Michael Angelo spent eight months at this period among the stone quarries of Carrara, selecting marble for the Pope’s tomb.[309] There his brain, always teeming with gigantic conceptions, suggested to him a new fancy.  Could not the headland jutting out beyond Sarzana into the Tyrrhene Sea be carved by his workmen into a Pharos?  To transmute a mountain into a statue, holding a city in either hand, had been the dream of a Greek artist.  Michael Angelo revived the bold thought; but to execute it would have been almost beyond his power.  Meanwhile, in November 1505, the marble was shipped, and the quays of Rome were soon crowded with blocks destined for the mausoleum.  But when the sculptor arrived, he found that enemies had been poisoning the Pope’s mind against him, and that Julius had abandoned the scheme of the mausoleum.  On six successive days he was denied entrance to the Vatican, and the last time with such rudeness that he determined to quit Rome.[310] He hurried straightway to his house, sold his effects, mounted, and rode without further ceremony toward Florence, sending to the Pope a written message bidding him to seek for Michael Angelo elsewhere in future than in Rome.  It is related that Julius, anxious to recover what had been so lightly lost, sent several couriers to bring him back.[311] Michael Angelo announced that he intended to accept the Sultan’s commission for building a bridge at Pera, and refused to be persuaded to return to Rome.  This was at Poggibonsi.  When he had reached Florence, Julius addressed, himself to Soderini, who, unwilling to displease the Pope, induced Michael Angelo to seek the pardon of the master he had so abruptly quitted.  By that time Julius had left the city for the camp; and when Michael Angelo finally appeared before him, fortified with letters from the Signory of Florence, it was at Bologna that they met.  “You have waited thus long, it seems,” said the Pope, well satisfied but surly, “till we should come ourselves to seek you.”  The prelate who had introduced the sculptor now began to make excuses for him, whereupon Julius turned in a fury upon the officious courtier, and had him beaten from his presence.  A few days after this encounter Michael Angelo was ordered to cast a bronze statue of Julius for the frontispiece of S. Petronio.  The sculptor objected that brass-foundry was not his affair.  “Never mind,” said Julius; “get to work, and we will cast your statue till it comes out perfect."[312] Michael Angelo did as he was bid, and the statue was set up in 1508 above the great door of the church.  The Pope was seated, with his right hand raised; in the other were the keys.  When Julius asked him whether he was meant to bless or curse the Bolognese with that uplifted hand, Buonarroti found an answer worthy of a courtier:  “Your Holiness is threatening this people, if it be not wise.”  Less than four years afterwards Julius lost his hold upon Bologna, the party of the Bentivogli returned to power, and the statue was destroyed.  A bronze cannon, called the “Giulia,” was made out of Michael Angelo’s masterpiece by the best gunsmith of his century, Alfonso Duke of Ferrara.