Diptych with the Coronation of the Virgin and the Last Judgment, French Gothic (1260-1270)

I. IDENTIFIERS

Artist/Attribution: Unknown French ivory carver

Date: c. 1260–1270

Medium: Elephant ivory with traces of paint and gilding, mounted with metal hinges

Location: Metropolitan Museum of Art, New York City (The Cloisters collection)

Culture/Period: French Gothic

II. HISTORICAL CONTEXT

During the mid-to-late 13th century in Gothic France—particularly centered in Paris—small-scale ivory carving flourished alongside major architectural projects like Sainte-Chapelle and Notre-Dame. Small portable diptychs like this were commissioned for private personal devotion, allowing nobility and wealthy clergy to reflect on Christian themes during private prayer.

III. SUBJECT MATTER

The diptych has two major theological events from the Christian narrative. On the left panel (Coronation of the Virgin), the Virgin Mary is seated alongside Christ who wears a crown. During this scene an angel is crowning her as Queen of Heaven. Beneath this coronation scene Gothic arch that shows an angel leading a group that commences with a friar, then a king, a pope, and a noble figure. 

On the right panel (The Last Judgment) illustrates Christ in Judgment. Kneeling on his left is the Virgin Mary and on the right Saint John the Baptist. Jesus is flanked by angels carrying the instruments of the Passion. Below them there is a separation. On the left side the angels of the Judgment descend with trumphets signaling to souls that their time of Judgment is arriving. On the lower right side of the panel the condemened souls are being eaten by Satan, signaling that those souls are condemned.

IV. ABOUT THE CULTURE

The work reflects High Gothic European culture. In the 13th century Paris served as the intellectual, artistic, and trade hub of Christendom. During this era there was a tremendous rise of courtly sophistication and Scholasticism, that sought to convert Christianity into refined objects. As a consequence, luxury items like carved ivory became status symbols among royal and aristocratic patrons which showed a high social standing and personal piety.

V. PERSONAL CONNECTION

I selected this ivory diptych of the Virgin Mary and the Last Judgement due to the peak in commerciality of religious objects as luxury goods in 13th century France. Although these objects are preciously delicate, there is an interesting perspective regarding the religion they profess and the luxuriousness of the object as status.  While I directly agree with all the Catholic Church professes, I find it to be tremendously interesting that people inside the Church began to view the posession of these items as increased social status. The adquisiton of these objects should be with a pure intent as an artifact of beauty that draws you closer to the divine. Because of the duality in seeing the object as power rather than a narrative of proximity to God, I included it in Iliostacio.