Diptych,the Virgin and Child and the Crucifixion, carved ivory, Paris (France), ca. 1330-1350;
Fingers holding a candle, carved ivory

Both leaves of this ivory diptych depict a single scene beneath an arcade of three pointed trefoil arches, supported on corbels. Each trefoil is surmounted by a simple roll moulding and a small gable, adorned with over-sized foliate crockets and finials; a diminutive tower or buttress rises between each gable. The upper edge of the frame is marked by a stepped moulding.

The left leaf depicts the standing Virgin holding the Christ-Child in her left arm. She is crowned, and the bottom part of a flower stem protrudes from her extended right hand. The upper part of the hand is drilled with a circular hole, indicating that the flower she held may originally have been made of metal and inserted here. The Christ-Child twists towards the Virgin and grabs her mantle with his left hand. To either side stand two angels (without wings) holding candlesticks. The candles have been entirely detached from the background of the relief, rendering them extremely fragile. Asa result, one of the right angel's hands has partially broken off, and its candlestick is now mostly lost. Above, two angels emerge from the sides in half-length, each waving a censer in their right hand, and cradling an incense boat in their left.

The right leaf depicts the Crucifixion. The large figure of Christ hangs from the cross, his head bent to his right. On the left stands the Virgin, who reacts violently, crossing her legs and throwing her arms out to either side. She is supported from behind by two of the Maries. To the right stands a balancing group of three male figures. At the front, the grieving St John the Evangelist holds a book in his left hand and raises his covered right hand to his face in a gesture of melancholy. Behind, two Jews comment on the scene, one of them holding a speech scroll. Above, two angels appear in attitudes of grief: the angel to the left wrings its hands in despair, while that on the right covers its face. Traces of a jet of blood or the 'sword of compassion' that once passed from Christ's side wound remain on the left breast of the Virgin. This feature, originally carved free from the background, has broken away and the break has been carefully filed down and tidied up.

The backs of the leaves are entirely plain, apart from traces of wax along the lower edges. The grain of ivory clearly travels across both leaves, demonstrating that the diptych was carved from a single ivory block. The block was split unevenly, and the left leaf is substantially thicker than the right. The hinges are of brass. There are no traces of an original clasp. There are faint signs that the eyes of at least some of the figures were at some point painted with publis (this is most noticeable on the figure of the Virgin on the left leaf).

In the collection of Prince Petr Soltykoff, Paris, until 1861; bought by John Webb, London, at the Soltykoff sale (Soltykoff 1861, lot 254); purchased from Webb in 1867 for £84.

The carver of this diptych has exploited all of the available material, carving the relief scenes into the full depth of the leaves; in the area of the right foot of the right angel on the left leaf, for example, he has almost pierced the ground. Although this diptych conforms to one of the most common fourteenth-century types, there are a number of features that mark it as unusual. These include the careful depiction of two different morses fastening the robes of the angels on the left leaf, and the angel's lack of wings; St. John's gesture of putting his hand, covered by his robe, to his face; and the open mouth of Christ, his teeth visible within.

Some of these characteristics can be found in two similar diptychs, one at the V&A (mus. no. 235-1867), and one in the Courtauld Institute of art in London (mus. no. 0.1966.GP.10). Similarities of style and execution between the three diptychs are notable, and yet none could be said to have been carved by the same hand. Each introduces variations into the iconography and format.

The iconography of the jet of blood or sword of compassion passing from Christ's side wound to the Virgin's breast in the Crucifixion scene can be found on a number of fourteenth-century ivories, including others in the V&A's collection. The present example is carved in such a way as to make it clear that the jet or sword is passing directly into the Vrigin's left breast, rather than more generically into her body. This imagery may reflect contemporary writings on the link between Christ's blood and the Virgin's milk.

This is an ivory diptych made in about 1330-1350 in Paris, France. The diptych depicts the Virgin and Child and the Crucifixion. Both leaves of this diptych depict a single scene beneath an arcade of three pointed trefoil arches, supported on corbels. The sculptor of this diptych has exploited all of the available material, carving the relief scenes into the full depth of the leaves.

The iconography of the jet of blood or sword of compassion passing from Christ's side wound to the Virgin's breast in the Crucifixion scene can be found on a number of fourteenth-century ivories. The present example is carved in such a way as to make it clear that the jet or sword is passing directly into the Virgin's left breast, rather than more generically into her body.

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.

294:1-1867