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
Altarpiece the Catholic parts of Eastern Europe, of the winged altarpiece. By hinging the outer panels to the central panel and painting them on both sides, the motif could be regulated by opening or closing the wings. The pictures could thus be changed depending on liturgical demands. The earliest often displayed sculptures on the inner panels, i.e. displayed when open, and paintings on the back of the wings, displayed when closed. With the advent of winged altarpieces, a shift in imagery also occurred. Instead of being centred on a single holy figure, altarpieces began to portray more complex narratives linked to