In the performing arts, "retablo" is the small stage on which the puppet theater is performed. Significantly, the DRAE derives this use ("small stage in which an action was represented using figurines or puppets", meaning 3) from its peculiar way of defining pictorial-sculptural altarpieces, where it places emphasis on their capacity for serialized narrative representation ("set or collection of painted or carved figures, which represent a story or event in series", meaning 1) rather than on their decorative capacity ("work of architecture, made of stone, wood or other material, which makes up the decoration of an altar", meaning 2).[16] The so-called "hallelujahs" were also a similar literary form, associated with popular representations (such as, for example, their recitation by blind people or other types of beggars, while pointing out the drawings that illustrate what was recited in the form of vignettes, a precedent for comics).

Cervantes refers to this theatrical form on two occasions: in The altarpiece of wonders (entremés of 1615) and in chapters XXV and XXVI of the second part of Don Quixote de la Mancha (published the same year).

Manuel de Falla composed El altarpiece de Maese Pedro (1923) about the quixotic episode.

The name "Spanish theatrical altarpiece" refers not so much to a dramatic genre but to the way theater itself was conceived by the authors of classical Spanish theater of the Golden Age (particularly Calderón, La vida esdream, El gran Teatro del mundo).[17]​.

The component of "pretense of reality" that theatrical altarpieces have in Cervantes or Calderon's works ("deceive with the truth" and "teach with deception") is also present in the role expected of ecclesiastical altarpieces (defined as "illusory machines") in "control over the sensitivity of the faithful", configuring "the theatrical scene of liturgy, dogma, piety and Catholic devotion."[18]​ Such condition makes them particularly useful not only for iconographic and iconological studies, but for the history of mentalities and anthropology.[19]​.

The altar was, from the first moments of Christianity, the central element of the liturgy. At first its arrangement in the temple was free and central, with the faithful located around it, thus remembering the banquet of the Last Supper. However, with the strengthening of the authority of the clergy, the altars were moved to the presbytery "Presbytery (architecture)"), an elevated place inaccessible to the faithful, close to the wall of the head of the church (apse), and which in certain types of church was even hidden with curtains, bars, or the iconostasis. The officiant performed most of the ritual with his back to the faithful.

• - Church of the monastery of San Miguel de Escalada (Mozarabic art, Spain, century). The altar, in the apse, is behind a gallery of arches that separate it from the central nave.

• - Iconostasis of the Visoki Dechani monastery church (Byzantine art, Serbia, 19th century).

Early Christian temples decorated their interiors with mural paintings (Dura Europos chapel) and certain objects for liturgical use, such as reliquaries, caskets, ivory diptychs or small statues. Its primitive austerity was compensated by the luxurious donations offered by the potentates (Guarrazar treasure). In the Pre-Romanesque, images of the crucified Christ began to spread, which were placed hanging from the walls or the ceiling, and which could be pictorial or sculptural (Crucified of Gero"), Cologne Cathedral), or sometimes dispensing with figuration to take the form of a jewel (crux gemmata"), such as the Victory Cross of the Holy Chamber of Oviedo). The decoration of the antependium "Frontal (architecture)") (pallium altaris, frontal or front of the altar) also took on great relevance, derived from the curtains that covered the urns with relics arranged under the altar table (whose color had to vary to correspond with the liturgical color of the party or office of the day) and which were enriched with all types of ornaments in precious materials.[20] The hypothesis has been proposed that, Evolutionarily, the altarpiece derived from the antependium.[21]​.

The forms of the later altarpiece also seem to prefigure some structures derived from the classic aedicula (aedicules -"temples" or "small buildings"-), especially the ciborium "Ciborio (architecture)") or ciborio (a fixed canopy or pallium "Palio (canopy)") supported by four columns, later called canopy or canopy), a common element in early Christian churches, which protected and gave relevance visual to the altars, reliquaries and tombs of saints and martyrs, which usually coincided in the same place.[22]​.

• - Ciborio of San Ambrosio de Milan (the columns, from the century, the canopy, later (between the and the); the altar"), signed by Vuolvino"), between the year 824 and 860.[23]​.

• - Roman ciborium from the 1st century.

• - Ciborio of Saint John Lateran, by Arnolfo di Cambio (19th century).

The internal decoration of the churches was adapted to their modest dimensions in most cases, and the emphasis was placed on the parietal decoration, either through brightly colored frescoes, or with mosaics enriched with gold tesserae (very common in Byzantine art), so that the images stood out in generally dark and small interiors. The elements that were placed on the altar were almost always movable (caskets "Arqueta (furniture)"), diptychs, icons "Icon (religion)")) and their sumptuousness in terms of materials also meant a small size. The Romanesque did not represent a great change in this simple system of interior decoration of the temples, with a predominance of frescoes in the apses (Romanesque churches of the Bohí Valley, Saint-Savin-sur-Gartempe Abbey), the figures of Christ in Majesty and Virgin in Majesty and the altar frontals, which became painted, carved or embossed decoration supports, often enriched with enamels or metalwork.[24] Although the shapes and materials were already very similar to those of the later altarpieces, the arrangement of the piece was exactly the opposite (in front of the altar and under it, instead of behind and in an elevated position). In fact, some have been reused as altarpieces, such as that of the sanctuary of San Miguel de Aralar.[25]​.

• - Altar front of the hermitage of San Quirce de Durro[26]​.

• - Altar frontal of Santa María de Tahull.

• - Altar frontal of the Seo of Urgel, called "of the apostles" (the altar frontal of Ix is similar).

• - Altar front of the Aachen Cathedral.

• - Altar frontal of Basel Cathedral.

• - Current position of the altar frontal of San Miguel de Aralar, reused as an altarpiece.

Contenido

El esplendor del monacato, la pujanza de las ciudades y el crecimiento poblacional y económico que se dio en Europa a partir del siglo hicieron que los templos tuvieran que adaptarse a fin de dar cabida a un mayor número de fieles, satisfacer los deseos de patrocinio de la élite y mostrar la riqueza de una sociedad en la que la religión regía todos los aspectos de la vida. A partir del siglo surge el arte gótico; la arquitectura adquiere dimensiones colosales y una gran complejidad constructiva, y tanto pintura como escultura, a demanda de una sociedad amante del lujo y la ostentación, cobran un gran desarrollo. Otro factor de cambio fue la aparición de las órdenes mendicantes, que propugnaban una religiosidad más emotiva y cercana al fiel, a la vez que se preocupaban por la enseñanza y la doctrina.

Como en el románico, grandes ciclos narrativos se seguían esculpiendo en las portadas de iglesias y catedrales; pero la decoración interior va a sufrir una mayor transformación: los vitrales, que ocupan los grandes vanos abiertos en los muros gracias a las nuevas técnicas constructivas, se ilustran con representaciones sagradas; y la nueva amplitud y luminosidad de los templos permite la mejor contemplación de las imágenes repartidas por las numerosas naves y capillas, que cumplían la función de espacios corporativos para las instituciones que las encargaban (gremios, cofradías y familias aristocráticas), convertidas en mecenas artísticos.

Las nuevas prácticas piadosas requerían un número cada vez mayor de objetos sagrados cada vez más suntuosos y visibles. Se intensificó el culto a las reliquias y a las imágenes de santos, consideradas un instrumento valioso para la evangelización.

Es en ese contexto donde surgieron los primeros retablos, primero como tablas rectangulares con imágenes de modesto tamaño (como el retablo de Westminster"), de 1x3 metros, o el retablo de Bernabé, de 1x1,5 metros), a veces a juego con el frontal de altar (como sucede en uno de los ejemplos más antiguos conservados: el de la iglesia del monasterio de Santa María de Mave, Palencia), luego articuladas y abatibles, de forma cada vez más compleja (dípticos, trípticos, polípticos como el llamado Políptico de Gante), o bien realizados con materiales preciosos (los de la catedral de Gerona, el altare argenteo di San Jacopo")[29]​ de la catedral de Pistoia[30]​ o la Pala d'Oro de la basílica de San Marcos de Venecia).[31]​[32]​.

En un primer momento, los retablos no abandonaron del todo su carácter mueble o plegable, y es posible que muchos fueran utilizados en procesiones y otro tipo de actos públicos que exigían su trasladado fuera del ámbito del templo, como sucedía con los dípticos devocionales o los iconos "Icono (religión)") de carácter doméstico y privado. Sin embargo, poco a poco los retablos fueron haciéndose más grandes y estables, toda vez que debían destacar casi siempre en las dimensiones colosales de abadías o catedrales. La retablística se consolidó en toda la cristiandad latina de la Baja Edad Media (un vasto espacio —de Islandia a Chipre— recorrido por múltiples conexiones e influencias mutuas y variantes locales, de la pala italiana al flügelaltar centroeuropeo)[33]​ como un género artístico pujante y creativo, que contaba con importantes artistas especializados en las distintas especialidades necesarias para su diseño y ejecución.

• - La llamada Pala d'oro de la catedral de San Marcos (Venecia). Encargada a orfebres bizantinos en el siglo , fue ampliada en los siglos posteriores.

• - Detalle del retablo de Westminster") (ca. 1270).[34]​.

• - El altare argenteo de la catedral de San Zenón (Pistoia). Encargada en 1287, fue objeto de sucesivas ampliaciones hasta 1456.

• - El retablo de Santa María de Mave") (arriba -abajo, el frente de altar-), actualmente conservado en la capilla de San Nicolás de la catedral de Burgos. Su datación es muy imprecisa (siglos -).[35]​.

• - Virgen con el Niño, inicialmente parte del mismo retablo, que permanece en la iglesia del monasterio de Santa María de Mave.[36]​.

El material más empleado fue la madera, casi siempre dorada y policromada, aunque no faltan ejemplos en madera vista u otros materiales (plata o todo tipo de piedras). Las variantes regionales hacen difícil una clasificación uniforme; por ejemplo, en Aragón, desde el siglo tomaron una peculiar forma de expositor eucarístico, realizados casi siempre en alabastro. El retablo gótico suele presentar una apariencia marcadamente geométrica, con los encasamentos linealmente dispuestos y ocupados por pinturas o esculturas. Muchos de ellos toman la forma del ábside en el que se sitúan (como el mayor de la catedral Vieja de Salamanca), aunque es más común el esquema cuadrangular con un saliente en la parte superior a modo de remate (la espina o ático "Ático (arquitectura)")), que inicialmente tomaba la forma de uno o varios gabletes. El contorno del retablo solía estar recorrido por una moldura muy resaltada (el guardapolvo "Guardapolvo (arquitectura)")). Se utilizaban abundantemente los elementos decorativos de la arquitectura gótica, enmarcando las figuras (fueran pinturas, relieves o imágenes de bulto) mediante doseletes o chambranas,[37]​ y pináculos, cresterías, florones y otros elementos ocupando el resto del espacio, como resultado del horror vacui. Fue habitual también la introducción de elementos heráldicos o incluso de retratos de los comitentes (habitualmente, en posición orante). Con el tiempo se fue estableciendo la separación entre el cuerpo del retablo propiamente dicho y el banco o predela sobre el que se apoya; y dentro de aquel, la configuración en cuerpos y calles. Los retablos ganaron en dimensiones, complejidad y lujo, hasta convertirse en enormes estructuras profusamente decoradas. Resultaron idóneos para la narración de los ciclos de la vida de Cristo, la Virgen o el santo a quien el altar se dedicaba. La presencia de numerosas imágenes, advocaciones o reliquias dentro de un mismo templo justificó la multiplicación de capillas, altares y retablos. El de la capilla mayor o presbiterio, foco de atracción principal, se denomina «retablo mayor», mientras que los situados a lo largo de muros laterales, trasepto y girola reciben la denominación de «retablos laterales» o «retablos menores».

Facades-altarpiece

The altarpiece of the centuries reached an extraordinary development in the Christian kingdoms of the Iberian Peninsula, where to the general characteristics of the Gothic style were added the specific characteristics of both Flemish Gothic (commercial and political relations with Flanders were especially intense) and Italian Gothic[38]​ on the other, and the local influences of Mudejar art. The architecture itself reflects the importance that the altarpieces had achieved, by projecting the conventions of their design on the main facades of the temples (and even other types of buildings), with the typology called "facade-altarpiece" (not to be confused with a confluent concept, that of facade-curtain)),[39]​ which was continued in Spanish architecture of the Renaissance") and the Baroque and colonial architecture of America. For the new conception of the covers "Portada (architecture)"), the key moment was the overcoming of the classical Romanesque and Gothic conception of the flared covers of archivolts and tympanums "Tímpano (architecture)") with sculptural decoration, which was substantially altered in the Spanish-Flemish architecture of the second half of the century.[40]​[41]​.

Gothic altarpieces in the Iberian Peninsula

Among the surviving examples, few are preserved in their original location. Many of them have been transferred to diocesan and provincial museums, and some of the most important have become part of the collections of the National Museum of Sculpture (Valladolid), the National Museum of Art of Catalonia (Barcelona) or the Prado Museum (Madrid). Very notable have been the temporary exhibitions of the cycle The Ages of Man. As a result of the plundering of Spanish artistic heritage (very intense between 1808 and the middle of the century) many Gothic altarpieces have ended up in private collections and foreign museums. Previously, it was common for them to have suffered all kinds of alterations when they were dismantled for different reasons, frequently as a consequence of their replacement by altarpieces from the Renaissance or Baroque period, and for their reuse in environments other than those for which they were initially designed. All of this has meant that most of them are dispersed or have been totally or partially lost. The documentary sources written for these periods (relatively abundant in Spanish archives compared to other cases) make it possible to reconstruct the history of a good number of altarpieces, but it is most likely that for the vast majority there will not even be any news of their existence. They stand out, in chronological order:[42]​.

• - The main altarpiece of the Cathedral of Gerona, made of silver, forming twenty-six compartments with relief figures, from the .[43] century.

• - The old main altarpiece of the Barcelona Cathedral, with a fundamentally architectural structure (1356-1367, modified over the centuries and -its central image, an apostle Santiago, was added when the altarpiece was moved to the church of San Jaume in the same city, in 1971-).[44]​.

