ing of the conversion of the Northern Picts, mentions a tradition to the effect that the Southern Picts had been converted by the preaching of bishop Nynian, a Briton, who had been educated at Rome. Yet Bede further states that the Picts only joined the Romish Church in the 8th century, and that the British Christians of the 7th century were in no way connected with Rome, Moreover the name of the church he is said to have founded, that of St. Martin, does not seem to denote in any way a Romish origin. See Inett, Hist. Eng. Ch. vol. i, pt. i, ch. ii, n. 10 ; x, 11 ; Stanley, Led. on Hist, of Ch. of Scotland, p. 28 ; Soames, Hist. A nglo-Saxon Ch. p. 72.
Niiiimo, Joseph, a Presbyterian minister, was born near Norfolk, Va., in 1798. He was educated at Hamp- den-Sidney College, Prince Edward, Va., and graduated at the theological seminary of Princeton, N. J., in 1827; was licensed and ordained in 1828, and labored as stated supply for the Church in Portsmouth, Va. In 1830 he removed to New York Presbytery, and was stated sup- ply at Sweet Hollow, L. I. Afterwards he labored at the following places: in 1837-40, at Red Mills, N.Y.; in 1840-46, at Somers, N. Y. ; in 1846-49, at North Salem, N. Y. In 1849 he removed to Huntingdon, N, Y., where he opened a school, and his life afterwards was devoted to teaching. He died April 19, 1865. Mr. Ninimo was a devout, faithful, and exemplary minister, and his ca- reer was laborious, useful, and honorable. See Wilson, Presb. Hist. A Imanac, 1867, p. 185. (J. L. S.)
Niuo DE Guevara, Don Juan, a Spanish painter, was born in Madrid February 8, 1632. His father, don Luiz, ivas captain of the guards of the viceroy of Ara- gon, bishop of Malaga, don Antonio Henriquez. This prelate took charge of the family of his favorite noble- man, and brought him into his diocese. It was at Malaga that j'oung Nino studied; from that time he oftener held the pencil than the pen. Educated in phi- losophy, he gave himself with so much ardor to design that the bishop, who loved him like a son, not wishing to oppose his vocation, confided him to the care of a Flemish captain, whom Quilliet calls "Manrique, a painter of credit in Malaga, and one of the best pupils of his compatriot Rubens." The progress of Nino was rapid. In 1645 his protector confided him to marquis de Montebello, one of the most distinguished amateurs of Madrid, who soon placed him in a condition to follow the lessons of Alonso Cano. This celebrated master admitted him to his friendship, and often worked with him. Cano composed and Nino executed. It is thus that they decorated the Augustins of Cordova and Gra- nada (1652-1667). In 1676 Nino returned to Malaga, where he made many paintings for churches and por- traits— a style in which he succeeded very well. His touch shows a certain timidity ; but his compositions have a lovely character, and his coloring has freshness. He remains one of the best representatives of the His- pano-Flemish school. All the religious monuments of Malaga, and some of Cordova, Granada, Madrid, and Seville, possess his paintings, which are also found in the most complete galleries. He died in Malaga De- cember 8, 1698. We quote especiallj- of this artist three admired masterpieces in Malaga : in the church. Faith, or the Triumph of the Cross, remarkable for the ex- pression and the good disposition of the numerous fig- ures which are represented in it : — Charity, surrounded by personages who have most distinguished themselves by this virtue ; this painting is the worthy companion of the preceding ; — and in the cathedral. Saint Michael, become popular by numerous copies and engravings. Seville also possesses a large number of paintings by Nino, among others a Holy Family, sometimes attrib- uted to Rubens. We have in Paris an allegorical paint- ing of his. representing War giving Place to Peace and Study. Nino combines the grandeur and correctness of Cano with the admirable coloring of Rubens, and yet in some of his works he differs even so widely from these
NINTH-HOUR SERVICE
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NIPHONT
great masters as to be compared to Vandyck. See Kaphael Mciigs, Ohms (iMadrid, 1780) ; Felippe de Gue- vara, Los Commentarios de la Pintura (ibid. 1788) ; Pons, Viaje en Espana ; Don Antonio Palomino de Velasco, El Museo pictorico (Cordova, 1715, 3 vols.); Spooncr, Bioff. I/Ul. of the Fine Arts, i, 380, s. v. Guevara.
Ninth-hour Service is the technical term for a divine service celebrated in some Christian churches. Canonical hours were introduced at an early period. Tiie first of these was matutina, the morning service, about daybreak ; the second at nine o'clock, called tei-- tia, or third hour; the third at twelve o'clock, being the noon-day service ; the ninth-hour service following at three in the afternoon. The fathers of the 3d and 4tli centuries seemed to lay peculiar stress on this service as the most important of all. It was considered the hour of Christ's death ; the hour when Cornelius was praying ; the time when Peter and John went up to the Temple, " being the hour of prayer," i. e. the usual time of the Jewish evening sacrifice. The custom of alternating divine service at this hour seems to have been general in apostolic and patristic days, and in close relation to the Jewish observance. The Council of Laodicea ex- pressly mentions the ninth hour of prayer, and orders that the same service be used as was appointed for the evening prayer. Chrysostom, too, must have reference to it in his mention of those hours of public prayer, for the third, in all probability, means the ninth hour, or Nones, as it is sometimes called.