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26-658: The Rockox Triptych or Epitaph of Nicolaas Rockox and His Wife Adriana Perez is a triptych painted by the Flemish painter Peter Paul Rubens between 1613 and 1615. It is in the collection of the Royal Museum of Fine Arts Antwerp . The triptych was commissioned around 1613 by Nicolaas Rockox (1560–1640) and his spouse Adriana Perez (1568–1619) for their funerary monument in the Recollects church in Antwerp. Rockox

52-406: A marginal position. There is also an international set of metric prefixes , which are used in the world's standard measurement system . In the following prefixes, a final vowel is normally dropped before a root that begins with a vowel, with the exceptions of bi-, which is extended to bis- before a vowel; among the other monosyllables , du- , di- , dvi- , and tri- , never vary. Words in

78-618: A multiple of 10 rather than multiplication by it. Several common-use numerical prefixes denote vulgar fractions . Words containing non-technical numerical prefixes are usually not hyphenated. This is not an absolute rule, however, and there are exceptions (for example: quarter-deck occurs in addition to quarterdeck ). There are no exceptions for words comprising technical numerical prefixes, though. Systematic names and words comprising SI prefixes and binary prefixes are not hyphenated, by definition. Nonetheless, for clarity, dictionaries list numerical prefixes in hyphenated form, to distinguish

104-399: A numerical prefix need not be related to the root language of the word that it prefixes. Some words comprising numerical prefixes are hybrid words . In certain classes of systematic names, there are a few other exceptions to the rule of using Greek-derived numerical prefixes. The IUPAC nomenclature of organic chemistry , for example, uses the numerical prefixes derived from Greek, except for

130-520: A plain border between them. The work may consist of separate images that are variants on a theme, or may be one larger image split into three. Tri- Numeral or number prefixes are prefixes derived from numerals or occasionally other numbers . In English and many other languages, they are used to coin numerous series of words. For example: In many European languages there are two principal systems, taken from Latin and Greek , each with several subsystems; in addition, Sanskrit occupies

156-592: A single unit. The word triptych was formed in English by compounding the prefix tri- with the word diptych . Diptych is borrowed from the Latin diptycha , which itself is derived from the Late Greek δίπτυχα ( díptycha ) ' pair of writing tablets ' . δίπτυχα is the neuter plural of δίπτυχος ( díptychos ) ' double-folded ' . The triptych form appears in early Christian art, and

182-650: The Gothic period onward, both in Europe and elsewhere, altarpieces in churches and cathedrals were often in triptych form. One such cathedral with an altarpiece triptych is Llandaff Cathedral . The Cathedral of Our Lady in Antwerp , Belgium, contains two examples by Rubens , and Notre Dame de Paris is another example of the use of triptych in architecture. The form is echoed by the structure of many ecclesiastical stained glass windows . The triptych form's transportability

208-651: The cardinal catgegory are cardinal numbers , such as the English one , two , three , which name the count of items in a sequence. The multiple category are adverbial numbers, like the English once , twice , thrice , that specify the number of events or instances of otherwise identical or similar items. Enumeration with the distributive catgegory originally was meant to specify one each , two each or one by one , two by two , etc., giving how many items of each type are desired or had been found, although distinct word forms for that meaning are now mostly lost. The ordinal catgegory are based on ordinal numbers such as

234-536: The Crucifixion wounds on his hands and feet and encouraged them to handle the wounds and see the evidence for themselves. According to Luke, the disciples never took up this invitation to inspect the physical evidence of Christ's death. Only after Christ consumed a meal of broiled fish and a honeycomb did the disciples accept that the person was the resurrected Christ. An argument for the Rubens composition depicting

260-442: The English first , second , third , which specify position of items in a sequence. In Latin and Greek, the ordinal forms are also used for fractions for amounts higher than 2; only the fraction ⁠ 1  / 2 ⁠ has special forms. The same suffix may be used with more than one category of number, as for example the orginary numbers second ary and terti ary and the distributive numbers bi nary and ter nary . For

286-697: The Lady Chapel behind the choir in the Recollects church in Antwerp. In any case, the epitaph was commissioned before the death of the patrons. It often happened that funerary monuments were completed before – or vice versa: only some time after – a death. The triptych was confiscated by the French invaders in 1794 for the Musée du Louvre in Paris. In 1815 the composition was returned to Antwerp and transferred to

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312-535: The best-known examples being works by Max Beckmann and Francis Bacon . When Bacon's 1969 triptych, Three Studies of Lucian Freud , was sold in 2013 for $ 142.4 million, it was the highest price ever paid for an artwork at auction at that time. That record was broken in May 2015 by $ 179.4 million for Pablo Picasso 's 1955 painting Les Femmes d’Alger . A photographic triptych is a common style used in modern commercial artwork. The photographs are usually arranged with

338-561: The common inheritance of Greek and Latin roots across the Romance languages , the import of much of that derived vocabulary into non-Romance languages (such as into English via Norman French ), and the borrowing of 19th and 20th century coinages into many languages, the same numerical prefixes occur in many languages. Numerical prefixes are not restricted to denoting integers. Some of the SI prefixes denote negative powers of 10, i.e. division by

