Na Píobairí Uilleann

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An Píobaire

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9 1 24 20130207 24 command of technique than that exhibited in the rather crude “Irish” portraits so that one doubts that they are by the same hand. These stylistic misgivings aside, other questions arise as to dat- ing the paintings to 1679. For example, it is un- clear, to say the least, why anyone would commission paintings – and such large ones at that – of two such shabby-looking, and yet named, travelling musicians. Indeed, why would the genteel “m ris Manwaringe” include such down-at-heel fellows in her entourage? Further, the depictions are clearly more cartoon than portrait; notice, for example, the identically holed breeches. In fact, the more one looks at them, the more they appear to have in common with much later “Oirish” genre paintings. A later date would certainly appear more consistent with the clothing which does not look very 17th century – especially the buttoned breeches and boots; surely shoes would have been the norm at this period. Until closer examination is possible, the catalogue’s dating of 1679 looks question- able. Putting aside these dating doubts aside is there any reason to think that the musical visitors to the Castle in 1679 might have been Irish – after all they are not named as such in the only firm evidence we have, the accounts. Of course, north Wales is not far from a number of ports which linked Ireland to England and Wales and so an Irish presence would not be especially unexpected in the region. But there is a possi- bly more intriguing link. Recall that the musi- cians were part of the entourage of “m ris Manwaringe”. Katherine Mainwaring (1641- 1702) was the aunt of the then owner of Chirk Castle, Sir Thomas Myddelton 2 nd Bt (1651- 1684) – her elder sister, Mary, who had died in 1658, being Sir Thomas’ mother. Daughter of Thomas Cholmondeley, Esq. of Vale Royal, Cheshire, Katherine had married Charles Mainwaring of Ightfield in Shropshire in 1657. Ightfield is about 25 miles from Chirk Castle. Myddelton must have thought well of both Katherine and Charles since he left each £20 in his will. It is Katherine’s Cholmondeley family link which provides the possible Irish connection. The Cholmondeleys had long been one of the most influential families in Cheshire and when Robert Cholmondeley became head of the family in 1601 he inherited the largest es- tate in the county along with substantial hold- ings in north Wales. Robert, however, was ambitious to become the leading figure in the county and to effect this not only bought a baronetcy in 1611 but started to extend his holdings into Ireland. 3 Not content with the baronetcy he also bought an Irish peerage in 1628 (at the apparently knockdown price of £1,500) and became Viscount Cholmondeley of Kells. Following support for the Crown during the Civil War, he was raised by Charles I to Baron in 1645 and, within the Irish peer- age, to the earl of Leinster in 1646 although neither was recognised by the new Common- wealth following the downfall of the King. Even though he died in 1659 without issue, his Irish viscountcy was revived for his nephew Robert who became 1 st Viscount Cholmondeley of Kells in 1661. Quite how strong the Cholmondeley links to Ireland were, however, is hard to determine; it is unclear, for example, how large the family’s holdings were in the country and the main in- tent behind the purchase of the Irish viscountcy was clearly to increase influence in England rather than express some kind of commitment to Ireland. That said, it is likely that the family was in close contact with its Irish estates and, if so, it is not impossible that a couple of asso- ciated musicians could somehow have found their way into Katherine Mainwaring’s en- tourage. Whether they were retainers – so rep- resenting a form of gentry patronage much as was found in the Highlands at this period – or were simply passing through and so brought to Chirk Castle as a novel diversion would be in- teresting to determine.

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2013-02-06T00:00:00

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