• - The altarpiece of San Cristóbal") (19th century), from a Riojan monastery.[45]​.

• - The altarpiece of Santo Domingo de Tamarite de Litera") (second third of the century).[46]​.

• - Those due to the Master of Estimariu or Estopiñán (active in the Crown of Aragon between 1360 and 1380, whose identity and origin is the subject of debate), such as the altarpiece of San Vicente "Altarpiece of San Vicente (Estopiñán)") and the tables of Santa Lucía").[47]​.

• - Those due to Andrés Marzal de Sax (Marçal de Sas, probably originally from Saxony), introducer of Central European international Gothic in Spain (active in Valencia between 1393 and 1410). The Great Altarpiece of Saint George painted for the Brotherhood of Centenar de la Ploma is traditionally attributed to him, although the attribution is currently disputed, and it should be assigned to a Master of Centenar").[48]

• - Those due to Pere Serra, such as the altarpiece of the Holy Spirit from the Seu of Manresa (ca. 1394) and the altarpiece of All Saints from the Monastery of Sant Cugat (1375).[49]​.

Gothic altarpieces in central-western Europe

The areas politically divided between the kingdom of France, the Burgundian State and the principalities of the Holy German Empire developed an important production of Gothic altarpieces in the last centuries of the Middle Ages, stylistically labeled with the different names of the late Gothic; notably the international Gothic, characterized by refinement, elegance and sentimentality, slender proportions, sinuous lines and the nuanced color that allows shading and volume to be given to the figures (painters such as Conrad Soest, Master Francke, Stefan Lochner, Henri Bellechose, Jean Malouel, Jean de Beaumetz, etc.), with influence also in more remote areas of Central Europe, such as Italy or Spain.[70]​.

Within that style, in the Bohemia of the century the work of two anonymous masters stood out, authors respectively of the Altarpiece of Vyšší Brod") or of Hohenfurth"),[71]​ which represents the childhood of Christ (Cistercian convent of Vyšší Brod or Hohenfurth"), of the so-called Master of Vyšší Brod") or of Hohenfurth"), ca. 1350 - today dismantled -) and of the Třeboň Altarpiece") or of Wittingau") (convent of the Augustinians of Prague, of the so-called Master of Třeboň or of Wittingau, ca. 1380-1390. In the same area, in the century the so-called Master of the Garden of Paradise of Frankfurt or Master of the Upper Rhine stood out.

From the middle of the century, the evolution of artistic forms was marked by the development of Flemish and Italian painting in the new context of the Renaissance, but Gothic survived well into the century.

• - French Gothic altarpieces.

• - Altarpiece of the Virgin of the Blessed Sacrament in Saint-Georges de Haguenau").[72]​.

• - Chapel of Our Lady of Saint-Sulpice de Fougères").[73]​.

• - Chapel of the Nativity of Saint-Vulfran de Abbeville").[74]​.

• - Grabow Altarpiece"), by Master Bertram (1379).[75]​.

• - Altarpiece of the Crucifixion"), by Jacques de Baerze[76]​ (1390), commissioned by Philip the Bold for the charterhouse of Champmol.[77]​.

• - Altarpiece of Saint Barbara, by Master Francke (1410-1415).

• - Tables from the left wing of the altarpiece of the life of Saint John the Baptist, by the Master of the Garden of Paradise (1410-1420).

• - Altarpiece with scenes of the passion in Saint-Clair-Saint-Léger de Souppes-sur-Loing").[78]​.

• - Altarpiece from southern Germany (1360-1370), currently in the church of Santiago in Nuremberg.

• - Sculptural triptych (open) in the church of Sogn Gieri") (Switzerland, century).[79]​.

• - Altarpiece from the Walpurgiskirche")[80]​ by Alsfeld.

• - Altarpiece from the Marienkirche of Gelnhausen.[81]​.

Since the beginning of the century, a new aesthetic trend that takes Greco-Latin Antiquity as a source of inspiration triumphs in Europe: the Renaissance. After initially imposing itself on the Italian peninsula, the new artistic style spread rapidly, reaching its maximum splendor in the middle of the century. The Renaissance brought with it a revision of Gothic forms, which were replaced by elements of a classicist nature.

In Italy, the altarpiece (called there pala) had never acquired large proportions, since the tradition of fresco paintings in churches was maintained; although Giotto and Simone Martini, renowned fresco artists, also created outstanding polyptychs for altars. Almost all of Duccio's work is done in pale. Also notable is l'Altare di argento"),[86]​ the silver altarpiece from the Baptistery of Florence (central compartments, by Betto di Geri") and Leonardo di Giovanni"), 1366 -the four lateral reliefs are by sculptors from the Quattrocento: Pollaiuolo, Verrocchio and two other goldsmiths-).[87]​.

• - Reconstruction of the original appearance of the Maestà of the Cathedral of Siena, by Duccio, 1308-1311.

• - The so-called "triptych")" or "Stefaneschi polyptych")",[88]​ by Giotto, ca. 1320 (anterior view -straight-).

• - Idem (rear view -verso-).

• - The so-called "polyptych of Saint Catherine of Alexandria")",[89]​ by Simone Martini, 1320.

• - Triptych of the Virgin with the Child and Saints Peter and Paul"),[90]​ from the Pieve")[91]​ of San Giovanni d'Asso, by Ugolino di Nerio (1320-1325).

• - Annunciation between Saints Ansano and Margaret, by Simoni Martini, 1333.

• - Reconstruction of the Pala della beata Umiltà") ("altarpiece of the blessed Humility")"),[92]​ by Pietro Lorenzetti, ca. 1341.

• - Pala della Crocifissione")[93]​ ("altarpiece of the Crucifixion")"), by Jacopo di Cione,[94]​ Nardo di Cione[95]​ and his workshop (ca. 1368).

• - Reconstruction of the original appearance of the polyptych of San Pier Maggiore "Church of Saint Peter the Great (Florence)"), by Jacopo di Cione (1370-1371).

With the emergence of the new style, the architectural structure of the altarpiece becomes clearer and simpler (you can see how some altarpieces by Fra Angelico exemplify the evolution from one structure to another).

• - Altarpieces by Fra Angelico.

• - The so-called "triptych of San Pedro Mártir")"[96]​ (1428-1429).

• - Annunciation "The Annunciation (Fra Angelico, Madrid)"), painted as pala d'altare for the convent of Santo Domingo de Fiesole")[97]​ (1430-1435).

• - The so-called tabernacolo dei Linaioli")[98]​ (1432-1433).

• - The so-called "Cortona triptych")",[99]​ (1436-1437).

• - The so-called pala di Perugia"),[100]​ (1438).

• - Reconstruction of the so-called pala di San Marco&action=edit&redlink=1 "Pala di San Marco (Fra Angelico) (not yet written)"),[101]​ (1440).

• - The so-called pala di Bosco ai Frati"),[102]​ (1450-1452).

New techniques emerged, such as enamelled terracotta (Della Robbia brothers), while the use of marble, bronze or granite became widespread as opposed to polychrome wood. The typically Renaissance decorative elements, such as the grotesque, candelieri, the vegetal scrolls, the putti, the tondo or clypeus, or the flameros, come to ornament the new structures, formed by pilasters, columns or semi-columns, friezes and cornices, all with a clear inspiration in classical antiquity. Some altarpieces are integrated into the architectural space for which they have been designed, with trompe-l'oeil effects. The pagan or profane influence also ends up transferring to religious images. All these elements will soon go beyond the scope of the Italian peninsula and be exported to the rest of European territories.[105]​.

• - The so-called Polyptych of Mercy, by Piero della Francesca, (1445-1462).

• - The so-called Pala di San Zeno or altarpiece of San Zeno, by Andrea Mantegna, 1457-1460.

• - The so-called pala di Pesaro"),[106]​ by Giovanni Bellini (1471-1483).

• - The so-called Pala di San Marco&action=edit&redlink=1 "Pala di San Marco (Vivarini) (not yet written)"), by Bartolomeo Vivarini (1474). It should not be confused with Boticelli's homonymous.

• - Current assembly of the so-called "polyptych of Saint Peter",[107]​ by Perugino, ca. 1496. The original provision was more complex.

• - Adoration of the Magi, terracotta altarpiece by Andrea della Robbia (1500-1510).

• - Reconstruction of the so-called "Recanati polyptych",[108]​ by Lorenzo Lotto, ca. 1506.

• - The so-called pala di San Zaccaria, by Giovanni Bellini.

• - The so-called "Arcevia polyptych")",[109]​ by Luca Signorelli (1507).

• - Altarpiece of the church of Santa Corona")[110]​ (Vicenza), by Bartolomeo Montagna.[111]​.

In the area ambiguously called Flanders by historiography, the Burgundian State starred in a cultural splendor that Johan Huizinga described as Autumn of the Middle Ages; and which continued in the Modern Age under the Habsburgs. Like the highly appreciated Flemish tapestries, the Flemish altarpieces were exported throughout Europe, both the pictorial polyptychs (the Van Eyck, Van der Weyden, Van der Goes) and the sculptural ones, with complex architectural composition and motifs derived from international Gothic.[117] Some of them received commendable names (such as "the pearl of Brabant")" or "the miracle of Dortmund")»).[118]​.

In the kingdom of France, the work of sculptors such as Antoine Le Moiturier (altarpiece of the Last Judgment in the collegiate church of Saint Peter in Avignon),[119]​ of which only two angels remain),[120]​ and painters such as Jean Fouquet (the daring diptych for the funerary chapel of Agnès Sorel in Melun Cathedral) gained great fame.

In the Central European cities of Germanic culture, around the Rhine and the Danube, which witnessed the birth of the printing press, which had a spectacular impact on the dissemination of humanism and the transformation of culture in the final decades of the century and the first decades of the century, the work of painters such as Pacher, Dürer, Grünewald, Altdorfer, Ratgeb, Baldung, the Cranachs and the Holbeins stood out, which also developed in altarpieces. Alternatively, or integrated into the same altarpieces, the work of sculptors such as Veit Stoss, Nikolaus Gerhaert, Tilman Riemenschneider or Nicolas de Haguenau was developed. The forms evolved from fixed panels of modest dimensions to large, complex articulated structures with complex architectural ornamentation. The wings were usually dedicated to pictorial representations of the saints, while the central panel was reserved for evangelical scenes in bulk carvings.[121]​.

Starting in 1517, the impact of the Protestant Reformation was very notable, and as far as the altarpieces were concerned, it caused the destruction of many religious images; although there were also prominent Lutheran artists who continued to make altar pieces, such as the Cranachs.[122]​.

• - Triptych of the Annunciation or Mérode, by Robert Campin (1425-1430).

• - Polyptych of the Last Judgment (open), by Rogier van der Weyden (1440-1450).

• - Idem (closed).

• - Altarpiece of the Blessed Sacrament "The Last Supper (Dirk Bouts)"), by Dirk Bouts (1464-1467).

• - The altarpiece called "the pearl of Brabant")", ca. 1470.[123]​.

• - The so-called "Portinari triptych", by Hugo van der Goes (1476-1478).

• - The so-called Pacher-Altar"),[124]​ altarpiece of St. Wolfgang im Salzkammergut by Michael Pacher (1471).[125]​.

• - The so-called "altarpiece")" or "altar of the Dormition")" or Krakow"),[126]​ by Veit Stoss (1477-1489).

• - The so-called "altarpiece")" or "Kefermarkter altar")" (1490-1497).[127]​.

• - The so-called "altarpiece")" or "altar of the Holy Blood")" (Heiligblutaltar")),[128]​ by Tilman Riemenschneider (1501—1505). By the same author, or his circle, are the altarpiece in the church of Saints Peter and Paul in Detwang"),[129]​ the Zwölfbotenaltar")[130]​ and the Marienretabel from the Herrgottskirche")[131]​ in Creglingen.

• - Part of the panels of the so-called altarpiece") or "altar of Saint Sebastian")" (Sebastianaltar"))[132]​ of the monastery of Saint Florian")[133]​ (Sankt Florian"), Austria), by Altdorfer (1509-1519).[134]​.

• - Altarpiece of the main altar of Freiburg Cathedral, by Hans Baldung (1512-1516).

• - The so-called "altarpiece" or "altar of Isenheim" (1512-1516). Closed configuration, with Grünewald paintings.

• - Idem. First opening configuration (first center panels deployed).

• - The so-called "altarpiece")" or "Herrenberger altar")",[135]​ by Jerg Ratgeb (1518-1521).

• - The so-called "altarpiece" or "Oberried altar")", by Hans Holbein the Younger (1521-1522).

• - The so-called "altarpiece")" or "Schneeberger altar")" (Wolfgangskirche"), Schneeberg),[136]​ by Lucas Cranach the Elder, 1532–1539 (anterior view -recto-).

• - Idem (rear view -verso-).

The so-called "Antwerp altarpieces".

In the 2nd centuries, the fame of the so-called "Antwerp altarpieces"[5]​ spread throughout Europe. The commercial boom of the city of Antwerp had occurred especially from the decline of the city of Bruges "Bruges (Belgium)"), and suffered a terrible blow with the sack of Antwerp of 1576.

• - Antwerp altarpieces.

• - The so-called "Pruszcz polyptych")", ca. 1500.

• - Altarpiece of San Juan Bautista from the church of El Salvador in Valladolid, ca. 1500 (the bench was made by local artists).[137]​.

• - Altarpiece from the chapel of Santo Cristo in the convent of San Francisco in Valladolid, ca. 1515.

• - Altarpiece from the Marienkirche in Lübeck, by the so-called Master of 1518[138]​.

• - Altarpiece of Saints Cornelius and Cyprian from Kirrlach").

• - Altarpiece of Roskilde Cathedral.

• - Altarpiece from the Votivkirche in Vienna.

• - Altarpiece from the Marienkirche of Waase").[139]​.

• - The so-called "altarpiece of Philippa of Gelderland" in Pont-à-Mousson.

• - Altarpiece of Saint Lambert of Affeln")[140]​ (1525).

