Grecian atmosphere, from the summit of the Acropolis!

The National Gallery, on Trafalgar Square, is open four days in the
week, to the public. The "Raising of Lazarus," by Sebastian del Piombo,
is considered the gem of the collection, but my unschooled eyes could
not view it as such. It is also remarkable for having been transferred
from wood to canvass, without injury. This delicate operation was
accomplished by gluing the panel on which it was painted, flat on a
smooth table, and planing the wood gradually away till the coat of
hardened paint alone remained. A proper canvass was then prepared,
covered with a strong cement, and laid on the back of the picture, which
adhered firmly to it. The owner's nerves must have had a severe trial,
if he had courage to watch the operation. I was enraptured with
Murillo's pictures of St. John and the Holy Family. St. John is
represented as a boy in the woods, fondling a lamb. It is a glorious
head. The dark curls cluster around his fair brow, and his eyes seem
already glowing with the fire of future inspiration. There is an
innocence, a childish sweetness of expression in the countenance, which
makes one love to gaze upon it. Both of these paintings wore constantly
surrounded by ladies, and they certainly deserved the preference. In the
rooms devoted to English artists, there are many of the finest works of
West, Reynolds, Hogarth and Wilkie.

We spent a day in visiting the _lungs of London_, as the two grand parks
have been called. From the Strand through the Regent Circus, the centre
of the fashionable part of the city, we passed to Piccadilly, culling on
our way to see our old friends, the Iowas. They were at the Egyptian
Hall, in connexion with Catlin's Indian collection. The old braves knew
us at once, particularly Blister Feet, who used often to walk a linweon
deck with me, at sea. Further along Piccadilly is Wellington's mansion