An inventory of 1492 records this painting hanging in the scrittoio of Lorenzo il Magnifico. It was painted for Cardinal Albergati (died 1443), who is identifed in the inscription on the letter on the table.
The books and other objects relate both to the saint's intellectual pursuits and to religious symbolism. The jar labelled tyriaca (an antidote for snakebite) surmounted by a pomegranate (a symbol of the resurrection) refers to Christ as the saviour of the world.
The influence of this work can be seen in Ghirlandaio's fresco of St Jerome (1481) in the Ognissanti.

Recorded in the collection of Carlo Luigi, Prince of Lucca, in 18th century.

Commissioned by the Confraternity of the Archers of Leuven for their chapel.
Van der Weyden visited Italy in 1450 as a pilgrim to Rome on the occasion of the Jubilee of Pope Nicholas V.
The bearded head of Joseph of Arimathea is uncannily similar to that in Fra Angelico's Deposition for the Strozzi chapel in Santa Trinita (1437).

This small painting is known as the Medici Madonna and belonged to Cosimo de'Medici. Saints Cosmas and Damian were the Medici's patron saints, and a modified Florentine lily appears in the coat of arms.
It was painted in the year in which Rogier visited Rome.
The precision and texturing of his details, as seen in the plants and vase in the foreground, the glass bottle in St Cosmas' hand, and the sumptuous damask inside the tent-like baldachin, introduced Florentine spectators to the potential afforded by painting in oil.

The Medici inventory of 1492 records this painting hanging in the Medici villa in Careggi, which was built by Cosimo de'Medici. The figure of Nicodemus, dressed in expensive clothing and gazing out towards the spectator, has been identified as a portrait of Cosimo.
Cosimo also owned Rogier's small panel of the Virgin with the Child and Four Saints, painted in 1450, the year Rogier visited Italy, though there is no direct evidence that Rogier ever visited Florence.
The work follows the Entombment of Christ from the predella of Fra Angelico's San Marco Altarpiece, painted around 1440. Fra Angelico's influence is evident in the display of the dead man, shown almost standing, with Mary and John holding his arms one on each side, and more particularly in the hill with the tomb in the rock, unusual in Flemish art.
The San Marco altarpiece was itself an important piece of Medici patronage.

Commissioned by Alessandro Sforza (1409-1479), a member of the Pesaro branch of the Sforza family of Milan. Alessandro Sforza is kneeling before the Crucifixion at the centre - his head was painted on a separate piece of foil and then stuck into the picture - with two members of his family who cannot be identified for certain.
On the same level, the wings of the triptych show St Bavo and St Francis on the left, and St Catherine and St Barbara on the right.
On the shutters are St Jerome and St George painted in grisaille.

Commissioned by the merchant Battista Agnelli, a native of Pisa, and given to the church of St James, Bruges.
The center of the retable shows John the Baptist baptizing Christ in the Jordan, with the naming of John to the left.
In the scene of the beheading of John to the right, Salome, in a magnificent dress in the fashion of French princesses, is receiving the decapitated head after dancing before her father in order to persuade him to order John's execution. The background shows Herodias stabbing the head of the Baptist in fury.

No real connection with the course, but too charming to miss. Anyway, it may be that Cosimo would have bought it if he had seen it, because of the medical connection.
In the background on the left is a wooden corner-house with a signboard consisting of a stick on which copper dishes are hanging. It advertises a the house of a surgeon - the pans were used during blood-letting.
St Luke was also a doctor and his clothing, with the exception of the inkpot hanging from his belt, is that of a doctor.