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
Tauberbischofsheim altarpiece Tauberbischofsheim altarpiece The Taubischofsheim altarpiece (earlier known as the Karlsruhe altarpiece or Karlsruhe panels; German: Taubischofsheimer Altar, Karlsruher Altar, and Karlsruher Tafeln, respectively) is a late work by the German Renaissance painter Matthias Grünewald, probably completed between 1523 and 1525. The earliest written references to the work come from the 18th century, when the altarpiece was still in the Church of St. Martin in Tauberbischofsheim. Its original location and the identity of the patron who commissioned it are not known, but it is assumed that they both were in Tauberbischofsheim. The panels, which today are displayed separately, were originally painted