Gainsborough, color of, i. 93; execution of i. xxii. preface; aërial distances of, i. 93; imperfect treatment of details, i. 82. Ghiberti, Lorenzo, leaf-moulding and bas-reliefs of, v. 35. Ghirlandajo, architecture of the Renaissance style, i. 103; introduction of portraiture in pictures, ii. 120; reality of conception, iii. 59; rocks of, iii. 239, 314; symmetrical arrangement of pictures, ii. 74; treatment of the open sky, ii. 44; quaintness of landscape, iii. 322; garlanded backgrounds of, v. 90. Pictures referred to-- Adoration of the Magi, iii. 312; Baptism of Christ, iii. 313; Pisa, iv. 1. Giorgione, boyhood of, v. 287-297; perfect intellect of, v. 285; landscape of, i. 86; luminous sky of, ii, 44; modesty of, ii. 123, 124; one of the few who has painted leaves, v. 35; frescoes of, v. 284, 337; sacrifice of form to color by, ii. 202; two figures, or the Fondaco de'Tedeschi, i. 110; one of the seven supreme colorists, v. 318 (note). Giotto, cramped by traditional treatment, ii. 178; decoration of, ii. 220; influence of hills upon, iv. 357; introduction of portraiture in pictures, ii. 120; landscape of, ii. 217; power in detail, iii. 57; reality of conception, iii. 57; symmetrical arrangement in pictures, ii. 73; treatment of the open sky, ii. 44; unison of expressional and pictorial power in detail, iii. 29; use of mountain distances, iv. 354. Pictures referred to-- Baptism of Christ, ii. 176; Charity, iii. 97; Crucifixion and Arena frescoes, ii. 129; Sacrifice for the Friedes, i. 88. Gozzoli Benozzo, landscape of, ii. 217; love of simple domestic incident, iii. 28; reality of conception, iii. 57; treatment of the open sky, ii. 44. Guercino, Hagar, ii. 129. Guido, sensuality, ii. 125, 136; use of base models for portraiture, ii. 120. Picture-- Susannah and the Elders, ii. 126. Harding, J. D., aspen drawing of, iv. 78; execution of, i. 179, 403, iv. 78; chiaroscuro of, i. 179, 405; distance of, i. 189; foliage, i. 387, 401; trees of, v. 61 (note), i. 387; rocks of, i. 313; water of, i. 350. Pictures referred to-- Chamouni, i. 287; Sunrise on the Swiss Alps, i. 102. 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.