Should Animals Be Used in Medical Research Free Essays

Should animals be used in medical research? The use of animals in laboratory research is a very well known debate. Many people wonder if the animals are treated well and if they are taken care of properly; however, if medical and scientifical experimentation were done in only human trials the knowledge and understanding of how drugs and procedures can affect human would be decades behind. That is why the use of animals in experimentation is a necessity in order to continue advancing medicine and science. We will write a custom essay sample on Should Animals Be Used in Medical Research? or any similar topic only for you Order Now Animals have a high reproductive rate and are easy to breed. Animals have the same organs and tissues as humans do making them a good match. Animals that are used in experimentation are generally small and are easy to keep and feed. It is the best way to learn the effects of substances in a living body because animals are very easy to breed and yield a high amount of offspring. A higher number of offspring allows for a greater number of experiments or trials to be performed at a time. The greater the number of trials that can be performed will increase the data that can be collected to increase the accuracy of the trial. If a drug was tested on humans and the first two people to take the drug died, chances are the drug would be discontinued and research shut down, even if the deaths were only coincidence. By having a big sample size of animals that can test the effects to see how fatal the drug is and determine how it can be improved. Even if many experiments have expected results the effects of a drug could be wide spread. This is why using animals as a match for humans is advantageous because it allow scientists to observe the effects on living tissue under controlled circumstances in many subjects, and collect appropriate data so the margin of error can be made as small as possible. The ability to see the consequences of drugs on animals its success rate because it avoids death of many people who could be used as subject. Without using animals in research labs, our progression with medicine and medical sciences would slow down dramatically. Every day new medicines and practices are coming out that, without the help of animals, would never make it to us. They might make it to us, but only after blindly testing on random human volunteers that could possibly die just as easily from the testing as a rat would if used in the humans place To sump, I would say that many of the medications and procedures that we currently use today wouldn’t exist and the development of future treatments would be extremely limited. Animal testing is the right way to test products. Animals have the right to live their own life; and we are not allowed to mess around with them just because we can. How to cite Should Animals Be Used in Medical Research?, Essays

Mother and Role Model free essay sample

Sometimes we come across a strong, influential person who leaves a powerful impact in our lives. Luckily for me, I came across such a person from the very beginning of the journey of my life. My mother who taught me to walk my first steps, who danced and sang to me crazily just to see me smile, the one who has always been there for me as my support whenever I needed one, is my role model and has made an unforgettable impact in my life. Her perseverance gives me an inspiration to work hard and get the most out of my life. It gives me a goal to make her proud of her daughter the same way her daughter’s proud of her. Although my mother’s life story has influenced me positively, it isn’t the only way my mother has affected me. She has always been that I can be. We will write a custom essay sample on Mother and Role Model or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Even through the troubled and awkward first year in the United States, she was the person who I looked up to as a role model, she took every obstacle thrown at her with determination and patience. Coming from a background of financial hardships, she grew up always wearing a smile and looking at the positives not focusing on the negatives. My mother grew up in Nigeria. In a small one room apartment, patched up with woods for the walls and rusted iron sheets for the rooftop. The only one out of all her siblings to attend high school. My mum achieved something no one in her family could. She achieved this only by her persevere and positive outlook of life. She studied countless hours by a small lantern or a little stream of light escaping her neighbor’s house. She helped take care of her younger siblings, and even worked at the family store where she and her siblings picked, preserved and soled nuts. Even at 18 I shied away from my peers and mostly kept to myself. I found myself hiding with my right next to me trying to explain to me that I was going to face the world anyway so it was better starting now. So I struggled to learn the new ways things worked in this country and had trouble fitting into the social groups at my school. Whenever I felt down and dejected from being an outsider, my mother gave me solace and strength. She helped me open up to the new life, surrounding and people. She gave me the one advice that has worked for me and still works for me. â€Å"Work with the other students in the classroom and to use your difference as a strongpoint to bring something new to the table instead of making it a barrier to entry†. She asked that I be the first one to extend the hand of friendship and to be patient, kind, and helpful. Her advice, teachings and determined character have stayed with me throughout my life. It is because of her that I now possess the calm, friendly personality that everyone credits me for. It is because of her that I have the determination to gain the most out of my education, and thanks to her I’m hopeful to achieve my future goals. She has positively affected me in a hundred different ways. She’s the best friend I have always counted upon. I could have picked anyone to be my role model maybe someone extremely influential in their field, someone who went to college and has a professional job, but I chose my mum because she beats all that. She didn’t go to college but she’s the most educational, competent and more aesthetically pleasing woman I’ve ever met and above all she’s my mum. People say it’s easy to choose your mum for a role model, that it’s a no-brainer but no one can re-direct my role model focus from her. I don’t only admire her focus and outlook to life, I admire her beauty. It doesn’t how she’s dressed, she always looks clean and ready for anything. She has a beautiful big white smile that can warm up a room. Her eyes are big and brown, just looking into them you can see all the love she has to give. My mum’s main obstacle in life was her inability to go to college, she’s worked hard and placed her faith in God. She wants to excel this dream of finishing school and I’m going to see to it that she does. If I’m ever asked why I decided to write about my mum it’s very simple; because there’s no better role model than the one whose footsteps I can follow. Everyone has that one person they look up to and for me that person is my mum (Patience Sam-Yellowe).