Suele establecerse una periodización cronológica del Renacimiento en España entre el Alto y el Bajo Renacimiento español, aunque las etiquetas estilísticas son de uso problemático: "plateresco" se aplica a las producciones del primer tercio del siglo , caracterizadas por el horror vacui, que se comparaban con el trabajo de los plateros, y en el que se encuadran tanto los últimos maestros de tradición gótica o hispano-flamenca como la introducción de nuevos elementos de origen renacentista italiano; "manierista" se aplica al tercio central del siglo (aunque es un adjetivo que puede aplicarse tanto a los discípulos de las grandes figuras italianas de comienzos del siglo como al periodo post-tridentino y hasta el comienzo del siglo ); "romanista "Romanismo (arte)")" se aplica al tercio final del siglo, caracterizado por las formas sobrias de Gaspar Becerra y el gran proyecto escurialense.

plateresque altarpiece

In Spain, the Renaissance aesthetic took time to prevail, due to the roots of Gothic or Spanish-Flemish forms. At first, Italianate forms appear timidly in the altarpieces (just as they did in architecture), in the form of decorative details. Only later in the century did a new aesthetic take shape: the plateresque style.

The Plateresque altarpiece combines Gothic elements with others of Italian roots, characterized by its narrative character (reliefs or paintings) and the development of the tabernacle that adopts a central and prominent position. Plateresque altarpieces are generally very flat, configured using pilasters or semi-columns, with the novelty of the baluster as support. The decoration is usually stylized and small, in the form of grotesques, scallops "Venera (mollusk)"), heads of cherubs, angels, scrolls..., with new formal typologies appearing, such as circular reliefs or those made in stiacciato.

In the Crown of Castile are outstanding examples of Plateresque altarpiece:

• - the main altarpiece of the Palencia Cathedral, considered one of the first Renaissance altarpieces in Spain (contracted in 1504), work of Felipe Vigarny, Alejo de Vahía, Pedro de Guadalupe, Juan de Flandes and Juan de Valmaseda;[144]​.

• - the main altarpiece of the Royal Chapel of Granada, also the work of Felipe Vigarny, decorated with scenes of the conquest of Granada and praying statues of the Catholic Monarchs, by Diego de Siloé;[145]​.

• - the main altarpiece of the church of San Pelayo in Olivares de Duero (province of Valladolid);

• - the main altarpiece of the Convent of San Pablo in Palencia;.

• - the altarpiece of the chapel of La Piedad of the Church of San Miguel Arcángel (Oñate) "Iglesia de San Miguel Arcángel (Oñate)");.

• - the altarpiece of the church of El Salvador (Calzadilla de los Barros) "Iglesia del Salvador (Calzadilla de los Barros)"), by Antón de Madrid") (first third of the century).[146]​.

In the Crown of Aragon, simultaneously with the introduction of Italian Renaissance forms by Pedro Fernández de Murcia (altarpiece of Santa Elena in the cathedral of Gerona), the Gothic tradition of the alabaster altarpiece-exhibitor continued, adapting to the new aesthetics, highlighting in this area Damián Forment, to whom are owed:

• - the main altarpiece of the Basilica del Pilar in Zaragoza (1512-1518), in alabaster, with a Gothic structure and almost round reliefs;

• - the main altarpiece of the cathedral of Huesca (1520), made of alabaster, its body is a large triptych of three scenes showing the passion of Christ;.

• - the main altarpiece of the Poblet monastery, more Plateresque in character, with the characteristic flat scallops;.

• - the main altarpiece of the cathedral of Santo Domingo de la Calzada, made of gilded and polychrome wood, with exuberant decoration.

Also notable in the Aragonese altarpieces of this period was the work of Juan de Moreto, Juan de Salas "Juan de Salas (sculptor)") and Gabriel Yoly (altarpiece in the chapel of San Miguel in the cathedral of Jaca, main altarpiece in the cathedral of Teruel); continued in the central decades of the century by Cosme Damián Bas") (altarpieces from the Albarracín cathedral, some in non-polychrome wood).[147]​.

• - Spanish Plateresque altarpieces.

• - Main altarpiece of the Constable chapel. In the same place there are other notable altarpieces.

• - Main altarpiece of the church of the convent of San Pablo in Palencia.

• - Altarpiece of the chapel of the Piedad de San Miguel de Oñate "Church of San Miguel Arcángel (Oñate)").

• - Main altarpiece of the Basilica del Pilar, by Damián Forment (1512-1518).

• - Main altarpiece of the Palencia cathedral.

• - Main altarpiece of the Teruel cathedral.

• - Altarpiece of San Miguel in the Jaca Cathedral (other notable altarpieces are preserved in the same temple).

• - Main altarpiece of the Huesca cathedral.

• - Altarpiece of the Virgen de los Marantes in the chapel of the Admiral's Room of the Real Alcázar of Seville, by Alejo Fernández (1531-1536). The building has other chapels with notable altarpieces.[148]​.

• - Altarpiece of the Virgin of Good Counsel in the chapel of San Bartolomé of the cathedral of Santiago de Compostela, by Mateo Arnao") (1521).

• - Altarpiece of Don Fadrique of Portugal in the Cathedral of Sigüenza, by Alonso de Covarrubias, Francisco de Baeza"), Sebastián de Almonacid and Juan de Talavera (1520-1529).

Mannerist altarpiece

Starting in the 1530s, Mannerism, an evolution of 15th century classicism, invaded all European artistic fields. In Spain, the emergence of this style puts an end to the last remnants of the Gothic and imposed the validity of the Italianate style from that decade until practically the 19th century.

In the field of altarpieces, the Mannerist style produced brilliant performers, with masterpieces that would be greatly admired and imitated. The first of them was Alonso Berruguete, one of the most recognized Spanish sculptors of all time. His most ambitious work, the main altarpiece of the monastery of San Benito de Valladolid "Altarpiece of San Benito el Real (Valladolid)") (1527-1532), is today disintegrated into several parts, almost all of which are preserved in the National Museum of Sculpture in the same city. Berruguete's temperamental and unclassifiable art exhibits in this work some of the characteristics of Hispanic Mannerism, mixing typical elements of the most orthodox Renaissance (veneras, balusters, tondo reliefs) with a peculiar totally anti-classical dramatic sense, in which the forms are subjected to the general effect of expressiveness and movement.[150] Berruguete was quite prolific in his dedication to the altarpiece, and created an important workshop with disciples. such as Francisco Giralte (author of the altarpiece of the Bishop's Chapel "Capilla del Obispo (Madrid)") attached to the parish of San Andrés in Madrid) or Manuel Álvarez, responsible in part for the great diffusion and success of the Berruguetesque style.

The other great Mannerist master, belonging like Berruguete to the Valladolid focus, was Juan de Juni. Like the first, it cultivates the Italianate style from a very personal perspective. Many of Juni's masterpieces were in the field of the altarpiece; He managed to conceive his altarpiece creations as a unitary whole and not mere framework architectures, and he did not hesitate to alter and deform the principles of classicism for the sake of expressiveness. It is very striking that the Junesque images and reliefs seem to overflow the frame that contains them, which gives these works great visual power and greater proximity to the viewer, prefiguring certain baroque tendencies. Some of his best-known altarpieces are the largest one in the cathedral of Valladolid (commissioned from the artist for the church of Santa María la Antigua), that of the Alderete chapel in San Antolín de Tordesillas and that of the Benavente chapel in Santa María de Medina de Rioseco.

• - Mannerist altarpieces.

• - Altarpiece by Juan de Juni in the main chapel of the cathedral of Valladolid.

• - Altarpiece of Santa María de Mediavilla de Medina de Rioseco.

• - Image of San Benito de Nursia, carving from the central niche of the old altarpiece of San Benito el Real of Valladolid, by Alonso Berruguete (today dismantled and exhibited in pieces in the National Museum of Sculpture).[151]​.

Romanist altarpiece

In the middle of the century, the Council of Trent marks a caesura in religious experience and art in particular. The need for greater clarity and forcefulness in the transmission of the evangelical message means that certain mannerist formal excesses are tempered. Thus arose the style a la Romana or Romanism "Romanism (art)"), which will be predominant until the end of the century, coexisting however with Mannerism, which retained a certain validity. Following the new style, the altarpieces acquire a more architectural and monumental conception; The severity of the decoration is accentuated (pediments, free-standing columns, friezes, triglyphs and metopes), while the images become expressive and gesticulating, in an attempt to be persuasive.

The new trend will be led by masters such as Gaspar Becerra, author of the main altarpiece of the Cathedral of Astorga (1558-1562), a paradigmatic piece that will create a fashion, being widely copied. Other representative artists of this moment are Pedro López de Gámiz (main altarpiece of the convent of Santa Clara "Monasterio de Santa Clara (Briviesca)"), Briviesca), Rodrigo de la Haya (who with his brother Martín made the main altarpiece of the Burgos cathedral) and Juan de Ancheta.

• - Main altarpiece of the Cathedral of Astorga.

• - Main altarpiece of the convent of Santa Clara de Briviesca.

• - Main altarpiece of the Burgos cathedral.

Perhaps the culminating moment of the Romanesque style, as well as its end, was the classicism that was imposed during the reign of Philip II and the construction of the Monastery of El Escorial. The Escurialense style marks the transition from the Renaissance to the Baroque in Spain. It is an art that dispenses with accessory elements, eliminating any decorative concession and giving prominence to the architectural support, which follows the classical canons in an almost obsessive way, although introducing a gigantism with Michelangelo roots. Regarding altarpieces, the main example of this trend was the main altarpiece of the monastery's Basilica. Being a commission of great symbolic importance (since it had to preside over the space where the kings of Spain were buried) made this piece a unique work; The most expensive materials were used in its making (jaspers, polychrome marble, fire-gilded bronze) as well as a plethora of artists among the most famous of their generation: Juan de Herrera gave the general layout, Pompeyo and Leone Leoni made the sculptures and it was even thought that a painting by Titian would preside over the ensemble, although finally the pictorial part was commissioned to Pellegrino Tibaldi and Federico Zuccaro.

This monumental work can be considered the swan song of the Renaissance in Spain in the field of the altarpiece. The impact and novelty that it entailed would prevail well into the century, collecting many examples that would be made from then on some of these innovations, such as the rigid superimposition of orders, the use of stone instead of polychrome wood, the clear structuring and iconographic hierarchy, and above all, the emphasis that will be given from now on to the tabernacle or tabernacle, which, as happens in El Escorial, often becomes exempt and almost independent of the body of the altarpiece.[156]​.

El Barroco fue, quizá, la época dorada del retablo, tanto por el gran número de ellos que se hicieron como por su importancia artística, su variedad tipológica y formal, y sus dimensiones, que llegaron a ser del todo monumentales. En esta época, además, con la implantación de la Contrarreforma tras el Concilio de Trento, se afianza la construcción de retablos en lugares donde había decaído en siglos anteriores, como zonas de Alemania, Austria, Polonia, Países Bajos católicos o la misma Italia. En todo caso, la península ibérica siguió siendo el centro más creativo e importante, con la novedad de la exportación a las iglesias y catedrales que se construían en esa época en las colonias de América y otros lugares.

En los siglos y , el retablo cobró un extraordinario protagonismo en el interior de las iglesias, de modo que muchas veces la propia arquitectura de los templos acaba supeditada a su colocación, generalizándose las cabeceras planas con testero ciego, o a lo sumo con ventanales abiertos en su parte más alta de modo que no interfieran con la estructura del retablo y se adapten a ella. En una época en la que el arte busca la cercanía con el fiel, se generalizan tipologías nuevas, como el retablo con camarín (que tenía precedentes en el Renacimiento), el retablo exento a modo de ciborio "Ciborio (arquitectura)") o tabernáculo, el retablo-transparente, con aberturas que dejan pasar la luz, el retablo-relicario, surgido a partir del resurgir del culto a las reliquias de los santos, etc.

Los retablos barrocos suelen concebirse como parte integrante de una decoración mayor que se extiende por toda la iglesia, y así hacen juego a veces con frescos pintados en techos o paredes, o con otros retablos, repitiendo por ejemplo los llamados "retablos colaterales" la forma y decoración del retablo mayor o de la capilla principal. En esta época se acentúa fuertemente la jerarquización de los elementos decorativos del templo, a la vez que los mismos tienden a formar un todo. Naturalmente, esto es más palpable en las iglesias construidas ex-novo en época barroca, aunque viejos templos como la catedral de León sufrieron en esta época el influjo del nuevo estilo, diseñándose decoraciones a veces un tanto chocantes con la arquitectura precedente.[161]​.

Italian baroque altarpieces

In the Italian Baroque, the iconography of the pale, following the theological recommendations of the Counter-Reformation, focuses on a single theme, such as the patron saint of the church or the corresponding altar, usually on canvases or in large sculptural groups. The material used most extensively and frequently in Italian Baroque altarpieces is marble in contrast to the gilded and polychrome wood of previous periods. Sometimes other semiprecious materials such as lapis lazuli and malachite are used.

• - Italian baroque altarpieces.

• - Pala di altare of the capella dei gesuiti in the parish church of Grazzano Badoglio, by Andrea Pozzo.

• - Pala of the cappella Panciatichi of the Cathedral of Florence, painted by Domenico Pugliani").[162]​.

• - Ensemble of the capella Cornaro") in Santa Maria della Vittoria in Rome, which includes Bernini's Ecstasy of Saint Teresa behind the altar.

Flemish baroque altarpieces

In the Southern Netherlands, in reaction to Protestant aniconism, the decoration of Catholic churches became extreme. Not only the altarpieces, but the pulpits and even the pillars of the naves became supports for sophisticated sculptural groups, while the large-scale creations of the Flemish school of painting headed by Rubens were added to the tradition of pictorial polyptychs, in much more simplified structures.

• - Flemish baroque altarpieces.

• - Baroque altarpiece from the chapel of the Madonna of Bruges (which displays in its center a carving by Michelangelo from the beginning of the century) in the church of Our Lady of Bruges.[163]​.

• - Main altarpiece of the cathedral of San Rumoldo de Mechelen, by Lucas Faydherbe.

