Page:Women in the Fine Arts From the Seventh Century B.C. to the Twentiet.djvu/343

246 ures. Among these are "Music in Morocco," "A Moorish Saint," "The Greek Betrothed," etc. Other subjects are "The Gipsy Queen," "Dalmatian Peasant," "The Old Story in Spain," etc.

Nathan, Signora Liliah Ascoli. Rome.
 * [No reply to circular.]

Negro, Teresa. Born in Turin, where she resides. She has made a study of antique pottery and has been successful in its imitation. Her vases and amphorae have been frequently exhibited and are praised by connoisseurs and critics. At the Italian National Exposition, 1880, she exhibited a terra-cotta reproduction of a classic design, painted in oils; also a wooden dish which resembled an antique ceramic.

Nelli, Plautilla. There is a curious fact connected with two women artists of Florence in the middle of the sixteenth century. In that city of pageants—where Ghirlandajo saw, in the streets, in churches, and on various ceremonial occasions, the beautiful women with whom he still makes us acquainted—these ladies, daughters of noble Florentine families, were nuns.

No Shakespearean dissector has, to my knowledge, affirmed that Hamlet's advice to Ophelia, "Get thee to a nunnery," and his assertion, "I have heard of your paintings, too," prove that Ophelia was an artist and a nunnery a favorable place in which to set up a studio. Yet I think I could make this assumption as convincing as many that have been "proved" by the post obitum atomizers of the great poet's every word.