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
Master of the Brunswick Diptych number of other paintings have been identified as being by the same hand. The works by the Master of the Brunswick Diptych show similarities with those of Geertgen tot Sint Jans but the colours are generally lighter, his treatment of space and anatomy is less accomplished and the paintings more miniature-like. In a panel painting presently in Cologne, the master breaks new ground by depicting a domestic scene of a woman feeding a child for the first time in panel painting. Master of the Brunswick Diptych The Master of the Brunswick Diptych (fl. c. 1480-1510) was a Dutch early Renaissance