Digital Self-Portrait Assignment Essay Example

Digital Self-Portrait Assignment Paper My Life Line A Portrait of Who I am on the Inside. Planning This will be our first major project of the year. We began this year with a Digital Self- Portrait. From this project, we learned that self-portraits are more interesting when they focus on who we are on the inside, rather than what we look like on the outside. We will call these portraits our â€Å"Life Lines† because they tell the story of our life- who we are on the inside. For this project, we will be using an accordion book format to show others WHO WE ARE ON THE INSIDE. The accordion book will have a front cover and 6 inside panels or pages. Your â€Å"Life Line† will be a combination of drawings (pencil, sharpies, amp; colored pencils) and collage (pictures/images you bring in from home). Week 3 Homework: Bring in Images to Collage into your LIFE LINE We will begin our LIFELINE by gathering important DATA about YOU! List carefully as many things as you can think of for each category. INTERESTS amp; HOBBIES: the books you like to read, sports, crafts, outdoor activities, things you collect, what you do in your spare time, do you plan an instrument? We will write a custom essay sample on Digital Self-Portrait Assignment specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Digital Self-Portrait Assignment specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Digital Self-Portrait Assignment specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Do you take classes to learn things like Yoga or Karate? What games do you enjoy? etc. | | | | | | | | | | | | | | | | | | | | | | | | FAVORITE FOODS: Maybe you’re a chef or like to cook and make your own foods. Maybe you have a favorite restaurant. Maybe you LOVE Grandmas’ pot roast. Maybe your family makes a special dinner What are your favorite foods? | | | | | | | | | | | | | | | | | | | | | SPIRITUAL BELIEFS amp; PHILOSOPHIES: Do you believe in a higher being? Are you passionate about any issues such as recycling, protecting the environment, adopting animals, or non-violence? Are there any special holidays you celebrate in connection to your beliefs? You may also want to include your patriotism or heritage. | | | | | | | | | FAVORITE MUSIC: This can be styles of music, music you sing, music you play, favorite bands or songs, etc. | | | | | | | | | ACADEMIC INTERESTS: What do you like learning about? (In school or outside of school). I love learning about nature and foreign cultures. Maybe you love dinosaurs. Maybe you like working on computers. Maybe you like learning about how things work, like cars. PS- lunch and recess are not academic†¦ but ART is! ) | | | | | | | | | FAVORITE VISUALS: What kinds of things do you like to look at? Beaches? Checkerboards? Hot Air Balloons? Rainbows? Plants? Spider webs? Artwork? Album covers? Etc. | | | | | | | | | HEROS: List your heroes below. Who are the people you look up to? Who do you want to be like when you are older? Who are you impressed by? | | | | | | | | | FAMILY AND FRIENDS: Who are the important peop le in your life (and we don’t mean your great-uncle who you’ve never even met). Include people who are important to YOU! | | | | | | | | | | | | PETS: Pets you own, pets that have passed away, or maybe pets you’d like to someday own. | | | | | | | | | TRAVEL: Where have you been? Where would you like to go? | | | | | | | | | EXTRA: Favorite authors? Clubs amp; organizations (4-H, Scouts, Peer Mediator, etc. ), pen pals, AWARDS, favorite smells, favorite time of the year, season, college, poems, etc. | | | | | | | | | YOUR BIRTHDAY: When is your Birthday? You can represent it with a cake, balloon, present, season, etc. __________________________________________ When you have completed the survey, practice sketching these objects on the next page (in pencil). Remember to think CREATIVELY because we want to see pictures to represent these parts of your life- NOT WORDS! For instance, music can be represented by notes or lines coming out of a stereo or instrument. Good luck! NOTE: This is the planning phase of your Life Line. Check off or cross off each item f rom your list as you include it in your final portrait. This way you will not lose track. Procedure: . Fill out the survey 2. Decide HOW YOU WILL ORGANIZE your images a. You may want to have each page represent a category (such as family) or maybe you will represent past/present/future and move throughout your pages chronologically- YOU DECIDE! 3. Sketch lightly in pencil first on your final paper b. FILL up your pages- you don’t want any empty space- even the background should represent YOU! 4. Add collage elements such as photos of your family, etc. 5. Outline each item in black using a sharpie 6. Color in using colored pencils

