SECTION XCI. _Fifth side_. Venus, in her houses Taurus and Libra.
The most beautiful figure of the series. She sits upon the bull, who is
deep in the dewlap, and better cut than most of the animals, holding a
mirror in her right hand, and the scales in her left. Her breast is very
nobly and tenderly indicated under the folds of her drapery, which is
exquisitely studied in its fall. What is left of the inscription, runs:
"LIBRA CUM TAURO DOMUS * * * PURIOR AUR*."
SECTION XCII. _Sixth side_. Mercury, represented as wearing a pendent
cap, and holding a book: he is supported by three children in reclining
attitudes, representing his houses Gemini and Virgo. But I cannot
understand the inscription, though more than usually legible.
"OCCUPAT ERIGONE STIBONS GEMINUQ' LAGONE."
SECTION XCIII. _Seventh side_. The Moon, in her house Cancer. This
sculpture, which is turned towards the Piazzetta, is the most
picturesque of the series. The moon is represented as a woman in a boat,
upon the sea, who raises the crescent in her right hand, and with her
left draws a crab out of the waves, up the boat's side. The moon was, I
believe, represented in Egyptian sculptures as in a boat; but I rather
think the Venetian was not aware of this, and that he meant to express
the peculiar sweetness of the moonlight at Venice, as seen across the
lagoons.
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