- 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.
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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
