Historic Royal Palaces – Spines Format A4 Portrait Spine Width 35mm Spine Height 297mm HRP Text 20pt (Tracked at +40) Palace Text 30pt (Tracked at -10) Icon 20mm Wide (0.5pt/0.25pt)

A-Level History of Art STUDY DAY

Contents Pages

1.0 Introduction...... 2 2.0 Art extract - Byward Tower wall painting. . . . .3 2.1 Art extract - The Wilton Diptych...... 4 3.0 Study day schedule...... 5 4.0 AQA specification links...... 6 5.0 Learning outcomes ...... 7 6.0 Students’ feedback ...... 8 6.1 Teachers’ feedback ...... 9 7.0 What can you expect...... 10-12 8.0 Contacts...... 13 8.1 Weblinks...... 13

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1.0 Introduction

The Tower of London and the National Gallery have teamed up to offer students a unique study day designed specifically to support the existing AQA A-level History of Art syllabus. The study day is based around two rare surviving works of art made in England in the 14th—century during the reign of Richard II: the Byward Tower wall painting at the Tower of London and The Wilton Diptych at the National Gallery. With exclusive access to the Byward Tower, not currently open to the general public, students will view the painting in situ and piece together the story of this rare installation. Investigative skills will be strengthened as students discuss and develop a contextual understanding of why and how it was painted. The day continues at the National Gallery with a close viewing of The Wilton Diptych, and other related works, leading the students to a comparative study of these two iconic examples of International Gothic Art. At both sites, students will explore a variety of medieval techniques through practical demonstrations of oil and tempera painting. This is an exciting opportunity for students and teachers to closely engage with two significant artworks of the 14th—century, and learn from the experts who look after them.

“The study day offers the opportunity to critically reflect on key themes in History of Art, regardless of what period students are studying. This is a unique experience to explore the power of the image and regal propaganda. Students also gain insights into career opportunities within museums and galleries, especially in conservation, scientific and curatorial areas.”

- Ali Mawle, Head of Schools, The National Gallery

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2.0 Art extract - Byward Tower wall painting

This is one of the most sophisticated and well- preserved wall paint- ings of International Gothic style in Britain. Located on the first floor of the Byward Tower, the second defended gateway you walk through when you enter the Tower of London. It is closed to the public because of its fragility, and access for specialist groups is limited for conservation reasons. This 14th—century mural painting was revealed in 1953 under layers of lime wash when the Byward Tower was being renovated for Unknown artist, Byward Tower wall painting (detail), about Yeoman Warder 1390s. Historic Royal Palaces, Tower of London lodgings.

Painted in the 1390s by an unknown artist during the reign of Richard II, it tells the story of the death and sacrifice of Jesus Christ. The central Crucifixion figure is now gone — destroyed by the installation of a Tudor fireplace. The following figures are still surviving; the Virgin Mary, Saint John the Evangelist, Saint John the Baptist and the Archangel Saint Michael, who is weighing the souls of the dead in a set of giant golden scales, determining whether they will go to heaven or hell.

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2.1 Art Extract - The Wilton Diptych

Unknown artist, The Wilton Diptych (detail), about 1395. The National Gallery, London

The Wilton Diptych was painted as a portable altarpiece for the private devotion of King Richard II (1377--99). The Wilton Diptych is thought to have been made in the last four years of Richard’s reign, although the artist remains unknown. It derives its name from Wilton House in Wiltshire, the seat of the Earls of Pembroke, where it was originally discovered. A diptych is a painting, carving or piece of metalwork on two panels, usually hinged like a book. The panels of The Wilton Diptych are made of North European oak, but have been transformed by immaculate painting and gilding into a heavenly vision. On the inside, Richard II is presented by three saints to the Virgin and Child and a company of 11 angels. Nearest to Richard is his patron Saint John the Baptist. Behind are Saint Edward the Confessor and Saint Edmund, earlier English kings who came to be venerated as saints.

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3.0 Study day schedule

10.30 – 12.30 Introductory session at the Tower of London Examining evidence: Behind-the-scenes tour of the Byward Tower wall painting Study of the 14th—century painting in situ, with a focus on characteristics of style and visual representations of Richard II

Object handling: materials and processes of painting on stone

12.30 – 13.30 Travel between sites and lunch

13.30 – 15.30 Examining evidence: close observation and discussion of The Wilton Diptych, with a focus on how Richard II is represented on a personal altarpiece. Compare with related works of art in the National Gallery collection. Obect handling: materials and processes of painting on wood Plenary session: applying study day to exam questions

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4.0 AQA specification links

The Tower of London and the National Gallery offer fine examples of medieval paintings for students to explore and study both in situ and in a gallery environment.

