variation, and a greater number of possible combinations of interior and exterior panels that could be viewed at one time. That hinged works could be opened and closed served a practical purpose; on religious holidays the more prosaic and everyday outer panels were replaced by the lush interior panels. The Ghent Altarpiece, completed in 1432, had different configurations for weekdays, Sundays and church holidays. The first generation of Netherlandish masters borrowed many customs from 13th- and 14th-century Italian altarpieces. The conventions for Italian triptychs before 1400 were quite rigid. In central panels the mid-ground was populated by members of the Holy Family; early works, especially from the Sienese or Florentine traditions, were overwhelmingly characterised by images of the enthroned Virgin set against a gilded background. The wings usually contain a variety of angels, donors and saints, but there is never direct eye contact, and only rarely a narrative connection, with the central panel's figures. Netherlandish painters adapted many of these conventions, but subverted them almost from the start. Van der Weyden was especially innovative, as apparent in his 1442–1445 Miraflores Altarpiece and c. 1452 Braque Triptych. In these paintings members of the Holy Family appear on the wings instead of just the central panels, while the latter is notable for the continuous landscape connecting the three inner panels. From the 1490s Hieronymus Bosch painted at least 16 triptychs, the best of which subverted existing conventions. Bosch's work continued the move towards secularism and emphasised landscape. Bosch also unified the scenes of the inner panels. Triptychs were commissioned by German patrons from the 1380s, with large-scale export beginning around 1400. Few of these very early examples survive, but the demand for Netherlandish altarpieces throughout Europe is evident from the many surviving examples still extant in churches across the continent. Till-Holger Borchert describes how they bestowed a "prestige which, in the first half of the 15th century, only the workshops of the Burgundian Netherlands were capable of achieving". By the 1390s, Netherlandish altarpieces were produced mostly in Brussels and Bruges. The popularity of Brussels' altarpieces lasted until about 1530, when the output of the Antwerp workshops grew in favour. This was in part because they produced at a lower cost, allocating different portions of the panels among specialised workshop members, a practice Borchert describes as an early form of division of labour. Multi-panel Netherlandish paintings fell out of favour and were considered