The Virgin and Child and the Crucifixion

Carved from ivory with fine precision, the figures exhibit delicate modeling and intricate surface detail. The angels lack wings and instead wear ornate morses—decorative clasps typically seen on ecclesiastical vestments—marking a rare stylistic choice. This departure from conventional angelic iconography suggests a deliberate emphasis on clerical authority and liturgical symbolism within domestic devotion.

The diptych is one of three closely related works, including examples in the Victoria and Albert Museum and the Courtauld Institute. Their shared features—such as the unwinged angels and specific drapery treatments—indicate they may have originated from the same workshop or artistic circle in mid-14th-century Paris. These pieces represent a refined phase in the evolution of Gothic ivory carving.

Ivory diptychs emerged in the 1240s as intimate objects for personal prayer, often commissioned by wealthy patrons. Unlike larger altarpieces, they allowed private engagement with sacred scenes. The inclusion of donor figures in some examples reflects a trend toward personalized devotion, paralleling developments in manuscript illumination and panel painting of the period.

This diptych exemplifies the peak of Parisian ivory carving in the 14th century, where technical mastery met spiritual intent. Its distinctive iconography influenced later devotional objects, though few surviving works match its level of detail and coherence. It remains a key reference for understanding how religious imagery was adapted for private, domestic use in medieval Europe.