[2] The work is painted with egg tempera on a gold leaf background, on a thinned and slightly bowed poplar panel prepared with layers of gesso ground in which a canvas is embedded.

[5] The National Gallery describes the polyptych as representing "a crucial moment in the history of art" as it comes from a time when Italian painters began to move away from the Byzantine tradition towards a more naturalistic representation of events.

Christ, in a red robe and blue cloak, is standing at the centre of the composition, with his eyes uncovered in the Byzantine style: in contemporary depictions from Northern Europe, he would be seated and blindfolded.

To either side stands a person with a sheathed sword; buildings in the background in Byzantine reverse perspective frame the scene under a luminous gold sky.

Damage to the paint shows the panel was removed from the bottom left corner of a frame, and the edges have been evened-up with a dark border.

It is suspected that an original red border is underneath, like the two other surviving paintings from the diptych, which also show similar woodworm holes.

A similar Venetian diptych of c. 1300 in the Virginia Museum of Fine Arts also has six Passion scenes, with the Virgin and Child and the Last Judgment.

[4] Ahead of the move in June 2019 the owner called in a local auctioneer to determine if any of her possessions were worth selling; the remainder were to be thrown away.

[5] Both seller and purchaser decided to remain anonymous, though the buyers have been reported to be two Chilean nationals living in the United States.