Force of Habit, i, 202.

  Fornarina, La Bella, i, 75.

  Fountain, the Elephant, iii, 286.

  “Four Carlos of the 17th Century,” ii, 184.

  “Four Finest Pictures at Rome,” ii, 183

  Frescos, Ancient, ii, 55;
    the Aldobrandini Wedding, ii, 56.

  Fuseli, Henry—­his Birth, ii, 59;
    his Early Passion for Art, ii, 59;
    his Literary and Poetical Taste, ii, 60;
    Fuseli, Lavater, and the Unjust Magistrate, ii, 61;
    his Travels and Literary Distinction, ii, 62;
    his Arrival in London, ii, 63;
    his Change from Literature to Painting, ii, 63;
    his Visit to Italy, ii, 65;
    his “Nightmare,” ii, 66;
    his OEdipus and his Daughters, ii, 66;
    Fuseli and the Shakspeare Gallery, ii, 67;
    his Hamlet’s Ghost, ii, 69;
    his Titania, ii, 69;
    his Election as a Royal Academician, ii, 70;
    Fuseli and Walpole, ii, 71;
    Fuseli and Coutts, ii, 72;
    Fuseli and Prof.  Porson, ii, 72;
    his Method of giving Vent to his Passion, ii, 73;
    his Love of Terrific Subjects, ii, 73;
    his Revenge on Lawrence, ii, 74;
    his Estimate of Reynolds as an Historical Painter, ii, 75;
    his Friendship for Lawrence, ii, 75;
    Fuseli as Keeper of the Royal Academy, ii, 76;
    his Jests and Oddities with the Students, ii, 77;
    his Sarcasms on Northcote, ii, 78;
    on various Artists, ii, 79;
    his Retorts, ii, 80;
    his Retort in Mr. Coutts’ Banking-House, ii, 82;
    his Sarcasm on Landscape and Portrait Painters, ii, 83;
    his own Attainment of Happiness, ii, 84;
    his Habits, ii, 84;
    his Wife’s Novel Method of Curing his Fits of Despondency, ii, 85;
    his Personal Appearance, Sarcastic Disposition, and Quick
    Temper, ii, 86;
    his Near Sight, ii, 87;
    his Popularity, ii, 88;
    his Artistic Merits, ii, 88;
    his Milton Gallery, etc., ii, 89.

  Fulton, Robert, as a Painter, i, 122;
    his Love of Art, i, 123;
    his Exalted Mind, i, 123;
    his Account of his first Steamboat Voyage to Albany, and his
    Predictions, i, 124.

  Gallery, English National, i, 107.

  Gallery, Dresden, iii, 262.

  Gallery of the Louvre, iii, 289 and 302.

  Gallery, United States National—­Suggestions for One, iii, 307.

  Galleries, Prices of, i, 112.

  Galletti, Pietro, and the Bolognese Students, ii, 184.

  Garland Twiner, i, 148.

  Gaulli, Gio.  Battista—­his Excellence in Portraiture, iii, 250;
    his curious method of Painting the Dead, iii, 250.

  Genius, Trials of, i, 1, and iii, 80.

  Ghiberti, Lorenzo—­his famous Doors of San Giovanni, i, 60, and iii, 101;
    as an Architect, iii, 102.