The Gothic Diptych at the Minneapolis Museum of Art, which is
             attributed to the Master of the Passion Diptych, seems at first glance to
             be a fine example of the mixed mannerism and classicism typical of a time
             in transition between Gothic and Renaissance styles. The small ivory
             panels, which are dated at approximately 1375, have a deeply traditional
             subject matter. They portray a series of scenes from the life of Christ,
             beginning with the Annunciation and proceeding through his birth, adoration
             by the Magi, betrayal, death, ascension, and the final gift of his spirit
             to the people at Pentecost. These subjects are executed skillfully in the
             tiny medium (the entire work in less than 9 inches tall), with careful
             attention paid to the expression and placement of the figures.
             Stylistically, this piece seems both common to its time and yet also
             enlightening as to its historical moment. There is a certain classical
             stylization to the flow of the drapery and clothing about the figures which
             has evolved from the more formless shapes of the earlier middle ages, and
             hints at an evolving classicism and awareness of form that heralds the
             oncoming Renaissance. The characters are in constant contorting motion,
             and the drapery about them is used to accentuate the angles at which they
             are caught, and an articulated body is visible below. "In the Gothic figure
             no such differentiation exists" (Iskold), until the Gothic begins to blend
             Sucha blend is not entirely uncommon in the later Gothic era, of
             course, and one sees other characteristics of the Gothic more obviously
             present. The extreme mannerism of certain artists at this time is more
             gently portrayed here, but still visible in the bodies that contort off to
             one side, and the sometimes exaggerated facial expressions. The male
             background figures especially tend towards a slightly regressive mannerism,
             with grins that border on grimaces, ...