An altarpiece composed of three panels that are hinged together so the outer wings can close over the larger central panel. The first triptychs of the Renaissance appeared in Tuscany in the 13th century. These were used for personal devotion in the home and were portable so they could be moved as needed, for example, into a sick or birthing room. Since they needed to be portable, these triptychs were of small dimensions, they stood on a base, and had a latch so they could be securely closed to prevent any damage while being moved. The image featured in these early altarpieces was normally an enthroned Virgin and Child surrounded by saints and angels in the central panel. Oftentimes, a Nativity and Crucifixion occupied the lateral panels to reference the incarnation of Christ and his sacrifice for the good of humanity. An early example is the Bigallo Triptych (1312-1348; Florence, Museo del Bigallo) by Bernardo Daddi. Eventually, the scale of triptychs increased and the subjects became more varied, as in, for example, Roger van der Weyden's Calvary Triptych (c. 1438-1440; Vienna, Kunsthistorisches Museum) and Hans Memlinc's Last Judgment Triptych (1473; Danzig, Muzeum Pomorskie). Hieronymus Bosch used the format to render strange depictions of human folly, among them The Hay Wain Triptych (c. 1490-1495; El Escorial, Monasterio de San Lorenzo) and the Garden of Earthly Delights (c. 1505-1510, Madrid, Prado).
Historical dictionary of Renaissance art. Lilian H. Zirpolo. 2008.