The carved and painted altarpieces from the Netherlands were among the most desired art objects of the late Middle Ages. Although these arose no earlier than the final decades of the fourteenth century, they soon became must-have acquisitions for churches and chapels throughout Europe. I focus on the Flemish altarpiece of about 1415 in the St. Reinoldi Church in Dortmund, its original location. In its affective gestures, its mimetic portrayal of different materials, its illusion of depth, and its sophisticated microarchitecture, it established conventions that would later be adopted by sculptors and painters of the middle of the fifteenth century like Rogier van der Weyden. Significantly this work was produced in Bruges rather than Brussels, a subsequent site of much altarpiece creation. Although the Reinoldi altarpiece has often been linked to the refined court art of Paris, its painting is more closely related to that of the Lower Rhine and Westphalia. This should not be surprising, since Bruges and Dortmund were both hubs on the Hanseatic trade route.