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Browse the storeA polyptych is a multi-panel painting, usually an altarpiece with hinged wings. From the Ghent Altarpiece to the Isenheim Altarpiece, learn how these complex works functioned.
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The Ghent Altarpiece, completed by Hubert and Jan van Eyck in 1432, has twelve panels. When open, it shows the Adoration of the Mystic Lamb, angels, prophets, and the nude figures of Adam and Eve across eight panels. When closed, it shows the Annunciation, donor portraits, and two grisaille figures of saints painted to look like stone statues. The Isenheim Altarpiece, completed by Matthias Grunewald around 1515, has two sets of folding wings that produce three different views depending on which panels are opened. These are polyptychs, and for three centuries they were the most ambitious and expensive art objects in Europe.
A polyptych is a work of art divided into multiple panels, usually four or more, joined by hinges or set within a shared frame. The word comes from the Greek "poly" (many) and "ptyche" (fold). A diptych has two panels, a triptych has three, and a polyptych has four or more. The great majority of historical polyptychs are altarpieces, painted on wood panels with egg tempera or oil, and designed to stand on or behind an altar in a church. The panels could be fixed in place or hinged, allowing the altarpiece to be opened and closed to reveal different images on different occasions.
This entry covers what a polyptych is, how it functioned in church settings, who made the most significant ones, and how the format evolved from medieval altarpieces to modern art.
A polyptych typically consists of a central panel, usually the largest, flanked by side panels or wings. The wings may be fixed or hinged. When hinged, the wings can fold closed over the central panel, protecting the interior paintings and presenting a different set of images on the exterior. This open-and-close mechanism was not just practical. It was liturgical. The altarpiece would be opened on Sundays and feast days, revealing the full glory of the interior. On ordinary days, it stayed closed, showing the simpler exterior paintings. Some polyptychs had multiple sets of wings, creating three or more different "views" for different points in the liturgical calendar.
The National Gallery in London provides an interactive anatomy of a polyptych altarpiece on its website, showing how the central panel, side panels, predella, and pinnacles fit together. The example used is Giovanni dal Ponte's altarpiece of the Ascension of John the Evangelist, a multi-panelled polyptych from a Camaldolese nunnery in Tuscany. Read the full guide at National Gallery.
The lower section of a polyptych often contains a predella, a narrow strip of small narrative paintings running along the base. The upper section may include pinnacles, pointed Gothic decorations at the top. The entire structure is held together by a wooden frame, which in Italian polyptychs was often as elaborately carved as the paintings it contained.
The polyptych originated in the early 14th century, emerging from the fusion of Byzantine iconostasis traditions with Gothic architectural forms. The Byzantine tradition of placing multiple icons in a screen separating the sanctuary from the nave provided the multi-panel concept. The Gothic architectural style provided the pointed arches, pinnacles, and gilded frames that characterized early polyptychs.
Duccio di Buoninsegna, active in Siena in the early 14th century, produced some of the earliest examples. His Maesta (1311, Siena Cathedral) was a massive double-sided polyptych that established the format for Sienese painting. Giotto's Stefaneschi Polyptych (c. 1320, Vatican Museums) and the Bologna Polyptych (c. 1330-1334, Pinacoteca Nazionale di Bologna) further developed the form.
Through the 14th and 15th centuries, polyptychs were the standard format for altarpieces across Europe. Italian polyptychs tended to have many small panels showing individual saints against gold backgrounds, set within Gothic architectural frames. Northern European polyptychs, especially in Flanders and Germany, tended to have fewer but larger panels with hinged wings that could close over the central image. The Ghent Altarpiece (1432) is the supreme example of the Northern tradition.
By the late 15th and early 16th centuries, the polyptych was being replaced by the unified pala, a single large panel with a unified composition. This shift reflected changing aesthetic preferences: artists wanted to paint unified spatial scenes rather than collections of isolated figures. A 2017 study published in Actual Problems of Theory and History of Art examined late 15th and early 16th century Italian polyptychs, arguing that the format persisted outside Florence longer than scholars have assumed, and that late polyptychs adapted Renaissance artistic innovations while maintaining their multi-panel structure. Read the study at Actual Problems of Theory and History of Art.
Peter Paul Rubens painted large winged altarpieces in the early 17th century, including the Descent from the Cross triptych (1612-1614, Antwerp Cathedral), but by this time the format was unusual. The Counter-Reformation favored single, dramatic altarpieces that could be seen clearly from a distance.
