See also:

• ROGER (d. 1139)
• ROGER (d. 1181)

ROGER See also:

• VAN

VAN DER See also:

• WEYDEN, ROGIER VAN DER

WEYDEN (c. 1400-1464)  , Flemish painter, also known as See also:

• ROGER (d. 1139)
• ROGER (d. 1181)

Roger de la Pasture, See also:

• ROGIER, CHARLES LATOUR (1800–1885)

Rogier de Bruxelles, &c., was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Tournay, where in 1427 he entered the studio of See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert Campin . He established himself in See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels about 1435 . He was in See also:

• ITALY
• ITALY (Italia)

Italy in 1449-1450, but his visit shows no result on his See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style, which owes nothing to See also:

• ITALIAN

Italian See also:

• MODELS

models; and he returned to Brussels, where he died on the 18th of See also:

• JUNE

June 1464 . His vigorous, subtle and expressive See also:

• PAINTING

painting and popular religious conceptions had considerable See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence on the See also:

• ART

art of See also:

• FLANDERS (Flem. Vlaanderen)

Flanders and See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany . See also:

• MEMLINC, HANS (c. 1430-1494)

Memlinc was his greatest See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil; and his See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place in the See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early Flemish school is second only to that of the See also:

• VAN

Van Eycks . He was not a pupil of See also:

• JAN

Jan van See also:

• EYCK, VAN

Eyck, as was at one See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time supposed . His See also:

• PRINCIPAL

principal paintings were: a " Descent from the See also:

• CROSS

Cross " (1440), now in See also:

• MADRID

Madrid, and another (1443) in the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of St See also:

• PIERRE

Pierre at See also:

• LOUVAIN (Flem. Leuven)

Louvain; a See also:

• TRIPTYCH (Gr. rpiary os, three-fold, made in three layers, TpL-, rpeis, three; arux1, a fold; 7rr(uoELv, to fold, double over)

triptych (1438-144o), now in the See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin Museum; " Madonna with See also:

• SAINTS, BATTLE OF THE

Saints " (1450), at the Stadel See also:

• INSTITUTE (from Lat. instituere, to establish or set up)

Institute, See also:

• FRANKFORT

Frankfort; a "Last See also:

• JUDGMENT

Judgment " (1451), in the See also:

• HOSPITAL (Lat. haspitalis, the adjective of hospes, host or guest)

hospital of See also:

• BEAUNE

Beaune, See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France; the portraits of See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip the See also:

• GOOD, JOHN MASON (1764-1827)

Good (See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp Museum) and See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles the Bold (Brussels Museum), painted about 1456–1458; the " See also:

• ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

Altar-piece of St See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John " and the triptych from See also:

• MIDDELBURG

Middelburg (Berlin Museum); an " Entombment of See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ " (See also:

• NATIONAL

National See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery); a " Woman Crying " (Brussels Museum); " Descent from the Cross " (Louvre); " See also:

• ADORATION (Lat. ad, to, and os, mouth; i.e. " carrying to one's mouth ")

Adoration of the Magi " (Old Pinakothek at See also:

• MUNICH (Ger. Munchen)

Munich); " Descent from the Cross " (the See also:

• HAGUE, THE (in Dutch, 's Gravenhage, or, abbreviated, den Haag; in Fr. La Haye; and in Late Lat. Haga Comitis)

Hague); " Seven Sacraments " (Antwerp Museum); " Descent from the Cross " (Brussels Museum) . Some of these latter, and others, are only doubtfully attributed to the See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master . The " Crucifixion " in the Brussels Museum, assigned either to him or to Memlinc, and containing portraits of the Sforzas, probably represents Roger van der See also:

• WEYDEN, ROGIER VAN DER

Weyden in some of the principal figures at least, though Memlinc may have completed the picture . There was a younger Roger van der Weyden (c . 1450–1529), to whom a brilliant " See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary Magdalen " in the National Gallery is attributed . There are Lives of the See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder Van der Weyden by A .

See also:

• WAUTERS, EMILE (1848– )

Wauters (1856) and Alex . Pinchart (1876) .