The panels show – from left to right – the birth of Saint John, the baptism of Christ by John in Jordan, and the beheading of John, with the rather attractive Salome receiving the disembodied head on a plate. By including the Virgin, Rogier strays from the Gospel account of the scene, referring instead to the apocryphal version popularised by the Golden Legend and the Meditations on the Life of Christ, both of which have Mary presenting the child John. The panels are typical of the harmony and unity characteristic of Rogier; especially in the manner in which the figures echo each other. Peter Bladelin (d. 1472), Treasurer to the Duke of Burgundy and founder of Middelburg, donated the altar triptych to the town church. In the right-hand wing the three kings of the Orient are depicted; deeply moved and fearful, also kneeling before the vision in the heavens; this is the star of Bethlehem, which appears in the clouds with the embodiment of the Child, to guide them on their journey. p. 116. 2 (1970). In the middle of the 17th century this triptych, known as the Middelburg Altarpiece, was in the Flemish city of Middelburg, founded by the rich Bruges burgher Pieter Bladelin and his wife around 1444. The donor of the work, also known as the Bladelin Altarpiece, is therefore usually thought to have been the founder of the city himself. Bladelin Triptych (Middelburg Altarpiece), 1445-50, Summary of works by Rogier van der Weyden. It is perhaps to be traced in the left wing, where the attendants, standing stern-faced and silent at the picture's edge, recall Quattrocento portraits in Florence. 334–35. Furthermore, it shows only one donor, although Bladelin's wife was cofounder with him of the new city. Of the six archivolt scenes, four detail scenes of Mary's life, including the "Marriage of the Virgin", the "Annunciation" and the "Birth of Christ". Rogier van der Weyden (Dutch: [roːˈɣiːr vɑn dɛr ˈʋɛi̯də(n)]) or Roger de la Pasture (1399 or 1400 – 18 June 1464) was an Early Netherlandish painter whose surviving works consist mainly of religious triptychs, altarpieces and commissioned single and diptych portraits. The reliefs in the archivolts detail secondary events from his life. Loggy and Alex’s friendship in Miami’s redeveloping Liberty Square is threatened when Loggy learns that Alex is being relocated to another community. The archivolts of this panel show the angel appearing to John's father Zacharias, in the temple. "The Exterior of the Bladelin Altarpiece and the Master FVB." The Altar of St. John is a c. 1455 oil-on-oak wood panel altarpiece by the Early Netherlandish painter Rogier van der Weyden, now in the Gemäldegalerie, Berlin. This punishment of muteness is referred to in the archivolt reliefs. There are few indications of Italian influence in the Middelburg Altarpiece. The three panels describe the major events in John's life: his birth, baptism of Christ, and his decapitation at the hands of Salome. New York: E. P. Dutton, 1970. pp. "Sacred Vestments as … The version in Berlin is considered the original, that in Frankfurt a near contemporary copy. In so doing, he abandoned the uncoordinated scheme of the multipartite altarpiece familiar throughout the Middle Ages. One need only compare earlier works by Rogier van der Weyden such as the tripartite Altarpiece of Saint John the Baptist - to realize the extent of his advance. This is most evident in the figure of the woman in the birth panel, who occupies the same space and resembles Salome to the far right. Erwin Panofsky suggests that Rogier might have been influenced by Andrea Pisano's relief The Naming of the Baptist at the Florence Baptistery, which shows a similar scene of Mary presenting to Zechariah, who sits holding a pen and scroll. St. Jerome and the Lion (also known as St. Jerome Extracting the Thorn or Saint Jerome in the Desert) is an oil on oak panel painting by Rogier van der Weyden or his studio from c. 1450–1465, showing Jerome and a lion. The stable of Bethlehem resembles the ruin of a Romanesque chapel. This is a part of the Wikipedia article used under the Creative Commons Attribution-Sharealike 3.0 Unported License (CC-BY-SA). To his right, Mary presents his son to him. In the centre panel the donor is shown kneeling in an attitude of prayer beside the Virgin and Joseph, adoring the naked Child. Description. Oud-Holland 85, no. Not only in terms of the subject matter but also in the formal composition of the work, the painter has related the side-wings to the central scene. The painter may have had in mind the remains of the palace of King David, who was reckoned among the forbears of Jesus. Bladelin Triptych 1445-50 Oil on oak panel, 91 x 89 cm (centre panel), 91 x 40 cm (each wing) Staatliche Museen, Berlin: In the middle of the 17th century this triptych, known as the Middelburg Altarpiece, was in the Flemish city of Middelburg, founded by the rich Bruges burgher Pieter Bladelin … In the middle of the 17th century this triptych, known as the Middelburg Altarpiece, was in the Flemish city of Middelburg, founded by the rich Bruges burgher Pieter Bladelin and his wife around 1444. Furthermore, it shows only one donor, although Bladelin's wife was cofounder with him of the new city. Around 1449/50 he must have been in Ferrara, Florence and Rome; and it would have been soon after his return from the south that he received Peter Bladelin's commission. The painting depicts a scene from the legend of St. Jerome.