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Different hands have obviously been involved in this great polyptych.
The polyptych was only finished seventeen years later, in 1462.
Whether the pieces were the central part of a polyptych is uncertain, however.
The polyptych has five panels each featuring a religious saint.
It is therefore a type of polyptych, the term for all multi-panel works.
The polyptych was disassembled as early as the 18th century.
The polyptych evidence shows that the peasant economy was well able to sustain these royal demands.
In 1481 it was furnished with the famous Pacher polyptych.
The polyptych was completed by a predella, now divided between several American museums.
It includes Sienese school frescoes and a 16th century polyptych.
In addition to the polyptych, the church contains the following artworks:
The precious Cervara polyptych was split up and sold separately.
Lighting plays a central role and is one of the major innovations of the polyptych.
The baptistery has a polyptych from Lombard masters of the 15th century.
The polyptych is Martini's largest work, and includes numerous sub-panels.
This two-tiered, rather conventional painted polyptych consists of six panels.
The polyptych was developed in the Carolingian period.
The highly detailed figures provide a "slow semicircular rhythm" to the polyptych.
The panel is intermediate between a medieval polyptych and a Renaissance altarpiece.
The letter of indulgence was written on the same day that the archbishop inaugurated the polyptych.
According to the taste of the time, the polyptych was to be painted with precious colours and have a gilded background.
The altarpiece is a polyptych panel painting featuring 12 figures each in his or her own arch.
Other small panels with saints, divided among several collections, have been also thought to be once in the side piers of the polyptych, now lost.
The panel follows the traditional polyptych pattern of the time only in the upper part, which has arcades and columns.
The first of these is a polyptych made for the Church of the Gesuati.