• - Altarpiece of the Crucifixion in the same cathedral, by Van Dyck (1630).

• - Altarpieces by Rubens in the Antwerp Cathedral.

• - Main altarpiece with the Assumption of the Virgin&action=edit&redlink=1 "Assumption of the Virgin (Rubens) (not yet written)") (1626).

• - The elevation of the cross (1610-1611).

• - Descent "Descent of Christ (Rubens)") (1612).

• - Resurrection of Christ&action=edit&redlink=1 "Resurrection of Christ (Rubens) (not yet written)") (1612), open.

• - Idem, closed.

French baroque altarpieces

The relationship between French altarpieces and complex Baroque spirituality has been particularly studied.[164]​[165]​.

• - French baroque altarpieces.

• - Altarpiece of the Assumption of the Virgin in the church of Saint Nicholas of the Fields "Church of Saint Nicholas of the Fields (Paris)") in Paris,[166] by Simon Vouet and Jacques Sarrazin (1629).

• - Main altarpiece of the church of Saint-Jean-du-Marché de Troyes"),[167]​ trace by François Girardon and painting by Pierre Mignard (Baptism of Christ).

• - Main altarpiece of the Cathedral of Cavaillon"),[168]​ by Pierre Mignard.

• - Altarpiece of the charterhouse of Vauclair").[169]​.

Central European baroque altarpieces

In Central Europe, the Baroque was the art of the Counter-Reformation in the areas that were maintained or recovered by Catholicism (Habsburg States of Vienna, Southern Germany, Poland); but also art in Lutheran areas. At the end of the century and the beginning of the century, the altarpieces merged with the architectural environment, which in turn blurred into sculptures and ornamental elements in all types of materials (stones, metals, and especially stucco).

• - Central European baroque altarpieces.

• - Main altar of the Karlskirche of Vienna "Church of St. Charles Borromeo (Vienna)").

• - Main altar of the Michaelerkirche in Vienna "Michaelerkirche (Vienna)").[170]​.

• - Altarpieces from the Wallfahrtskirche of Maria Plain")[171]​ in Salzburg.

• - Main altarpiece of the church of Saint Nicholas in Malá Strana")[172]​ in Prague.

• - Altarpieces of the church of Saint Nicholas (Bernbeuren)&action=edit&redlink=1 "Church of Saint Nicholas (Bernbeuren) (not yet written)").[173]​.

• - Altarpiece from the church of Saint Cosmas and Saint Damian in Stade, by Christian Precht[174]​ (1677), a Lutheran church.

• - Altar of the Schloßkirche of Weesenstein"),[175]​ a Lutheran church.

• - Main altarpiece of the Gertrudenkirche in Osnabrück, by Thomas Simon Jöllemann")[176]​ (1717-1729).

• - Main altarpiece of the Asamkirche[177]​ in Munich, by the Asam brothers (1733-1746).

• - Main altarpiece of the Church of the Assumption in Gniezno.

• - Main altarpiece of the church of the Exaltation of the Holy Cross in Jelenia Góra.

• - Altarpieces from the church of San Bernardino de Siena in Krakow.

• - Altarpiece from the church of Skedsmo (Norway).

Spanish baroque altarpieces

Spanish baroque altarpieces are very sophisticated, complex and varied in local schools.[178]​ In the same place, such as the Cartuja de Granada, you can see classicist altarpieces (such as the trompe l'oeil by Sánchez Cotán) and the greatest exuberance (such as those in the sacristy and the famous free-standing tabernacle, by Francisco Hurtado Izquierdo). In Salamanca at the end of the century, the churrigueresque style triumphed. In the Toledo of the first third of the century, Narciso Tomé achieved a high point of the style (the famous "transparent"), which later neoclassical criticism denigrated as an example of Baroque "bad taste." The granite filigrees on the façade of the Obradoiro of the Cathedral of Santiago de Compostela (Fernando de Casas Novoa, also the author of traces of altarpieces, notably that of San Martín Pinario, together with Miguel de Romay[179]​) are often compared with the shapes of these latest Baroque altarpieces. Over the course of a century and a half, multifaceted artists (such as Alonso Cano) or specialized in one art (such as the architects Juan Gómez de Mora[180] or José de Churriguera, the sculptors Alonso and Pedro de Mena, Gregorio Fernández, Martínez Montañés or Francisco Salzillo, or the painters Murillo, Valdés Leal or Zurbarán) left a good part of their work in altarpieces of the era; while within baroque altarpieces carvings or paintings from previous periods were also included (as occurs in the main altarpiece of the Valencia Cathedral).[181]​.

• - Main altarpiece of the Valencia Cathedral, of Baroque style (Juan Bautista Pérez Castiel, 1674-1682) but whose paintings are Renaissance, much earlier (Fernando Yáñez de la Almedina and Fernando de los Llanos, 1506-1510).

• - Altarpiece-reliquary from the convent of San Diego in Valladolid, by Juan de Muniátegui"), Vicente Carducho and Bartolomé Carducho (1604-1606).

• - Altarpiece from the Cerralbo chapel, by Alonso de Balbás and Francisco Camilo.

• - Altarpiece or fake altar of Saints Peter and Paul in the Cartuja de Granada, by Sánchez Cotán.

• - Main altarpiece of the church of the Annunciation (Seville) "Church of the Annunciation (Seville)"), where Alonso Matías"), Antonio Mohedano, Juan de Roelas and Martínez Montañés among others (1604-1624) participated.

• - Main altarpiece of the Convent of Santa Isabel "Main altarpiece of the Convent of Santa Isabel (Valladolid)") of Valladolid, by Francisco Velázquez, Cristóbal Velázquez, Melchor de Beya, Juan Imberto and Gregorio Fernández (1613-1614).

• - Lateral altarpiece of the Royal Chapel of Granada, by Alonso de Mena (1632).

• - Tables from the "Portaceli altarpiece"), from Ribalta.

• - Main altarpiece of the church of the convent of the Descalzas Reales (Valladolid) "Convento de las Descalzas Reales (Valladolid)"), by Juan de Muniátegui"),[182]​ Gregorio Fernández and Santiago Morán, 1612.

Portuguese baroque altarpieces

The symbolism of the "Eucharistic throne" in Portuguese baroque altarpieces has been investigated.[188]​.

• - Main altarpiece of the Aveiro Cathedral. The same temple contains other notable altarpieces.

• - Altarpiece from the chapel of Nossa Senhora da Doutrina in the church of San Roque (Lisbon) "Church of San Roque (Lisbon)").[189]​ The same temple contains other notable altarpieces, and the museum of which it is part, an exceptional collection of sacred art, including altarpieces from other sources.[190]​.

• - Main altarpiece and sides of the church of the convent of Santa Clara-a-Nova").[191]​.

• - Main altarpiece of the church of Vilar de Frades.

• - Altarpiece of the Matriz de Melgaço church"). In the same temple there is another notable altarpiece by António Figueiroa") (end of the century).

Colonial baroque altarpieces

The extraordinary decorative richness (both in the materials used and in the profusion of details) and some syncretic characteristics coming from the indigenous artistic substrate (although they basically respond to European aesthetic and religious criteria) characterizes the baroque altarpieces of the colonial cities of the Spanish and Portuguese empires (unified between 1580 and 1640). In addition to those of Spanish America and the Philippines, those of the Portuguese colonial cities of Goa (in India) and Salvador de Bahia (in Brazil) are particularly notable; those of the latter are counted in the hundreds (it was said that mass could be heard on a different day of the year - the same was said of the Mexican valley of Cholula).[192]​[193]​.

However, there was already production of altarpieces in Spanish America in the century; both in the first ecclesiastical foundations of the Caribbean and in the continental territories.[194]​ The one that is considered oldest on the continent is that of San Juan Cuauhtinchán") (Puebla), dating back to around 1527.[195]​.

• - The so-called "altarpiece of the Kings" in the cathedral of Mexico.

• - Altarpiece called "of the kings" in the cathedral of Puebla.

• - Church of the monastery of San Gabriel de Cholula").

• - Church of San Miguel Tianguishahuatl") in San Pedro Cholula.

• - Main altarpiece of the church of San Francisquito de Campeche.

• - Main altarpiece of the church of Chacas, Peru.

• - Main altarpiece of the church of the Company (Quito) "Iglesia de la Compañía (Quito)").

• - Main altarpiece of the church of San Rafael de Velasco (Santa Cruz, Bolivia).

• - Main altarpiece of San Ignacio de Velasco.

• - Main altarpiece of San Miguel de Velasco.

• - Altarpiece of the Immaculate Conception of San Ignacio de Velasco.

• - Main altarpiece of the church of Concepción (Santa Cruz) "Concepción (Santa Cruz)").

• - Main altarpiece of San José de Chiquitos.

• - Altarpiece of the Chiquilín church") (Chachapoyas).

• - Main altarpiece of the Cathedral Basilica of San Salvador (Salvador de Bahía, Brazil), former Jesuit church, by João Correia") (1665-1670).[196]​.

• - Main altarpiece and sides of the church of the convent of San Francisco (Salvador de Bahía)&action=edit&redlink=1 "Church of the convent of San Francisco (Salvador de Bahía) (not yet written)").[197]​.

• - Altarpieces from the side chapels of the same church.

• - Main altarpiece of the church of Our Lord of Bonfim (Salvador de Bahía).

• - Main altarpiece of the Basilica of the Santo Niño of Cebu.

• - Main altar and sides of the Basilica of the Good Jesus of Goa.

In the middle of the century, the ornaments of the Louis At the beginning of the century he brought the simplest forms of Greco-Roman doorways to the altarpieces. Since the mid-19th century, eclectic and historicist altarpieces have been produced. Already in the 19th century, the renewal of ecclesial aesthetics in Catholicism was radical, opening up to the artistic avant-garde, especially after the Second Vatican Council. The altarpiece of the Basilica of Aránzazu is also notable.

• - Altarpiece of Saint Eufemia "Altarpiece of Saint Eufemia (Ourense Cathedral)") of the Cathedral of Ourense (1720).

• - Altarpiece of Saint Catherine "Altarpiece of Saint Catherine (Monasterio de San Martín Pinario)") from the Monastery of San Martín Pinario (1763).

• - Altarpiece of the Holy Christ of Hope "Altarpiece of the Holy Christ of Hope (Orense)") of the Church of Santa Eufemia "Iglesia de Santa Eufemia (Orense)") of Ourense (1770-1771).

• - Altarpiece from the San Bernardino chapel of the Basilica of San Francisco the Great, with Goya's canvas San Bernardino of Siena preaching before Alfonso V of Aragón (1781-1783).

• - Main altarpiece of San Jerónimo el Real (Madrid), in a painting by Luis Paret (1791).

• - The altarpieces were destroyed during the French occupation, which turned the church into a barracks (1808-1814), the current ones are the result of the restoration directed by Enrique María Repullés (1879-1882).

• - Behind the main altar of the Magdalena church, a sculptural group by Carlo Marochetti is arranged as an altarpiece[201].

• - Behind the main altar of the Sacré Cœur basilica there is a neo-Romanesque altarpiece.[202]​.

• - Chapel of Saints Gregory and Augustine in Westminster Cathedral, in a historicist style that can be classified as Neo-Byzantine, where the mosaics are framed in architectural structures that look like an altarpiece.

• - Neo-Gothic altarpiece of the Basilica of Saint-Materne"), by Léopold Blanchaert") (1901).

• - Main altarpiece "Main altarpiece of the Church of Santiago (Orense)") of the church of Santiago de Orense, by Maximino Magariños Rodríguez (1919).

• - Crystal altarpiece by René Lalique in the Glass Church") of Millbrook (Jersey)&action=edit&redlink=1 "Millbrook (Jersey) (not yet written)").

• - The altar of the church of St. Engelbert (Cologne)&action=edit&redlink=1 "Church of St. Engelbert (Cologne) (not yet written)")[203]​ shows the decorative simplicity of the churches of the 19th century.

• - Torreciudad altarpiece, by Joan Mayné.[204]​.

• - The main altar of the new Basilica of the Virgin of Guadalupe in Mexico reproduces the recognizable volume and layout of the classic Hispanic altarpieces, although with a radical simplification of elements.

• - Idem, detail.

• - Bronze altarpiece from the Notre-Dame Basilica of Montreal, by Charles Daudelin (1978-1982).

• - Finnish birch wood altarpiece from the Zacatecas Cathedral, by Javier Marín.

• - Altarpiece of the parish church of Hontoria de la Cantera.

• - Ayacucho altarpiece.

• - Portuguese national altarpiece.

• - Wikimedia Commons hosts a multimedia category on Altarpiece.

• - Wiktionary has definitions and other information about altarpiece.

• - Retrotabulum.

• - Mediatheque. Idem.

• - Ceramic altarpieces.

• - L'Europe des retables, colloquium organized by Rencontre avec le Patrimoine Religieux, 2004 (there are two derived publications -Art Sacré - Les retables and Art Sacré: L'Europe des retables volume II (XVIe - XVIIIe s.).

• - Gisela M. A. Richter, Otmar Richter, Christoph Machat, Arbeitskreis für Siebenbürgische Landeskunde, Siebenbürgische Flügelaltäre, Wort und Welt Verlag, 1992, ISBN 3-85373-149-X.

• - Altarpieces from the church of San Juan (Salvatierra).

• - Concepción de la Peña Velasco, The value of the word in the Spanish altarpiece. From the end of Gothic to the beginning of Neoclassicism.

• - Altarpiece; Illustrated basic terminology. Product of collaboration between the Andalusian Institute of Historical Heritage and the Getty Conservation Institute [1].

• - The five altarpieces... cultura.castillalamancha.es -Main altarpiece of the Church of San Bartolomé. Bienservida (Albacete), Main altarpiece of the Cathedral of Nuestra Señora del Prado in Ciudad Real, Altarpiece of the Chapel of the Assumption of the Church of San Pedro Apóstol. Villaescusa de Haro (Cuenca), Altarpiece of Santa Librada in the Cathedral of Sigüenza (Guadalajara), Main Altarpiece in the Cathedral of Santa María de Toledo.

