In the same room are many valuable curiosities, besides a collection of admirable pictures by the best masters. I do not know whether any are more excellent of their kind, but I am convinced none are more attentively considered than the two Venuses of Titian; one is said to be a portrait of his wife, the other of his mistress. The first is the fined portrait I ever saw, except the second; of this you have seen many copies: though none of them equals the beauty of the original, yet they will give a juster idea of it than any description of mine could. On the back ground, two women seem searching for something in a trunk. This episode is found much fault with; for my part, I see no great harm the two poor women do: none but those critics who search more eagerly after _deformity_ than _beauty_, will take any notice of them. Besides the Gallery and Tribuna, the hundredth part of whose treasures I have not particularised, there are other rooms, whose contents are indicated by the names they bear; as, the Cabinet of Arts, of Astronomy, of Natural History, of Medals, of Porcelain, of Antiquities, and the Saloon of the Hermaphrodite, so called from a statue which divides the admiration of the Amateurs with that in the Borghese village at Rome. The excellence of the execution is disgraced by the vileness of the subject. We are surprised how the Greeks and Romans could take pleasure in such unnatural figures; in this particular their taste seems to have been as depraved, as in general it was elegant and refined. In this room there is a collection of drawings by some of the greatest masters, Michael Angelo, Raphael, Andrea del Sarto, and others. There is, in particular, a sketch of the Last Judgment by the first-named of these painters, different, and, in the opinion of some, designed with more judgment, than his famous picture on the same subject in Sixtus the Fourth’s chapel in the Vatican.