Cornish bagpipes

These are: For example, Origo Mundi, Resurrexio Domini, Gwreans an Bys, and both halves of Beunans Meriasek (the latter play intended to be performed in two parts on two successive days) conclude with a speech in which a character urges the minstrels (menstrels) or pipers (pyboryon) to ‘pipe’ (peba) ‘so that we may go dancing’ (may hyllyn mos the thonssye, RD 2646; compare BM 2512, BM 4565, GB 2547).

[10] The Records of Early English Drama conveniently summarise numbers of performances by Lord Botreaux's Pipers (sometimes also described as minstrels or servants) between 1416/7 and 1433.

Nonetheless, it is clear that the iconography of bagpipers in Cornwall does not exist in isolation, but in the context of a broad musical culture of which piping was a significant element.

Twin-chanter bagpipes appear in late-Medieval iconography in churches at Altarnun, Davidstow, St Austell and Braddock, Cornwall and at Marwood, and Tavistock, Devon.

A single chanter bagpipe and other instruments are depicted on the east wall of St Mary's, Launceston, Cornwall (c. 1520–1540).

[17] In 1830 an itinerant player of markedly quiet bagpipes, apparently disguised and wearing green spectacles, was noted playing for charity in Truro, Falmouth, Penzance and Bodmin.

The Launceston bagpipe has a conical bore chanter, which would give a loud, full tone often associated with outdoor performance.

[20] James Merryweather responded to this, emphasising that iconography of double chanter bagpipes is not unique to Cornwall, and that the term 'pipes' does not necessarily imply 'bagpipes'.

[21] Mike O'Connor revisited the topic emphasising the context provided by various documentary sources and the realistic dress detail at Altarnun and Launceston, which suggests that the images are of retained local musicians and represent Cornish practice of the early 16th century.

While some iconography may be stereotypical, dress detail at Altarnun and Launceston suggests the images represent Cornish practice in the early 16th century.

The late 20th century saw renewed interest in the history and practice of bagpiping in Cornwall, leading to reconstructions of pipes seen in Cornish iconography and exploration of technique and repertoire.