See also:

• ROGIER, CHARLES LATOUR (1800–1885)

ROGIER See also:

• VAN

VAN DER See also:

• ROGIER VAN DER WEYDEN

WEYDEN  [originally See also:

• ROGER (d. 1139)
• ROGER (d. 1181)

ROGER DE LA PASTURED 1 (c . 1400-1464), Flemish painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• TOURNAI (Flemish Doornik)

Tournai, and there apprenticed in 1427 to See also:

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

Robert Campin . He became a gild 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 in 1432 and in 1435 removed to See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels, where he was shortly after appointed See also:

• TOWN

town painter . His four See also:

• HISTORICAL

historical See also:

• WORKS

works in the Hotel de Ville have perished, but three tapestries in the See also:

• BERN (Fr. Berne)

Bern museum are traditionally based on their designs . In 1449 See also:

• ROGIER, CHARLES LATOUR (1800–1885)

Rogier went to See also:

• ITALY
• ITALY (Italia)

Italy, visiting See also:

• ROME
• ROME (Roma)

Rome, See also:

• FERRARA

Ferrara (where he painted two pictures for Lionel d'See also:

• ESTE
• ESTE (anc. Ateste, q.v.)

Este), See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan and probably See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence . On returning (1450) he executed for See also:

• PIERRE

Pierre Bladelin the " Magi " 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, now in the See also:

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

Berlin See also:

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

Gallery, and (1435) an altarpiece for the See also:

• ABBOT (from the Hebrew ab, a father, through the Syriac abba, Lat. abbas, gen. abbatis, O.E. abbad, fr. late Lat. form abbad-em changed in 13th century under influence of the Lat. form to abbat, used alternatively till the end of the 17th century; Ger. Ab
• ABBOT, EZRA (1819-1884)
• ABBOT, GEORGE (1603-1648)
• ABBOT, ROBERT (1588?–1662?)
• ABBOT, WILLIAM (1798-1843)

abbot of See also:

• CAMBRAI

Cambrai, which has been identified with a triptych in the Prado Gallery representing the " Crucifixion," " See also:

• EXPULSION (Lat. expulsio, from expellere)

Expulsion from See also:

• PARADISE (Gr. lrap6BEwos)

Paradise " and " Last See also:

• JUDGMENT

Judgment." See also:

• VAN

Van der See also:

• WEYDEN, ROGIER VAN DER

Weyden's See also:

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

style, which was in no way modified by his See also:

• ITALIAN

Italian See also:

• JOURNEY (through O. Fr. jornee or journee, mod. Fr. journee, from med. Lat. diurnata, Lat. diurnus, of or belonging to dies, day)

journey, is somewhat dry and severe as compared with the See also:

• PAINTING

painting of the Van Eycks, whose 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 See also:

• VASARI, GIORGIO (1511-1571)

Vasari erroneously supposed him to be; his See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour is less See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich than theirs, his See also:

• BRUSH (from Fr. brosse, which, like the English word, means both the undergrowth of a wood and the instrument; if the word in both these meanings is ultimately the same, then the origin is from a bundle of brushwood used as a brush or broom, but this is h
• BRUSH, GEORGE DE FOREST (1855– )

brush-See also:

• WORK

work more laboured, and he entirely lacks their sense of See also:

• ATMOSPHERE (Gr. fir µ6r, vapour; orkaipa, a sphere)

atmosphere . On the other See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, he cared more for dramatic expression, particularly of a tragic See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind, and his pictures have a deeply religious intention . Comparatively few works are attributed with certainty to this painter; See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief among such are two altarpieces at Berlin, besides that mentioned above, " The Joys and Sorrows of See also:

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

Mary," and " See also:

• LIFE

Life" 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 the Baptist," a " Deposition " and " Crucifixion " in the See also:

• ESCORIAL

Escorial, the Prado triptych, another (" See also:

• ANNUNCIATION

Annunciation," " See also:

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

Adoration " and " Presentation ") at See also:

• MUNICH (Ger. Munchen)

Munich; a " Madonna " and a " St John the Baptist " at See also:

• FRANKFORT

Frankfort . The " Seven Sacraments " altarpiece at See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp is almost certainly his, likewise the " Deposition " in the Uffizi, the triptych of the See also:

• BEAUNE

Beaune See also:

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

hospital, and the "Seven Sorrows" at Brussels . Two pictures of St See also:

• LUKE
• LUKE, GOSPEL OF ST

Luke painting the Virgin, at Brussels and St See also:

• PETERSBURG

Petersburg respectively, are attributed to him . None of these is signed or dated . Van der Weyden attracted many foreigners, notably See also:

• MARTIN (Martinus)
• MARTIN, BON LOUIS HENRI (1810-1883)
• MARTIN, CLAUD (1735-1800)
• MARTIN, FRANCOIS XAVIER (1762-1846)
• MARTIN, HOMER DODGE (1836-1897)
• MARTIN, JOHN (1789-1854)
• MARTIN, LUTHER (1748-1826)
• MARTIN, SIR THEODORE (1816-1909)
• MARTIN, SIR WILLIAM FANSHAWE (1801–1895)
• MARTIN, ST (c. 316-400)
• MARTIN, WILLIAM (1767-1810)

Martin See also:

• SCHONGAUER (or Suon), MARTIN (c. 1445-c. 1488)

Schongauer, to his studio, and he became one of the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main influences in the See also:

• NORTHERN

northern See also:

• ART

art of the 15th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century .

He died at Brussels in 1464 . His descendant, ROGIER VAN DER WEYDEN the younger, is known to have entered the Antwerp gild in 1528, but no work of his has yet been satisfactorily authenticated . See See also:

• HASSE, JOHANN ADOLPH (1699-1783)

Hasse, Roger van der Weyden and Roger van Brugge (See also:

• STRASSBURG, or STRASBURG (French Strasbourg)

Strassburg, 1905) . 1 He has sometimes been wrongly identified with a painter called Roger of See also:

• BRUGES (Flemish Brugge, a name signifying the bridge or place of bridges)

Bruges or Ruggiero da Bruggia .