decreed that a new S. Peter's should be built to hold it. In this way the two great labours of Buonarroti's life were mapped out for him in a moment. But, by a strange contrariety of fate, to Bramante and San Gallo fell respectively the planning and the spoiling of S. Peter's. It was only in extreme old age that Michael Angelo crowned it with that world's miracle, the dome. The mausoleum, to form a canopy for which the building was designed, dwindled down at last to the statue of "Moses" thrust out of the way in the church of S. Pietro in Vincoli. "La tragedia della Sepoltura," as Condivi aptly terms the history of Giulio's monument, began thus in 1505 and dragged on till 1545.[304] Rarely did Michael Angelo undertake a work commensurate with his creative power, but something came to interrupt its execution; while tasks outside his sphere, for which he never bargained--the painting of the Sistine Chapel, the façade of S. Lorenzo, the fortification of Samminiato--were thrust upon him in the midst of other more congenial labours. What we possess of his achievement, is a _torso_ of his huge designs.