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. Linnell, cumuli of, i. 244 (note). Picture referred to-- Eve of the Deluge, ii. 225. Lippi, Filippino, heads of, ii. 220; Tribute Money, iii. 314. Mantegna, Andrea, painting of stones by, iv. 302; decoration of, ii. 220. Masaccio, painting of vital truth from vital present, iii. 90; introduction of portraiture into pictures, ii. 120; mountain scenery of, i. 95, iv. 299; Deliverance of Peter, ii. 222; Tribute Money, i. 85, 95, iii. 314. Memmi, Simone, abstract of the Duomo at Florence, at Santa Maria Novella, i. 103; introduction of portraiture in pictures, ii. 120. Millais, Huguenot, iii. 90. Mino da Fiesole, truth and tenderness of, ii. 184; two statues by, ii. 201. Mulready, Pictures by-- the Butt, perfect color, ii. 227; Burchell and Sophia, ii. 227; Choosing of the Wedding Gown, ii. 227; Gravel Pit, ii. 228. Murillo, painting of, ii. 83. Nesfield, treatment of water by, i. 349. Orcagna, influence of hills upon, iv. 358; intense solemnity and energy of, iii. 28; unison of expressional and pictorial power in detail of, iii. 28; Inferno, ii. 128; Last Judgment, ii. 181, iii. 57; Madonna, ii. 201; Triumph of Death, iii. 57, 95. Perugino, decoration of, ii. 220; finish of, ii. 83; formalities of, iii. 122, 315; hatred of fog, iv. 56; landscape of, ii. 218; mountain distances of, iv. 355; right use of gold by, i. 109; rationalism of, how affecting his works, v. 205; sea of, i. 346; expression of, inspiration by, ii. 223. Pictures referred to-- Annunciation, ii. 44; Assumption of the Virgin, ii. 44; Michael the Archangel, ii. 223; Nativity, iii. 48; Portrait of Himself, ii. 136; Queen-Virgin, iii. 52; St. Maddelena at Florence, i. 346. Pickersgill, Contest of Beauty, ii. 229. Pinturicchio, finish of, ii. 83; Madonnas of, ii. 224. Pisellino, Filippo, rocks of, iii. 239.