busts. No. 1, a bust of Trajan, is highly natural and fine. No. 6, of Marcus Aurelius, is full of a calm and dignified repose. No. 7, of Lucius Verus, is a splendid head—blending together the coxcomb and the patrician in a very edifying manner.
The Fifth Room, which is a small square one, to the right of the last, may be passed over without pointing out any particular objects for notice; but not without mentioning that nearly all its contents will repay a careful examination, to those who would improve their general taste and knowledge in regard to objects of this nature. It contains nearly fifty different objects, all connected with the Roman rites of sepulture—many of which are extremely beautiful as works of art.
The Sixth Room is a continuation of the long gallery, and contains a vast number of admirable works, in nearly all the different departments of sculpture. Our glance at them must be very hasty; for we are approaching the end of our limits. From 1 to 14 consist of a series of reliefs, chiefly taken from the fronts of sarcophagi, and in many of which, the figures are nearly detached from the back ground. No. 12 may be pointed out as perhaps the most rich, spirited, and full of life. It represents a bacchanalian procession. No. 24 is a statue of a satyr, highly animated and characteristic. No. 31 is a magnificent head, probably representing one of the Homeric heroes. It is instinct with spirit and fire, and displays the hand of high genius in every touch of it. No. 52 is a charming statue of Libera—very perfect in its preservation. No. 57,—a small statue of a fisherman, was no doubt employed as a votive offering, by one of the common people;—its exquisite workmanship becomes, therefore, doubly interesting, when viewed as an illustration of the state in which art must then have been. Nos. 61 and 65 are two admirable busts—one of Augustus, and the other of Caracalla. No. 64 is an object of great interest and curiosity, supposing the conjecture concerning it be true. It represents part of a votive altar, on which is an inscription, praying for the safe return of Septimius Severus and his family from some expedition. There is, however, a part of the inscription erased; and it is supposed that this was the part which contained the name of Geta—which name the Emperor Caracalla had, by an express edict, ordered to be erased from every inscription throughout the Roman Empire. No. 68 is a group of two greyhounds, which is worthy of notice, on account of the extraordinary air of nature whith it displays. No. 72 is the small statue of Cupid, which was alluded to in connexion with the larger, noticed in the commencement of this paper. It is not executed in the very first style; but is still very charming and natural. Nos. 71. and 74 are two very small statues, one representing a Muse, and the other Hercules—each seated on a rock. They are pointed out for the purpose of shewing, that mere size has essentially very little to do with either increasing or diminishing grandeur and dignity of effect. In looking at these noble figures, we are never for a moment reminded, except by actual comparison, that they are but a few inches high. The same remarks apply to No. 95—a small statue of Jupiter.
The Seventh Room is a small square one, containing little or nothing that demands particular mention; and the eighth and ninth are filled with the noble and unrivalled collection of Egyptian antiquities. The
