426

NAVARRETE — NEEFS.

Holland has a “Holy Family,” and the Coll, of Lord Lansdowne
contains a portrait by El Mudo which is a gem. Lope de Vega
wrote a lament for his death, and said,—

“Ningun rostro pinto que fuese mudo.” 1
When the “ Last Supper,” painted by Titian, arrived at the Esco-
rial, it was found to be too large for the panel in the refectory
for which it was designed, and the King ordered it to be cut. El
Mudo was in great distress at this, and offered to copy it in a re-
duced size in six months, and to forfeit his head if he failed to do so.
He also intimated that he should expect to be made a knight if he
copied in six months what Titian had been seven years in painting.
But Philip persisted in cutting the painting, to the intense grief of
Navarrete. While he lived Philip did not realize his worth, but
after his death he often eulogized him, and declared that his Italian
artists could not equal his mute Spaniard.
Neagle, John, born in Boston (1799-1865). He began to paint
coaches, but became a portrait painter in Philadelphia. He made a
good reputation, and married the daughter of the artist Sully. His
picture of Patrick Lyon, the blacksmith at his forge, now in the Boston
Athenaeum, gained him much fame. His portraits are in Indepen-
dence Hall, in the Philadelphia Acad., and in the Union League Club
of that city.
Neale, John Preston (1770-1848). This eminent English en-
graver is best known by his admirable plates for the following works :
“ History and Antiquities of Westminster Abbey,” “The Seats of
Noblemen and Gentlemen of England, Wales, Scotland, and Ire-
land,” and “ Views of the most interesting Collegiate and Parochial
Churches of Great Britain, including Screens, Fonts, Monuments,
etc.”
Necker or Negker, Josse de. An engraver on wood, of the 16th
century. He executed a part of the prints of the ‘ ‘ Triumph of
Maximilian,” by Hans Burgmair. He usually signed his plates with
his whole name.
Neefs, Pieter, the Elder, born at Antwerp (1570-1651). Pupil of
Hendrik van Steenwyck, the Elder. He painted the same class of
subjects, namely, church interiors, and excelled his master in tone and
effects of light and shade. His torchlight effects are excellent. He
did not fancy the picturesque, evidently, for his churches are always
in good preservation and order. But he enlivened them with figures
well arranged. In this he was often assisted by Francken the
Younger, Teniers the Elder, and Jan Breughel. Pieter Neefs, the
Younger, painted the same subjects as his father, but in an inferior
manner.
Neefs, James, born at Antwerp, 1630. An engraver of the works
1 “No countenance he painted that was dumb.”