AS - Unit 2 HART2 Themes in History of Art: subjects and genres, materials, techniques and processes, form and style, historical and social contexts, patronage.

A2 - Unit 4 HART4 Investigation and Interpretation: art and architecture in 13th and 14th—century Europe.

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5.0 Learning Outcomes

Students will come away with:

• Experience of seeing medieval art in situ thus enhancing ways of seeing and understanding beyond textbooks and the internet • Knowledge of how art of the late 14th—century was produced through practical demonstrations, including pigment mixing and application • Ability to identify the forms and features of International Gothic style • Awareness of themes of patronage and power in medieval art • Understanding of how historical and social contexts contribute to the interpretation and meaning of the Byward Tower wall painting and The Wilton Diptych • Ability to compare and contrast two significant and different representations of King Richard II concerning both temporal and spiritual subjects • Understanding of how styles evolve along the history of art timeline from International Gothic and the Renaissance to the present • Knowledge of the Tower of London and its history during the reign of Richard II • Increased confidence in communicating ideas and thoughts about works of art • A case study to use for exams

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6.0 Students’ feedback

“Seeing the art in situ really gave me a good understanding of the size, texture and how the artist made the work of art.”

“Being taught the processes of mixing the paint and how it was used has helped me to understand the form of the paintings more.”

“Made a very big difference in terms of my opinions of the art when viewing them interactively.”

“[The study day] has encouraged me to think more deeply about the conscious choices present in a painting.”

“Comparing the paintings against the exam questions was good!”

“The historical timeline and context helped me understand why the paintings were created.”

“Helped with a broader knowledge of historical art.”

“I could visualise the artists’ techniques and was introduced to the impact and meaning of patronage. Learnt a lot about International Gothic art and some new technical terms to use in my essays.”

“It was good in the way that we found out about how important social and historic context is for analysing a piece of art.” - AS level students from Godalming Sixth Form College

6.1 Teachers’ feedback “Insightful. Inspiring. This session was directly relevant to the exam syllabus but also gave our students ideas about the exciting potential of history of art in the longer term.” - Sara Phillips, History of Art teacher, Godalming Sixth Form College

“Always useful to be out of the classroom. It’s good for the students to hear a different voice from mine and to get some sense of different ways in which art historians engage with their subject” - Dr Jeremy Gray, History of Art Teacher, Kings College

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7.0 What can you expect

Students from Godalming Sixth Form College view the medieval wall painting in the Byward Tower, Tower of London

Please note: students now use binoculars to examine certain sections of the wall due to conservation

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Students view The Wilton Diptych and compare works from the 14th— century at the National Gallery 10 Historic Royal Palaces – Spines Format A4 Portrait Spine Width 35mm Spine Height 297mm HRP Text 20pt (Tracked at +40) Palace Text 30pt (Tracked at -10) Icon 20mm Wide (0.5pt/0.25pt)

Investigating materials, techniques and processes at the Tower of London [top] and the National Gallery [bottom] 11 Historic Royal Palaces – Spines Format A4 Portrait Spine Width 35mm Spine Height 297mm HRP Text 20pt (Tracked at +40) Palace Text 30pt (Tracked at -10) Icon 20mm Wide (0.5pt/0.25pt)

8.0 Contacts

Schools Officer The National Gallery Trafalgar Square, London WC2N 5DN 020 7747 5890 [email protected]

Education Officer HM Tower of London EC3N 4AB 020 3166 6619 [email protected]

8.1 Web links To make a booking www.hrp.org.uk/educationsessionsotthetoweroflondon/a-levelhistorydays

About the Byward painting www.hrp.org.uk/discoverthepalaces/Historyandstories/Surprisingsights/By- wardTowerwallpainting

The science behind the Byward painting www.mandh-online.com/tv/historic_royal_palaces/content/1438/behind_ the_painting

About the Wilton Diptych www.nationalgallery.org.uk/paintings/english-or-french-the-wilton-diptych

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