Jean-Baptiste-Julien D'Omalius Halloy
Joseph, Baron von Hammer-Purgstall
Daniel Bonifacius von Haneberg
Charles-Joseph de Harlez de Deulin
Johann Simon (Joachim) Haspinger
Diocese of Havana (San Cristóbal de la Habana)
Devotion to the Heart of Jesus
Congregations of the Heart of Mary
Hebrew Language and Literature
Freiherr von Heereman von Zuydwyk
Society of the Helpers of the Holy Souls
Mathieu-Richard-Auguste Henrion
Alejandro Herculano de Carvalho e Araujo
Sebastiano de Herrera Barnuevo
Antonio de Herrera y Tordesillas
Diocese of Hexham and Newcastle
Alexander Leopold Hohenlohe-Waldenburg-Schillingsfürst
Hollanders in the United States
Archconfraternity of Holy Agony
Association of the Holy Childhood
Society of the Holy Child Jesus
Sisters Marianites of Holy Cross
Archconfraternity of the Holy Family
Congregations of the Holy Family
Religious Congregations of the Holy Ghost
Institute of Sisters of the Holy Humility of Mary
Canonesses Regular of the Holy Sepulchre
Vicariate Apostolic of British Honduras
Vicariate Apostolic of Hong-Kong
Johannes Nicolaus von Hontheim
Guillaume-François-Antoine de L'Hôpital
Hospitallers of St. John of Jerusalem
Hospital Sisters of the Mercy of Jesus
Host (Archaeological and Historical)
Host (Canonical and Liturgical)
Mary Howard, of the Holy Cross
Annette Elisabeth, Baroness von Hülshoff
Maurice Le Sage d'Hauteroche d'Hulst
A painter, architect, sculptor and etcher; born in Madrid, 1611 or 1619; died there, 1671; son of Antonio Herrera, a sculptor of fair ability, who, after teaching his son the rudiments of his art, placed him with Cano. Under this famous artist he made such great progress in both painting and sculpture that Philip IV took him into his service, commanded him to decorate the chapel of Our Lady of Atocha, and made him guardian of the Escorial, for which he henceforth worked. Most of his pictures are in Madrid. His masterpiece is the "St. Barnabas" in the hail of the council-chamber in the Escorial, and was long regarded as by the hand of Guido. Nearly as famous is the "Beatification of St. Augustine" in the chapel of the Augustinian Recollects and the "Nativity" in the church of San Gerónimo. Barnuevo's colouring was as brilliant and harmonious as that of Titian, whom he imitated; his style was scarcely to be differentiated from Guido's; his draughtsmanship was excellent, and his work with the graver and etching-needle highly esteemed. He was an able architect, and won such fame in this branch of art that he received many commissions from the Court and the nobility. He was a simple, modest, urbane, and deeply religious man, as well as a most versatile artist.
SANTOS, La Descripción del Escorial (Madrid, 1657); QUELLIET, Dictionnaire des peintres espagnols (Paris, s. d.); SIRET, Dictionnaire historique des peintres (Louvain, 1883).
Leigh Hunt.