Analysis of the Wilton Diptych

Over many centuries, the mysteries and meanings behind the Wilton Diptych have entranced researchers as they have sought to uncover them.  This exceedingly rare piece of artwork which illustrates the devotion of King Richard II to the Virgin and Child has been considered to be the “most famous panel-painting to survive from medieval England.”[1] While little is known about where the Wilton Diptych was made and who created it, there is no question that it holds a deep significance within its symbols and icons.  Not only does the panel painting radiate a feeling of divinity with its allusion to the salvation of mankind by Christ, but it is also a source of commanding political propaganda.  The religious and political focuses evident in the diptych help us to better understand the culture of this time period.

Regarded as an elegant and enigmatic masterpiece, the diptych was created during the late fourteenth century as a portable altarpiece for King Richard II’s private religious devotion.  Many believe the piece of artwork was made during the last four years of King Richard II’s reign from 1395-1399.[2] A diptych is a painting, carving, or piece of metalwork created on two panels usually hinged together.  The panels and gilded frames of the diptych are made from Baltic oak while the illustrations are painted on a prepared gold background in egg tempera—pigment mixed with egg which enhances the full purity of the color—and covered in translucent glazes.[3] The panel painting received its title from the Wilton House in Wiltshire where it was found and remained from 1705 to 1929.[4] The diptych can now be found in The National Gallery in London, England.[5]

On the inside of the diptych, King Richard is presented by three saints to the Virgin and Child with a group of eleven angels.  The saints include Richard’s patron Saint John the Baptist, Saint Edward the Confessor, and Saint Edmund.  Both Edward and Edmund were previous kings who were venerated as saints.  Saint John is pictured holding a lamb, which symbolizes the Lamb of God, or Jesus Christ. Saint Edward is holding the ring that he gave to who believed was a pilgrim but according to legend was in fact St. John the Evangelist.  Saint Edmund is carrying an arrow that represents the arrow with which the Danish Vikings killed him in 869.[6] The halo placed above Christ is decorated in pointillé—a pattern formed of dots incised using a fine point—with the nails and a crown of thorns both prefiguring the Crucifixion.[7] One of the angels carries a staff with a pennon, or banner, topped by an orb on which a tiny island is painted.  The barely visible island is believed to symbolize the island of Britain and refer to the dowry of the Virgin Mary. This island is a recent discovery that was only found when the diptych was cleaned and restored several years ago.  The red cross of St. George on the pennon also refers to the Christ’s Resurrection.  On the exterior of the diptych, viewers can observe Richard’s coat of arms.  A lion stands on a cap of maintenance and a helmet above a shield bearing the Royal arms of England and France, impaled with the mythical arms of Edward the Confessor.[8] His personal emblem of a chained white hart, also known as a stag, with a crown around its neck lying on various plants is also visible.

By studying the intricate details and various techniques evident in the diptych, we can recognize the distinguished style of this work of art.  An important theme noticed throughout the work is heraldry:  the study and art of armorial bearings, insignia, and symbols.  We can see this theme through the inclusion of King Richard’s coat of arms and emblems.  The imaginary arms of Edward the Confessor are impaled with the arms of England, which indicates a specific date in time.  Richard began to display his arms in this way only from 1395 onwards.[9] Heraldry is also apparent on the panel in which Richard and the angels are shown wearing the liveries of Richard—the white hart.  Flowering lines and delicate motifs combine to create the artistic style of the painting.[10] The subtle and gentle gestures of the Virgin and the angels emphasize the significance of line and composition in the diptych’s refined style.  We see the style again through the foreshortened placement of figures common at this time, such as the posture of the kneeling angel on the left side of the diptych.  The artist makes use of studies from nature in the flowers that adorn the panel, once more affecting the artwork’s period style.[11]

The creator of the Wilton Diptych has been theorized by researchers to be one of several different people.  The actual artist of the diptych is unknown.  Several experts have hypothesized that an Englishman or Frenchman could have been the possible creator of the diptych due to the fact that it was made for a king of England, while others propose that an Italian or a Bohemian was the artist responsible for this masterpiece.[12] Many of these types of early paintings cannot be matched with a specific painter.  Before the 15^th century, the practice of signing a completed piece of artwork was not widespread or popular.  The majority of earlier artists would have never considered putting such a personal mark on the object that they had created, especially if it was to be used for religious purposes such as this diptych.  During this age, a painter would usually work collaboratively with others, training as part of a studio that was run by a master artist.  These master artists would also work with artists of similar status in order to efficiently combine different talents.  Therefore, paintings were rarely the result of one ‘hand’ alone, and their makers did not consider themselves as unique individuals in the way that artists have done in later years.[13] Because of this known partnership between multiple artists at this time, other researchers suggest the Wilton Diptych was the result of several different painters.