In the performing arts, "retablo" is the small stage on which the puppet theater is performed. Significantly, the DRAE derives this use ("small stage in which an action was represented using figurines or puppets", meaning 3) from its peculiar way of defining pictorial-sculptural altarpieces, where it places emphasis on their capacity for serialized narrative representation ("set or collection of painted or carved figures, which represent a story or event in series", meaning 1) rather than on their decorative capacity ("work of architecture, made of stone, wood or other material, which makes up the decoration of an altar", meaning 2).[16] The so-called "hallelujahs" were also a similar literary form, associated with popular representations (such as, for example, their recitation by blind people or other types of beggars, while pointing out the drawings that illustrate what was recited in the form of vignettes, a precedent for comics).

Cervantes refers to this theatrical form on two occasions: in The altarpiece of wonders (entremés of 1615) and in chapters XXV and XXVI of the second part of Don Quixote de la Mancha (published the same year).

Manuel de Falla composed El altarpiece de Maese Pedro (1923) about the quixotic episode.

The name "Spanish theatrical altarpiece" refers not so much to a dramatic genre but to the way theater itself was conceived by the authors of classical Spanish theater of the Golden Age (particularly Calderón, La vida esdream, El gran Teatro del mundo).[17]​.

The component of "pretense of reality" that theatrical altarpieces have in Cervantes or Calderon's works ("deceive with the truth" and "teach with deception") is also present in the role expected of ecclesiastical altarpieces (defined as "illusory machines") in "control over the sensitivity of the faithful", configuring "the theatrical scene of liturgy, dogma, piety and Catholic devotion."[18]​ Such condition makes them particularly useful not only for iconographic and iconological studies, but for the history of mentalities and anthropology.[19]​.

The altar was, from the first moments of Christianity, the central element of the liturgy. At first its arrangement in the temple was free and central, with the faithful located around it, thus remembering the banquet of the Last Supper. However, with the strengthening of the authority of the clergy, the altars were moved to the presbytery "Presbytery (architecture)"), an elevated place inaccessible to the faithful, close to the wall of the head of the church (apse), and which in certain types of church was even hidden with curtains, bars, or the iconostasis. The officiant performed most of the ritual with his back to the faithful.

• - Church of the monastery of San Miguel de Escalada (Mozarabic art, Spain, century). The altar, in the apse, is behind a gallery of arches that separate it from the central nave.

• - Iconostasis of the Visoki Dechani monastery church (Byzantine art, Serbia, 19th century).

Early Christian temples decorated their interiors with mural paintings (Dura Europos chapel) and certain objects for liturgical use, such as reliquaries, caskets, ivory diptychs or small statues. Its primitive austerity was compensated by the luxurious donations offered by the potentates (Guarrazar treasure). In the Pre-Romanesque, images of the crucified Christ began to spread, which were placed hanging from the walls or the ceiling, and which could be pictorial or sculptural (Crucified of Gero"), Cologne Cathedral), or sometimes dispensing with figuration to take the form of a jewel (crux gemmata"), such as the Victory Cross of the Holy Chamber of Oviedo). The decoration of the antependium "Frontal (architecture)") (pallium altaris, frontal or front of the altar) also took on great relevance, derived from the curtains that covered the urns with relics arranged under the altar table (whose color had to vary to correspond with the liturgical color of the party or office of the day) and which were enriched with all types of ornaments in precious materials.[20] The hypothesis has been proposed that, Evolutionarily, the altarpiece derived from the antependium.[21]​.

The forms of the later altarpiece also seem to prefigure some structures derived from the classic aedicula (aedicules -"temples" or "small buildings"-), especially the ciborium "Ciborio (architecture)") or ciborio (a fixed canopy or pallium "Palio (canopy)") supported by four columns, later called canopy or canopy), a common element in early Christian churches, which protected and gave relevance visual to the altars, reliquaries and tombs of saints and martyrs, which usually coincided in the same place.[22]​.

• - Ciborio of San Ambrosio de Milan (the columns, from the century, the canopy, later (between the and the); the altar"), signed by Vuolvino"), between the year 824 and 860.[23]​.

• - Roman ciborium from the 1st century.

• - Ciborio of Saint John Lateran, by Arnolfo di Cambio (19th century).

The internal decoration of the churches was adapted to their modest dimensions in most cases, and the emphasis was placed on the parietal decoration, either through brightly colored frescoes, or with mosaics enriched with gold tesserae (very common in Byzantine art), so that the images stood out in generally dark and small interiors. The elements that were placed on the altar were almost always movable (caskets "Arqueta (furniture)"), diptychs, icons "Icon (religion)")) and their sumptuousness in terms of materials also meant a small size. The Romanesque did not represent a great change in this simple system of interior decoration of the temples, with a predominance of frescoes in the apses (Romanesque churches of the Bohí Valley, Saint-Savin-sur-Gartempe Abbey), the figures of Christ in Majesty and Virgin in Majesty and the altar frontals, which became painted, carved or embossed decoration supports, often enriched with enamels or metalwork.[24] Although the shapes and materials were already very similar to those of the later altarpieces, the arrangement of the piece was exactly the opposite (in front of the altar and under it, instead of behind and in an elevated position). In fact, some have been reused as altarpieces, such as that of the sanctuary of San Miguel de Aralar.[25]​.

• - Altar front of the hermitage of San Quirce de Durro[26]​.

• - Altar frontal of Santa María de Tahull.

• - Altar frontal of the Seo of Urgel, called "of the apostles" (the altar frontal of Ix is similar).

• - Altar front of the Aachen Cathedral.

• - Altar frontal of Basel Cathedral.

• - Current position of the altar frontal of San Miguel de Aralar, reused as an altarpiece.

Contenido

El esplendor del monacato, la pujanza de las ciudades y el crecimiento poblacional y económico que se dio en Europa a partir del siglo hicieron que los templos tuvieran que adaptarse a fin de dar cabida a un mayor número de fieles, satisfacer los deseos de patrocinio de la élite y mostrar la riqueza de una sociedad en la que la religión regía todos los aspectos de la vida. A partir del siglo surge el arte gótico; la arquitectura adquiere dimensiones colosales y una gran complejidad constructiva, y tanto pintura como escultura, a demanda de una sociedad amante del lujo y la ostentación, cobran un gran desarrollo. Otro factor de cambio fue la aparición de las órdenes mendicantes, que propugnaban una religiosidad más emotiva y cercana al fiel, a la vez que se preocupaban por la enseñanza y la doctrina.

Como en el románico, grandes ciclos narrativos se seguían esculpiendo en las portadas de iglesias y catedrales; pero la decoración interior va a sufrir una mayor transformación: los vitrales, que ocupan los grandes vanos abiertos en los muros gracias a las nuevas técnicas constructivas, se ilustran con representaciones sagradas; y la nueva amplitud y luminosidad de los templos permite la mejor contemplación de las imágenes repartidas por las numerosas naves y capillas, que cumplían la función de espacios corporativos para las instituciones que las encargaban (gremios, cofradías y familias aristocráticas), convertidas en mecenas artísticos.

Las nuevas prácticas piadosas requerían un número cada vez mayor de objetos sagrados cada vez más suntuosos y visibles. Se intensificó el culto a las reliquias y a las imágenes de santos, consideradas un instrumento valioso para la evangelización.

Es en ese contexto donde surgieron los primeros retablos, primero como tablas rectangulares con imágenes de modesto tamaño (como el retablo de Westminster"), de 1x3 metros, o el retablo de Bernabé, de 1x1,5 metros), a veces a juego con el frontal de altar (como sucede en uno de los ejemplos más antiguos conservados: el de la iglesia del monasterio de Santa María de Mave, Palencia), luego articuladas y abatibles, de forma cada vez más compleja (dípticos, trípticos, polípticos como el llamado Políptico de Gante), o bien realizados con materiales preciosos (los de la catedral de Gerona, el altare argenteo di San Jacopo")[29]​ de la catedral de Pistoia[30]​ o la Pala d'Oro de la basílica de San Marcos de Venecia).[31]​[32]​.

En un primer momento, los retablos no abandonaron del todo su carácter mueble o plegable, y es posible que muchos fueran utilizados en procesiones y otro tipo de actos públicos que exigían su trasladado fuera del ámbito del templo, como sucedía con los dípticos devocionales o los iconos "Icono (religión)") de carácter doméstico y privado. Sin embargo, poco a poco los retablos fueron haciéndose más grandes y estables, toda vez que debían destacar casi siempre en las dimensiones colosales de abadías o catedrales. La retablística se consolidó en toda la cristiandad latina de la Baja Edad Media (un vasto espacio —de Islandia a Chipre— recorrido por múltiples conexiones e influencias mutuas y variantes locales, de la pala italiana al flügelaltar centroeuropeo)[33]​ como un género artístico pujante y creativo, que contaba con importantes artistas especializados en las distintas especialidades necesarias para su diseño y ejecución.

• - La llamada Pala d'oro de la catedral de San Marcos (Venecia). Encargada a orfebres bizantinos en el siglo , fue ampliada en los siglos posteriores.

• - Detalle del retablo de Westminster") (ca. 1270).[34]​.

• - El altare argenteo de la catedral de San Zenón (Pistoia). Encargada en 1287, fue objeto de sucesivas ampliaciones hasta 1456.

• - El retablo de Santa María de Mave") (arriba -abajo, el frente de altar-), actualmente conservado en la capilla de San Nicolás de la catedral de Burgos. Su datación es muy imprecisa (siglos -).[35]​.

• - Virgen con el Niño, inicialmente parte del mismo retablo, que permanece en la iglesia del monasterio de Santa María de Mave.[36]​.

El material más empleado fue la madera, casi siempre dorada y policromada, aunque no faltan ejemplos en madera vista u otros materiales (plata o todo tipo de piedras). Las variantes regionales hacen difícil una clasificación uniforme; por ejemplo, en Aragón, desde el siglo tomaron una peculiar forma de expositor eucarístico, realizados casi siempre en alabastro. El retablo gótico suele presentar una apariencia marcadamente geométrica, con los encasamentos linealmente dispuestos y ocupados por pinturas o esculturas. Muchos de ellos toman la forma del ábside en el que se sitúan (como el mayor de la catedral Vieja de Salamanca), aunque es más común el esquema cuadrangular con un saliente en la parte superior a modo de remate (la espina o ático "Ático (arquitectura)")), que inicialmente tomaba la forma de uno o varios gabletes. El contorno del retablo solía estar recorrido por una moldura muy resaltada (el guardapolvo "Guardapolvo (arquitectura)")). Se utilizaban abundantemente los elementos decorativos de la arquitectura gótica, enmarcando las figuras (fueran pinturas, relieves o imágenes de bulto) mediante doseletes o chambranas,[37]​ y pináculos, cresterías, florones y otros elementos ocupando el resto del espacio, como resultado del horror vacui. Fue habitual también la introducción de elementos heráldicos o incluso de retratos de los comitentes (habitualmente, en posición orante). Con el tiempo se fue estableciendo la separación entre el cuerpo del retablo propiamente dicho y el banco o predela sobre el que se apoya; y dentro de aquel, la configuración en cuerpos y calles. Los retablos ganaron en dimensiones, complejidad y lujo, hasta convertirse en enormes estructuras profusamente decoradas. Resultaron idóneos para la narración de los ciclos de la vida de Cristo, la Virgen o el santo a quien el altar se dedicaba. La presencia de numerosas imágenes, advocaciones o reliquias dentro de un mismo templo justificó la multiplicación de capillas, altares y retablos. El de la capilla mayor o presbiterio, foco de atracción principal, se denomina «retablo mayor», mientras que los situados a lo largo de muros laterales, trasepto y girola reciben la denominación de «retablos laterales» o «retablos menores».

Facades-altarpiece

The altarpiece of the centuries reached an extraordinary development in the Christian kingdoms of the Iberian Peninsula, where to the general characteristics of the Gothic style were added the specific characteristics of both Flemish Gothic (commercial and political relations with Flanders were especially intense) and Italian Gothic[38]​ on the other, and the local influences of Mudejar art. The architecture itself reflects the importance that the altarpieces had achieved, by projecting the conventions of their design on the main facades of the temples (and even other types of buildings), with the typology called "facade-altarpiece" (not to be confused with a confluent concept, that of facade-curtain)),[39]​ which was continued in Spanish architecture of the Renaissance") and the Baroque and colonial architecture of America. For the new conception of the covers "Portada (architecture)"), the key moment was the overcoming of the classical Romanesque and Gothic conception of the flared covers of archivolts and tympanums "Tímpano (architecture)") with sculptural decoration, which was substantially altered in the Spanish-Flemish architecture of the second half of the century.[40]​[41]​.

Gothic altarpieces in the Iberian Peninsula

Among the surviving examples, few are preserved in their original location. Many of them have been transferred to diocesan and provincial museums, and some of the most important have become part of the collections of the National Museum of Sculpture (Valladolid), the National Museum of Art of Catalonia (Barcelona) or the Prado Museum (Madrid). Very notable have been the temporary exhibitions of the cycle The Ages of Man. As a result of the plundering of Spanish artistic heritage (very intense between 1808 and the middle of the century) many Gothic altarpieces have ended up in private collections and foreign museums. Previously, it was common for them to have suffered all kinds of alterations when they were dismantled for different reasons, frequently as a consequence of their replacement by altarpieces from the Renaissance or Baroque period, and for their reuse in environments other than those for which they were initially designed. All of this has meant that most of them are dispersed or have been totally or partially lost. The documentary sources written for these periods (relatively abundant in Spanish archives compared to other cases) make it possible to reconstruct the history of a good number of altarpieces, but it is most likely that for the vast majority there will not even be any news of their existence. They stand out, in chronological order:[42]​.

• - The main altarpiece of the Cathedral of Gerona, made of silver, forming twenty-six compartments with relief figures, from the .[43] century.

• - The old main altarpiece of the Barcelona Cathedral, with a fundamentally architectural structure (1356-1367, modified over the centuries and -its central image, an apostle Santiago, was added when the altarpiece was moved to the church of San Jaume in the same city, in 1971-).[44]​.