Example of Graduate School Admission Essay †Personal Description Paper

Example of Graduate School Admission Essay – Personal Description Paper Free Online Research Papers Example of Graduate School Admission Essay Personal Description Paper Prompt: Give a candid description of yourself, stressing the personal characteristic you feel to be your strengths and weaknesses and the main factors which have influenced your personal development, giving examples if necessary. (400 words app.) The second of three children, I was born in Brazil and lived most of my teenage years in Rio de Janeiro, a very lively and international city. Son of a French entrepreneur, I had the opportunity to be involved in many different aspects of my fatherà ¢Ã¢â€š ¬Ã¢â€ž ¢s business from a young age. Of an athletic nature, sports have always been an important part in my life. At age 17, I moved to the United States in order to pursue a tennis career and to finish high school. Upon my high school graduation, I accepted a scholarship to play tennis at the University of South Florida, an institution with both a reputable academic and athletic programs. During my college years, I was able to improve my leadership and interpersonal skills since I was part of not only the tennis team, but also of many other multi-cultural teams for class assignments. My dynamic nature in business as well as discipline and self-motivation stems from my years on the tennis tournament circuit in Brazil and the United States. I received a degree with honors in business administration and accepted a position with an international company with which I did an internship during the last year of my studies. With a background in international business, I had the chance to work with various multinational companies, working together with such large corporations as Sony on many projects. Recently, I have started my own consulting company in the United States with an American and European client base. Over the years, I have had to adapt to changes in a fast-paced environment, learn quickly, and proactively take initiative. My ability to speak English, French, Portuguese and Spanish, as well as to understand, appreciate, and adapt to different cultures has been refined from extensive travel throughout Europe, North America and South America. I believe some of my strengths when used in the wrong situations become weaknesses. For example, I am a direct and honest person with a passion for perfection. However, there are situations where having more subtlety and knowing when something is good enough would be of beneficial to me. Therefore, I am constantly working on recognizing each situation in order to use my qualities to my advantage. Fortunately, throughout my entire life I have been surrounded by people who guided me, supported me, and taught me valuable lessons. I am continuously learning and growing from every experience I have and from every person who I come across, so each one plays a role on my personal development. Research Papers on Example of Graduate School Admission Essay - Personal Description PaperPersonal Experience with Teen Pregnancy19 Century Society: A Deeply Divided EraMoral and Ethical Issues in Hiring New EmployeesAnalysis of Ebay Expanding into AsiaHip-Hop is ArtTrailblazing by Eric AndersonNever Been Kicked Out of a Place This NiceHarry Potter and the Deathly Hallows EssayPETSTEL analysis of IndiaDefinition of Export Quotas

