This is the right leaf of an ivory diptych, made in about 1275-1300 in Paris, France. The leaf is divided into three tiers separated by bands of rosettes, depicting the Coronation of the Virgin, the Death of Judas and the Entombment, and below the Betrayal.

This curious diptych leaf bears a number of iconographic and compositional peculiarities. Most noticeably, the scene of Judas hanging himself appears to be out of order, in the second register. It should take place between the Arrest of Chirst and his trial before Pilate. Here is instead appears immediately before an unprecedented scene of the three Maries appearing a Christ's sepulchre, apparently before his Resurrection, since his body is shown still beneath its shroud. The unusual order of the scenes makes it difficult to reconstruct the missing left leaf of the diptych. Stylistically this diptych has been executed in a characteristic manner, with large areas of background left plain, contributing to a feeling of isolation around the doll-like figures.

The devotional diptych is in many ways the object type most associated with the notion of Gothic ivory carving. The earliest examples probably date to the 1240s; these are complex, large and ambitious works that emerged, somewhat surprisingly, with no obvious precursors. The owners of ivory diptychs sometimes appear within their images. Such portraits indicate that they were special requests on the part of their commissioners, and they parallel the similar figures that appear in manuscripts and panel paintings of the period. The iconography of Gothic diptychs oscillated between two poles. The first of which is the desire to present narratives (Life of Christ and Virgin Mary) for envisaging. The second was the use of non-narrative images to form the focus of devotion.