One of the few proven facts of the Wilton Diptych is that it was made for and commissioned by King Richard II as an item for his private devotion.[14] During his reign, King Richard was a strong proponent of the “fusion of secular and religious ideas.”[15] The diptych is a vastly complex expression of this concept, in which every component of the painting contributes to a very personalized, private meaning.  Due to this intense focus on the merging of government and religion, the Wilton Diptych formed a new and grand representation of the monarchy.[16] Since the diptych was created for Richard personally, his preferences would have largely affected the artistic decisions concerning the work.  On the panels, King Richard II and his patron saint are illustrated along with his personal arms and emblem, all features which King Richard most likely requested to be painted on the diptych.  While his specific demands would have limited the subject matter of the work, they would not have restricted the different ways to portray and interpret its divine focus.

From the time when the diptych was recovered, experts have proposed divergent interpretations of the artwork’s deeper meaning.  Some suggest the panel is “powerful political propaganda in support of an exalted image of monarchy.”[17] Because the diptych expresses an obvious focus on King Richard and illustrates him being blessed by the Christ Child, many consider the diptych an effort to suggest the monarchy holds heavenly power.    The use of these religious figures and symbols is meant to imply an endorsement from a higher rule.  Others believe religion and devotion are the more central themes.  The work was clearly created as a focus of prayer with a specific purpose in mind.[18] Its religious center is enhanced by the thoughtful placement of punched gold leaf on key details of the painting that would be illuminated when seen by candlelight.  Important details of the painting such as those found in the banner all allude to the salvation of mankind by Christ.[19] The red cross on the flag is also said to represent the Passion of Christ.  One final piece of evidence that furthers the idea of salvation is seen on the orb atop the banner.  The small island that is located on the orb presents the island of Britain as the dowry of the Virgin, which explains the hand gestures of the figures that are open in blessing and offering.[20]

There are several reasons behind my selection of this piece of artwork to research.  Initially, I chose the Wilton Diptych because the vibrant colors included in the work and the realistic depiction of the people caught my attention.  The luscious colors are essential in allowing the artwork to exude a sense of divinity and serenity.  The figures illustrated on the diptych are near proportional and produce a closer sense of reality.  Unlike most other religious works of this time period in which the Christ Child resembles the appearance of an undersized grown man, the Christ painted on the diptych is depicted in the form of an infant.  His body features exhibit more child-like proportions and his small frame is cradled by the Virgin Mary in the same manner as a baby.  The extreme attention to detail throughout the work of art was also intriguing to me.  Each figure displays elaborate ornamentation on his or her robes and clothing which hold minute aspects that would go unnoticed without careful examination.  I was attracted by the rarity and expensive qualities of the diptych as well.  This artwork is a remarkably rare survival of a Late Medieval religious panel painting; only a few examples remain in this excellent of quality today.  Furthermore, the materials used to create this piece of artwork were very valuable and highly expensive during the time in which it was created, making it an especially unique work of art.

Although the religious premise of the Wilton Diptych appears obvious at first glance, the panel painting holds many mysterious facets that keep researchers intrigued centuries after its creation.  Constructed as an object of personal devotion for King Richard II, the diptych displays many allusions to the blending of worldly and holy beliefs through the complex details elaborately illustrated.  The hidden political and sacred meanings of the diptych heighten people’s captivated interest in this medieval masterpiece, granting them a significant glimpse into the culture of the middle ages.

Bibliography

Given-Wilson, C. The English Historical Review 442nd.111 (1996): 691-92. Print.

Gombrich, E. H. The Story of Art. 12th ed. New York: Phaidon Limited, 1972. Print.

Gordon, Dillian. “A New Discovery in the Wilton Diptych.” The Burlington Magazine 134.1075

(1992): 662-67. Print.

Gordon, Dillian.  Making and Meaning:  The Wilton Diptych. London: Yale UP, 1994. Print.

Bumpas, Judith. “A Medieval Enigma.” The Art Book 6.2 (1999): 6-8. Print.

The Wilton Diptych. The National Gallery. Web. 28 Oct. 2009.

<http://www.nationalgallery.org.uk/server/php?show=conObject.574>.

The Wilton Diptych. University of London, 2007. Web. 28 Oct. 2009.

<http://www.history.ac.uk/richardII/wilton.html>.

Tyerman, Christopher.  England and the Crusades, 1095-1588. Chicago: The University of Chicago,

1988. Print.

Warburton, Nigel. The Art Question. New York: Routledge, 2003. Print.

Wormald, Francis. “The Wilton Diptych.” Journal of the Warburg and Courtauld Institutes

17.3/4 (1954): 191-203. Print.