See also:

• MICHAEL
• MICHAEL (1596-1645)
• MICHAEL (Hebrew Sn,q, " Who is like God? ")

MICHAEL See also:

• MICHAEL WOHLGEMUTH (1434-1519)

WOHLGEMUTH (1434-1519)  , See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• NUREMBERG (Ger. Nurnberg)

Nuremberg in 1434 . Little is known of his private See also:

• LIFE

life beyond the fact that in 1472 he married the widow of the painter Hans Pleydenwurff, whose son Wilhelm worked as an assistant to his stepfather . The importance of See also:

• WOHLGEMUTH, MICHAEL (1434-1519)

Wohlgemuth as an artist rests, not only on his own individual paintings, but also on the fact that he was the See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head of a large workshop, in which many different branches of the See also:

• FINE

fine arts were carried on by a See also:

• GREAT

great number of 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-assistants, including See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert See also:

• DURER, ALBRECHT (1471-1528)

Durer . In this atelier not only large See also:

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

altar-pieces and other sacred paintings were executed, but also elaborate retables in carved See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood, consisting of crowded subjects in high See also:

• RELIEF

relief, richly decorated with See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

gold and See also:

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

colour, such as pleased the rather doubtful See also:

• TEUTONIC
• TEUTONIC (GERMANIC) LANGUAGES

Teutonic See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste of that 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 . Wood-See also:

• ENGRAVING

engraving was also carried on in the same workshop, the blocks being cut from Wohlgemuth's designs, many of which are remarkable for their vigour and See also:

• CLEVER

clever See also:

• ADAPTATION (from Lat. adaptare. to fit to)

adaptation to the See also:

• SPECIAL

special necessities of the technique of woodcutting . Two large and copiously illustrated books have woodcuts supplied by Wohlgemuth and his stepson Wilhelm Pleydenwurff . The first is the Schatzkammer der wahren Reichthumer See also:

• DES

des Heils, printed by Koburger in 1491; the other is the Historia mundi, by Schedel, 1493-1494, usually known as the Nuremberg See also:

• CHRONICLE (from Gr. Xpovos, time)

Chronicle, which is highly valued, not for the See also:

• TEXT (Lat. textum, woven fabric, from texere, to weave)

text, but for its remarkable collection of spirited engravings . The earliest known See also:

• WORK

work by Wohlgemuth is a See also:

• RETABLE (Fr. retable, a shortened form derived from Med. Lat. retrotabulum)

retable consisting of four panels, dated 1465, now in the See also:

• MUNICH (Ger. Munchen)

Munich See also:

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

gallery, a decorative work of much beauty . In 1479 he painted the retable of the high altar 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:

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

Mary at See also:

• ZWICKAU

Zwickau, which still exists, receiving for it the large sum of 1400 gulden . One of his finest and largest See also:

• WORKS

works is the great retable painted for the church of the See also:

• AUSTIN
• AUSTIN, ALFRED
• AUSTIN, JOHN (179o-1859)
• AUSTIN, SARAH (1793-1867)
• AUSTIN, STEPHEN FULLER (1793-1836)

Austin friars at Nuremberg, now moved into the museum; it consists of a great many panels, with figures of those See also:

• SAINTS, BATTLE OF THE

saints whose See also:

• WORSHIP (i.e. " worth-ship," O. Eng. weor8scipe)

worship was specially popular at Nuremberg . In 1501 Wohlgemuth was employed to decorate the See also:

• TOWN

town See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

hall at See also:

• GOSLAR

Goslar with a large See also:

• SERIES (a Latin word from serere, to join)

series of paintings; some on the See also:

• CEILING (from a verb " to ceil," i.e. to line or cover; of disputed etymology, but apparently connected with Fr. ciel, Lat. caelum, sky)

ceiling are on See also:

• PANEL (O. Fr. panel, mod. panneau, piece of cloth, from Med. Lat. pannellus, diminutive of pannus, cloth)

panel, and others on the walls are painted thinly in See also:

• TEMPERA (the Italian term), or DISTEMPER

tempera on See also:

• CANVAS

canvas . As a portrait-painter he enjoyed much repute, and some of his works of this class are very admirable for their realistic vigour and See also:

• MINUTE
• MINUTE (Lat. minutes, small; minuere, to make less)

minute finish .

Outside See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany Wohlgemuth's paintings are scarce: the Royal Institution at See also:

• LIVERPOOL
• LIVERPOOL, EARLS
• LIVERPOOL, EARLS OF

Liverpool possesses two See also:

• GOOD, JOHN MASON (1764-1827)

good examples—" See also:

• PILATE, PONTIUS

Pilate washing his Hands," and " The Deposition from the See also:

• CROSS

Cross," parts probably of a large altar-piece . During the last ten years of his life Wohlgemuth appears to have produced little by his own See also:

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

hand . One of his latest paintings is the retable at See also:

• SCHWABACH

Schwabach, executed in 1508, the See also:

• CONTRACT
• CONTRACT (Lat. contract us, from contrahere, to draw together, to bind)

contract for which still exists . He died at Nuremberg in 1519 . See the reproductions in See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

Die Gemdlde von Durer and Wohlgemuth, by Riehl and Thode (Nuremberg, 1889-1895) .