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Browse the storeA diptych is a two-panel painting, hinged or paired. From Byzantine ivory carvings to the Wilton Diptych to Warhol's Marilyn Diptych, learn how this format shaped art history.
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The Wilton Diptych, painted around 1395-1399 for King Richard II of England, is small enough to hold in your hands. Two oak panels, each about 53 by 37 centimeters, joined by hinges so they fold closed like a book. Open it, and the left panel shows Richard kneeling before the Virgin and Child, presented by three saints. The right panel shows the Virgin holding the Christ Child, surrounded by eleven angels in a garden of paradise. Close it, and the exterior shows Richard's personal emblem, a white hart with a golden coronet, and his coat of arms. It is a private devotional object, a portable altarpiece, and a political statement, all in a package that fits in a saddlebag. This is what diptychs were for: personal, portable, and intimate.
A diptych is an artwork consisting of two panels, usually hinged together so they can fold closed like a book. The word comes from the Greek "di" (two) and "ptyche" (fold). In the ancient world, diptychs were writing tablets: two wooden panels with recessed surfaces filled with wax, written on with a stylus. In medieval and Renaissance art, diptychs became portable paintings for private devotion, typically showing religious scenes on the interior and decorative designs or coats of arms on the exterior. In modern art, the term has been extended to any pair of paintings designed to be displayed together, whether physically joined or simply hung side by side.
This entry covers what a diptych is, how it evolved from Roman writing tablets to medieval devotional objects to modern art, who made the most significant ones, and how to recognize the format in museums.
The diptych format is defined by its two-panel structure. The panels can be hinged, allowing the diptych to fold closed, or they can be separate paintings intended to hang as a pair. In the historical form, the hinged diptych served a practical purpose: when closed, the interior paintings were protected from wear, dust, and damage. This made diptychs ideal for travel. Medieval elites, including royalty, merchants, and clergy, carried diptychs on journeys as personal devotional objects. In the Eastern Orthodox tradition, portable hinged diptychs were called "travelling icons."
The typical composition of a medieval devotional diptych placed the Virgin and Child on the right panel and the donor, or owner, on the left panel, shown kneeling in prayer. Sometimes the donor was accompanied by a patron saint who presented them to the Virgin. The two panels created a visual dialogue: the donor on one side, the object of devotion on the other. When the diptych was closed, the exterior showed simpler decoration, often the owner's coat of arms or a religious symbol.
Britannica defines the diptych as "two writing tablets hinged or strung together, used in the Roman Empire for letters and documents," noting that the term also describes "paired paintings and engravings that are joined in a similar fashion." Read the full entry at Britannica.
The diptych began as a practical object. In the Roman Empire, diptychs were standard writing tablets: two wooden panels with wax-filled interiors, scratched with a stylus and erased by heating and smoothing the wax. Wealthier versions used ivory instead of wood. In Late Antiquity, ivory diptychs with carved relief covers became ceremonial objects. Consular diptychs were made to celebrate an individual's appointment as Roman consul, distributed to friends and followers as luxury gifts. Several dozen survive, preserved in some cases by being reversed and reused as book covers. The largest surviving Byzantine ivory panel, 428 by 143 millimeters, is a leaf from a diptych in the Justinian court manner of c. 525-550, featuring an archangel.
In the early Christian church, the term "diptych" took on a liturgical meaning. Diptychs were lists of the living and departed members of the local church, inscribed on the two panels and read aloud during the liturgy. The living were on one wing, the departed on the other. Inclusion in the diptychs meant communion with the local church; removal meant excommunication.
The painted diptych as a devotional object emerged in the Byzantine period. Small ivory diptychs with religious scenes carved in relief were produced in Constantinople and spread throughout the Christian world. In the Gothic period, Paris became the center of ivory diptych production. These carved ivory diptychs, with scenes arranged in multiple registers crowded with small figures, were popular among the mobile elites of medieval Europe.
The painted diptych on wood panels developed in the 14th and 15th centuries, particularly in the Netherlands. The Wilton Diptych (c. 1395-1399) is one of the earliest surviving painted diptychs from England, though its artist's nationality remains debated. As TheCollector's survey of the diptych notes, the production of painted diptychs shifted to the Netherlands in the 15th century, where artists like Jan van Eyck, Rogier van der Weyden, and Hans Memling became masters of the form. Read the full article at TheCollector.
By the 16th century, the diptych was declining as a devotional format. The Reformation reduced the demand for private religious images in Protestant regions. In Catholic regions, the Counter-Reformation favored larger, more public altarpieces. The diptych format survived in secular portraiture, where paired portraits of husbands and wives were sometimes painted on hinged panels.
In the 20th century, the term "diptych" was extended to pairs of paintings that were never physically joined but were designed to be displayed together. Andy Warhol's Marilyn Diptych (1962, Tate) is the most famous example: fifty silkscreened images of Marilyn Monroe, arranged in two panels of twenty-five, one in color and one in black and white. The format connects Warhol's celebrity portrait to the medieval tradition of paired sacred images, whether Warhol intended that connection or not.
