The third is called the Cabinet of Love, from a little Cupid sleeping on a table, universally allowed to be a masterpiece of sculpture. It also contains a few busts, and the walls are ornamented with twenty-seven paintings; among which is a Venus, by Titian, universally admired: but it has been observed, that she labours under a disadvantage, in being so near the incomparable one in the Tribuna. The fourth is filled with small statues, busts and pictures. But the room called La Tribuna is the boast of the whole Gallery. It contains the Venus of Medicis, the Wrestlers, the Listener, and the Fawn, which surpass what I thought it possible for marble to express. Nobody that has heard of Florence, but must have read a particular description of these admirable statues: but, in obedience to your desire, I have set down the following measurements of the Venus of Medicis, taken by myself: Feet. In. 10ths. From the top of her forehead, in a right line, to the ground 4 9 7 But, as she leans considerably forward, her real height, as well as I could measure, is 5 2 0 Circumference of the largest part of her below her hips 2 11 5 Round her shoulders and her arms 3 1 3 Circumference of the smallest part of her leg 0 8 0 Of the largest 1 1 2 Of her ankle 0 8 6 Length of her foot 0 9 0 Her arms are modern, and by no means equal to the rest of the statue. Their length is 2 5 5 The paintings in the Tribuna are equal to the statues. The most famous is Titian's celebrated Venus, which justly merits the high encomiums universally conferred upon her. She is lying on a bed, with all her beauties displayed. The painter, with great judgment, has given her a passive countenance, and introduced a softness in her air, full of languishing desire, but free from lascivious wantonness. One might compare her to a most beautiful married woman, deprived for the first time of the presence of a beloved husband. In a word, nothing can be more perfect, or more delightful. St. Catherine also by Titian, is another excellent painting, and the Virgin Mary, with the infant Jesus on her knees, like all Carlo Dolce's pictures, is divine and beautiful. Had I found the visitation of St. Elizabeth and St. John, fondling the little Jesus on the Virgin's lap, and several others, in any place but where there is so much to admire, I should have thought each of them worthy a particular description.