Domus is, I suppose, to be understood before Jovis: "Then the house of Jupiter gives (or governs?) the fishes and Chiron."
SECTION LXXXIX. Third side. Mars, in his houses Aries and Scorpio. Represented as a very ugly knight in chain mail, seated sideways on the ram, whose horns are broken away, and having a large scorpion in his left hand, whose tail is broken also, to the infinite injury of the group, for it seems to have curled across to the angle leaf, and formed a bright line of light, like the fish in the hand of Jupiter. The knight carries a shield, on which fire and water are sculptured, and bears a banner upon his lance, with the word "DEFEROSUM," which puzzled me for some time. It should be read, I believe, "De ferro sum;" which would be good Venetian Latin for "I am of iron."
SECTION XC. Fourth side. The Sun, in his house Leo. Represented under the figure of Apollo, sitting on the Lion, with rays shooting from his head, and the world in his hand. The inscription:
"TU ES DOMU' SOLIS (QUO?) SIGNE LEONI."
I believe the first phrase is, "Tune est Domus solis;" but there is a letter gone after the "quo," and I have no idea what case of signum "signe" stands for.
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. Whether this was intended by putting the planet in the boat, may be questionable, but assuredly the idea was meant to be conveyed by the dress of the figure. For all the draperies of the other figures on this capital, as well as on the rest of the façade, are disposed in severe but full folds, showing little of the forms beneath them; but the moon's drapery ripples down to her feet, so as exactly to suggest the trembling of the moonlight on the waves. This beautiful idea is highly characteristic of the thoughtfulness of the early sculptors: five hundred men may be now found who could have cut the drapery, as such, far better, for one who would have disposed its folds with this intention. The inscription is: