Hals, Frank, and Vandyck, ii, 312.

  Hanneman—­his picture of Peace, i, 310.

  Harpies, Curious Representations of, iii, 181.

  Heliopolis, iii, 7.

  Herculaneum—­its Destruction—­Antiquities and Works of Art
    discovered, ii, 43.

  Hogarth—­Value of his Works, i, 6;
    his Genius, i, 166;
    his Apprenticeship, i, 167;
    his Revenge, i, 168;
    his Method of Sketching an Incident, i, 168;
    his Marriage, i, 168;
    his Successful Expedient to get Payment, i, 169;
    his Picture of the Red Sea, i, 170;
    his Courtesy, i, 171;
    his Absence of Mind, i, 171;
    his March to Finchley, i, 172;
    his unfortunate Dedication to the King, i, 172;
    his Strange Manner of Selling his Pictures, i, 172;
    Paltry Prices he received, i, 174;
    his last Work, “the Tail-Piece,” i, 175;
    his Death, i, 176.

  Holbein, Hans, ii, 216;
    his Portrait with the Fly, ii, 216;
    his Visit to England, ii, 216;
    Holbein and Henry VIII., ii, 217;
    his Adventure with the Nobleman, ii, 217;
    the King’s Rebuke and Protection, ii, 218;
    his Portrait of the Duchess of Milan, ii, 218;
    his Dangerous Flattery, ii, 219;
    his Portrait of Cratzer, ii, 219;
    his Portraits of Sir Thomas More and his Family, ii, 220;
    Bon-Mot of Sir Thomas, ii, 221.

  Illusions in Painting, i, 228;
    Singular Pictorial, ii, 137.

  Industry necessary to Success in Art—­Reynold’s Opinion, i, 201;
    Durer’s, iii, 228 and 234;
    Michael Angelo’s, i, 60;
    Apelles’, i, 19;
    Da Vinci’s, i, 275, 280, and 282;
    Vernet’s, ii, 297 and 299;
    Rubens’, i, 80 and 82;
    Raffaelle’s, i, 71;
    Poussin’s, iii, 150 and 161;
    Gierdano’s, ii, 226 and 233;
    Brunelleschi’s, iii, 81 and 84.

  Infelicities of Artists, i, 1-6.

  Ingenuity of Artists, iii, 178.

  Inquisition, Evil Influence of the, on Spanish Art, i, 211;
    and Torreggiano, i, 2;
    and Sir Anthony Moore, iii, 243.

  Jarvis, John Wesley, i, 113;
    his Eccentricity, and Lore of Jesting, Mimicking, and
    Story-Telling, i, 113;
    his Ludicrous Readings from Shakspeare, i, 115;
    Dr. Francis’ Account of him, i, 116;
    the “Biggest Lie,” i, 118;
    Jarvis and Bishop Moore, i, 119;
    and Commodore Perry, i, 119;
    and the Philosopher, i, 120;
    and Dr. Mitchell, i, 120;
    his Habits, i, 121;
    Jarvis and Sully, i, 122;
    his Fondness for Notoriety, i, 122.

  Jervas, Charles, ii, 213;
    Jervas and Pope, ii, 214;
    and Dr. Arbuthnot, ii, 215;
    his Vanity, ii, 215;
    Kneller’s Sarcasm, ii, 216.

  Jewelers, a hint to, iii, 179.

  Johnson, Dr.—­his Friendship for Reynolds, i, 196;
    his Apology for Portrait Painting, i, 197;
    his Portrait, i, 198;
    his Death, i, 199.