WET WET, JAN DE (Joliann Dtiwett), born in Hamburg in 1617 (?). Dutch school ; his- tory painter, pupil of Rembrandt in Amster- dam, whither he went early in life. Like his master he painted biblical and mytho- logical subjects, well composed, better drawn than Rembrandt's, and more finished in de- tails. His pictures were often sold under Rembrandt's name. He afterwards returned to Hamburg. Works : The Seven Works of Mercy, Haarlem Museum ; Elijah and the Widow, Suermondt Museum, Aix-la- Chapelle ; Christ in the Temple (1635), Burning of Troy, Brunswick Gallery ; Rais- ing of Lazarus (1633), Darmstadt Gallery ; Tobias and the Angel, Kunsthalle, Ham- burg ; others in Frankfort, Gottingen, Han- over, and Oldenburg Galleries. Kramm, vi. 1845 ; Kugler (Crowe), ii. 378 ; Riegel, Beitrage, ii. 265 ; Vosmaer, Rembrandt, sa vie, etc. (1868), 62. WETTE, FRANS DE, Dutch school, 17th century. This master is exclusively known by his biblical subjects on a small scale, in the style of Rembrandt, which are remark- able for arrangement, and fine expression in the heads, but of somewhat brown tone. Works : Christ and the Adulteress, Augs- burg Gallery ; The Three in the Fiery Fur- nace, Raising of Lazarus, Schleissheim Gal- lery. Kugler (Crowe), ii. 390. WEYDEN, ROGIER VAN DER (Roge- let de la Pasture, Roger de Bruges), born at Tournay in 1399 or 1400,. died in Brussels, June 16, 1464. Flemish school; history painter, pupil in Tournay (1426) of one Robert Campin, and master of the guild there, Aug. 1, 1432 ; removed to Brussels before April 21, 1435, and thence- forth his name appears in its Flemish form. First mentioned as city painter, May 2, 1436. He also lived and worked at Louvain,
perhaps also at Bruges ; but whether he really was in Italy, especially at Ferrara and Milan, as some circumstances seem to indicate, and at Rome, during the jubilee in 1450, is not as yet ascertained. He was the founder of the school of Brabant, highly es- teemed in his own country, and actively em- ployed throughout the Burgundian realm. Although in technic and the realism of his style Rogier belongs to the school of the Van Eycks, with one of whom, Jan, he may have had personal relations, he worked with a deeper feeling and a religious intensity which betrayed him into exaggeration of sentiment and violence of action. The four great pictures which he painted in the .gold- en chamber of the Town Hall at Brussels were destroyed in 1695. Works : Entomb- ment (attributed), National Gallery, Lon- don ; Altai-piece, Grosvenor House, ib. ; Portrait of Charles the Bold, Head of Weep- ing Woman, Brussels Museum ; eight others (attributed), ib. ; Triptych with Seven Sacra- ments, Annunciation, Portrait of Philip the Good, Antwerp Museum ; Descent from the Cross, Madrid Museum ; replica (1443), St. Peter's, Louvain ; altarpiece with Last Judg- ment (before 1450), Hospital, Beaune (Cote d'Or) ; Descent from the Cross, Hague Mu- seum ; St. John, Rotterdam Museum ; Ma- donna with Saints, St. John Altar, Stadel Gallery, Frankfort ; Triptych with Pieta (be- fore 1445), do. with Life of St. John, do. with Nativity, Berlin Museum ; Figure of the Virgin, Filrstenberg Gallery, Donau- eschingen ; Christ on the Cross, Dresden Museum ; Triptych with Adoration of the Magi, St. Luke painting the Virgin, Munich Gallery ; Triptych with Crucifixion, The Virgin Nursing Christ, St. Catherine, Vienna Museum ; Pieta (attributed), Uffizi, Flor- ence. Ch. Blanc, cole flamande ; C. & C., Flemish Painters, 182 ; Dohme, Ii. ; Fetis, Cat. du Mus. royal, 162 ; Gaz. des B. Arts (1866), xxi. 201, 349 ; Kramm, vi. 1846 ; Kugler (Crowe), i. 77 ; Kunst-Chronik, xvii. 441 ; Meyer, Gemiilde kongl. Mus., 528 ; Michiels, iii. 7 ; v. 451 ; Schnaase, viii. 165 ;