• - The altarpiece of San Cristóbal") (19th century), from a Riojan monastery.[45]​.

• - The altarpiece of Santo Domingo de Tamarite de Litera") (second third of the century).[46]​.

• - Those due to the Master of Estimariu or Estopiñán (active in the Crown of Aragon between 1360 and 1380, whose identity and origin is the subject of debate), such as the altarpiece of San Vicente "Altarpiece of San Vicente (Estopiñán)") and the tables of Santa Lucía").[47]​.

• - Those due to Andrés Marzal de Sax (Marçal de Sas, probably originally from Saxony), introducer of Central European international Gothic in Spain (active in Valencia between 1393 and 1410). The Great Altarpiece of Saint George painted for the Brotherhood of Centenar de la Ploma is traditionally attributed to him, although the attribution is currently disputed, and it should be assigned to a Master of Centenar").[48]

• - Those due to Pere Serra, such as the altarpiece of the Holy Spirit from the Seu of Manresa (ca. 1394) and the altarpiece of All Saints from the Monastery of Sant Cugat (1375).[49]​.

Gothic altarpieces in central-western Europe

The areas politically divided between the kingdom of France, the Burgundian State and the principalities of the Holy German Empire developed an important production of Gothic altarpieces in the last centuries of the Middle Ages, stylistically labeled with the different names of the late Gothic; notably the international Gothic, characterized by refinement, elegance and sentimentality, slender proportions, sinuous lines and the nuanced color that allows shading and volume to be given to the figures (painters such as Conrad Soest, Master Francke, Stefan Lochner, Henri Bellechose, Jean Malouel, Jean de Beaumetz, etc.), with influence also in more remote areas of Central Europe, such as Italy or Spain.[70]​.

Within that style, in the Bohemia of the century the work of two anonymous masters stood out, authors respectively of the Altarpiece of Vyšší Brod") or of Hohenfurth"),[71]​ which represents the childhood of Christ (Cistercian convent of Vyšší Brod or Hohenfurth"), of the so-called Master of Vyšší Brod") or of Hohenfurth"), ca. 1350 - today dismantled -) and of the Třeboň Altarpiece") or of Wittingau") (convent of the Augustinians of Prague, of the so-called Master of Třeboň or of Wittingau, ca. 1380-1390. In the same area, in the century the so-called Master of the Garden of Paradise of Frankfurt or Master of the Upper Rhine stood out.

From the middle of the century, the evolution of artistic forms was marked by the development of Flemish and Italian painting in the new context of the Renaissance, but Gothic survived well into the century.

• - French Gothic altarpieces.

• - Altarpiece of the Virgin of the Blessed Sacrament in Saint-Georges de Haguenau").[72]​.

• - Chapel of Our Lady of Saint-Sulpice de Fougères").[73]​.

• - Chapel of the Nativity of Saint-Vulfran de Abbeville").[74]​.

• - Grabow Altarpiece"), by Master Bertram (1379).[75]​.

• - Altarpiece of the Crucifixion"), by Jacques de Baerze[76]​ (1390), commissioned by Philip the Bold for the charterhouse of Champmol.[77]​.

• - Altarpiece of Saint Barbara, by Master Francke (1410-1415).

• - Tables from the left wing of the altarpiece of the life of Saint John the Baptist, by the Master of the Garden of Paradise (1410-1420).

• - Altarpiece with scenes of the passion in Saint-Clair-Saint-Léger de Souppes-sur-Loing").[78]​.

• - Altarpiece from southern Germany (1360-1370), currently in the church of Santiago in Nuremberg.

• - Sculptural triptych (open) in the church of Sogn Gieri") (Switzerland, century).[79]​.

• - Altarpiece from the Walpurgiskirche")[80]​ by Alsfeld.

• - Altarpiece from the Marienkirche of Gelnhausen.[81]​.

Since the beginning of the century, a new aesthetic trend that takes Greco-Latin Antiquity as a source of inspiration triumphs in Europe: the Renaissance. After initially imposing itself on the Italian peninsula, the new artistic style spread rapidly, reaching its maximum splendor in the middle of the century. The Renaissance brought with it a revision of Gothic forms, which were replaced by elements of a classicist nature.

In Italy, the altarpiece (called there pala) had never acquired large proportions, since the tradition of fresco paintings in churches was maintained; although Giotto and Simone Martini, renowned fresco artists, also created outstanding polyptychs for altars. Almost all of Duccio's work is done in pale. Also notable is l'Altare di argento"),[86]​ the silver altarpiece from the Baptistery of Florence (central compartments, by Betto di Geri") and Leonardo di Giovanni"), 1366 -the four lateral reliefs are by sculptors from the Quattrocento: Pollaiuolo, Verrocchio and two other goldsmiths-).[87]​.

• - Reconstruction of the original appearance of the Maestà of the Cathedral of Siena, by Duccio, 1308-1311.

• - The so-called "triptych")" or "Stefaneschi polyptych")",[88]​ by Giotto, ca. 1320 (anterior view -straight-).

• - Idem (rear view -verso-).

• - The so-called "polyptych of Saint Catherine of Alexandria")",[89]​ by Simone Martini, 1320.

• - Triptych of the Virgin with the Child and Saints Peter and Paul"),[90]​ from the Pieve")[91]​ of San Giovanni d'Asso, by Ugolino di Nerio (1320-1325).

• - Annunciation between Saints Ansano and Margaret, by Simoni Martini, 1333.

• - Reconstruction of the Pala della beata Umiltà") ("altarpiece of the blessed Humility")"),[92]​ by Pietro Lorenzetti, ca. 1341.

• - Pala della Crocifissione")[93]​ ("altarpiece of the Crucifixion")"), by Jacopo di Cione,[94]​ Nardo di Cione[95]​ and his workshop (ca. 1368).

• - Reconstruction of the original appearance of the polyptych of San Pier Maggiore "Church of Saint Peter the Great (Florence)"), by Jacopo di Cione (1370-1371).

With the emergence of the new style, the architectural structure of the altarpiece becomes clearer and simpler (you can see how some altarpieces by Fra Angelico exemplify the evolution from one structure to another).

• - Altarpieces by Fra Angelico.

• - The so-called "triptych of San Pedro Mártir")"[96]​ (1428-1429).

• - Annunciation "The Annunciation (Fra Angelico, Madrid)"), painted as pala d'altare for the convent of Santo Domingo de Fiesole")[97]​ (1430-1435).

• - The so-called tabernacolo dei Linaioli")[98]​ (1432-1433).

• - The so-called "Cortona triptych")",[99]​ (1436-1437).

• - The so-called pala di Perugia"),[100]​ (1438).

• - Reconstruction of the so-called pala di San Marco&action=edit&redlink=1 "Pala di San Marco (Fra Angelico) (not yet written)"),[101]​ (1440).

• - The so-called pala di Bosco ai Frati"),[102]​ (1450-1452).

New techniques emerged, such as enamelled terracotta (Della Robbia brothers), while the use of marble, bronze or granite became widespread as opposed to polychrome wood. The typically Renaissance decorative elements, such as the grotesque, candelieri, the vegetal scrolls, the putti, the tondo or clypeus, or the flameros, come to ornament the new structures, formed by pilasters, columns or semi-columns, friezes and cornices, all with a clear inspiration in classical antiquity. Some altarpieces are integrated into the architectural space for which they have been designed, with trompe-l'oeil effects. The pagan or profane influence also ends up transferring to religious images. All these elements will soon go beyond the scope of the Italian peninsula and be exported to the rest of European territories.[105]​.

• - The so-called Polyptych of Mercy, by Piero della Francesca, (1445-1462).

• - The so-called Pala di San Zeno or altarpiece of San Zeno, by Andrea Mantegna, 1457-1460.

• - The so-called pala di Pesaro"),[106]​ by Giovanni Bellini (1471-1483).

• - The so-called Pala di San Marco&action=edit&redlink=1 "Pala di San Marco (Vivarini) (not yet written)"), by Bartolomeo Vivarini (1474). It should not be confused with Boticelli's homonymous.

• - Current assembly of the so-called "polyptych of Saint Peter",[107]​ by Perugino, ca. 1496. The original provision was more complex.

• - Adoration of the Magi, terracotta altarpiece by Andrea della Robbia (1500-1510).

• - Reconstruction of the so-called "Recanati polyptych",[108]​ by Lorenzo Lotto, ca. 1506.

• - The so-called pala di San Zaccaria, by Giovanni Bellini.

• - The so-called "Arcevia polyptych")",[109]​ by Luca Signorelli (1507).

• - Altarpiece of the church of Santa Corona")[110]​ (Vicenza), by Bartolomeo Montagna.[111]​.

In the area ambiguously called Flanders by historiography, the Burgundian State starred in a cultural splendor that Johan Huizinga described as Autumn of the Middle Ages; and which continued in the Modern Age under the Habsburgs. Like the highly appreciated Flemish tapestries, the Flemish altarpieces were exported throughout Europe, both the pictorial polyptychs (the Van Eyck, Van der Weyden, Van der Goes) and the sculptural ones, with complex architectural composition and motifs derived from international Gothic.[117] Some of them received commendable names (such as "the pearl of Brabant")" or "the miracle of Dortmund")»).[118]​.

In the kingdom of France, the work of sculptors such as Antoine Le Moiturier (altarpiece of the Last Judgment in the collegiate church of Saint Peter in Avignon),[119]​ of which only two angels remain),[120]​ and painters such as Jean Fouquet (the daring diptych for the funerary chapel of Agnès Sorel in Melun Cathedral) gained great fame.

In the Central European cities of Germanic culture, around the Rhine and the Danube, which witnessed the birth of the printing press, which had a spectacular impact on the dissemination of humanism and the transformation of culture in the final decades of the century and the first decades of the century, the work of painters such as Pacher, Dürer, Grünewald, Altdorfer, Ratgeb, Baldung, the Cranachs and the Holbeins stood out, which also developed in altarpieces. Alternatively, or integrated into the same altarpieces, the work of sculptors such as Veit Stoss, Nikolaus Gerhaert, Tilman Riemenschneider or Nicolas de Haguenau was developed. The forms evolved from fixed panels of modest dimensions to large, complex articulated structures with complex architectural ornamentation. The wings were usually dedicated to pictorial representations of the saints, while the central panel was reserved for evangelical scenes in bulk carvings.[121]​.

Starting in 1517, the impact of the Protestant Reformation was very notable, and as far as the altarpieces were concerned, it caused the destruction of many religious images; although there were also prominent Lutheran artists who continued to make altar pieces, such as the Cranachs.[122]​.

• - Triptych of the Annunciation or Mérode, by Robert Campin (1425-1430).

• - Polyptych of the Last Judgment (open), by Rogier van der Weyden (1440-1450).

• - Idem (closed).

• - Altarpiece of the Blessed Sacrament "The Last Supper (Dirk Bouts)"), by Dirk Bouts (1464-1467).

• - The altarpiece called "the pearl of Brabant")", ca. 1470.[123]​.

• - The so-called "Portinari triptych", by Hugo van der Goes (1476-1478).

• - The so-called Pacher-Altar"),[124]​ altarpiece of St. Wolfgang im Salzkammergut by Michael Pacher (1471).[125]​.

• - The so-called "altarpiece")" or "altar of the Dormition")" or Krakow"),[126]​ by Veit Stoss (1477-1489).

• - The so-called "altarpiece")" or "Kefermarkter altar")" (1490-1497).[127]​.

• - The so-called "altarpiece")" or "altar of the Holy Blood")" (Heiligblutaltar")),[128]​ by Tilman Riemenschneider (1501—1505). By the same author, or his circle, are the altarpiece in the church of Saints Peter and Paul in Detwang"),[129]​ the Zwölfbotenaltar")[130]​ and the Marienretabel from the Herrgottskirche")[131]​ in Creglingen.

• - Part of the panels of the so-called altarpiece") or "altar of Saint Sebastian")" (Sebastianaltar"))[132]​ of the monastery of Saint Florian")[133]​ (Sankt Florian"), Austria), by Altdorfer (1509-1519).[134]​.

• - Altarpiece of the main altar of Freiburg Cathedral, by Hans Baldung (1512-1516).

• - The so-called "altarpiece" or "altar of Isenheim" (1512-1516). Closed configuration, with Grünewald paintings.

• - Idem. First opening configuration (first center panels deployed).

• - The so-called "altarpiece")" or "Herrenberger altar")",[135]​ by Jerg Ratgeb (1518-1521).

• - The so-called "altarpiece" or "Oberried altar")", by Hans Holbein the Younger (1521-1522).

• - The so-called "altarpiece")" or "Schneeberger altar")" (Wolfgangskirche"), Schneeberg),[136]​ by Lucas Cranach the Elder, 1532–1539 (anterior view -recto-).

• - Idem (rear view -verso-).

The so-called "Antwerp altarpieces".

In the 2nd centuries, the fame of the so-called "Antwerp altarpieces"[5]​ spread throughout Europe. The commercial boom of the city of Antwerp had occurred especially from the decline of the city of Bruges "Bruges (Belgium)"), and suffered a terrible blow with the sack of Antwerp of 1576.

• - Antwerp altarpieces.

• - The so-called "Pruszcz polyptych")", ca. 1500.

• - Altarpiece of San Juan Bautista from the church of El Salvador in Valladolid, ca. 1500 (the bench was made by local artists).[137]​.

• - Altarpiece from the chapel of Santo Cristo in the convent of San Francisco in Valladolid, ca. 1515.

• - Altarpiece from the Marienkirche in Lübeck, by the so-called Master of 1518[138]​.

• - Altarpiece of Saints Cornelius and Cyprian from Kirrlach").

• - Altarpiece of Roskilde Cathedral.

• - Altarpiece from the Votivkirche in Vienna.

• - Altarpiece from the Marienkirche of Waase").[139]​.

• - The so-called "altarpiece of Philippa of Gelderland" in Pont-à-Mousson.

• - Altarpiece of Saint Lambert of Affeln")[140]​ (1525).

