and this same word-- terribilita-- was also used to describe pope julius ii.here is no doubt that artist and pope met their match in each other, and it's always been felt-- there's a kind of undercurrent of feeling-- that although the moses is in no sense a portrait of julius ii, that it is an evocation, precisely, of that terribilita that artist and pope shared. michelangelo was bullied by julius to abandon the tomb and instead to paint the ceiling of he sistine chapel. this was part julius' grand design for a new vatican. however reluctant he was, however much he complained, between 1508 and 1512, michelangelo created one of the boldest and one of the largest paintings in history. monumental figures act out the biblical drama from the creation to the flood, framed by figures still more monumental. the human body became as much the subject of michelangelo's painting as it was of his sculpture. pope julius had neither armies nor canon enough to influence europe as he might wish, but in the vatican, he could present an image of papal power to impress all comers