This Diptych of carved ivory shows scenes from the Passion of Christ, and was made in Paris, in about 1330-1350.
1. Judas receiving the money from the chief priests. 2. The Betrayal with the cutting off of Malchus' ear. 3. Christ before Pilate. 4. Pilate washing his hands. 5. The death of Judas. 6. The Buffeting of Christ. 7. The stripping before the Flagellation. 8. The Flagellation. 9. Christ carrying his cross. 10. The Crucifixion

Ivory plaques were normally arranged in diptychs or triptychs. Diptychs consisted of two tablets hinged together, while triptychs were two tablets hinged on either side of a central tablet. The smaller ones were probably held in the hand and opened like a small book, while the larger ones would have stood open on a table or altar.
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.