Hemling, finish of, iii. 122.
Hobbima, niggling of, v. [36], [37]; distances of, i. 202; failures of, i. 202, 398; landscape in Dulwich Gallery, v. [36].
Holbein, best northern art represented by, v. [209]-231; the most accurate portrait painter, v. [322]; Dance of Death, iii. 93; glorious severity of, ii. 123; cared not for flowers, v. [90].
Hooghe, De, quiet painting of, v. [282].
Hunt, Holman, finish of, i. 416 (note). Pictures referred to— Awakened Conscience, iii. 90; Claudio and Isabella, iii. 27; Light of the World, iii. 29, 40, 57, 76, 340, iv. 61 (note); Christ in the Temple, v. [347].
Hunt, William, anecdote of, iii. 86; Farmer’s Girl, iii. 82; foliage of, i. 407; great ideality in treatment of still-life, ii. 203.
Landseer, E., more a natural historian than a painter, ii. 203 (note); animal painting of, v. [257]; Dog of, ii. 202; Old Cover Hack, deficiency of color, ii. 226; Random Shot, ii. 226; Shepherd’s Chief Mourner, i. 9, 30; Ladies’ Pets, imperfect grass drawing, v. [98]; Low Life, v. [266].
Laurati, treatment of the open sky, ii. 44.
Lawrence, Sir Thomas, Satan of, ii. 209.
Lewis, John, climax of water-color drawing, i. 85; success in seizing Spanish character, i, 124.