The quantity and variety of objects of art, of the greatest value, baffle all description, and it would require months and years to attempt an analysis of all it contains. I shall therefore content myself with pointing out those objects which imprinted themselves the most forcibly on my imagination and recollection. In a chamber on the left hand of one wing of the Gallery stands the Venus de' Medici, sent back last year from France. In the same chamber with her are the following statues: the extremely beautiful _Apollino_; the spotted Faun; the _Rémouleur_ or figure which is in the act of whetting a sickle. All these were in Paris, and are now restored to this Gallery. In this chamber two pictures struck me in particular: the one the Venus of Titian, a most voluptuous figure; the other a portrait of the mistress of Rafaello, called "_La Fornarina_," from her being a baker's daughter. Returning to the Gallery I was quite bewildered at the immense number of statues, pictures, sarcophagi, busts, altars, etc. Among the pieces of sculpture those that most caught my attention were: the _Venus genetrix_ (which I had seen before at Paris); the _Venus victrix_; the _Venus Anadyomene_; Hercules and Nessus, a superb groupe; a young Bacchus; and an exquisitely chiselled group representing Pan teaching Olympus to play the syrinx, tho' the attitude of the former is rather indecorous from not being in a very quiescent state; a fine statue of Leda with the swan; a Mercury, both worthy of great attention. I remarked also in particular a statue of Marsyas attached to a tree and flayed. It is of a pale reddish marble, and tho' I perfectly agree with Forsyth, that colored marble is not at all adapted to statuary, yet in this instance it gives a wonderful effect and is strikingly suitable, as the slight reddish colour gives a full idea of the flesh after the skin is torn off. It makes one shudder to look at it. In one of the halls are the statues of Niobe and her daughters, a beautiful group. Then there is the celebrated copy of the group of the Laocoon by Bandinelli, which none but the most perfect and skilful connoisseur could distinguish from the original. But it is totally impossible for me to describe the immense variety of paintings, historical, portrait and landscape; the statues single or in groups; the sarcophagi, altars, bas-reliefs, inscriptions, bronzes, medals, vases, baths, candelabra, cameos, Etruscan and Egyptian idols with which this admirable Museum is filled. In a line on each side of the Gallery near the ceiling is a succession of portraits in chronological order of the Grand Dukes of Tuscany, the Germanic Emperors, the Kings of France, of England, of Spain, of Portugal, of the Popes and of the Ottoman Emperors. Among the antiquities I particularly noticed a large steel mirror and a Roman Eagle in bronze of the 24th Legion.