A Critical Review of Theoretical Approaches to GPE Essay

A Critical Review of Theoretical Approaches to GPE - Essay Example Traditionally, there are six central concepts of GPE: state, firm, capital, power, labour and globalisation, which are, from analytical point of view, interconnected. At the forefront of GPE in the understanding of these concepts are the theories of rational choice, of neo-institutionalism, of neo-Marxism, of constructivism and of postmodernity. These, however, are the objects of ongoing debates among scholars, and several thoughts and analyses have posited new ideas and concepts, either affirming or negating them. This paper seeks to provide a critical review of three literatures on the subject, to wit: (1)‘Strategic Interests and International Political Economy’ by Stephen Greenwold, 1999, (2) ‘Competitiveness: A Dangerous Obsession’ by Paul Krugman, 1994, and (3) ‘Globalisation, Hegemony and Passive Revolution’ by Anne Showstack, 2001. The three literatures tackle interrelated concepts and theories of GPE. All three authors advocate for the realist perspectives in the understanding of GPE, competitiveness, and of hegemony and passive revolution in the context of globalization, respectively. Greenwold, Stephen (1999), in his article ‘Strategic Interests and International Political Economy’, discusses at length about the rivaling theories of IPE, how each is unique from and similar to the rest of the theories. However, Greenwold stresses on the realist theory as the most relevant and provides the most reasonable and sensible explanations in today’s socio-economic and political landscape, as it tries to look at the interrelatedness of economic forces and political forces in the shaping of nation-states. On the other hand, Krugman, Paul (1994) keenly tackles about a relatively new concept in economics which has revolutionized states and corporations at the onset of globalization. Krugman argues that the concept of nations as corporate companies competing against one another

Hemoglobin conformation(the T to R transition of hemoglobin) Article

Hemoglobin conformation(the T to R transition of hemoglobin) - Article Example The oxygenated hemoglobin (red) mostly triggers the interchanging to the R state. In the state of (T), the iron atom becomes planar with respect to the rest of the heme group this pulls the histamine, thus causing the larger scale structural change in the protein. Hemoglobin can be termed as a tetramer that makes up of two alpha-beta dimmers. The T to R transition requires that at least the hemoglobin subunits need to be bounded by oxygen. Hemoglobin in the T state has low affinity for oxygen, the change in conformational can only occur under high concentrations of oxygen. In R state, the hemoglobin binds to oxygen with high affinity, thus leading to the deoxygenated subunits binding to oxygen. The red blood cells that are rich in oxygen are found in the lungs need to flow all over the body to supply the tissues with oxygen for the metabolic processes. The fundamental allosteric effectors of hemoglobin are the protons. At an extremely low PH, hemoglobin has lower affinity for oxygen than it does at the higher PHs. In the present suggestions are made to changes in the stabilization free energy to specific amino acids residues in the interfaces of T to R

