in illumination. The date of the painting, at a time when the International Gothic style was at its most similar in several courts in Europe, makes identifying the nationality of its painter more difficult. It is possible that the painter was English, but apart from the Westminster portrait of Richard, now unlike the Diptych much overpainted, there are too few comparable works to establish in what style the recorded English painters worked. The artist has been proposed as coming from "every possible nation", but France seems the most likely, with Italy another possibility, and some art historians point to the possibility of a Bohemian artist, perhaps brought to England by Richard II's first wife, Anne of Bohemia. The exquisite quality of the painting is thought by most art historians to indicate that the artist was probably from northern France. It shows similarities to the manuscript painting of Pol de Limbourg, but like the other surviving portrait of Richard, in Westminster Abbey, is also closely related in themes to paintings made in Prague for Anne's father Charles IV, Holy Roman Emperor and her brother Wenceslas, King of the Romans. Provenance The painting was drawn and issued as a print by Wenceslaus Hollar in 1639, with a dedication to King Charles I. It was documented in 1649 in an inventory of the art collection of King Charles I who had been given it by Sir James Palmer, a Gentleman Usher of the Privy Chamber. It passed to the Earls of Pembroke who kept it at Wilton House, from which it takes its name, until it was bought by the National Gallery in 1929. That it remained intact is remarkable because little religious pictorial art survived the Puritan iconoclasm that followed the execution of Charles I. Notes References Brown, Peter. A Companion to Chaucer, Wiley-Blackwell, 2002, , Google books Campbell, Marian, in Jonathan Alexander & Paul Binski (eds), Age of Chivalry, Art in Plantagenet England, 1200–1400, Royal Academy/Weidenfeld & Nicolson, London 1987 Germ, Martin, "Les onze anges du Diptyque Wilton et le symbolisme médiéval des nombres", Revue de l'Art, 140/2003-2, pp. 13–17 Given-Wilson, Chris, Richard II and the Higher Nobility, in Goodman, Anthony and Gillespie, James (eds): Richard II: The Art of Kingship, Oxford University Press, 2003, , Google books Langmuir, Erica, The National Gallery companion guide, 1997 revised edition, National Gallery, London, "Levey (1971)": Michael Levey, Painting at Court, Weidenfeld and Nicolson,