Altarpiece in the context of "High Church Lutheranism"

A sacrament is a Christian rite which is recognized as being particularly important and significant. There are various views on the existence, number and meaning of such rites. Many Christians consider the sacraments to be a visible symbol of the reality of God, as well as a channel for God's grace. Many denominations, including the Catholic, Lutheran, Moravian, Reformed (Continental Reformed, Presbyterian, and Congregationalist traditions), Anglican, Methodist and Baptist, hold to the definition of sacrament formulated by Augustine of Hippo: an outward sign of an inward grace, that has been instituted by Jesus Christ. Sacraments signify God's grace in a way that is outwardly observable to the participant.

The Catholic Church, Hussite Church and the Old Catholic Church recognize seven sacraments: Baptism, Penance (Reconciliation or Confession), Eucharist (or Holy Communion), Confirmation, Marriage (Matrimony), Holy Orders, and Anointing of the Sick (Extreme Unction). The Eastern Churches, such as the Eastern Orthodox Church and Oriental Orthodox Church as well as the Eastern Catholic Churches, recognize these as the seven major sacraments, but also apply the words sacred mysteries corresponding to Greek word, μυστήριον (mysterion), and also to rites that in the Western tradition are called sacramentals and to other realities, such as the Church itself. Many Protestant denominations, such as those within the Reformed tradition, preach just two sacraments instituted by Christ: the Eucharist (or Holy Communion) and Baptism. The Lutheran sacraments include these two, often adding Confession (and Absolution) as a third sacrament. Anglican and Methodist teaching is that "there are two Sacraments ordained of Christ our Lord in the Gospel, that is to say, Baptism and the Supper of the Lord", and that "those five commonly called Sacraments, that is to say, Confirmation, Penance, Orders, Matrimony, and Extreme Unction, are not to be counted for Sacraments of the Gospel."

Albrecht Dürer (/ˈdjʊərər/ DURE-ər, German: [ˈalbʁɛçt ˈdyːʁɐ]; 21 May 1471 – 6 April 1528), sometimes spelled in English as Durer or Duerer, was a German painter, printmaker, and theorist of the German Renaissance. Born in Nuremberg, Dürer established his reputation and influence across Europe in his twenties due to his high-quality woodcut prints. He was in contact with the major Italian artists of his time, including Raphael, Giovanni Bellini and Leonardo da Vinci, and from 1512 was patronized by Emperor Maximilian I.

Dürer's vast body of work includes engravings, his preferred technique in his later prints, altarpieces, portraits and self-portraits, watercolours and books. The woodcuts series are stylistically more Gothic than the rest of his work, but revolutionised the potential of that medium, while his extraordinary handling of the burin expanded especially the tonal range of his engravings.

Giovanni Santi (c. 1435 – 1 August 1494) was an Italian painter and poet, father of Raphael Sanzio. He was born in 1435 at Colbordolo in the Duchy of Urbino. He studied under Piero della Francesca and was influenced by Fiorenzo di Lorenzo. He was court painter to the Duke of Urbino and painted several altarpieces among other things. He died in Urbino.

A panel painting is a painting made on a flat panel of wood, either a single piece or a number of pieces joined together. Until canvas became the more popular support medium in the 16th century, panel painting was the normal method, when not painting directly onto a wall (fresco) or on vellum (used for miniatures in illuminated manuscripts). Wood panels were also used for mounting vellum paintings.

The circumcision of Jesus is an event from the life of Jesus, according to the Gospel of Luke chapter 2, which states:

The eight days after his birth is traditionally observed 1 January. This is in keeping with the Jewish law which holds that males should be circumcised eight days after birth during a Brit milah ceremony, at which they are also given their name. The circumcision of Christ became a very common subject in Christian art from the 10th century onwards, one of numerous events in the Life of Christ to be frequently depicted by artists. It was initially seen only as a scene in larger cycles, but by the Renaissance might be treated as an individual subject for a painting, or form the main subject in an altarpiece.

The Ghent Altarpiece, also called the Adoration of the Mystic Lamb (Dutch: De aanbidding van het Lam Gods), is a very large and complex 15th-century polyptych altarpiece in St Bavo's Cathedral, Ghent, Belgium. It was begun around the mid-1420s and completed by 1432, and it is attributed to the Early Netherlandish painters and brothers Hubert and Jan van Eyck. The altarpiece is a prominent example of the transition from Middle Age to Renaissance art and is considered a masterpiece of European art, identified by some as "the first major oil painting."

The panels are organised in two vertical registers, each with double sets of foldable wings containing inner and outer panel paintings. The upper register of the inner panels represents the heavenly redemption, and includes the central classical Deësis arrangement of God (identified either as Christ the King or God the Father), flanked by the Virgin Mary and John the Baptist. They are flanked in the next panels by angels playing music and, on the far outermost panels, the figures of Adam and Eve. The central panel of the lower register shows a gathering of saints, sinners, clergy, and soldiers attendant at an adoration of the Lamb of God. There are several groupings of figures, overseen by the dove of the Holy Spirit. The four lower panels of the closed altar are divided into two pairs; sculptural grisaille paintings of St John the Baptist and St John the Evangelist, and on the two outer panels, donor portraits of Joost Vijdt and his wife Lysbette Borluut; in the upper row are the archangel Gabriel and the Annunciation, and at the very top are the prophets and sibyls. The altarpiece is one of the most renowned and important artworks in European history.

The Maestà, or Maestà of Duccio, is an altarpiece composed of many separate paintings commissioned from Duccio di Buoninsegna by the city of Siena in Tuscany in 1308 and is his major work. Duccio's Maestà was the first altarpiece to have both a front and back side. The front panels make up a large enthroned Madonna and Child with saints and angels, and a predella of the Childhood of Christ with prophets.

The reverse showed, in forty-three small panels, scenes from the Life of the Virgin and the Life of Christ, and were topped by and additional six panels showing angels. Several panels are now dispersed or lost. The base of the panel has an inscription that reads (in translation): "Holy Mother of God, be thou the cause of peace for Siena and life to Duccio because he painted thee thus." Though it took a generation for its effect to be truly felt, Duccio's Maestà set Italian painting on a course leading away from the hieratic representations of the Italo-Byzantine style and towards more direct presentations of reality, as developed by leading figures such as Giotto—believed to have been Duccio's pupil—during the Trecento.