The combination of wood and ivory in a medieval diptych is rare. The left hand panel of this diptych can be compared with one in the Vatican Museums, illustrated by Morey: centred beneath a trilobate arch, the seated Virgin and Child are placed on a wood plinth flanked by two acolytes against a gilt wood ground, stamped with stars. It belongs to a group of fourteenth century ivories in the French style which Morey attributes to an Italian and possibly Venetian workshop.
The present diptych with the angular treatment to the features, in particular those of Ss.Peter and Paul, the flattened robes with long regular folds of a classical nature and the emphasis on painted details such as those found on the diptych in the Walters Art Gallery, all point to an Italian school in the later Gothic period. The distinctive floral knops in the spandrels can be compared with those found on a pair of writing tablets attributed to a Tuscan school of the third quarter of the fourteenth century and illustrated by Randall (1993). The corpus is derived from a type introduced to Italy by Giovanni Pisano and adapted from an earlier French style where the crown is carved as an entwined rope, rather than thorns.
Morey, A88, plate XXI; Randall (1985), no.385; Randall (1993), no. 211
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