Crucifixion Diptych (van der Weyden) and theorized that the diptych represented two panels of a four-panel work – either the two-panelled left shutter of an altarpiece, or its center two panels. Based on pictorial style, Tucker argued that the large size of the human figures relative to the size of the panels was more in keeping with figures on the shutters of "carved" altarpieces than painted ones. He also noted that the shutters of carved altarpieces tend to de-emphasize the deep perspective commonly seen in painted altarpieces, which was consistent with the shallow pictorial space of the diptych. The diptych's figures are almost two-thirds life
Cervara Altarpiece panels were re-united at the Palazzo Bianco in autumn 2005. Cervara Altarpiece The Cervara Altarpiece or Cervara Polyptych was an oil-on-oak-panel altarpiece painted by the Flemish painter Gerard David early in the 16th century for the high altar of Cervara Abbey in Liguria, Italy. It was commissioned by the Genoese nobleman Vincenzo Sauli on 7 September 1506, as dated in a 17th-century document - Sauli's name is painted above the Virgin's feet in the central panel. David painted it in Bruges and it was installed in the Abbey in 1507. It was originally formed of seven panels, which were divided