Rogier van der Weyden Biography

Rogier van der Weyden Biography Rogier van der Weyden, one of the most well-known and influential Netherlandish painters of the fifteenth century, was born in the city of Tournai in Belgium in about 1400. A son of a cutler, after completing his apprenticeship with Robert Campin, he moved to Brussels where he was made the official painter to the city. He also undertook important commissions for the greatest members of the Burgundian court, including the famous Duke Philip the Good. His career was extremely successful. He quickly established a prosperous workshop and an international reputation. Van der Weydens powerful religious paintings reflect an intense personal belief; his portraits are often characterised by a tender, reflective godliness. His expressive, naturalistic style was widely imitated, and set the pattern for Netherlandish painting and had a profound effect on Europe as a whole. Brussels Official Painter About 1427 Rogier van der Weyden was apprenticed to Robert Campin, then a leading painter of Tournai. Because the age of twenty six would have been rather late for doing that, some scholars argue that the painter probably only formally registered when he saw the possibility of establishing himself as an independent master. In his article on van der Weyden for example, A.J. Wauters points out that no text now remains, by which accuracy of the statement that Rogier began his apprenticeship in 1427, as made by the copyist of the register of painters of Tournai, called Recuiel de St. Luc, can be tested. For him the date seems improbable as Rogier was then already a husband of Elisabeth Goffaert and the father of a son named Corneille. It is almost certain for the author, that the copyist must have made a mistake, perhaps writing 1427 instead 1417. And, as early as 17th of November 1426, on one of Rogiers visits to Tournai, the Magistrate offered him the wine of honour, in recognition of the gleam which he castes on his town. His career had opened already then, under the greatest patronage, says Wauters. In French-speaking Tournai, Rogier was known as de la Pasture. The name was translated to Van der Weyden when he moved to Flemish Brussels. Before 1435, he settled there and was appointed official painter to the city. The new title led to official commissions such as the four panels on the theme of justice painted for the court room of the Town Hall. They illustrated the justice of Trajan and Herkinbald, a legendary Duke of Brabant, and were intended as a permanent reminder to the judges of their well-known family. This vast project must have taken several years to complete. The first panel bears the date 1439, and it is assumed that the others were finished in the 1440s. Rogier may have worked as a sculptor before he became a painter. As a rule, painters in those days were familiar with sculpture. Not only did they polychrome statuary, but one of the challenges to the art of painting was to create the illusion of sculpture, especially on the outsides of the shutters of an altarpiece. Rogiers father is said to have been a sculptor, and Robert Campin is mentioned as both, painter and sculptor. The artist was involved in various works for the city, including designs for decorative schemes and sculptures. It seems that Van der Weyden did not have to travel in search for employment, as we know of only one journey: in 1450 he went to Italy, visited Rome and Ferrara (the portrait of Lionello dEste dates from this time, the altar panels at Frankfort and Florence are likely of the same period). The Major Commissions His employment as town painter did not stop van der Weyden accepting other commissions. Rogier did a great deal of portrait paintings, particularly because after Jan Van Eycks death he was the most renowned painter in the Netherlands. In his time, the court resided mainly in Brussels, where it claimed his services, and the demand for portraits of nobility gradually grew. Brussels was a favourite residence of the Burgundian duke, Philip the Good, for whom Rogier worked, although he was never made an official court painter like Jan van Eyck. It was, however, van der Weyden who produced the most popular portraits of Philip and his son Charles the Bold. The painter attempted to create an ideal image of the Duke. That was exactly what the contemporaries wanted, so his portraiture made van der Weyden very successful and popular. He was sought after by the grandest nobleman and bourgeoisie, who wanted him to record their faces for posterity. Members of the Burgundian court, such as Philips illegitimate son Antony, also turned to him for portraits, often wanting their own images eternalized in adoration of the divine in a diptych format. Commissions for more public works, especially large altarpieces, also came van der Weydens way. An example is the great Last Judgment altarpiece ordered by the fabulously wealthy Burgundian chancellor, Nicholas Rolin and his very religious third wife, Guigonne de Salins. The work was commissioned for Rolins hospital in the Hotel-Dieu in Beaune, where it still hangs. Constructing of the hospital was accepted by Pope Eugenius IV in 1441. The dedication of hospital was to St. Anthony, who is shown in the shutter of the picture (the dedication was changed by Pope Nicolas V to St. John the Baptist, who is prominent in the interior scene of the Last Judgment ). The work began in 1443. The polyptych is the artists largest work, made of fifteen panels of different sizes. It was placed in the end of the nave, behind the altar, in a chapel separated from the nave by a wooden partition, through which patients could fallow the mass from their hospital beds. It was also the tradition to open