Perhaps most tragic is the loss of the unfinished frescoes for the choir of the Basilica of San Lorenzo, Florence which consumed the last decade of his life. His frescoes depicted a Last Judgment day composed of an unsettling morass of writhing figures. The remaining drawings, showing a bizarre and mystical ribboning of bodies, had an almost hallucinatory effect. Florentine figure painting had mainly stressed linear and sculptural figures. For example, the Christ in Michelangelo's "Last Judgment" in the Sistine Chapel is a massive painted block, stern in his wrath; by contrast, Pontormo's Jesus in the "Last Judgment" twists sinuously, as if rippling through the heavens in the dance of ultimate finality. Angels swirl about him in even more serpentine poses. If Pontormo's work from the 1520s seemed to float in a world little touched by gravitational force, the "Last Judgment" figures seem to have escaped it altogether and flail through a rarefied air.