Page:Cyclopedia of painters and paintings (IA cyclopediaofpain03cham).pdf/350

 *ough European education, and exhibited several flower-pieces at the first Ottoman Salon at Constantinople in 1881.—Kunst-Chronik, xvi. 42.

NASELLI, FRANCESCO, born at Ferrara about 1570, died there in 1630. Lombard school, of noble family; pupil of Ippolito Mazzuoli or of Bastaruolo; opened a school at Ferrara and removed to Bologna, where he studied the works of the Carracci and their disciples. Painted in competition with Bonone and Giuseppe Scarsella.—Lanzi, iii. 218; Ch. Blanc, École ferraraise.

NASINI, GIUSEPPE NICOLA, born at Castel del Piano, Jan. 25, 1657, died in Siena, July 3, 1736. Sienese school; history painter, pupil of his father, Francesco Nasini, and in Rome of Ciro Ferri, who sent him to Florence to copy the paintings of Pietro da Cortona. There the Grand Duke furnished him with the means to continue his studies in Rome. All writers on art of that period unite in the most enthusiastic eulogies of the works of this master, who seems now entirely forgotten. His masterpiece, the Novissimi, or Four Last Stages of Man, completed in 1594, grand compositions of enormous size, are still in the church of San Francesco, at Siena, to which city they were presented by Ferdinand III. of Tuscany, in 1795.—Acad. (1883), 52, 219.

NASMYTH, PATRICK, born in Edinburgh, Jan. 7, 1787, died at Lambeth, Aug. 17, 1831. Son and pupil of Alexander Nasmyth (1758-1840), a mediocre landscape painter; went to London in 1807, and two years later exhibited his first picture in the Royal Academy. Painted simple landscapes, with much detail in execution, in imitation of the Dutch school, but with great force. Works: View in Hampshire, Thomas Baring; Cottage, Angler's Nook, National Gallery, London.—Redgrave; Ch. Blanc, École anglaise.

NASON, PIETER, born probably at The Hague, died after 1680. Dutch school; portrait and still-life painter, supposed pupil of Jan van Ravesteyn; master of Hague guild in 1639, one of the founders of the new guild in 1656; long employed at the court of the Great Elector in Berlin. A manly style and decided individuality characterize his portraits, which are excellently drawn and of careful execution. Works: Female Portrait (1670), Haarlem Museum; Portrait of Willem Frederik of Nassau (1662), Hague Museum; Two Portraits, Rotterdam Museum; Portrait of Great Elector (1667), Charlottenburg Castle; Male Portrait (1668), Still Life with costly Vessels, Berlin Museum; Portrait of Charles II.; Two Portraits (1658), Moltke Collection, Copenhagen; Portrait of a Prince of Orange, New York Museum.—Kugler (Crowe), ii. 362; Kramm, iv. 1188; Burger, Musées, i. 221.

NATIVITY, Annibale Carracci, Louvre; canvas, H. 3 ft. 4 in. × 2 ft. 9 in. The Child lying in the manger adored by the Virgin, St. Joseph, angels, and shepherds kneeling; above, the open heavens disclose a choir of angels and cherubim. Collection of Louis XIV.; bought in 1685 for 2,800 livres. Engraved by Forster; P. S. Bartoli.—Villot, Cat. Louvre; Musée royal, ii.; Landon, Musée, ii. Pl. 7.

By Lodovico Carracci, Louvre; copper, H. 1 ft. 3 in. × 1 ft. 8 in. The Virgin, kneeling, with arms crossed, contemplates Jesus, who lies on the ground on a cloth held by St. Joseph; two shepherds, one with a child upon his shoulders, approach; behind, an angel conducts another shepherd; at left, two angels stand beside a cow and an ass, of which only the heads are seen; above, angels upon clouds scatter flowers. Collection of Louis XIV.; bought in 1685.—Villot, Cat. Louvre; Landon, Musée, xii. Pl. 52.

By Correggio. See La Notte.

By Francesco Francia, Bologna Gallery; wood, figures life-size; dated 1498. The Virgin, kneeling, with the Child on the ground before her, in front of a ruined