The Ghent Altarpiece (1432, Saint Bavo's Cathedral, Ghent) is the most famous polyptych ever made. Twelve panels, eight when open and four when closed, depicting the Adoration of the Mystic Lamb, the Virgin Mary, John the Baptist, angels, Adam and Eve, donor portraits, and the Annunciation. The exterior panels include grisaille figures of saints painted to simulate stone sculpture. The altarpiece has survived theft, dismemberment, war, and six centuries of restoration. The recent "Closer to Van Eyck" project has documented the altarpiece in extraordinary detail.
Duccio's Maesta (1311) was commissioned for the high altar of Siena Cathedral and is one of the earliest and largest polyptychs. It was double-sided, with the front showing the Virgin and Child enthroned among saints and angels, and the back showing scenes from the Passion of Christ. The Maesta established the Sienese tradition of large-scale polyptych painting and influenced every Sienese painter who followed.
The Isenheim Altarpiece (c. 1512-1516, Musee d'Unterlinden, Colmar) is a polyptych with two sets of folding wings, creating three distinct views. The first view shows the Crucifixion, one of the most harrowing images in Western art, painted for a hospital where patients were treated for skin diseases. The second view shows the Annunciation, the Concert of Angels, and the Nativity. The third view, revealed by opening the inner wings, shows a sculpted shrine of Saint Anthony with painted panels by Grunewald on the sides. The altarpiece was designed to offer different levels of consolation to patients at different stages of treatment.
Piero's Madonna della Misericordia (1445-1462, Museo Civico di Sansepolcro) is a polyptych commissioned by a confraternity in Piero's hometown. The central panel shows the Virgin spreading her cloak over kneeling worshippers. The polyptych took seventeen years to complete, an unusually long time, and its austere geometry and monumental figures reflect Piero's mathematical approach to composition.
Rogier's Last Judgment Polyptych (c. 1446-1452, Hospice de la Beaune) was commissioned by Nicolas Rolin, Chancellor of Burgundy, for a hospital chapel. The polyptych has nine panels showing Christ in judgment, the Archangel Michael weighing souls, and the saved and damned. The exterior panels are grisaille figures. The altarpiece was designed to be seen by patients in the hospital ward, who could contemplate their judgment while receiving treatment.
If you see a painting made of multiple panels joined by hinges or set within a shared frame, you are looking at a polyptych. The key distinction from a triptych is the number of panels: four or more makes it a polyptych. Italian polyptychs from the 14th and 15th centuries often have a central panel of the Madonna and Child flanked by multiple saints, each in their own panel, all set within an elaborate gilded Gothic frame. Northern polyptychs tend to have larger panels with continuous landscapes or interiors spanning multiple sections.
Many polyptychs in museums are incomplete. The panels were separated when altarpieces were removed from churches, and individual panels were sold to different collections. A single room in a major museum may contain panels from a polyptych whose other panels are in three other countries. Museum labels often indicate the original configuration, and some museums display reconstructed polyptychs with photographic reproductions of missing panels.
The panel paintings used in polyptychs were typically made on oak in Northern Europe and poplar in Italy, using tempera before the adoption of oil. The gold leaf backgrounds of Italian polyptychs create a flat, luminous space that separates the sacred figures from the viewer's world, a convention that persisted until the 15th century when artists began replacing gold backgrounds with realistic landscapes and architectural settings.
The polyptych is the largest category of multi-panel painting, encompassing triptychs (three panels) and diptychs (two panels) as subsets. Specific names exist for polyptychs with particular numbers of panels: a tetraptych has four, a pentaptych has five, a hexaptych has six. These terms are rarely used outside specialized art historical literature.
The Gothic art period was when the polyptych format developed, and the Early Renaissance was when it reached its peak. The Baroque period saw the final large polyptychs, by Rubens, before the format was replaced by single-panel altarpieces. The iconoclasm of the Protestant Reformation destroyed many polyptychs in Northern Europe, particularly in the Netherlands during the Beeldenstorm of 1566.
For more context, read our blog post on Renaissance art and the birth of modern art, or explore our guide to understanding iconography to learn how to decode the saints and symbols in polyptych panels.
The Ghent Altarpiece remains in Saint Bavo's Cathedral in Ghent, and the recent restoration has returned it to something close to its original appearance. The Isenheim Altarpiece is in the Musee d'Unterlinden in Colmar, France, displayed in a chapel-like room that approximates its original setting. The Stefaneschi Polyptych by Giotto is in the Vatican Museums. The National Gallery in London holds several Italian polyptychs, including Giovanni dal Ponte's Ascension altarpiece.
For dispersed polyptychs, the Frick Collection in New York and the National Gallery of Art in Washington hold panels from Italian polyptychs whose other sections are in European museums. For more on the components of altarpieces, read our entries on predella and triptych, or explore our post on Gothic art and architecture.
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