This paper appraises the current reception of the early Tudor church musician and composer Robert Fayrfax and the information upon which it is based. The first section summarily introduces Robert and traces how the image of him developed. The second assesses this image in the light of armorial and other evidence. The third explores further material about Robert and his family contained in an important document. The fourth relates the findings to a wider context. The fifth investigates the interrelationship of two manuscripts once owned by Robert’s father.