364-465: The contradictions between the various Gospel accounts of the Resurrection. This reflects the skepticism prevalent among the Antwerp elite as to the ability to achieve certainty, in particular as regards religious issues. It has further been argued that this omission was intended by Rubens to highlight the need for true believers (such as the patrons themselves) to make a leap of faith when accepting

390-500: The hundreds, there are competing forms: Those in -gent- , from the original Latin, and those in -cent- , derived from centi- , etc. plus the prefixes for 1 through 9 . Many of the items in the following tables are not in general use, but may rather be regarded as coinages by individuals. In scientific contexts, either scientific notation or SI prefixes are used to express very large or very small numbers, and not unwieldy prefixes. ( but hybrid hexadecimal ) Because of

416-530: The newly established museum in Antwerp. The outer panels contain portraits of Rockox and his wife holding attributes of their faith: a bible and a rosary. The outer panels depict the coats of arms of the two families of the patrons. The central panel was traditionally believed to show the disbelief (or incredulity) of Thomas , the story in the Gospel of John of how the Apostle Thomas refused to believe

442-572: The prefix for 9 (as mentioned) and the prefixes from 1 to 4 (meth-, eth-, prop-, and but-), which are not derived from words for numbers. These prefixes were invented by the IUPAC, deriving them from the pre-existing names for several compounds that it was intended to preserve in the new system: methane (via methyl , which is in turn from the Greek word for wine), ethane (from ethyl coined by Justus von Liebig in 1834), propane (from propionic , which

468-405: The prefixes from words with the same spellings (such as duo- and duo ). Several technical numerical prefixes are not derived from words for numbers. ( mega- is not derived from a number word, for example.) Similarly, some are only derived from words for numbers inasmuch as they are word play . ( Peta- is word play on penta- , for example. See its etymology for details.) The root language of

494-473: The resurrected Jesus had appeared to the other apostles until he could see and touch Jesus' crucifixion wounds on his side . This interpretation of the scene was supported by the similarity of Rubens' composition to Caravaggio 's treatment of the Thomas story , which shows Thomas bending over and inserting his finger into Jesus's side wound with a look of incredulity with two men behind him intently observing

520-491: The scene in Luke rather than the story of the doubting Thomas is that Rubens has intentionally omitted the wound on Christ's side while Caravaggio's Saint Thomas is totally focused on Thomas' finger probing Christ's side wound. Rubens' omission of the side wound suggests that he intended to strictly follow the text of Luke, which only mentions the wounds on Christ's hands and feet and not the side wound. By this act he also highlighted

546-524: The scene. Recent scholarship has argued that Rubens did not depict the disbelief of Apostle Thomas but rather the scene of Christ's first appearance to the apostles in Jerusalem as described in the Gospel of Luke 24:36-51. In this story the 11 surviving Apostles initially refused to believe that the person appearing in their midst was the resurrected Jesus. Confronted with this disbelief Christ showed them

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572-651: The triptych Hilje-j-Sherif displayed at the National Museum of Oriental Art , Rome, Italy, and a page of the Qur'an at the Museum of Turkish and Islamic Arts in Istanbul, Turkey, exemplify Ottoman religious art adapting the motif. Likewise, Tibetan Buddhists have used it in traditional altars. Although strongly identified as a religious altarpiece form, triptychs outside that context have been created, some of

598-601: The truth of the Resurrection of Christ rather than to seek corroboration in physical evidence. For the depiction of the body of Christ, Rubens was likely inspired by the famous Antique sculpture of the Hermes Belvedere , which he had studied and whose beauty and proportions he had praised during his stay in Rome. Triptych Beyond its association with art, the term is sometimes used more generally to connote anything with three parts, particularly if integrated into

624-414: Was a mayor of Antwerp and a close personal friend and important patron of Rubens. Adriana Perez was the granddaughter of Spanish conversos who had arrived in Antwerp during the early sixteenth century. The work is dated in the upper left corner of the left panel. The year was changed from '1613' to '1615', presumably because Rubens started the painting in 1613, but only finished it in 1615 and then hung in

650-631: Was a popular standard format for altar paintings from the Middle Ages onwards. Its geographical range was from the eastern Byzantine churches to the Celtic churches in the west. During the Byzantine period, triptychs were often used for private devotional use, along with other relics such as icons. Renaissance painters such as Hans Memling and Hieronymus Bosch used the form. Sculptors also used it. Triptych forms also allow ease of transport. From

676-575: Was exploited during World War Two when a private citizens' committee in the United States commissioned painters and sculptors to create portable three-panel hinged altarpieces for use by Christian and Jewish U.S. troops for religious services. By the end of the war, 70 artists had created 460 triptychs. Among the most prolific were Violet Oakley , Nina Barr Wheeler , and Hildreth Meiere . The triptych format has been used in non-Christian faiths, including, Judaism, Islam, and Buddhism. For example:

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