In the right aisle are the tomb and monument of Michelangelo, designed by Giorgio Vasari; on the pillar opposite to it, over the holy water stoop, a beautiful Madonna and Child in marble by Bernardo Rossellino, beneath which lies Francesco Nori, who was murdered whilst defending Lorenzo dei Medici in the Pazzi conspiracy; the comparatively modern monument to Dante, whose bones rest at Ravenna and for whom Michelangelo had offered in vain to raise a worthy sepulchre. Two sonnets by the great sculptor supply to some extent in verse what he was not suffered to do in marble: I quote the finer of the two, from Addington Symonds' excellent translation:-- From Heaven his spirit came, and, robed in clay, The realms of justice and of mercy trod: Then rose a living man to gaze on God, That he might make the truth as clear as day. For that pure star, that brightened with its ray The undeserving nest where I was born, The whole wide world would be a prize to scorn: None but his Maker can due guerdon pay. I speak of Dante, whose high work remains Unknown, unhonoured by that thankless brood Who only to just men deny their wage. Were I but he! Born for like lingering pains, Against his exile coupled with his good I'd gladly change the world's best heritage. Then comes Canova's monument to Vittorio Alfieri, the great tragic dramatist of Italy (died 1803); followed by an eighteenth century monument to Machiavelli (died 1527), and the tomb of Padre Lanzi, the Jesuit historian of Italian art. The pulpit by a pillar in the nave is considered the most beautiful pulpit in Italy, and is, perhaps, Benedetto da Maiano's finest work; the bas-reliefs in marble represent scenes from the life of St. Francis and the martyrdom of some of his friars, with figures of the virtues below. Beyond Padre Lanzi's grave, over the tomb of the learned Franciscan Fra Benedetto Cavalcanti, are two exceedingly powerful figures of saints in fresco, the Baptist and St. Francis; they have been ascribed to various painters, but are almost certainly the work of Domenico Veneziano, and closely resemble the figures of the same saints in his undoubtedly genuine picture in the Sala di Lorenzo Monaco in the Uffizi. The adjacent Annunciation by Donatello, in _pietra serena_, was also made for the Cavalcanti; its fine Renaissance architectural setting is likewise Donatello's work. Above it are four lovely wooden Putti, who seem embracing each other for fear of tumbling off from their height; originally there were six, and the other two are preserved in the convent. M. Reymond has shown that this Annunciation is not an early work of the master's, as Vasari and others state, but is of the same style and period as the Cantoria of the Duomo, about 1435. Lastly, at the end of the right aisle is the splendid tomb of Leonardo Bruni (died 1444), secretary of the Republic, translator of Plato, historian