Abstract
The Wilton Diptych (pls. I, 11) is in quality the most outstanding painting known from the English middle ages. Its unique interest has produced a massive literature, much of it concerned with stylistic problems and with purely theoretical interpretations. Little can be added to the meticulous description of Sir George Scharf, while only one major contribution has been made to the historical analysis of the painting's heraldic data, by the late Miss Maud Clarke. This heraldic analysis offered abundant evidence of approximate date, yet the subsequent literature has failed to take adequate account of the limits set, and a fundamental reassessment of the facts is overdue.
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