Schematic representation
Pinnacle of a polyptych
A Pinnacle of a polyptych (Italian: cima or cuspide) refers to the uppermost painted panel or architectural element that crowns a complex, multi-panel altarpiece. Reaching its stylistic peak during the Late Gothic era in Italy, the pinnacle served as the physical and theological apex of a church’s high altar, drawing the eyes of the congregation upward toward the heavens.
Architectural and Formal Integration
In the design of a grand polyptych, the pinnacle is defined by its verticality, its sharp, pointed framing, and its structural dependence on the lower tiers:
The Gothic Apex: Mirroring the soaring stone architecture of medieval cathedrals, painted pinnacles were housed inside heavily gilded wooden frames featuring pointed arches, delicate gables, spires, and crockets (carved leaf-like decorations). They sat directly above the main registers of the altarpiece, capping off the vertical columns of panels.
The Predella Counterpoint: Structurally and narratively, the pinnacle acts as the perfect vertical opposite to the predella (the long, low row of narrative panels at the very base of the altarpiece). While the predella offered horizontal, grounded, human-scale storytelling, the pinnacles provided vertical, soaring, celestial conclusions.
Iconography and Theological Elevation
The thematic material reserved for the pinnacles was carefully chosen to reflect their elevated, heavenly position within the overall decorative program. While the main lower registers typically featured earthbound subjects—such as the Virgin enthroned, local patron saints, or historical martyrs—the pinnacles transitioned into the divine realm.
Quantitative Aspects
According to the Zeri archive, there are 93 registered objects specifically classified as a cuspide di polittico.
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