Suele establecerse una periodización cronológica del Renacimiento en España entre el Alto y el Bajo Renacimiento español, aunque las etiquetas estilísticas son de uso problemático: "plateresco" se aplica a las producciones del primer tercio del siglo , caracterizadas por el horror vacui, que se comparaban con el trabajo de los plateros, y en el que se encuadran tanto los últimos maestros de tradición gótica o hispano-flamenca como la introducción de nuevos elementos de origen renacentista italiano; "manierista" se aplica al tercio central del siglo (aunque es un adjetivo que puede aplicarse tanto a los discípulos de las grandes figuras italianas de comienzos del siglo como al periodo post-tridentino y hasta el comienzo del siglo ); "romanista "Romanismo (arte)")" se aplica al tercio final del siglo, caracterizado por las formas sobrias de Gaspar Becerra y el gran proyecto escurialense.

plateresque altarpiece

In Spain, the Renaissance aesthetic took time to prevail, due to the roots of Gothic or Spanish-Flemish forms. At first, Italianate forms appear timidly in the altarpieces (just as they did in architecture), in the form of decorative details. Only later in the century did a new aesthetic take shape: the plateresque style.

The Plateresque altarpiece combines Gothic elements with others of Italian roots, characterized by its narrative character (reliefs or paintings) and the development of the tabernacle that adopts a central and prominent position. Plateresque altarpieces are generally very flat, configured using pilasters or semi-columns, with the novelty of the baluster as support. The decoration is usually stylized and small, in the form of grotesques, scallops "Venera (mollusk)"), heads of cherubs, angels, scrolls..., with new formal typologies appearing, such as circular reliefs or those made in stiacciato.

In the Crown of Castile are outstanding examples of Plateresque altarpiece:

• - the main altarpiece of the Palencia Cathedral, considered one of the first Renaissance altarpieces in Spain (contracted in 1504), work of Felipe Vigarny, Alejo de Vahía, Pedro de Guadalupe, Juan de Flandes and Juan de Valmaseda;[144]​.

• - the main altarpiece of the Royal Chapel of Granada, also the work of Felipe Vigarny, decorated with scenes of the conquest of Granada and praying statues of the Catholic Monarchs, by Diego de Siloé;[145]​.

• - the main altarpiece of the church of San Pelayo in Olivares de Duero (province of Valladolid);

• - the main altarpiece of the Convent of San Pablo in Palencia;.

• - the altarpiece of the chapel of La Piedad of the Church of San Miguel Arcángel (Oñate) "Iglesia de San Miguel Arcángel (Oñate)");.

• - the altarpiece of the church of El Salvador (Calzadilla de los Barros) "Iglesia del Salvador (Calzadilla de los Barros)"), by Antón de Madrid") (first third of the century).[146]​.

In the Crown of Aragon, simultaneously with the introduction of Italian Renaissance forms by Pedro Fernández de Murcia (altarpiece of Santa Elena in the cathedral of Gerona), the Gothic tradition of the alabaster altarpiece-exhibitor continued, adapting to the new aesthetics, highlighting in this area Damián Forment, to whom are owed:

• - the main altarpiece of the Basilica del Pilar in Zaragoza (1512-1518), in alabaster, with a Gothic structure and almost round reliefs;

• - the main altarpiece of the cathedral of Huesca (1520), made of alabaster, its body is a large triptych of three scenes showing the passion of Christ;.

• - the main altarpiece of the Poblet monastery, more Plateresque in character, with the characteristic flat scallops;.

• - the main altarpiece of the cathedral of Santo Domingo de la Calzada, made of gilded and polychrome wood, with exuberant decoration.

Also notable in the Aragonese altarpieces of this period was the work of Juan de Moreto, Juan de Salas "Juan de Salas (sculptor)") and Gabriel Yoly (altarpiece in the chapel of San Miguel in the cathedral of Jaca, main altarpiece in the cathedral of Teruel); continued in the central decades of the century by Cosme Damián Bas") (altarpieces from the Albarracín cathedral, some in non-polychrome wood).[147]​.

• - Spanish Plateresque altarpieces.

• - Main altarpiece of the Constable chapel. In the same place there are other notable altarpieces.

• - Main altarpiece of the church of the convent of San Pablo in Palencia.

• - Altarpiece of the chapel of the Piedad de San Miguel de Oñate "Church of San Miguel Arcángel (Oñate)").

• - Main altarpiece of the Basilica del Pilar, by Damián Forment (1512-1518).

• - Main altarpiece of the Palencia cathedral.

• - Main altarpiece of the Teruel cathedral.

• - Altarpiece of San Miguel in the Jaca Cathedral (other notable altarpieces are preserved in the same temple).

• - Main altarpiece of the Huesca cathedral.

• - Altarpiece of the Virgen de los Marantes in the chapel of the Admiral's Room of the Real Alcázar of Seville, by Alejo Fernández (1531-1536). The building has other chapels with notable altarpieces.[148]​.

• - Altarpiece of the Virgin of Good Counsel in the chapel of San Bartolomé of the cathedral of Santiago de Compostela, by Mateo Arnao") (1521).

• - Altarpiece of Don Fadrique of Portugal in the Cathedral of Sigüenza, by Alonso de Covarrubias, Francisco de Baeza"), Sebastián de Almonacid and Juan de Talavera (1520-1529).

Mannerist altarpiece

Starting in the 1530s, Mannerism, an evolution of 15th century classicism, invaded all European artistic fields. In Spain, the emergence of this style puts an end to the last remnants of the Gothic and imposed the validity of the Italianate style from that decade until practically the 19th century.

In the field of altarpieces, the Mannerist style produced brilliant performers, with masterpieces that would be greatly admired and imitated. The first of them was Alonso Berruguete, one of the most recognized Spanish sculptors of all time. His most ambitious work, the main altarpiece of the monastery of San Benito de Valladolid "Altarpiece of San Benito el Real (Valladolid)") (1527-1532), is today disintegrated into several parts, almost all of which are preserved in the National Museum of Sculpture in the same city. Berruguete's temperamental and unclassifiable art exhibits in this work some of the characteristics of Hispanic Mannerism, mixing typical elements of the most orthodox Renaissance (veneras, balusters, tondo reliefs) with a peculiar totally anti-classical dramatic sense, in which the forms are subjected to the general effect of expressiveness and movement.[150] Berruguete was quite prolific in his dedication to the altarpiece, and created an important workshop with disciples. such as Francisco Giralte (author of the altarpiece of the Bishop's Chapel "Capilla del Obispo (Madrid)") attached to the parish of San Andrés in Madrid) or Manuel Álvarez, responsible in part for the great diffusion and success of the Berruguetesque style.

The other great Mannerist master, belonging like Berruguete to the Valladolid focus, was Juan de Juni. Like the first, it cultivates the Italianate style from a very personal perspective. Many of Juni's masterpieces were in the field of the altarpiece; He managed to conceive his altarpiece creations as a unitary whole and not mere framework architectures, and he did not hesitate to alter and deform the principles of classicism for the sake of expressiveness. It is very striking that the Junesque images and reliefs seem to overflow the frame that contains them, which gives these works great visual power and greater proximity to the viewer, prefiguring certain baroque tendencies. Some of his best-known altarpieces are the largest one in the cathedral of Valladolid (commissioned from the artist for the church of Santa María la Antigua), that of the Alderete chapel in San Antolín de Tordesillas and that of the Benavente chapel in Santa María de Medina de Rioseco.

• - Mannerist altarpieces.

• - Altarpiece by Juan de Juni in the main chapel of the cathedral of Valladolid.

• - Altarpiece of Santa María de Mediavilla de Medina de Rioseco.

• - Image of San Benito de Nursia, carving from the central niche of the old altarpiece of San Benito el Real of Valladolid, by Alonso Berruguete (today dismantled and exhibited in pieces in the National Museum of Sculpture).[151]​.

Romanist altarpiece

In the middle of the century, the Council of Trent marks a caesura in religious experience and art in particular. The need for greater clarity and forcefulness in the transmission of the evangelical message means that certain mannerist formal excesses are tempered. Thus arose the style a la Romana or Romanism "Romanism (art)"), which will be predominant until the end of the century, coexisting however with Mannerism, which retained a certain validity. Following the new style, the altarpieces acquire a more architectural and monumental conception; The severity of the decoration is accentuated (pediments, free-standing columns, friezes, triglyphs and metopes), while the images become expressive and gesticulating, in an attempt to be persuasive.

The new trend will be led by masters such as Gaspar Becerra, author of the main altarpiece of the Cathedral of Astorga (1558-1562), a paradigmatic piece that will create a fashion, being widely copied. Other representative artists of this moment are Pedro López de Gámiz (main altarpiece of the convent of Santa Clara "Monasterio de Santa Clara (Briviesca)"), Briviesca), Rodrigo de la Haya (who with his brother Martín made the main altarpiece of the Burgos cathedral) and Juan de Ancheta.

• - Main altarpiece of the Cathedral of Astorga.

• - Main altarpiece of the convent of Santa Clara de Briviesca.

• - Main altarpiece of the Burgos cathedral.

Perhaps the culminating moment of the Romanesque style, as well as its end, was the classicism that was imposed during the reign of Philip II and the construction of the Monastery of El Escorial. The Escurialense style marks the transition from the Renaissance to the Baroque in Spain. It is an art that dispenses with accessory elements, eliminating any decorative concession and giving prominence to the architectural support, which follows the classical canons in an almost obsessive way, although introducing a gigantism with Michelangelo roots. Regarding altarpieces, the main example of this trend was the main altarpiece of the monastery's Basilica. Being a commission of great symbolic importance (since it had to preside over the space where the kings of Spain were buried) made this piece a unique work; The most expensive materials were used in its making (jaspers, polychrome marble, fire-gilded bronze) as well as a plethora of artists among the most famous of their generation: Juan de Herrera gave the general layout, Pompeyo and Leone Leoni made the sculptures and it was even thought that a painting by Titian would preside over the ensemble, although finally the pictorial part was commissioned to Pellegrino Tibaldi and Federico Zuccaro.

This monumental work can be considered the swan song of the Renaissance in Spain in the field of the altarpiece. The impact and novelty that it entailed would prevail well into the century, collecting many examples that would be made from then on some of these innovations, such as the rigid superimposition of orders, the use of stone instead of polychrome wood, the clear structuring and iconographic hierarchy, and above all, the emphasis that will be given from now on to the tabernacle or tabernacle, which, as happens in El Escorial, often becomes exempt and almost independent of the body of the altarpiece.[156]​.

El Barroco fue, quizá, la época dorada del retablo, tanto por el gran número de ellos que se hicieron como por su importancia artística, su variedad tipológica y formal, y sus dimensiones, que llegaron a ser del todo monumentales. En esta época, además, con la implantación de la Contrarreforma tras el Concilio de Trento, se afianza la construcción de retablos en lugares donde había decaído en siglos anteriores, como zonas de Alemania, Austria, Polonia, Países Bajos católicos o la misma Italia. En todo caso, la península ibérica siguió siendo el centro más creativo e importante, con la novedad de la exportación a las iglesias y catedrales que se construían en esa época en las colonias de América y otros lugares.

En los siglos y , el retablo cobró un extraordinario protagonismo en el interior de las iglesias, de modo que muchas veces la propia arquitectura de los templos acaba supeditada a su colocación, generalizándose las cabeceras planas con testero ciego, o a lo sumo con ventanales abiertos en su parte más alta de modo que no interfieran con la estructura del retablo y se adapten a ella. En una época en la que el arte busca la cercanía con el fiel, se generalizan tipologías nuevas, como el retablo con camarín (que tenía precedentes en el Renacimiento), el retablo exento a modo de ciborio "Ciborio (arquitectura)") o tabernáculo, el retablo-transparente, con aberturas que dejan pasar la luz, el retablo-relicario, surgido a partir del resurgir del culto a las reliquias de los santos, etc.

Los retablos barrocos suelen concebirse como parte integrante de una decoración mayor que se extiende por toda la iglesia, y así hacen juego a veces con frescos pintados en techos o paredes, o con otros retablos, repitiendo por ejemplo los llamados "retablos colaterales" la forma y decoración del retablo mayor o de la capilla principal. En esta época se acentúa fuertemente la jerarquización de los elementos decorativos del templo, a la vez que los mismos tienden a formar un todo. Naturalmente, esto es más palpable en las iglesias construidas ex-novo en época barroca, aunque viejos templos como la catedral de León sufrieron en esta época el influjo del nuevo estilo, diseñándose decoraciones a veces un tanto chocantes con la arquitectura precedente.[161]​.

Italian baroque altarpieces

In the Italian Baroque, the iconography of the pale, following the theological recommendations of the Counter-Reformation, focuses on a single theme, such as the patron saint of the church or the corresponding altar, usually on canvases or in large sculptural groups. The material used most extensively and frequently in Italian Baroque altarpieces is marble in contrast to the gilded and polychrome wood of previous periods. Sometimes other semiprecious materials such as lapis lazuli and malachite are used.

• - Italian baroque altarpieces.

• - Pala di altare of the capella dei gesuiti in the parish church of Grazzano Badoglio, by Andrea Pozzo.

• - Pala of the cappella Panciatichi of the Cathedral of Florence, painted by Domenico Pugliani").[162]​.

• - Ensemble of the capella Cornaro") in Santa Maria della Vittoria in Rome, which includes Bernini's Ecstasy of Saint Teresa behind the altar.

Flemish baroque altarpieces

In the Southern Netherlands, in reaction to Protestant aniconism, the decoration of Catholic churches became extreme. Not only the altarpieces, but the pulpits and even the pillars of the naves became supports for sophisticated sculptural groups, while the large-scale creations of the Flemish school of painting headed by Rubens were added to the tradition of pictorial polyptychs, in much more simplified structures.

• - Flemish baroque altarpieces.

• - Baroque altarpiece from the chapel of the Madonna of Bruges (which displays in its center a carving by Michelangelo from the beginning of the century) in the church of Our Lady of Bruges.[163]​.

• - Main altarpiece of the cathedral of San Rumoldo de Mechelen, by Lucas Faydherbe.