The Wilton Diptych (National Gallery, London) is the most famous medieval painted diptych. Painted for King Richard II of England, it shows Richard kneeling before the Virgin and Child, presented by Saint Edmund, Saint Edward the Confessor, and John the Baptist. The right panel shows the Virgin and Child surrounded by eleven angels in a paradise garden. The painting is in egg tempera on Baltic oak, with a brilliant blue background made from ultramarine. The artist's nationality is unknown: the style suggests Sienese influence, the medium suggests Italy, the support suggests the Netherlands, and the patron was English. The diptych is a rare survival of late medieval English religious painting, most of which was destroyed during the Reformation.
Van Eyck's Annunciation, also known as the Thyssen Diptych (c. 1434-1435), is a small diptych painted in oil on oak. The panels show the Virgin Mary and the Angel Gabriel, each painted in grisaille to simulate stone statues. Van Eyck also painted the Crucifixion and Last Judgment diptych (c. 1420-1425, Metropolitan Museum of Art, New York), which shows the Crucifixion on the left panel and the Last Judgment on the right, a compact devotional object of devastating intensity.
Rogier painted several diptychs, including the Virgin and Child Standing in a Niche (c. 1430, Kunsthistorisches Museum, Vienna) and the Crucifixion diptych (c. 1460, Philadelphia Museum of Art). His diptychs typically paired a Madonna and Child with a portrait of the donor, creating a direct visual relationship between the worshipper and the sacred figure. Rogier's diptychs are notable for their emotional intensity and the way the two panels create a unified spatial setting.
Memling was the most prolific Netherlandish painter of diptychs. His Diptych of Maarten van Nieuwenhove (1487, Saint John's Hospital, Bruges) is a masterpiece of the form. The right panel shows the Virgin and Child. The left panel shows the donor, Maarten van Nieuwenhove, in his own home. The stained-glass windows in both panels show the donor's family coat of arms, and a mirror on the Virgin's side reflects both figures, tying the two panels together in a single spatial continuum. The diptych demonstrates how the two-panel format could create a unified visual world rather than two separate images.
Warhol's Marilyn Diptych (1962, Tate) consists of fifty silkscreened images of Marilyn Monroe, arranged in two panels. The left panel shows twenty-five images in color. The right panel shows twenty-five in black and white, fading from clear to ghostly. The diptych was painted in the months after Monroe's death in August 1962. The format, whether Warhol intended it or not, echoes the medieval devotional diptych: a sacred figure repeated and venerated, the color panel representing life, the monochrome panel representing death.
Look for two panels that belong together. In medieval and Renaissance diptychs, the panels are usually the same size and are designed to be viewed side by side. If they are hinged, you will see the hinges on the vertical edge. If they have been separated from their original frame, museum labels will usually indicate that they were once part of a diptych.
The subject matter is a clue. A Madonna and Child on one panel paired with a kneeling donor on the other is the classic devotional diptych composition. Two portraits of a married couple, facing each other, is a secular variant from the 15th and 16th centuries. In modern art, any pair of paintings displayed as a unit can be called a diptych, though the term is most often used when the two panels share a subject or visual motif.
The panel paintings used for medieval diptychs were typically oak in Northern Europe, painted in oil or tempera. The small scale of devotional diptychs, often 30 to 50 centimeters per panel, made them portable and personal in a way that larger altarpieces were not.
The diptych is the smallest multi-panel format. A triptych has three panels, and a polyptych has four or more. The diptych was less common as an altarpiece format than the triptych, because two panels do not provide the same central-and-wings structure. Diptychs were primarily personal devotional objects, while triptychs and polyptychs were typically public altarpieces.
The Byzantine art tradition produced the earliest Christian diptychs, in the form of carved ivory panels. The Early Renaissance in the Netherlands was the golden age of the painted diptych, with Van Eyck, Rogier van der Weyden, and Memling all working in the format. The grisaille technique was often used on the exterior of diptychs, where simulated stone figures provided a restrained contrast to the polychrome interiors.
For more context, read our blog post on Renaissance art and the birth of modern art, or explore our guide to how to read a painting to learn how to analyze multi-panel compositions.
The National Gallery in London holds the Wilton Diptych, the most famous surviving medieval painted diptych. The Kunsthistorisches Museum in Vienna has Rogier van der Weyden's Virgin and Child diptych. Saint John's Hospital in Bruges preserves Memling's Diptych of Maarten van Nieuwenhove in its original setting. The Metropolitan Museum of Art in New York has Van Eyck's Crucifixion and Last Judgment diptych. The Tate in London holds Warhol's Marilyn Diptych.
For the ivory diptychs of Late Antiquity, the Louvre holds the Barberini Diptych (c. 500-550), one of the finest surviving Byzantine ivory carvings. The British Museum has several consular diptychs from the 5th and 6th centuries. For more on the broader context of multi-panel painting, read our entries on triptych and polyptych, or explore our post on understanding iconography in religious art.
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