the wings of the polyptych on Sundays and feast days. Jean Chevrot, the Bishop of Turnai, had Van der Weyden paint the triptych of the Seven Sacraments, which are: Baptism, Communion, Confirmation, Confession, Extreme Unction, Holy Orders and Matrimony. The masterpiece is a good example of a big appeal the Christian sacraments had in early Netherlandish painting. The acts are presented around the central Crucifixion scene. The importance of the central panel is emphasised by enlarged figures. The figures of St. John and Mary overcame with grief are characteristic feature in Rogiers art. The magnificent Descent from the Cross was commissioned by the Louvain Archers Guild. As an altarpiece it was intended for a chapel in Louvain, but fell into Spanish hands in the sixteenth century. Today, it is on display in the Prado in Madrid. Christs pale body is being taken down from the cross by Joseph of Arimathea and Nicodemus. The corpse is almost immaculate and shiny apart from his bloody wounds. The crown of thorns hurt his forehead; a Roman soldier stubbed his midriff with his spear; here are the holes in Jesus hands and feet. This is the central scene of the picture. The corps forms a bow with the upper arm of his mother Mary Magdalene. Her immense sorrow causes her to collapse. In her fall, her body takes on the same shape as her sons, implying that her co-suffering. Susie Nash In Northern Renaissance Art points out, that apart from underlining the Virgins co-passion, Jesus and her poses are also brilliantly designed to refer to the patrons of the work, since both evoke the shape of a crossbow. Thus while the actual crossbows in the image are tiny, hanging from the tracery in the corners, the poses of Christ and the Virgin stamp the guilds identity on this work in an unmissable way. Each figure in the painting seems to be in the precise place. The sense of movement is limited on every side. Caught in sculptural form, grief and sorrow have nowhere to go remarks Max Frielà ¤nder. Despite the busy narrative and all the figures taking part, Van der Weyden managed to build a convincing and intimate atmosphere, without giving a viewer a sense of crowdedness. The picture combines telling details with dramatic spatial density and unstable rhythm. Like Jan van Eyck, Rogier had the rare ability to combine grandeur of forma and delicacy of detail. The figures are almost life-size and their torment is expressed so passionately that it overwhelms the viewer completely. Rogier van der Weyden often found an inspiration in the genius of Jan van Eyck. Madonna with St. Luke is an example of the influence van Eycks Rolin Madonna had on Rogier. As the town painter of Brussels he must have know and adored this masterpiece, but at the same time he departed from van Eyck with new motifs and ideas, which were later used in his own workshop. Typical of the art of van Eyck is the striking atmospheric effect of chiaroscuro. Rogier took over the external elements of the setting, the hall with the three apertures opening on the garden completed by a wall, the two figures with their backs to the spectator, and the view of both banks of the river. To the younger master the architectural solutions of the elder artist seemed, above all other things, to be worth imitating. Van der Weydens Madonna, as a completely independent representation of this subject, established a new convention. Rogiers saint Luke is not himself painting the Mother of God, like in the earlier pictures, but recording the silverpoint sketch. In Rogiers works is was the content the mattered the most. In order to make the importance of the religious meaning stronger, he returned to the dominance of line (the contour was the main tool of expression in fourteenth century art). His figures and surrounding them architecture are always clearly and expressively outl ined. The monumental Escorial Crucifixion is the largest single panel by the artist. Rogier van der Weyden presented it himself to the Carthusian monastery of Scheut near Brussels in the en of his life, after his eldest son Corneille entered the Carthusian monastery. The monks sold the painting in 1555 to Philip II of Spain. The King placed the painting in the Escorial, where, in the late seventeenth century, it was badly damaged in a fire, which, along with following restorations, left the masterpiece in a very bad state of preservation. The three figures seem very isolated. The figure of Saint John and Saint Mary represent two corresponding images of sorrow. This and their earnest faces make the narrative of the picture hard to read. Unlike his Descent from the Cross, this scene is placed in a stone niche, not in an altar shrine. The artists painted the figures of Virgin Mary and Saint John where we would rather expect sculpture, which reminds us of the cut in stone, monumental Crucifixion groups.We could still see them today in some churches. The stone-coloured garments, with definite, harsh folds, emphasize the sculptural quality of the picture and may also suggest the white habits of the Carthusian monks. The sculptures were often placed against real or painted fabrics. Rogier used a bright red cloth of honour, which, contrasting with the delicate tones of the panel, emphasises the overall emotional effect of the figures and presents them as saints. Van der Weyden lived in prosperity since arriving in Brussels, and later, as a successful painter in great demand, managed to increase his fortune greatly over the thirty years of his career. No wonder than that he could afford the donation of his huge Crucifixion to the monastery in Scheut, which must have meant a considerable devotion of time and money. Rogier had also enough funds for a number of other gifts to