This figure of Parian marble represents the goddess of beauty issuing from the bath. Her charms are not concealed by any veil or garment. She is slightly turning her head to the left, as if to smile on the Graces, who are supposed to be preparing to attire her. In point of execution, this is allowed to be the most beautiful of all the statues of Venus which we have remaining. The _Venus of Medicis_ surpasses it in sublimity of form, approaching nearer to _ideal_ beauty. Bupalus, a sculptor of the Isle of Scio, is said to have produced this master-piece. He lived 600 years before Christ, so that it has now been in existence upwards of two thousand four hundred years. It was found about the middle of the eighteenth century, near _San-Vitale_, at Rome. Benedict XIV having purchased it of the _Stati_ family, placed it in the Capitol. 125. MERCURY, _commonly called the_ ANTINOÜS OF BELVEDERE. This statue, also of the finest Parian marble, is one of the most beautiful that can be imagined. More robust in form than either that of the _Apollo_ or of the _Meleager_, it loses nothing by being contemplated after the former. In short, the harmony which reigns between its parts is such, that the celebrated POUSSIN, in preference to every other, always took from it the _proportions of the human figure_. It was found at Rome, on Mount Esquiline, under the pontificate of Paul III, who placed it in the Belvedere of the Vatican, near the Apollo and the Laocoon. 151. _The Egyptian_ ANTINOÜS. In this statue, Antinoüs is represented as a divinity of Egypt. He is standing in the usual attitude of the Egyptian gods, and is naked, with the exception of his head and wrist, which are covered with a species of drapery in imitation of the sacred garments. This beautiful figure is wrought with superior excellence. It is of white marble, which leads to a conjecture that it might have been intended to represent Orus, the god of light, it having been the custom of the Egyptians to represent all their other divinities in coloured marble. It was discovered in 1738, at Tivoli, in the _Villa-Adriana_, and taken from the Museum of the Capitol. To judge from the great number of figures of Antinoüs, sculptured by order of Adrian to perpetuate the memory of that favourite, the emperor's gratitude for him must have been unbounded. Under the form of different divinities, or at different periods of life, there are at present in the GALLERY OF ANTIQUES no less than five portraits of him, besides three statues and two busts. Three other statues of Antinoüs, together with a bust, and an excellent bass-relief, in which he is represented, yet remain to be placed. 156. BACCHUS. The god of wine is here represented standing, and entirely naked. He is leaning carelessly with his left arm on the trunk of an elm, round which winds a grape-vine. This statue, of the marble called at Rome _Greco duro_, is reckoned one of the finest extant of the mirth-inspiring deity.