• - Altarpiece of the Crucifixion in the same cathedral, by Van Dyck (1630).

• - Altarpieces by Rubens in the Antwerp Cathedral.

• - Main altarpiece with the Assumption of the Virgin&action=edit&redlink=1 "Assumption of the Virgin (Rubens) (not yet written)") (1626).

• - The elevation of the cross (1610-1611).

• - Descent "Descent of Christ (Rubens)") (1612).

• - Resurrection of Christ&action=edit&redlink=1 "Resurrection of Christ (Rubens) (not yet written)") (1612), open.

• - Idem, closed.

French baroque altarpieces

The relationship between French altarpieces and complex Baroque spirituality has been particularly studied.[164]​[165]​.

• - French baroque altarpieces.

• - Altarpiece of the Assumption of the Virgin in the church of Saint Nicholas of the Fields "Church of Saint Nicholas of the Fields (Paris)") in Paris,[166] by Simon Vouet and Jacques Sarrazin (1629).

• - Main altarpiece of the church of Saint-Jean-du-Marché de Troyes"),[167]​ trace by François Girardon and painting by Pierre Mignard (Baptism of Christ).

• - Main altarpiece of the Cathedral of Cavaillon"),[168]​ by Pierre Mignard.

• - Altarpiece of the charterhouse of Vauclair").[169]​.

Central European baroque altarpieces

In Central Europe, the Baroque was the art of the Counter-Reformation in the areas that were maintained or recovered by Catholicism (Habsburg States of Vienna, Southern Germany, Poland); but also art in Lutheran areas. At the end of the century and the beginning of the century, the altarpieces merged with the architectural environment, which in turn blurred into sculptures and ornamental elements in all types of materials (stones, metals, and especially stucco).

• - Central European baroque altarpieces.

• - Main altar of the Karlskirche of Vienna "Church of St. Charles Borromeo (Vienna)").

• - Main altar of the Michaelerkirche in Vienna "Michaelerkirche (Vienna)").[170]​.

• - Altarpieces from the Wallfahrtskirche of Maria Plain")[171]​ in Salzburg.

• - Main altarpiece of the church of Saint Nicholas in Malá Strana")[172]​ in Prague.

• - Altarpieces of the church of Saint Nicholas (Bernbeuren)&action=edit&redlink=1 "Church of Saint Nicholas (Bernbeuren) (not yet written)").[173]​.

• - Altarpiece from the church of Saint Cosmas and Saint Damian in Stade, by Christian Precht[174]​ (1677), a Lutheran church.

• - Altar of the Schloßkirche of Weesenstein"),[175]​ a Lutheran church.

• - Main altarpiece of the Gertrudenkirche in Osnabrück, by Thomas Simon Jöllemann")[176]​ (1717-1729).

• - Main altarpiece of the Asamkirche[177]​ in Munich, by the Asam brothers (1733-1746).

• - Main altarpiece of the Church of the Assumption in Gniezno.

• - Main altarpiece of the church of the Exaltation of the Holy Cross in Jelenia Góra.

• - Altarpieces from the church of San Bernardino de Siena in Krakow.

• - Altarpiece from the church of Skedsmo (Norway).

Spanish baroque altarpieces

Spanish baroque altarpieces are very sophisticated, complex and varied in local schools.[178]​ In the same place, such as the Cartuja de Granada, you can see classicist altarpieces (such as the trompe l'oeil by Sánchez Cotán) and the greatest exuberance (such as those in the sacristy and the famous free-standing tabernacle, by Francisco Hurtado Izquierdo). In Salamanca at the end of the century, the churrigueresque style triumphed. In the Toledo of the first third of the century, Narciso Tomé achieved a high point of the style (the famous "transparent"), which later neoclassical criticism denigrated as an example of Baroque "bad taste." The granite filigrees on the façade of the Obradoiro of the Cathedral of Santiago de Compostela (Fernando de Casas Novoa, also the author of traces of altarpieces, notably that of San Martín Pinario, together with Miguel de Romay[179]​) are often compared with the shapes of these latest Baroque altarpieces. Over the course of a century and a half, multifaceted artists (such as Alonso Cano) or specialized in one art (such as the architects Juan Gómez de Mora[180] or José de Churriguera, the sculptors Alonso and Pedro de Mena, Gregorio Fernández, Martínez Montañés or Francisco Salzillo, or the painters Murillo, Valdés Leal or Zurbarán) left a good part of their work in altarpieces of the era; while within baroque altarpieces carvings or paintings from previous periods were also included (as occurs in the main altarpiece of the Valencia Cathedral).[181]​.

• - Main altarpiece of the Valencia Cathedral, of Baroque style (Juan Bautista Pérez Castiel, 1674-1682) but whose paintings are Renaissance, much earlier (Fernando Yáñez de la Almedina and Fernando de los Llanos, 1506-1510).

• - Altarpiece-reliquary from the convent of San Diego in Valladolid, by Juan de Muniátegui"), Vicente Carducho and Bartolomé Carducho (1604-1606).

• - Altarpiece from the Cerralbo chapel, by Alonso de Balbás and Francisco Camilo.

• - Altarpiece or fake altar of Saints Peter and Paul in the Cartuja de Granada, by Sánchez Cotán.

• - Main altarpiece of the church of the Annunciation (Seville) "Church of the Annunciation (Seville)"), where Alonso Matías"), Antonio Mohedano, Juan de Roelas and Martínez Montañés among others (1604-1624) participated.

• - Main altarpiece of the Convent of Santa Isabel "Main altarpiece of the Convent of Santa Isabel (Valladolid)") of Valladolid, by Francisco Velázquez, Cristóbal Velázquez, Melchor de Beya, Juan Imberto and Gregorio Fernández (1613-1614).

• - Lateral altarpiece of the Royal Chapel of Granada, by Alonso de Mena (1632).

• - Tables from the "Portaceli altarpiece"), from Ribalta.

• - Main altarpiece of the church of the convent of the Descalzas Reales (Valladolid) "Convento de las Descalzas Reales (Valladolid)"), by Juan de Muniátegui"),[182]​ Gregorio Fernández and Santiago Morán, 1612.

Portuguese baroque altarpieces

The symbolism of the "Eucharistic throne" in Portuguese baroque altarpieces has been investigated.[188]​.

• - Main altarpiece of the Aveiro Cathedral. The same temple contains other notable altarpieces.

• - Altarpiece from the chapel of Nossa Senhora da Doutrina in the church of San Roque (Lisbon) "Church of San Roque (Lisbon)").[189]​ The same temple contains other notable altarpieces, and the museum of which it is part, an exceptional collection of sacred art, including altarpieces from other sources.[190]​.

• - Main altarpiece and sides of the church of the convent of Santa Clara-a-Nova").[191]​.

• - Main altarpiece of the church of Vilar de Frades.

• - Altarpiece of the Matriz de Melgaço church"). In the same temple there is another notable altarpiece by António Figueiroa") (end of the century).

Colonial baroque altarpieces

The extraordinary decorative richness (both in the materials used and in the profusion of details) and some syncretic characteristics coming from the indigenous artistic substrate (although they basically respond to European aesthetic and religious criteria) characterizes the baroque altarpieces of the colonial cities of the Spanish and Portuguese empires (unified between 1580 and 1640). In addition to those of Spanish America and the Philippines, those of the Portuguese colonial cities of Goa (in India) and Salvador de Bahia (in Brazil) are particularly notable; those of the latter are counted in the hundreds (it was said that mass could be heard on a different day of the year - the same was said of the Mexican valley of Cholula).[192]​[193]​.

However, there was already production of altarpieces in Spanish America in the century; both in the first ecclesiastical foundations of the Caribbean and in the continental territories.[194]​ The one that is considered oldest on the continent is that of San Juan Cuauhtinchán") (Puebla), dating back to around 1527.[195]​.

• - The so-called "altarpiece of the Kings" in the cathedral of Mexico.

• - Altarpiece called "of the kings" in the cathedral of Puebla.

• - Church of the monastery of San Gabriel de Cholula").

• - Church of San Miguel Tianguishahuatl") in San Pedro Cholula.

• - Main altarpiece of the church of San Francisquito de Campeche.

• - Main altarpiece of the church of Chacas, Peru.

• - Main altarpiece of the church of the Company (Quito) "Iglesia de la Compañía (Quito)").

• - Main altarpiece of the church of San Rafael de Velasco (Santa Cruz, Bolivia).

• - Main altarpiece of San Ignacio de Velasco.

• - Main altarpiece of San Miguel de Velasco.

• - Altarpiece of the Immaculate Conception of San Ignacio de Velasco.

• - Main altarpiece of the church of Concepción (Santa Cruz) "Concepción (Santa Cruz)").

• - Main altarpiece of San José de Chiquitos.

• - Altarpiece of the Chiquilín church") (Chachapoyas).

• - Main altarpiece of the Cathedral Basilica of San Salvador (Salvador de Bahía, Brazil), former Jesuit church, by João Correia") (1665-1670).[196]​.

• - Main altarpiece and sides of the church of the convent of San Francisco (Salvador de Bahía)&action=edit&redlink=1 "Church of the convent of San Francisco (Salvador de Bahía) (not yet written)").[197]​.

• - Altarpieces from the side chapels of the same church.

• - Main altarpiece of the church of Our Lord of Bonfim (Salvador de Bahía).

• - Main altarpiece of the Basilica of the Santo Niño of Cebu.

• - Main altar and sides of the Basilica of the Good Jesus of Goa.

In the middle of the century, the ornaments of the Louis At the beginning of the century he brought the simplest forms of Greco-Roman doorways to the altarpieces. Since the mid-19th century, eclectic and historicist altarpieces have been produced. Already in the 19th century, the renewal of ecclesial aesthetics in Catholicism was radical, opening up to the artistic avant-garde, especially after the Second Vatican Council. The altarpiece of the Basilica of Aránzazu is also notable.

• - Altarpiece of Saint Eufemia "Altarpiece of Saint Eufemia (Ourense Cathedral)") of the Cathedral of Ourense (1720).

• - Altarpiece of Saint Catherine "Altarpiece of Saint Catherine (Monasterio de San Martín Pinario)") from the Monastery of San Martín Pinario (1763).

• - Altarpiece of the Holy Christ of Hope "Altarpiece of the Holy Christ of Hope (Orense)") of the Church of Santa Eufemia "Iglesia de Santa Eufemia (Orense)") of Ourense (1770-1771).

• - Altarpiece from the San Bernardino chapel of the Basilica of San Francisco the Great, with Goya's canvas San Bernardino of Siena preaching before Alfonso V of Aragón (1781-1783).

• - Main altarpiece of San Jerónimo el Real (Madrid), in a painting by Luis Paret (1791).

• - The altarpieces were destroyed during the French occupation, which turned the church into a barracks (1808-1814), the current ones are the result of the restoration directed by Enrique María Repullés (1879-1882).

• - Behind the main altar of the Magdalena church, a sculptural group by Carlo Marochetti is arranged as an altarpiece[201].

• - Behind the main altar of the Sacré Cœur basilica there is a neo-Romanesque altarpiece.[202]​.

• - Chapel of Saints Gregory and Augustine in Westminster Cathedral, in a historicist style that can be classified as Neo-Byzantine, where the mosaics are framed in architectural structures that look like an altarpiece.

• - Neo-Gothic altarpiece of the Basilica of Saint-Materne"), by Léopold Blanchaert") (1901).

• - Main altarpiece "Main altarpiece of the Church of Santiago (Orense)") of the church of Santiago de Orense, by Maximino Magariños Rodríguez (1919).

• - Crystal altarpiece by René Lalique in the Glass Church") of Millbrook (Jersey)&action=edit&redlink=1 "Millbrook (Jersey) (not yet written)").

• - The altar of the church of St. Engelbert (Cologne)&action=edit&redlink=1 "Church of St. Engelbert (Cologne) (not yet written)")[203]​ shows the decorative simplicity of the churches of the 19th century.

• - Torreciudad altarpiece, by Joan Mayné.[204]​.

• - The main altar of the new Basilica of the Virgin of Guadalupe in Mexico reproduces the recognizable volume and layout of the classic Hispanic altarpieces, although with a radical simplification of elements.

• - Idem, detail.

• - Bronze altarpiece from the Notre-Dame Basilica of Montreal, by Charles Daudelin (1978-1982).

• - Finnish birch wood altarpiece from the Zacatecas Cathedral, by Javier Marín.

• - Altarpiece of the parish church of Hontoria de la Cantera.

• - Ayacucho altarpiece.

• - Portuguese national altarpiece.

• - Wikimedia Commons hosts a multimedia category on Altarpiece.

• - Wiktionary has definitions and other information about altarpiece.

• - Retrotabulum.

• - Mediatheque. Idem.

• - Ceramic altarpieces.

• - L'Europe des retables, colloquium organized by Rencontre avec le Patrimoine Religieux, 2004 (there are two derived publications -Art Sacré - Les retables and Art Sacré: L'Europe des retables volume II (XVIe - XVIIIe s.).

• - Gisela M. A. Richter, Otmar Richter, Christoph Machat, Arbeitskreis für Siebenbürgische Landeskunde, Siebenbürgische Flügelaltäre, Wort und Welt Verlag, 1992, ISBN 3-85373-149-X.

• - Altarpieces from the church of San Juan (Salvatierra).

• - Concepción de la Peña Velasco, The value of the word in the Spanish altarpiece. From the end of Gothic to the beginning of Neoclassicism.

• - Altarpiece; Illustrated basic terminology. Product of collaboration between the Andalusian Institute of Historical Heritage and the Getty Conservation Institute [1].

• - The five altarpieces... cultura.castillalamancha.es -Main altarpiece of the Church of San Bartolomé. Bienservida (Albacete), Main altarpiece of the Cathedral of Nuestra Señora del Prado in Ciudad Real, Altarpiece of the Chapel of the Assumption of the Church of San Pedro Apóstol. Villaescusa de Haro (Cuenca), Altarpiece of Santa Librada in the Cathedral of Sigüenza (Guadalajara), Main Altarpiece in the Cathedral of Santa María de Toledo.