This ivory panel constitutes the right leaf of a diptych. Jesus Christ is shown on the cross with, on the left, the Virgin Mary supported by one of the Maries and another standing by and on the right, St. John and two Jews. The group are surmounted by a triple arched canopy and there are two holes pierced between the canopies.
This leaf follow some of the most common diptych forms of the fourteenths century, and numerous examples survive. The left leaf almost certainly represented the standing Virgin and Child, probably flanked by candle-bearing angels and possibly saints. The composition of the Crucifixion theme itself is based on types developed in the first half on the fourteenth century in Parisian diptychs. More limited in number, however, are diptychs where the composition of the Crucifixion scene exactly mirrors the present example, with the Virgin collapsing in twisted posture, her hands splayed, while being supported from behind, while John raises his right hand.

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.