churches in Brussels, and donations to the destitute. Van der Weyden died in 1464 and was buried in the cathedral of Brussels, Saint Gudule. The artists genius was honoured with a requiem service. Van der Weydens son, his grandson, and his great-grandson, all became painters, but none of them shared his success. Conclusion Rogiers influence and fame reached far and wide from Brussels, all the way to Germany, Italy and Spain. In the studios of the Netherlands it ruled pictorial invention and methods of work throughout the second half of the century. Van der Weyden run a large workshop where copies were being made to his design. The students later repeated Rogiers compositional ideas, with more or less success. In van der Weydens time there was no simple divide between ecclesiastical and secular patronage. The bishops and heads of religious houses often came from the same noble families as the courtiers. All the personages who have been identified as donors of altarpiece of Rogiers hand (Pieter Bladelin, Nicolas Rolin, Jean de Chevrot, the Bishop of Tournai) were eminent men who had grown great in the favour of the court. His art was well suited to express the sombre splendour of secular as well as religious ceremonial, and it appealed especially to the dignitaries of the church. The position Van der Weyden had achieved through his art could be illustrated by his association with the highest levels of society. He belonged to the prestigious confraternity of the Holy Cross in the church of St-Jacques-sur-Coudenberg and prospered sufficiently to make not only investments in Tournai stock but also, as I have already mentioned, he was able to present religious foundations with gifts, particularly to the Carterhouses of Scheut and Herinnes where his son was a monk. However, the access to one of the greatest painters of the age was not restricted to dignitaries of church and state. Van der Weydens service was available to all who could afford it. Corporate commissions, such as that of the Louvain Archers Guild for the Descent from the Cross, could involve lower-ranking members of society in the commissioning the work of art. The Descent from the Cross is probably Rogier van der Weydens most impressive work. According to Davies, this picture alone makes it easy to credit that Rogier was the dominating painter of the north in the fifteenth century: A sentiment of pity, so much then in peoples minds, clear presentation of forms easily recognised; strong and sincere piety; spirituality without strangeness; technical mastery. The Descent from the Cross made a profound impression on his contemporaries, as testified by many copies and copies and imitations, and it almost certainly established Rogiers fame. Susie Nash adds: The originality of these figu res, and the beauty of their shapes were so powerful that artists repeated them throughout Europe for a hundred of years: this is arguably the most influential painting of the fifteenth century. In Early Netherlandish Art Max Frielà ¤nder talks about two cogent reasons why Rogier van der Weyden became the most influential painter of the fifteenth century outside Italy: firstly, his retrospective, completely non-revolutionary art was in harmony with the traditional tendencies still existing everywhere, and secondly, the essential character of his style proclaimed itself, not, as in the works in van Eyck, in the execution, but in the design, for which reason it was easier to learn and led to a more or less satisfactory result, even if the pupil was incapable of rising to the height of master ship. Even a retrospective artist is, however, up to a certain point, limited to the artistic tendencies of his own time. Van der Weyden was often obedient to the stylistic demands of the new naturalism. He had to struggle to achieve a certain lifelikeness of effect, which in his works, is not an essential factor as it is in the works of Robert Campin and van Eyck. This is why fifteenth c entury painters outside the Netherlands, especially the Germans Spaniards, and French, became familiar with the new Flemish realism through the works of the most naturalistic of all old Netherlandish masters. Rogiers influence goes into breadth. His contribution consists of ideas, types, themes, joy and the sound of music on the one hand, dramatic tension and moral grandeur on the other. Bibiography Ludwig Baldass, Jan van Eyck, Phaidon Publishers Inc., New York, 1952 Jan Bialostocki, Sztuka cenniejsza niz zloto, Tom 1., Panstwowe Wydawnictwo Naukowe, Warszawa 1991; Adam Bochnak, Historia Sztuki Nowozytnej, Tom 1., Panstwowe Wydawnictow Naukowe, Warszawa Krakow 1985; Davies M., Netherlandish Primitives: Rogier van der Weyden and Robert Campin, The Burlington Magazine for Connoisseurs, Vol. 71, No. 141 (Sep., 1937), pp. 140-145, Valentin Denis, All the Paintings of Jan Van Eyck, Vol. IV in the Complete Library of World Art, Oldbourne Press, London 1961; Brian Fallon, Van Eyck, Studies: An Irish Quarterly Review, Vol. 71. No. 284 (Winter 1982), pp. 360-377; Max Friedlà ¤nder, Early Netherlandish Painting, Vol. I, The Van Eycks Petrus Christus, A.W. Sijthoff, Leyden 1967; Max Friedlà ¤nder, Early Netherlandish Painting, From Van Eyck to Bruegel, Phaidon Press Ltd., London 1956; Davies M., Rogier van der Weyden. An essay with a critical catalogue of paintings assigned to him and to Robert Campin, Phaidon Press Ltd., London 1972; Susie Nash, Northern Renaissance Art, Oxford University Press, 2008 Wauters A.J., Rogier van der Weyden I, The Burlington Magazine for Connoisseurs, Vol. 22, No. 116 (Nov., 1912), pp. 75-82; http://hoocher.com/Rogier_van_der_Weyden/Rogier_van_der_Weyden.htm http://www.nationalgellery.org.uk http://artbible.info http://www.wga.hu