The Beaune Altarpiece (or The Last Judgement), is a large polyptych c. 1445–1450 altarpiece by the Early Netherlandish artist Rogier van der Weyden, painted in oil on oak panels with parts later transferred to canvas. It consists of fifteen paintings on nine panels; six are painted on both sides. Unusually for the period, it retains some of its original frames. Six of the outer panels (or shutters) have hinges for folding; when closed the exterior view of saints and donors is visible. The inner panels contain scenes from the Last Judgement arranged across two registers. The large central panel spans both registers and shows Christ seated on a rainbow in judgement, while below him, the Archangel Michael holds scales to weigh souls. The lower register panels form a continuous landscape, with the panel on the far right showing the gates of Heaven, while the entrance to Hell is on the far left. Between these, the dead rise from their graves, and are depicted moving from the central panel to their final destinations after receiving judgement. The altarpiece was commissioned in 1443 for the Hospices de Beaune by Nicolas Rolin, Chancellor of the Duchy of Burgundy, and his wife Guigone de Salins, who is buried in front of the altarpiece's original location. It is in poor condition; it was moved in the 20th century to both to shield against sunlight and protect it from the almost 300,000 visitors the hospice receives annually. It has suffered from extensive paint loss, the wearing and darkening of its colours, and an accumulation of dirt. In addition, a heavy layer of over-paint was applied during restoration. The two painted sides of the outer panels have been separated to be displayed; traditionally, the shutters would have been opened only on selected Sundays or church holidays.
The Beaune Altarpiece (or The Last Judgement), is a large polyptych c. 1445–1450 altarpiece by the Early Netherlandish artist Rogier van der Weyden, painted in oil on oak panels with parts later transferred to canvas. It consists of fifteen paintings on nine panels; six are painted on both sides. Unusually for the period, it retains some of its original frames.