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
Early Netherlandish painting time. That hinged works could be opened and closed served a practical purpose; on religious holidays the more prosaic and everyday outer panels were replaced by the lush interior panels. The "Ghent Altarpiece", completed in 1432, had different configurations for weekdays, Sundays and church holidays. The first generation of Netherlandish masters borrowed many customs from 13th- and 14th-century Italian altarpieces. The conventions for Italian triptychs before 1400 were quite rigid. In central panels the mid-ground was populated by members of the Holy Family; early works, especially from the Sienese or Florentine traditions, were overwhelmingly characterised by images of the enthroned