As though in contrast with this worldly Pope, on the first pillars in the aisles are pictures of two ideal pastors; on the left, St Zenobius enthroned with Eugenius and Crescentius, by an unknown painter of the school of Orcagna; on the right, a similar but comparatively modern picture of St Antoninus giving his blessing. In the middle of the nave, is the original resting-place of the body of Zenobius; here the picturesque blessing of the roses takes place on his feast-day. The right and left aisles contain some striking statues and interesting monuments. First on the right is a statue of a Prophet (sometimes called Joshua), an early Donatello, said to be the portrait of Giannozzo Manetti, between the monuments of Brunelleschi and Giotto; the bust of the latter is by Benedetto da Maiano, and the inscription by Poliziano. Opposite these, in the left aisle, is a most life-like and realistic statue of a Prophet by Donatello, said to be the portrait of Poggio Bracciolini, between modern medallions of De Fabris and Arnolfo. Further on, on the right, are Hezekiah by Nanni di Banco, and a fine portrait bust of Marsilio Ficino by Andrea Ferrucci (1520)--the mystic dreamer caught in a rare moment of inspiration, as on that wonderful day when he closed his finished Plato, and saw young Pico della Mirandola before him. Opposite them, on the left, are David by Ciuffagni, and a bust of the musician Squarcialupi by Benedetto da Maiano. On the last pillars of the nave, right and left, stand later statues of the Apostles--St Matthew by Vincenzo de' Rossi, and St James by Jacopo Sansovino. Under Brunelleschi's vast dome--the effect of which is terribly marred by miserable frescoes by Vasari and Zuccheri--are the choir and the high altar. The stained glass in the windows in the drum is from designs of Ghiberti, Donatello (the Coronation), and Paolo Uccello. Behind the high altar is one of the most solemn and pathetic works of art in existence--Michelangelo's last effort in sculpture, the unfinished Deposition from the Cross; "the strange spectral wreath of the Florence Pietà, casting its pyramidal, distorted shadow, full of pain and death, among the faint purple lights that cross and perish under the obscure dome of Santa Maria del Fiore."[42] It is a group of four figures more than life-size; the body of Christ is received in the arms of His mother, who sustains Him with the aid of St Mary Magdalene and the standing Nicodemus, who bends over the group at the back with a countenance full of unutterable love and sorrow. Although, in a fit of impatience, Michelangelo damaged the work and allowed it to be patched up by others, he had intended it for his own sepulchre, and there is no doubt that the Nicodemus--whose features to some extent are modelled from his own--represents his own attitude as death approached. His sonnet to Giorgio Vasari is an expression of the same temper, and the most precious commentary upon his work:--